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Nothing to be sad about. Sad Girls is number 1 after debuting at number 2

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MENTAL HEALTH Neglect of the mentally ill Mental patients are being systematically and continuously ignored and denied the social rights they deserve. Therefore, along with a change in mindset, there is a desperate need for reform in the treatment of the mentally ill in our country, writes Debabrata Kanjilal.   Manushi, Issue 152 - I am the father of a schizophrenic woman who is suffering from the disease since 1990. It was in that year that I noticed for the first time that my daughter could not concentrate on her studies. She also started having problems with her school friends. Not knowing why she was behaving that way, both my wife and I urged that she should pay more attention to her studies. For some time everything seemed to be going on normally in the household. Then in December of the following year, we took her to a psychiatrist who, after a detailed examination, prescribed some medicine and advised us to ensure that the girl was not subjected to any pressure. Unfortunately for us the doctor did not warn us that the disease might take a serious turn, and perhaps she did not know that in cases involving teenagers, more than the drug ECT, family therapy is of utmost importance. She failed to advise us to approach the National Institute of Mental Health and Neurological Sciences (NIMHANS) where alone this therapy was available in those days. This serious lapse on the part of the doctor proved to be the ruin of a youngster's life and that of our whole family. In July 1992 the illness blew up leading to an attempted suicide. Since then my daughter is undergoing treatment and has been put on all the known drugs, including ECT, CPZ, CBZ, Haloperedol, Clozapine, Rispiridon and Aripiprazol. With these drugs not even the symptomatic problems of the patient are taken care of. My daughter remained sick throughout her adolescence, her education was disrupted and so also the development of her personality. With the loss of her learning ability, her inter-personal communication skills are now almost zero. And with no worthwhile help coming from the Government or other agencies, we, the parents of this only child are finding it extremely difficult to cope with the responsibility of caring for a patient who needs constant help and monitoring. We have gone through a virtual hell all these years and the family has been wrecked mentally, physically as well as financially. It pains us no end when even sensible people in our society react to a mental patient in delirium thus: "Maro ek do thappad, pagal sidha ho jaega" (Give him a slap or two and the insane will be all right). Since they do not ordinarily die from their illness, nor is mental illness contagious, nor is their disability physically visible, mental patients are being systematically and continuously ignored and denied the social rights they deserve. Therefore, along with a change in mindset, there is a desperate need for reform in the treatment of the mentally ill in our country, especially those with schizophrenia. Substandard medicines are freely sold and there is no credible independent system for clinical trials of medicines for schizophrenia in India. •  Mental care needs help •  Understanding schizophrenia In spite of Government claims that "excellent treatment is now available; modern medicines have revolutionised the treatment of mental illness; schizophrenia is curable," and so on, it is estimated that there are at least 30 lakh schizophrenics in India who are neither cured nor are they able to lead a normal life, even with the support of the so-called excellent treatment which has now been made available to them. Perhaps the Government thinks that mental health is an unnecessary item of expenditure. It is a pity that in line with the thinking of some worthy psychiatrists and medical experts the Government has come to regard schizophrenia only as severe and serious as hypertension or diabetes, which also require treatment all through one's life. So there are no functioning facilities for rehabilitation either. There are also no social benefits available. Substandard medicines are freely sold and there is no credible independent system for clinical trials of medicines for schizophrenia in India. Although the hype about Clozapine, as the first reports indicated, has somewhat abated, these reports have now been replaced with the despairing outcry from affected families: "Who will take care of my patient after I die?" The number of families covered by self-help groups is so insignificant that it barely exceeds 500. Currently, there is no meaningful compensatory relief available for families caring for mentally ill members. The awful communication gap among these families, and the unsupportive attitude of the media have served as an ideal sanctuary for fooling, mauling, financially milking and depriving mental patients and their families. Only on specific occasions, such as the World Mental Health Day, the Indian newspapers carry an article compulsorily authored by a psychiatrist giving a rosy picture. Therefore, the full dimensions of the problems and needs of these patients and their families remain unknown, and affected families are kept from coming together and voicing their problems in public. Diane Froggatt, a leading authority on the subject who is Secretary of the World Fellowship for Schizophrenia and Associated Disorders, commented in a private communication to the author : "Even those taking the absolutely best medications, be they Clozapine or Olanzapine or others, do not claim to be cured. They are relieved of some of their worst symptoms but everyone knows that the negative symptoms are barely touched by even the new medications. People may recover enough so that their parents can bear them at home and that the home is not in chaos as it might have been before, but cure and recovery are not yet possible... people want to believe in recovery and are therefore searching for even the tiniest evidence that some people are recovered, but there is no research to support this." Today, it is therefore exceedingly important to urge governments not to jump on the 'recovery' bandwagon prematurely. Instead, they should, at a minimum, move forward first on the essential reforms listed below. .. The Amendment Committee constituted under Prof. Amita Dhanda defined mental illness as follows: "Mental illnesses are disorders of mind that result in partial or complete disturbance in the person's thinking, feeling and behaviour which very often result in recurrent or persistent inability or reduced ability to carry out activities of daily living, self-care, education, employment and participation in social life. These disorders would include schizophrenia, obsessive compulsive disorder, bipolar disorder and moderate or severe depression of at least three years duration with proof of continuous treatment." All those who qualify as per this definition should be brought under the People With Disabilities Act (PWDA). The annual budget allocation for the disabled should specify the amount earmarked for mental patients. Actual spending for mental patients is almost zero. Indians donate generously to religious institutions but rarely if ever to organisations doing work for mental patients. Therefore, at least 25 per cent of the Government budget for the disabled should be earmarked for mental patients. Mental patients should have representation in all discussions and deliberations about their care. The patient representative should be someone with a proven track record of rendering dedicated service in a rehabilitation center for at least ten years. For female mental patients the issue of "Guardianship" is extremely important. NGOs under strict supervision of a Disability Commissioner should be allowed to take up the responsibility at the expressed wish of the families. The arrangement should be made between families and organisations and given proper legal sanction without any hurdle. Model holistic rehabilitation-cumpermanent homes should be established as a joint venture of the Government, NGOs and families of chronic schizophrenic women. The Government should seriously consider issuing of special India Relief Bonds bearing at least 12 per cent interest to NGOs working with mental patients. The members of this vast neglected group of schizophrenics, comprising almost one per cent of the population, are as much citizens of the country as their 'normal' counterparts. As it is practically impossible that they take care of themselves, it is all the more important that the State should provide them the means to live a dignified life. There is a real need to do reasearch on mental illnesses in order to support these patients with appropriate treatments and posttreatment benefits to help them to reintegrate into society. Larger budgets, more research and better treatment facilities are essential. The issues regarding these citizens need to be highlighted and the society as a whole needs to be sensitised to their plight, and their support elicited through contributions of time and money.

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Anuskha-shankar Indian sitar player and composer Anoushka Shankar As Anoushka Shankar prepares for an India tour with her new album, Land of Gold, she speaks of how global concerns are now shaping her music, while her father’s unfinished project, the opera Sukanya, is set to open in the UK next year.

The seeds of Land of Gold were sown in the context of the humanitarian plight of refugees. The album’s title song emerged from unfolding global events in the media. In particular, “The heart-wrenching images of the lifeless body of Syrian infant, Aylan Kurdi, washed-up on a Turkish beach” led to the making of the song Land of Gold”, says Shankar in a note on her website. “Everyone is, in some way or another, searching for their own ‘Land of Gold’—a journey to a place of security, connectedness and tranquillity, which they can call home,” says the artiste, and daughter of the late sitar maestro, Pandit Ravi Shankar. The initial recordings that went into the making of the album were conducted in a remote rural locale in Tuscany, allowing the artistes to experiment with musical styles. Shankar was intent on integrating “the authority of the female voice, and the drive for women to establish personal autonomy and dignity in situations where the female perspective is often, sometimes forcibly, subdued”.  Land of Gold explores a gamut of emotional expressions, incorporating new-age minimalism, jazz, electronica and Indian classical styles. On her upcoming India tour, Shankar’s fans can look forward to an immersive, and intimate, musical experience. The underlying message remains about “the resilience of the human spirit”.

Land of Gold is your eighth studio album. Tell us about the events and life experiences that led to these songs, and their recording. Writing this album coincided with the birth of my second son. I was so troubled with the contrast between my ability to care for my baby and watching millions of people who were less able to provide the same security for their children under nightmarish circumstances. This album was a constructive way for me to channel my distress, to express and explore the emotional response to the trauma I was watching as it unfolded. I believe that art can make a difference, and music has the power to speak to the soul. It feels important for people who believe in the power of connection to speak out, when we are surrounded by leaders who encourage isolationism and mistrust.

How was it to work with artistes like M.I.A, Alev Lenz and Vanessa Redgrave, who collaborated with you on this new record? I wanted to work with women who inspire me, and who represent that sense in their lives and careers of activism and female strength. These women are powerful artistes, but also strong and principled human beings, who speak out against injustice.

Land of Gold deftly fuses Hindustani and Carnatic classical music traditions with a vibe that is largely electronic in nature, including remixes by Shiva Sound System and Mogwai. Is this a natural evolution of your sonic palate? If you look back at my discography, there’s a clear pattern of influences from the styles mentioned, plus various world cultures, and a desire to explore, and connect through music. On an album like this, with themes about connection across boundaries, it felt doubly important to represent that musically, and make the music feel truly integrated, even though it was an amalgamation of styles.

On the tour circuit For fans who have attended each of your five previous solo India tours, what are the new things that they can expect to hear, experience and take away from the Land of Gold show? After Rise and Breathing Under Water, I stopped using electronic elements, and only used live instruments, as I felt frustrated by the limitations that working with electronics imposed. However, 10 years on, the technology has improved, and there is so much that can be done. In India, I kept seeing DJs play “live” with guest artistes, but in the last two years abroad, I’ve watched bands really start to take that technology and push it further, playing music that sounds completely electronic and actually “live”. This is what I’ve done on Land of Gold, where everything is fully triggered live, so we can be fully electronic in sound and depth, without the limitations of playing to loops. The band is also incredible. I’ve scaled it down to a quartet, and that gives each musician so much more room.

Will you be touring with your quartet? I’ve distilled my band to four people this time, as we are able to take listeners on a stronger journey with the space and intimacy that less musicians can provide. Manu Delago is a key collaborator, who co-wrote the music with me, and plays the hang (music instrument) and all percussion live. Sanjeev Shankar plays the shehnai, often sounding more like John Coltrane than any classical musician! Lastly, there is Tom Farmer, an incredible bassist and pianist from London.

How would you explain the global allure of a traditional instrument like the sitar? As with any instrument, it’s not just about the instrument but the instrumentalist. I’m not a big saxophone fan, but I could listen to Charlie Parker or (John) Coltrane for hours. Similarly, my father popularised the sitar not because of his instrument’s beauty, but because of how he could make it sing, with his own creativity and artistic depth.

The fashionista Fashion critics have called your style India-inspired. How would you describe your personal style, and how it has evolved over the years? My taste on and off-stage is often very different, but I like to be comfortable, feel beautiful and authentic, and push myself to take a little risk now and then. I know myself, and it doesn’t suit me to follow trends blindly. However, I enjoy watching fashion and incorporating elements that feel right.

Which designers do you connect with the most, and why? Erdem, Isabel Marant, Maje, Ritu Kumar, and Anita Dongre, are all labels I enjoy wearing. In Western clothes, I like a little bohemia, sexiness, femininity and edge, ideally all combined! In Indian clothes, I favour elegance and depth of colour.

Family connect

How do you strike a balance between a globe-trotting career and being  a mother? It’s hard. There’s no way to beat around the bush on that one, and I think it does women a disservice to be too breezy when answering questions about that. All working mothers struggle, regardless of whether in entertainment or not, to manage keeping afloat at work, while also making sure their children’s needs are fulfilled. Women are heroic and incredible.

Any unfinished projects of your dad that you would like to start over? He started an opera, Sukanya, which is being completed at present, and will be presented at first in the UK next year by the Royal Opera House. This is a new glass ceiling he has shattered even after passing away, as opera is a new frontier for Indian ragas. I’m involved in overseeing this project.

Your views on the recently released album, Day Breaks, by your sister, Norah Jones? I just saw her in a concert a couple of days ago in London, and I love her new album. She keeps growing, and there are some gorgeous songs on offer, as always.

Beyond the stage What do you like to do outside of music, which inherently contributes to your music? For me, it’s about living life fully in order to have experiences to draw from in my music. My family and friends are most important, and I try to see my loved ones as much as possible. I love going out dancing and doing exercise and yoga when I can. I work on a sort of spiritual programme that I do with a group of people, which helps me to stay grounded and connected. When I travel, I try to stay open and keep connecting with new people and cultures.

You often speak out for a number of causes—be it by rising up against child sexual abuse or by creating music that addresses issues surrounding refugee crises. What are the messages that you want to share at present? I simply try to be as honest and truthful to myself as possible. For me, it feels important to speak out when something outrages me, to make music from my heart, and to live as deeply and fully as possible. On December 10. At Dr BR Ambedkar Bhavan, Vasanthnagar, 7.30 pm. Tickets (Rs 500 upwards) on bookmyshow.com.

Details: anoushkashankar.com

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https://archive.org/stream/KSULKSColl197879V85N100140

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sasykes turned 5 today!

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sasykes turned 5 today!

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from a tumblr

HEAVEN KNOWS WE NEED NEVER BE ASHAMED OF OUR TEARS, FOR THEY ARE RAIN UPON THE BLINDING DUST OF EARTH, OVERLYING OUR HARD HEARTS. I WAS BETTER AFTER I HAD CRIED, THAN BEFORE- MORE SORRY, MORE AWARE OF MY OWN INGRATITUDE, MORE GENTLE. (CHARLES DICKENS)

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poetic

POETIC  DEVOTIONALISM.

The ancient poetry of India always uses anonymity as a first step towards universality. In Indian philosophy and religions the individual element is urged to rejoin the Absolute (the Buddhist or Hindu afterlife consists of and let our simplification be forgiven! The loss of any form of individuality in order to reach a plane of indistinct universality, or a definitive communion/unity with God); and so even in literature the individual element is after all limited in its turn, obscuring the personality of the individual, so as to communicate exemplary and universal experiences. The ideological support of this view of things is evident: Hinduism founds itself in strong and deep rooted but anonymous and mythical traditions, so that we can may be say that India has developed an attitude not of remembrance of the past, but of faithfulness to it; the quest for the Truth underlying the run of earthly events very soon led Indian thought to focus on a clean cut separation between the two levels,, the level of Being and the one of earthly becoming, which is usually considered to be a mere mirage (an illusion,maya)or (in the theistic currents) a level of reality which finds its value only in being a part, or a gleam of God, so that the purpose of human life is to reach Him; belonging to a group or a category (caste, for example) is more significant than the affirmation of one's own individuality; the theory of the cycle of rebirths promotes the vanishing of the idea of a permanent ego. Ultimately, Indian thought does not conceive of earthly life as either the last or the definitive one, but rather as a point included in a cyclicity to which belong not only the single individual existences, but the entire universe: the world (such as we observe it) is living (as a whole with all the creatures inhabiting it) not the existence, but one of its infinite existences, and so the ’history of the individual and of the whole of mankind has no significance beyond its own futility and meaninglessness, and the resultant yearning to be attain emancipation from this samsaric cycle Therefore anonymity, in poetry, and the extreme stylisation of characters in other forms of the artistic literature, reflect that mythical conception of history and weak notion of the individual that are typical of traditional Indian thought. And while in the Western world the observation of human transitoriness has led to an exaltation of man and of the track she may leave in the world, in India it has never been so important to leave the memory of one's own uniqueness to posterity: Indian thought has always concentrated on the affirmation of an eternal and unchangeable absolute that places itself beyond human vicissitudes and history, and it is not by chance that, up to recent times, it is virtually impossible to reconstruct the biography, if not the very identity, of even the greatest Indian poets. Within the framework of that sort of “everlasting present"that the dogmas of Indianness (chiefly karman , or the series of actions and volitions that determine, for every creature, the quality of the subsequent life; and make of "history",(denying as they do a separation between past, present and future), man is not asked for greatness in performing acts that immortalize his ephemeral presence in the world, but for the skill to conform to rules and principles make of "history",(denying as they do a separation between past, present and future), man is not asked for greatness in performing acts that immortalize his ephemeral presence in the world, but for the skill to conform to rules and principles those, of course, that are immortal and eternal: and this is true in religion and philosophy as well as in art . Moreover, as we know, in the West the most vivid emotion is as a rule associated with an individual, a name and, often, with autobiography: an approach that is completely banished, I repeat, from the dictates of kavya,besides, in the West, even in the field of the erotic, the beloved women celebrated in poetry (from Lesbia to Cynthia, from Laura and Beatrice to Juliet) very often offer an opportunity for the poet to ponder the mysteries of human existence, or his own interior philosophical or religious troubles. On the contrary,in Indian poetry the woman, or better, one of the various anonymous and impersonal types of female character, is described, evoked or invoked solely as an object or subject of passion, in other words in order that she might awaken the rasa of love

(Excerpt from Daniela Rossella)

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Poetic. By AkmAl Hussain pk

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اس درد کی حالت کیا کہیے، جو دل سے زباں تک آ نہ سکے اظہار کی جرات کر نہ سکے، اور دادِ محبت پا نہ سکے اس سوزِ دروں سے کیا حاصل، جو محفل کو گرما نہ سکے ان زلفوں کا لہرانا کیا، جب شہر پہ بادل چھا نہ سکے