EDITOR’S NOTE

For five consecutive nights, Dhaka hosted the largest classical music festival on a single stage. The crowds grew in number – sometimes by the hour, definitely with every night, reaching a peak of 55,000 people. How, one wondered, was it possible to unite such a teeming mass, that too for something like classical music? A kind of music that requires pre-knowledge, that involves serious looking people playing oddly structured instruments for impossibly long hours in implausibly difficult knee-bending seated positions. Dadra Tal, Rupak Tal, Keharwa Tal, Jhaptal, Ek Tal, Chautalaa, Dhamar Tal, Jhumra Tal, Tintal – the technicalities can make anyone's head spin. Not to mention, one-liner 'lyrics' that are repeated infinite times.

Walking around the venue, it begins to make sense. There are people listening with mesmerized expressions, others are watching from the food tent while eating pasta and puchkhas, some choose to be at the bleachers with friends and enjoy the ambiance. It is clear everyone has his or her own interpretation of how to appreciate a raga!

Puritans can argue that isn't the way to appreciate classical music. But, who's to say what IS? When a creative piece reaches out to you, when it resonates within you and you come away with the feeling of somehow being different for experiencing it, is that not appreciation in its truest sense?

Re-echoing this in a literary manner, today we have independent publisher Naveen Kishore's take on the art of making beautiful books, columnist Joe Treasure's argument for diversity in creative choices, Karthika Nair's poetic prose (or prose poem, depending on how you wish to interpret it!) and a nostalgic short story on connections by Ramanath Roy.

Experience it as you will!

MUNIZE MANZUR