"Music is fun...tastic!"

Born in Turin, Italy, Mauro Goia began playing the piano at the age of 4. His great passion for the music took him to approach with different instruments, from church organ to guitar, from keyboard and piano to drum. He studied at the Conservatorium of Music in Turin getting a degree in Choral Music and Choir Conductor. He worked in many studios composing and arranging movie soundtracks. At present he’s working as Product Manager and International Demonstrator for Roland Corporation. As an entertainer, Mauro has developed his own special breed of humor, which has made crowds of people return to see him time and again. As Roland guest and Concert Musician, Mauro has performed in The U.S.A., Great Britain, Italy, France, Germany, Portugal, Holland, Japan, Tunisia, Taiwan, Indonesia, China, Australia and Brazil. With his wife Mega Sihombing, an Indonesian singer and traditional dancer, he has formed MegaMauro. Recently a keyboard clinic cum demonstration by Mauro Goia was organised by Roland here in Kolkata. Mauro showed the power of Expandable arranger E-A7 and Expandable synthesizer XPS-30.

A keyboard clinic cum demonstration
by Mauro Goia was organised by Roland in Kolkata

Did you come from a musical family?

Yes, all people in my family are so fond of music. My father and my mother met each other in a spiritual choir, my father could also play mandolin and harmonica, he also composed many songs. My brother is a good guitar player and my sister sings as well. I have to say that many times it was my father to help me in keeping on and following my music studies, I owe my passion for music to him.

At the age of 4 I remember I was sick in the bed, I could not wake up for 15 days... so my parents, to cheer me up, gave me a small electronic organ and I started playing on it... soon I understood my biggest dream was to become an artist... since that time I did all my efforts to make my dream come true... today, finally, I feel I'm an artist in my heart, in my life, in my job...

What kind of music were you exposed to around the house at an early age?

Actually,  in my childhood there was always music in my home, mainly classical music, my parents loved it so much (I mean Mozart, Beethoven...), but also world music. I remember a particular Hawaiian record (my father's favorite one), many times friends visited our family and my father usually let them listen to that music in the night... I was already in the bed,  but I could hear from my bedroom to the beautiful music, a perfect mix of sweet melody with exotic rhythms. Ah... so inspiring...

What drew you to The keyboard?

A keyboard clinic cum demonstration
by Mauro Goia was organised by Roland in Kolkata

Actually, I am a pianist, I studied piano since I was 5, keyboard came later. I have to thank a friend (actually the father of one of my piano students) who introduced me to Roland more than 10 years ago after seeing my performance on piano. At that time Roland gave me the opportunity to perform during an international dealer meeting and borrowed me three keyboards,  asking me to choose one to be introduced and played during the meeting. I only had 2 days to prepare it, but I was so excited, so I work 2 full days and got ready with the three keyboards, not only one! After my performance they were so impressed to offer me to become one of their international artists. So I started exploring the world of keyboards, actually you can be more creative compared to playing just piano... but I have to thank my classical piano studies, from piano to keyboard the step up  was so easy!

How did MegaMauro come about?

I met Mega (my wife) 10 years ago in Surabaya (Indonesia) during a music tour. I was looking for a local singer to perform with. We started sharing dreams and thoughts about music, life, love... we fell in love and got married 4 years ago. We decided to put together our experiences and passions for music (actually she is a very good singer, well known in Indonesia), our motto is "Music is fun...tastic!" It means first music has to make people happy, everybody loves music so the first approach has to be the happiness to play and to listen to the music. Then, of course, music touches our souls, our deepest part of our hearts, so it becomes fantastic, wonderful, because it is able to speak to the heart of people, it is able to communicate feelings and passions.

What has been the most defining moment for MegaMauro so far?

Well, more than one year ago we attended a national TV show in Indonesia (Rising Star), we were able to arrive in the final steps, so we were exposed more than two months in one of the biggest national TV in Indonesia. We are so happy to realize, even today, people recognize us, they loved our performances, we were trying to communicate our passion and they got it.

Now we are performing regularly in many different live shows, we love so much meeting our fans, it always gives  us a new power to reach our biggest dream: help people with music, make them happy, let them experience the most beautiful art!

What makes a great live show?

Well, any show has to be prepared with details. Being artists means working on that every single day. We are never arrived, every day we have to keep moving and improving... For me it means every day practice for my fingers (I mean technique exercises) and also to listen to the new songs coming out of the best singers, to get new ideas, new sonorities...

Then I think a show must be original and dynamic, nowadays people are used to have many inputs every second, so the show has to be various and full of entertainment. At the end of the performance the audience should think 'WOW!". These are the things I keep in mind when preparing a new show.

A venue that  you dream of performing at?

Well, everybody can dream about the biggest theaters in the world (Metropolitan, Olympia...) but I also like the idea to perform in the nature, I mean in the open air with The natural landscape background.

How important is music education in schools and beyond?

Of course music is not only a school subject, it is an art that can really improve our capabilities and, first of all, offer us incredible experiences. Music is a language, actually the most spoken languages in the world, everybody can understand it, so we need to be able to "speak music", as another way to be yourself. Recently I prepared and offered many music seminars and workshops to music teachers, students and parents, describing how the music speaks to us everyday with the unique language of music.

You’ve worked as marketing director with several international audio companies. What do you think are the main ingredients that are important to build one’s career as a musician and getting one’s name out there?

Well, I have some words I like to put as my guideline:

• PASSION: first of all we have to love what we do, we have to use all our energy (from body, soul and heart) when we perform, only in this way we are able to communicate completely our feelings, our passions.
• PROFESSIONALITY: music has to be studied, of course I thank God for the great talent He gave me, but also the daily exercises, the constant studies are a crucial part to become and mainly to keep on being an artist. Actually, I studied 10 years in Milan and Turin Conservatory of Music to get a degree in Piano, Harmony and Conducting.
• CREATIVITY: I try always to be original, different, sometimes daring to do things that can be considered funny or at least strange, but this is the power of music, it allows us to be completely yourself!

Do you have any advice for aspiring keyboard players in regards to how to improve their playing skills?

Well, first of all consider the keyboard as your partner to express yourself, the keyboard is the bridge allowing you to communicate with the world.

Second, respect it, I mean you should study all the keyboard features and functions to be able to use them completely.

Third, try to create something new with your keyboard, maybe new sounds, new music styles... the more you personalize your performances the more people see you as an artist.

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"Theatre resembles living a life, where actors live and present their struggles"

Ahmad Samim Farahmand

Ahmad Samim Farahmand is a lecturer at Kabul University of Afghanistan. Mr. Farahmand is also the coordinator for Afghan Student's Theatre festival that takes place annually in Afghanistan. In a very young age Samim started writing and till now he has written more than twenty Short stories, essays and poems. Mr Farahmand's essays includes research about Buddhism in Afghanistan and the history of Afghanistan theatre from beginning till now. His last works was an essay related to the importance of theatre in Afghanistan and why should we keep this art alive. Currently Samim resides in Kabul and is working on his upcoming essay and practices on how an actor can use the stage properly. For the first time, students from the University of Kabul, Afghanistan put up their interpretation and rendition of one of Tagore's most famous short stories – Kabuliwala directed by Ahmad Samim Farahmand  at the ICCR, kolkata organised by Happenings, Kolkata.

What does theatre mean to you?  

It is hard to express theatre easily, however, I believe theatre is life, theatre means giving life to an untold story, theatre means expressing a story in its most simple and effective form to your viewer/listener. In other words, theatre resembles living a life, where actors live and present their struggles, according to the view of their director and needs of the society. Today theatre has presented itself as a guide to societies and has presented the problems of the society in a logical way to its people, and has shown ways on how to overcome people’s problems. This is what theatre actually is. 

What is your opinion on the current state of theater in the Afghanistan?

Theatre has a history that goes back thousands of years in Afghanistan, this art form has been active since the great Alexandra’s time. Theatre has been mostly used to please the powerful and politicians, sometimes theatre presents what people are interested to see which has not been very effective.

Theatre has spent years in destruction through various regimes in Afghanistan, specifically Taliban’s regime. Later, after 2001 when the interim government of Hamid Karzai was announced, theatrical pieces started to rise, but it didn’t have its old fame of 40 years ago. At times theatrical arts were tortured by the religious communities, but it still survived through the academic theatrical personalities of Afghanistan and was brought to the attention of the world. Here we have to thank the Theatre Department of Faculty of Fine Arts, which worked hard to keep this art form alive and active by creative theatre festivals and groups. Today we have groups comprising boys and girls in different provinces of Afghanistan. Some of those groups participate in national and international festivals as well. 

What kind of issues and concerns are being reflected in the theatres of Afghanistan?

Today theatre in Afghanistan is mostly educational and informational since the theatre has spent years in the dark and required time to introduce itself and its activities back to the people, and luckily it is doing so. Most of the theatrical plays performed in Afghanistan and created for a specific cause, important causes to be exact. Plays are created to reflect the issues of our current society, for example:
Plays related to violence against women, drug abuse and its dangers, terrorism, and other such plays that could tell stories of our current society, people accept them too. 

On the other hand, students of the university who are studying this art form academically, choose foreign plays that have subjects related to our society and work on them. These plays are mostly selected from festivals outside the country, students have achieved honors for doing so. 

Which was the most challenging part of directing Kabuliwala?

It is obvious that directing is a difficult task, in Afghanistan it has more difficulties since we have less space to rehearse, actors work outside the theatre (in Afghanistan actors of cinema and theatre have to work other jobs since there is no payments in theatre for them). The enemy that has never enjoyed the success of arts and culture in Afghanistan, and other problems that are part of our daily life, such as the religious community that always tries to stop artistic activities. However, with all the difficulties we were still able to complete Kabuliwala. 

I still remembered that we kept all our schedules and rehearsal secret from everyone, except the actors, and we didn’t post any pictures of videos on social media, since we were afraid of people who didn’t like what we did. Two years ago an explosion took place during a theatrical performance that closed the doors of an auditorium on the viewers of theatre. Our friends didn’t know about the cast and crew members of the play, till we performed in India. Then they recognized the cast members. 

What did you look for in an actor when you made the casting for the play?

After selection of a certain play, the task of a director is to find actors for the characters in the play. Every year the Theatre Department of Kabul University, holds a Students’ Theatre Festival,  which is a great platform for students to present their works. I have spent two years working as the coordinator for the festival where I got the chance to observe student talent. These festivals helped me choose the most fitting actors for the characters of Kabuliwala. 

I faced some difficulties to find actors who could fit Indian characters, but the festival helped me observe actors and find the most suitable ones. Even actors didn’t know that they are chosen for certain roles for a reason, later I told them why I chose them for the roles they were given. I gave them my reasons, most of which were: “I chose you for this character because I saw you in this performance and thought you fit the role.”  I am pleased that the actors fulfilled their tasks appropriately. 

Rabindranath Tagore's famous short story "Kabuliwala" has contributed more to brand Afghanistan, which it could not do with billions of dollars, Afghan President Mohammad Ashraf Ghani has said while fondly remembering the late Nobel laureate. What are your views?

Yes, as President Ghani expressed, that billions of dollars couldn’t bring the change that Kabuliwala brought. I also believe that Kabuliwala is not a short story, it is a connection between two cultures, a friendly link and a kind relation between the people of two nations.

If we go into depth of Tagor’s story we would understand that Rabindranath Tagore has written a masterpiece, which wove the hearts of our nations. Even today we can find such stories in India, specifically in Kolkata. 

Two hundred years ago, Afghans traveled to India to do business and it gave the idea of Kabuliwala to Tagore, today the bond is so strong between these two nations that others feel jealous of it. 
If we had spent thousands of dollars, we wouldn’t have been able to buy such a bond that is created in Kabuliwala. The bond of love and kindness between a refugee seeking business and a child, the love of a child for a man that he hasn’t even knows. The kindness of a father to a man who was in need, how the father spent the last of his fortune to bring happiness to a man not known to him. This shows that love cannot be purchased with wealth; it is a feeling of acceptance that has remained between these two nations. 

In fact Kabuliwala represents a common culture, history, and social life of the people of these two nations (India and Afghanistan). I believe that Tagore is the writer of the play that tells the story of what he has witnessed. 

Kabuliwala is an example of acceptance between these two nations; we performed this play to recreate the love that is slowly fading between these two nations. Through Kabuliwala we created love between these two nations, we reminded our people in Afghanistan, Kolkata, and India of the love we have and we will carry in our hearts to each other. It was one of our main goals by creating Kabuliwala. 

What is your favorite aspect about Tagore’s Kabuliwala?

At first the short story and later on the Dramatized version of Kabuliwala, by my best friend Haroon Noori is what I love the most about Kabuliwala. The love and admiration I had for this play was why I accepted to direct this play.  I can’t compare different aspects of the play and say which is my favorite; I admired and love every aspect of the writing and the characters in this play.  I will never forget that one of my dreams comes true, to go to Tagore’s birth place and perform his own play there. I can’t believe that I went there (ShantinKetin) and performed Kabuliwala. I am thankful to God for making my dream come true. 

I hope that I could continue to work with the people of Tagore’s land and continue to have contacts with them, learn from their great experiences, and feel proud. 

A memorable moment during this trip that you would like to share?

From my trip with Kabuliwala’s team to the land of knowledge, culture, and arts, and a land that is loved by every easterner for its history, I have enjoyed every moment of it and have brought great memories back with me.  At first I would like to thank all the people of India, specifically people in Kolkata who showed me love and hospitality, from the organizers of the festival that helped us greatly (Viji Iyengar, Prokash Bhattacharya, Priyanka Ghose, Kaustav Ghosh)They helped us perform our theatrical piece in their country and supported us immensely. 

Every member of the team has memories of their first trip, but here I want to share one of my memories that I will never forget: I was walking inside Visva-Bharati University when one of our Bengali friends came towards me with a newspaper in Bengali and started speaking in his language. I couldn’t understand a word he was saying, but when I saw the newspaper, I understood what he wanted to tell me. The newspaper had one of my interviews related to Kabuliwala printed on it. I started to search my friend “Abhijeet” who is from Bangladesh, to read me the paper since I can’t read Bengali. Abhijeet translated the printed news to me. 

On my way to Delhi a couple was traveling with me, they spoke Bengali, we talked a bit and I told him about the purpose of my trip to India and showed them the newspaper. They asked me about “Ahmad Samim Farahmand,” I said why do you want to know about him? They said that he has done something really important and can we see him? I felt very proud and started thinking about how to tell them that I am Samim. After a short pause,  I told them who I was. They didn’t believe me, later I had to show them my passport, once they recognized that I was the man in the newspaper, they hugged me and appreciated my work a lot. They passed me their address to join them sometime. This was a great memory that I carried back home with me from India. 

It was my last day in Delhi and I went to see the Bengali couple that I met on my way to Delhi from Kolkata, I found their house and went in. They were very kind, we spent time talking, they said that they didn’t believe I would come to their house after our meeting on the train. They expressed how kind Afghans are and how kind I was. Her husband was not home, but I met the whole family, we spent time together, and I told them that I was leaving Delhi and going back to Kabul. My eyes were wet with tears as I was leaving their house. I promised to visit them whenever I came to India. 

There I understood that love and kindness cannot be given, it is a true nature of human beings towards each other. This was one of the bitter memories I carried with me back to Afghanistan. 

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The Solitude of the Singing Artist

Pedro Carmona-Alvarez is a Chilean/Norwegian artist. He releases his music under the name Moonpedro And The Sinking Ship since 2007. He has released three records, Ed Wood (2007), Homegrown (2013) and this year Let´s, Pig (2016). He is also a well known writer of novels, poems and essays. His books are translated to several languages, such as English, German, Danish, Turkish. He is also translates from Spanish and English, and in 2015 he was handpicked by PJ Harvey to translate her book of book of poems (The Hollow of The Hand) to both Norwegian and Spanish. He was also the editor of Signaler (2003¬–09) and of the poetry anthology Verden finnes ikke på kartet (with Gunnar Wærness), which was awarded the Norwegian Critics Prize for best translation in 2010. He has also received the Cappelen prize (2004), the prestigious Hunger Prize (Sultprisen) (2005) and the Norwegian Poetry Society’s Prize (Den Norske Lyrikklubbens pris, 2005) and in 2013, Norwegian National Radio’s award for best novel for The Weather Changed, Summer Came and So On. Recently, the Seagull School of Publishing in association with NORLA presented PEDRO CARMONA-ALVAREZ,  in an interactive session at the Seagull Bookstore here in Kolkata. All are welcome.

What it was like to leave your homeland and live in exile? Do you remember Salvador Allende?

Leaving was strange, as I was just a kid, knowing nothing about politics. But I soon found out and that kind of pushing me into adulthood, maybe sooner that it should. I had to grow up really fast. Allende, I don’t remember as such, since he died when I was an infant, but of course his image and legacy and all the iconic imagery that the exile community exposed, that I remember. 

Could you talk about the poetry, novels and literature that have inspired your works?

Oh, that´s an infinite question; The Beatles, Mercedes Sosa´s singing, Pablo Neruda´s Residence on Earth (which he wrote i Rangoon), Leonard Cohen´s precision and Bob Dylan´s stealing, Hamlet, Macbeth, Eurypides, Sonic Youth, The Pixies, Roberto Bolaño, The Carter Family, Alejandra Pizarnik, Julio Cortazar, Jorge Luis Borges, Violeta Parra and so on and so on. 

What influences in today's world infuse your poetry and what do you think of today's Chile? 

Everything. My poetry is an open door to everything, from political and social issues with the most stupid, meaningless, private stuff. Chile, to me, looks more and more like a giant shopping center. 

Writing is solitary. How do you feed your creative work? What role, if any, does community play in sustaining and nurturing you as an artist?

I read, listen to music, think about what I’ve read, listened to. It´s simple, actually. I am very interested in these things, regardless of me being an artist. If I didn’t write, I probably would still have been a reader and a listener. 

When I play music, I do it with my friends, and that´s nice. To be with them. Make something happen together. Writing´s different. There´s a community there as well, but of some other kind. Like a community of ghosts. 

You are a musician as well as a novelist. Do the two creative impulses come from the same place?

Yes, it does. Same well. 

What is the most important message or experience you would like your audience to have or take away from your work?

No message. I hope they make it their own, whatever it is. 

How do you see a change in relationships in the world today because of the connectivity of people or do you eschew all the social media?

I´m sure it´s changed, yeah. I’m not too deep in that stream, though. I’m not too social. I wasn’t social before Facebook was invented either. That´s why I write, I like solitude. 

Are there any new projects you are working on?

Yes, I am finishing a novel these days, and it´s growing! I also work on music, constantly, I just released an album-Let’s Pig  and plan on doing some touring this year. 

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"I have no doubt that arts and music can form a bridge between cultures, religions, gender and age."

Gal Maestro is an 24 years old Israeli Double bass player . Gal graduated from "Telma-Yellin" High School of the Performing Arts, where she majored in classical music. Today she plays in various ensembles such as the "Israeli Andalusian Orchestra", "Neta Elkayam" group, pop and country ensembles, theater and more. She was here to perform at the International Guitar Festival 2016 .

Tell us a little about yourself. Where did you grow up, what were your childhood like and what music influenced you?

I grew up in a small village between Jerusalem and Tel Aviv, which is called Karmey-Yosef. 
I have two older sisters (Maya-39, Anat-36) and an older brother (Shai-29), so I’m the youngest child in the family.

Thanks to my parents encouragement for the arts, I started playing classical piano when I was 7 years old. My older brother played classical music and jazz piano since I can remember myself, so as a child I was exposed a lot to both genders - Classical and Jazz. 

When did you decide you wanted to be a musician? At what point did you decide to get serious about a career in music?

Music was always a part of my life, whether from my friends or family I was always surrounded by music. During my high school years I decided to play the electric bass in order to be able to integrate into different styles of music rather than Classical music. This, along with my long time fantasy to study at The Thelma-Yellin High School of Performing Arts, stimulated me to learn this new instrument that was also very needed at this school. And so I did. 

However, at the end of the first year in school, I fell in love with the Upright Bass and began playing it as my main instrument. My years at school were enriching, exciting and unique, but also demanding, stressful and even frightening in certain ways. After graduating, I felt frustrated and insecure that I decided to quit the music world and search for a different direction. 

I joined the Israeli Army, as was my obligation as an Israeli 18 years old citizen and I found myself in an atmosphere that was completely different than my former musical way of life. I left my Double Bass aside. 

During my army service, I received a call from an elderly man that told me that his band, the Mandolin Orchestra wanted to contribute a concert to the soldiers. I don’t know why, but I was very intrigued and drawn finding out more about them. I discovered an orchestra compiled by the most amazing elderly people, all ranging between 60 to 80 years old, that have been playing music together for over 50 years. I was totally amazed by the orchestra and by the man’s love and passion towards music and to his group. Without any pre-meditated decision, I began playing with them on a weekly base.

Excited and exhilarated by music once again, I found myself frequently at the end of my days in my army day job, leaving the office, changing my uniform and pick up my bass and playing.

I think that my choice to be a professional musician may be due to the amazing people in the Mandolin Orchestra and the amazing conductor that we had there. They exposed me to a different way of looking at the music world, that I hadn't been able to understand before, when I was experiencing the competitive nature of musicians throughout my high school years in art school. 
I finished my army service two years ago, and ever since, music is my true love and profession for me. 

Who do you see as instrumental in your development as an artist?

As I mentioned before, being exposed to my brothers music and his guidance has been the largest influence for me. In addition, the experience with the elderly musicians in the Mandolin Orchestra and their Maestro Rami Bar David, helped me return to the music life with a different perspective and was a major step for me both mentally and emotionally. 

Your first love was jazz, but you eventually started to learn classical music. Why was it so?

As I mentioned before, Since I was a child, I was exposed to both classical music and jazz and I always felt greatly connected to both.

Today, I listen to and play a wide variety of musical styles, while constantly exploring my direction and my own way.

Do you think the music arena is a place where women can be empowered to affect culture and politics?

As a woman, I feel that my music and the way that I play the bass is different than men's. This difference is both an advantage and a disadvantage. However, I try not to position myself in the definition of status and gender and just play my music and be loyal to myself. I believe that every woman that is truly honest with herself and to her way of playing and performing can develop and progress exactly as men can.

What is your vision of what music can do in this age of turmoil? 

Do you think art, music and musicians can play a role in contributing to the improvement of relations between countries?
I have no doubt that arts and music can form a bridge between cultures, religions, gender and age.
Music is a language that we have in common, no matter what we believe in. 
I see it every time that I play with musicians from all over the world. There is no need to talk and to be prepared. It is just there. 

How was your experience performing at the IIGF?

For me, especially as Israeli, India, Kolkata and the amazing IIGF were an eye opener. 
I was hosted for almost one month at Pendit Debashish Bhattacharya Ji and Trypty Batacharya Ji, the head producers of the festival.

During the amazing time at their house, I was exposed to the importance of music education from age zero and throughout life. The values that children acquire by learning music, such as listening to each other, sharing, containing, supporting, creating and stating your o truth with humor and compassion are priceless. 

The political situation in Israel and in the entire world is getting out of hand. Young children on both sides are beginning to take part in this bloody war, grabbing knives and committing terror attacks. 
I am sure that if these children had been given the musical education and the values as represented at the IIGF, they would have never chosen a knife over a violin. 

What advice would you give to young girls who want a career in music?

I would advise young girls and boys that are interested in living a life of music to listen to their feelings and to what they are attracted. 

I would recommend that they proceed to make music as their profession only when they feel that they are motivated from the love of music and not from the need to impress others. When you become confident about your love of music, the hardships of persistence will come naturally. 

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Move your feet to Le Pied de la Pompe!

Recently, Alliance française du Bengale in partnership with The Calcutta School of Music presented French festive rock band Le Pied de la Pompe! Known to perform on various genres including a mix of pop, rock and electro. The band members include Gérôme Briard, Erwann Cornec and Fred Mariolle.

How did your band come together?

Gerome and I play together for 15 years. We created Le Pied de la Pompe in 2007. Fred (electric guitarist) joined us in 2013.

How did you come up with the band name- Le Pied de la Pompe?

Le Pied de la pompe  is a word game. Pied for foot (we used to play on stage with different instrument with our feet:  drum, midi keyboards), Pompe for pump which is a rhythmical technique on guitar but as well a familiar word for shoe.

For someone not familiar with your music, how would you describe your sound?

French pop, folk rock songs.

Tell us about the  messages behind some of your popular tracks?

Gerome who pens down the lyrics is almost all the time inspired by the very simple things in life. Current life themes, society facts, travels … The Other, the human being is always at the center of his preoccupations.

Do you feel marketing is important in shaping a band, or do you think good music is all it takes to break the wall?

They are both linked. However, I think that if the music cannot break the walls, it can break the frontiers and gather people. 

What are some good things that you remember about the tour?

It would be impossible to sum-up in a few words what we experienced during this tour in India. We shall certainly never forget the moments we shared with people in the different workshops we practiced. The whole tour was an incredible experience.

If you could change one thing in the music world and it would become a reality, what would that be?

Maybe more and more mix of different musical culture ...

What is your word of advice for aspiring bands?

Play for fun, being inspired and never give up.

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"Women in positions of power strive towards social justice and egalitarianism"

Carole Poirier is a politician in the Canadian province of Quebec, and was elected to represent the Hochelaga- Maisonneuve district in the National Assembly of Quebec in the 2008 provincial election. She is a member of the Parti Québécois (PQ). Carole, in her role as the official spokesperson for the Official Opposition in the Quebec Assembly for matters related to International affairs, has the opportunity to interact with representatives from other nations.Carole’s background and interest in various cultures of the world have been deepened and enhanced by her work at the UNESCO, Paris, where for the past ten years she has served on a Committee on Cultural Diversity, representing all the Francophone countries.  Abhijit Ganguly spoke to her in an exclusive interview.

Carole was invited by the Kala Bharati community to deliver a lecture on cultural diversity and the rapprochement of cultures at the India International Centre in New Delhi. She presented her ideas on the importance of protecting cultures of minority populations.Kala Bharati organization has submitted a plan of activities for Montreal’s 375th anniversary celebrations, to ochelaga- Maisonneuve, an official division of Montreal, in which it is located. This dynamic community wishes to develop even more dynamic cultural links with the city of Montreal and wishes to involve the Indian community in the festivities of Montreal’s 375th anniversary celebrations: Celebrating Resonances In Cultural  Diversity.

How do you see the role of women in the political scenario?

Women have influenced public debate and policy towards more social justice, egalitarianism, and social measures.

In the West, feminism has highlighted the difficulties faced by women in positions of power, including women in politics. What are your thoughts on this and how do they reflect on your experiences as a politician?

Women in positions of power and decision making always face comparison with their male counterparts. Further, it is often implied that women should adopt patterns of behaviour and thinking that usually characterise men, but even when they do, there are judged according to other standards. A man speaking loudly to make his point is said to have guts whereas a woman is looked upon as being hysterical. Women have to be themselves, as women, not something else.

What has been the greatest challenge in your career thus far and how have you overcome it?

For me, the major challenges included becoming a member of Québec’s National Assembly representing Hochelaga- Maisonneve, the neighborhood where I grew up and learning to embody and defend my fellow citizens’ aspirations. I have striven for this in the past seven years.

Can you talk about one woman who has influenced or impacted you?

I worked for fifteen years with Louise Harel, who was the first woman to be the President of Québec’s National Assembly and President of l’Assemblée des Parlementaires de la Francophonie. As Minister of Labour, she pushed for wage equity and was Hochelaga-Maisonneuve’s MNA for 27 years.

What policies are undertaken in Canada to promote and allow the coalescence of a pluralist society? What identity initiatives are constructed in order to provide a common unifying base that secures one collective interest above an amalgamation of different cultures?

Québec’s official language is French. We have fought to gain more political powers and institutions. The French speaking people are a minority in Canada and North America. It has been a struggle to keep our culture alive, dynamic, and flourishing. Newcomers are encouraged to follow French courses, which are paid by the government. We hope to build an open and a diversified French speaking society in which all cultures are welcome.

What are your thoughts on the role of cultural diversity and cross-cultural communication as a means for conflict transformation and peace-building in countries where ethnic and tribal identities are salient?

Building peace starts with conversation, mutual discovery, and bridging the gaps between our differences. That means being open and receptive to others and curious of the beauty of other cultures. Free trade, globalization, and a consumer society tend to transform culture in marketable goods. This negatively impacts our interactions with each other because buying something means neither knowing someone nor living a human experience. That is one major problem humanity has to face when addressing the question of promoting cultural diversity.

What advice do you have for young women who are hoping to join politics?

Get involved in a cause that you are passionate about! Debate constructively with others and always strive to develop the finest, strongest, and most clear ideas possible. Never accept second-rate positions and supporting roles. Believe in yourselves and be the best person you can be.

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"Follow your goal. It will be hard, but without rain, there is no rainbow"

Josephine Wedekind began DJing early in life & can't imagine an existence without the positive vibes & moments of ecstasy & excitement created on the dance floor by her organic psychedelic sound. In 2012 she became a member of the Schiffbruch event crew whose ethos is great music and harmonic energy. Josephine soon became a regular on Berlin’s club and underground scene, frequently playing her trippy style of music at some of the most influential locations including Mensch Meier, Rummels Bucht & Sisyphos. Her talent for constructing a story-like sets & special taste in music has taken her to many amazing gatherings & events around the world, including Fusion (GER), Plötzlich am Meer (PL), Doof Festival & Klika of Happiness (ISR), Lost Theory & Mo: Dem Festival (HR). After 10 years spinning as Josephine Wedekind she started Ayjo as a platform to express a more Downtempo, psychedelic & experimental sound. Recently she performed at the Border movement Lounge organized by the Goethe Institute. It is a platform to showcase established and upcoming artists and producers from across South Asia. The lounge is an informal event format that hopes to foster a more open and interactive culture of electronic music performance, as well as a more well-rounded appreciation from the local music community.

What initially got you into music?

I never planned to be a DJ nor I was born into a musical family, but of course there is a reason why I’m here, now doing what I love and going the way that was meant to be for me. I had good friends who were into music with whom I went to techno parties and with whom I could share my passion.

What was your inspiration for taking up DJ’ing as a profession?

I got inspired by people like Heiko MSO from Playhouse Records who taught me DJing and realized my interest. So I got turntables and a set of vinyl records as a birthday present. And then it just happened! I never stopped and so I became a DJ. That’s also why I never had the chance to create an artist name, for me it was not about having a fancy nickname, I just wanted to create by every chance and to be real, even if it was the smallest after hour, I loved to surprise the crowd with real vibes and to put them into a trance. A reason why I love my job is, that during travelling and visiting different music events I am receiving new vibes and inspirations that make my job and my passion an endless beautiful journey.

It is inspiring for me to realize that it is possible to combine different music  genres  and create something new out of that. For example, after travelling to Goa I picked up some elements of the local music scene which resulted in a more psychedelic sound.

It seems like the electronics industry is dominated by men. Do you think the problem is  the supposed lack of women DJ's/Producers?

First of all, the music is most important – no matter if it’s played by a man or a woman. In Europe, there are not so many female DJ's. I don’t know why, but I wish there were more. On the other hand, organizers and promoters sometimes seem to be unaware of the fact that there are good female DJ's around and still under represented in some lineups.

Do you ever run into any gender-specific challenges with being a woman in music?

I had many challenges, but it’s not because of that I am a female DJ. It’s always there during the initial years of your career. No one knows you and no one takes you seriously.

How important is social media for you?

Social media provides another level to the artist/fan relationship. Social media provides a means for open communication between the artist and fan.

How did you see the electronic music scene in Kolkata?

I’ve seen great artists and producers here! I think at the moment it’s still hard for them to have inspiration and exchanges as there are proper venues and a fan base missing. The Goethe Institute did a great job here to initiate this with the“Border Movement” in Kolkata

You have started Ayjo as a platform to express a more Downtempo, psychedelic & experimental sound. Please elaborate more.

While playing“my” music as Josephine Wedekind, I felt also another side of myself emerging. This resulted in creating Ayjo as an alter ego to express some other emotions of my deeper self. That is another great thing about DJing: You can play with different feelings and vibes to create another atmosphere. Don’t be narrow-‘minded!

What will you say to the young girls who look up to you and will like to follow your steps?

Follow your goal. It will be hard, but without rain, there is no rainbow. Enjoy this loud and vibrant, challenging journey. You can’t do two things at the same time. If you really want to be a good DJ you have to be very focused and you have to live the music life, to understand what it is about. You shouldn’t look at it just as a hobby, it is calling and you will feel that.

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"Puppetry often lives at the bottom of the hierarchy of the performing arts"

                              Paul Mesner and puppets from Little Red Riding Hood

Many scholars believe that puppet theatre originated in India and it is from here that this art, which embraces epic themes, travelled to other Asian countries.  Puppet theatres of India were awakened to the immense possibility of puppetry being used as a powerful means of dramatic expression. Of late, new blood and talent has brought new life to the old and dry bones of puppetry. Puppets have by now made welcome incursions into such spheres of activity as education, therapeutics, rehabilitation of handicapped children, propaganda, advertisement, cinema and television. Recently, Paul Mesner and Max Adrian performed at the Newtown School, Kolkata as a part of the 14th Ishara International Puppet Festival. Paul Mesner is a puppeteer and founder of the Paul Mesner Puppets based in Kansas City, U.S.A. Mesner regularly collaborates with local and national artists, musicians, fashion designers and craftspeople to create puppetry that showcases his unique brand of humour. He presents performances using many different types of puppets, from simple finger puppets to rod and stick puppets, marionettes, shadow puppets, and even bigger than life-sized puppets worn by performers. Abhijit Ganguly spoke to Paul Mesner during his short trip to Kolkata.

Gabby Bacculi, Paul Mesner, and
Mike Horner with puppets from the Nativity

How do you see the present scenario of puppetry?

I think Puppetry is challenged in many ways, especially in countries like India where there is a long tradition of puppetry. It’s a traditional art and many people are turning away from this traditional form here in India. We see some of the same problems in the United States of America, but we are still at a point where puppetry is still new and in some way doesn’t have the problem of being as bound by tradition, and so anyone can become a puppeteer. Here in India, its mostly a family business, hard at first to start adapting and changing.

How does Puppetry compare to other art forms?

Puppery is highly malleable as an art form, and it is open to many levels of users.Puppetry often lives at the bottom of the hierarchy of the performing arts. It’s only been in last 100 years or so that the visual arts have taken interest in puppetry. (Traditionally the visual arts entered in the puppetry. Later on, many Modernists discovered puppetry and did a little bit of something with puppetry) I’m not sure what I was trying to say during the previous two sentences). In the United States puppetry has been relegated to children, whereas in Europe it is an accepted art form for adults. There, puppetry is honoured and adults go to puppetry shows. It’s only in the last 20/30 years that adults have been coming to puppet theatre. At this moment a lot of young people are taking interest in puppetry.

Paul Mesner and
puppets from the Dinosaur Show

What is the most fascinating part of being a puppeteer?

The fact that you can entrance an audience with something as simple as a bit of cloth and wood on your hands! It truly at times feels almost magical. To me it is something simple.because I have done this for so many years. But for the audience, it’s something else! They see this transformation. I try to be very respectful and sometimes I say I was channeling puppet gods and they are working through me.

How was your experience performing here? What differences did you notice?

There are more similarities I believe than differences. I had to slow down. My accent is very American and there is a lovely British form of English spoken in India. There are a few things which do not translate. Part of it is that I am using a different vernacular, so words needs to be changed. Another way of saying things, like saying pluck instead of pick a flower. I didn’t get a chance to interact with the children one on one after the show. They did say they liked the yoga exercises done by the puppets!

How can puppetry be used as an educational tool or to highlight social issues?

It’s used in many different ways, not only education. It’s used in therapy. There are many marvelous studies done where puppets are used to teach empathy. They had a red, blue and yellow pupp . One of these three puppets was helpful, one was unhelpful and the remaining one was unhelpful. Little tiny children of six months old wanted to touch the helpful puppet. I think the power is immense. I think that’s the responsibility we bear: to use these puppets responsibly. Sometimes puppets are abused in the classroom. The casual practitioners are not appreciating the full power of the puppets. Puppets are so malleable. They can take so many different forms. They can be used for political protest. Or they could be used for political coercion or for health education. You can have a puppetteer trying on a condom and talk about safe sex and AIDS.  No one would be afraid to talk to the actorpuppet. The stigma won’t be there because it’s just a puppet.  Puppets are so changeable and can be used in different forms—a big puppet in a parade making a statement, or a small puppet in a clinic talking intimately about safe sex. Puppets are like chameleons!

Mike Horner performing Old Mother Hubbard

In this age of gadgets, how challenging is it to encourage children to watch puppetry shows?

The main problem is the parents. If they could unplug these devices and bring them to puppet shows to get a live theatre experience.  These gadgets have hypnotic effect and that’s a concern. But we do something different and once a child is in a theater they forget about the electronic device.

How important are puppet festivals?

They are one of the most valuable things for the puppeteers.  They raise the profile of puppetry for the general public. Secondarily, they provide a moment when puppeteers can talk to each other. We get to see each other’s works, get ideas and also you gain a wonderful sense of camaraderie.

What is your word of advice for aspiring puppeteers?

Work hard. Perform a lot. Be good enough to practice a lot. Listen to your audience.

Pic courtesy - The Newtown School, Kolkata

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