Saturday, 13 June 2026

The Quiet Success of Unremarkable Children : By Rashom Majumdar

 Between the Olympics and Reality: The Quiet Success of Unremarkable Children.


I find myself in a slightly more relaxed phase of motherhood. Both my children are now adults, with one stepping into the job market. It is, of course, not “all done” (does it ever end?), but it feels like the perfect moment to reflect, reassess, and indulge in a little retrospective wisdom.

Years ago, surrounded by highly achieving parents, the bar felt permanently set somewhere between the Olympics and Stockholm.

I remember my husband remarking, after reading a flurry of Facebook posts about unusually advanced toddlers, that our friends’ children would collectively produce an Indian cricketer, an Olympian, a Fields Medal winner, and a Nobel laureate, all from one WhatsApp group.
Such was the perceived talent pool. Or perhaps, the optimism.

I was no exception. I too quietly harboured dreams of raising exceptional children. Maybe not Nobel Prize exceptional, but at least “someone mentions them at a dinner party” exceptional.
Life, however, has a gentle way of editing our scripts.
My children are exceptional, just not in the way I once imagined. They are kind. They are thoughtful. They are the sort of people who say thank you to waiters and call home without being reminded. As it turns out, those are not minor achievements.

They have been to good schools, played sport, learned music, and done reasonably well at all of it. Not quite Royal Albert Hall or Lord’s level, but solid, respectable, clap-from-the-second-row performances.
And that, as it turns out, is where most of life happens.
We often forget just how small the percentage is that reaches global fame or prize-winning brilliance. Just below that sits a vast and comfortable band of good, capable, and quietly successful people. The world, inconveniently, is largely run by them.
Yet many of us resist accepting this. We prefer to believe our child is simply “one more coaching class away” from greatness.

So we stretch, financially, emotionally, and logistically. Flats are sold. Savings are dipped into. Weekends disappear into carpools and practice sessions. All in pursuit of that extra edge.

“Comparison is the death of joy,” Mark Twain said. He clearly never attended a modern parenting WhatsApp group.

One of the most striking examples of this collective ambition is the rush to send children abroad for education, often without financial aid, and sometimes beyond a family’s means.
The intention is pure, to give them the best. But the reality is more complicated.
Alongside opportunity comes pressure. Alongside pride comes a quiet, persistent guilt. The unspoken weight of sacrifice.

With ever-changing immigration rules, staying on in many Western countries is uncertain. This is not always easy to explain to parents back home, for whom a “foreign degree” still sounds like a guaranteed life upgrade.

Meanwhile, these young adults study intensely and work equally hard. I see them in cafés and supermarkets, stacking shelves, serving customers, moving through long shifts with visible fatigue. Their faces brighten instantly when someone is kind to them. It is a small reminder of how much they are carrying.

And one cannot help but wonder, had they stayed back home, might they have found similar outcomes with a little less strain?

On a more personal note, I occasionally feel a flicker of irritation. My daughter, after years of piano lessons, now barely plays. My son, after years of cricket coaching, wants a break. There is, I admit, a small voice that says, “After all those early mornings?”

But perhaps that is the wrong lens.

Not everything our children do needs to convert into lifelong passion or professional achievement. Sometimes it builds discipline, exposure, and perspective. Sometimes, it simply teaches them what they do not want to do.
As someone wisely said, “Your children are not your résumé.”

Be ambitious for them, certainly. Give them opportunities. Encourage effort. But do not begin with the assumption that every five-year-old with a bat is a future national player, or at the very least, IPL material.
Statistically speaking, most will not even make it to county or Ranji level. And that is perfectly fine.
There will always be a few extraordinary outliers. The rest will find their way into that wide, stable, and entirely respectable middle.
And there is dignity in that space.

In fact, there is happiness there too.

Better to raise children who are emotionally secure, resilient, and kind than ones burdened by quiet inadequacy or constant comparison. The world is already demanding enough.
Even the most well-meaning tiger parent, claws carefully sheathed, eventually has to admit that cubs are not meant to perform, they are meant to grow.


What we can offer is a home that does not measure them relentlessly. A safe space they can return to, regardless of how things unfold. A place that celebrates their joys and absorbs their disappointments.

A place where they are allowed to become themselves. Not impressive versions. Not performative versions.
Just whole ones.

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Saturday, 23 May 2026

“What is this something else?” : Ohad Naharin interview by Emma Robertson




Ohad Naharin  is an Israeli choreographer, contemporary dancer, and creator and teacher of a unique system/language/pedagogy of dance called Gaga. He served as artistic director of Batsheva Dance Company from 1990; he stepped down in 2018.


Mr. Naharin, in your opinion as a dance choreographer, can everyone and anyone dance?

Everyone and anyone can dance, because dancing is not only about performing. Dance is not even about being together, you can dance alone. Dance is not about dancing to music, you can dance in silence. So of course everybody can dance — and not only can, should. There was a time before I had come up with my movement language, Gaga, when I was starting to discover things that really connect to what I’m looking for, which is the quality of movement, the flow of energy, the use of gravity, lightness, silliness. I don’t think I even thought about form!

The kind of dance you teach seems almost uninterested in precise form or perfect technique.

Right, we are creating very in a very free way, finding groove, being in the moment. So it has a kind of meditative quality, but you also sweat while doing it. With dance technique, there is no such thing as perfect. That’s a mistake; many times dancers look for perfection, instead of admitting that we’re far from being perfect. We can still be magnificent, you know, you don’t need to be perfect to be magnificent, and you can be so-called perfect and be very boring, especially when you come to ballet. You can see two dancers doing the same movement, and one of them turns you on, and one of them you’re bored with. So it’s not the technique. There’s something else there. And that’s what I’m interested in, what is this something else?

“When I watch something that I can call sublime, it includes in it all the codes and rules, but it is also writing new codes that push this art form forward.”

And have you figured it out?

When I watch work that really moves me, when I watch something that I can call sublime, it includes in it all the codes and rules, but it is also writing new codes that push this particular art form forward. I think I will research the quality movement as long as I live. I’m getting old now so I’m becoming very interested in how to do more with less, how we can find something common between all of us, whether we are young, old, strong or not, coordinated or not, injured…

A dancer who worked with you once said that she feels like her identity as a dancer is constantly in flux; that she is always learning and evolving as an artist because of your teachings.

That makes sense because I think what really turns me on is discoveries, and to go beyond my familiar limits on a daily basis, to share it, to learn from the people I share it with. In some ways, I feel that nothing changed since I was five years old. And I like that.

What have you discovered recently about your own movement or abilities?

I realized that I need to use my pinky finger more often! I’ve seriously felt that I’m getting atrophy, I’m experiencing some numbness; the same thing for my feet, you know, the toes, the legs, we stop using them! So by applying awareness and activating our toes, for example, we can connect to healing the rest of our body, longevity, balance, things like that. So, recently I have been talking to my dancers about the use of these three fingers and toes: the pinky, ring, and middle ones. But it’s also never just one thing, if I talk about the toes, at the same time I will also talk about the skin, and how we can use the sense of touch, how we can use the surface of our body to sense our form, how we can connect our skin to the distance of things.

What do you mean?

Well, it’s not just with our eyes that we sense the distance, we don’t even use mirrors when we dance. The distance of things connects us to giving and receiving, and that creates a different quality of being or connecting to the moment. For example, you can be very quick and very explosive, without anticipating, without rushing.

A lot of what you’re saying sounds almost spiritual.

I would I like to think of it more as in the scope of sensations; our capacity for strong feelings. With those strong feelings, you can also can connect to something that some people will call spiritual. But maybe we need to think what is spiritual? For me, it can be very different than for what it means to you. So this is why I don’t talk about spirituality, and I’d rather like to talk about the scope of sensations and how they can give us room for huge feelings.

How does that manifest in the way you train your students? How can you teach them that?

Firstly, I separate my work with the dancers, and my work with people who just want to practice Gaga. My work as a choreographer is to help my dancers translate and interpret my work, and also to develop their body, their range, their ability to improvise and create movement that I could never imagine exists. For example, Rolex offered me an opportunity to meet Londiwe Khoza, a dancer from South Africa about six years ago through their mentor and protégé program; I chose her from a group of people and she came to Israel, participated for a year on a scholarship with our classes. Today, she is one of the most loved dancers in our company. But I also teach people who don’t dance professionally or who don’t dance at all, they just come to Gaga, they let their feelings come out when they move, they create, but they don’t have dancing skills.

And your lessons are the same no matter who you’re teaching?

Yes, because when I think of movement, I don’t necessarily think about being on stage. At the heart of it, the essence of movement has to do with things like the flow of energy, how we deal with gravity, how we can connect to the virtue of lightness, the efficiency of movement, speed, explosive power, delicacy, longevity, balance… All these things that can apply to anyone, whether you’re an Olympic champion, or you’re in a wheelchair. But when I teach people that just want to do Gaga, it’s a lot more to do with their self-esteem, their happiness. I call it strengthening our engine. We can admit that life is difficult. If we have a stronger engine that can carry the weight, then the weight becomes lighter. When you make the problem lighter, it creates the ability to deal with it, even to laugh at it. And that creates better moments.

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Monday, 11 May 2026

Sunday, 10 May 2026

उमलले आभाळभर : वैभव जोशी

अप्रतिम कविता , संगीत आणि गायन !!! 

गीत - वैभव जोशी ; संगीत- हृषिकेश-सौरभ-जसराज ; स्वर-अनुराधा कुबेर 

 

उमलले आभाळभर हे चांदणे माझे तुझे
लपवुनी लपलेच नाही भेटणे माझे तुझे

दरवळाया लागली हि शांतता दोघातली
केवढे गंधाळले गंधाळणे माझे तुझे

हे असे श्वासातल्या श्वासात आपण बोललो
आणि वाऱ्याला समजले बोलणे माझे तुझे

दोन क्षण रेंगाळलो तर बहर आला एवढा 
सोसले नाही ऋतूंना थांबणे माझे तुझे 

तू मला अन मी तुला वाचून पाहू चल पुन्हा 
फार झाले या जगाला चाळणे माझे तुझे 

उजळला एका क्षणी दोघातला काळोख हा
एकमेकानातुन आता तेवणे माझे तुझे



निळ्या अक्षरातली ही दोन कडवी कविराजांनी मूळ गाणे रेकॉर्ड झाल्यानंतर लिहिलेली आहेत





Friday, 8 May 2026

How lucky we are : Gregory Orr


How lucky we are
That you can’t sell
A poem, that it has
No value. 

Might
As well
Give it away.

That poem you love,
That saved your life,
Wasn’t it given to you?

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धागा : स्वाती भगत

धागा  शाबूत असला, की त्यात ओवता येतात फुलं पुन्हा पुन्हा 

तू 
तुझ्या बाजूने गाठ धरून रहा 
मी माझ्या बाजूने ओवत जाईन एकेक शब्द 

आपल्यात संवाद असला की सुगंध येईल त्यातून 
आणि 
आपल्यात अबोला असला कि सुगंधाची आठवण येईल 

तुझ्या माझ्यात 
येत जात राहील जगणं ...

तो धागा धरून 

तू 
मी 
शाबूत असेपर्यंत 

इतकंच 

....................
 

चाहत : आशु दीक्षित