 "The dawn of a new soundscape")
An unorthodox concrete structure stands sprawled out in an area of two acres in south Bengaluru. This three-tier structure opens into an open area which, save for the manicured grass and dancing shadows of swaying branches, lies bare, much like the concrete building it leads up to.
Yet, over almost a period of five years, this space has built up the anticipation of residents and visitors. After all, the results of a survey done then clearly stated that the residents would whole-heartedly back a centre for music. They'll have their wish soon with the Indian Music Experience (IME) opening up in a few months in JP Nagar.
And when IME opens its gates, a sizeable xylophone that weaves in and out of a tree will just be one of the many sound sculptures that welcomes visitors. In place of a "regular" railing, there'll be one with rods fashioned like reeds - run your hands across and voila, you'll have music. There'll be gongs suspended from trees, circular wind chimes and "singing stones" with etchings on them. Touch these etchings with moistened fingers, and you'll hear sounds which can be best described as "ethereal," shares Manasi Prasad, project director at IME.
"We want people to experience music in different ways, which is why we've collaborated with designer Michael Foley and Auroville-based music research centre Svaram for sound sculptures which are not only beautiful, but also interactive," she elaborates. The museum space itself is a collaboration of Architecture Paradigm, a young and dynamic practice, and Gallagher and Associates who are best known for their work with LA-based GRAMMY Museum and Woodstock Museum in New York.
In its last leg of completion, besides eight thematic galleries, IME also boasts of a music learning centre that has been operational for three months. But for IME's outreach director, veena exponent Suma Sudhindra, the most exciting bit will be IME's music diploma programme which will kick off after the museum opens. "We are also hoping to do a lot of collaborative activities with people across music communities in the world," she explains.
As you enter the museum, the space for an auto rickshaw is being ear-marked; an auto you can listen to contemporary music in. "Thermal And A Quarter has an entire album on auto rides (3 Wheels 9 Lives); we could have the Raghu Dixit Project and Indian Ocean too while you sit in the auto against a backdrop of Bengaluru's cityscape," shares Prasad.
Move along to the traditional section and you'll get the effect of entering an old haveli, with temple bells adding to the effect. As Prasad explains, IME's goal is to break away from the idea of predictable museum spaces, so you won't find instruments lined up in glass cases. In fact, the 108 instruments sourced for the instrument gallery will be mounted on a double-height wall, and a digital interface allows you to choose any of these, and offers a quick guide to its history. At IME, Carnatic and Hindustani music get their due too, as do melting pot-stories of fusion in music across countries and cultures. Different sections flow into each other easily, yet the acoustics and design layout ensures that the effect is not jarring.
For its Bharat Ratna space, the IME has already obtained a shehnai from Ustad Bismillah Khan's family and Pandit Bhimsen Joshi's shawl and paan box. IME, a not for profit trust, is backed by the Brigade group, and is currently fundraising as it readies its galleries. Prasad's personal favourite is the Songs of the Nation gallery, because it "touches an emotional chord". The focus here will be on songs of independence and protest, from the work of Indian People's Theatre Association to Telangana's balladeer-poet, Gaddar. And since a majority of playlists and exhibits will be changed every few months, there'll be something for everybody, a new song for every visit.
Yet, over almost a period of five years, this space has built up the anticipation of residents and visitors. After all, the results of a survey done then clearly stated that the residents would whole-heartedly back a centre for music. They'll have their wish soon with the Indian Music Experience (IME) opening up in a few months in JP Nagar.
And when IME opens its gates, a sizeable xylophone that weaves in and out of a tree will just be one of the many sound sculptures that welcomes visitors. In place of a "regular" railing, there'll be one with rods fashioned like reeds - run your hands across and voila, you'll have music. There'll be gongs suspended from trees, circular wind chimes and "singing stones" with etchings on them. Touch these etchings with moistened fingers, and you'll hear sounds which can be best described as "ethereal," shares Manasi Prasad, project director at IME.
Also Read
"This will be in IME's Sound Garden; the idea is to encourage visitors to interact with instruments and prepare them for what awaits inside," says Prasad, a Carnatic musician and an alumnus of IIM-Bangalore who turned down a Rs 1 crore-job offer from Goldman Sachs to pursue her music interests.
"We want people to experience music in different ways, which is why we've collaborated with designer Michael Foley and Auroville-based music research centre Svaram for sound sculptures which are not only beautiful, but also interactive," she elaborates. The museum space itself is a collaboration of Architecture Paradigm, a young and dynamic practice, and Gallagher and Associates who are best known for their work with LA-based GRAMMY Museum and Woodstock Museum in New York.
In its last leg of completion, besides eight thematic galleries, IME also boasts of a music learning centre that has been operational for three months. But for IME's outreach director, veena exponent Suma Sudhindra, the most exciting bit will be IME's music diploma programme which will kick off after the museum opens. "We are also hoping to do a lot of collaborative activities with people across music communities in the world," she explains.
As you enter the museum, the space for an auto rickshaw is being ear-marked; an auto you can listen to contemporary music in. "Thermal And A Quarter has an entire album on auto rides (3 Wheels 9 Lives); we could have the Raghu Dixit Project and Indian Ocean too while you sit in the auto against a backdrop of Bengaluru's cityscape," shares Prasad.
Move along to the traditional section and you'll get the effect of entering an old haveli, with temple bells adding to the effect. As Prasad explains, IME's goal is to break away from the idea of predictable museum spaces, so you won't find instruments lined up in glass cases. In fact, the 108 instruments sourced for the instrument gallery will be mounted on a double-height wall, and a digital interface allows you to choose any of these, and offers a quick guide to its history. At IME, Carnatic and Hindustani music get their due too, as do melting pot-stories of fusion in music across countries and cultures. Different sections flow into each other easily, yet the acoustics and design layout ensures that the effect is not jarring.
For its Bharat Ratna space, the IME has already obtained a shehnai from Ustad Bismillah Khan's family and Pandit Bhimsen Joshi's shawl and paan box. IME, a not for profit trust, is backed by the Brigade group, and is currently fundraising as it readies its galleries. Prasad's personal favourite is the Songs of the Nation gallery, because it "touches an emotional chord". The focus here will be on songs of independence and protest, from the work of Indian People's Theatre Association to Telangana's balladeer-poet, Gaddar. And since a majority of playlists and exhibits will be changed every few months, there'll be something for everybody, a new song for every visit.