In Mango Cherry Mix Hiroshi and I attempt to suspend and even
stretch the moment of respectful distinction between our two cultures.
It was a very considered decision on my part to work with an Easterner.
A Japanese I trusted would be like a “familiar other” who would
be the outsider yet understand and be familiar with the subtleties
of our Eastern preoccupation with the aesthetic-spiritual experience,
an ambiguous experience that is paradoxical and can be arrived
at only through suggestion. Like most of my works, at the core
of Mango Cherry Mix too are a padam and a thumri, to me the padam/thumri
most eloquently express our human truth. Whereas I tried to delve
into the historicity of the thumri, Hiroshi moved into the padam
with a silence of a respectful outsider. I strongly feel that
because the padam deals with a liminal condition of a seeking
heart, it needs to be framed if not protected between strong counter
points. Thus all my works frame the padam or thumri within dual
trajectories, in this case India and Japan, with the hope that
a space may open in-between for the paradoxical experience to
arise. To me the making of Mango Cherry Mix was a hugely satisfying
because it not only opened that in-between space for us but also
allowed us to stretch its suspenseful silence, I guess it was
due to the very Zen quality that Hiroshi brought to the enterprise.