Bridging Hemispheres

Today I feel bold. So I’m going to share a bit of my journey in real time. First of all, today marks the end of the repayment period of yet another school loan. Hurray! And, though it is great to report accomplishments, they don’t represent the hardest part of the journey, which is of course, “the waiting“, a basic and universal concept captured aptly by one of my favorite songwriters, Tom Petty. So that brings me to the point of writing this entry. For what am I waiting?

My friend and flutist Dominique Gagne forwarded an opportunity to me two weeks ago. At first glance, I recognized it was a terrific opportunity, but I wasn’t sure whether to apply for it. It is funny how your reflexes respond in some instances without any prompting – like those times when you might say “I’m just looking”, even before the salesperson speaks to you. I re-read the information carefully a few days ago and realized that I had been responding to some insecurities. Based on the description of the workshop and the requirements, I realized that it would be a very good idea for me to apply, especially given where I am right now in terms of what I want to do and where I feel I’m headed. So I put it on my to-do list and submitted my statement a few minutes ago, in time for tomorrow’s deadline.

Sometimes, in this world of the music biz, you may not even get a response. Talent buyers and festival organizers are often overwhelmed. The usual waiting game takes on a fierce character, especially when you are new to it. You can’t take anything personally (if you want to stay sane).

With practice over the years, I’ve learned these steps:

1. Get excited
2. Fill out application or write statement or send email or leave phone message
3. Tone down excitement
4. Remain hopeful
5. Move on to the next thing

So, of course, right now I’m all excited about the prospect of this musiventure. I’m fortunate that, in this case, I don’t have to wait for very long. A response date is actually specified! I am supposed to hear back by Tuesday (Oct 28) and I do believe that this organization will get back to me one way or another. However, now things are out of my hands. Whatever will be, will be. Time to tone down the excitement, but before closing, I thought I’d be super bold and share with you my statement of purpose.

When I find out the results – either way – I’ll post a new entry next week. Until then, I’ll remain hopeful (and I hope you will, too!)

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For Workshop Series Beginning November 3, 2008

To: Colin Walker

Submitted by: Manisha Shahane

Statement of Interest and Purpose:

I’m a West LA-based singer, pianist, songwriter, composer, and performer, soon to release my second album. On more than one occasion I have received comments from people who hear Brazilian influences in the music I write and perform. Yet, I have never studied this music, nor have I ever been to Brazil. For that matter, Brazilian music is not even something I can identify as a part of my formative musical experiences, which are predominantly Indian (North Indian classical, bhajans, and Bollywood) and American (musicals, Western classical, rock, pop, folk, jazz). Of course, my musicality is molded continuously. Through participation in this workshop, Brazilian music would indeed become one of my formative experiences.

When I first performed Peace in Progress, the title track of my debut album, several listeners and fellow musicians heard the sound of bossa nova. I was surprised. Really? I had no idea whatsoever that I had managed to incorporate this musical style from a country whose culture I had only experienced through stories of others and by studying its economic development challenges during my college years.

Into the Valley received a similar response. This time people heard a samba-like rhythm and some asked why I had chosen this Brazilian influence to cradle a story that takes place on the other side of the world. This place, known as “Shouting Hill”, is by the eastern edge of the village of Majdal Shams in Israel. Although the story is indeed inspired by the experiences of the Druz families who were separated by the redrawing of the border between Israel and Syria, the song is dedicated to the will, faith, and hope of families around the world who have been separated due to war. So perhaps this unintended juxtaposition contributes to the universality of the experience of separation and our hope that we will meet again.

By no means did I sit down at the piano and say to myself, “ah, yes – let’s play a samba.” What happened is that I sat down and began playing without thinking and without intention. And, over the rhythmic foundation that emerged, I layered the melody and lyrics that tell the story. It all just seemed to fit. I didn’t question it or wonder about it.

To be honest, at that time, if you had asked me to play a samba for you, I wouldn’t have known what to play. In fact, I’m not even sure I could do it right now. I could play for you what I think is a samba, based perhaps on my experiences of dancing the samba or listening to it.

Out of that naiveté comes a desire for greater understanding of the Brazilian sounds that seem to find their way into my songs and compositions. So, when an East Coast-based colleague forwarded this opportunity to me, I became very excited at the prospect of attending this workshop series led jointly by you and Carlinhos Panderio de Ouro. Given my lack of familiarity with Brazilian music, it would be impossible for me to fully appreciate the artistry and contributions of a master such as Carlinhos. My friend, however, has become increasingly devoted to the study and performance of Brazilian music in its pure and fused forms over the last five years or so. Her endorsement? “Amazing opportunity!!!” and “This guy is not to be missed.” Certainly I have visited his website and watched video demonstrations, but studying with him in person would be a life-changing experience. Studying with a master in any realm is a truly remarkable opportunity. To do so on a scholarship basis would be an honor.

Throughout my life, I have connected people from different walks of life. I am a bridge between cultures and I live at the intersection of numerous paths of work and study. It is not unusual for musicians who perform with me to be meeting each other for the first time through my music. At my core, I experience a longing for community and I have worked to find or create a sense of community in every place I have lived. I moved from Boston to Los Angeles three years ago and I feel that this opportunity couldn’t come at a better time for me in my career. If I am selected to participate in this workshop, I believe that I could benefit in the following arenas of my musical development: content, composition, and collaboration. My music already demonstrates my interest in a wide variety of rhythm and percussion. Through this workshop, I would learn new vocabulary and skills that I could apply to my writing and performance, while expanding my community of musicians here in Los Angeles.

I have been blessed to work with many gifted musicians and performers in various places. Among them are pianist Vince Evans (Luther Vandross, Dianne Reeves), percussionists Jerry Leake (Ali Akbar Khan, Natraj) and Ricardo Monzon (Myanna, Boston Pops), bassist Eli Magen (Israeli Philharmonic), drummer Alison Miller (Sheila Jordan, Norah Jones), plus guitarists Kevin Barry (Mary Chapin Carpenter, Paula Cole) & Prasanna (Joe Lovano, Hari Prasad Chaurasia), and multi-instrumentalist Akili Jamal Haynes (Lenny Kravitz, Roberta Flack). In Los Angeles, some of the musicians I have worked with include Mark San Filippo (drums), Geoff Rakness (bass), Dawn Norfleet (flute), Delton Davis (multi-percussion), and Janice Foy (cello).

In closing, participation in this workshop is directly related to my vision of bridging hemispheres and my mission of improving communication within and across societies, bringing together people of varying ages, traditions, and backgrounds – both on stage and in my audience.

In November 2007, I articulated this vision as follows:

Accordingly, if selected, I look forward to meeting you, Carlinhos, and the other workshop participants.

For more information about my music or me, I invite you to visit my website: http://www.ManishaMusic.com.

Thanks for your time and consideration.

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Alright then, I’m off to the next thing! Stay tuned…