Clik | Edition 43 | January 2025.
We are delighted to connect with you through live events at physical spaces, via hybrid modes or virtually at the click of a button! We invite you to join us, whenever you are ready, or from wherever you are, on myriad creative journeys, where with valued partners in India and in Korea, we explore new pathways and experiences, the magic of live performances and exhibitions or engage with those newly imagined from creation to reception and distribution on digital platforms. In this edition, as we open our cultural calendar, through a combination of phygital presentations, we invite you to evocative journeys and sensory experiences that though moored in local culture, connect and resonate with audiences worldwide!
We hope, with this e-digest, to stay meaningfully connected with you, to discover and engage with the unique, local characteristics as well as the shared, global dimensions of the dynamic, ongoing intercultural dialogue between India and Korea.
Season’s Greetings. 계절인사말
Presented in association with
Statistics prove that there has been an exponential increase in the number of Korean language learners all over the world. India is no exception. Thanks to the boom in K-pop and K-Drama exposure, more people have started to learn Korean as a foreign language, making it the fastest growing language in India. If earlier, the reason to learn Korean was due to employment opportunities in Korean companies, now, it is more to understand the K-content of K-pop and K-Dramas genres without the need to rely on subtitles.
We are the Chennai 1 King Sejong Institute and we offer quality Korean language courses, both online and offline, by qualified native Korean tutors.
Weekday classes (Offline):
Classes start from: Monday, 20 January 2025
Time: 5.00 p.m. - 6.30 p.m.
Course duration: 3 Months
Classes on: Monday, Wednesday, Friday
Weekday classes (Offline):
Classes start from: Tuesdays, 21 January 2025
Time: 6.00 p.m. to 8.30 p.m.
Course duration: 3 Months
Classes on: Tuesday, Thursday
Weekend classes (Offline):
Classes start from: Saturday, 25 January 2025
Time: 4.00 p.m. - 8.00 p.m.
Course duration: 3 Months
Classes on: Saturdays only
A Level test is to be taken by those who wish to register directly to higher levels.
Limited seats available. Registration will be on a first-come, first-served basis.
For further information, please contact InKo Centre - T: 044 24361224; E: enquiries@inkocentre.org.
Presented by
In association with
We are delighted to present an exhibition that showcases two exceptionally talented contemporary photographers- Cop Shiva from India and Lim Soo-Sik from South Korea. Titled ‘ For the love of’, this exhibition, sensitively curated by Nandini Valli Muthiah,focuses on absence and presence, the personal and the historical, memory and identity with the lens providing perspective, meaning, content and context.
This exhibition is part of the invitation exhibitions presented by the Chennai Photo Biennale 2024/25.
Join us for a panel discussion with the artists and curator, following the inauguration of the exhibition.
Cop Shiva, India
Lim Soo Sik, South Korea
Nandini Valli Muthiah
For the Love of…. is an evocative photography exhibition that brings together works of two distinct yet complementary artists, Korean artist Lim Soo Sik (b.1974) and Indian artist, COP Shiva (b.1979). Despite their divergent approaches their works converge in a profound exploration of identity, emotion and material possessions, as conduits of memory and meaning.
The larger than life works of COP Shiva sit alongside the subliminal works of Lim Soo Sik. COP Shiva’s, ‘My Mother and her Many Technicoloured Sarees’, is a deeply personal series chronicling the life of Shiva’s mother through her vibrant sarees.
Shiva refrains from showing his mother’s face making her ageless and immortalising her by her habitual routines.
Lim Soo Sik’s, ‘Chaekgado' is a study of the Book, which takes centre stage and brings to life intimate portraits of the unseen owners; offering a psychological and cultural study through objects. Both works are about possessions that are treasured and how one encompasses the soul, the other the mind.
Lim’s work, ‘Chaekgado’ is an ongoing series that is rooted in the rich tradition of the Korean still life painting genre Chaekgori, part of the broader ‘Munbangdo’ artistic canon.
The word, Chaekgado literally means ‘bookshelf’ or ‘books and things’. The main subject in this still life genre is books. It was often featured with other objects such as the vase, ceramic bowls, scrolls, flowers, plants, food, musical instruments, rare imported objects and religious implements, among other things. Each of these motifs expressed varied meanings, some represented long life, some represented fecundity, some represented harmony and so on. These still life paintings were presented on folding screens and were popular in the Joseon era (mid 1800’s onwards) with the King as well as his courtiers, scholars and the elite of Korean society. The nobleman and the gentry would present themselves to visitors seated in front of these beautiful hand painted screens, of books, bookshelves and other curios. This was to make them look erudite,cultured, wise and scholarly. One can easily draw a parallel to the pandemic era virtual backgrounds that have come to stay. During the lockdown many of us had to resort to having meetings online, day in and day out and we were curtailed to just a small background space that was captured by our computers and handheld devices to establish our intellectual worth. The most popular background came to be the bookshelf. So popular was this trend that people started buying or hiring books by the dozen to stack behind them on a shelf in the room where they had to sit in front of the computer, at home and face the world. It would seem that they had the same intent as the Korean did in the 1800’s…. To screen off a mundane room and give the air of erudition and worldliness.
Lim continues in the tradition of Joseon era still life painting and pays homage to the book and the bookshelves by giving it his own twist. Lim, began taking photos of bookshelves in 2007, when he found that a picture he took of his bookshelf for a solo show made him see the bookshelf as an extension of himself. It fascinated him. He decided to expand on the idea and later extended it to make it a series. What began in 2007, continues to this day. Lim has photographed bookshelves across continents, in Europe, in India, Japan and in the US.
At first sight, Lim’s bookshelves may look banal and uninteresting. But when you go close and see the titles stacked in the bookshelves you begin to see the characteristics of the person who owns the books. Lim’s bookshelves become a study into the psychology of the owner of the books. He creates a silent narrative that explores the relationship between material objects and their respective owners. You feel the essence of their unique personality but you do not see them. He is creating a hologram of the person. Go closer still to Lim’s images and you will see the trompe de l’oeil effect that Lim has created to give the images a layered multidimensional composition. By combining some innovative techniques, Lim’s photos are printed on traditional Korean Hanji paper, he then hand stitches each piece together to create a seamless look that makes the image look like one but in reality it is made of many pieces. He creates an illusion adding to the hologram effect. This is yet another nod to the tradition of the original style of, Chaekgado, by the artist.
Many times, bookshelves, contain not just books but can also contain trophies, photos frames, trinkets. It is can beconsidered the modern day, kunstkammer (cabinet of curios). Not everyone will have a bookshelf but almost everyone will have a cabinet that showcases something that they as an individual or as a family hold precious. What we love best we putout in a show case to show visitors something of ourselves in the house or room we come to inhabit. It gives the visitor an insight into what the individual likes, their taste in objects and also where they might have travelled to. Chaekgado*1 - No.187 a cabinet lined with trophies and more trophies. There are files in the cabinet and there is even the ubiquitous Maebyeong vase, (the plum-shaped bottle) in the trophy shelf. You are led to wonder, ‘Who won these trophies?’, ‘Is it taken ata sports club, school or a college?’ And, why does a trophy cabin have files?’ But Lim does not reveal whom the shelf belongs to by way of titling his images of ‘books and things.’ It lends itself a certain kind of anonymous charm and that begins a dialogue with the viewer.
COP Shiva’s colour-drenched series, 'My Mother & Her Many Technicolored Sarees', is a deeply intimate and personal photographic exploration that began in the year 2021. It centres on his mother’s extensive collection of sarees. The journey towards its creation was catalysed by a challenging period in 2019, when Shiva’s mother, Gowri, underwent surgery to remove a stomach tumour. Shortly thereafter, the COVID lockdowns provided a much needed reflective pause, allowing Shiva who, in 2019 left his nearly two-decade-long career as a police constable, to pursue art full-time. During Shiva’s childhood, financial constraints meant that his mother, Gowri would often borrow sarees from her neighbours and relatives when the occasion called for it. However, this changed when Shiva reached a position of financial stability. He showered his mother with sarees in every hue and material that her heart desired. It filled the deep seated emotional void within him and became a cornerstone of his artistic endeavour that has come to be this particular project.
In 2021, Shiva began photographing his mother adorned in these sarees against the backdrop of their ancestral village. The series intertwines three core elements: the vibrant saree, Gowri as the central figure and familiar locales integral to his mother’s daily or weekly routines. These elements of composition serve as potent symbols for transformation, familial devotion and resilience, illustrating a poignant dialogue between the past and the present. Through these images, Gowri revisits her younger economically constrained self bridging it with her new found abundance. The interplay between Gowri’s temporal realities underscores themes of identity, memory and continuity; exploring the journey from deprivation to abundance.
Untitled 1*2 - the subject, Gowri stands in a room draped in a neon green saree that evokes in the mind’s eye the imagery of a cascading river. The photograph is set in Gowri’s daughter’s home, a place she visits frequently. On the wall you see two dummy rifles, that are used by her grandson for police training exercises. It subtly gives us an insight into the daughter’s life and the bond they share, a relationship defined by mutual understanding, support and care. It also reflects familial ties and the interconnectedness of their lives.
Untitled 2*3, The scene is set by a pond in Gowri’s father’s village. Gowri is shown standing in a plain bright pink saree. In the right hand corner, one notices a white plastic bucket and some attire and detergent. Until recently she would wash her clothes in this pond. By this apparent placement of the bucket and clothes in the frame it is an allusion to what is common to many who live in rural India. There is no running water in their homes and that they must seek out the nearest waterbody for drinking water and washing their clothes. In the background, a hillock looms large and the mother seems to be reflecting on her life while appearing to be dwarfed against the scenic backdrop, suggesting a quiet acknowledgement of her own insignificance within the vastness of her surrounding and her humble connection to the environment she was born into.
Shiva’s images celebrate the cultural and aesthetic richness of the saree while weaving it seamlessly into a tapestry of personal history. The photographs convey the deep pride Gowri takes in wearing her newly acquired sarees chosen by her son, underscoring the intersection of familial love, tradition and her identity.
- Nandini Valli Muthiah
Lim Soo Sik graduated with BFA and MFA in Photography from Chung-ang University’s Department of Photography. His work expresses various objects that symbolize universal desire using photography ,through series of works such as Chaekgado (which combined photos of bookshelves with the way in which to create Korean traditional paintings), Picturenary, Mountain, and Room.K.
Lim has participated in over 100 group exhibitions and 22 solo exhibitions in many countries, including the U.K., Spain, and Brazil. His works are housed at several museums, such as the Art Bank at Korea’s National Museum of Modern and Contemporary Art and Germany’s Reiner Kunze Museum.
In 2001, COP Shiva migrated from his village in Ramanagara District, Karnataka, to join the police force in Bangalore as a Constable.
In 2007, while continuing to be a Constable in the police department, COP Shiva began working as the volunteer coordinator at 1.Shanti RoadStudio/ Gallery, Bangalore. It gave him an opportunity to work with, as well as learn from the many visiting artists.
He quit the police force in 2019 and thereafter has been a full time practicing artist.
In his practice, COP Shiva documents the complexity of rural and urban India, focusing on people and portraiture as a genre. He is fascinated with the idea of ‘the masquerade’ and the roles people play in public and private. His portfolio includes intimate portraits of urban migrants, people of alternative sexuality, street performers and others living in the hinterland of urban and rural conflict.
COP Shiva has been the recipient of 2023 Sovereign Asian Art Public Vote Prize.
(Hong Kong) & the 2023 Fellowship of The Lakshmi Mittal and Family South Asia Institute at Harvard University. He is also the recipient of the Laspis Residency Program by the Swedish Arts Council (2017), and the Studio Residency by Pro Helvetia Swiss Arts Council (2019). Additionally, he has been awarded a National Contemporary Art Award by the Ministry of Culture (2016)
COP Shiva’s work has been featured in several group shows, and in international artfestivals such as Chobi Mela (2013) in Bangladesh, Kochi Biennale(2015) and the Chennai Photo Biennale(2019).
He is represented by Gallery Sumukha in Bangalore and Art Heritage Gallery in New Delhi.
Nandini Valli Muthiah (b.1976) Nandini Valli has a bachelor's degree in Photography from the Arts University of Bournemouth, UK. She has been practising photography since 2006. Nandini Valli’s work is deeply rooted in cultural reflection, exploring various aspects of the world she is surrounded by and immersing herself in the traditions, beliefs, and practices that shape her environment. She has been in several landmark photography shows in India, UK and the USA. Her works are in museums and private collections world over, such as the AGO and ROM in Toronto, Canada.
Nandini Valli has always been drawn to the art of curating and is very proud to be a part of this small but what she hopes will be an inspiring photography exhibition in Chennai.
The fourth edition of the Chennai Photo Biennale takes its primary inspiration from Dayanita Singh’s ongoing exploration “#whyphotograph” which unfolds a whole series of inquiries into our relationship with photography. The biennale has also been consumed by a concurrent question - Who is the biennale for? CPB4 brings together curators, photographers, lens-based artists and audiences from around the world to experience exhibitions and programs set against the backdrop of our city. The Biennale invites the citizens of Chennai - families, commuters, teachers, students and artists to see their hometown anew.
This edition strives to foster a thoughtful, rigorous, and playful understanding of how photography is shaping and changing our lives. How does photography teach all of us to live now.
CPB4 is an attempt to bring to you the who (not just the who's who), the what, the where, and the why - and in the process reassess both the strengths and inadequacies of the medium. The texts and images that you will encounter in our exhibitions were not produced for a biennale or for a book. The biennale will not just unveil new photographers or celebrate the history of photographic practices, but explore diverse ways of seeing, thinking, feeling, and presenting.
Across the 90 day period, opening in multiple phases, CPB4 will show over 16+ exhibitions and host artist talks, guided tours, workshops, discussions and more. Check out all updates on https://chennaiphotobiennale.foundation/cpb4 or @chennaiphotobiennale
Friday, 10 January 2025 at 6.00 p.m. at the Gallery @ InKo Centre.
Join us for a panel discussion with the artists and curator, following the inauguration of the exhibition.
On view until Saturday, 22 February 2025.
(except Sundays and published holidays).
For further information, please contact InKo Centre - T: 044 24361224; E: enquiries@inkocentre.org.
Presented in association with
To honour the incredible poetic prose of Han Kang, we present a reading of her work in Korean, English and Tamil followed by a discussion with a distinguished panel. Our panel comprises three Tamil poets, all accomplished translators and an eminent editor. Together, they will focus on Kang’s unique strengths as a writer; the manner in which historical and personal trauma intertwine; the fragility of human existence and the nature of protest to define identity and agency and the role of translation in providing a vital window to a writer’s oeuvre.
Join us for what promises to be an insightful conversation and reflection to celebrate the extraordinary literary contribution made by Han Kang.
Han Kang 한강; born 1970 is a South Korean writer. From 2007 to 2018, she taught creative writing at the Seoul Institute of the Arts. Han rose to international prominence for her novel The Vegetarian, which became the first Korean language novel to win the International Man Booker Prize for fiction in 2016. In 2024, she became the first South Korean writer and the first female Asian writer to be awarded the Nobel Prize in Literature.
Han Kang, whose name literally means Han River, was born on 27 November 1970 in Gwangju, South Korea. Her family is noted for its literary background. Her father, Han Seung-won, is a novelist. Her elder brother, Han Dong-rim, is also a novelist, while her younger brother, Han Kang-in, is a novelist and cartoonist.
At 9, Han Kang moved to Suyu-ri in Seoul, when her father quit his teaching job to become a full-time writer, four months before the the Gwangju Uprising, a pro-democracy movement that ended in the military’s massacre of students and civilians. She first learned about the massacre when she was 12, after discovering at home a secretly circulated memorial album of photographs taken by a German journalist. This discovery deeply influenced her view on humanity and her literary works. Her novel Human Acts is the centra.
Han Kang's father struggled to make ends meet with his writing career, which negatively impacted his family. Han later described her childhood as “too much for a little child”; however, being surrounded by books gave her comfort. In 1988, she graduated from Poongmoon Girls’ High School, now Poongmoon High School, where she had been a class president. In 1993, Han graduated from Yonsei University, where she majored in Korean language and literature. In 1998, she enrolled at the University of Iowa International Writing Program.
Her novel Human Acts was released in January 2016 by Portobello Books. Han Kang received the Premio Malaparte for the Italian translation of Human Acts, Atti Umani, by Adelphi Edizioni, in Italy on 1 October 2017. The English translation of the novel was shortlisted for the 2018 International Dublin Literary Award.
Han Kang's third novel, 'The White Book', was shortlisted for the 2018 International Booker Prize. An autobiographical novel, it centers on the loss of her elder sister, a baby who died two hours after her birth.
Her novel 'We Do Not Part' was published in 2021. It tells the story of a writer researching the 1948-49 Jeju uprising and its impact on her friend’s family. The French translation of the novel won the Prix Médicis Étranger in 2023.
In 2023, Han Kang's fourth full-length novel, Greek Lessons, was translated into English by Deborah Smith and E Yaewon. The Atlantic called it a book in which “words are both insufficient and too powerful to tame”.
In 2018, Han Kang became the fifth writer chosen to contribute to the Future Library project. Katie Paterson, the project’s organizer, said that Han had been chosen because she “expands our view of the world”. She delivered the manuscript, 'Dear Son, My Beloved', in May 2019. In the handover ceremony, she dragged a white cloth through the forest and wrapped it around the manuscript. She explained this as a reference to Korean culture, in which a white cloth is used both for babies and for mourning gowns, describing the event as “like a wedding of my manuscript with this forest. Or a lullaby for a century-long sleep”.
Han Kang was elected as the Writer of International Royal Society of Literature in 2023.
In 2024, Han was awarded the Nobel Prize in Literature by the Swedish Academy for her “intense poetic prose that confronts historical traumas and exposes the fragility of human life”. This made her the first South Korean writer[48] and the first female Asian writer to be awarded the Nobel Prize in Literature.
Han Kang’s Novels
여수의 사랑 (“Love in Yeosu”), Moonji, 1995.
검은 사슴 (“Black deer”), Munhakdongne, 1998.
내 여자의 열매 (“My woman’s fruits”), Changbi, 2000.
그대의 차가운 손 (“Your cold hands”), Moonji.
채식주의자 (“The vegetarian”), Changbi 2007.
The Vegetarian, translated by Deborah Smith, London: Portobello Books, 2015.
Reprint edition: London/New York: Hogarth.
바람이 분다, 가라 (“The wind blows, go”), Moonji, 2010,.
랍어 시간 (“Greek lessons”), Munhakdongne, 2011.
Greek Lessons, translated by Deborah Smith and Emily Yae Won, London/New York: Hogarth, 2023.
노랑무늬영원 (“Fire Salamander”), Moonji.
소년이 온다 (“A boy comes”), Changbi 2014,.
Human Acts, translated by Deborah Smith, London: Portobello Books, 2016.
Reprint edition: London/New York: Hogarth, 2017.
흰 (“White”), Nanda, 2016.
The White Book, translated by Deborah Smith, London: Portobello Books, 2017.
Reprint edition: London/New York: Hogarth, 2019.
작별하지 않는다 (“We Do Not Part”), Munhakdongne, 2021.
We Do Not Part, translated by Emily Yae Won and Paige Aniyah Morris, London/New York: Hogarth, 2025.
Han Kang’s Short fiction Collections
내 이름은 태양꽃 (“My name is Sunflower”), Munhakdongne, 2002.
붉은 꽃 이야기 (“The red flower story”), Yolimwon, 2003.
천둥 꼬마 선녀 번개 꼬마 선녀 (“Thunder little fairy, lightning little fairy”), Munhakdongne, 2007.
눈물상자 (“Tear box”), Munhakdongne, 2008.
Awards
1999 – Korean Novel Award for Baby Buddha
2000 – Korean Ministry of Culture Today’s Young Artist Award – Literature Section
2005 – Yi Sang Literary Award for Mongolian Mark
2010 – Dongri Literary Award for The Wind is Blowing
2014 – Manhae Literary Award for Human Acts
2015 – Hwang Sun-won Literary Award for While One Snowflake Melts
2016 – International Man Booker Prize for The Vegetarian
2017 – Malaparte Prize for Human Acts
2018 – Kim Yu-jeong Literary Award [ko] for Farewell
2019 – San Clemente Literary Prize for The Vegetarian
2023 – Prix Médicis étranger for We Do Not Part
2024 – Émile Guimet Prize for Asian Literature for We Do Not Part
Ho-Am Prize in the Arts
Nobel Prize in Literature
Pony Chung Innovation Award
Thanks to: Wikipedia
Mini Krishnan worked with Macmillan India Limited (1980-2000) and Oxford University Press (2000-18), sourcing and editing literary translations for national and international readership of which she has published 124 full-length volumes.
Managing Editor of the TNTB working with twenty English language publishers to take Tamil to the world through translations of poetry, fiction and non-fiction.
Series Editor of Early Indian Fiction covering different Indian languages ( for Harper Collins India)
On the editorial board of the Murti Classical Library of India, Harvard University Press.
Dr. M.D Muthukumaraswamy is a Tamil writer and Director of National Folklore Support Centre in Chennai. In addition to his scholarly work, he has published poetry ( both in English and Tamil), short stories, critical essays, plays and translations.
Original Works in Tamil (translated titles):”Maitreyi and other stories”, “Moonlight as secret companion, essays and a few like essays”, “Playing with water” (poetry), “Essays on world literature,” “;One imagery wins, One imagery kills” (poetry), and Moisture (Nine dramatic monologues and two full-length plays).
His published books of translations include poetry collections by Basho, Mahmoud Darwish, Lao Tse, Fernando Pessoa, Paul Celan, Jorge Louis Borges, Vasko Popa and Ko Un.
Currently he is engaged in writing Semiotic Analysis and English Translation of Kurunthogai, a literary Fiction in English, a long ballad based on Garo transformational narratives and a book of poems in English.
Samayavel Samayavel is an important Tamil poet, who has read World Literature available in English, from his youth. He has translated and published eight books from various countries, available through English translations into Tamil. 'The Vegetarian' by Han Kang was translated into Tamil with due copyright permissions secured by Tamizveli Publishers. With the title மரக்கறி, ‘The Vegetarian’ was published by Tamizhveli Publishers in October 2020. Samayavel says that “The Vegetarian is a rare novel written in a precise poetic language and it was a great experience of translation. It was a challenge to bring the tone of the prose of Han Kang into Tamil. But it was a rewarding experience since it’s a resurrection of my language."
Indran Rajendran is a poet, art critic and translator. He is a recipient of the Sahitya Akademi Translation award. For the Government of Tamilnadu, he curated a mega painting exhibition of 133 painters on 133 chapters of Tirukural when the Tiruvalluvar statue was unveiled at Kanyamumari in 2000.
Sayee Priya (Korean)
Karpagam P (Tamil)
Shreya N K Bhat (English)
Tamizhveli Publishing House House was established in 2014 at Chennai by Mr.Sugan Kalaaban to promote young writers and accommodate innovative Translations from various languages. Senior Tamil poet Samayavel has started to publish his works including Translations through Tamizhveli. He has published his eight Translation Works including Han Kang’s Novel ‘The Vegetarian’ with the title as ‘மரக்கறி.’ Then Dr. M.D.Muthukumarasamy joined and published many important Translation works including Basho’s Haikus. Then other Translators also have published their Works through Tamizhveli. Mr.Appanasamy has published his translation of Italao Calvino’s first Novel ‘The Path to the Spiders Nest’ through Tamizhveli. Totally this publishing house has brought eighty works in which 20 books of Translations.
‘The Vegetarian’ was published in Tamil in October 2020. As a gracious gesture, Han Kang helped in getting the copyright for a very small sum since she liked the idea of publishing ‘The Vegetarian’ in India, a country which promotes the Vegetarianism as a religious practice for the past many centuries.
Wednesday, 22 January, 2025 at 6.30 p.m. at InKo Centre.
For further information, please contact InKo Centre - T: 044 24361224; E: enquiries@inkocentre.org.
Presented in association with
AccessMusic is a series that aims to provide talented emerging musicians with a space to share original scores and songwriting with those who relate to music as essential and energizing. The ambience is relaxed, intimate, so that the musical connect is immediate, meaningful and inclusive. Presented in collaboration with Unwind Centre, this series which is all about access to and through music, places creativity and musical prowess centre stage even while recognizing the power of the arts as a critical enabler, to foster inclusion and reflection to change hearts and minds.
The Jazz Afair
TheJazzAffair is a contemporary jazz ensemble founded by violinist Neil Sha is a three-piece band with Bhuvanesh Kanna on bass and Poornashree on drums.
With the vision of pushing the traditional boundaries of jazz, this band creates more than just music. They are storytellers who create an experience through improvisation and soul. The group uses jazz as the core influence in their music and fuse elements from other genres and cultures while maintaining their own signature techniques. As a band aim, they to be one living organism, breathing in unison even while each member contributes to bring the music collectively to life. The bass sets the foundation, the drums set the groove and the violin paints over, to bring out one beautiful picture.
Whether performing at intimate clubs, on grand stages, or in unconventional spaces, TheJazzAffairs delivers an experience that lingers long after the final note fades. It's not just about hearing the music; it is about being a part of it. Every performance is a new chapter and everyone in the room is a co-author. TheJazzAffair aims to create a journey, weaving melodies and rhythms into dynamic conversations that resonate deeply with their audience.
Unwind Center, a renowned music institution in Chennai, has been nurturing young talent for over twenty years, offering comprehensive training in Drums, Guitar, Keyboard, Violin, and Vocals. The Center not only serves as a music school but also provides a platform for aspiring musicians to showcase their work, connect with peers, and share their compositions. Exodus, Chennai's leading music and event management organization, partners with Unwind Center, combining their expertise in producing music festivals, managing radio music, providing club entertainment, and artist management, ensuring unforgettable experiences for music enthusiasts.
Friday, 24 January 2025 at 7.00 p.m. at InKo Centre.
The AccessMusic series is presented by InKo Centre, in association with Unwind Center, on a bi-monthly basis.
For further information, please contact InKo Centre - T: 044 24361224; E: enquiries@inkocentre.org.