Walking into Dr. Raghavendra’s home, it is easy to see the same sense of order and attention that seems to shape the way he approaches his work. Books are arranged neatly across shelves, interspersed with crystals and objects collected over the years, while outside, rows of plants are carefully tended to. We watched him water them himself before he settled down to speak about the work he has spent decades building. Despite the scale of Ananya’s work and the many artists it has supported, Raghavendra is remarkably unassuming about his own role in it. In fact, he is almost reluctant to speak about himself, preferring that Ananya be known through what it does rather than through the person behind it. In conversation, however, that reserved nature gives way to a warm, articulate and deeply observant personality.

A geologist and scientist by training, Raghavendra spent much of his professional life running a testing laboratory with his wife, Dr. Pramila. His relationship with the arts, however, began much earlier. As a young boy, watching M. S. Subbulakshmi perform at the Hampi Mahotsava left a lasting impression on him. Years of listening to classical music, attending concerts and festivals, and learning instruments such as the tabla gradually turned him into a passionate listener and connoisseur of Indian classical arts.

After establishing his professional life, Raghavendra returned to this interest. In 1995, he founded Ananya Trust, initially with a focus on Carnatic music. What began with small gatherings in the hall of his Malleswaram home gradually grew into a cultural organisation supporting music, dance, literature and visual arts.

At the centre of Ananya is the auditorium within his home, a modest but active space where concerts, dance performances, workshops and practice sessions take place. Over the years, the organisation has also established a library and archive, awards for artists, publications and initiatives such as Arogyadhara, which provides support to artists facing health and financial difficulties.

Raghavendra approaches this work with the same methodical thinking that shaped his scientific career. He speaks about artists with immense respect and believes that cultural organisations have a responsibility to support the wider artistic community, not simply conduct performances. His philosophy is simple: what is earned from society should, in some way, return to society.

More than three decades after he first arrived in Malleswaram, his home has become an extension of that philosophy — part residence, part auditorium, part library and archive, and part meeting place for artists. For Raghavendra, Ananya has never been a one-man show. It is a space sustained by the artists, friends, family and young people who have contributed to it along the way.

In Conversation with Raghavendra:

Q. Since you don't come from a traditionally artistic family, when did your affinity towards art begin?

I don't fully agree that I don't come from an artistic family. My uncle's son is involved in theatre, my son is a filmmaker, and my daughter is an architect who is also interested in painting.

When I was younger, I used to paint, work with clay, play the tabla and do other things. But when I started my industry, I had to give all that up. It took me nearly 40 years to reach a stage where I could put some of what I had earned back into art.

When I was about 10 or 11, I watched M.S. Subbulakshmi perform at the Hampi Mahotsava. I was sitting just ten feet from the stage. More than her singing, I was fascinated by the bhava I could see. I also listened to classical music on the radio. Later, studying in Mysore exposed me to the Dasara festivals, and when I came to Bangalore, there were many more opportunities to experience music and dance.

Q. What was your professional background?

I have a master's degree in geology and later completed a PhD. I ran a service industry where we tested raw materials and finished products for around 2,000 industries, according to ASTM and IS standards.

My wife is also highly qualified. She studied metallurgy and materials and later completed a PhD in mechanical engineering. She eventually joined me in the industry after we had stabilised.

Q. What was your connection with Malleswaram?

I came to Malleswaram on August 26, 1973, at around 6:30 in the morning. Since then, I have been here.

Initially, I lived in an institute hostel. After we got married, we had a very small house because that was all we could afford. When I eventually built this house, I created a specific space for music. I originally imagined it as a place where I could invite artist and musician friends and have programmes occasionally. Slowly, it became what it is today.

The cultural environment of Malleswaram also played a role. The Malleswaram Sangeetha Sabha was close to the institute, and we used to attend performances by senior artists there.

Q. How did Ananya begin?

Prasanna encouraged me to form a trust rather than simply conduct individual programmes. We had several respected people as trustees, including Dr. U.R. Ananthamurthy and Chiranjeevi Singh, among others.

We eventually built an auditorium that could accommodate around 70 to 80 people. From the beginning, I decided that I did not want to take donations or charge for programmes. Even today, we spend from our own savings.

Q. How did dance become part of Ananya?

Lalitha Srinivasan and Maya Rao, who lived nearby, would tell me, "You are doing so much for music. Why don't you do something for dance?"

Initially, music was the larger part of our work, but now it is almost the reverse. We do a lot of dance programmes and also support younger dancers through programmes such as Rukta Chilume, which gives children an opportunity to overcome stage fear and perform.

Q. What are some of the other initiatives Ananya has undertaken?

During COVID, I found many musicians struggling with health problems and without income. We started Arogyadharan and provided financial support for the healthcare of around 500–600 artists.

We also published a magazine, Ananya Vivekti, later renamed Ananya Kalasanchala, for nearly 20 years. It featured interviews, programme information and artists receiving awards. Eventually, we moved away from print and began sharing information through social media.

We have a library with more than 6,000 books, many of which were donated by musicians and artists. We also give annual awards to senior and young artists in music and dance.

The auditorium is available free of charge for concerts, workshops and practice. Many artists living in apartments don't have a place where they can practise, so this gives them a space to work.

Q. How involved are you in curating performances?

I am mainly involved in judging the quality. I make an initial selection and then show it to artist friends. If they agree, we go ahead; if they don't, we change it.

We also receive applications and ask artists for video clips of their performances. Senior artists help us review them. About 99 percent of the time, my selection and theirs coincide.

I don't look for big names. I look for good artists.

Q. What do you look for in a performance?

For me, the artist should be given prominence. I don't like programmes where there are huge statues, too many flowers, excessive decoration and lights that distract from the artist.

In dance, movement is only one part. There is bhava, expression, and the movement should be elegant and communicate what the dancer is trying to say.

I prefer traditional forms. I enjoy Indian classical music and dance, whether it is Carnatic, Hindustani, Odissi, Kuchipudi or another classical form. Language is not a barrier for me.

Q. How has your scientific background influenced the way you approach art?

Whatever field you work in, what you learn from it will help you in another field.

People tell me that I use my scientific thinking when I work with dance and music. I like things to be methodical. After watching so many performances, I can sometimes tell younger artists what needs to change simply by observing them.

Science has helped me develop that way of thinking and observing.

Q. How have you balanced running an industry with working in the arts?

I don't think it was a problem. Each profession helps the other.

Running an industry taught me how to calculate what I needed to survive, what the organisation needed and what could be spent. My philosophy was simple: the money we earn ultimately comes from society, so some of it should go back to society.

Luckily, my industry did well, and I have very few personal requirements. I don't spend much apart from food and, of course, good coffee.

Q. How involved is your wife in Ananya?

Having a supportive person at home is very helpful. My wife takes care of many things I am not good at, particularly computer work and financial transactions.

We maintain a database of the artists who have performed. Around 3,000 artists have performed in music and more than 1,000 in dance. When you are handling that many people, you need someone to keep track of everything.

Q. What has your relationship with artists been like?

I have a wonderful relationship with about 98 percent of the artists. The other two percent should also be there to correct me when I go wrong!

Many artists have supported Ananya in wonderful ways. Some have even refused payment when performing here or brought artists from outside Bangalore.

I don't want to take an artist's services for free. Wherever we need to pay, we pay them properly. But sometimes artists themselves insist on helping us.

Q. Are there artists who have particularly stayed with you?

I miss Balamuralikrishna. That majestic voice and the bhava in his singing were extraordinary.

Among present-day artists, M.S. Sheela is someone I really admire. Her voice and the feeling in her singing are remarkable.

There are also many younger artists I enjoy listening to, such as veena artist Rakshitha and vocalist Aishwarya Vidya Raghunath.

Since I have been listening to music for more than 45 or 50 years, many musicians from earlier generations are particularly close to my heart. That doesn't mean I don't appreciate younger artists.

Q. What do you think about fusion and contemporary approaches to classical art?

There are many takers for fusion and experimentation, and that is fine. But personally, I prefer classical music and dance.

I want tranquility. I don't want noise. I want nada.

Sometimes there can be 15 or 20 musicians playing different instruments and you cannot hear any one instrument clearly. Everything gets lost. For me, there should be clarity. The art should come through.

Q. What do you think makes a cultural organisation meaningful?

Simply having a room or hall and conducting programmes does not make an organisation.

The responsibility is much greater. You have to conduct workshops, support the art fraternity and help artists who need support. You should create opportunities for young artists as well as senior ones.

I don't look at big names. I only look at good artists.

Q. What keeps you doing this after so many years?

I don't identify myself separately from Ananya. I don't go around giving my bio-data or telling people about myself. If, after running Ananya for so many years, people don't know what Ananya is doing, then there is no point in telling them about me.

A person should be identified by the work done by the organisation, not by the individual. It is never a one-man show.

I have many people who help me. My wife helps me, artists help me and young people help me. Ultimately, I believe that whatever we receive from society should, in some way, go back to society.

Art is endless. You keep learning and discovering new things.

Sources and References:

https://citizenmatters.in/414-ananya-trust/