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Kush Dhebar researches, studies and supervises excavations of ancient and medieval Indian

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sites of importance. His PhD was a study of the sculptures of grappling and feudalism

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of the Vijayanagara monuments. Apart from archaeology, he is a wrestling enthusiast

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which he thinks has built more mental than physical strengths in him. How did a student

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who couldn't focus on his school studies develop this set of diverse career interests? That's

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what this fascinating conversation is about. This is episode 19 of My First Job, the podcast

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that covers engaging career journeys and every single one is full of twists, turns and insights.

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I am Venu Gopal Nair, the host of the podcast and CEO of Ideascape Communications, an advertising

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agency into branding, creative and design. So settle in, sit back and enjoy the conversation

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or put on your earphones and pound the pavement for the bucks. Kush, welcome to the show.

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First of all, thank you very much for the great introduction. I don't think anyone in

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my family would give me such accolades the way you have given. Whatever career I've had,

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it's a very short career compared to a lot of people who have come on this show. I'm

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grateful for whatever good, bad and ugly has happened. I studied at Sardar Patel Vidyalaya

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in Delhi where the school was very compassionate towards my special learning disabilities that

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I had. I was actually diagnosed with dyslexia, but it is right now at the age of 31, two

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years ago that I was properly diagnosed as a neurodivergent ADHD. For the longest time,

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my diagnosis like had been on a completely different tangent. I mean, it's okay. As long

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as my school was very good and compassionate with me, they never put any pressure on me.

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My parents never put any pressure. The only pressure was ki beta pass ho jaana. I am actually

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very, very, very lucky there. Maths was a pressure, but I think my father learned to

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be okay with me not doing maths. I had some of the best teachers who sort of were just

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there for me and I happened to like them and not the subject exactly. Predominantly, they

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were political science, history, sociology, economics teachers. Unfortunately, math teachers

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were a lot stricter. And out of that, the history teacher was the most dedicated towards

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me, honed my skills. Actually, she passed away when I was doing my undergrad at Hindu

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college in history honors in my first year and I dedicated my PhD thesis to her. That's

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history, but it's still not archaeology and I learned the difference between history and

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archaeology earlier than what a lot of archaeologists do. After doing history at Delhi university

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in Hindu college, for a lot of reasons, I realized that I wanted to study things that

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are more tangible and my mental state, like my hyperactive brain was never the type to

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stay in a room or a library or a classroom per se and just read. So I preferred being

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outdoors, seeing things for myself and that's where archaeology struck a chord. The love

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for history came from the teacher's attention and she has obviously given you something

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that you will treasure your entire life because she's pointed you in a direction that you

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know you can keep exploring. And what I was fascinated by during one of our early conversations

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is that you told me that you understood that you couldn't focus on a long term. So you

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looked at how to build your career around projects. How did that understanding come

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about? That's still a work in progress. The understanding came out during the pandemic

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in 2020. It's like universe telling me now actually be serious and think about something.

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My career started after my undergraduate. I had the opportunity to teach 29 amazing

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kids in Seelampur in Delhi. I was a Teach for India fellow. Teach for India actually

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gave me a lot of insight into myself. Things that I realized that I'm really good at was

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like being with kids, explaining certain concepts, just being out there in the field. I thrived

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when I was not in a very structural corporate setup in Teach for India. My manager, she

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was a British and she was amazing the way she managed me. For her, she understood me

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that let's not make push do things which he doesn't like but make him do things that he

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likes at the same time are aligned with Teach for India's vision. So I'm actually very

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lucky that I've had a lot of managers and bosses who were women like Emma and of course

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my mother. I think my first manager, the first puraskar should go to my mother for being

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out there. If you would ask her, I would actually tell her to give me a t-shirt and saying Karya

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Pragati Par Hai. I think Emma and then later on, I had a lot of female bosses and I think

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I was very fortunate that my first set of classroom was 85% girls students. I think

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around them, it used to make me calm, give me that motivation to go that extra mile.

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But say if my bosses told me to do that, I would not do it. But if I could feel it, now

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I need to do it for my kids, I would definitely do it. So you know Teach for India is a compulsory

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two year project. It's a fellowship. So I knew that in 2013, I'm going to get done with

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it. Then I did my masters. I was really short. So I will be very honest and brutal about

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one thing that I got into Teach for India because initially a lot of people who were

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getting into Teach for India were like the cream of the cream of Indian society and really

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brilliant people being surrounded by such brilliant minds in Teach for India. It actually

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gave me my own identity and even today, most of my mentors are. So I was one of the youngest

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fellows in Teach for India because at that time the students, they were still more focused

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on Oh, I need a career. I need to go to say McKenzie or a Bain or a BCG or study for

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the civil service. Like the aspirations were still very stereotypical. And to be honest,

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Teach for India had not learned marketing very well at that point of time. So I think

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now they are excellent at it. Their outreach and everything is really good. But during

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that time, at least I could see that people who are coming, they did not have that ulterior

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motive of getting into say any good college. And even today TFI actually gave me that push,

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figure it out, be opinionated. I used to be very vocal with everyone in TFI and I wasn't

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fired. That was the first phase. However, the type of experiences I had with Teach for

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India, I did not find a couple of my future organizations that I worked for later on to

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be as accommodating to me. I would say you can't clap with one hand. I was at mistake

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also and I don't blame them to a certain extent because at the end of the day, everyone has

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to get their work done. That's when I realized that I should be choosing the people I want

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to work with rather than the names of the organizations and the set up I want to work.

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Couple of bad experiences at workplaces actually taught me not to go after brands. I ended

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up doing masters in archaeology. So everyone from who does Teach for India, they usually

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end up doing public policy. During my time, there were people doing MBA and people just

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starting their own not for profits or for profit. But I took a completely different

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tangent and I was always different. So like it's not that something that anyone was surprised

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about. After working in two, three organizations where I was just not a fit for them and they

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were not a fit for me, I started taking up a lot of conscious decisions on say calibrating

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my expectations, always surrounded by people who were earning big packages and I wasn't.

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I took that route and tried to get into various setups where I worked 13, 14, 15, 18 hours

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a day. So I realized at the age of 26 that I'm not meant for this. My mother realized

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it when I was 28 and my brother realized it now. So like, you know, I mean, it's like

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more like a strength and conditioning happening for the entire family. And now I'm at a space

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where no one in my family questions. As long as you're doing what you want and you are

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on your own, we are happy. What is it that the children were looking for? You were going

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from being a student to becoming a teacher. If I had not done Teach for India, I would

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have definitely pursued my masters in archaeology. I just thought let's do this two year fellowship

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and see how it goes. The fellowship never gave me that mindset that I don't want to

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get into archaeology. The universe has its way of working things out. Job prospects,

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career prospects or anything monetary is not as rewarding in archaeology. Government being

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the sole major player in the archaeology and the heritage sector makes it even hard. I

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don't blame the government because our heritage is owned by the people of the country select

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the government. Hence the government owns it. Like any other government sector undertaking,

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you give a certain exam. So people who are in the system as in ASI or State Departments,

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I actually don't see them doing a lot of archaeology. I actually see them doing a lot of desk work.

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So the pay scales are not even close to what anyone would imagine. The fellowship stipend

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in Teach for India was like a full time salary for most of the people in archaeology at that.

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The balance was that bad. I loved archaeology so much that I decided a lot of credit goes

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to my mother and my brother. They said that if you have the capability to earn more by

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taking your education background and making more money, why don't you do that and do archaeology

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for fun and passion. I always wanted to make archaeology a career living out of it. But

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to be honest, it was not until now. The first time I was employed as an archaeologist properly

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was in 21 in the Department of Science and Technology project on the DNA project of Rakigadi

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at Deccan College. Before that, I was so scared looking at my friends around. They are giving

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this government exam. They are giving that government exam. At least I can continue that

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much if you know I work in the development sector or if I say teach in an IB school or

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something. So I was just very practical. Although I was miserable. Every day I wanted to quit.

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But I think those eight years after my masters put a stone on my heart and just did what

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I did. If I did not have curriculum VT the way it is now, I don't think you or anyone

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would approach me. The initial years when you put in the effort, when you're building

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your base, your foundations, nothing is seen above. It's as if you don't exist. But the

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point is you're learning the most, you're absorbing the most and you're internalizing

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so much that once you start taking off, then it's as if people are saying, okay, where

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did this guy come from? That is one of the mistakes that I see about people who aspire

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to. I'm not saying it's a mistake. Probably it's because of conditioning that they look

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at saying I need a very high salary. And after that, the lifestyle fits the salary. And then

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it becomes a kind of wheel from which you can't break away. If you don't like it, you

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started by saying you love archaeology. So you prepared to do whatever is required. It

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took you seven, eight years to get to where you are. But I think that this will really

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stand you in good stead. What part of archaeology do you like the actual on-site? There are

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a lot of learnings from archaeology. I can't speak. Another thing is that I'm colorblind,

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but I didn't know how much it will affect me in archaeology. This is the first time

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that I am excavating in Rakhi Gadi. I am going with my batch, my classmates from Bandra to

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Delhi, Dehradun Express. And my first experience is two o'clock at night, the train burns.

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We are stranded in Dhanu. People die. Two compartments completely burned. That's the

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first time I'm like, maybe should I do archaeology or not? Now, fast forward a few days, we reach

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Rakhi Gadi, terrible cold, no water, no electricity. You know, like we, I can't even see my food

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and I'm so hungry that I don't want to see my food. Let's just eat it and go to sleep.

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Then you know, when I started excavating, I'm a juvenile asthmatic and I'm a colorblind.

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You can say it was my immaturity that I still wanted to do archaeology. These two things

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were big limitations for me. On-site I fell sick. When I was sick, I went to Jind, which

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was the closest city because there were no antibiotics available for like 50 kilometers

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from the excavation site. So I come back. When we are excavating in India, everywhere

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in the world you have to observe is that we get a lot of pottery and Rakhi Gadi is a Harappan

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site. And in India, all the cultures, all the periods mostly are identified through

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the type of pottery we get. And the pottery is mostly identified based on shapes and color.

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Now the color part is gone for me. I mean, it was so funny that I would go to my professor,

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professor Shinde, the site supervisor, Nilesh Bhau and Amrita ma'am, who was the other

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professor. I actually took a lot of modern pottery to them, ma'am, see Harappan pottery.

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And there was a time when all the people were like, you take out the mud, leave the color

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work to us. I was literally like using my forearms and you know, taking out all the

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dirt and sand. And the other thing is that in archeology, we need to see stratigraphy.

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When we excavated trench, we have to basically mark and do some stratigraphy drawing. That

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is all either based on color and texture that you have to touch. Wherever I could make out

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that the texture is different, I was lucky. But a lot of time I just missed all cultural

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layers. I think asthma and my colorblindness studying art history with colored art is gone.

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Getting ceramic studies is gone. I actually did not like excavations much. One because

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I always kept on falling ill. And the other is people think that we archeologists do a

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lot of amazing stuff. We have to stand at a trench and just wait for it to go down.

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If workers are there, we have to manage workers. And trust me, it's not a very good thing.

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It's very boring. I was at a site at Telangana called Fani Giri recently in 2018 and no antiquities

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are coming out from my trench. But I can't go anywhere. I'm supervising my trench. So

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there is no cool stuff happening. It's scorching sun. I don't speak Telugu. All I could speak

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is Muttham excavate all. Mitty, Mitty, Tee, Yee. The workers taught me certain words.

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The reality of archeology is that this is what majority of archeologists face. I mean,

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I get a lot of messages on LinkedIn like everything that, oh, I want to find a civilization. I

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want to find this, that earlier I used to be very supportive to these youngsters. And

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now I'm like, I'm sorry to disappoint you, but that doesn't happen with everyone. They

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might hate me for the brutal honesty that I put in, but I think they will thank me for

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being honest to them because when they actually get it, they're not finding anything. That's

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when you said grappling, right? I was a very active person because I was hyper. I got into

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martial arts. Then I went to my professor, Dr. Shrikant Ganvir and I asked him that sir,

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you deal in temple, temple. You tell me that I can do something like martial arts. Can

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I do something? Initially, even he thought, yes, there are sculptures of Vali Sugriva

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and some master's dissertation on it. But if I'm interested in something, I like to

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go deep down and I don't leave it. I actually figured out through these sculptures of grappling,

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I can technically not just be very simplistic that, oh, temple had these sculptures to actually

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start understanding India as a whole. That's a complete conversation. I have written a

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lot of articles and I'm still working on it. Two best things have happened to me in my

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life. One is getting acquainted with children. Second was doing my PhD research. Because

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of my PhD research, I started going to an MMA gym. At that time I was young. I was 25

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years old for my master's dissertation. So I thought, if you're doing it on a wrestler,

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then try it out. And trust me, it's not that good when you're fighting with professional

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fighters. Delhi being the place it is, as it is known for its roadside brawls. These

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people come to these gyms to make sure they don't brawl outside. So you know inside the

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gym, they will go all out. My fight club where I learned whatever little bit of Jujitsu,

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boxing, Muay Thai is like my family now. They also learned to accept me. They knew that

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I will not come every day, that I will not do everything that my coach tells me. My coach

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Siddharth Singh, he knows me so well now. He doesn't judge me anymore. And my entire

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fight team doesn't judge me. So initially, you know, when I started training, all of

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them are professional fighters now. Our gym has just signed a fighter with the UFC, which

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is like the mother load of mother load of mixed martial arts. I mean, that's how successful

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my gym is. All of these youngsters, I have seen them, I have trained with them when they

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were teenagers. They are more mature than me to realize that Kush, why don't you come

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and sit and watch us fight? I was always injured. But then they sort of realized that, okay,

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Kush wants to do Jujitsu for research. I don't want to choke people for a living. Even right

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now, cross-chain fight club. And then when I was working in Bangalore, I joined another

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gym called Institute of Jujitsu. I actually found a lot more encouragement, motivation

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and following in the fight industry than in archeology. Everyone in archeology, the ones

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who do it, Gadadharibheem, Pehelwan, Malla. Now that people have seen that I've done my

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PhD, I've given so many podcasts, interviews and stuff to different places. So now like

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people have started taking me a bit seriously, but I'm fine with it. So you said Vali and

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Sugriva who featured in your PhD dissertation, how did you go deeper into that? When we see

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a temple, most of us look at a temple from a very religious, pious point of view. But

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the reality of the situation is that what we define as a Hindu temple today is not the

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way it was defined earlier. Temples were centers for power. Temples were landowners. Temples

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were employers. Temples were places of gathering. Temples were places of festivities. There

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were Kalyanamandapam. There were Bhoogamandapam. They were places for charity. Same way the

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mosques are today. There are orphanages running out of mosques, out of churches. All the religious

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bodies all over the world under the umbrella of religion, they don't just pray all the

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time. They do a lot of other stuff. There is lack of awareness regarding these cultural

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processes. I have started an organization myself called Vratya Foundation where I am

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writing graphic novels and comics on Indian culture to make our youth understand various

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cultural phenomenon. For me, a temple can be interpreted on multiple levels and the

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sculptures on the temple. People always joke about Khajurau temples, erotic sculptures.

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If you go deep into it, like I have a friend Anuja, then I have a mentor, Devangana Desai

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ma'am, who went so deep into those cultures that they were not just erotic sculptures.

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They had a lot of significant meaning for the people of that time. They actually symbolize

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a lot about the contemporary human behavior and mindset. We have to understand the tantra

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shastras. We have to understand the Shaiva agamas, Vaishnava texts. Even Shaiva, Vaishnava,

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within Shaiva there is Kalamuka, there is Kapalika, there is Nath Sampradaya. The sculptures

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that I dealt with were not just religious in nature. The sculptures had a lot of deeper

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symbolic meaning. For example, I did my PhD on sculptures of grappling and pugilism, which

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is basically boxing and grappling on Vijayanagar monuments. For my PhD, I went around Northern

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Karnataka. I saw Badami Chalukyan monuments. I saw Yadav, Raj Trikot and I saw a lot of

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monuments. To figure out my PhD topic, I would have seen around 200 temples for identifying

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my area. Vijayanagar was a very unique setup. Again, the universe has its ways. In Pune,

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I started doing another martial art because there was no Jiu Jitsu. I started doing Kapuera.

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Now Kapuera has its own very symbolic meaning. It is something that is comparable to Kalari

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Payattu in Kerala or Chao martial dance of Mayurban Sarai Kela area. We went for a road

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trip from Pune to Hampi just to chill because Hampi is known for a lot of other reasons

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as well. Once you cross the river, my friends were enthusiastic in that point of view as

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well. Just hanging around with them, showing them over like I found out a lot of sculptures

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of my topic. Then I did repeated visits to Hampi. Then I decided, okay, let's see more

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temples in Karnataka. Then I deliberately took up a job in Bangalore in an IB school

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so that I could bootstrap my PhD research. Every weekend I was on the road. I used to

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take the Karnataka Sarai Kela or I used to go to Majestic from Bangalore, go all the

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way to Anantapur, Lepakshi and roamed around. Not a single word of Telugu, not a single word

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of Kannada. I learned what a temple, what a Devasthanam Illidira. I just had to say this

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much and people would point and I would walk there. The temples would feed me. I have actually

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in my Rayalaseema field work, so Rayachoti, Somapalam, all of these villages don't have

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places to stay. At Rayachoti, I did not find a bus to Kadri where I had to see the next temple.

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So it was quite dark and the pujari allowed me to sleep in a Vijayanagara temple. It was a living shrine.

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The next morning I woke up, went to Kadri, to Lakshmi Narasimha temple. Archaeology taught me a lot of such

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things, a lot of life skills. I'm not an excavator. When people think archaeology, the first thing

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they are like ek toh hat hogi aur haath mein haath mein hunter and next hand they will either have a

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pitchfork or shovel or something. I am not that kind of an archaeologist. Martial arts made me

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learn a lot of things. I would actually see that there are certain moves that I'm really good at

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and when I'm paring with my coach or someone, I would actually stick to them. Here's when I think

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a lot of transference and liquid or fluid intelligence helped me. Applying my learnings

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from various other parallel experiences I've had to my other parts of life made me a lot more

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wiser and mature. A lot of my friends would say I have a long way to go in these departments but I

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think my skills from jujitsu, I actually am not able to apply them in jujitsu because all of my

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opponents are stronger than me in the gym. I actually apply them in my career. Similarly,

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my anthropological and archaeological fieldwork and experience knowledge helps me to connect with

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the fighters. If someone is from Haryana, I can speak a little bit of Bangru. When I was doing my

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PhD fieldwork, I went to Kolhapur, I went to Mysuru. So these two places are like hubs of

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Mallayudha. I learned Marathi by just going around villages with my professors. I could not learn

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Kannada because I think Kannada was a lot tougher for a North Indian like me to adapt to but I could

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understand very basic stuff and I could communicate and the best part about wrestling was that in

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Mysuru, I met with a lot of Jetis. I was not able to understand. They did the moves on me and it was

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really fun. It was not like we were fighting. I would just talk like for example what we see in

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jujitsu today is very similar to medieval periods Jambuvanti Mallavidya, Hanumanthi Mallavidya and

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again why people call it Hanumanthi, why people call it Jambuvanti. It's not just because these

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people were strong but there are certain moves which required the intellect of these mythical

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characters. So it is very interesting how grappling helped me understand mythology. It helped me

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understand folk culture. Maharashtra and Karnataka were like the hubs. Then I got deeper into local

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religious deities. In Andhra, Tamil Nadu, we have Mylar, Mallari and Maharashtra. It's the same.

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Okay and then there is Mallanna. Then there are these Khandoba. Connecting with the local people

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helped me get better at a lot of things in my fight world. All the fighters mostly don't come

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from very affluent backgrounds. To be a fighter, you need to be a killer. There needs to be a switch

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in you which when you turn on, you don't think about anything else. My coach Siddharth Singh,

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with him, I have just seen so many fighters like seen Afghans, I have seen Iranian fighters,

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I have seen North Eastern people. I think they are born with a six pack. You know these Afghans,

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these North Eastern fighters, a lot of say from Maharashtra, from Kolhapur and Marathwada area,

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their whole background is into farming, hard core physical work. You don't become a fighter by just

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watching videos or you know or by wearing expensive trash guards in the dope language. Once the cage

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shuts, everyone will know who is a fighter. It's good that I realized that before the cage shut,

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so I was safe. The type of people I connected with, I think I was so humbled. My PhD led me so deep

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into knowing so many good people who don't even get the type of attention that I am getting right

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now, who have fought for the country in the boxing ring or who have represented the country in

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Thailand in Muay Thai by abouts but no one knows about them because they don't play cricket. A lot

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of humbling experiences through my PhD research. I lived my PhD research unlike what a lot of

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archaeologists do or a lot of PhD scholars in general do. I've been very lucky that I have a

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very practical mindset in things. So I'm not very connected or invested emotionally into a lot of

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things that can be bad also that can be good also. Yeah, that's true. Let's say you look at a sculpture

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which is to do with wrestling. How do you draw interpretations because you might have texts which

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describe some of the sculptures which are there but the cultural aspects of these images, how do

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you begin to go deeper into that? What majorly archaeology deals with is iconography. Just to

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give a basic information, a sculpture is studied by an archaeologist as an archaeological source

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material. Anything more than 100 years old comes under the purview of archaeology. So an archaeologist

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will look at the sculpture as an artifact while at the same time someone from a fine arts background,

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arts and aesthetics background will look at a sculpture from a more holistic visual culture

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or a popular culture point of view. So they will look at iconometry, they will look at the

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composition of the sculpture, the stone used, the type of chiselling marks done, the type of artwork.

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They will try to interpret which school of art it comes from. For them, it's a very aesthetic sense.

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For an archaeologist, it's not more of an aesthetic object of appreciation. It's more of a heritage or

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an artifactual object of human behavior. At the same time, a scrappler will see, oh see he's holding

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a necktie or he's holding a single leg. While I was successful in identifying the sculptures from

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a grappler's point of view and an archaeologist's point of view, what happened was my PhD evaluator

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was an arts and aesthetics person. So in 45 minutes, he gave me a boot camp on arts and aesthetics

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during my PhD evaluation. It wasn't a very pleasant feeling when I was getting that lecture

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from him. But now I, if I did in hindsight, I'm very, very, very grateful to his hard words.

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You know, like I said, Lato ke boot baat se nahi maandte hain. Now I realize how people should

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approach sculpture from a cultural angle. It needs to be a very multidisciplinary approach.

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You cannot be an archaeologist and not study a sculpture from aesthetics point of view or

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historical point of view. There are multiple phases of identifying a sculpture. The first is

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identify what is happening. If you can identify the people in the act of grappling well and good,

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then you identify what they are wearing, what kind of physical appearance the sculpture has.

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The second phase comes if you can identify or place that sculpture in a context. For example,

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if it is Vali Sugriva, you know it is Kishkindha Kand of Ramayan. That's your greater. But if you

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don't know, that's when the game gets tricky. In my case, the sculptures on temples which deal

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with grappling don't find much mention in the Shilpa Shastra. When we look at the Shilpa Shastra

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or Vastu Shastra texts for each period, right from Vishnudhar Mottar Puran, Matsya Puran,

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then we go to Mayamata, Manasara which are even late and the latest being Shri Tattva Nidhi of

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Krishna Rajavode are the third. They are more dealing with sculptures which are religious in

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nature. So they compartmentalize them as Shaiva, Vaishnava, Shakt, minor gods and divinities,

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Sura Sundaris, floral motifs. Then you have to figure out why are my sculptures not mentioned

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in the Shastra. It gets tougher. Then you need to understand that okay, now I have to, then comes

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the third phase. That is when you don't take that sculpture in isolation but sculpture as a part of

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a whole body, that is the temple and that temple is more like an epicenter of the area. Then I will

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not look at one particular sculpture but how to study the cultural scheme of the temple. Based on

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the sculptural scheme, based on the period of the temple, you will actually have to study local

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history of the area. Then slowly you have to expand. Now it depends on your research methodology

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and your skill set on how broad you want to be versus how niche you want to be. The thing is in

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a PhD, you have to state what exactly you intend to do. For me, what began as a phase one PhD thesis,

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when the evaluator evaluated my thesis, I thought that I had covered all the three phases but he

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very nicely said beta tumne pehla phase hi kiya and he still awarded me the PhD because this kind of

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work was never done before. So I think I was lucky that I was the first one to do it otherwise god

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knows I would have been rewriting my PhD thesis today but what he actually pushed me to do, I am

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right now converting my PhD thesis into a monograph because apparently every PhD scholar should do that

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if they in a rainy day want a job in a university. Pray to god that I don't have to apply for a job

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again. Me being practical, you should always have contingencies. When I'm converting my PhD thesis

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into a monograph, I am actually taking each and every pointer that the evaluator told me into

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consideration and I have just, I mean it's mind-blowing. It's fascinating because the

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arts are normally seen as dance and music whereas this is always seen as something physical so there

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is no application of the mind here but from whatever you've told me so far, there is such a

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wealth of knowledge that needs to be uncovered. That big misconception. You fight and then you will realize there is

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more mind than body. Sun Tzu has very nicely said what happens on the battlefield is a by-product

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of what happens in the head before that. The type of strategizing, the type of mental preparation it

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takes to condition a fighter. When the cage is locked, you have to be so good at what you have

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learned that it needs to happen unconsciously or subconsciously. For that, the conditioning of brain

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is the ultimate factor. I think physically I'm very fit but the only reason why I could not

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take up martial arts even at an amateur level, I mean I still somewhere regret not being able to

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fight and I tell my mother this enough but main reason why I haven't become a good martial artist

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in my eyes is not physical, it's mental. I did not have the maturity and the sincerity to put in that

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much effort. Mentally if I was strong enough in during those days, I don't think anything would

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have been able to stop me because I'm really smart when it comes to identifying various moves, I have

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a good memory but all that is useless if you are mentally not stable. This has been so instructive,

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Kush. It's a fascinating journey. Thank you for coming on the show. The fact that you go deep into

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something and you have a point of view that people may not agree with but that doesn't in any way

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take away from what you are saying. That is completely fine. Thank you for being on the show. Thank you.

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Thank you Mr. Venu. My first job, the podcast is a production from Ideascape Communications.

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Guest relations, promotions and creative is managed by Deepa Ravi with occasional support

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00:34:25,800 --> 00:34:33,800
by Venugopal Nair. Archiving and technical help is provided by LPS Jayachandran.

