BEYOND
His recording studios fill with a lot bustle as Debojyoti Mishra drifts from one corner to the other, transferring his concepts to his musicians, involving an animated yet strongly focused body language.
Mishra is effusive and creates a lot of volume with his passion for words. With his verbosity he loves to playfully overrule, override people; mesmerizing all by the spirit of talking.
The melodist prefers to describe himself as a poet. His passion for reading and writing poems runs parallel to his attachment to music. Poetry is his second soul and a different edge to his creative persona. Mishra derives strength and sustenance from the works of Browning, Elliot, Coleridge, Malarme, Baudelaire, Lorca, Neruda, Tagore, Jiitibananda Das, Shakti Chattopadhyay, Joy Goswami – names that represent the world of poetic excellence. This poetic edge of Mishra helps him to assess his films from a cerebral perspective.
Mishra’s music is directed towards his goal and his goal is to celebrate music as an art form that has veritable social application. Inheriting much from his celebrated mentor and social activist Salil Chowdhury, Mishra views music as collaboration, a power that has the sweep and the thrust. The composer with his erudition and force thus dreams of taking India to the global arena.
Strengthened by the tremendous inspiration from Father Matheson of Oxford Mission, Mishra dreams of creating a platform for children who are marginalized and need rehabilitation; music can be the cause for their resurgence. Father Matheson envisioned music to be the mode of sustenance, uplifting lives of thousands of unprivileged children. Mishra wants to work towards an extension of this vision of Father Matheson, creating through music a space for better human beings.
Following the same line of thought Debojyoti Mishra believes that music can also be a vehicle of protest and instrument of acquisition especially for the deprived lot.
Music is the vehicle through which he meditates, driven towards survival. Along with international musicians and technicians Mishra strives to bring about a change in the form of music. Mishra evokes music as an absolute artistic presence that bears the responsibility to reveal different facets of life –joy, sorrow, calamity, achievement by being an integral part of each.
His recording studios fill with a lot bustle as Debojyoti Mishra drifts from one corner to the other, transferring his concepts to his musicians, involving an animated yet strongly focused body language.
Mishra is effusive and creates a lot of volume with his passion for words. With his verbosity he loves to playfully overrule, override people; mesmerizing all by the spirit of talking.
The melodist prefers to describe himself as a poet. His passion for reading and writing poems runs parallel to his attachment to music. Poetry is his second soul and a different edge to his creative persona. Mishra derives strength and sustenance from the works of Browning, Elliot, Coleridge, Malarme, Baudelaire, Lorca, Neruda, Tagore, Jiitibananda Das, Shakti Chattopadhyay, Joy Goswami – names that represent the world of poetic excellence. This poetic edge of Mishra helps him to assess his films from a cerebral perspective.
Mishra’s music is directed towards his goal and his goal is to celebrate music as an art form that has veritable social application. Inheriting much from his celebrated mentor and social activist Salil Chowdhury, Mishra views music as collaboration, a power that has the sweep and the thrust. The composer with his erudition and force thus dreams of taking India to the global arena.
Strengthened by the tremendous inspiration from Father Matheson of Oxford Mission, Mishra dreams of creating a platform for children who are marginalized and need rehabilitation; music can be the cause for their resurgence. Father Matheson envisioned music to be the mode of sustenance, uplifting lives of thousands of unprivileged children. Mishra wants to work towards an extension of this vision of Father Matheson, creating through music a space for better human beings.
Following the same line of thought Debojyoti Mishra believes that music can also be a vehicle of protest and instrument of acquisition especially for the deprived lot.
Music is the vehicle through which he meditates, driven towards survival. Along with international musicians and technicians Mishra strives to bring about a change in the form of music. Mishra evokes music as an absolute artistic presence that bears the responsibility to reveal different facets of life –joy, sorrow, calamity, achievement by being an integral part of each.