CONNECTING THE DOTS OF COMMONALITY
Dolce Magazine|Winter 2019/20
Chandrika Tandon, the successful businesswoman, singer, composer and philanthropist, shares her philosophies on living a life that is reflected through a prism of spirituality, mindfulness and deep kindness
CECE M. SCOTT
CONNECTING THE DOTS OF COMMONALITY

Every once in a while, we meet someone who is new to our circle of influence, a person whom we’ve neither previously known about, nor met or talked to before. But once the introduction is made, that person becomes a welcome beacon of light, a spark of inspiration that resonates on a spiritual plane and motivates us to break through and beyond our barriers, to rise above and do better. And not just for ourselves, but also for all of those we meet along our path.

Chandrika Tandon, highly successful businesswoman, composer and Grammy-nominated singer, is such a person, one whose inherently intimate philosophy and intrinsic motto on life is centred on a triangle of three key attributes: love, light, laughter. “This is what my life is about, what I am about,” she says. “I am love; I am in the light; and I always want to experience this sense of joy, this sense of laughter.”

Born in Madras, south India’s hub of culture, economics and education (the city is now called Chennai), in 1954, Tandon’s upbringing was rooted in the formalities of a traditional Indian home and immersed in the intricate mosaic of rituals that are handed down from generation to generation. “As the first child and the first girl, all of my family’s hopes were pinned to my success, especially as it related to a successful arranged marriage. My earliest memories are of my mother buying my trousseau,” Tandon says. “As the first daughter of a very large family, there was a lot of pressure to make a good marriage; it was an important issue for my family. If a good marriage was not made, everyone would be affected. Any friend of mine who came to the house was told that I would be engaged by the time I was 17 and married by the time I was 18.”

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