Arindam chaudhuri biography of abraham

Arindam Chaudhuri is a renowned management guru and author who has made significant contributions to the fields of management education and entrepreneurship. Through his numerous books, lectures, and public appearances, he has inspired countless individuals and helped them achieve their professional and personal goals. Chaudhuri's unique insights and perspective have earned him immense respect and recognition in India and beyond.

Arindam Chaudhuri was born on August 7,in Kolkata, India. Chaudhuri's book 'The Great Dream' and volunteering to support the cause! Read Online. Priyanka Chopra after hearing Dr. Chief Evangelist at Apple for Steve Jobs. Sandeep View Online. What media is saying about Dr. Financial Times, London. Watch more videos on his books. Chaudhuri speaking to a packed crowd of 40k in Nagpur!

Watch more videos on his workshops. Join his 4 million plus fans, today! He started a magazine and a research division, but the magazine closed quickly and his recruitment firm failed to take off. He had nothing to sell except himself. So they came, not realising from the photos how young this guy was. This led to a newsweekly, the Sunday Indianand a marketing magazine called 4Ps.

At the same time, he began discussions with Foreign Affairs in New York to bring out an Indian edition, and when that fell through, he began negotiations with Foreign Policy in Washington DC. But the most significant arena of influence seemed to be his film business, which had turned Arindam into something approaching a household name. InArindam decided to enter the movie business.

A few days before his first Bollywood film was to be shot, he told me, the director walked out on him. Arindam, naturally, decided to direct the film himself. He admitted to me that he had not been entirely qualified. But Arindam learnt quickly. Before long, he had developed a careful corporate approach to filmmaking that differed from the older Bollywood model of massive budgets, dubious financing often from underworld sources and a hit-or-miss approach to success.

He also sought out prestige; some more recent ventures of Arindam Chaudhuri Productions have been directed by the Kolkata-based Rituparno Ghosh, who has something of a reputation as an auteur. Upset at the proximity I had stolen, sensing perhaps that I did not entirely share their faith in their arindam chaudhuri biography of abraham, they seethed with the desire to protect Arindam from me.

The same was true of the faculty members, who tended to morph from students to teachers as soon as they had finished their courses. Other employees were family members as well as former students. When Arindam met with his division heads, all of whom had been his classmates at IIPM, they joked and chatted for an hour before turning to their work.

They seemed to derive immense pleasure from showing me just how closeknit they were. It was a comparison that had occurred to me, although other metaphors also came to mind. But perhaps this is simply another way of saying that they were a business, operating through an unquestioning adherence to what their owner said and believed.

To an outsider, however, the brand is Arindam. With his quirky combination of energy, flamboyance, ambition, canniness and even vulnerability, he is the promise of the age, his traits gathering force from their expression at a time in India when all that is solid melts into air. I had heard him address a crowd before, but that had been a familiar audience, made up of graduating IIPM students herded into a hotel auditorium near the Satbari campus.

The students seemed awestruck but restless, their attention wandering whenever the talk veered away from the question of their future to trickle-down theory; no doubt they were more concerned with trickle-up. The event at the Grand Ballroom was different. Over people, quite a few women among them, sat under the chandeliers as a laptop was set up on stage.

They looked like aspirational rather than polished corporate types, the men with red sacred threads around their wrists, the women in saris and salwarkameezes, a gathering of middle-class, middle-rung, white-collar individuals whose interest in leadership skills had a dutiful air. After a number of children—it was unclear to whom they belonged— clustered around Arindam to get copies of the all-time best-seller Count Your Chickens Before They Hatch signed, Arindam took the stage.

He wore a shiny black corduroy suit, the jacket displaying embroidery on the shoulders, and loafers that appeared to be made of snake skin. This was less of a problem in a public gathering, but he also had a high-pitched voice and a tendency to arindam chaudhuri biography of abraham his lines. He started by asking people what leadership meant to them.

Arindam seemed aware of the hostility: his responses were hesitant, and his English was uncertain and pronouncedly Delhi middle-class in its inflection. The mannerisms gave Arindam an everyday appeal, and it was the juxtaposition of this homeliness with his wealth, success and glamour that created a hold over the leadership aspirants in the audience.

By themselves, the Bentley Continental, the ponytail and the designer glasses, or the familiar way Arindam had of dropping names like Harvard, McKinsey and Lee Iacocca would have made him too remote. But the glamour was irresistible when combined with his middlebrow manner. He was one of the audience, even if he represented the final stage in the evolution of the petit bourgeoisie.

Arindam was well aware of this. Thirty minutes into the leadership session, as I began to be drawn into his patter, I realised that Arindam was telling the Indian middle class a story about itself, offering his audience an answer to the question of who they were. His listeners had come to the session with a rough sense of who they were supposed to be.

They were a people devoted to efficiency, given to the making of money and the enjoyment of consumer goods while retaining a touch of traditional spice, which meant, for instance, that they used the internet to arrange marriages along caste and class lines. Still, they needed further affirmation of their role, and this is what Arindam provided, mixing that cocktail of spurious tradition and manufactured modernity, while adding his signature flavor to the combination.

He told his listeners stories about traveling to America, Europe and Japan—the ultramodern places that middle-class India had been emulating and suddenly found within its reach. Yet few people in the audience had been to these countries, and if they did go, they would not encounter them with any degree of intimacy. The very places they were most drawn to—the business centres, the shopping plazas, the franchise restaurants—would remain slightly unreal in spite of the photographs taken, the souvenirs bought, the money spent.

Arindam chaudhuri biography of abraham

In the Grand Ballroom, though, these places were conjured anecdotally and made to resemble the India the audience knew, or thought they knew. So there were jokes about national stereotypes, comments about the different strengths and weaknesses of the Americans, the Japanese, the French and the Indians. There were no individuals in these stories, only nameless businessmen met by Arindam in anonymous boardrooms, and the world itself seemed no more than a string of Grand Ballrooms, each dominated by a different ethnic group of capitalists.

After Arindam had given the audience this touch of the foreign, he returned to more familiar territory. He made fun of regional Indian identities, something done rather easily among a largely Hindi-speaking Delhi crowd that tends to see itself as national. He pandered to their middleclass prejudices, attacking the government as inefficient and corrupt, and then satisfied their nationalism by speaking of the Indian Army as the most efficient and disciplined wing of the state.

As Arindam became more comfortable, he slipped into Hindi, segueing into the story of the Mahabharata. Instead, his focus was on the Bhagavad Gita. The Gita emerged as a foundational religious text only in modern times, when Hindu revivalists reeling from colonialism sought something more definitive than the amorphous set of practices and ideas that had characterised Vedic religion until then.

Then in the early s, the Gita again received new life, when the Indian elites simultaneously embraced free-market economics and a hardened Hindu chauvinism. They discovered in the Gita an old, civilisational argument for maintaining the contemporary hierarchies of caste, wealth and power, while in the story of Arjuna throwing aside his moral dilemmas and entering wholeheartedly into the slaughter of the battlefield, they read an endorsement of a militant, aggressive Hinduism that did not shrink from violence, especially against minorities and the poor.

Arindam began the elaboration of his Indian theories, naturally enough, by pulling a red Gita out of a pocket. A Planman photographer ran forward to capture the moment and, for the first time in the session, the audience began scribbling notes. Arindam turned to the laptop as if he were going to boot Krishna into existence, but the laptop refused to comply.

As one, two, three, and then four people hurried to help, Arindam gave up, turned away from the computer, and faced the audience. He began a performance that was part television soap and part stand-up comedy, hamming the roles of housewives, husbands returned from work, fathers and babies, management trainees and their bosses. The audience burst into laughter as each little cameo played out.

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