Sunaina: I was assaulted
Sunaina Roshan sister of actor Hrithik Roshan alleged that she was assaulted by her family since she is in love with a Muslim man.
She claims that her brother Hrithik hasn’t helped and he has broken a promise to provide her with an apartment of her own. “Hrithik had promised me that he would get me a house of my own, wherever that I wanted in Mumbai, but he has not done that. When I found a rented apartment for myself in Lokhandwala, he said it’s too expensive for me. Is 2.5 lakhs rent too expensive for him?”she told a Mumbai-based website.
She also said that her parents have limited her finances.
‘I would’ve definitely been disappointed if any other actor would’ve recreated Tip Tip Barsa Paani, a song which has been synonymous with me and my career and I can’t thank Ratan Jain ji enough.
At times you realise, we may have come a long way but we also go back a long way.’
—Akshay Kumar
Actress Priyanka Chopra Jonas, Unicef Goodwill Ambassador for Child Rights, marked World Refugee Day with a special message. She pledged her support to children who have been forced to flee their homes. She even shared a video of herself from her meetings with children at refugee camps on social media.
“The truth is quite simple, the future lies in the hands of the children of today. But the harsh reality is that there is an entire generation of innocent children growing up without any future prospects. These children are affected by displacement due to conflict and emergencies in their various regions,” says the actress.
Writer & Courtesy: The Pioneer
Jayesh Pawar embarks on a journey that takes him through a world menu
Of late, Aerocity has evolved as Delhi’s favourite party spot, which perfectly caters to those who are looking for a place to simmer down over weekends. An entrant which has been making waves, stiffening up the competition further is The Imperfecto Shor Café at Hotel Pride Plaza. The place promises to transport you back to the Renaissance era. Designed by Nuria Rodriguez Parra, the decor of the Goth-inspired café borrows heavily from the Romanesque architecture from 17th to 18th century. Brick walls, broken windows, vintage portraits, hand-made, rustic chandeliers and large castle doors, this place is delightfully nostalgic, yet has a new-age vibe. Finally, the industrial detailing and warm hand-made lights impart the café a distinctive character. There is no dearth of theme-based cafés in the city but Shor’s attention to detail is certainly creating some shor (noise) among the guests.
The carefully-curated menu by chef Akansha Dean took us on a journey through Europe, America, Asia and even India, giving heart-felt comfort food. What caught my attention were the names of dishes which were inspired by 18th century iconic poets, rulers and famous scandals.
To beat the heat, I began my meal with Helen Charlotte’s Heavenly Spirit, a watermelon salad. Served in a bowl made of engraved marble, the presentation of the salad was appealing as the brightness of the watermelon was in stark contrast with the background. Though the Greek combination of watermelon and feta was classic, where the tanginess of the cheese was balanced by the sweetness of the fruit, it was the raspberry dressing that gave it a tarty twist. The perfect fruit-cheese-arugula combination whetted my appetite for more.
Next up was the Royal portal, which were classic Spanish croquetas with chicken filling. Served in a round white plate with onion dip, the presentation was dim but the first bite was enough to reveal that they were cooked to perfection. While the roll was crisp on the outside, the filling of chicken was soft and creamy. The marination of the chicken was well-done as it imparted the flesh a creamy texture, with a bit of tanginess.
Having dug deep into the Mediterranean fare, I travelled all the way to Asia in a matter of minutes. Since the place has an eclectic range of vegetarian and non-vegetarian sushi, I decided to order a spicy salmon roll. The dish arrived on a black rectangular tray, perfectly showcasing the vibrant colours of the different elements. The portion size was more than adequate as eight pieces were served in a single portion. I loved the meticulous preparation that went into each layer. The cucumber and onion bits topping added crunch to each bite. I devoured the dish as it was like an explosion of multiple flavours in my mouth.
I ordered Aamchi Aam, the bartender’s recommendation. The drink scored high on presentation as it was served in a bronze glass, resonating with the café’s theme. The drink was a joyful mix of aam panna, litchi juice, served with a pinch of kaffir lime. The almond pistachio mango ice-cream floating on the drink was like cherry on the cake. The tanginess of the panna and the sweetness of litchi juice created a perfect balance where neither of the two strong flavours overpowered the other.
Moving to the main course, I stuck to my Indian roots and ordered Dal-e-shor and Shor’s royal murg makhani, the restaurant’s version of classic North Indian butter chicken. There was butter naan to accompany. Served in identical golden bowls, the dish’s flavours remained true to the original. The taste reminded me of a typical Punjabi dhaba, a rarity in cafés.
Finally, it was time for desserts. On the chef’s recommendation, I ordered the Quinoa fruits pudding. To give the dessert an Indian touch, the high protein quinoa was cooked like a kheer which was topped with seasonal fruits like mango, apple and melons. The flavours of the fruits imparted the quinoa a mild sweet taste. Indeed, the dessert was a refreshing and fruity ending to my meal.
While the food scored full marks on its satiety value, we loved the service. The staff was professional and well-trained. And this courteous behaviour was not confined to the serving staff. Every now and then Chef Akansha took time off from the kitchen to interact with guests in order to make them more comfortable and find out their preferences. So let us create some shor.
Writer : Jayesh Pawar
Courtesy: The Pioneer
The do-not-touch policy no longer applies to artworks as they evolve and change with the participation of the audience, says Chahak Mittal
It was on a summer evening in 2013 when a video, showcasing a group of performers who presented a flashmob recreation of Rembrandt’s famous painting The Night Watch, surfaced on Youtube and went viral overnight. One must remember that this was a pre social media sensations world. The stunt was organised to coincide with the return of the painting, which is considered one of the Dutch artist’s greatest works, to Amsterdam’s Rijksmuseum.
Fast forward to 2019 and you have “Public Radio,” a unique art installation at District Hall’s outdoor plaza in the Seaport, Boston’s home for innovation. Standing 10 feet tall, elegantly sloped along at its front face with the soft rainbow LEDs glowing behind half inch of frosted acrylic, it’s an innovative way to activate a public space using a combination of interactive art and technology. You can turn the metal-rimmed dials to tune to a different station as the corresponding LEDs light up on this giant radio inviting the public to play with and listen to the latest broadcasts and music. Built by New American Public Art in the Microsoft Garage at the New England Research and Development Centre, Public Radio is an interactive art installation with microprocessor parts and a futuristic look that encourages a spirit of community, working and grooving together.
In interactive art works, where the art itself engages with the audience at a public space, it is presumed that the viewers are no longer passive onlookers but the ones who complete the work’s purpose through participation. These could also be deliberately left open-ended in order to make it more understandable and readable for the audience and draw them into what was once considered erudite and classic.
Street art
From art in caves to graffiti and sign illustrations in churches, fresco in mosques and tombs, Madhubani art to miniature paintings on fortified walls, the age-old tradition of street art is the first one that comes to mind when we talk about art in the public space.
Giulia Ambrogi, co-founder and curator of the St+art India Foundation, talks about how street art directly engages the population, triggering conversations and beyond the confined walls of a gallery.
“The idea was to move away from the elusive nature of the uptight art gallery concepts that the cities offer. It’s important because cities need identities. The great power of street art, the skills and the sensitivity of the artists speak, everywhere they go they try to respond to the local narratives. Street artists have to keep in mind a lot of things while making the murals — the architecture, texture of the wall, specific city in which they are, country, colours around them, the people that they meet, area that they breathe in, flora and fauna, everything should merge together in conceptualisation and eventually execution of their pieces.”
She feels we live in a time and age where people are disconnected because of the fast chaotic life, “There should be some moment in which we recognise ourselves in our own cities.” For instance, artist Dattaraj Naik, who recently painted one of Goa’s biggest football-themed murals, where a child is sitting in a classroom and thinking about football, which is below his feet. The artwork aimed at representing the common aspirations and feelings of school students who try hard to keep a balance between academics and sports.
Artist and illustrator Rohan Chakravarty’s Gaj Yatra was a series of comic strips displayed at the Mandi House Metro Station, engaging people and triggering conversations around vanishing habitats of elephants.
Time Changes Everything at the Lodhi Art District changes with the angle of the sun. Come at noon to see the wall’s metal cut-outs cast perfect shadows that spell out words like “hope”, “ambition”, time”, “people”—all concepts that shift meanings over time. At 6 pm, the shadows are melting; at night or early morning, there are none at all. It is a commentary on the nature of street art. which is ephemeral because once a piece has been made, it is abandoned.
Flashmobs
At the Kiran Nadar Museum of Art (KNMA) recently, a group of performers dressed in the costumes from the 19th century, who casually converged in the central atrium of a mall and broke into a dance in the city. The presentation aimed at recreating artist Raja Ravi Varma’s Portrait of a Family, where the artist captures a South Indian family in their respective attires.
Kiran Nadar, chairperson, had earlier said that since Indians are deeply fond of dance and music, so what could be a better way to connect with the public for spreading awareness for Indian art heritage?
Tactile art
In most art galleries and museums, the ‘Do Not Touch’ rule is non-negotiable. But there could be some people who can’t resist flouting rules. However with more innovative art coming to the fore, the rule doesn’t really stick to them by including people in the pattern that the artwork follows.
For instance, the Mirror Box at the Museum Centre in Krasnoyarsk, Russia creates a never-ending myriad of reflections of everyone who peeped inside the box. On the other hand, Alan Parkinson’s Luminarium installation allowed the viewers to step inside a circular pavilion surrounded with vibrant colours and soft lights. It is important not to confuse these for 3D artworks.
Anahita Taneja, director, Shrine Empire, tells us about their recent curation at the gallery, which allowed viewers to engage in a direct conversation with the artwork on display.
The installation titled, One Thousand Tears by artist Suchitra Gahlot, asked a thousand people from the audience ‘Why did you cry last?’ Their one word replies were labelled on to a thousand small vials. They were then filled with a saline solution that matched the exact composition of human tears. An accompanying use and throw book had the one-word replies printed on tissue paper. Once read, the answers are lost forever.
Taneja says, “It was so beautiful to see how people were constantly getting attracted towards the work. It showed how interactive works make a difference to people, especially the artwork that is touchable. Other sculptures and paintings in a gallery are mostly looked at and forgotten but such works stay within the person even when s/he walks out. They would not only be engaged with it at that time, but would also tell the story to people they know outside.”
Augmented reality
Priya’s Mirror, the art exhibition, curated by art connoisseur Mukta Ahluwalia, brought together a range of artworks and augmented reality installations by four different artists that aimed to invoke in people a sense of responsibility towards the society. The artworks were divided into four chapters, featuring India’s first female superhero, ‘Priya Shakti.’ She is a rape survivor, who helps a group of acid attack survivors to find their strengths and overcome their fears — finding similarity with the way she had conquered her fears after the brutality she went through.
One of the visuals had a young girl, in a quiet land, sitting on the back of a tiger. To make it appear real, one had to install a free application on their phones called Blippar, and scan the image through their phone’s camera. The app would activate the digital programme, which in turn would allow people to see the images moving. Here, the girl sits on the back of the tiger and flies away.
She explains that since art is capable of instilling in people a sense of responsibility, then “why not make it more interactive through various media we have today?”
Astral, by Australian illustrator and designer Stuart Campbell (popularly known as Sutu), features a sequence of 21st century tableaux vivants that give participants the sense that they are actually stepping into the paintings.
In another illustration, Dark, by California-based digital artist Steve Teeple, technology and organic matter converge within an inverted, globular space where a few multi-coloured lights pierce through the uncharted inky black terrain of deep, dark space.
Writer : Chahak Mittal
Courtesy: The Pioneer
Sakshi Sharma Anu Menon, popularly known as Lola Kutty, asserts that regional accents are bound to influence the way we speak English. By Sakshi Sharma
A centre parting with braided hair, profusion of jasmine gajras, a small bindi on her forehead, Kanjivaram saris teamed with heavy gold jewellery and a strong as can be Malyali accent. If you put out this description to a 90s kid, nine times (or maybe even 10) out 10, the answer would be Lola Kutty.
Anuradha Menon, who played the much-loved Channel V VJ, will be seen in a stand alone comic show on Amazon Prime called ‘Wonder Menon’. The show is a collection of her observations, a style that she has favoured since she started out. Through this, she aims to boldly expose the absurdity of life and language with humour and multi-lingual jokes. “In this show, I have tied together all my observations and writings, which luckily make that one hour special, really special,” she says.
Her style of comedy is observational coupled with humour rather than one where she delivers traditional punchlines. With Wonder Menon, Anu has exhausted all her writing for this Amazon show so much so for any other programme she will have to start from a scratch.
Anu started comedy in the 90’s when it did not feature high on the list of ‘the thing’ to be pursued. She paved her own path while combating challenges that are inherent in a field that is new and relatively unexplored. Talking about the evolution of the comic industry, the chirpy VJ cum actress says, “I think in the current scenario, there are far more platforms to showcase your talent and connect to people”. In keeping with the times, she feels, if she was doing Lola Kutty today she would have gone through the web route as opposed to television. “The game is changing as there are so many web platforms which have created more avenues and opportunities for stand-up comedy to flourish as well other different kinds of stories.”
For her, comedy is merely jokes and does not convey any lesson. “Everyone portrays comedy differently. Some people are into dark humour, others do lighter comedy while still others are more political. Each one of us have different strengths and this is what makes the comic industry appealing. The various voices offer different perspectives which perhaps one might have not thought about,” she says.
In India, off late, it is the political satire that has been making waves. Anu feels that everyone has a different route to humour. “People believe, with humour, the point is understood smoothly and it also lightens a heavy topic,” she says.
Menon has been accused of making fun of the Malayali community because she imitated the accent. However, she counters saying, “In this country we take offence easily. For me, stereotypes are there for a reason, because they are true. In fact, I don’t think there is anything wrong with people having a strong regional accent as the way we speak our regional tongue possibly infiltrates our English accent.” She strongly feels that we should not be apologetic about the way we speak. As she was playing a character from a particular social setting, it was essential for her to zone out of Anu in order to play it convincingly. She is also the last one to pay heed to what people think about her. Asserting that it is fundamentally impossible to please everyone every time, she is glad that because of her some people feel that Malayalam is a cool language.
With respect to films, she laughs and tells us, “I would not fit into the role of a conventional heroine because I would never survive in this industry as she is a healthy Malayali girl.”
Anu has always given primacy to stage, for a reason. “The stage has always been my first love and it will always be the focal point of my life,” she asserts.
Since Lola Kutty was an iconic act, does she have any plans to reprise it? “I would be happy to to do so if people want to see Lola back in 2.0 avatar. It is always overwhelming to see people remembering Lola,” she says with a sigh.
Writer: Sakshi Sharma
Courtesy: The Pioneer
Olga Bogroff’s small suite is testament to the genesis of Indian contemporary art in Paris. By Uma Nair
Picture this, artist Ram Kumar arrives in Paris at the end of 1949. He has a few works with him, which were done in India. Among them is a work titled Twins. The price of this gouache on paper is Rs 65. Another is called Why Can’t I Get Sleep, which has a romantic reverie about it as you see a young maiden reclining with a woman who is sitting next to her in companionship, perhaps presiding over the travails of the world. The work belongs to Olga Bogroff, a gallery persona in Paris, who used her home as a gallery for young unknown artists. It was called Galerie Olga Bogroff and these works today form Grosvenor’s stunning South Asian Modern Art exhibition.
Romancing the figurative
Kumar’s works are a reflection of an early romance with the figurative and a study on female studies that unravel like jewels from the yesteryear. Twins and Why Can’t I Get Sleep are two succinct works steeped in history. This is perhaps the best time to go back in 1993 to Ram Kumar’s words as he recalled, “Perhaps every artist starts with the figurative because when we go to an art school, there is a model and we have to do drawings, learn anatomy and all that. So perhaps it is a very natural thing, along with landscape, at least for me. The reason I made these sort of paintings, was that I was a bit inspired by the left politics at that time and I was inclined towards the tragic side of life. It all started here, becoming more mature in Paris. And even if I had not been inspired by politics, perhaps I would have made the same kind of paintings because that is a part of my nature some sort of sadness, misery or whatever it is. Also my short stories are always towards people who have suffered.”
Modern women
Twins has two female figures, their saris billowing in the breeze, while Why Can’t I Get Sleep has a reclining young woman with a bare midriff, eyes wide open resting in leisure while another sits next to her. The division of the space into a grill and the foreground textured with small strokes speaks of both simplicity and sophistication. In this composition, Kumar creates a tableau vivant. This painting combines the realism and cultural symbolism of a social construct with the contrast of two complexions — the bronze skin and the fair toned lass, who is unable to get sleep. Indeed it also reflects a romantic dalliance in the features that Kumar created with a softness and feminine aura that sparks hope, and the subtle play of pensive poise.
The third figurative is another head turner from 1949. Sorrow has a number of women with the elongated dark faces and hollow eyes. The drapes on these women are indeed a testimony to modernism and the beauty of weaving in a language that was ahead of its time. Even when he created figurative, Kumar had a deep understanding of fluid lines, fervour and creating an expression in his triangular faces that was unique to its time and place. Kumar was acutely aware of his urban surroundings and the sense of togetherness in sorrow is the mood that he binds in this historic image. It is an insight to both technique and treatment. In this image of women in sorrow, Kumar treats the feminine figures with a sombre tenderness, invoking the idioms of both sympathy and sorrow. It is the mood of the gathering and the grace in sadness that transcend their own circumstances.
While looking at these epic early works one recalls the words of India’s greatest abstract guru, the thinker, the critic and the genius J Swaminathan when he wrote in an essay on Trends in Indian Modernism, for the Lalit Kala Contemporary published in 1995.
“Ram Kumar, an artist born and brought up in the atmosphere of the city middle class, looking into the empty souls of people ground down by the gruelling run of the daily mill, looking into eyes that have lost their animation, eyes that are windows opening into nothingness, is again a painter who has relied on his personal vision for his artistic endeavors, sad drooping figures, rendered with childlike directness, lingering like shadows in gloomy surroundings of gaunt and empty streets and houses.”
And then there is the brilliant observation of Shyam Lal who wrote, “As a young artist, Ram Kumar was captivated by or rather obsessed with the human face because of the ease and intensity with which it registers the drama of life. The sad, desperate, lonely, hopeless or lost faces which fill the canvases of his early period render with pathos his view of the human condition.” This small suite belonging to Olga Bogroff is the stuff of history, the testament of Indian contemporary art’s genesis in Paris and the connection of great French ambassadors and diplomats who played such a seminal game in the growth of Contemporary Indian art’s masters The Progressives.
Writer: Uma Nair
Courtesy: The Pioneer
Sumeet Vyas has romanced Kareena Kapoor Khan, played goofy roles in web series and is now looking forward to portraying Ram Jethmalani in The Verdict: State Vs Nanavati. By Siddhika Prajapati
He has no second thoughts while answering any of our questions. Nor does he hesitate or fumble. He is quick and smart while at the same time has an air of of detachment around him despite the recognition that he has been getting for his work of late. Actor Sumeet Vyas, who has been seen across different platforms — films, TV and web series — is devoid of any regret or guilt about his life or the kind of work that he has done.
It is the actor’s confidence and self-conviction that has got him so far. Vyas is set to play an intense role in Ekta Kapoor’s forthcoming web series, The Verdict: State Vs Nanavati, which is a switch from the goofy roles that he has been portraying recently. He took it up as it was a long time since he found a story which offered something different as he had been getting roles that were similar to TVF’s Permanent Roommates. So when the show’s director approached him to play lawyer Ram Jethmalani, he was surprised and overwhelmed at the same time.
Based on the famous case where KM Nanavati, a much-decorated naval officer shot his wife’s paramour, it has had cinematic outings in the past too, including Yeh Raastey Hain Pyar Ke (1963), then Achanak (1973) and the most recent one being Rustom, starring Akshay Kumar. The case in 1959 put the spotlight on Jethmalani, who was the prosecution lawyer while the public sympathy lay with Nanavati who was supported to the hilt by fellow Parsi Russi Karanjia’s tabloid, Blitz. Nanavati was eventually declared not guilty by a clearly partisan jury vote of eight to one. The larger outcome of the case was that the jury system in India was scrapped forever.
The actor says that there is a method to choosing any role. “I agreed to take up this character as I was bored of doing those ‘nice guy’ roles. I wanted to play someone with characteristics that do not define me in real life. Also, the story at its core is so powerful that any actor would want to take up the opportunity.”
It is the first time that Vyas is being seen portraying a layered role unlike the linear characters that he has been seen in, be it in Tripling or Official CEOgiri. When it comes to preparing for any role, the actor doesn’t believe in getting into its depth as this would affect his personal life. “I don’t believe in living the character. Once the shot is done, I immerse myself in my life. It’s very important for me and for my process of preparation to disconnect from the character once I have wrapped up the role,” he elaborates.
The Veere Di Wedding actor accepts that playing a real-life character, especially someone as dynamic as Jethmalani, was a huge responsibility. He read his biography and watched video tapes as a part of his homework for the role. He adds, “It’s very important to me to know exactly where the character is coming from. I don’t apply my personal logic into the character’s behaviour or the motives behind his action. I prefer to be natural without stressing too much.”
Talking in-depth about the character, the Parched actor says, “For any actor, the complexities of each character are an interesting aspect to scrutinise. No one can completely understand someone as multi-dimensional as Jethmalani. Neither I nor anyone can term him unfair or even reasonable. Thus, it’s an intriguing experience to play him on screen.”
The actor is one of the reasons we’re glued to YouTube. Back in 2016, he made us notice him with his substantial role in the film Parched, but it was his portrayal of the character Mikesh/Micky in TVF’s Permanent Roommates that garnered eyeballs.
Meanwhile, Vyas does not believe in comparing the digital platform with the silver screen. “As an actor, I personally, don’t find any difference. I will invest the same amount of efforts in the film which I would put in any other medium. The only difference is the platform through which the story is conveyed,” shares the actor.
According to the TVF star, web shows can never replace cinema. He agrees that it has emerged with new opportunities and its market is expanding. But cinema has its own essence. “Cinema has a vast reach whereas web series are quite personal. One can enjoy the film with family but series offers one the freedom to experience it alone,” he adds. Vyas has also written Yashraj’s web series Bang Baja Baarat, which was again a huge success among youth.
Besides acting and writing, Vyas has directed plays. He joined theatre at 17 which helped him grow up as an actor. “The content and the people with whom I work with satisfy me while choosing any project. For me, the medium is inappropriate. Whether it’s for stage, web or silver screen, I make sure that it has to improve me as a person. So, what I enjoy and what I don’t is the process which makes me decide on taking up any project,” Vyas says.
The show is expected to release by the end of this month.
Writer: Siddhika Prajapati
Courtesy: The Pioneer
Actress Dia Mirza says humans constantly try to protect themselves rather than acknowledge the challenges and painful experiences that others face. She tells Chahak Mittal how her new web series Kafir helped her change her perspective on life
What if you are in a situation where you are punished and brutally tortured for something that you are not responsible for? Or how do you react if you are imprisoned for seven years for a crime you did not commit? You have no way to get out and nobody to go to for help. You are in the most helpless situations of all times. Isn’t the very thought of it terrifying? However, what one needs to understand is that such situations are beyond our common imagination until they are felt within their veins.
When actress Dia Mirza heard the script of her latest web series Kafir, which will be streaming on ZEE5, she got goosebumps and also, tears. “Did you experience goosebumps when you watched the trailer?” she asks me with curiosity in her eyes, while I nod a yes.
“That is exactly what happened to me when I heard the narration from Bhawani Iyer (screenwriter). And when I got to know that the story was inspired by a real person’s life, it was all the more reason for me to do it. I was very motivated and challenged as an artist to take it up. It is the first time I have hungered for a part like this,” she says and goes on to add, “My core was shaken. I felt like it was the best thing that happened in a long time. The story is so timely and necessary because only a few people are speaking the language of love right now and the world needs it.”
Set in the backdrop of the border conflict between India and Pakistan, more than the geographical boundaries, the story covers the journey and life of a 21-year-old Pakistani woman Kainaaz, who, because of her circumstances, jumps into a river and is washed ashore on the Indian side. She is labelled a militant and imprisoned for seven years during which she births a child on Indian soil. When journalist and lawyer Vedant, (played by actor Mohit Raina), discovers her plight, he decides to help her get justice. “So the story is about how she gets there, why is she there and how was that child born. It talks about what is the idea of freedom, identity, and most importantly, love,” says Dia.
When I get curious to know more about the story, she laughs and says, “Let me hand over the script to you so that you know it even before the show airs.” However, it’s the way she tells a story that makes you want to keep listening to her. It’s her eyes, with their deep empathy, that tell the tale and at the same time revive memories of Reena from Rehna Hai Tere Dill Mein (2001).
Talking about the show’s theme, she says, “It explores prejudice and how the world is full of it, whether we speak about prejudice between two nations or against religions, class and culture. But also prejudice that we have for ourselves. And in a way, we are fortunate that it was not made earlier. Since right now is actually the perfect time.”
Kafir was intended as a feature film, the script of which was written 13 years ago and “it took Siddharth (Malhotra, producer) eight years to finally decide to tell it as a web series. With that, we got the luxury of showing the story through eight episodes where we can show the narrative with all its intricacies and nuances. There is more time to invest in the humanity of each of the characters and their humaneness. I don’t think the film would have done justice to it. I am thankful to the universe that it chose us,” says Dia as she talks about how online platforms have an advantage when it comes to telling stories with greater depth.
It really struck a chord within Bhawani when she met Shahnaaz, the woman who is the inspiration, and heard her story. She explains, “She said there were three things which struck her — her sense of peace, calm and grace, despite her experience. Also, patience plays a very important role. And one thing that I would like to lend to this narrative was the ability to love.”
She feels that the story had had its own journey and took its own time to reach where it is today. “However, it has been an amazing one. It has come out so beautifully. When Bhawani saw the first bit of the presentation, she said ‘how did you guys know what I wanted to show and say!’ That was just divine. There could be no other word to describe it, for it is so powerful when a writer’s story comes out in the same way as s/he had imagined.” And after a moment’s notice, Dia exclaims with a smile, “You write, you would know.”
There is one thing that the actress wants people to feel and understand here, while watching her character — the role and importance of empathy. She says, “It is important for you as a human being to allow yourself to feel what that person had actually felt. We did some exercises to open our hearts, minds and bodies to experience the most in-depth empathy. We attended workshops to allow ourselves to feel and express those emotions because as human beings, we try to protect ourselves. We don’t go to certain places or allow certain emotions to ever emerge because we feel they weaken us. The whole effort of the workshop was to really bare our souls to the absoluteness and allow ourselves to experience everything that this person felt. So it makes you feel the part as opposed to acting the part.”
It’s also the other team members, cast and crew, who play a constant role in bringing out those emotions, she feels. “When you are a team that is so encouraging, whatever the emotion is, whether its your co-actors, Mohit or that six-year-old child (Dishita), who is the most aware kid I have ever come across. She never acted. She was there in that very moment, feeling whatever she was experiencing and bringing that out and expressing herself then and there. And then there is director, Sonam Nair, who is constantly facilitating it. It gives you the freedom and room to just be. She never let us feel the presence of the camera. It almost felt like she was bearing witness to what is happening to us,” says the actress.
About having a kid around such an intense atmosphere, she says, “It made all the difference.” She goes on to add, “As adults, we struggle to present something in an honest way, we might not be present here and now. But that child is so present. It’s like she was born of meditation,” (laughs).
She says that Dishita made her a mother. “You don’t need a biological child to feel what a mother could be. She really evoked the most intense maternal instinct in me. I have always been a nurturer and care-giver for my friends and family, and fans, but what that kid made me feel was something else. I really went into withdrawal and couldn’t stop crying on the last day of our shoot. I didn’t feel like I could live without her. And she still calls me Dia Ammi while we are talking on Facetime (laughs).”
While one would think about the story and how it has been presented after watching any film or show, one often ignores what goes into making it. She says, “It all begins with writing. Only after that other things fall in place. There are costumes, which are a very important factor. It matters a lot that what clothes you are wearing, how much mud you are pushing into your fingernails because there is no manicure in jail. You are engaged in hard labour everyday. All these small things don’t come into sharp notice but go a long way in building up the character and the show.”
She talks about how Kainaaz has changed her life. “I am deeply impacted by this role. There are two things that I have discovered — Kainaaz has empowered me and made me realise everyone’s life has challenges to a high extent. It’s only your response to those challenges that makes the difference. After this role, a lot of people ask me how will I get out of that experience or leave Kainaaz, but I don’t want her to leave me ever. It has transformed me as a human being.”
Lately, there has been a lot of Kashmir-related content that vividly portrays the conflict, the most recent example being, No Fathers in Kashmir and Raazi. She explains that it is because “it needs to be there. Cinema is one of the biggest media of change and if these can impact the relations between India and Pakistan even a little, why not?”
The actress, who is known for her social work like working for cancer aid, PETA, Cry and Greenathon, and has also served as an ambassador for the WTI and the goodwill ambassador to the UN, hopes that people through these stories realise that “hate exists because of fear. We just need more acceptance and love towards each other to make it a better world.”
Photo: Pankaj Kumar
Writer: Chahak Mittal
Courtesy: The Pioneer
Young social entrepreneurs are using the language of tourism to redefine the contours of the Thai economy, identity, outlook and culture
They could be rebels but they chose to be who they are, not ashamed or diffident or overtly proud, but honest and true to their grain. And in a country inured to a democracy that is now governed by militarists, they embody a new kind of nationalism and people’s power that’s subtly changing the socio-economic narrative of Thailand, demolishing every known stereotype and forcing a policy change. You could call them social entrepreneurs, who are rescuing vulnerable communities, redrawing the Thai identity beyond the sex-tourism gaze, lending voices to real issues and solving them in their micro-environs. These little dots of resistance to status quo may not qualify as protests or political movements but are more collective impacts of individual efforts that can no longer be brushed under the carpet. There’s an old Thai proverb, “The best time to plant a tree was 20 years ago. The second best time is now.” And this second best time is being spearheaded by the country’s globalised youth, who are back to reclaim their destiny on home ground, one that is buried in the legends of Siam. And they are talking in a language that everybody understands — tourism.
Beginning as a marine biologist, Sirachai Shin Arunrugstichai had a passion for photography and hoped to be a journalist covering stories like protests, religious events and politics in Thailand. But lost in a crowd, he applied his newly-acquired skill set to something that his years as a deep sea diver had taught him, the need to conserve marine habitats which Thailand was fast losing to over-tourism and the beach economy. His photo stories on what once was and what it has become are telling reminders of human depredations of natural resources that could spell doom for Thailand’s tourism sector, which constitutes 20 percent of the nation’s GDP. His work on Maya Bay, the sharks of the Andamans Sea, the plight of water nomads, the reappearance and disappearance of fish, restoration and regrowth of corals and mangroves has gone a long way in influencing tourism policy and getting a global audience. Thanks to him, the authorities have bravely shut down the fragile Maya Bay for four years, crumbling as it was under the weight of 5,000 footfalls when it is equipped to handle only 170 visitors at a time. As the sharks are slowly making their way back to the waters there, Shin asserts he isn’t against tourism as such but over-exploitation. He argues if there is no sustainable management module, then there would be no tourist economy or marine resources left for livelihood or humanity. “With our dependency on rich resources of the surrounding two seas, the marine and coastal ecosystems of Thailand have borne the cost. In accommodating mass tourism, which does not exactly serve the purpose of conservation of resources, and unable to prevent continuous degradation throughout the years, we need to change now. Some specks of islands have completely changed in five years and I document the changes to build a consciousness.” Shin now works closely with the Tourism Authority of Thailand, which for the first time is regulating the beach economy with permits, graded arrivals and limiting stay periods on the country’s pristine stretches. Shin’s narrative-driven photo stories are now what he calls Lego blocks that make for a larger story of exploitation and a new-age colonisation by greed. Even the Western tourists, who once turned Thailand’s sylvan beaches into an indulgent and hedonistic hideaway, are now being forced to reshape their ideas of the permissive and expansive Orient.
Then there is Lee Ayu Chuepa, who has turned Thailand coffee, traditionally very bitter and had with condensed milk, into a specialty brew with applied research and his US training on growing and roasting techniques. Born to the Akha hill tribe, the traditional growers of coffee, he wasn’t really committed to it till he completed university, worked for an NGO and learnt how curating specialty coffees could lead to high economic worth. So he turned agriculturists into agri-preneurs and made coffee, a crop he had grown up with, as a tool of community development. Having experienced the creature comforts that he obtained through a Western knowledge system, he realised they would have no meaning in a resource-scarce or depleted world. “Look at what our conveniences and aspirations have given us. We chased gains but look where it has landed us, a plastic sea, no water and poverty of our people,” says Lee, highlighting the growing Thai consciousness to save neighbourhoods, culture, communities and people without subjecting themselves to the approbation of others. Today Lee’s Akha Ama Coffee is both a national and international brand, with a chain of boutique cafes in Chiang Mai and other cities. Lee’s social enterprise is based on smart logic and the right market linkages. His farmers follow sustainable cropping methods, adapt them to customise the coffee to flavour profiles in demand, rotate other crops like avocado in lean times and directly sell to the buyer networks, primarily the tourism industry. So all boutique hotels in Thailand pick up curated batches of Akha Ama coffee from the farmers themselves. Not only that, Lee emphasises on creating a bio-diversity rich plantation that is complete with living organisms, birds and honey bees, allowing natural processes like pollination to improve the ecosystem for his coffee. He even consults R&D and knowhow specialists on growing best coffee varietals and ensures a zero-waste model where leftovers of a harvest are used as fertilisers, manure and even body scrubs for the cosmetic industry.
He has made every young person of the community a stakeholder in the coffee enterprise so that each knows how to present his/her products and where to sell. In short, the growers collectively dictate the market than the latter forcing them into a straitjacket. “We need to start a movement in our agriculture sector,” he says, his idea already cascading into local fruit buffets at every tourist hotspot, allied products at every shopping hub, plantation tourism and more importantly international branding of local fruits. The much sought after Durian is a Southeast Asian favourite but the Thais have marketed a superior variety that sells at $10,000 a kg! “The dream may not be as beautiful as you imagined, so I am motivated by new dreams. I have followed the ancient wisdom of banana leaves from our people. This is not a textbook project. More than money, social values matter,” Lee tells us, summing up the resurgent face of Thai entrepreneurship from the hinterland.
But in Bangkok itself, the luxuriant world city that’s ever ready to serve your every craving, its repressed underbelly has found a voice in Somsak Boonkam. He has been inspired by India’s Dharavi to conceive his own slum tourism project at Klongtoey and transform the community that the city hides under its flyways. “We are using our backward clusters as a powerful communication tool. We are not denying but owning up to the reality and helping tourists get a rounded perspective of this city that I was born in and not see it through borrowed lenses,” he tells us. He isn’t looking for sympathy or empathy but is pooling limited resources of small host communities and sharpening their collective competitive advantage in the booming tourist economy. He keeps it real, training communities to design travel packages based on local carrying capacity, skilling local youth as savvy tour guides, empowering women to set up craft and cuisine classes, forming collaborative clusters of communities which can share limited resources and offer homestay facilities. And he uses social media to market his tours to keep a steady flow of visitors.
His beehive approach has helped individual tour operators from getting wiped out in a highly competitive tourism market and developed a system of affordable tourism seen from an insider’s perspective of Bangkok, taking you to unknown sights and experiences. Financial sustainability is on the top of Somsak’s agenda, so he allows local hosts to keep 70 per cent of the tourism revenue and diverts five per cent for public projects such as education and waste management. Through his module, Somsak has been able to restore pride among local communities who tend to become subservient and faceless employees of the large hospitality industry in a global tourist destination like Bangkok or set up formulaic home-unit massage parlours. But with the slum redevelopment project, locals are for the first time becoming an equal stakeholder and owner of the throbbing tourist economy. With 36 million tourists coming into Thailand and Bangkok being its catchment area, locals continue to be excluded from a lion’s share of profits although they lend their resources, culture, heritage and skill sets to define the Thai experience for the world. Somsak is continuously upgrading his tourist packages and creating specialist groups of tour guides, transport operators, pricing experts and hosts. He has even created a system of an elected body to manage the community development fund that comes from tourism and allocate it for addressing the most pressing need of the community that he might have overlooked himself. That could be something as basic as creating a playground for children of the host community. This has encouraged a democratic participation in everyday lives among locals outside the semi-dictatorial governance structure at the central level. Somsak believes that tourism can be a sustainable business only if it enhances and does not replace local businesses and jobs. Thailand’s young brigade are applying the rules of Muay Thai and championing their own causes that are setting off a slow revolution of ideas and independence. Despite the obstacles.
(The writer is Associate Editor, The Pioneer)
Writer: Rinku Ghosh
Courtesy: The Pioneer
Great music, good food aplenty, guests from different walks of life and the underlying bonhomie between our two countries made for a memorable Russia Day
Classical music that was zesty and foot- tapping wafted through the air at the Russian Embassy as it geared up to celebrate Russia Day. The occasion commemorates the adoption of the Declaration of State Sovereignty of the Russian Soviet Federative Socialist Republic (RSFSR) on June 12, 1990. Given the long-standing relationship that India shares with the country, the embassy in Chanakyapuri was abuzz with guests from all walks of life.
Foreign Secretary V K Gokhale was the chief guest while Najma Heptulla, Governor of Manipur, was the guest of honour. Heptulla was also presented with the Russian State award called the Order of Friendship.
The food at the do was catered by the LaLit Group of Hotels. The highlight of the evening was the ensemble, STRADIVALENKI, which comprised four virtuoso violin, accordion, piano and double-bass players and played numbers that had the guests shaking their heads.
Nikolay Kudashev, Ambassador of Russia to India, while addressing the guests, reiterated that Russia highly valued and respected India’s rich history, culture and traditions. “We are very proud to note that one of the first major international initiatives taken by new Russia was the signing of the Treaty on Friendship and Cooperation with India on January 28, 1993 which reaffirmed the continuity of our unique relationship,” he said. He further elaborated that the Declaration of Strategic Partnership of 2000 laid the foundation of the modern relationship, which since 2010 has enjoyed the status of Special and Privileged Strategic Partnership that is immune to any changes in domestic affairs or vagaries.
He went on to add, “In 2018 our leaders, Russian President Vladimir Putin and Indian Prime Minister Narendra Modi, met twice for bilateral summits both informal and the full-fledged one and several times on the sidelines of various international fora.”
The ambassador also highlighted that Russia and India are time-tested partners in the military and military-technical spheres and recent years have seen a host of deals being signed for production of military equipment under the Make in India programme. “Economic cooperation is also one of the top priorities of our relations. The 2018 October summit in New Delhi resulted in a new series of important agreements and MoUs, introducing a new platform for aspiring entrepreneurs — Russia-India Business Summit, which showed eagerness and ability of our companies to enhance trade, economic and investment partnership.”
He was pleased to note that the relationship was not confined to the two governments as “it is gratifying and inspiring that people-to-people contacts and mutual affinity are the key drivers of the Russian-Indian friendship giving new impetus to the ever-expanding areas of our cooperation. This is the reason why we proudly declare that the amity between Russia and India has become a deep-rooted popular tradition in both countries.”
The evening ended on a high note for the guests and the delegates.
Writer & Courtesy: The Pioneer
Instead of discussing marital problems with relatives, Actor Cyrus Sahukar tells Siddhika Prajapati that people should consider visiting therapists instead. Breaking the trend of typical Indian family dramas dealing with love, hate, betrayal, separation and what not, Mind the Malhotras is a forthcoming Amazon Prime web series of a modern couple trying hard, with the help of a therapist, to figure out their never-ending disputes.
For actor Cyrus Sahukar, who plays the character of Rishabh, it’s a “flawless mishmash” comic family, which is very relatable. There are two categories of people, one fall under being normal and another being ‘screwy.’ These Malhotras have a blend of both. They are the craziest of all. Mini Mathur, who portrays the role of Rishabh’s wife, and Sahukar are working hard on their marriage so that the spark remains alive. In the mid of all this, they are also trying to be friendly yet disciplined parents to their three children.
Sahukar apprises us, “In India, marriages have become very complicated since the world we breathe in has too many options. Couples go through a lot of issues like communication gaps, compatibility problems and various misunderstandings. So, sometimes seeking a therapist works well since conversing with someone who is anonymous, helps in sustainability of the relationship.”
Mini completely agrees with Sahukar. She says, “There were days when people used to seek advice from their close relatives but now they have been replaced by counselors and therapists because their job is not to be judgmental while counselling.”
Like any other typical Indian relationship, Rishabh and Shefali’s marriage is also not breaking up. They are still in love with each other but they just don’t want to fall into the situations similar to their friends, who have recently got divorced. “Their therapist suggested them to try acting like the characters of Sholay. Mini played Basanti and Sahukar portrayed Thakur but failed wretchedly,” says he.
The series is an Indian adaptation of Israeli comedy drama, La Famiglia. Being single, Sahukar was suspicious whether he would do justice to the character of a father. What helped him to work on his character was to discuss about the parenting tips with his friends and family. He sarcastically says, “Rishabh became a father at the age of 19 so basically he has grown up with his kids. Actually, I think I have become an expert in parenting now and of course, would be getting loads of marriage proposals too.”
He doesn’t understand the unusual world of Indian marriage, in-laws, society, kids, etc. He finds Rishabh a fascinating character, who chooses indirect methods of educating his daughters about sex. It is definitely relatable as we have often gone through this awkwardness with our own parents on these subjects.
“It’s important for a father to share a similar comfort zone with their kids. Sometimes, staying busy with their lives leads huge communication gaps, which is quite common these days,” he adds.
Sahukar has done it all, be it anchoring, comedy or acting in Bollywood films — Aisha, Love Break-ups and Zindagi. He is mostly known for his comedy roles but won’t mind experimenting with various genres. He says, “ I want to get out of my comfort zone. I want to experience something intense and portray darker characters. I need to explore myself since I believe that aspect of me is so strong which is yet to be discovered.”
He apprises that anchoring is his first love and he can do it anytime but acting in a web series, which offers a funny take on the marriages of contemporary world was a whole new era of exploring relationships and bonds. “I remember when the therapist asked us (Rishabh and Mini) to converse with each other more often, we had nothing much to talk about. I believe the feelings of anxiousness exist in every relationship whether it’s a marriage or not,” says Sahukar.
It presents the idea of new ways of celebrating marriage and love to sustain in a cynical society. Mini firmly believes in marriages, she says, “There’s always an advantage when you are in love, due to which this show is exceptional. We can’t stay being a perfect soul-mate always. Any relation would only survive if there is constant understanding among those two people. I have seen single individuals, they are lonely and it’s not easy. So, it feels great when you know that there is always someone right behind you.”
Sahukar sums it up by sharing his experience with the cast. He says, “Mini and me are best friends, so we can work anytime. Of course, until and unless we would get the right script to frame both of us. Our Malhotra family is super cool and welcomes everyone whoever is trying hard to fix things rather calling off when they are not falling in place.”
Writer: Siddhika Prajapati
Courtesy: The Pioneer
A free sprit to entertain us, Karol Zine (previously Harshali Zine) is an Indian television actress. She has done her roles in various Indian television shows like Hitler Didi, Diya Aur Baati Hum, CID, Fear Files: Darr Ki Sacchi Tasvirein, Savdhaan India, Haunted Nights, Ishq Kills, Kismat Connection, Aahat, and Bhanwar.
Harshali Zine, born n brought up in Mumbai based Maharashtrian family. About my family, I have two siblings, an elder sister n younger brother. Mom n dad both used to work; hence our upbringing has been very independent. I’m fiercely independent individual living life on my terms n conditions. I’m a hotel management graduate; studied n worked in gulf before perusing my dreams to become an actor. It’s been 9years I’m working as an actor and it’s been an awesome journey so far. I have been part of Marathi, Kannada n Hindi TV and films. So far I have survived but now I want to rise above survival and do something life changing. Currently I’m awaiting my Marathi film release on 6th October called Bhavishya Chi Aishi tashi, I play lead role in it. It’s an astrological thriller. I intend to produce and direct films in future but for now I’m focused on acting.
With Inputs from Nithya Ramesh – Bureau Chief Fashion & Entertainment Desk, contact: nithyajs23@gmail.com
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