…but the cultural and creative sectors need financial help, too, as they have been ravaged by the impact of stringent public health measures imposed by the Govt to stem the pandemic
The cultural and creative sectors across the world have been ravaged by the impact of stringent public health measures, with performances and arts festivals cancelled, theatres, museums and cinemas closed and film and television production halted. The list, sadly, goes on. For the unorganised arts sector in India, the impact is worse than ruinous. In times of crises, artistes are often among those most affected. In addition to health concerns, this is a challenging time for many in our community as we deal with cancelled incomes, investments made for booking venues, paid advances to technical and other staff that cannot be recovered, cancellation of teaching and other such activities. In addition, trying to make plans for future dates for performances and festivals, resuming teaching and choreographic activities, while sustaining one’s creative inspiration, in these very uncertain times is very unnerving.
March has already had a devastating economic impact on India’s non-profit arts sector. Since the first State-level orders of cancelling all events, sports activities, anything that meant an audience or congregation, in early March, nixing of several scheduled events, festivals and performances has been reported across the length and breadth of the country. Many freelancers have seen their livelihoods disappear overnight. We are entering a period of unprecedented isolation and worry for people in the field of culture, be they artistes, stage workers, technicians or other workforce that come under the category of self-employed people.
As we know already, dancers, musicians, painters, sculptors and others involved in artistic pursuits are vulnerable and suffer from insecurities that come with the territory. The situation is unique and heartbreaking, because there are so many implications for everybody and there will be a domino effect on all those connected with the arts sector. Artistes are crying out for help from the Government in a bid to seek revalidation and have resonance.
As COVID-19 continues to spread across India, both Union and State Ministries of culture should sustain this sector as best as they can, so that artistes and organisations can continue to nourish the imagination of people across the country, both during the crisis and in the period of recovery.
Recognising that in the current pandemic, artistes as independent workers, arts organisations dependent on gathering groups together and creative people engaged in travel and exchange are especially affected, both Union Ministries of Culture and Tourism and State Governments should be proactive. They should be committed to creating, amplifying and sharing resources to support artistes and communities, always as part of their mission and at this time especially.
It is hard to understand why there has been a stony silence from the Culture Ministry. It’s almost as if we do not exist for them and/or, if we do, they do not care about the welfare of the sector they are mandated to be working for.
The Ministry should stand with the cultural and creative sector in these difficult times. Their duty is to do everything they can to mobilise further support from the Finance Ministry for these critical sectors.
While I welcome the Prime Minister’s Office’s and the Finance Ministry’s swift responses to aid and change rules to support a huge majority of Jan Dhan account holders, migrant labour, daily wagers, struggling businesses, Micro, Small and Medium Enterprises (MSMEs), deferred payment of EMIs, deferred filing of Goods and Service Tax (GST), claiming refund on taxes and so on, I, once again, appeal to them, to understand that cultural and creative businesses are also struggling and they need financial support now.
Our country is generally recognised as the arts and spiritual capital of the world. Our responsibility is to nurture and nourish our artistic heritage and deep-rooted culture and traditions and we can do this, at this time of crisis, only by valuing and preserving our living artistes, performers, teachers the cultural workforce and to give them assurances and hope that the Government stands with them to ensure that there is a semblance of stability and security in their lives until life reboots to “normal.”
The following remedial measures for the arts and culture sector can be considered by the Government. Set up a culture relief fund recognising that artistes and cultural workers exist within precarious work and employment conditions, often as self-employed or contract workers.
They are also the driving force of our artistic and cultural sector and the broader creative economy. The Government must also direct some of the Corporate Social Responsibility monies towards the culture relief fund and ensure that dedicated funding is available to the arts and culture sector as part of the recovery plan.
Artistes and culture workers, who have been hit hard by lack of earnings, could be given a basic minimum payment to sustain themselves for these three-four months.
Artistes, culture workers and non-profit organisations must be given the option of deferred filing of taxes until January 2021, reclaiming of Tax Deduction at Source (TDS) on fixed deposits and savings that they may have, deferred payments of rentals, deferred filing of TDS, GST(as the case maybe), electricity and such overhead costs incurred for maintenance of culture spaces that cannot operate for three-four months.
Plus, grants already approved for non-profits for organising conferences and festivals or individual events and programmes must be made available to such organisations by relaxing compliances until things slowly return to normal.
Those non-profit organisations that have been unable to conduct events, conferences, or performances due to the outbreak of COVID-19 should be permitted to utilise the funds for other activities that they may decide to conduct in future as per the timelines and curation, without imposing restrictions of compliances to a said financial year.
Artistes and culture workers should also be given health security for themselves and their families, should any be affected by the current pandemic.
Non-profits currently availing of repertory grant and salary grant be given funds to reimburse salaries of dancers, musicians and culture workers, who have not come for rehearsals because of the lockdown and to maintain the number of artistes and others on their payroll, so they are secure and can continue artistic pursuits.
Also, 20 per cent of the grants that they were given in the last two years, should be given to non-profits working in culture as “sustenance or maintenance fund”, for any of these factors that determine their situation: Employees who stopped working due to COVID-19 and do not have access to paid leave or other income support. Workers who are sick, quarantined, or taking care of someone who is sick with COVID-19. Staff who must stay home without pay to care for children that are sick or need additional care. Employees who still have their employment but are not being paid because there is currently not enough work and there is uncertainty of work in future.
Non-profit organisations understandably cannot continue to retain and pay staff salaries because of the uncertainty of funding and future work that will be available.
Many countries that have experienced the severe impact of Covid-19 have doled out benefits to the arts and culture sector, recognising its importance and valuing its contribution in upholding the creative strength of their nations.
It is time for India to act, too, and give some tangible benefits to the arts and culture sector that is engaged in propagating the intangible heritage of our country.
Creative capital has always been anchored by a rich spirit of community and mutual generosity and I hope that CSR for culture becomes mandatory to reboot the sector. Without sufficient funds, creativity and creation of works of dance, music, painting, sculpture and others will suffer. Therefore, continuing communication and exchange are crucial for all of us.
(Writer: Pratibha Prahlad; Courtesy: The Pioneer)
The film industry is staring at a Rs 1,300 crore loss and a revision of star values. Will this demolish star domination?
The Coronavirus is a great leveller. The once soaring jet-setters around the globe are now just like the rest of us, confined to the walls of their own homes. Who would imagine Hollywood star Tom Hanks getting it of all people while scouting for locale of his new film? Back home in Bollywood, reality has hit hard too as stars take to micro-blogging sites, using their home diaries and even plebeian activities to stay relevant. With all big ticket releases stalled and shooting schedules cancelled because of the nationwide lockdown, our film industry is looking at a projected loss of Rs 1,300 crore. What’s more, the sudden career break is not doing anything good to stars whose market value is decided by hits and misses. Elaborate film sets now lie empty and Mumbai’s mega tourist attraction, Film City, has cancelled all tours indefinitely. Big-budget ventures like Akshay Kumar’s Suryavanshi, Kabir Khan’s 83, starring Ranveer Singh and Deepika Padukone, and Salman Khan’s Radhe have been postponed. And with festival celebrations forever changing in a post-COVID-19 India, there is not much cheer around a big Eid or Diwali release. But Bollywood is not all about stars. There are character artistes, technicians, spot boys and logistics staff, who are all hired on a temporary basis, have no long-term security cover and are suddenly jobless. The distributors and cinema hall owners have all flatlined in their ventures. By rolling out 1,500 films a year, the Indian film industry is one of the country’s biggest generators of employment. As for debutantes, who have invested their all in a film career, this lull will affect their ability to get work as producers will prioritise pending projects first.
This time of crisis has also brought out the philanthropic side of numerous celebrities. Of course, the big fish in the industry are trying to do their bit for COVID-19 management. Akshay Kumar has donated a whopping Rs 25 crore to the PM Relief Fund. Kartik Aaryan has donated Rs 1 crore to the PM Cares Fund. Superstar Rajnikanth has donated Rs 50 lakh to the Film Employees Federation of South India to help workers who are losing their jobs due to the shutdown. Varun Dhawan has pledged Rs 30 lakh contribution to the PM Cares fund and Rs 25 lakh to the Maharashtra’s CM Fund. One would have expected Bollywood’s royal clans to do some more but at the moment they haven’t. Perhaps, this may serve as a reality check to their s/hero worshipping fans. Going forward, maybe brands need to think their hefty endorsement fee for some so-called stars. Only those who helped and contributed in their own way will come out with a stronger, more loyal fan following than those who did not.
(Courtesy: The Pioneer)
Should Kunal Kamra have been banned from flying? If so, why should rules be different for him and TV channels?
While flying on an aircraft, one expects some peace. Away from the pressures of daily life, on domestic flights at least, we are disconnected from the 24×7 world we live in. While you may jostle for the armrest with the person sitting next to you, on the whole, you expect your fellow passenger to respect your private space, just like we respect the personal space of others. Flying, therefore, has a level of civility that has gone missing 35,000 feet below on the ground. So, did comedian Kunal Kamra cross the line when he heckled television anchor Arnab Goswami on a flight recently? Yes. While Kamra himself released the video and claimed to have apologised to the crew for his actions, no matter how he justified them, they were completely and totally unacceptable. That said, the speed with which he was banned from flying was incredibly rapid and left no scope for redressal. There is a process to ban someone from flying that includes setting up an internal committee, waiting for its report, allowing a passenger to contest in an appellate body of the Civil Aviation Ministry and a court. Airlines just cannot follow a diktat from the Civil Aviation Minister. What seems to have irritated people on social media is how the rules were applied to Kamra when they have not been used against Goswami’s own news channel. His team members have historically boarded aircraft to harry passengers. There needs to be one rule for all. The Government needs to put its foot down and ban harassment of passengers onboard. Television cameras should not be allowed on aircraft and any channel or passenger who is found to be flouting the rules ought to be banned from flying.
The other reason for this is that flying is also an inherently dangerous mode of travel with terrorists finding civil aviation a juicy target. Had Kamra pulled his stunt in the US, he would have not only been on the “no-fly” list but also possibly inside Guantanamo Bay. While he is trying his darndest to become a martyr, the fact is that he knows exactly what he was doing. He should understand that he would have to pay a price. The Government, too, needs to know that it would be lionising him with its vengeance as he cries victimhood.
(Courtesy: The Pioneer)
Devika Daulat Singh of Photoink stands apart amongst gallery persona in Delhi. She has a quiet sophistication far-removed from other profit-pursuing self-proclaimed curators. At Photoink the finale for 2018 is a historic legacy which belongs to Vivan Sundaram, the nephew of Amrita Shergil. “These are letters and archival material found in an old trunk,” says Devika as she supervises the show’s display. Wakefulness and the Dream State: A Self-Study by Umrao Singh Sher-Gil consists of photographs, drawings and scholia (grammatical, critical, or explanatory comments, either original or extracted from pre-existing commentaries, which are inserted on the margin of the manuscript of an ancient author) from the Sher-Gil Archives is a delight to behold.
Album of archival images
There are small black and white images, typed rumination and letters and reflections from the enigmatic Umrao Singh Sher-Gil’s photographic archive. He was a man with the physique that is both enviable and perfect and his notes tell us about his practice of abstinence, his personal fears and his love for his family members. Indeed once you look closely at his notes as well as the images of Shergil, that are riveting, you know this archive is an album that echoes a parallel legacy. When you study the private nature of its contents you realise that unconsciously Umrao Shergil was every bit a mini-historian in the manner in which he constructed an archive that speaks of a modern proto-postcolonial subject in which the personal and the private both become elegiac emblems.
Shergil’s photographic universe
The Amrita images have about them a haunting gravitas as well as a forlorn, despondent grace that tells us that her father’s photographic universe began and ended with members of his immediate family.
The images tell us also that Umrao was a princely individual who was both a recluse as well as a fastidious eccentric. He was happy clicking self portraits in an age when the world hadn’t heard of such an exercise. Obviously he loved dressing up, kept an impeccable home and seemed to be very much in love with his own image as well as his mirror.
The book on Umrao Shergil published by Photoink tells us that the hundreds of photographs that he took of his family form an extraordinary record of the life and world of an Indo-European family, and are a valuable document in the archives of modernity — in the large sense of that term.
Amrita’s allure
Two images of Amrita call for scrutiny — the artist at her easel, Simla, India, 1937 and Amrita wearing a zari sari Simla, 1936.
The image which shows Amrita momentarily turning away from her easel, paintbrushes in hand suggests a hint of restlessness that shades into something more melancholy than in the more formally posed portraits.
Amrita is always impeccably and exquisitely draped, but appears sometimes wistful, sometimes elusively withdrawn, but nevertheless undeniably beautiful. Clad in a zari sari, she is the epitome of grace.
In his essay Deepak Ananth wrote, “Was it (melancholy) due to a growing sense of isolation that had crept upon her in the years prior to her sudden death in 1941? (The artist alludes to her intellectual solitude in some of her letters.) And yet the pictures she painted at the time hardly indicate a failure of artistic nerve. On the contrary, they suggest that she was poised to become a truly major artist. But that promise was to remain unfulfilled.”
Umrao a pioneer
After reading and studying the prints you know that Umrao Shergil deserves to be feted in history, to be seen as a pioneering figure of Indian photography, an auteur. He had followed Amrita’s self-transformations, probably as beguiled as she was, by the face she presented to the world. And yet many of the photographs taken in the late 1930s disclose a lingering disquiet in her expression. By figuring so centrally in her father’s photographic art, Amrita Sher-Gil helped forge a record of a hybrid culture, one that was nourished by both East and West yet managed to transcend both.
And one wistfully remembers Amrita’s words. “How can one feel the beauty of a form, the intensity or the subtlety of a colour, the quality of a line, unless she is a sensualist of the eyes?”
Writer: Uma Nair
Courtesy: The Pioneer
Actors who have chosen to speak out in favour of protesting students have been ticked off and taken off their assignments
Legendary Hollywood actor Meryl Streep has never been shy about her criticism of US President Donald Trump, calling him out publicly and even fighting his counters on Twitter about her being a two-bit talent. Way back in January 2017, she taught him the manners of public life, saying the “instinct to humiliate, when it’s modelled by someone in the public platform, by someone powerful… gives permission for other people to do the same thing. When the powerful use their position to bully others, we all lose.” So apt in India of our times. Of course, Streep continues her unhindered career run and Trump, despite a liberal-dominated film industry not mincing words about him, doesn’t make too much of it. He is very clear, he has his space, actors theirs. Even in its commercial blockbusters, Hollywood metaphorically plays up the motif of the gigantic tyranny of a supremacist regime by pitting it against the common man. However, things are different when it comes to Bollywood, which has been traditionally pro-establishment, except the arthouse and independent schools of thought, and through regime changes, has humanised respective ideologies and propaganda in its stories. It is this compliance that has even made it a tool of the Government’s soft diplomacy and a key component of the country’s cultural matrix. And it is precisely because of this cosy arrangement that the Hindi film industry has rarely raised its head against the establishment, be it in the public or private domain. In fact, actors have always been coopted, some of them becoming brand ambassadors, spokesmen and even members of political parties and benefitting from the tradeoff. So it is that despite conscience calls, they eat humble pie. Even bend in the face of pernicious bans on artistes across borders. And when they don’t, as evidenced by the recent support for the ongoing students’ protests, the establishment gently reminds them what they owe to it. The first casualty was actor Sushant Singh, the narrator of the hugely popular TV series Savdhaan India, who was taken off the assignment simply because as an alumni of Kirori Mal College, he thought he owed it to his origins to decry the brutal crackdown on Jamia students. Though the TV channel claimed that the show format had changed, it isn’t difficult to decipher that some strings were pulled to target him where it hurts most, his regular job. This is not new considering the establishment has pulled out “unfriendly” TV anchors overnight to create lapdog, propagandist news networks. Actor Parineeti Chopra, too, was dropped as brand ambassador of the Beti Bachao Beti Padhao campaign for supporting the students. And actor-director-producer Farhan Akhtar was ticked off by the police for circulating a rallying call on social media about a protest event in Mumbai. By acting upon a few popular names, the message is clear to A-listers on social media, that their star value is dependent on their public posturing. Who would know that better than Aamir Khan or Shah Rukh Khan, who have time and again been questioned on their loyalty as Muslims when they expressed auxiliary concern about the rising intolerance in India? As for the others, like Swara Bhaskar, Anurag Kashyap and Richa Chadha, they aren’t stars in the traditional sense, have an independent existence and have no qualms about blending with the larger fraternity of thinking artistes. Big names like Shabana Azmi and Javed Akhtar, who have been constant voices against identity politics and vigilantism, are more the intelligentsia than stars that the regime can do without.
Newer actors, who draw on Generation Next for their appeal, are questioning status quo and wondering why posing with the PM for a selfie was worthier than taking a stand. That at least nudged some people out of their comfort zone. Like Alia Bhatt, who may have tweeted an earlier version of our Preamble, but at least tried to highlight the binary agenda implicit in the National Register of Citizens (NRC) at a time when she is top of her game. A contrast with Amitabh Bachchan, who helped the Modi makeover by becoming a brand ambassador for Gujarat while he was still being accused of complicity in the 2002 riots there. He also campaigned for the Gandhis before and is now brand ambassador for several Government crusades. But he has an iconic hold on popular consciousness and instead of being cryptic in his tweets, is best placed to exercise some moral authority. He can afford to do that now. Mega stars down south like Rajnikanth, Mammootty and Kamal Haasan have dared to disrupt the conversation given their status. But Bollywood prefers to grin like a well-fed Cheshire cat.
Watch Trailer : https://www.youtube.com/watch?v=rvzWljqIRyU&t=2s
Indian designer Sonia Mehra has built her long-standing career in fashion by following her own set of rules. Known for her celebration of the exuberant, the embellished, and the over the top, Sonia has been rocking the fashion industry with her unique and original designs since the 1990’s. Her commitment to remain true to her one-of-a-kind vision has afforded Sonia continued success in an industry known for its fickleness. Her ability to change with the times while keeping her designs pure has not gone unnoticed. Since a very long time she has been portrayed as one of the leading designers and a lot has been written about her work and her accomplishments which has influenced a lot of upcoming designers to look at her work and creativity.
Her inspiration was derived by such artistic handy work of women of Gujarat and Rajasthan. With all the interest and passion of a designer, Sonia took to the skies and flew around the world to study Fashion and look at the work of various designers around the world. In 1990 Sonia officially entered the Indian Fashion scene and soon established herself a name in being one of the top designers in the Bridal wear segment, Branding in India in the early 90’s was not all that popular and just a few names were thrown about in the circle who know what branded clothes really meant. Sonia decided to give it a go at branding and she started her own label - “Sonia Creations by Sonia Mehra” in the year 2001, which soon was changed to a personal signature name “Sonia Mehra “. The personalized signature name soon became her brand or so-called brand image with a formulation which said: Sexy silhouettes, hippie-inspired flowing fabrics, whimsical detailing and most importantly, a fabulous fit.
Looking back on her successes, Sonia diversifies her future collections based on what was missing in the past and the need of the current. Priding herself on the ability to design for anyone, Sonia features everything in Women’s wear from Bridal wear, Sarees, Indo-Western Dresses, Salwar-Kameezes, Tunics & Fusion wear and onto the changing fashion trends which are ongoing, of late she has also introduced accessories with complement with her collection.
Future Plans of Sonia
After her short course in London, Sonia is considering new fashion avenues, but wants to build her business slowly by taking time and keeping abreast of the happenings in the world of fashion, she wants to build her brand where she is known to be creative with new designs and styles which keep on changing from year to year.
Truly luxurious, infinitely wearable, minimalist approach and an appeal to modern aesthetics, the brand is fashionable, with key colours, with soft feminine touches per use of draping Her dream is to further pursue her dreams and move forward with her label which is known for its bridal couture and diffusion line.
He is charming and chivalrous and is now ready to play a monster in Zee TV’s new show Haiwan-The Monster. MUSBA HASHMI chats up ANKIT MOHAN to tell you more
What is your role?
I play Ansh, a caring and loving boy. His life revolves around his friend, Randhir (played by Param Singh), who he loves the most. His (Ansh) love interest is Amrita played by Ridhima Pandit. But due to certain circumstances he cannot express his feelings. The story is a love triangle. As the story will unfold, viewers will witness how Ansh turns into a monster. Now, whether he is a positive character or a negative one, only time will tell. It is a sci-fi show, full of action and thrill. This makes the show an exciting watch.
What made you say yes?
The title. If someone will call you and say that you are getting to play a title role, there’s no reason to turn down such an offer. The other day, I saw myself on the billboards. I have been in Mumbai from 11 years but I never saw myself on the billboards. I feel blessed. It’s a feeling that I cannot express in words.
Even my family, who live in Delhi celebrated the launch of my show with a party. All the relatives gathered at my place. All of them went around the city in the night clicking pictures of the billboards. It was like a festival for the family.
Was there a nostalgic moment?
The most recent one is that we are shooting on the same sets as of Naagin 3 where I played Yuvraaj Sehgal. It is the same team and even the director is same. Only the actors are different in this new show. It makes me feel nostalgic every time I am shooting.
How have you evolved as an artist?
It is my third show with Balaji Telefilms after Kumkum Bhagya and Naagin 3. I can feel my growth with this. In Kumkum Bhagya I played Akaash Ajey Mishra, the role of a brother and in Naagin, I played a negative character. Now I am playing the lead. I am growing and evolving everyday and working with Balaji has been a great learning process for me.
How did acting happen?
It is a part of me. To begin with, I never wanted to be an actor. In Delhi, it is like a tradition that if you are born in a business family, you have to become a businessman. I was also groomed to take over the family business. But destiny has a different trajectory for me; I was destined to be an actor and it all started with Roadies Season 4. I auditioned for it in Delhi and got selected. It was a turning point. This was the time when my inclination towards acting happened and there’s no looking back.
How supportive was your family?
My father didn’t want me to get into acting. I bargained with him. I asked him to let me go and stay in Mumbai for a month and if things don’t pan out well, I would return. That one month has turned into 11 years.
How was the experience doing Roadies?
It was great. I didn’t have any idea about the camera angles or how the industry worked. I went there just for fun. I shared a great rapport with Ranvijay Singha (host) and he was helpful throughout.
Were there challenges?
I was rejected many times. But it never demotivated me. Instead, I was stubborn ki ab toh mujhey actor banna hi hai. I am from Delhi and the stubborness comes from being born and brought up in the city. The reason I didn’t give up was that there was a lot of pressure from my relatives. I didn’t want to give them a chance to tell my parents ki dekho aap ka beta Mumbai gaya aur kuch nahin kar paaya.
Other than this the challenge was to earn a living. It was not like back home where you are being served everything on a platter. Here, it was like daily kuan khodo aur pani peeyo. Nothing was ready made, I had to do everything by myself.
Writer: MUSBA HASHMI
Courtesy: The Pioneer
DJ Kamya born in Ghaziabad but in a progressive family inherits a versatile spirit of the country. She connects her instantly with the crowd she plays for. Her cognitive ability to multi-task and master the genre's music is given in the music world but what sets her DNA rolling is our very own Bollywood and electronic music. She is a trained professional from DJ Nasha’s Academy but on the console what cajoles the crowd is the sheer passion for music which she holds in her heart and the pulse of the crowd which she understands so well.
She tops the top Dj charts in India along with 150 club performances with over 800+ seismic events which includes geographies like- Usa (Beverly Hills, La, Houston-Texas, Washington Dc And Virginia), Australia (Sydney & Melbourne), Africa (Dar E Salam , Tanzania) , Asia (Honkong, Bankok), Middle East (Dubai, Doha, Muscat, Bahrain) and has been the Bagpiper to a crowd as big as 25000+ people. In addition, she has featured in top radio shows both nationally and internationally and her mixes are often queued non-stop on these shows. She has been invited to promote her global shows and mixes on Air as a part of the marketing campaign. She is one of the top favourites in the top national radio channels in India like 93.5 Red FM & Radio Mirchi 98.3. On the global net she has repeatedly featured in radio boom box- Sudan Africa, Ketru Rice Radio – Houston, LA Radio, and Radio City -UAE.
From the top of the world map to the south of it, DJ Kamya has sprinkled her musical magic in the continents. She is only Indian female DJ from India to perform in Beverly Hills –Los Angeles Hollywood along with other American cities repeatedly and further spreading her wings in Australia, Phillippines, Korea, Malaysia, Dubai, Doha, Muscat, Bahrain, Africa, Hong-Kong, Thailand. Her domain acumen is not confined to just clubs but she has also collaborated with consummated artists on stage like Farhan Akhtar, Salim Sulaiman, Neeti Mohan, Badshah, Yo Yo Honey Singh, Imraan Khan, Jazz Dhami and our own ‘captain cool’ M.S Dhoni. She has also diversified into brand promotions events for luxury and worldwide brands like Mercedes, BMW, Virgin Atlantic, Reliance, Microsoft, Infosys, Hp, Embassies Of Slovakia, United Kingdom and German and is an active performer in college fests.
For it’s the passion for music in this Diva’s soul which causes the flames in very heart of the crowds plays for. Amidst the bustle of electronic music world is DJ Kamya whose DNA is pure and pure music. The diva owes her success to her strong rooted beliefs where success and fulfillment to her means being liberated, She is free from ties with which ignorance, unconventional binds people, To her, what only matters is how she can be better with every passing day than yesterday, to her she is her only competition, She can be proud of the actions of a stranger and can be happy for the success of a person she has never shaken hands with.
Later in life, she wishes to be a Politician and work in service for the people and country. Surely her fierce, helpful, compassionate, Independent and strong personality is all the more reasons for her to be a politician.
Favorite Genres
Awards and Achievements
Why DJ as a career?
My love for music, my life: I would rather say that I pushed myself to chase my imagination. The entire concept one person binding so many people together with music is what inspired me since
I am a total people’s person.
If you had to switch your profession to another genre, what would it be?
I keep switching my style every now and then… I get bored quickly of monotony. However, if I have to switch my genre, currently I would prefer to play TRAP and TECH HOUSE., however, Bollywood remains my all time favourite. It is just SO MUCH FUN to make people dance on Bollywood, It’s a treat to watch honestly. Off course, I would like to be an accomplished politician later in my life because I see all the traits that are ideal for politics in me…
How your style is different from other DJs?
Every DJ is different with their style and performance and so am I… My energy, my presence on the stage is what makes me different… I am a total fun person on console… I love making people dance like its their last and mine too you can say I am fearless DJ on the console.
How do you get the crowd pumped?
The crowd gets pumped up if the DJ is pumped up. And the DJ have to look great in order attract crowd. To begin with, a shout out for the crowd to bring in the grand energy and some of their current favourite numbers so that they feel familiar to music and dance.
What is your USP?
I am the first and only female dhol player in India so far…besides that I have played internationally a lot of times for the crowd with the strength of starting from 10000 till 30000, hence I am a professional at handling big scale events.
Article and interview by Anshuman Dogra – Bureau Chief New Delhi.
Ovee, a Hindi horror play, is set to wow the Delhi audience with its brilliant script and a must learn message, says Shalini Saksena
After staging some great plays in the last couple of years like Wrong Number, Jab We Separated and Mahabharata, Felicity Theatre is set to wow Delhiites with yet another stage show— Ovee — a Hindi horror play all set to be staged from September 7-8, 2019 at Kamani Auditorium. The play is a story of a teenage girl who losses her parents at an early age. She is sent to an orphanage by her paternal uncle. During her stay she starts experiencing paranormal activities. This play is about her struggle to survive and overcome her fears.
Starring Rohit Roy, Sayantani Ghosh, Deeksha Agnihotiri and Ridhima Bedi among others, Ovee brings for its audience a gripping theatrical experience which is full of suspense, will give you goose bumps, send shivers down your spine and keep you on the edge all through the performance.
Aniket Patil, the director of Ovee tells you that after staging over a 100 shows in Marathi and then Gujarati, it has now been translated into Hindi. “Rahul Bhuchar, producer and MD of Felicity Theatre approached me. He had heard the success of the play in Marathi and Gujarati. He told me that a horror play with special effects is something new for the audience. Also, the genre has not been explored. So we decided to come out with a Hindi version. I don’t know if a horror play has ever been staged before. But yes, I can say with confidence that Ovee is the first theatre— with special effects — light and sound. Things like objects flying in the air, drawers opening on their own, a man disappearing into thin air are only some of the things that the audience will get to see here,” Patil says who has also directed and written the Marathi and Gujarati versions.
The inspiration to put out a horror play on the stage came to Patil because he loves to dabble in the genre. “Horror as a genre fascinates me. I experiment with different genres for the stage. I wanted to write a horror play. That is how Ovee was born. I wanted to introduce special effects as well. The Marathi play was the first version. Gujarati came next because a producer from Gujarat saw it and wanted to put out a Gujarati version. Then Rahul saw it, so now it is being staged in Hindi,” Patil explains.
But there are challenges when one wants to put out a horror play with special effects that will send chills down the audience’s spine. But Patil took up the challenge. He tells you that he watched several videos on how magic tricks are done on the internet. “We also have a special effects team. I sat with them and we worked out how to bring these effects into play. It was tough. But our team is good. We were able to overcome the roadblocks,” Patil tells you and adds that the best part of the play besides the script is the message that it gives out.
He also tells you that while it is expensive to put out these special effects, it was worth it since it has opened up doors for other directors to experiment with the content. “This is good for theatre,” Patil says.
Rahul Bhuchar tells you that he was attracted to Ovee because as a theatre actor, he has not come across a horror play. “Felicity Theatre has always targeted towards meaningful theatre. While it is a horror play, there is a lesson to be learnt. It is a theatre with a cause. Since nobody had done something like this before, I decided to go ahead with it,” Bhuchar says and tells you that as theatre actors, they are looking for challenges.
“It is easy to get good writers. The tricky part is to put out a horror-thriller. You can make a fool of yourself. There were films like Purana Mandir, it was Sholay of horror. Then there were films where people laughed at the make up given to the ghost. So, one has to be very careful. The direction and performances make a lot of difference. Then there is the set itself which has come from the US. You will see a lot of visual facade. Things falling, a man appearing from the wall or disappearing into thin air. These were the challenges — to do it on theatre. It is not like a movie where one can do so much more,” Bhuchar tells you whose next project is going to be Ramayan and tells you that the stage show will be better than Mahabharat.
Rohit Roy who plays three characters in the play, that of the protagonist’s chacha from as small town, a cop and a psychiatrist tells you that of the play starts with the chacha. “He is one of those irritating and unclassy person who says whatever comes to his mind, he has no filter. The psychiatrist comes in the second half of the play to treat the protagonist — Ovee who has suffered vector the chacha. The cop is completely different from the first character. I enjoy all the three roles but to play chacha, I enjoyed the most since it is a character that plays to the gallery. The chacha is the only character who is so unlike me — a Haryanvi, to get the dialect was interesting to do as well,” Roy says and tells you that one should not compare what is happening in Ovee with a film.
“One can’t compare a stage show to a film. In a play, for two hours you have live special effects non-stop with the actors reacting to it. But the actors are so good, leave me aside, I have a pretty straight forward role but the others are so good. They have been rehearsing for over two months. They are spot on. It will be a great experience for the audience. And on a one to 10 scale, I would rate this an eight,” Roy says who has himself been rehearsing for over a month because he had been shooting for Sanjeevani and Mumbai Saga.
Roy who has been doing films, TV and theatre at present tells you that it is tough to switch from TV to theatre but not so much from films to TV. I am spending maximum time with Sanjeevani. Also there is a character in the TV show whose name is the same in Ovee as well. So sometimes, I end up getting the names wrong. I just hope it doesn’t happen during the actual show, Roy says who has had goof ups on the stage for an earlier play but not that the audience ever came to know.
According to him, the USP of the play is the script and the way it has been mounted. “I have not seen anything like this before. The fact that the audience has a greater choice and that has led to the revival of theatre. Indian theatre has been different from Broadways. But now money has come in and it is possible to launch such plays now,” Roy says.
Riddhima Bedi who plays the hostel warden where Ovee is brought in tells you that what attracted her to the play is that it is a thriller. “It has great special effects and it has horror element to it. Earlier, I have done happy-go-lucky roles. This role is different,”Bedi says for whom the role not not tough but complex.
“As an actor it is important to do varied roles otherwise complacency sets in. You keep exploring, keep shocking the audience and keep shocking yourself as well. Art is so wide. What appears to be exciting to me maybe dull for another. The audience will be as excited as excited I am on the stage,” Bedi tells you.
Working the team for Bedi was comfortable as well. “I feel so at home. The director is so patient. He gives you the leeway knowing that this particular actor has not done this genre so needs to be given some space. The good is that the minute the curtain rises, everyone is on the same platform irrespective of the background,” Bedi says and tells you that doing theatre is attraction stems from the fact that it keeps one grounded.
“One can always give a perfect shot after 10 rehearsals. The challenge is to deliver the perfect shot the first time,” Bedi says.
Writer: Shalini Saksena
Courtesy: The Pioneer
Sudhir Pandey | Known for his roles in Bombay Talkies, Batti Gul Meter Chalu and Toilet: Ek Prem Katha, Pandey has earned his place in the industry. He shares with Muskan Bakshi his experience, favourite movie and his free-time dos
How did acting happen to you?
It all started with radio. I was born in Delhi. At that time there was only radio and cinema for entertainment. My father used to work as a host for All India Radio. I grew up in an environment where radio was a must. So, that got me interested. With radio, I did theatre also. After completing my studies, I decided to take up acting as a profession. There were no shortcuts, I knew nothing about how the industry worked neither did I have any Godfather in Mumbai. I decided to pursue graduation from a film institute. I got a chance to do a TV play for Doordarshan. That was the beginning of my career. I start getting more roles and entered into mainstream cinema.
Which movie came close to you?
Toilet: Ek Prem Katha. The film has a special meaning. Sanitation is a big problem in our society. This movie throws light on this issue. I like the kind of movies which are made for a social cause. The movie is an inspiration for all those people who are against making toilets in their houses.
How do you think we can overcome these challenges in real life?
Cinema is playing it’s part by making movies such as Toilet…, but the responsibility lies with the society. It’s our duty to spread awareness. It is the key to stopping beliefs that building a toilet at home is wrong. Making such films will help overcome various maladies in the country.
You did TV, theatre and films. Which one do you prefer the most?
I am still doing theatre. It is close to my heart. It is something I don’t want to leave. But, there is no livelihood in it that is why I not able to make it my priority. As an actor, my priority lies in films. Because it has a wide reach and if we perform good then our performance has archive value. Nowadays, people want to see old movies. They are stored for the long run. But, in TV once the show is finished people forget your character. That way, I prefer cinema.
When you are not shooting, what keeps you busy?
I like to travel in my free time. I love cooking and experimenting with new recipes. I like to read poetries and shayaris too.
What is your take on kind of films being made today?
There are two types of films being made. One is for purely commercial purpose that revolves around singing, dancing, romance, fight and action. Second is content-oriented films. The movies that have a social value like Toilet Ek Prem Katha and Article 15 to name a few. The one thing that I like about today’s cinema is that the focus has shifted to making content-driven films that are real and talk about the social issues.
What is your character in Ishaaron Ishaaron Mein, the TV show?
I play Raam Lal Srivastav aka Dadaji, Yogi’s grandfather. Dadaji is very emotional. He always engages in small fights with his wife which shows how much he love her. He is caring and believes in keeping the family together.
What made you say yes?
First, the story. Second, the channel on which it is aired — SET. Third, this type of story is never been told on TV before.
Any plans to step into the digital space?
I will be definitely interested in doing web series if a story on a good subject comes up. Digital space is booming. If I am offered a good dramatic character then I will not turn it down. I will grab the opportunity with both hands.
Writer: MUSKAN BAKSHI
Courtesy: The Pioneer
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