CULTURAMA

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VOLUME 2, iSSUE 1 march 2011

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VOLUME 2, iSSUE 1 march 2011

Previously known as At A Glance – Understanding India

a tribute to

women wisdom prosperity energy culturama | MARCH 2011

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D e a r

R e a d e r s

THE month of March always brings with it mixed emotions of gratitude and excitement for me and my team. There are so many reasons to celebrate – Global Adjustments, India’s premier cross-cultural and India destination services company and the publishers of this magazine turns 16; the magazine itself in this avatar of Culturama turns one, we are honoured to launch the iLive2Leadindia programme in association with il2l.org, the US NGO, that gives young girls the opportunity to become leaders of tomorrow; we bring back one of our biggest musi-cultural charity concerts, Aikya 2011, this time with Sudha Raghunathan and T M Krishna; and we celebrate the 100th year of International Women’s Day. Phew!

At the outset, many reasons to celebrate. But with it, come a whole set of new responsibilities, new horizons to paint, new challenges to face, and a deeper understanding of the knowledge that the only thing permanent is change.

Out of all those equally important reasons, perhaps the one that is closest to my heart is the fact that we complete 100 years of International Women’s Day. And so, quite naturally, we dedicate this issue to the ‘Icha Shakti, Gyana Shakti, Kriya Shakti’ or the power of Desire, Knowledge and Will, which the feminine spirit stands for in Indian tradition.

Our cover was the result of a chance meeting with artist Gautam Patole at the Mumbai Kala Ghoda festival.

His wonderful charcoal woman instantly stood out, representing the three qualities of Wisdom, Prosperity and Energy. And it seemed like the perfect metaphor for our Wonder Women series. The series features insightful interviews with some of the most successful women nationally and internationally, neatly juxtaposed with India’s incredible mythological tradition of women movers and shakers.

Also, don’t miss a peek into the abounding world of the Jaipur Literature Festival, and a deeply stimulating conversation between classical musicians, Sudha Ragunathan and TM Krishna, the best possible curtain raiser we could give you before the big event on March 18th in Chennai (see back cover).

And finally, I would like to leave you with this quote by Groucho Marx who was, quite unintentionally, spot on in predicting the future! “Only one man in a thousand is a leader of men -- the other 999 follow women.”

With thanks to our readers of Culturama, our clients and associates, Ranjini Manian Editor-in-Chief

culturama | MARCH 2011

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contents 30

14 Coffee & Conversation

An Equal Music

18 India Immersion Centre

This stunning cover image of a woman gazing out the window by artist Gautam Patole, is a subtle prelude of Culturama’s tribute to the female spirit. Gautam Patole is famous for his unconventional charcoal renderings, both poignant and mesmerising. This photo journalist turned artist draws inspiration for his work from real life and began the Mumbai-based art gallery, ‘Art Desh’, where his collection of charcoal work is displayed. To view his work, visit www.artdesh.com.

Editor-in-Chief Managing Editor Associate Editor Contributions creative head Associate Designer Advertising Chennai Bengaluru Delhi-NCR Mumbai & Pune

Advisory Committee

Ranjini Manian Praveena Shivram Poonam M Ganglani Sumathi Sudhakar JayaKrishna Behera Prem Kumar Anupama Raj, Yuvarani Peter Shubha Seetharaman, Divya Vasan Preeti Bindra, Ruchika Srivastava Farah Bakhshay, Viji subramaniam, Ashish Chaulkar Timeri N Murari, N Ram, Elaine Wood, James J Williams, G Venket Ram, Carmen HUTHOEFER-HEINRICH

Chennai 5, 3rd Main Road, R. A. Puram, Chennai 600028, India.

Telefax. +91-44-24617902 E-mail: Bengaluru 216, Prestige Center Point, Off Cunningham Road, 7, Edward Road, Bengaluru 560052. Tel.+91-80-41267152/41148540.

E-mail: blr@globaladjustments.com Delhi-NCR Level 4, Augusta Point, DLF Golf Course Road, Sector-53, Gurgaon - 122 002. Haryana. Tel.+91-124-435 4236.

E-mail: del@globaladjustments.com Mumbai/Pune Rustom Court, 2nd Floor, Dr. Annie Besant Road, Worli, Mumbai 400030.

Tel.+91-22-66104191/2 E-mail: mum@globaladjustments.com

Make A Dish

20 INterpretations

Demi God, Name Sake 22 Wonder Women

Zia Mody

24 Tales of India

Ace of Clubs

26 Wonder Women

46 Photo feature

Kate Sweetman

Feminine Charm

28 Tales of India

48 Wonder Women

30 Wonder Women

50 Tales of India

32 Tales of India

52 Wonder Women

30 Wonder Women

54 Tales of India

36 Tales of India

56 Wonder Women

38 Calendars

58 Tales of India

Deep Ties

Kiran Bedi

Soul Sacrifice

Sonal Mansingh Three in One

Chennai, Bengaluru, Mumbai & Delhi

44 Culture

Rags to Stitches

Deidra Wager

There & Back Again

P T Usha

Poetry of the Valley

Anushka Ravishankar Age-Old Devotion

60 Wonder Women

Mrs. YGP

62 TOPNOTCH THOUGHTS

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Flower Power 64 India & I

Going by the Book 66 Holistic living

Circle of Light

68 iSeries

iRead, iSee, iAsk

Published and owned by Ranjini Manian at #5, 3rd Main Road, Raja Annamalai Puram, Chennai – 600028 and printed by K Srinivasan of Srikals Graphics Pvt Ltd at #5, Balaji Nagar, 1st Street, Ekkattuthangal, Chennai – 600097.

Editor: Ranjini Manian

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culturama | MARCH 2011

72 space & the city

N e w s w o r t h y

Temple Bells

Letters to the Editor

March is the month of temple festivals in South India. On March 18 is the ‘Arattupuzha Pooram’ festival in the Thrissur district of Kerala, one of the oldest temple festivals in the Southern state. The highlight of the festival is an elephant pageant featuring 60 elephants bearing brightly coloured silk parasols. Legend has it that on the day of the festival, 101 gods and goddesses from the neighboring villages visited Sree Ayyappan, the presiding deity of the Arattupuzha temple.

Source: www.goindia.about.com

Dear Editor, “Every month I read Culturama and I mean to e-mail you to say hello and tell you how I enjoy catching up with things Indian and how professional it always strikes me.”

— John Parker, former President of Ford India Dear Editor, “We love getting the Culturama magazines through email. It reminds us of the wonderful people and places and the culture we were lucky enough to see and be involved with while we lived in India, and brings back many happy memories.”

— Peter Watson, Managing Director, Independent Contractor Services (Aust) Pty Ltd Dear Editor, “II just received the February issue of the e-Culturama and once again, we are honoured that you choose to print excerpts from Eknath Easwaran’s Blue Mountain journal. This month’s picture of the person sitting on the rock next to the monkey, both gazing away into the distance, is just so dear and very peaceful looking. We are grateful to you for sharing Easwaran’s teachings with your readers.”

— Debbie McMurray, Production Editor/ Marketing Coordinator, Nilgiri Press at the Blue Mountain Center of Meditation Send your reader feedback to culturama@globaladjustments.com

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Amazing Race Also this month is International Women’s Day, although March 8 will bear witness to other unique celebrations too. In Liberal, Kansas, the day before Lent means just one thing – it’s Pancake Day. The friendly little competition between Liberal, Kansas, and Olney, England, with women running down the streets of each town flipping pancakes has been a tradition for more than 60 years now. It is still the only race of its kind on the planet.

Source: www.pancakeday.net

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an equal music IN THE world of music, there are no intransigent realities, only fluid synergies, and nowhere is that more evident than in the interaction between these two stalwarts of classical music – Padmashri Sudha Ragunathan and T M Krishna. If Ragunathan’s expertise lies in the depth of inimitable experience, then Krishna’s is in the verve of individuality. Their music and ideologies thrive on a dynamism that is inspiring, thought-provoking and many times, simply beautiful. Culturama presents snippets of their conversation.

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Sudha Raghunathan: Music has been my life, you can see it, it’s visible enough. I have been….well, when I say dedicated to music, it seems very clichéd.

Since I have been almost wedded with the art form, I see music in everything.

TM Krishna: How has it changed over the years? Go back to say, 1984, hypothetically, and look at yourself now.

Your whole relationship to music, is it different today compared to what it was then?

SR: In 1984, I was perhaps more conscious of what I was doing. Not that I am not conscious now, but more alert and sensitive now. I use the word alert because now you become a kind of a torch bearer of a certain ‘parampara’ (tradition). You know the next generation is watching you and so is the world. So your attitude has changed and how you tune into the music has changed too. But then, I have to retain this statement, that in no big way or small way have I tried to deviate from what the seriousness was in 1984. How has it changed for you?

TMK: Well, primarily, when I started out singing, they said sing and I sang and that’s about it. I think first of all as an artiste, it takes you a while to figure out who you are.

SR: And also what your strength is.

TMK: Ya, I think it is a lot like a person maturing as a human being in many ways.

I started singing when I was 12 years old and at that point in time, we are just parroting what we have been told. Only after many years did I figure out who I am as a personality. And I think that came along with an understanding of what my music was.

SR: Do you see a kind of amalgam between the personality development and your music?

TMK: Yes, absolutely. I pretty much

believe that a musician is exactly what the personality is; I don’t think there is much of a difference. You can even figure out a fake if there is a fake in it (laughs)!

SR: As much as the finesse. Look at the positive aspects!

TMK: You know me; I get to the fake first (laughs).

SR: But you have always been very matter of fact, you don’t camouflage your art.

TMK:That’sbecauseofmypersonality, the personality very much defines the music. From then on, one is a reflection of the other and it just goes on….

SR: And also a maturity sets in, right?

Believe me, when I sang a ‘Kalyani’ or a ‘Thodi’ (forms of raga) ten years back, I had to bring in every nuance just to show my prowess….

TMK: Exactly! And there is this rush of blood to pour out whatever you know.

And kind of shock everybody with the amount of stuff you can throw.

SR: More than shock, I think you want to stun everybody. You want to impress them.

TMK: And after some time, there’s a certain amount of calmness that sets

in. There is a natural sieve that I think is processed in the person and that development of the sieve is very much like maturing as a person.

SR: And the high is the performance itself, right? Though, sometimes you think your performance is not up to the mark and the audience is mighty impressed about it. Have you felt that? That you have sung extremely well and the audience hasn’t been that impressed?

TMK: Oh yes, that has happened.

I think most artistes will tell you that that’s happened at least 100 times. I actually think that we need to perceive a performance as only a reflection of the music. Music is not the performance.

Music is a far larger canvas and that’s the canvas that an artiste is playing with.

A manifestation of that is what actually happens on stage.

SR: And it depends on how much an accompanying artiste can give you as well. Sometimes, I just take one line that the violinist has played and dwell upon it.

It inspires you and ignites your creativity at that point of time.

TMK: Definitely, I think there are so many things that come into play as far

Catch the two legends for the first time ever in convert on March 18 at the Music Academy, a fund raiser for the twin causes of Smrutha Dhvani (a retiring musicians fund) and women's empowerment.

Turn to the back cover for more details.

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as a performance goes, and as you said, some days you come out saying “I am very happy today” and the audience may think otherwise and I don’t think there is any point in trying to reconcile those differences. You just accept the fact that that is a reality.

SR: But I always feel there has to be a consistency in performance and at some point you have to please the audience. Not please, because please is a very timid word. Shall we say that at the end of the day, the audience should go home happy.

TMK: Before a concert, I am totally blank, a clean slate. When the curtain goes up, I spend the first one minute to figure out what I am going to do. All these are again, personality reflections.

I don’t think it’s a question of which is better. From my perspective, I am very comfortable with just sitting and writing what I am going to sing as I am singing it.

That’s my inspiration.

SR: For me, well, I do reflect on what I am going to sing. But not to the extent of chalking out every single detail. Just a very vague idea, like when you throw water on a mirror and see your reflection?

Sometimes that vagueness completely changes, and I tread a different path.

What ultimately matters is my 'comfort' level.

TMK: I think there are no issues singing any other genres of music, any other forms of music, as long as you know very clearly know what your music is. I think the problem arises when you have illusions about what your music is.

SR: Or when you are insecure about your wares.

TMK: That’s true. But it is not just about confidently saying I know where I am. It’s got to do with a great deal of respect, responsibility and humility.

Music is not just entertainment. It has to be something more.

SR: Absolutely! To me, music takes me to the divine. Honestly, it does. Mostly we understand the lyrics (or at least the emotional content) when we are singing.

So one does relate to the lyrics and the ‘raga’ (tune), and what you present is like a pearl in an oyster shell. It’s very precious.

The way you connect the raga to the lyrics to the mood that the composer has already embedded in the lyrics; I think all of it matters to the artist.

TMK: I probably would differ with you on that because of this whole definition of what we consider divine. It’s extremely personal and it’s extremely individualistic in many ways. To me, the lyrical content of our music is the manifestation of the divine as perceived by the composer.

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And the greatness of the composer or the composers is they were able to knit their perception of their ‘ishtadevatha’ (favourite God) to a musical context. So the divinity is not in their lyrical content, but it’s completely embedded in their music also.

SR: That’s what I said, it just happens...

I mean, the 'divinity' part of it.

TMK: Yes, I am not differing there.

But in my context, if I was going to sing a composition, I might totally disagree with Thiagaraja (famous Carnatic music composer) and his Rama. But does that mean that music is not divine?

SR: No, but when you utter the word it happens.

What I am trying to say here is that my connection with the meaning is not the only way to connect with the music.

TMK: It happens to the perceiver. I am talking about my own perception. Now for me, Rama is just two syllables. Then what happens? So, for me, I see divinity as purely musical. So whether I connect with the individualistic idea of the composer or not, does not remove me from being in the moment with the music. I don’t believe in this whole idea that only if you know the ‘sahitya’ or meaning you can have ‘bhava’ or expression.

SR: But when you sing a Tamil ‘keerthanai’ (song), doesn’t it somewhere get into you subconsciously?

TMK: One is the connection of the language and the other is my connection with the meaning. What I am trying to say here is that my connection with the meaning is not the only way to connect with the music. You can connect directly with the music without having a connect with the meaning. There is also the fact that at most times our emotional association with the meaning is defined

by a great deal of conditioning which is part of us. I prefer to associate with the music directly. Of course, its not easy as we all carry a lot of emotional baggage..

SR: Yes, as you said, it’s each individual, their experience, their outlook, their perception. Though, I would like to ask you the same question, ten years from now.

TMK: (smiles) Also, after having listened to so many concerts in December, there’s one thing that strikes me about the younger generation of musicians.

What really impressed me is their level of capability, talent and approach is fabulous. But there is a flip side. During our time, we just sang, sang, sang and

To me, music takes me to the divine.Sometimes, I just take one line the violinist has played and dwell upon it. It inspires you and ignites your creativity at that point of time.

then we sang at a concert. Probably, five or even eight years down the line it became a profession. Now what has happened is that they come into music as a profession. And I think that’s a problem. I am talking only musically and artistically.

Today I feel that this artistic process goes to a point targeted at the professional process. Now this completely changes the way music develops and that bothers me terribly.

SR: I agree with you one hundred per cent. And content wise, it’s not lacking in depth, but it certainly can be improved upon. See when you think you have learnt something and it’s not right, the unlearning is very difficult. In our 'learning' times, when we were trying to be a professional, that probation period was so critically important. Because it helped you unlearn, it helped you throw away stuff you didn’t want, it helped you welcome new things; your mind was so open to adventure….

Make a Dish ON FEBRUARY 18, fifteen women of seven nationalities came together in a unique culinary journey at the India Immersion Centre. The event begain with a slideshow presentation covering the history and origin of regional cuisines, the various styles of cooking and the method of eating with fingers. This was followed by a cooking demonstration by culinary expert, Chithra Viswanathan, with decades of experience in innovative cooking. As the two-hour session progressed, the aromas of ‘ghuska biryani’ (spiced rice), ‘paneer kheema’ (a cottage cheese delight) and ‘kesar phirni’ (a milk-based delicacy) filled the courtyard at Global Adjustments, while Chithra Viswanathan shared some golden cooking tips with the group. The dishes were beautifully presented at the end of the session and the guests were served portions of each dish for a much-awaited tasting!

Feed us Back “Thank you again for the cooking demonstration. We tried the biryani at home and it was so succulent!”

– Yasmine Bakkali “I’d like to thank the IIC for inviting us to Mrs. Chit Vish’s cooking demo. She cooked a delicious and nutritious threecourse meal in less than an hour! Apart from relishing the tasty dishes, we were served some valuable cooking tips. I greatly look forward to attending more of her cooking demos.”

– Naleni Amarnath “The cooking demonstration was a nice experience, the chef was charming and knowledgeable and the dishes she made for us were both tasty and easy to cook at home.”

– Lene Mogensen

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BENEFICIARIES OF THE SMRUTHA DHVANI FUND The funds collected during ‘Aikya’ last year were directed towards the ‘Smrutha Dhvani’ fund for retired accompanying artists and have made a difference in their lives.

Mr. Ganesh, accompanyist on the tanpura, has worked with stalwarts including MS Subbulakshmi, ML Vasanthakumari, Yesudas,RaviShankar, Parveen Sultana and many others. Since most singers use an electronic music box instead of the tanpura these days, his income from concerts is meager.

The money he receives from the fund now helps him pay for his meals and room rent.

Mr. E M Subramanian, accompanyist on the ghatam, has accompanied DK Pattammal, L. Subramaniam, Balamuralikrishna and Chembai Vaidyanatha among others, and has travelled to 35 countries with them. He has also participated in the Festival of India. The Ghatam is an instrument that is rarely used these days, the mridangam being the main accompaniment for rhythm.

EM Subramanian lives with his sister and the income from the Smrutha Dhvani fund helps him meet his expenses.

Interpretations

Susan Philip

Demi God ‘ARDHANARISWARA’, literally meaning ‘half woman, half God’, is one of the 64 manifestations of Lord Shiva, and is deeply symbolic. By interpretation, the deity stands for the combined forces of the masculine and feminine, resulting in creative energy.

Icons portray the deity as one half man, and the other woman. The right usually represents the masculine, or Lord Shiva, and the left, Shiva’s consort, Goddess Parvathi, also Shakti, or power.

The Puranas and other ancient Hindu texts provide various versions of the Ardhanariswara story, but perhaps the most romantic is the one that tells of Goddess Parvathi worshipping Lord Shiva with single-minded devotion, pleasing him so much that he offered to grant any boon she chose to ask of him. She said she couldn’t bear being separate from him, and wanted to be part of him. This he agreed to, and united with her as Ardhanariswara.

The deity symbolises the inseparability of the two complementaryforces,maleandfemale.Philosophically, Ardhanariswara represents the measurable and immeasurable constituents of life – wealth, worldly pleasure, possessions, on one hand, and love, peace, joy and happiness on the other. On a higher plane, it stands for the indivisible nature of Divinity, that which absorbs opposing traits, transcends division and duality, and is the Absolute One. Tiruchengode, in Tamil Nadu’s Namakkal district, is home to an ancient temple dedicated to this important manifestation of Lord Shiva. There are also magnificent sculptures of Ardhanariswara in the Elephanta and Ellora caves.

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Name Sake WHAT’S in a name? A lot, if your name is Indian! Here’s a selection of names of women you may meet anywhere in India, with their meanings.

Aditi: Mother of Gods Anita: Grace, variety Anjali: Offering with devotion Anupama: Unique, unparalleled Barkha: Rain Bhavna: Feelings, sentiments Bindu: Drop or Point Brinda: Tulsi (Basil) Chandini: Moonlight Chitra: Picture Deepa: Lamp Divya: Heavenly, brilliant Ekta: Unity Gayatri: Mother of the Vedas Gita: Song Hema: Golden, beautiful Jayalalita: Victorious Jyoti: Flame, light Kavita: Poem Krupa: Grace, favour Lata: Creeper, beauty Lakshmi: Goddess of Wealth Lavanya: Grace, beauty Madhu: Honey, elixir Mallika: Queen Maya: Illusion Meera: Devotee of Lord Krishna Nalini: Lotus Nandita: Happy Nayantara: Star of the eyes Nidhi: Treasure Padma: Lotus Prema: Love Radha: Prosperity Rekha: Line Roshni: Light Sangita: Musical Sapna: Dream Savita: Sun Shalini: Modesty Shanti: Peace Shobha: Beautiful Tara: Star Usha: Dawn Vidya: Wisdom, knowledge Yamini: Night Yashodha: Successful

Wonder Women

Zia mody

Courting Success

AS THE daughter of one of India’s leading jurists, Zia Mody’s choice of profession was perhaps expected. But what was unexpected was the hard road to success as she strove ahead in an obviously male-dominated sphere. Today, as a leading corporate lawyer, she is recognized as one of the top 25 powerful businesswomen in India, and also won the Businesswoman of the Year, 2010, award.

As a woman litigator, how have you successfully managed to make yourself heard?

When I came back from America to India and started practicing in the High Court in Mumbai as a counsel, I found that it was very much a man’s club and that there were few women who were at all visible. It was a struggle and required a lot of hard work to prove my competence. I think people were a bit sceptical but when they saw that I was doing fairly well and willing to go that extra mile, they began to place their confidence in me. This then became a source of great encouragement and so I went on trying to do better and better and so the story went.

How would you define ‘power’?

I do not see myself as “powerful” in the traditional sense.

What I feel is that I am in a position to influence people and make changes to steer the future of young professionals and instil core values. I also find that I am in a position to put good organisations and people together and if I reach out to people to help others, more often than not, they are very willing to help out for a good cause. The risk of course is that you should not and cannot abuse the trust that people repose in you.

Do you believe that the idea of a ‘superwoman’ balancing family and career is a myth?

I think that for me and for many other women, there is nothing like work–life balance and many women have sacrificed their careers for their families. The superwoman is only a woman who is a great multi-tasker, managing to keep all the balls juggling and keeping family and career going most of the time. But the ball drops for all these women either in one space or another from time to time and guilt never leaves career women for decades.

As one of India’s top corporate attorneys, what is your advice to junior attorneys?

My advice to them would be to get the best training possible, to inculcate such solid values that no one can shake them and to be able to take pride in their profession more than pride in their balance sheet. Money can always follow later. Training is far more important.

Would you say that the Indian legal system has harboured the mistrust of the Indian people, and rightfully so?

I would think that even today, the institution of the judiciary still has the faith and trust of the Indian people. Unfortunately, the Indian legal system that sounds superb on paper, but loses its shine and efficacy because of the huge delay in its delivery and that is how people get frustrated and look to alternate methods of solving their problems. Therefore, filling up of judicial vacancies and increasing the salary of judges is imperative.

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Tales of India

Ace of Clubs One woman’s triumph against all odds

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feet. She hauled him up out of the hole and plunked him at a distance and now watched the tunnel more alertly. Sure enough, in a few moments, another head surfaced. Obavva got into the act all over again. And another enemy soldier fell to her blow.

Legends say that when her husband returned after lunch, he was aghast to see his wife with a blood-spattered club and more than a hundred enemy soldiers lying dead all around her. We have no way of verifying the number of soldiers Obavva actually killed on that fateful day. But ballads in Kannada even today sing of the courage and resourcefulness of this legendary 18th century woman who single-handedly held the enemy at bay on a blazing afternoon. She is celebrated even today as Onakke Obavva or Obavva of the club.

illustration m r rajan

OBAVVA (oba-vaas) sat silently in her little home inside the fortress of Chitradurga, waiting for her husband to come home for lunch. It was long past his usual lunch hour and Obavva was worried. She knew that the fort had been besieged by the army of Hyder Ali, the daring ruler of Mysore. She knew that Madakari Nayaka, the Vijayanagara King, to whom Chitradurga fortress belonged, was not a very powerful king.

Was there a pitched battle going on? Was that why her husband, who was one of the forts’ guards, not yet home? Obavva shuddered. What would happen to them, the ordinary people, should the fortress fall to the enemy?

As she sat beside the hearth, speculating and worrying, the door opened and her husband stepped in. “I must quickly eat and get back to my post,” he said. “Will you stand guard at my post till I return to it? I shall help myself with the lunch. It is a difficult day. Some of our people saw the enemy soldiers marching up the hill…” And he quickly directed her to the post he had been guarding that day.

It was a hole in the ground, a sort of an underground tunnel which led into the fortress from outside. A spot that could just not be left unguarded even for a moment, especially with a powerful enemy at the doorstep. Obavva got up and picked up her long club, the one she used to pound rice. “You eat in peace,” she told her husband. “I shall be there. Nothing will happen in a few moments.”

And off she strode briskly to the location of the underground tunnel. She sat on a rock beside the gawking hole, her club on her lap, and fell into a reverie.

In a short while, however, her reverie was disturbed. A head emerged out of the hole at her feet. Hyder Ali’s soldiers had indeed found that underground tunnel and had silently gained entry inside the fortress. Only to be met by a woman with a club.

Obavva was not benumbed by shock. Nor was she terrified.

Reacting almost spontaneously, Obavva swung her club over her head and brought it down with all the force at her command, on the soldier’s head. He crumbled at her

Wonder Women

K a te Sweetm a n

Leading by Example

SHE IS an experienced leadership consultant, educator, author, editor and speaker, and is considered one of the top 50 thinkers of the world. But when you meet Kate Sweetman, these epithets stand respectfully in the background, as the woman in her shines forth. With an unmistakable quality of a quiet passion, her precise and lucid responses speak volumes of the success she enjoys today.

How has the quality of leadership changed over the years?

What has changed over the years is that the level of leadership skill required in most organisations has risen dramatically due to an increasingly intense and complex business environment, combined with an ever-expanding reliance on knowledge work – the kind of work whose outcomes depend on the enthusiasm and engagement of people more than machines. This challenge requires constant alertness not just to the business but also to the people.

In the corporate world, does gender make a difference in terms of leading complex business organisations?

The business case for including women at the top in sufficient numbers has been proven conclusively. According to the current hard science, women typically take in larger amounts of information, using more of their senses, while men tend to be more focused, action-oriented and inclined to simplify. When the two sexes can figure out how to work with them instead of be frustrated by them, the combination is powerful.

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Fewer women are in the higher echelons of leadership. Is gender an issue?

It is far too complicated a question to address in this short space, but I will share some ideas. Gender inclusion is definitely a core leadership issue because it is so tied to results. The opportunity cost that most organisations pay for what I like to call gender monotony is far too high. The same syndrome is true in politics as most countries find women in high places only as exceptions, though some leading countries have made enormous progress here.

What can aspiring women do to be resilient and break barriers to reach the top?

I have met extraordinarily successful women leaders in even the most difficult societies, and from these amazing women we can take away the following lessons: Keep your goals front and centre; Know yourself; Prepare for a stressful journey; Engage with the men – don’t reject them; Tend to your own character and integrity; and take care of yourself.

What recommendations do you have for Asian women for their advancement in leadership positions?

Since a woman’s success is not about the work itself but about the working environment, I do believe that Asian women who want change need to organise themselves into a force that will be reckoned with. There is only so much that one individual working alone can do. Asian women, like women everywhere, need to be creative, and to seek out the key influencers, get their attention and backing, and press forward.

Tales of India

Deep Ties A saint who lost herself in divine love

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Andal soon grew into a young woman and her father wanted to find a suitable match. But she persisted in her resolve that she would only marry the Lord. Her father was in despair. Who could marry God! One day Andal insisted on being taken to the famous Sri Ranganatha Temple (near Tiruchirappalli).

When her father did so, it is said she was so ecstatic at the sight of the Lord that she disappeared into the sanctum sanctorum and became one with the deity.

Thus was she united with the Lord. Almost every temple of Vishnu has an altar dedicated to Andal and the gardens of Srivilliputtur exist to this day. Andal’s village is 70 km south west of Madurai, Tamil Nadu.

illustration vincent moses raja

THE Tamil month of Margazhi, which begins from approximately December 15 and culminates in Pongal (harvest festival) in mid-January, is considered to be one of the holiest months in the Hindu calendar. Devotional hymns written by the Alwars (poet saints) are rendered throughout the month. The most popular of the hymns is the “Tiruppavai” consisting of 30 verses in praise of Lord Vishnu attributed to Andal, one of the 12 Alwars.

The story of Andal is set around the 8th century in a village in central Tamil Nadu called Srivilliputtur (Sri-villi-putt-ur). At the Vishnu temple there was a garden that was tended faithfully by a devotee called Periaazhvaar (Peria-azh-vaar). The flowers for making garlands for the Lord came from here.

One day, while deepening the pit of the tulsi (holy basil) plant, he miraculously found a baby girl.

Considering it to be God’s gift, and being childless, he and his wife decided to rear the child and named her Kothai (meaning “from Mother Earth”) but later called her Andal.

Andal was very devoted to the Lord and particularly enjoyed making the garlands which her father took every day to the temple. One day, Periaazhvaar found some strands of hair in the garland. Not too sure how they appeared as he always took great care when making them, he decided to keep a careful watch. What he saw shocked him – Andal wore the garland meant for the deity and admired herself in the mirror before she placed them in the basket to offer the Lord.

This was sacrilege according to Periaazhvaar.

Hindus will not even smell flowers that are to be offered to God as this will make them impure!

He confronted Andal and to his surprise she did not show any remorse. She confounded him by replying very calmly, “Why can’t I wear them? After all I am going to be his wife.” Periaazhvaar was deeply troubled by this sacrilegious statement.

But that night the Lord appeared in his dreams and said that he did not want fresh flowers but only those worn by Andal. Such was the purity and depth of her devotion. Periaazhvaar’s doubts were put to rest and the whole town soon came to recognise Andal’s devotion.

Wonder Women

Kiran bedi

behaviour as part of the character, and not differentiate between our own space and public space.

India is now perceived by the rest of the world as a ‘rising’ economy and a potential superpower. How is the external perception different from the inner reality?

If you look at the economy, then yes, India is without doubt, rising and young.

But when it comes to personal behaviour, it is on the decline. Corruption is on the rise, violence is becoming the norm and missing of parliamentary hours is on the increase. So our incomes are increasing, but our value systems are deteriorating.

This is the dichotomy of the Indian way of living today.

Sure Shot INDIA’S first and highest ranking woman officer with the Indian Police Service for over 35 years, Kiran Bedi is a force to reckon with. The natural command she exudes is awe-inspiring as is the palpable energy for change she carries with her. She was the one who single-handedly transformed India’s infamous Tihar jail from criminality to humanity by propagating “equal respect for every human being”. She shares her views on Indian civic sense, female leadership and the future of our country.

What would you say is the one thing that is wrong and the one thing that is right with Indian civic behaviour?

I think that we are very home-centric and keep our homes clean, but we keep our surroundings dirty.

We take off our shoes before entering homes and keep them spotlessly clean, but we throw the same garbage outside. We don’t ‘own’ public places. We are therefore looking at a paradigm shift. We need to value sanitation, hygiene, cleanliness and civic

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What is your message for expatriates who have chosen to make India their home?

They can be part of the change rather than change themselves. They can join hands with credible civil society groups and drive the change in their own townships, in terms of education, training, healthcare and women’s issues.

What is the one quality that distinguishes a female leader from her male counterpart?

Her holistic approach to management.

It comes from the nurturing quality that women have. It’s like a mother who is a holistic manager at home and looks at the home as an organisation. She also accommodates and juggles hugely, she shares, she teams up, she disciplines and yet she cares. Women are known to be more transformative rather than transactional in their leadership — “what’s in it for us?” rather than “what’s in it for me?”

What is your message to the Indian youth?

They must visualise the future of the country and align their own future with that. You have to have a common vision, a dream for the future of the country as well as your own and then build that. You cannot build it exclusively. India’s security and future growth is only assured if it’s inclusive.

Tales of India

Soul Sacrifice

illustration m r rajan

A woman’s sacrifice saves the fate of a future king

TIME was when the princely Rajput state of Mewar was renowned far and wide for its brave warriors and chivalrous rulers. But even the best of kingdoms run into bad times. After the death of the noble Rana Sanga in the thirteenth century, Mewar ran into grave trouble. His successor, Ratan Singh and later Vikramjit were weak and depraved, and dissipated their energies and resources in pleasure seeking. Soon, Mewar lost its power and glory. And as it often happens, the kingdom and the king found themselves in some danger. Disgruntled nobles and slighted warriors arrayed themselves behind a powerful Rajput noble, Banvir, and conspired to take over Mewar.

In a surprise move, Banvir and his army attacked the kingdom and Vikramjit died in the battlefield. Banvir, determined to wipe out the royal family, turned his attention towards Vikramjit’s palace. But news of the disaster preceded him to the palace.

While all were busy grieving for the dead master and seeking ways to save themselves, deep inside the women’s quarters in the Mewar palace, the young prince of Mewar and son of Vikramjit, Uday Singh, slept peacefully,

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unaware of the danger to his life.

Watching tenderly over the prince was his devoted nursemaid, or dai, the gentle Panna, to whose care the young prince had been entrusted since birth. Next to the Prince’s royal bed, in another bed lay Panna’s son, a young lad of the same age as the Prince, sleeping just as peacefully as his young master.

When news of Vikramjit’s death reached Panna, she instinctively knew the threat to the sleeping prince. In the true tradition of a Rajput woman, she knew where her duty lay – in saving the prince, the future of Mewar. Calling a trusted palace attendant, she wrapped the baby prince in old rags, and handed him to the man, with instructions to wait for her in a faraway fort.

The attendant left and Panna turned her heavy heart to the more difficult task ahead. She dressed her sleeping son in royal clothes and placed him gently in the prince’s bed. She knew that if he found the prince missing, Banvir would send out men in all directions in search of the child and not rest till he had killed him. When Banvir came barging into her quarters demanding the royal child, Panna unflinchingly pointed to her own royally-dressed son. Banvir made short work of the innocent child and Panna, quelling her grieving heart, made her way to the distant fortress where the prince and the attendant awaited her.

Later as a diligent and brave young man, Uday Singh did his devoted nurse proud by wrenching Mewar back from Banvir and proving himself a wise ruler. Panna dai’s sacrifice had not been in vain.

Wonder Women

sonal mansingh

Soul Surrender WHEN Dr. Sonal Mansingh performs, the myriad dimensions of dance come to life on stage. A master of the Bharatanatyam and Odissi dance forms from South India and Orissa, Dr. Mansingh connects with her audience each time through a palpable sense of aesthetic delight. We share with you some snippets from a conversation with this unmatched Guru, thinker and orator.

Coming from a Gandhian legacy, was it difficult for your family to accept your decision to become a professional dancer?

From the age of seven, I learned Bharatanatyam first in Bombay, then in Bangalore where my ‘arangetram’ (maiden solo recital) was held. Likewise, I had the opportunity to learn Odissi in Orissa and later continue with newer choreographies. Of course, I had to escape to my Gurus in Bangalore without informing my family in 1963, right after graduation from Bombay University.

Gradually, they came to appreciate my total devotion to dance and were later very proud of me.

What is the essence of Indian dance?

Everybody contains the twin elements of feminine and masculine, known as ‘Shakti’ and ‘Shiva’, ‘Yin’ and ‘Yang’. Each fingertip holds energies of the five primal elements. By bringing the left and right hands together in Indian dance, the feminine and masculine energies are fused, galvanising the five elements within the body.

The essence of dance is to reach that one moment of ‘Ananda’, bliss, aesthetic delight through harmony of body, mind and a perfect tapestry of movements and expression.

Sure

Could you share an interesting anecdote about the time you were learning dance?

In 1961, as I prepared for my ‘arangetram’, I was required to show the emotions of love and yearning of a young woman protagonist. Try as I may, my lack of experience would not allow it. One afternoon, as I plodded through the composition, my Guru heard street sounds and

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peered out the window. He asked me what I saw and I replied, “Sir, monkeys are dancing.” He said, “Show me the difference between the monkey and you!” I count this episode among the fundamental teachings in my life.

Could you describe a poetic allusion that is popular in Indian dance?

Of special interest in the ancient texts is the subject of female beauty. The woman’s hair is likened to a mass of dark rain clouds; her face, a full moon or fully blossomed lotus; her eyebrow, the curve of a bow; her eyes, the gaze of a gazelle; her nose, the bud of a ‘champa’ flower; her lips, a red ‘bimba’ flower; her teeth, pearls or symmetrical pomegranate seeds; and her neck, like a swan’s or shaped like a conch.

Has there been a choreography which is particularly dear to your heart?

To celebrate the birth centenary of leading Malayalam contemporary poet, Vallathol Narayana Menon, I choreographed his poem ‘Mary Magdalene’ and also composed the music, first in Bharatanatyam style and later in Odissi. The text describes the peerless beauty of Mary and her journey to seek refuge at the feet of Jesus.

The adoration by Mary brings invariably brings tears in the eyes of many audiences. Since 1975, it has been seen and appreciated in 87 countries..

Tales of India

Three in one SAGE Atri (a-thri) and his wife Anasuya (ana-su-ya) were an ideal couple, known for their wise and simple ways. Anasuya, particularly, was known as the very embodiment of chastity. One day when the sage was away at the river offering prayers, the three great gods, the trinity of Brahma (the creator), Vishnu (the preserver) and Shiva (the destroyer) decided to test Anasuya’s virtue. Appearing to her as mendicants, they begged her for food. But they had a condition: they would only eat food given by her in the nude. Anasuya was unperturbed.

“They who ask a woman for food are her children,” she thought. “Why should I fear my own children?” With the power of her devotion she turned the three mighty gods into helpless babies!

When the sage returned home, he found three bonny babies nodding off to sleep under the loving care of his wife.

As Anasuya explained how they came there, the babies surprised the couple by transforming into the holy triumvirate. “We came to test your wife’s chastity and your faith in her,” said the gods. “We are satisfied.

The world will forever sing your praises.”

But as they prepared to leave, Atri and Anasuya cried in one voice, “Please grant that you will always be with us as our children.”

The gods were pleased with their love, and granted them their wish: aspects of each of the three gods united to become a baby. Atri and Anasuya named their child, Dattatreya (dutt-taath-tre-ya), or the ‘given one’.

Dattatreya grew up to be an extraordinary boy. He would wander around the forest and gaze into the far horizon for long hours, lost in contemplation. He carried himself with a carefree abandon that drew the attention of all those who came in contact with him.

King Yadu was no exception. Struck by the strange, indescribable joy in the young boy’s face, the king,

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illustration m r rajan

The Trinity and 24 teachers of nature shaped this young boy’s life

who met him inside a forest, asked, “Who are you?

What is this strange quality you possess that we do not?”

Dattatreya smiled and answered: “Not one but twenty four teachers have I, who have taught me the secret of this joy and peace. My teachers are – the earth, the wind, the sky, water, fire, the moon, the sun, a pigeon, a python, the ocean, a moth, the bee, the keeper of a beehive, an elephant, a deer and a fish, a woman, a small squirrel-like animal, a child, a young girl, an archer, a snake, a spider and a wasp.”

This extraordinary story occurs in the Srimad (sri-madh) Bhagawatham (bha-gha-wa-tham) and Dattatreya goes on to explain what his 24 teachers taught him, such as, the earth taught him to stand firm and enduring in the face of adversity, the wind taught him not to get attached to objects of desire, and so on.

CALENDAR MUMBAI THEATRE

FILM 7

Tata Theatre, 1900h

13 Tata Theatre, 1900h

ART AND EXHIBITION 12 Jamaat Art Gallery, 1100h to 1900h

English Play An Artistic Exclusive Event presents ‘Dinner with Friends’. This Pulitzer Prizewinning play is about four friends: two married couples who are at different stages of their lives. Strictly for adults only. Tickets are priced at Rs 1000, Rs 750, Rs 500, Rs 300 & Rs 200. renowned photographer of his times, E. O. Hoppe. On till the 28th.

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English Film In collaboration with the Embassy of the Republic of Hungary and Alliance Francaise de Bombay, ‘Four Lions’ tells the story of a group of British jihadists, who push their abstract dreams of glory to the breaking point. Only a limited number of passes available.

MUSIC AND DANCE 10 Experimental Theatre

Western Classical Music The Arties Festival of March 2011 will feature Quatuor Ebene and Gauthier Herrmann (cello), Olivier Patey (clarinet), Shani Diluka and Akiko Yamamoto (piano). On till the 12th.

17 Little Theatre, 1830h

Italian Film 13 Tata Theatre, 1900h In collaboration with the Taj Enlighten Jazz Concert Film Society this black-and-white film, The NCPA, in collaboration with Blue titled ‘Rome Open City’, follows the fate Frog, brings you the Grammy-award winof several Romans during the last days ning African pop diva, Angelique Kidjo. of the German occupation. Admission on a first-come-first-served basis.

25 Dance Theatre Godrej, 1830h

Portuguese Film In collaboration with the Taj Enlighten Film Society, ‘City of God’ traces the story of two boys growing up in a violent neighbourhood of Rio de Janeiro, offering a compelling look at life in the slums of Rio de Janeiro. Admission on a first-come-first-served basis.

THEATRE

H20, 1000h till sunset

Parasailing If you're looking to get your adrenalin pumping, try something different this week. H20 promises that their instructors have experience of over 5,000 flights and there are certified life guards hovering nearby. A flight costs Rs 1090.

12 NCPA, 1030h to 1230h

Classical Dance Workshop This workshop offers adults an opportunity to try the steps, mudras, and expressions of four different forms of classical Indian dance – Bharatanatyam, Mohiniattam, Odissi and Kuchipudi. All are welcome, no previous dance experience is required.

Registration Fee: Rs. 2,000 (for both days, all-inclusive, to be paid in advance). Please contact Binaifar at (022) 6622 3822 or 9869112010 or Bilva at (022) 66223745.

26 Tata Theatre, 1900h

Dance and Music Performance Renowned artistes, Priyadarsini Govind and Bombay Jayashri will perform using the classical forms of Bharatnatyam and Carnatic Music respectively. Tickets are priced at Rs. 450, Rs. 300, Rs. 240 and Rs. 120 for members, and Rs. 600, Rs. 14 Gateway of India, 1600h to 1800h 400, Rs. 320 and Rs 160 for the public.

Sailing On the 14th of every month till March, go sailing in a French Yacht in the Mumbai harbour. Reporting time for the same is 1545h.

Prithvi Theatre, 1800h, 2100h

FOOD & SHOPPING

A comedy from Q Theatre Production, ‘The President is Coming’ explores the dog-eat-dog world of constant competitions, reality television and short-lived fame.

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English Play

10 Prithvi Theatre, 2100h English Play

‘The Good Doctor’ is a two-hour play 1 with an interval. This hilarious laugh riot

by Neil Simon is a series of tragic-comic vignettes, based on short stories by Anton Chekhov.

11 Jamshed Bhaba Theatre, 1900h English Play

ART AND EXHIBITION Bhau Daji Lad Museum

Posters Exhibition British Council presents, ‘A Century of Olympic Posters’, a unique exhibition that promises a fresh perspective on the modern Olympic Games, exploring their inception and evolution through the powerful medium of the poster. On till the 15th.

‘Sons of Babur’ connects the present to the past, introspecting on India’s Moghul 11 Piramal Art Gallery, 1200h to 2000h Era and providing unique readings of Photography Exhibition our history. It revolves around 1857, Vineeta and Divyesh Muni’s photographs with Bahadur Shah Zafar as the control will present the art and the architecture figure. For tickets please contact NCPA in the Himalayas, which is as grand and box office at 6622 3724/54. unique as its landscape. On till the 20th.

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culturama | MARCH 2011 CULTURAMA

PICK OF THE MONTH

6

Traditional Indian Painting Titled ‘Stories of Creation’, this traditional Indian painting exhibition will feature the works of master artists. On till the 15th.

WORKSHOPS AND EVENTS

11 Little Theatre, 1830h

Documentary Film This documentary traces the rich history of the courtesans of North India. The film weaves together life stories, memories, music and addresses the issue of relationship between the courtesan’s aesthetic expression and her sexual identity. Admission on a first-come-first-served basis.

* Event details are correct at the time of printing. However, we encourage readers to call and reconfirm at the venues concerned. Numbers beside each event indicate the date. Events are divided into categories like film, music, etc. Addresses and phone numbers of venues and places mentioned are listed under Venues.

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Lotus Cafe, JW Marriot

Artisanal Cheese Fest

Come and discover the rich taste of gourmet handcrafted cheese with over 20 varieties of ‘Artisanal Cheese’ in exciting aromas, shapes and colours.

Revel in the exotic French artisanal cheese featured along with seasonal exotic fruits like strawberries, pears, figs, chickoo and custard apple all this month.

Botticino Trident, BKC

Italian Menu There is an Italian expression which goes: ‘The most accomplished chef is the one who makes the perfect tiramisu.’ Botticino's very own, Chef Daniele Capobianco brings you that and much more as he gives you the authentic taste of the Italian countryside. All through this month.

FOOD & SHOPPING 1

Intercontinental, The Lalit Friday Seafood Buffet From smoked salmon to tandoori crab, from squid salads to grilled lobster, our chefs have garnered the choicest catch and masterfully developed them into delicate experiences in gastronomy. On every Friday till April 15.

VENUES Tata Theatre, Jamshed Bhabha Theatre, Experimental Theatre, Little Theatre, Godrej Dance Theatre, Piramal Art Gallery

NCPA Marg & Dorabji Tata Road, Nariman Point, Mumbai – 400 021 Tel: 6622 3737

Prithvi Theatre

20, Janki Kutir, Juhu Church Road, Mumbai – 400 049 Tel: 2614 9546.

Bhau Daji Lad Museum

Veermata Jijabai Bhonsale Udyan, Byculla East, Mumbai – 400 012 Tel: 2290 2596.

Jamaat Art Gallery

National House, Tulloch Road, Colaba, Mumbai – 400 001 Tel: 2282 2145 Email: Pravina@jamaatart.com

Sailing in Mumbai Harbour

Gate Way of India, Jetty Colaba, Mumbai – 400 021 Tel: 98210 81566

H2O

Netaji Subhashchandr Bose Road, Chowpatty, Mumabi.

Tel: 2367 7546

Capoeira Classes

S.S. Sahani School, !8th Road, Khar (West), Mumbai – 400 051 Tel: 98690 55371

Lotus Café, JW Marriot

Juhu Tara Raod, Juhu, Vile Parle West, Mumbai – 400 049 Tel: 6693 3276 / 3344

Trident Hotel

C – 56, G – Block, Bandra Kurla Complex, Bandra East, Mumbai – 400 051 Tel: 6672 7777

Intercontinental, The Lalit Sahar Airport Road, Sahar, Andheri East, Mumbai – 400 059 Tel: 6699 2222

CALENDAR BENGALURU MUSIC AND DANCE

WORKSHOPS & EVENTS

11 Chowdiah Memorial Hall, 1900h

* Event details are correct at the time of printing. However, we encourage readers to call and reconfirm at the venues concerned. Numbers beside each event indicate the date. Events are divided into categories like film, music, etc. Addresses and phone numbers of venues and places mentioned are listed under Venues.

FOOD & SHOPPING 1

Hindustani Music Concert Maihar Music Lineage presents a flute recital by Pt. Nityanand Haldipur and a sarod concert by Pt. Basant Kabra Maihar.

Indulge Fine Dine

Weekend Liquid Brunch Celebrate lazy weekends with unlimited beer and a non-veg brunch at Rs 349 or unlimited spirits with non-veg brunch at Rs 649. All through this month.

13 Indian Institute of World Culture

Classical Dance Performance Bharatnatyam artiste, Rama Venugopal, will perform at the venue with her group. Bharatnatyam is the classical dance form of Tamil Nadu.

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19 Chowdiah Memorial Hall

Film Music This live concert, featuring M K Murali’s troupe, will pay tribute to the Kapoor Family, the first family of Indian cinema.

This event is being held to support and raise funds for the underprivileged.

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ART & EXHIBITIONS

1

1

Right Lines Art Gallery

Solo Show Artist Francis Desousa from Goa will display his paintings till the 7th.

PICK OF THE MONTH

1

Glasscrafters

Craft Workshop Glasscrafters – The Stained Glass Studio, Bangalore, presents genuine stained glass and mosaic courses and workshops for interested artists and hobbyists. The founder artist, Tasqeen Macchiwalla, has 30 years of experience in the art of genuine stained glass production and training. On till the 15th.

Cubbon Park, 0630h

12 Chitrakala Parishat, 1000h to 1930h

Glasscrafters

#3, 4th Cross, 2nd Stage, Indiranagar, Bengaluru – 560038 Tel: 9845198365 Website: www.glasscrafters.in

Indijoe RMZ Infinity

Neoway Acedemy

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9

The Park

Eat, Set, Match The stage is set as the Goliaths of Cricket battle it out for top honours and World Cup Glory. Catch a taste of all the action, literally, at Monsoon, with a buffet line-up of select specials from the culinary hotpot/melting pot of the top eight teams. All through this month.

The Oberoi

Indian Odyssey Chef Saket Ranjan brings together a mélange of Indian spices. Come to Le Jardin for an aromatic journey of indigenous curries across India’s culinary landscape. On till March 16.

Victorian Bangalore Bicycle Safari This three-and-a-half hour, relaxed bicycle safari takes you back to the Victorian era, tracing the history of Bangalore Cantonment through the South Parade and Cubbon Park. Organised every Sunday by 18 The Park Great Pizza Festival the Art of Bicycle Trips, call 9538973506 The sauciest, cheesiest and meatiest for more details. war between the fabled thin crust pizzas of the world at the Great Pizza Festival at Italia. On till the 27th.

18/2, Corporation Building, Bengaluru – 560002 Tel: 9945585329

Cubbon Park

Bengaluru – 560001, Tel: 9538973506 Email: pankaj.mangal@artofbicycletrips.com

Art House

416, 1st Cross, ISEC Main Road, Nagarbhavi, Bengaluru – 560072 Tel: 988634195

KTPO Trade Center

EPIP Industrial Area, #5, Whitefield, Bengaluru – 560066

Lalit Ashok

High Grounds, Kumara Krupa Road, Bengaluru – 560001

Indian Institute of World Culture

BP Wadia Road, Basavanagudi Bengaluru – 560008

Ranga Shankara

No.36/2, 8th Cross, 2nd Phase, J.P.Nagar, Bengaluru – 560078 Tel: 96328 24253

Max Mueller Bhavan Solo Show Charlotte Salomon’s exhibition, titled ‘Life? Or Theater?’ are gouaches (a method of painting with opaque watercolors) painted between 1940 and 9 1942, before she was arrested by the Gestapo in 1943, and deported her to Auschwitz, where she was murdered.

Before her arrest she gave her complete work to a friend reminding him: 'Please keep this safe: C'est toute ma vie! This is my entire life.' 62 gouaches will be on 11 display at the venue till the 8th.

Max Muller Bhavan

No.24/10, BTS Depot Road, Wilson Garden, Bengaluru – 560027

RMZ Infinity, Old Madras Road, Bengaluru – 560045

Hard Rock Café

Cricket Fever Hard Rock Cafe invites fans from Bengaluru to experience the biggest games live every day on a big screen, with unlimited starters and drinks at just Rs 999 (exclusive of taxes). All through this month.

VENUES

Max Mueller Bhavan

716, 1st Stage, CMH Road, Indiranagar, Bengaluru – 560038 Tel – 25205305

Max Mueller Bhavan

Photography Workshop Celebrated German photographer Heidi Specker will conduct this workshop titled ‘Another World’ from March 9 to 16. Contact the venue for more details.

KTPO Trade Center

Environment Trade Fair Organised by AdsStation, ‘All Clean Environment’ gives a snapshot of the environment industry. On till the 14th.

Photo Exhibition 28 Max Mueller Bhavan, 1600h to Continuing from the exhibition series, 1800h 'Aspects of Contemporary German Workshop for German Teachers Photography', the Institut für AuslandsIn this workshop by Dr. Gusjew, you will beziehungen presents, ‘Real Space. be introduced to children's poems, rhymes, Conceptual Space’ that features German songs and interactive games and how these photo art from the 1990s. On till the can be actively used in teaching German.

27th.

Chitrakala Parishath

Kumarakrupa Road, Shivananda Circle, Bengaluru - 560001.

VENUES Right Lines Art Gallery

270, 1st Floor, 1st Main, Defence Colony, Indiranagar Bengaluru – 560038. Tel: 25272827

Indulge Fine Dine

#5, Siddiah Puranik Road, Basaweshwar Nagar, Bengaluru – 560079.

Website: www.theindulge.in Tel: (080) 41118433

Hard Rock Cafe

40, St.Marks Road, Bengaluru – 560001. Tel – 41242222

Chowdiah Memorial Hall

Gayathri Devi Park Extension, 16th Cross, Mallershwaram, Vyalikaval, Bengaluru – 560003 Tel – 9900612000

The Park

14/7, Mahatma Gandhi Road, Bengaluru – 560042 Tel – 25594666 culturama CULTURAMA | MARCH 2011

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CALENDAR DELHI FILM & THEATRE

* Event details are correct at the time of printing. However, we encourage readers to call and reconfirm at the venues concerned. Numbers beside each event indicate the date. Events are divided into categories like film, music, etc. Addresses and phone numbers of venues and places mentioned are listed under Venues.

MUSIC & DANCE

WORKSHOPS AND EVENTS 1

2

Italian Embassy Cultural Centre, 1830h

Soliti Ignoti (Big Deal on Madonna Street) In this Italian farce directed by Mario Monicelli, an unlikely quintet of bungling small-time thieves attempts the burglary of a local pawnshop. With brilliant characterisation, absurd situations and classic Italian post-war realism, the movie is a must-see.

PICK OF THE MONTH

5

9

India Habitat Centre, 1845h

Dinner with Friends Directed by Feroze Abbas, this Pulitzer award-winning play revolves around two couples at different ages and stages of their lives. As the play progresses, we witness the effects of the breakup of one couple on the other, who begin to question the strength of their own seemingly tranquil marriage. Also on March 6.

Italian Embassy Cultural Centre, 1830h

La Grande Guerra (The Great War) Young theater director Irena (Kasia Smutniak) comes to a Turin prison to develop a performance piece on Christ’s Passion with the convicts. Irena hits a brick wall when none of the prisoners will play Judas. So she develops another idea: present the Jesus story but without a traitor, and without the sacrifice.

Sufi Recital Enjoy the soulful strains of Sufi music at a recital by Zila Khan, among the most prominent Sufi singers of the world.

This will be followed by a musical presentation by students of her school, UstadGah.

Tabla Recital Tabla Trio Hafeez Ahmed, Akram Khan and Amjad Khan come together to bring you an evening of harmonious beats.

Mark your calendar!

Khan Chacha

VENUES Address Home

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1

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Bookwise

Coffee-table Books If you are looking for specialists in coffee-table books, contact Bookwise for exclusive offers.

Evok

Designer Interiors Take your pick from this home fashion store which sells home interior products and services.

Address Home

Home Accessories Walk into Address Home for designer cushions, bedding, crockery and other home accessories.

55A, Middle Lane, Khan Market, New Delhi

Bookwise

125A, Shahpur Jat, New Delhi Tel: 011-26499568

Epicentre

Apparel House, Ardee City Road, Gurgaon

Evok

JMD Regent Arcade, MG Road, Gurgaon

Hungarian Cultural and Information Centre 1/A, Janpath New Delhi

Anavarit Nisheeth Bhatt is a Chandigarh-based photographer, whose exhibition unveils his passion and vision on print. He will be displaying forty frames from his collection, seen through the lens of an eternal backpacker who has embraced the mountains, the glaciers, the wildlife, the men and the monuments over two decades and across three continents. On till March 31.

CULTURAMA | MARCH 2011 culturama

North Indian & Anglo Indian Food, 3rd Floor, Ambience Mall, NH 8, Gurgaon Meal for 2: Rs. 1,200

Kebabs Take Out, 75, Middle Lane, Khan Market, New Delhi Meal for 2: Rs. 250

13th National Festival of New Choreography This event will feature choreographies in Mohiniattam by Pallavi Krishnan and group, and choreographies in Manipuri by Bimbavati Devi of Manipuri Nartanalaya.

26 India Habitat Centre

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FOOD & SHOPPING

19 India Habitat Centre, 1900h

ART & EXHIBITIONS

Orange Hara

Indian Food 3-4, Ground Floor, Southern Park Mall, District Centre, Saket, New Delhi Meal for 2: Rs. 1,500

Sahib Sindh Sultan

19 Epicentre, 1930h

31 Hungarian Cultural and Information Centre, 1800h

Szélcsend (Lull) Lull, the second feature in competition from director Tamás Sas, is a chamber drama about a triangle of three women on a boat. Their journey begins idyllically, until they start playing an associative game which turns bitter and changes the women’s relationships. sacrifice.

Epicentre Art Workshop Save your Saturday mornings for an interactive art workshop with contemporary Indian artist, Kavita Jaiswal. The workshop will include sketching, drawing, textures and tonal variation, leading to composition and painting. Open to participants of 18 years and above.

Fee: Rs. 2000 per month (4 classes).

For further details, contact Kavita at 9811405102.

15 India Habitat Centre, 1900h

MUST EAT AT

Habitat World, IHC

India Habitat Centre Lodhi Road, New Delhi – 110003 Tel: 011-24682001 –09, extn 2037, 2038

Italian Embassy Cultural Centre 50 - E, Chandragupta Marg, Chanakyapuri, New Delhi – 110021 Tel: 011-26871901/03/04

CALENDAR CHENNAI FILM & THEATRE

ART & EXHIBITIONS

11 Alliance Française de Madras, 1530h English Play (75 mins)

* Event details are correct at the time of printing. However, we encourage readers to call and reconfirm at the venues concerned. Numbers beside each event indicate the date. Events are divided into categories like film, music, etc. Addresses and phone numbers of venues and places mentioned are listed under Venues.

FOOD & SHOPPING

steel and cast glass. Participating sculptors include Dimpy Menon, P. Gnana, Shivarama Chary, Rohini Reddy and others. On till April 22.

Presented by Masquerade Youth Theatre and directed by Harish Aditya, ‘A Play About Death’ is a typical 23 Gallery Sumukha, 1030h – 1830h absurdist adventure with unexpected ‘Dolls’ Exhibition twists and turns. What unfolds is an ‘Dolls’ examines the enhancing yet irreverent exploration of theatre as a distorting mirror-like relationship narrative medium and reflections over between young women and dolls. The fundamental existential questions. exhibition captures the phenomena of Tickets are priced at Rs.100. Also on the beauty industry, media glamour and March 12 and 13 at 1530h and 1930h. the temptations of cosmetic surgery, through parody and subversive art.

Artists include Ayisha Abraham, Abir 25 Inko Centre, 1900h Karmakar, Chintan Upadhyay and Korean Film with Subtitles others.

The simulated and the real, acting and real life—‘Rough Cut’ obsessively questions the nature of this dichotomy.

Are they two sides of the same coin or do they each inhabit a completely different universe? The film is director Jang Hun’s first foray into direction after having apprenticed with Kim Kiduk on movies such as 3-Iron, The Bow, Samaritan Girl and Time. Entry free.

23 Amethyst, 1100h-2000h

Weavers Studio Collection Amethyst presents collections from ‘Weavers Studio’ a Kolkata-based textile studio with hand-crafted products featuring hand block printing, screen printing, roller textures, stencils, sprays, surface ornamentation and more. Drop in for a selection of stoles, shawls and patch scrolls. On till March 30.

VENUES 1

WORKSHOPS & EVENTS

1

13 Chennai Hash House Harriers, 1645h

Runs # 276 & 277 Take part in a family hash run every fortnight for an hour, followed by an evening of beer and relaxation. Run # 276 will take place on March 13 followed by Run # 277 on March 27.

The group meets at 4:15 pm for a 4:45 pm start. For details, contact Sashi Varma at 9840866083 or Michael Long at 9789842220.

ART & EXHIBITIONS 1

Vinnyasa Art Gallery Multiple Exhibitions

Art lovers are invited to an exhibition of idyllic paintings by Anand M. Bekwad and M.A. Shankaralingam, on view till March 10. Other collections will be on display all through the month. Contact the venue for details.

22 Forum Art Gallery Heart of Sculpture

Forum Art Gallery presents ‘Heart of Sculpture’, a collection of contemporary Indian sculptural idioms that tap a circuit of boundless creativity. Man, animal and nature are presented in bronze, fibre glass, granite, stainless

PICK OF THE MONTH

18 The Music Academy

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1

14 Hansel & Gretel, 1000h-1300h

Summer Camps Junior and senior campers, it’s time to gear up for the summer! Hansel & Gretel is organising story time, singalong, drama and puzzles for 3-7 yearolds; and creative writing, chess and arts & crafts for 8-year-olds and above.

Camps will include snacks, certificates and gifts. Pick any two weeks between March 14 and August 31 and register with the venue. Call 98404 31549 for details.

Aikya Catch Sudha Ragunathan and T.M. Krishna together in concert for the first time! Global Adjustments brings you a unique musi-cultural journey with the two maestros, the second in a series of concerts in aid of The Interface fund for retiring accompanying artists and women’s empowerment. Contact 9841654816 for details.

FOOD & SHOPPING

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Shilpi Special Collections Shilpi brings you unique new fabrics featuring spring blossoms on chiffon, flowing pure silk chiffon with floral designs and an exhibition/sale of saris, tunics and tops.

Peek-a-boo Patterns

Unique Collections Peek-a-boo patterns launches unique collections of furnishings this season.

‘Chocoliscious’ features delicious designs that let you live and sleep in the world of chocolate. To compliment this is the exclusive ‘Purple Popcorn’ collection, which includes quilts, day covers, bed sheets, bean chairs and more in rich shades of purple, made from 100% pure cotton machine washable fabric. Call 28464091 or visit www.peekaboopatterns.com for details.

Courtyard by Marriott

Tapas at Rhapsody Make a detour to Rhapsody for a new range of delicious tapas and other delicacies. Whether you crave meat or fish, vegetables or shellfish, pasta or pulses—you will be spoilt for choice!

Try us for the perfect after-work wind-down. Also sample Rhapsody’s ‘Wine Flight’, an assortment of wines at unbelievable prices to pair perfectly with every course.

Asiana Hotels

Punjabi Food Festival Live life king-size like the Punjabis do and indulge in a tantalising spread of ‘Pindi Chole Bathura’, ‘Sarson ka Saag’, ‘Bhutte-e-Bahar’, ‘Chooza Makhni’, ‘Punjab De Gosht’ at Caramel, Asiana’s 24-hour coffee shop. The best of the Punjabi platter right here at only Rs. 750+taxes per person for a buffet lunch! On till March 12.

Alliance Française de Madras

Alliance Française de Madras 24, College Road, Chennai 600 006 Tel: 28279803

Amethyst

Whites Road, (Entrance next to Corporation Bank) Royapettah, Chennai 600014 Tel: 42105070/28541917

Asiana Hotels

1/238, Old Mahabalipuram Road (OMR), Semmencherry, Chennai 600119 Tel: 67411000

Courtyard by Marriott

Anna Salai, Ellaiamman Colony, Teynampet, Chennai 600018 Tel: 66764000

Forum Art Gallery

57, 5th Street, Padmanabha Nagar, Adyar, Chennai 600020 Tel: 42115596 www.forumartgallery.com

Gallery Sumukha

187 St. Mary's Road Alwarpet, Chennai 600 018 Tel: 4211 2545

Goethe-Institut/Max Mueller Bhavan

4, Rutland Gate, 5th Street Chennai 600 006 Tel: 28331314

Inko Centre

No. 51, 6th Main Road, R.A. Puram, Chennai 600028 Tel: 24361224

Shilpi

29, C.P. Ramaswamy Rd, Alwarpet, Chennai 600018 Tel: 24997526

The Music Academy, Madras New No.168 (Old No. 306), T.T.K. Road, Chennai 600014 Tel: 2811 2231

Vinnyasa Premier Art Gallery

21/11, CIT Colony, 1st Main Road, Mylapore, Chennai 600004. Tel: 24982515

CULTURAMA | MARCH 2011

5

C u lture

Sh a m l u D u d e j a

Rags to Stitches

DESPITE its origins in a poor man’s quilt in rural Bengal centuries ago, the art of ‘kantha’ or quilt embroidery speaks volumes of the artistic creativity of women and their inherent sense of reuse and recycle.

‘Kantha’ typically brings to mind the image of women, sitting together in the backyards of their huts, their chatter idle but their fingers nimble.

Chat hour becomes a creative journey, with a wad of old textile, their canvas and the threads drawn from the borders of old saris, their palette.

The writer is the founder of She

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Village vignettes of rabbits playing hide-and-seek, of ducks wading in ponds, of gods and goddesses or of scenes from the British Raj come to life, each quilt unique and more detailed than the other.

The art of ‘kantha’ is special because it gives rural women a chance to use the simplest of skills, employing a basic running stitch to create canvasses of extreme beauty. It also provides otherwise unskilled women the opportunity to generate an income, sitting by their doorstep and using flexible schedules, as household chores may permit.

But the journey of ‘kantha’ art has been long and varied. First, there were Portuguese sailors who had quilts made with scenes of beautiful mermaids, jumping porpoises and ships. The British tried their hand at revival after that, but without much success. Following the path of rural reconstruction paved by her father-in-law, Rabindranath Tagore, Pratima Devi went into tribal villages and encouraged women to earn money by making layered shawls. She was helped by her art student, Sreelata Sarkar, who converted the village craft of ‘kantha’ into canvasses of stitchart.

Twenty-five years later, an independent and parallel journey to revive the art began with Self Help Enterprise, (SHE) a group that trains rural women from West Bengal in the techniques of ‘kantha’. SHE reinvigorates the art and gives the traditional craft a contemporary form in saris, dupattas, shawls, shirts, cushion covers, silk curtains and other textiles. The focus is to get ‘kantha’ top-drawer placement in the wardrobes of the socially aware elite, not only for the beauty of it but also for what it does to village life. Slowly but steadily, SHE is transforming ‘kantha’ to an empowerment tool, a ‘movement’ where every citizen of India owns at least one piece of ‘kantha’.

Photo Feature

Shalini Biswajit Sisir Sahana – Bewildered

feminine charm

AS ELSEWHERE in the world through the ages, in India too the female form is synonymous with art. From the fluid, rounded Harappan torsos to the graceful figures of Ajanta wall murals, the lyrical beauty of the Tanjore bronzes, the sharp and angular featured Jain miniatures, the fish eyed females of Pahari paintings, the folk inspired Kalighat Pats, to the contemporary femme fatale, artistes have celebrated the female form with passion.

Within the languages of aesthetics and art history, the female form has been treated with such reverence as embodiments of fertility, as lovers and consorts, as objects of veneration, as heroines who combine the sacred and the seductive, as the embodiment of womanhood and strength, taking on the roles of an eternal Goddess, a mother, seductress, friend or a muse with aplomb. This is what ‘Female Synergy’ was all about, an exhibition we organised recently.

K. Muralidharan culls characters from the world of mythology and drapes them with a second skin of modernity that render her almost human and the generation of today can relate to, whereas, Manisha Raju’s ‘Durga’ is a woman who dons a divine or semi-divine status. She is the reflection and manifestation of supreme beauty and deadly power, the classical attributes that make the quintessential feminine woman.

A.V. Ilango’s painting flaunts the underlying eroticism of a woman longing to be united with her lover, sitting coyly talking to her messenger – a swan. In an era of text messages and wifi connections that relay love notes with unmatched urgency, Ilango communicates with a poetic lyricism that is refreshingly welcome.

Sisir Sahana’s glass sculptures of women allow a number of trajectories to flow through them that map the various domains in the mind, akin to a complex series of codes that make it difficult to read a female mind.

My paintings from the WomanEyes series titled Detached Attachment, take a cue from the Lotus that grows in slush yet rises above impurities. My women yearn to be liberated from the mundane-ness of life, to rise above expectations to excel and to grow spiritually.

Finally what is life without humour? Women have no qualms at having a humourous dig at the various idiosyncrasies that defines every woman’s unique way of living life, using her individual internal benchmarks. The Women in Biswajit Balasubramanian’s cartoon art titled Maiden Humour carry insights grounded in everyday life, where humour, even a touch of the ridiculous, serves to highlight the subtle shades in her life.

For the woman that you are, for the woman you aspire to be, here’s a toast to good life and happy times.

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A.V.Ilango - Message of Love Biswajit Balasubramanian – Maiden Humour

Shalini Biswajit – WomanEyes K Muralidharan – Sita

Manisha Raju – Durga

culturama | MARCH 2011

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Wonder Women

De i d r a W a g er

Star Quality Deidra Wager’s life and professional career form a colourful mosaic—the individual pieces are distinctive in themselves but they all come together to form an inspiring picture. With Starbucks Coffee for almost two decades including four years as Chief Retail Officer in Starbucks, Japan, Deidra is also on the board of CARE and is the co-founder of the Lacewing Foundation. With a quiet yet passionate air, Deidra gives us a glimpse into her medley of experiences.

What is your vision behind ‘The Lacewing Foundation’?

The Lacewing Foundation is dedicated to improving health and education for women and girls. Mary Williams, my former colleague at Starbucks and I started and funded the foundation in 2005. We share a common commitment to good health being the starting point to a productive life and education as a basic necessity for creating positive change.

What qualities of the Starbucks brand make it the quintessential American icon?

When I joined ‘Starbucks’ in 1992, we talked about making Starbucks a ‘third place’ – it was not home, it was not work, but it was a third place to find delicious and satisfying drinks, or minutes of quiet relaxation in a busy day, or a place for friends old and new. Starbucks has grown over the last 25 years and now has locations in more than 30 countries.

But no matter where you are, when you open the door and step inside a Starbucks, you will smell the coffee, hear the music, see a smiling face and be able to order your favourite drink.

What are your three tips to young women who wish to make a difference in society, but do not know where to start?

My first tip is to start small and look for the impact you can make close to home. Second is to dream big dreams.

And finally, have fun and enjoy your life. If things are not feeling right in your current situation, then change it! Analyse what is wrong and try everything in your power to change the situation so you can feel optimistic and powerful.

What was the biggest cross-cultural challenge that you faced as Chief Retail Officer in Starbucks, Japan?

One of my earliest challenges in cross cultural management was teaching the baristas and store managers to handle the large volume of customers because the Japanese culture places a high value on following rules. The service was slow, the baristas looked nervous and unhappy and customers impatient. We took every barista through an intensive seminar in the ‘art of making espresso’. It made them less anxious behind the bar and better able to interact with each customer. The speed of service improved, the waste was reduced, the baristas were more relaxed and the customers had a much better experience.

Based on your experience on the board of CARE, what would you say is the most pressing social problem that the world faces today?

Serving on the board of CARE for four years, I continue to believe that mankind will address the issues of inequality and poverty that remain entrenched in so many parts of the world. At CARE we focus on supporting women as they live, learn and earn. It has been proven time and again that women, equipped with the proper resources, have the power to help whole families and entire communities escape poverty.

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illustration vincent moses raja

Tales of India

There & Back Again The story of love that even conquered death

ONCE upon a time there was a king who ruled his kingdom wisely and caringly. But the king was unhappy as he did not have any children. He prayed to the Goddess Savithri, the bestower of gifts, to grant him a child. The Goddess was very pleased with the king so she blessed him with a girl child. The king named his daughter 'Savithri' in honour of the Goddess of gifts.

Savithri grew up to be a beautiful and gentle girl.

When it was time for her to get married, the king could not find any young man who would be a match for his daughter. So he decided to let her make her own choice with regard to her marriage. After many days the princess came back and told the king that she had found her life's partner. In a forest lived a blind king who had been banished from his kingdom. His wife and son were living with him. Savithri had decided to marry this king's son, Prince Satyavan. Though the prince was very handsome and strong, the king was advised not to agree to this proposal, as the prince was destined to die within a year. But Savithri was adamant. Finally, the king agreed to his daughter's wishes and the marriage between Savithri and Satyavan took place.

Savithri went to live in the forest along with her husband and his parents. She was very happy as she loved her husband dearly. But, as the day of his predicted death drew near, she was filled with anguish. She took a vow and began a severe penance, fasting and praying

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for her husband's dear life.

On the day when Satyavan was destined to die, he planned to go to the forest to cut wood for fuel. Savithri also accompanied him. After some time, Satyavan felt very tired and feverish and had to take rest. Savithri made him lie on the ground with his head on her lap. Soon she saw a dark stranger dressed in red with a noose in his hand standing next to Satyavan. He was none other than Yama, the God of Death. In spite of all Savithri's desperate protests, Yama took the soul of Satyavan and went off towards the south.

With soft footsteps, Savithri followed Yama, but the tiny chink of her anklets gave her away and he realised he was being followed. Yama turned back and asked her why she was following him. She said she did not want to be separated from her husband and therefore was following him.

Impressed by the integrity and steadfastness of Savithri, he blessed her with a boon. She could ask any boon of him except her husband's life. After much thought, Savithri asked that she should have many sons and daughters. Yama, unthinkingly, granted that boon. Then Savithri reminded him that as she could not have any children without her husband, the God of Death would have to return her husband alive to her. Yama had no other alternative but to bring Satyavan back to life.

The tale of Savithri's conquest of death through a combination of love and intelligence is very well known throughout India and has been presented in many ways.

Wonder Women

p t usha

Road Runner What are the challenges faced by sportspeople in India, particularly in terms of infrastructure?

It is very difficult to come up in sports and athletics, especially in our country, since there is not much encouragement for either men or women. Winning Olympic medals is not an important priority. In terms of infrastructural facilities, it is much better now compared to what was available in the 1980s or 1990s. When I was playing sports, there were no facilities. There was one synthetic track in Patiala and Odali, then slowly it went to Gandhi Nagar and Bhopal, but now there are many others. However, facilities are still not available everywhere. For example, Kerala has only one track in Thiruvananthapuram and now in Eranakulam. In Europe, every university or club has tracks, in-house air-conditioning and swimming pools.

Could you tell us about your academy and the support you have received?

I started my academy ‘Usha School of Athletics’ in the year 2000, aiming for the Olympic medal in 2012 and after. We scout young athletes from different places and give them every facility at the grass-root level itself. This is the eighth year and students have shown that they are capable of high-level performance. But it is not easy getting sponsorship. Everybody wants results, but to get medals, we need support at the grass-root level, when athletes are being made.

KNOWN as the ‘Queen of Indian Track and Field’, Padma Shri P.T. Usha’s story is one of pure grit and willpower. Rising from simple beginnings in Kerala to becoming one of India’s greatest athletes, P.T. Usha remains an inspiration for young athletes and women today. In this interview, the sprint champion gives us an insight into the sports scene in India, her training academy and her personal experiences as an athlete.

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How would you prepare yourself to withstand the pressure before a game?

Now there are lots of sports psychologists, but when I was into sports, there were no such things. At the initial stage, when I was 14, I would be nervous before a race. But when I trained well, it would build up my confidence. Whenever I was on the track, I would just want to win. There would be a little nervousness before going, but when I would start running, it would all disappear.

What is your advice to young athletes?

Don’t wait for facilities, they will eventually come.

If you want to achieve something, you should work hard. You may have to cross some hurdles, but you shouldn’t be disheartened. You should try, try and try and people will come forward to help also. But your minds should remain strong always.

Tales of India

Poetry of the Valley illustration m r rajan

Whatever your name is, Shiva, Vishnu, the genius who inspired Scherazade, savior of the Jains, the pure Buddha, lotus-born God, I am sick. The world is my disease, and You are the cure, You, you, you, you, you, you, you

THE note of urgency and the tone of intimacy in the verse reveal not only the philosophy that inspired the song, but also, the sex of the composer. It cannot but be a woman – and woman it is, but no ordinary one. Lal Ded, who sang the above lines in Kashmiri, was a saint, poet and mystic, who lived in the valley of Kashmir in the 1300s.

Born to a Brahmin family, the pious Lal Ded was married when young. But she was not destined to lead a happy life. She was tormented and harassed by her mother-in-law, who even denied her food. A Kashmiri proverb in use even today says: “Whether they killed a small sheep or a big one, Lalla only had a stone for dinner!” alluding to the starvation Lal Ded faced in her marital home. It is believed that Lal Ded was served a big lumpy stone covered with rice – it filled her plate and fooled the rest of the family into thinking that young Lalla had had her fill. Even though Lal Ded suffered every injustice meted out to her in respectful silence, a time came when the humiliation proved unbearable. Lal Ded did not hesitate to leave the house forever. She was only twenty-six then.

She found a spiritual guru in Siddh Srikant, a well-

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known yogi and Shaiva (ancient Indian philosophy) guru of the age. He guided her in yogic studies, meditation and philosophy. Seeking within herself for Lord, Shiva, Lal Ded was exultant when she found spiritual liberation by experiencing God in herself.

Feeling the divine presence everywhere and within her, Lal Ded grew convinced of the oneness of all Creation.

Then she took upon herself the task of enlightening the common people. Both Hindus and Muslims were charmed by her philosophy of single-minded devotion to ‘One God’. Lal Ded went about her task with no care for herself and was often seen to walk the streets, absolutely naked. Her bare-bodied presence often invited gibes, criticism and ridicule, but she remained calm and unconcerned: Let them jeer or cheer me; Let anybody say what he likes; Let good persons worship me with flowers; What can any one of them gain I being pure?

Much of her poetry and philosophy are recorded in four-line verses called ‘vakhs’, which are popular, even today, in the country.

Wonder Women

A n u s hk a R a v i s h a n k a r

Young Word

know what to make of it. I think it’s just that as you grow older, you are socialised to expect meaning from everyone. But if the books do get to the children, they accept it quite easily. I’ve found a lot of kids who’ve enjoyed reading, because it’s all about the sound, the rhythm – they don’t care if it doesn’t make sense. In terms of the market, that is, the parents who are buying the books, it’s not been great.

Is this particular to India?

It is, mainly because in the West, they have been exposed to nonsense verse in a larger way.

Although we have a lot of nonsense verse in our regional languages, nonsense verse as a literary genre is familiar to the West because of Lewis Caroll and Edward Lear. They were both writing at around the same and they made it a genre by writing books of nonsense verse.

Is there a lot of regional literature for children in India?

From what I’ve seen and heard, there’s a lot in Bengal, where it’s a respected genre. In most other places, it’s considered a notch lower in the hierarchy of writing, but in Bengal, Tagore, Sukumar Ray and Satyajit Ray all wrote for children as well. It’s also happened in Maharashtra and I think Oriya and Assamese have some too. A lot of publishers in Kerala have started translating from other languages to Malayalam—it’s not happened so much for children’s literature, although it’s beginning to happen.

CARVING a space for herself as one of India’s best children’s writers, Anushka Ravishankar has become synonymous with her niche genre of ‘nonsense verse’. With her magical vision that has captured the imagination of children, Anushka Ravishankar speaks to Culturama about regional children’s literature, their translations and her advice to budding writers.

How responsive has the Indian audience been so far to your niche genre of nonsense verse?

The adults are completely flummoxed; they don’t

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Do you think nonsense verse defies that, in the sense that it cannot be translated?

We have tried it. A scholar from the United States has done a book which I was an editor with, called ‘The Tenth Rasa’. It’s a collection of Indian nonsense, translated from different Indian languages to English. So translation is difficult, but not impossible. Christian Morgenstern, the German nonsense writer, has been translated brilliantly into English.

What are your three tips to potential young writers?

One is to read a lot. The second is to be interested in the world. If you’re a children’s writer, you shouldn’t just be interested in children, you should be interested in the world at large. And the third thing is to write for yourself first. Write because you enjoy writing, write what you’d want to read, and think about publishing later.

Tales of India

Age-Old Devotion A beautiful young woman prays for age and ugliness MORE than a thousand years ago, in the coastal town of Karaikkal (kaa-rai-k-kal) in Tamil Nadu, lived a merchant, who had a beautiful young daughter called Punithavati (punee-tha-va-thi). He got her married to Paramadattan (parra-ma-dha-thun), a young merchant who set up business at Karaikkal. Punithavati was virtuous, duty-minded and pious. Devoted from childhood to the worship of Lord Shiva, she chanted His name even as she went about her daily chores, and spontaneously served all those who knocked on her door.

One morning, Paramadattan received a gift of two mangoes and sent them home to his wife with the message to serve them at dinner. But as she was cooking that evening, a mendicant came by begging for alms. Punithavati invited him in and gave him a mango with rice. When her husband returned, he called for a mango. Punithavati served him the mango that remained. He enjoyed it so much that he wanted the second one. Now Punithavati was in a fix. She left the room and prayed to her Lord: “They say the Lord never deserts his devotees. I am in distress and who can I turn to, but you?” She suddenly felt as if her folded palms were being nudged open. She looked down, and saw a golden-hued mango in her hands!

With great joy, she served it to Paramadattan. This mango was extraordinarily delicious. “I have never tasted anything like this before!” cried Paramadattan. “I did not send this home. Where did you get this?”

Punithavati told him all that had happened. “The Lord sent you a mango?” he cried, incredulously. “How can it be? I must see it happen.”

Punithavati prayed earnestly. In front of her husband’s popping eyes, another gleaming-golden mango materialised in her hands. Paramadattan looked

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at his young wife with awe and wonder. Who was she: a woman or a goddess?

He backed away. How could he call this divine being his wife? Or defile her with his mortal touch? As time went by, Paramadattan found work in a town faraway and set sail, leaving Punithavati behind.

Punithavati turned to her parents for help. After years of rigorous search, Paramadattan was discovered. He had married again and even had a daughter. Punithavati’s indignant father immediately set sail for the town, taking his daughter and some relatives with him.

Paramadattan was stunned to see the unexpected visitors, but he came forward respectfully and stupefied every one by falling at Punithavati’s feet. Greatly taken aback, her father demanded what he meant. “She is no ordinary woman,” replied Paramadattan. “She ought to be worshipped.”

Punithavati was overwhelmed by his words. “If he for whose sake I cherished this beauty and youth should reject them for the truth within, why do I need these at all?” she cried. “O Lord, if I am a true devotee, take away this youth and bless me with age and ugliness that I might forever forget my form and live in your love alone!”

In front of the amazed eyes of the gathering, Punithavati’s slim frame shrivelled and shrank into a bony cage, and she was reduced to a wispy wraith.

Abandoning herself in devotion, Punithavati lived long and came to be known as the Mother from Karaikkal, or Karaikkal Ammaiyar.

Wonder Women

mr s . y g p

Life

School YOUTHFUL, gutsy and pioneering – these may very well be the words spelt out by the name ‘Mrs. Y.G.P’. A true woman before her times, Mrs. Y.G. Parthasarathy redefined education in India and continues to do so as the Dean and Director of the Padma Seshadri Group of Schools. Culturama listens in as the educationist shares a slice of her eighty-five years.

What could the world learn from Indian society?

Here, the support system is very strong. Living with the family is not thought of as ‘dependence’ at all, it’s a sort of bonding and affection. In other countries, the joint family is not very popular. Although things are changing now in India, in general, we were very unselfish and were taught first to share with nature and to respect elders.

How did your journey begin and what was the vision behind it?

In 1976, when I began this journey, I realised that we were still tied down by the old British system of convent and missionary education, which was more of memory-testing rather than knowledge testing. So the main change was that we did away with examinations until Class 8 and introduced cycle tests instead. We were the first to introduce language labs, a mathematics lab and a creative science lab. Right from the beginning, the purpose of starting my school was to Indianise children. I started the school in my house upstairs and there we started with the Puranas, the epics and stories from the Bible – and things grew from there.

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Would you say that co-education is important for holistic learning?

Yes, I think so. With co-education, they grow up together like they do in a family and the frivolous things vanish. Only, we must guide them and advise them properly at that age.

Education as a profession in India is femaledominated. Is this because women are natural teachers?

That’s one thing – being mothers, women are natural teachers. But another thing is that the salaries being offered for teachers were so low that no man would take it up. On the other hand, the structures were very helpful for women. Here, work hours are limited, so it’s not like other offices where women are tied down from 8 a.m. to 5 p.m. They also have long holidays, so it helps maintain a balance between work and home.

What is your advice to parents enrolling their children in schools?

Firstly, they should see to it that the methods of learning are well-rounded. Communication skills are very important and we have to encourage this by having a lot of class discussions, creative drama and allowing children to imagine. Another advice to parents is that they shouldn’t be in a hurry to enrol their children in school. Two-and-a-half is about the right age to start pre-kindergarten.

FLOWER POWER

Topnotch Thoughts

This month, we asked our readers a special question on the occasion of Women’s Day “Are Indian women powerful and in what way?” Here are some of the responses we received from our readers.

“I would say that Indian women are very powerful because they have to handle a lot of tasks all at one time and manage to do it well. Many of them are working and do all the work in the family too. They raise the kids mostly on their own, since the husbands often step back when it comes to taking care of the home.”

– Diana Grieger, Germany

“Indian women are more powerful than the men. When you see workers building the street, the women carry bricks on their heads and the men only fix them. Even in businesses, women are coming up. But I don’t think that all men encourage women to become more powerful. The older ones prefer to keep them in the kitchen, although the younger ones seem more open-minded and give them the freedom to do what they want.”

– Tanja Brix-Blaich, Germany

“Indian women have an innate ability to get things done without overly asserting themselves. They have the knack of getting work done the right way and that contributes to their power. They’re very calm and matter-of-fact about it, which I think is a secret power of Indian women. It’s because of this reason that we’ve seen a lot of women shining of late, not only in the corporate sphere but in other spheres as well.”

– Prarthana Sridhar, India

“Indian women are always very committed to the different aspects of their lives, be it their family, the home, friendships or business. They are always determined to succeed and they make it look so easy. In other cultures such as in the UK for instance, women don’t seem to put as much effort into relationships. They are more concerned about their own rights, whereas Indian women are concerned about everyone around them.”

– Caroline Speers, UK

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India and I

Marina Marangos

going by the book

At the Jaipur Literature Festival the literati balance their glasses on their noses and give studied responses to eager questions. And the booklovers, like me, write down the title of yet another “must have� book, while listening to the original tales of their conception

THERE was a time, and it was not that long ago, that Diggi Palace may have been too sprawling a venue for a handful of hopefuls who had turned up to listen to some authors talking about their books. Not anymore. This rather ramshackle but lovely heritage hotel with its lawns and gardens has been the venue for the Jaipur Literature Festival since 2006. In 2010 they estimated some 30,000 visitors turned up, this year it felt closer to 50,000.

The inevitable questions arise, is the festival a victim of its own success? Do the organizers need to look for another venue? Should they start charging or being selective at the door?

I am hoping for myself, but also for the thousands of fans of this festival, that nothing except some administrative checks and balances are introduced. There is something quintessentially Indian about this festival which appears slightly out of control but fabulously alright on the night.

On the first day the programmes had not been delivered in time and then they ran out of delegate badges. There are occasional changes to the venues but these are essentially to cater to the greater appeal of the speakers and to enable more people to listen. Barring these minor niggles, because that is what they are, the festival runs like clockwork, the speakers never overrun, there is always room for one more person, the microphones work and the atmosphere is just magical. It

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is such a vibrant, wonderful celebration of the written word that I would not have it any other way.

I am a fan, a big fan and the reasons why I feel this is so special is that it caters to a large disparate group.

Ambassadors from Delhi fight for seats together with everyone else. The Indian and European celebs walk around and are asked for autographs. They queue for their lunch with the delegates. The schoolchildren come in and gawp admiringly at a Nobel Laureate who they can approach and shake hands with. The literati balance their glasses on their noses and give studied responses to eager questions and the booklovers, like me, write down the title of yet another “must have” book, while listening to the original tales of their conception.

The variety is truly engaging. You move from venue to venue to listen and then at the end of the day you wonder why you feel as if your head is bursting and you have run a marathon. It’s called stimulation overdrive and I cannot get enough of it. You don’t even have to like the authors or what they are saying – you simply have to engage and see that what they are saying often presents a new way of seeing history or fiction or even raw journalism.

For me the most exciting authors happened to be those who were writing or talking about India and its history as this is a subject I am fascinated with. So listening to Patrick French talking about his intimate biography of 1.2 billion people, “India a Portrait”, was a sheer delight and I am enjoying his book at the moment because it brings alive all those aspects of Indian life which to me as a foreigner living here are illuminating and didactic. History written as

a captivating story was the strength of a delightful and unashamedly young author Alex von Tunzelmann who in her book “Indian Summer” wrote about the now undisputed love that Nehru and Edwina had for each other. “Were they in love?” asked an engaging Karan Thapar. “Oh, definitely,” she replies. “Were they lovers?” he asked probing further? “Does it matter?” she answers very diplomatically. She has written this meticulously documented historical account of a short but significant period in Indian history beginning with the arrival of the Mountbattens in India in March of 1947 and ending around June 1948.

Listening to William Dalrymple talking to Mahmood Farooqui and Rena Pandit on “1857” was history as well, but this time from an unlikely source. She has just brought out a hugely illuminating book on the events at the time, which was an account of two Brahmins beggars travelling across India at this crucial moment. An account of this period, from a purely Indian perspective.

This is a period long gone, but not so the events that lead Ahmed Rashid to write his hugely successful books, “The Taliban” and “Descent into Chaos”, where he had unprecedented access to some of the persons and events close to the Taliban. His book came out and soon after the terrible tragedy of 9/11 occurred.

His two books are now used as textbooks by schools teaching politics.

Vikram Seth joked about whether the sequel to “A Suitable Boy” should be “A Suitable Girl” or even “An Unsuitable Boy” or “Girl”. His sense of humour, sharp wit and self deprecation left the audience completely enthralled and it was fitting perhaps that his session was the last in this packed schedule. He promised the young schoolchildren he had met in the festival to read his poem “The Frog and the Nightingale”, which was lyrical, clever, colourful and just a sheer delight to listen to.

There was gravitas in Roberto Cavallo talking about “The Vedas”. I wish I could have had a deeper understanding. There was the essential chick flick genre in Candace Bushnell talking about her experiences in writing “Sex and the City” with some very level headed advice to young women to be true to themselves. There was a lively debate on the “Courtesans of East and West” and how they wielded power in their own special way. There were interesting insights into China, its literary and environmental record from the well known Isobel Hilton and Hong Ying and personal insights by renowned authors of those triggers, books and stories that made them want to write. There were interviews with the Nigerian author Chimamanda Adichie as well as readings from Nobel Laureates J.M. Coetzee and Orhan Pamuk.

And these are just a few of the ones that I managed to attend. “Storyteller in Chief”, “Two Nations, two Narratives”, “A Painters Life”, “The Reluctant Fundamentalist,” “Dreaming in Sanskrit” are some of the sessions I didn’t manage to get to, but just the titles alone are so inviting and do justice to the organisers and the planners who year after year allow us to see literature in its grandeur, in full democratic flow, a bit like India at its roots.

The writer is Greek-Cypriot and has lived in Delhi for the last two years. culturama | MARCH 2011

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Holistic Living

ek n a th e s w a r a n

Circle of light

Photo philip clegg, UK

THE Bhagavad Gita, India’s best-known scripture, gives a very encouraging presentation of how we can grow to our full stature as human beings. This cannot be done by wishful thinking, or by playing games with our appearance, or by changing our name or home or job. What we have to change is our way of thinking. As the Compassionate Buddha would put it, we are not what our salary is, or our reputation, or our position in life, or our bank balance. “All that we are,” he says, “is the result of what we have thought.”

The Gita is a very understanding scripture. It doesn’t sit in judgement upon us; it accepts all of us where we stand, with our difficulties, problems, and conditioning. Instead of repining over the past and regretting our lapses, it is much more beneficial to change the ways of thinking that led us to commit those mistakes.

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Through the practice of meditation and allied disciplines, we can slowly push ourselves from darkness into light. This brings certain on-going challenges, and no matter how long a person has been meditating, everyone can benefit from keeping some simple guidelines in mind every day.

Selfless Work

One of the surest signs of progress in meditation is an increase in the amount of energy that flows into daily life. This is a welcome development, but it brings its challenges also. The internal life has to balance with the external life.

That is why I constantly emphasise the need for hard, selfless work for everyone who is practising meditation sincerely and systematically.

On the other hand, we also have to be practical.

We need to support ourselves and perhaps a family, and if possible, to support causes that benefit others too. Interestingly enough, opportunities for greater service often open up unexpectedly as meditation deepens.

Angles and Corners

Second, the more we go inwards, the more essential it is to associate with people – not just to be with two or three friends, but to be close to a number of people in order to rub off the angles and corners of personality in the giveand-take of daily life. This is the message not only of the Bhagavad Gita, but of the Sermon on the Mount and every other major scripture. Learning to realize our unity with those around us has to include reconciliation with those from whom we have become estranged. This doesn’t mean we have to give up our spiritual convictions. It means making genuine, loving efforts not to let differences divide us from those around us. Differences are human, but they should not separate us. To grow spiritually, we have to learn gradually to bridge every gulf that may have formed between brother and sister, parent and child, partner and partner, race and race, even country and country.

Likes and Dislikes

So often what holds us back is some old habit or attachment, and making progress means turning our back upon things that we have grown accustomed to.

Even when we are making good progress in undoing these old modes of behaviour, we can expect to be surprised by occasional lapses. We shouldn’t be harsh with ourselves. Of course we have weaknesses, but look at our capacity; look at our potential. That is the promise of the Bhagavad Gita: to help us realise our potential and come into our full heritage as human beings.

To be fully human, the Gita would say, means that when you don’t get what you want, you can still smile. When you get what you don’t want, you can still smile. Here the language the mystics use can be wonderful. “We are always free,” they say, “so we are free to enjoy.” Put them in a situation where most of us would be angry and they will face it cheerfully without losing their temper, because they are secure. Put them in situations where an ordinary person would retaliate and they will neither strike back nor retreat, because they know how to be patient, to forgive, and to win over opposition.

The Mantram

There are two basic tools for mastering the thinking process: meditation and the repetition of a mantram or mantra, a name or phrase with spiritual meaning and power. Meditation every morning slows down the thinking process. Then, during the day, the mantram keeps the mind from speeding up again. The mantram keeps the stream of concentrated thought flowing throughout the day.

Follow Instructions

Last, it is very important to review my instructions in meditation regularly and follow them carefully.

They are the fruit of many years of teaching, offered for the sole purpose of making progress safe and sure. This is very much like entering a new world. Just as a baby has to learn to walk, we have to learn to walk on a new stratum of awareness.

The darkness will grow less and less as we make progress, and the increasing light can be dazzling until we learn to see anew. The important thing is to keep trying, day in and day out, in every relationship, doing your very best. Be regular and systematic in your meditation, and sustain your enthusiasm whatever happens. It may not appear that you are making progress. Sometimes you may even feel that you are going backwards. But as long as you keep doing your best, the Gita promises, you will get where you are going: We need have no doubts about the outcome. We make our own future – and whatever future we aspire for, the very best and brightest is to see the presence of the Lord in everyone around us, for this brings the resolution of all conflicts and all doubts.

Join us every Saturday India Immersion Centre facilitates a weekly spiritual fellowship group following Easwaran’s Eight Point Programme of Meditation in Chennai. Email us for more information at easwaranindia@ gmail.com or call Reema Duseja at 9884127304.

Reprinted with permission from “The Goal of Meditation” (Blue Mountain, Spring 2009). Copyright 2009 by the Blue Mountain Center of Meditation, PO Box 256, Tomales, CA 94971, http://www. easwaran.org.

Eknath Easwaran (1910–1999) founded the Blue Mountain Center of Meditation in 1961. The Center offers books and retreats based on the eight-point program of passage meditation that Easwaran developed, taught, and practiced. To learn more, visit http://www.easwaran.org culturama | MARCH 2011

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iseries

iread

Book Yuganta: The End of an Epoch Author Irawati Karve Price ` 295

ONE of the most important historical documents in the last 3000 years, the Mahabharata, has been studied and reinterpreted on many levels. While the narrative revolves around the fight among cousins over property, the wider implications and final outcome of the battle is the mass annihilation of three unrelentingly greedy generations. In a powerful evocation of ‘right versus the wrong’, Irawati Karve recounts the stories of each one of the powerful men and women – displays their multifaceted characters and shows an insight into each of their strengths and weaknesses.

Irawati recounts Kunti's misfortunes, Arjuna and Krishna’s friendship and valour, Karna's unequal relationship with Duryodhana and the heartrending story of Draupadi who, despite life’s advantages, is ‘married but like a widow’. And the story of Bhishma, and Vidur describes how an unwritten code of royalty and line of succession can reject a possible ruler of extraordinary intelligence merely by his parentage.

Yuganta retells this classic epic through a lens of life’s finitude in death: in the vivid portrayal of the last scene, the five Pandavas march to death feeble and fatigued.

Iravati Karve was an anthropologist. Her picturesque enunciation of Mahabharata has universal overtones and contemporary relevance.

The triumphs and vicissitudes of the clan – their futile pain, greed, grandeur, and, killing – continue to intrigue and haunt.

— By Jyoti Nair

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isee

Film Arth Director Mahesh Bhatt Language Hindi

RELATIONSHIPS are difficult enough to manage let alone be articulated. Speaking of passion, affairs and insecurity, ‘Arth’ emerges with the message: each person must discover his own life. Inder (Kurbhushan Karbanda), married to Pooja (Shabana Azmi), falls in love with film star, Kavita Sanyal (Smita Patil). Traumatised by her misfortune, Pooja attempts to build a new life for herself. At a party, drunk and distraught, she confronts the lovers. Kavita, disturbed by all this, starts to hallucinate about Pooja’s presence in her life and is driven crazy. In the final scene, Pooja meets Kavita, reassuring her that she and Inder are done – they are legally divorced and she does not hold Kavita responsible for breaking up her home, which in fact never existed. Alongside, a sub-plot unfolds: Pooja’s housemaid (Rohini Hattangady) suffers from a similar situation, meeting its own tragic end. During her break-up, Pooja develops a friendship with singer, Raj (Raj Kiran). Raj proposes to her, though she declines; she wants to fulfil her own mission in life. Kavita, too, after awaking from her stupor, puts an end to the relationship with Inder. When he tries to then make amends with Pooja, she asks him candidly: would he take her back if he were in her place?

Written and directed by Mahesh Bhatt, the film is an autobiographical account of his relationship with Parveen Babi, who died tragically after suffering from psychotic paranoia.

— By Jyoti Nair

iseries

iask

Photo elaine wood, Australia

indian summer When does the summer start and how hot does it get?

Summer in India usually starts in March, peaks in April or May and continues till June, when the monsoons set in. In Delhi and Bengaluru, the summer is marked by dry heat, whereas Chennai and Mumbai, being coastal regions, tend to be more humid.

Don’t be surprised if you find yourself and those around you more easily fatigued during this season – the heat and humidity tend to bring down energy levels and could slow down day-to-day activities.

What are the precautions I should take?

Avoid going outdoors between 11 a.m. and 4 p.m. This is when the heat gets sweltering, so it is best to plan your day accordingly and remain indoors during these hours. If you need to step outside, remember to slather on generous amounts of sunscreen lotion. You could also treat your skin to some natural tan-removers at home, such as sliced cucumbers or gram flour mixed with yoghurt. It is important to dress comfortably during the summer and light cotton fabrics would be your best bet.

Is there anything I should keep in mind about my diet?

Rule number one is to drink plenty of water and always have a bottle handy when you’re outside. Tender coconut water is a

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fantastic coolant during this season, since it is safe to drink and can usually be delivered to your doorstep. Also try buttermilk with salt, which replenishes the salt lost from your body through sweat. Eat lots of water-based fruits and vegetables, such as tomatoes, cucumber, and watermelon, while avoiding spicy foods and hot beverages.

What can I do during my leisure time?

An evening stroll at the beach or park is a favourite pastime during the summer.

Beaches are usually animated with vendors and merry-go-rounds, the perfect backdrop against the evening sea breeze. Gardens and parks are at their beautiful best this time and also provide a relaxing respite from the heat. You could also use this time to catch up on some latest films within the air-conditioned comfort of a cinema hall.

Another idea is to plan trips to hill stations, such as Mussoorie near Delhi, Lonavala near Mumbai, Coorg near Bengaluru and Udhagamandalam (Ooty) near Chennai.

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RNI NO.TNENG/2010/32752

REGISTERED No. TN/CC(S) Dn./396/10-12