Culturama May 2014 by Rohini Manian

culturama your cultural gateway to india

An Indian Summer

A pictorial spread of the many sights that mark the turn of the season in the subcontinent.

May 2014 Volume 5, Issue 3

Testing the Depths

Still the waters of the turbulent mind and find within the source of all things serene.

Rs 40

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Dear readers, I am writing this in Bengaluru, India's garden city and IT hub to the world. And I am combining the best of both by composing my note on an iPad, while sitting in the lush surrounds of Cubbon Park. A man stands as still as the large peepul tree and his young, high-energy son imitates him; now, they bend waist down sideways with their arm sliding along overhead to form a supple yoga tree-pose. On the other side, a dog walker has strapped three kinds of mutts to her waist as she keeps her hands free to pump up the cardio exercise. A row of four ethnic sari-clad, nose-ring-adorned women sit tightly packed on a single bench discussing a recipe; words like ‘dal’ and ‘cooker’ float in the air. A colonial brick-red library building that stands in contrast to the royal palms and greenery gives history and

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character to Cubbon Park. The temple at the bottom of the tree-lined avenue acts as shelter for stray dogs and the aged. And life happens. Why aren't more expatriates walking here before 8 a.m. when it is a no traffic zone, I wonder. This is such a great location to observe the many Indias. Nothing stays still in the external India. Just like Toffee, the former Microsoft India Chief's canine pet, who frolics in Cubbon Park, the invasion of the senses is nonstop. Yet, an inner calm descends when we take the time to look within in this spiritual land. And the truth is that it will continue despite the poll results from the elections, and changes in the seat of power. May is a time in India when calm descends on the country, as people seek refuge from the searing heat that is characteristic of the Indian summer. Enjoy a spread of summer sights in Picture Story. Read about how Indians battle the heat in The Lighter Side. Believe it or not, saris can help you keep cool – I can attest to the versatile nature of this unstitched garment. Read more about this ubiquitous Indian garment in our Feature for this month. Relax on your favourite armchair and sip on cooling drinks like t handai or aam panna – turn to In Your Kitchen for the recipes. Or find yourself a river or a lake – and join the youngsters who frolic in its cool waters. Hope you enjoy both the movement and the stillness captured in this month’s issue of Culturama. Ranjini Manian Editor-in-Chief globalindian@globaladjustments.com

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Credits

Letters to the editor Dear Editor, Cover image Johnny Baird, UK

“I came across Culturama when I moved to Chennai a couple of years back. It has been my guide on ‘where to go for what’ in the city and helped me a lot as a newcomer to the country.” – Mioara Cherki, France

Editor-in-Chief Ranjini Manian Associate Editor Yamini Vasudevan

Dear Editor,

Business Head Sheeba Radhamohan

“I enjoyed reading the ‘Thought Leader’ article on Mallika Srinivasan – the tractor queen – in the April issue.”

Editorial Coordinator Shefali Ganesh Senior Designer Prem Kumar

– Eric Fosburg, Delhi

Circulation Manager Annie Jacintha Advertising Bengaluru Subha Seetharam Chennai Amritha Suresh Delhi/NCR Ruchika Srivastava Mumbai/Pune Farah Bakshay To subscribe to this magazine, write to circulation@globaladjustments.com or access it online at www.culturama.in Chennai (Headquarters) 5, 3rd Main Road, R A Puram, Chennai – 600028 Telefax +91-44-24617902 Email culturama@globaladjustments.com Bengaluru 17/16,“Brown Nugget”, Ali Asker Road, Off. Cunningham Road, Bengaluru – 560 052 Mobile +91 99869 60316 Email culturamablr@globaladjustments.com Delhi-NCR Level 4, Augusta Point, DLF Golf Course Road, Sector-53, Gurgaon – 122002 Tel +91-124-4354236 Email del@globaladjustments.com Mumbai Rustom Court, 2nd Floor, Dr. Annie Besant Road, Worli, Mumbai – 400030 Tel +91-22-66104191/92 Email mum@globaladjustments.com 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 – 600032 Editor-in-Chief Ranjini Manian Disclaimer Views and opinions expressed by writers do not necessarily reflect the publisher’s or the magazine’s.

Dear Editor,

“The cross-cultural piece in the April issue made me laugh, as it is spot on! Clear direction giving versus confusion on whether we live on the fourth or fifth house on a street, two decades later!” – Vishwanath Anand, Chennai (Anand, a world chess champion, was Guest Editor of the January 2014 issue of Culturama.)

Dear Editor,

“Culturama is getting better and better with every issue. Your interview with Mallika Srinivasan in the April issue was brilliant! I believe it has educational value to all industrialists, executives and young people.” – Rabi Rajaratnam, Chennai

Look out for icons On our website and in our magazine we are now using the five icons below to help guide you through the contents. They are based on the five areas where Culturama can really help — giving you an insight into India, its life and culture; finding you great places to shop and fun things to do to enrich your Indian experience; helping you find a home; and connecting you to new friends.

1 Read 4 Locate

2 Shop 5 Connect

3 Do

Errata: In our April 2014 issue, in the ‘Look Who's in Town’ (Page 38), we had errroneously stated that Robert Hess is the CEO of Fidelity Business Services India Pvt Ltd – he is the CFO. We regret the error and apologise for the same.

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Culturama’s contributors 03 Shanti Puducheri, Lead Trainer at Global Adjustments, is an American citizen of Indian origin, who has lived in the United States and India. 04 Anita Krishnaswamy is President of Global Adjustments and a relocation expert. She has several years of experience working with expat clients across the country.

01 Susan Philip is a freelance writer based in Chennai, and the editorial coordinator of Culturama’s various coffee table books. 02 Harini Sankaranarayanan is an ardent foodie and a professional chocolatier. She has a degree in Hotel Management, English Literature and Theatre.

05 Devdutt Pattanaik is the Chief Belief Officer of the Future Group, and a writer and illustrator of several books on Indian mythology. Visit www.devdutt.com 06 Vishal Sabharwal, a professional photographer since 2005, enjoys exploring places and interacting with locals en route. His work has been published in leading magazines and websites. Visit www.vishalsabharwal.com. 05

07 Resham Gellatly and Zach Marks are journalists whose work has appeared in The New York Times and Time Out Magazine among others. Zach is a journalist and contributor to The New York Times. 08 K. Chandrashekar is a wildlife photographer who balances his passion with his day job as a corporate executive. His work has been published in leading magazines and websites.

Advisory Board members 09 N. Ram is an award-winning journalist and former Editorin-Chief of The Hindu. He is Director of Kasturi & Sons Limited, publishers of The Hindu. 10 Suzanne McNeill lived in India for seven years, first in Chennai and then in Delhi. She has now returned to Scotland, where she works as a freelance writer and graphic designer.

11 Babette Verbeek is a correspondent for BNR Nieuwsradio who previously worked in Amsterdam and Milan. Now she joyfully explores the beauty of South Indian culture. 12 Marina Marangos is a lawyer by profession but enjoys travel and writing. She lived in India for four years before moving to Australia. She blogs at www.mezzemoments.blogspot.com

13 G. Venket Ram is an acclaimed photographer and the creative mind behind many a Culturama issue. To know more about his work, log on to www.gvenketram.com 14 Beth Chapman is an American business management consultant living in Bengaluru. Former President of the city’s Overseas Women’s Club, Beth is an Indian culture aficionado.

15 Marcel Van Mourik is a Dutch photographer living in New Delhi for the past three years. Together with his cameras, he is passionate about discovering Indian culture.

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Contents 24

Ten for the Road

Trivia about an Indian state – featuring Assam this month.

India Writes

A space for discussing the best from India’s world of literature.

Look Who’s In Town

Expats in India share their stories on a practical theme for everyday survival in this country.

30 Feature A look at the rich heritage of the sari, and the many nuances of fabric and design across the different states.

Daily Cuppa

Explore India’s chai culture through the eyes of its myriad chaiwallahs.

Picture Story

Experience the sights of summer from across the subcontinent.

India’s Culture 10

Short Message Service

Short, engaging snippets of Indian culture.

In your Kitchen

Skip the regular cocktail for one of the featured summer specials.

Myth & Mythology

Stories from India’s mythology, reinterpreted for practical living.

Festival of the Month

Read about the significance of Akshaya Tritiya and Buddha Poornima.

Journeys Into India

See what’s going on in the main metros and suburbs.

Seeing India

Sail on the blue waters of the Andaman islands, or follow the tiger’s trail in Corbett National Park.

Holistic Living

Still the mind to harness it’s innate powers.

Calendar of Events The Lighter Side

What do Indians do when the sun beats down mercilessly? Take a guess!

At Global Adjustments

Aikya 2014 – a Journey of Love undertaken on the wings of music.

Regulars

Featuring worthy causes across the country.

In Focus

Rta Kapur Chishti, author of Saris: Tradition and Beyond, speaks about the beauty of the sari, and how this unstitched garment is versatile enough to be part of the modern Indian woman’s wardrobe.

India Now

A recap of events, people and places that made news in the past month.

Cultural Lens

FAQs about expats and Indians answered by GA’s resident expert.

Give to India

Relocations and Property 70

Realty Bytes

Practical advice from Global Adjustments’ relocation expert.

Space and the City

Property listings across the metros.

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Food and Drink Kuzhi Paniyaram from Chettinad in South India

by Suzanne McNeill Short cultural snippets for an easily digestible India

Dishes such as idli (steamed spongy cakes) and dosa (savoury pancakes) made from rice batter are a staple food of southern India. Kuzhi paniyaram, or fried rice dumpling, is a savoury Chettinad snack that is a favourite for breakfast and evening tiffin. Ground urad dal is added to the rice batter, which is then mixed with finely-chopped and fried shallots, green chilli, ginger, grated coconut, mustard seeds and curry leaves. A special pan with small moulds is needed for cooking the dumplings. Oil is heated in the individual moulds, and the batter dropped in and cooked for a few minutes until golden brown. Kuzhi paniyaram is served with a spicy onion or tomato chutney.

pHOTO Meredith Chipperton, Australia

pHOTO www.abbotcreations.com

Art, Textile and Craft Jaipur Blue Pottery

Words Sona and Sona

Jaipur’s distinctive blue pottery is Persian in origin and came to India during the 14th century with the Mughals, who had learned to combine Chinese glazing techniques with the decorative arts of Islam. The ceramics are moulded from a ‘dough’ made primarily of stone powder and ground glass. The colour range is restricted to blue and green, although yellow and brown have now been added to the palette. Originally, blue pottery was used to make decorative tiles for mosques and tombs in Central Asia, but it is now applied to household objects that are traditionally decorated with motifs of animals, birds and Arabesque patterns, the stylised plants and tendrils identified with Islamic art.

Sona needs to be understood according to context. It means ‘gold’ or ‘golden’, and is a popular girl’s name in India. The word derives from a Punjabi word, soniye, which denotes something lovely or beautiful. A pretty girl may be called soniye, and sona is used a lot in Hindi love songs. The opening line ‘Roop hai tera sona sona’ from the song ‘Say Shava Shava’ means ‘Your beauty is golden’. (Watch the song at http:// tinyurl.com/sona01.) Sona also means ‘to sleep’. The 1940 film Zindagi includes a beautiful lullaby, ‘Soja Rajkumari’ meaning ‘Go to sleep, Princess’ (soja is the imperative tense). (Listen to this famous lullaby at http://tinyurl.com/sona02.)

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pHOTO www. playcezteam.wordpress.com

He Lives On Homi Bhabha

Urban Adventure Paranthe Wali Gali in Delhi

Dr Homi J. Bhabha is regarded as the architect of India’s atomic energy programme. He was born in 1909 into a Parsi family in Mumbai. Early studies in engineering and mathematics gave way to a profound interest in theoretical physics. Bhabha was awarded a doctorship at Cambridge University in 1935, and, on his return to India, he started work at the Indian Institute of Science. His proposal for the establishment of an institute dedicated to nuclear research was supported by the Tata Trust, and collaboration with Government in the 1950s saw Bhabha entrusted by Jawaharlal Nehru with complete authority over India’s nuclear-related affairs and programmes until his premature death in an air crash in 1966. Bhabha’s vision, first set out in the 1950s, has ensured that India leads the way in researching thorium reactors – an alternative nuclear technology.

Street food is enormously popular in Delhi, and the best is said to be found around the Chandni Chowk area of the old city. Paranthe Wali Gali is ‘the lane of the fried-bread makers’, with a series of shops – some established since the 19th century – specialising in paratha, a North Indian flat bread layered with masala and fried in ghee. The shops are strictly vegetarian, with no onion or garlic as the owners are Brahmins, and the clientele traditionally included the neighbourhood’s Jain community. The parathas are stuffed with fillings such as potato, paneer or peas and served with the same three varieties of vegetables, pickle and banana chutney. A cultural and a culinary adventure!

People have painted symbols on their hands with henna since Vedic times, particularly depictions of the sun and its rays on the palm to represent the idea of awakening the light within us. It is unusual to see the soles of the feet painted in this manner. Perhaps the wearer has been inspired by the ancient dharmachakra symbol, which depicts the cycle of rebirth and often appears on the sole of the foot in the highly venerated engravings of footprints of the Buddha. The more intricate henna mehendi designs that decorate the hands and feet of a bride are a Muslim tradition that is now popular with Hindu brides. These henna symbols from different religions are a reminder of the natural co-existence of India’s communities.

pHOTO Carlo Sem, Italy

Interpretations

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pHOTO Courtesy Rta Kapur Chishti/ Taan Baan

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Going the Whole In Focus by Yamini Vasudevan

Yards

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1 For Rta Kapur Chishti, the sarI is not a traditional garment to be relegated to ‘special’ occassions – it can, and should be, a part of the modern Indian woman’s everyday wardrobe

I have always loved saris – they spell elegance and charm, and seem to bestow a certain grace on the wearer. I own several saris, but they are usually folded and kept inside a cupboard, with lavender sachets for company. To a growing generation of Indians like me, a sari is too cumbersome for daily wear, so I take them out only on ‘special’ occasions – weddings, blacktie dinners or corporate events. For daily wear, I have sworn by my pants and shirts, jeans and blouses, and the ubiquitous salwar-kameez. They are easy to wear, look good and save me the time and trouble of fussing with several metres of cloth every morning. It is this attitude, says Rta Kapur Chishti – the author of Saris: Tradition and Beyond – that has led to a decline in preference for the unstitched garment among the younger generation. I first made my acquaintance with Rta at the Kalakshetra Foundation in Chennai, where she had come there to give a lecture/demonstration on the many styles of draping saris. From the first minute she comes on stage, Rta makes it clear that she is not here to waste time – she pins a collar mike to her blouse, starts up the PowerPoint presentation and instructs her colleague Pallavi to be ready with the different saris. She draws our attention first to the rich heritage that is carried in every fold of the sari. I learn that saris can vary from five to nine yards, with the length and width varying according to the style of draping – which is dependent on climate, work demands and culture of the region. Moreover, India once produced around 80 varieties of cotton alone – but the number has now dipped to less than 20, giving way to hybrid cottons that are better suited for mill spinning because of their longer fibre length and larger quantity production. Local cottons, on the other hand, required no fertiliser, pesticides and very little water and, therefore, less investment – and were ideally suited to hand spinning because of their shorter, uneven fibre length. It’s not all talk alone for Rita – she has established the Sari School in Delhi, which produces saris and organises workshops and private classes for those who wish to learn more about the wonders of the unstitched garment. She also established Ananda Khadi in 1998 to begin the production of hand-woven textiles using indigenous raw materials. In 2010, she initiated her label, Taan Baan, to continue the revival and regeneration of craft of hand spinning and hand weaving through the creation and sale of fabrics for garments and home furnishings distinguished by their unique texture, a contemporary rendering of traditional skills. By the end of the presentation, I was eager to talk to her in more detail about her work – and, definitely, a lot more eager to make the six-yard wonder a part of my daily dressing.

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pHOTO www.anindiansummer-design.blogspotcom

1 The sari is the most unique and versatile of garments; It creates a picture of flowing grace that conceals as much as it reveals The sari has been around for several centuries – yet, the modern Indian woman is forsaking this garment for jeans and skirts. How can we ensure that this beautiful garment is adopted by women of all ages/backgrounds? We are at a strange stage in our cultural evolution affected by globalisation, which in turn has meant that we are in an imitative stage of our development. Our attire reflects this dilemma. Apart from small efforts like ours, such as conducting workshops at the Sari School – there is a widespread campaign by well-known people who are in positions of social and economic standing to speak of the positive advantages of this wonderful draped garment and its appropriateness for our climate and sensibilities. You are the founder of Ananda Delhi Textile, an organisation dedicated to the marriage of organic cotton farming and hand spinning of khadi. What was the motivation behind starting this organisation? The starting point was the responsibility of carrying forward the work of the exhibition titled ‘Khadi- the fabric of freedom’ given to us in 2002–2003 by the Volkart Foundation, which sponsored the exhibition, on the recommendation of Martand Singh with whom I have worked since 1981 on several projects. I could not think of a better way to produce the fine quality that we had exhibited without getting involved in the entire production process. You have said that there are over a 100 ways to drape a sari – what are your personal favourites? There are a 108 styles presented in the book, Saris: Tradition & Beyond, but in the sari workshops we introduce the participants to four or five styles. There are no repeat styles for at least four workshops. The idea is for them to grasp 25 to 30 styles that not only represent the North-South-EastWest in their own distinct forms but also to know the basics of how the sari drapes around the body or between the legs

short or long, and thus informal and formal. The sari, in fact, can be transformed into a short or long dress, a pair of pants, pantaloons or shorts, and even a gown. Give me the whole nine yards on the sari in a nutshell. Although it is a fast disappearing garment for everyday wear, the sari will survive as a garment for special occasions. Indian women today prefer stitched garments and Western wear of easy-to-maintain wash-and-wear fabrics. Yet, they once rode horses while wearing saris in Jhansi (Uttar Pradesh), and swam in rivers and ponds with their saris tucked between their legs, much like an unstitched pair of shorts or draped longer in pantaloon-like fashion, in places as far apart as Shajapur (Madhya Pradesh) and Kothapalli (Andhra Pradesh). If the principles of these wearing styles were put into practice, many more could possibly be evolved for contemporary needs. Interestingly, the sari is asserting a growing presence in the Boardrooms of multinational corporate organisations, in the law chambers and courts, and among the new power professionals who are conscious of their identity and wish to draw strength from it. In the contemporary context, despite the growing compulsion to industrialise and globalise, there is also an increasing awareness of ecologically viable and sound growth. With her rich resources of skilled hand spinning and weaving, India is advantageously placed to show the way in balancing the slower but high-skilled production sectors with the mechanised and high-technology end. Although there has been a gradual exodus from these professions in the 20th century, what they are going through today is unprecedented. Weavers are losing a high-skill livelihood without alternative options, facing conditions akin to starvation and joining the ranks of the unskilled. The patterned, coloured fabric and product range is India’s greatest asset and no matter how many cheap imports

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pHOTO Courtesy Rta Kapur Chishti/ Taan Baani

are dumped into the country, we have to compete with them. If funds are invested prudently, with design and market support from both private and government agencies, sustenance for at least a percentage of the artisans who are still active and capable of developing further can be found. However, India must retain at least a broadbase of spinning and weaving so that a pyramid of skills can be formed and the more capable weavers are able to adapt to the finest levels of skill. Despite a 108 variations of the sari drape and wearing styles featured in the book, there is a personal variant always possible. This distinguishes the sari as the most unique and versatile of garments. In constant play with the body, in stillness and in movement, it allows for adjustments at all times. Be it the vigour of working in the fields or squatting on the kitchen floor, it transforms itself according to need and function. In the manner

of her carrying the sari, the wearer reveals her nature and demeanour. The bold and the shy, the silent but inquisitive, the athletic yet graceful, all manner of women hold their saris with characteristic ease, almost as if it were their second skin and not a textile extraneous to themselves. The personal pleasure of draping the unstitched, fluid garment over and around the body, adjusting it with little tucks and pulls to suit one’s own particular form, is sensuous. It creates a picture of flowing grace that conceals as much as it reveals. At the Sari School in Delhi, have foreigners or expats shown interest in learning more about this beautiful garment? We have usually a mixed group of people who join the Sari School workshops – there have been bureaucrats, students, professionals including lawyers and journalists, young brides, and, yes, many expats and foreigners. 1

Rta Kapur Chishti is the author of Handcrafted Indian Textiles and Saris: Tradition and Beyond (both published by Roli Books). The books touch on the rich heritage of textile weaving and design in India. Saris: Tradition and Beyond covers 108 styles of draping the sari across 15 states. In 2010, Rta established Taan Baan, a label that supports artisans to create hand-spun and hand-woven fabrics from indigenous cottons and silks.

5 Visit the Sari School’s Facebook page: http://tinyurl.com/m7gtjs9 5 Visit the official website of Ananda Khadi: www.anandakhadi.com 5 Visit Taan Baan’s Facebook page: http:// tinyurl.com/n5ye49a

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India now by Susan Philip

The month that was 1 A quick recap of events, people and places that made news in the past month

Politics and Polity Judgement on Gender In a historic ruling, the Supreme Court of India has recognised transgenders as a third gender. The Apex Court has decreed that Government must treat trans-genders as socially and economically backward – this means they will be eligible for reservations in education and employment. The Government has also been mandated to frame welfare schemes for this minority section, and to ease their lives by catering to their special needs, such as public toilets and unique medical requirements. Recently, the Election Commission gave transgenders voter identity cards with ‘other category’ as an alternative to the male and female genders, thus paving the way for them to contest polls without compromising their gender identity. 1 For a look at some transgenders who have made news in India, visit: http://tinyurl.com/o9auuwr

Arty Happenings And the prize goes to… The Pulitzer for this year has gone to an author of Indian origin – Vijay Seshadri – the fifth person of Indian origin (PIO) to receive the prestigious award. Originally from Karnataka, Seshadri moved to the United States with his family when he was around five years old, and has been there ever since. He was awarded for his collection of poems titled 3 Sections. Seshadri teaches poetry and non-fiction writing at Sarah Lawrence, a liberal arts college in New York. Earlier, he won the James Laughlin Award for The Long Meadow and Wild Kingdom, another anthology of verse. Gobind Behari Lal, Jhumpa Lahiri, Geeta Anand and Siddhartha Mukherjee are the other persons of Indian origin who have won the Pulitzer Prize in the past. 1 Pick up a copy of Lahiri’s latest novel, The Lowlands, which was on the shortlists for the Man Booker Prize and the National Book Awards.

Business Matters

Click to buy Shopping and women are considered almost synonymous, but Indian women have added a new dimension to the deal. They drove sales worth more than half a billion dollars

during the last calendar year – not via conventional brickand-mortar stores, but online! And the figures are slated to go through the roof. According to projected statistics available with Accel Partners, which backs start-ups, the fair sex will account for 35 per cent of online sales worth $8.5 billion by 2016. Also, predictions are that fashion products will outstrip electronics and mobiles in e-commerce sales by 2016. A significant portion of this shopping is done using smartphone, tablets and other such gadgets. What is the-sex ratio in India as per the 2011 census? A: 940 females to 1000 males.

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End of an Era We’ll miss the malice On March 20, India was diminished by the death of one of its best-known writer-editors, the feisty, zesty Khushwant Singh. He was 99. Born in Hadali, now in Pakistan, Khushwant Singh, true to type, solved a crossword puzzle a short while before he passed on. A journalist of immense influence, he was editor of national dailies such as the Hindustan Times and the National Herald. He was also editor of the widely-read but now defunct Illustrated Weekly. His books, including Train to Pakistan, I Shall Not Hear the Nightingale, and Delhi – A Novel, were well received, but it was his column, aptly titled ‘With Malice Towards One and All’ that was eagerly awaited by his fans everywhere. The column, alive till a few years ago, was syndicated to several publications, and he wrote them out in longhand. His trenchant and irreverent sense of humour was his signature. 1 For a selection of Khushwant Singh’s columns, look up http://tinyurl.com/nwf98bw

This and That Pillars of an empire It’s a rather nondescript, small, black granite plaque in a now-abandoned police station in Chennai, but it speaks volumes. Till recently, the cops who frequented the building thought it was the foundation stone of the edifice. It now turns out that it is much more significant than that. The plaque marks one of the boundary pillars of Madras, which was the embryo of the British Raj in India. The British traders had built Fort St. George on the strip of land they acquired, and, as their influence spread, a settlement of natives grew up around it – predictably named

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Black Town. The British had to fight to hold their position in the region, and after they defeated the French in the mid 18th century, they cleared the Black Town area to provide a clear field of fire from the Fort in the event of further invasions. The boundary was marked by pillars, one of which was the newly discovered one. The find caused historians to re-calibrate their maps of early Madras. 1 For a historical guide to Madras that is Chennai, pick up a copy of Madras Rediscovered by well-known journalist and historian, S. Muthiah.

Mirror, mirror on the wall… Koyal Rana is the 51st ‘Femina Miss India’. The beauty from Jaipur was crowned at a glittering function in Mumbai. Jhataleka Malhotra from Mumbai and Gail Nicole Da Silva from Goa were adjudged first and second runners-up, respectively, of the contest organised by women’s magazine Femina. Traditionally, the winner of the contest represented India in the competition for the Miss Universe title, while the runners-up vied for the Miss World and Miss AsiaPacific titles. Over the years, there have been changes in the pattern of representation. At present, India does not enter the Miss Universe contest, and has chosen the Miss International pageant instead. Also, from the Miss AsiaPacific title, the focus has shifted to the environmentally significant Miss India-Earth. In 1994, Sushmita Sen brought the Miss Universe title home to India for the first time while Aishwarya Rai was crowned Miss World. The first ever Miss India contest was held in 1947. Do you know the name of the winner? Esther Victoria Abraham, from Kolkata.

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pHOTO Olga Suihkonen, Serbia

Cultural Lens by Shanti Puducheri

Get the drift?

1 FAQs from Indians and expats – about the other – answered by GA’s Cross-Cultural Facilitator

When I ask an Indian a question, he or she tends to shake the head in an indeterminate manner – neither a nod nor a shake! What does this ‘head wobble’ mean? A head wobble is a non-verbal form of communication that is very common in India. The head wobble sometimes means ‘yes’, sometimes ‘no’, sometimes neither, sometimes both. It usually means: I am listening to you intently; I intend to carry out your instructions. It is a sign of respect to shake the head from side to side, as though disagreeing, when taking a string of instructions from a superior. The best way to figure out what is meant is to ask a clarifying question. Ask with a smile, “Is that a ‘yes’ or a ‘no’, please?” Why do expats always speak in a direct, forthright manner? Their style of communication makes it hard to have a pleasant conversation or understand them. When trying to understand people from a different culture, it would be good to keep in mind the iceberg analogy – one has to go under the water to see the depth of values which dictate behaviour. Expats simply say what is on their mind – which sounds blunt or rude to us. But what dictates it is the belief that if your conversation is direct, you are being truthful and not hiding anything. They are used to such a style of communication, and Indians often find it hard to get used to. Indians value face-saving and relationship building and, therefore, try to be polite while replying. Indians like to maintain harmony and don’t like to say ‘no’. Their indirect roundabout way is in order to be non-hurtful. Now if you see it from a Western cultural lens, the roundabout reply is a waste of time. They speak their mind, and don’t do it deliberately to hurt. Needless to say, both sides have to adjust communication styles to meet in the middle. Expats would do well to couch their replies in extra words of niceness and Indians would do well to not see insults where none is intended. 1

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Ten for the Road by Susan Philip

Assam

1 Explore the 28 states of this fascinating subcontinent from your armchair. This new segment will set out a collection of interesting, bite-size facts from each state – this month, we look at Assam 1.

How the Land Lies: This northeastern Indian state is bounded on two sides by the nations of Bangladesh and Bhutan. The name ‘Assam’ comes from the term assom or assama, meaning unequalled or unrivalled. The state is rich in coal, petroleum and natural gas. Political Lines: The region, specifically the kingdom of Kamrup, is mentioned in the great Indian epic poem Mahabharata. The Ahoms ruled it for a long time. The British annexed it in the 19th century, and, post-Independence, the States of Arunachal Pradesh, Mizoram, Meghalaya and Nagaland were carved from it. Past Glories: The Madan Kamdev temple, dedicated to the God of Love, and other shrines unearthed in the depths of dense jungle date back to between the 10th and 12th centuries BC, when the Pala Dynasty ruled Kamrup. The shrines are a treasure trove of sculptures of celestial beings, demons, animals and humans. Ethnic Fingerprint: The Boro is the largest indigenous tribe of the region. Other than the tribes, the population is a mix of various ethnic origins. The Ahom people were settlers who traced their roots to the Yunnan province of China, while among other settlers were those of Burmese or Aryan descent. The Assamese language is considered the easternmost member of the Indo-European family. Culture Quotient: Although the people of Assam are Hindus, Muslims, Christians, and followers of tribal religions, there is one festival – or rather, three variants of one – that is celebrated across religious demarcations.

Bihu, in its Bohag, Bhogali and Kangali avatars, revolves around the agricultural calendar. 6. Personality Plus: Shankardeva was a poet-saintscholar-playwright-social reformer (whew!) of the 15–16th century. He was credited with both initiating a renaissance in literature and art in the region, as well as formulating a facet of the Bhakti movement that popularised a set of values to synthesise society. He set up prayer halls across the region where people of all castes, creed and classes were welcome to worship. 7. Wild and Wonderful: The Kaziranga and Manas National Parks, both World Heritage Sites, spearhead efforts to save the threatened great Indian one-horned rhinoceros. Manas is also a tiger and elephant reserve. 8. Tasty Treats: Rice, fish and mustard oil, local herbs and bamboo are integral parts of the distinctive Assamese cuisine. If there is one beverage that is synonymous with Assam, it is tea. There’s even a tea named after the state, made from a native tea plant. 9. Crafted with Care: Weaving is part of Assamese life and culture. The exquisite Eri, Muga and Pat silks and cotton varieties from the State are much in demand not only in other parts of India but all over the world as well. 10. Worshipfully Yours: Poa means one-fourth. The tomb of Giasuddin Auliya is called Poa Mecca as it is believed to endow the devout visitor with a quarter of the grace he would receive on worshipping at Mecca. 1

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May 2014

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Kokum Sherbet In your kitchen by Harini Sankaranarayanan

Cooling Concoctions

1 Pick your poison and keep cool this summer with some of the refreshing native drinks of India

Aam PannaIngredients

pHOTO aromaticencounters.wordpress.com

As summer fast approaches, mangoes start making their presence felt. Lest you think only the ripe yellow mangoes can be whipped up into a milkshake, lassi or juice, the raw green mango surprisingly makes a refreshing drink – aam panna – which is even believed to cool our system when consumed.

Unusual as it may sound, the sour fruit of the kokum tree is used to make an attractive drink that is just right for summer. The kokum fruit is usually found fresh on the Western coast of India. The dried rind of the fruit is usually used to prepare this sweet-sour drink.

1 large, or 2 medium-sized raw mangoes 2–3 cardamoms, crushed or powdered 4–5 black peppercorns, crushed or powdered (optional) 2 tsp black salt Powdered sugar – double the amount of the mango pulp. (Add more sugar for more sweetness.)

Ingredients

Method

Rinse the raw mangoes in water. Steam the raw mangoes in pressure cooker for three or four whistles till they become completely soft and pulpy. Remove the peel and take out the mango pulp. Mix the cardamom powder, salt and sugar to the mango pulp. Mix the ingredients or blend to make it smooth. This concentrate can be stored in an air tight jar or bottle in the refrigerator. While serving aam panna, add one tablespoon of the preserve to a glass of water. Add a pinch of black salt (if required), stir, add ice cubes and serve cold.

Rinse the dry kokum in water. soak them in 2 cups of water for 3-4 hours. Collect the kokum in a blender and reserve the water. Grind them with some of the reserved water to a smooth mixture. Boil sugar with the remaining water till the mixture becomes thick. Cool the sugar syrup, then add the kokum mixture to it. Add the powdered cardamom and cumin powder. Mix well and store in an airtight bottle or jar in the fridge. When preparing the drink, add a measure of the concentrated syrup and top with water or soda. Toss in some ice cubes and serve.

1 cup dry kokum fruits, chopped 2 cups water 2 cups sugar 5–6 cardamoms powdered or crushed 1 tsp roasted cumin powder a pinch or two of black salt or salt (optional)

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Thandai

May 2014

Panagam

Masala Chaas

pHOTO www.mapsofindia.com

Buttermilk or yogurt is always consumed in large quantities and here is a variation which is both light and refreshing. A pitcher full kept in the refrigerator always come in handy, especially when you want something that is cold but not sweet.

Ingredients 1 cup thick yoghurt 1 green chilli, deseeded ½ tsp roasted cumin powder 3 generous pinches black salt A few coriander leaves Salt as needed 2 pinches chaat masala

Method Whisk the yogurt until smooth. Add the roasted cumin powder, finely chopped green chilli, black salt, chaat masala and salt. Whisk again until well blended. You could dilute the yogurt with water to make a lighter drink (traditionally, chaas is not a very thick drink). Garnish with finely chopped coriander leaves and serve chilled.

pHOTO www. playfulcookingdotcom

To celebrate the warm days ahead (as a toast to the last days of winter) thandai, a nutty, spiced drink, is usually served chilled.

Ingredients 1 litre full-fat milk 1/2 cup powdered sugar 10 to 12 black peppercorns A few saffron strands To be ground into a fine powder 1/4 cup almonds 2 t bsp poppy seeds 2 t bsp fennel seeds 1/2 tsp cardamom 20 white peppercorns

Method Boil the milk with sugar, black peppercorns and saffron and allow it to cool completely. Add the ground powder and mix well. Refrigerate the mixture for three to four hours. Strain the mixture through a sieve, add sugar, peppercorns and saffron and mix well. Serve chilled.

Down in the southern part of the country, summer is when the birthday of Lord Rama is celebrated. For this occasion, a delicious jaggery-lime drink, panagam, is prepared as an offering to the Gods. This drink is nutritious and refreshing with just the right amount of tanginess.

Ingredients ½ cup jaggery (powdered) 1 lime 2–3 cardamoms ¼ tsp dry ginger powder 2 cups water A pinch of salt Tulsi (holy basil) leaves for garnishing

Method Dissolve the jaggery in water and strain the liquid to remove impurities. Mix in the spices and juice of 1 lime. Check for taste and add more jaggery or lime as preferred. Serve chilled garnished with a few tulsi leaves.

May 2014

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India writes

iREAD

Dozakhnama: Conversations in Hell by Rabisankar Bal

Reviewed by Babette Verbeek A journalist from Kolkata on an assignment to write about the courtesans of Lucknow stumbles across on an old manuscript of the controversial but lauded Urdu writer, Manto. The novel is dated on the day Manto died, but never published. Unable to read Urdu but hungry for Manto’s words, and convinced of the importance of his discovery, the journalist sets out to translate it. A conversation between two of the greatest writers of the Indian subcontinent emerges. Mirza and Manto lived in different eras. In Mirza’s time, the reign of the Mughals comes to an end by the invasions of the British. During Manto’s life, the British leave a conflict-ridden, torn India behind. Although from different times, both writers share a Muslim background and hunger forthe seamy side of life. As the book progresses, and Mirza and Manto get older, their lives and surroundings transform into hell. The reader is rewarded for descending into the hell of Mirza and Manto with magical and often cruel stories laced with different forms of poetry. In the chapters where Mirza shares his stories these are often intertwined by his famous ghazals. Mirza bares his soul for the reader in verse. Now grief and I remain in a hopeful city The mirror you shattered held a thousand images Dozakhnama: Conversations in Hell contains many layers – with each story, a new one unfolds. The book was originally written in Bengali; Manto wrote in Urdu. This coincides with the start of the book, with a journalist from Kolkata finding Manto’s Urdu manuscript, adding layer and magic. History, time, literature and biography are all woven into one. Through the journalist and his translator, the story takes you into the world of Mirza and Manto who in turn introduce us to the stories of other dastangoi and poets – all of which continue to echo in present-day India. Who is it by? Rabisankar Bal (1962–) is a Bengali journalist and writer. He lives in Kolkata.1

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May 2014

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Feature by Suzanne McNeill

A Drape Apart 1 Woven into the sari is the life and traditions of India â&#x20AC;&#x201C; it conveys the diversity of the Indian people in the rich variety of textiles and designs, as well as the different regional styles of draping

Photo Anthony Walker

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Photo Carlo Sem, Italy

Elegant and sensual, traditional and contemporary, the sari has defined Indian women for centuries. The graceful draping of this single piece of fabric accentuates the neck, flatters the figure, and endows the wearer with grace and poise. Woven into the sari is the life and traditions of India. It conveys the diversity of the Indian people in the rich variety of textiles and designs found around the country, as well as the different regional styles of draping. It has evolved to convey occasions and emotions, with heavy, rich brocades for times of celebration and festivals, a fertile red for a bride and sombre white cottons for mourning. Wearing six yards of unstitched cloth might sound challenging, but it is second nature to India’s women, who go about their daily lives in this enduring attire.

A Strip of Cloth The sari dates back to several millennia. The word ‘sari’ derives from a Sanskrit word ‛sati’, which means ‘strip of cloth’. Early sculptures show goddesses and dancers wearing decorative draped fabrics that cover the legs. According to historical sources, everyday costume consisted of a sarong combined with a breast band, and occasionally a wrap that could be used to cover either the upper body or head. Today, the basic sari ensemble comprises an unstitched drape of fabric that is six yards long (approximately 5.5 metres), worn over a full-length

May 2014

petticoat that is tied at the waist by a drawstring, and a tight-fitting blouse called the choli, which ends just below the bust. The sari is made from a range of different fabrics such as cotton, silk, crepe-de-chine and georgette, and raw silk. The sari fabric can be woven in many different ways and patterns, and embellished with decoration and embroidery. Most saris feature a decorative border made of silk or golden thread called zari. Of the two ends of the sari, the more ornate part is called the pallu. There are said to be over 80 ways of draping a sari, but the most common one is with the plain end tucked into the petticoat and then wrapped around the waist. The front portion is then gathered into pleats with the pallu worn draped over the shoulder. For all the apparent simplicity of this unstitched strip of fabric, the wearing of the sari is laden with a subtle, unwritten language: the way it is worn, the way it is tied or draped, the fabric chosen, the way the pallu is draped over the shoulder and gathered on the forearm, the choice of choli. Over the centuries, Indian women have finessed the aesthetic of the sari – whether it is a silk piece worn for a special occasion such as a wedding, a cotton sari for home, or a cotton-silk mix for work.

Sari Weaves and Weaving Centres The range of fabrics used to create India’s beautiful saris, the many different designs and variations of texture and weave, the dyes and embellishments, are almost infinite. Every region has developed a distinct weave of its own within its prominent weaving centres, where craftsmen and women have handed their skills down the generations. The richest and most opulent saris woven in India are said to be those from the historical weaving centres of Kanchipuram in Tamil Nadu and Varanasi (Benares) in Uttar Pradesh. Kanchipuram raw silk saris are characterised by their heavy weight and stiffness, classic shining colours and finish, and the wide zari borders and pallus, which must contain a mix of at least 40 percent

May 2014

pHOTO www.anindiansummer-design.blogspot.com

pHOTO Courtesy Taan Baan

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silver and 0.5 percent gold. These are woven with motifs of the sun and moon, peacocks, mangoes and leaves. Varanasi’s most famous sari is the Banarasi, which is finely woven and embellished with gold and silver brocade and opulent embroidery. The designs are Mughal-inspired jasmine flowers, the panna hazar or ‘thousand emeralds’, with myriads of little flowers interlaced with gold and silver threads – it has the visual effect of jewels scattered on a shimmering surface. Additional shimmer is added by heavy sequins and beads. Both Kanchipuram and Varanasi saris are favoured for weddings. Muga and soft crepe silks, from Assam and Mysore, respectively, are decorated with floral, geometric or traditional motifs over the body of the fabric, with contrasting colour borders and rich pallus. They are lighter than the saris of Kanchipuram and Varanasi, and pleat and drape elegantly on the body. Patola silk saris from Gujarat and Pochampalli saris from the silk city of Andhra Pradesh use the double ikkat technique to create magical designs. Ikkat is a craft in which instead of dyeing the finished fabric, the individual warp and weft threads are each dyed in a predetermined design and colour, using the tie-anddye method of resist dyeing. The threads are then ready to be woven in accordance with the design into cloth using handlooms. It is a long, complex and highly skilled process that ensures that both sides of the sari have the same design and can be draped either way. The tie-and-dye process is also essential to the ethnic bandhani saris of Rajasthan to form patterns of differently tie-dyed dots on the ground fabric, which can then be embellished with gemstones, light sequins, intricate silk

pHOTO Courtesy Taan Baan

1 For all the apparent simplicity of this unstitched strip of fabric, the wearing of the sari is laden with a subtle, unwritten language. Over the centuries, Indian women have finessed the aesthetic of the sari – whether it is a silk piece worn for a special occasion such as a wedding, a cotton sari for home, or a cottonsilk mix for work

May 2014

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pHOTO Courtesy Sakal Times, Pune

thread embroidery (called resham) and a form of opulent threadwork called zardosi. The Paithani silk and cotton saris of Maharashtra are characterised by kaleidoscopic effects achieved by using one colour for weaving lengthwise and another for weaving widthwise, as well as the iconic pallus that feature parrots, lotus leaves or, most expensively, peacocks. Baluchari saris from Bengal also feature unique ornamental pallu designs, which depict scenes from the myths and folk stories of India, often set within ornate and highly decorated panels, and repeated along the borders of the sari. Brilliant golden brocade is set against basic handloom off-white or ivory cotton fabrics in the Kasavu saris of Kerala. Sungudi saris from Madurai are patterned in age-old traditional ways including tie-and-dye, hand-painted dots (or buttas) and block printing.

Traditional Draping Styles Each state has a unique way of tying this timeless fashion piece. The most popular style is called the nivi drape, which originated in Andhra Pradesh. Here, the drape starts with the end of the sari tucked into the waistband of the plain petticoat. The fabric is wrapped around the lower body once, and then gathered into pleats below the navel that are tucked into the waistband of the petticoat. After one more turn, the loose end, the pallu, is draped diagonally across the right hip to over the left shoulder, and this style is found across southern India. It is said that this style was popularised through the paintings of Raja Ravi Varma, who depicted India as a mother wearing a flowing nivi sari. It was also the draping favoured by early Bollywood actresses. A version of this style has the pleats passed through the legs and tucked into the waist at the back to

ling, USA

in Bow Photo Benjam

1 The range of fabrics used to create Indiaâ&#x20AC;&#x2122;s beautiful saris, the many different designs and variations of texture and weave, the dyes and embellishments, are almost infinite

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allow more freedom of movement. In Gujurat, the women prefer to hang the pallu over their right shoulder – after the pleats have been tucked in similar to the nivi style, the loose end is taken from the back, draped across the right shoulder and then pulled across to be secured behind at the waist. The pallu itself may be pleated. In Coorg in South India, women drape the pallu across the chest in a style unique to their culture, whilst women in Bengal and Odisha wear their saris in a simple but elegant style without pleating. A nine-yard sari, called the nawwadi, is worn in the traditional style in Maharashtra. The pleats are placed between the legs and tucked in the centre back, creating a pantaloon style. Fisherwomen in the coastal regions of Maharashtra still wear a nawwadi. The nine-yard sari is also traditional in Tamil Nadu, called the madisar. The pleats are created from the start, and the loose end is draped from the right shoulder and then around the waist before tucking itself in front on the left-hand side.

Modern Draping Styles Commentators note that the sari has withstood the test of time, remaining essentially unchanged over the centuries. Yet, compare images of modern women wearing saris, particularly those in the public eye, with historical images, and it is apparent that the sari has moved with the times. During the 1920s and 1930s, princess and socialite Maharani Indira Devi of Cooch Behar popularised chiffon saris, which she had woven in France to her personal specifications. These were soft and light, with elegant drapes that caressed the body. Indian women living in Western countries began to drape their saris on the hip rather than the waist, exposing the navel. The development of semi-transparent and sheer fabrics increased the versatility of the sari: the actress Mumtaz created a fashion sensation in the 1968 film Brahmachari by wrapping her sari twice around the hips and knees, creating a long, slimline effect that has been endlessly copied. Bollywood and television celebrities have upped the glamour stakes by wearing navel jewellery, cholis with daring bikini-style cuts, spaghetti straps and a barely-there back, and transparent saris made of embroidered net. The designer saris worn by the actress Priyanka Chopra are sensational. For India’s elite, successful fashion designers such as Manish Malhotra, Ritu Kumar and Sabyasachi Mukerjee have redefined the sari as haute couture. Their chic designer collections include saris that are embellished with hand embroidery, paisley work, sequins, zardosi thread work, beads, velvet-appliqué and printed by traditional hand block methods. In contrast to the saris worn on the red carpet are the formal saris worn by India’s professional women. These have a more practical style of draping, sometimes referred to as ‘air-hostess style’, as it was pioneered by Air India’s female crew. The pleats and pallu are heavily pressed and pinned, and the choli covers the upper body completely. This is the favoured style of India’s female politicians, whose cholis are longer than usual, and tucked in to prevent any show of midriff. 1

Practical Tips: 5 Watch a short video made by tourists visiting a weaving centre in Kanchipuram: http://tinyurl.com/ Kanch-weaving 2 Any expat planning to buy a sari should take along an Indian friend; otherwise, it is easy to reveal your lack of knowledge and fall into a tourist trap. 5 For tips on how to drape a sari, watch: http://tinyurl.com/sari-drape 3 It is considered uncouth and inelegant to lift the sari bottom above the ankles. Never sit with the legs apart. In many communities, in the presence of elders, the women cover their head with the pallu as a mark of respect. 5 Here’s a selection of Bollywood’s five most trend-setting sari scenes: http://tinyurl.com/sari-scenes 5 A collection of photographs of the many glamorous saris worn by actor Priyanka Chopra: http://tinyurl. com/PC-saris

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May 2014

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Look who’s in town Delhi

Chalo Delhi 1 From star hotels to the restaurant down the road, Britisher Wendy Shariff brings us to places where the best food can be had in Delhi The British national food is the Chicken Tikka Masala, which funnily enough is something that Wendy Shariff hasn’t eaten in her Delhi sojourn. “Our stay in Delhi for the past seven years has been one of adventure and excitement, but with equal amounts of frustration and trepidation.” Now, the crowds in the capital have grown on her – so much so that Wendy now “misses seeing lots of people outside India…other cities seem to be empty and without a soul”. At a time when Delhi lacked in malls and supermarkets, Wendy learnt to adapt, and “soon learnt to buy from the local markets and enjoy the fresh food that India has to offer”. Among the many times they have eaten out, Wendy remembers her son’s birthday at the Hyatt, “When we arrived, the restaurant was booked for a private corporate party. The restaurant manager was very apologetic and requested us go to another room instead. During our dinner they were very hospitable and brought us a special birthday cake. That level of service doesn’t always happen often.” Delhi Must-Try Foodie Spots • TK, at the Hyatt Hotel, is a teppanyaki grill with amazing flavours and fresh food. • Saravana Bhavan, a South Indian restaurant near Connaught Place – it always has a big queue, but it’s definitely worth the wait!

• Swagath in Defence Colony is probably the best restaurant to get fresh chili crab. Plus, it has a huge variety of dishes to cater for all in the family. Foodie Tips • Firstly, relax! Don’t worry if it takes a bit longer for the food to arrive – it will certainly be worth the wait. • Secondly, the food is generally not spicy; it contains more masala than chilly. • Lastly, try everything – as long as it’s piping hot! Food in India in amazing, so fresh and so much flavour! Keep an open mind; you might have never come across some of the food before, but try it – you’ll probably enjoy it. Flavours of the UK In the UK, because of the recession, work commitments and lack of easily accessible childcare, a lot of people don’t eat out on a regular basis. But in India, food is seen as the essential ingredient in everyday life – people love to entertain and eat out. Also, as the population of Delhi has recently grown and diversified, there have been some amazing new restaurants opening that offer a variety of food to cater for every palate. In the UK, we ask if the dish contains meat or is vegetarian. Also there is a shortage of “pure” vegetarian restaurants and the menu will offer a smaller range of vegetarian food. So do your research. My choices for the best food in the UK • Fish and chips on the pier at Brighton. It’s a beautiful place, the people are friendly, and the food is always fresh and good. • Try the afternoon tea at the Ritz Hotel – they serve the quintessential finger sandwiches and beautiful dainty cakes served with a pot of tea. But remember to book a table in advance. • Try a pub lunch at any pub at Chiswick riverside on the River Thames; the location is stunning and you can get real English food. 1

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May 2014

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Look who’s in town Chennai

Chennai à la mode

1 Romanian-French artist Mioara Cherki shares her impression of the ‘real’ Chennai, as we check out her list of go-to spots in the Southern capital city

Ask Mioara Cherki about Chennai, and she has a few dozen nice things to share about the city. She has been living in the city for the past two years, and considers it as the “place of my birth as an artist”. She recalls, “Here I had my first painting exhibition, and I found inspiration, love and energy. People made me feel special, and communication is easy between me and my Indian friends”. Coming to Chennai was like landing in a typical Indian movie for Mioara – what with the crowds, colour and heat. It was easy for her to adapt to India as she was familiar with the country through the many Raj Kapoor movies she had watched in home country Romania. She finds Hindi to be a sweet language and says, “Indian love songs are like a balm for sensitive souls”. Paris Calling Paris is the cultural place to be – I’m very lucky to have enjoyed museums, cinema and movies, exhibitions, salons and fairs there. Usually I go alone, to take my own time to look around in leisure. In Chennai, I was excited to see the big cinema posters of movies – but they had no English subtitles! My first thought? “I’m dead!” I went alone to Sathyam Theater – I saw mostly men, squatting on the plinth outside, and I did not feel comfortable. But I soon realised that people are curious but polite; I never had any trouble, and I went often alone to the cinema. Leisure Links For an expat who is new in town, the first place to get friends and information about entertainment is for sure the InterNations Club. However, for me, the warmest and friendliest group of people is the Hashers – every Sunday we walk or run in different places in Chennai. This way, I discovered the city and some places where I could not have gone alone.

To go in Chennai A very interesting place to visit in Chennai is the Royal Enfield Factory in Tiruvottriyur, which produces the legendary bike – as the slogan goes, ‘Made like a gun, goes like a bullet’. Factory tours are open on second and fourth Saturdays only. I became a Royal Enfield fan! Indian food is too spicy for me, but I use Indian ingredients like cheese from Auroville, and the best paneer and ghee from The Farm on OMR (near Sathyabama University). Cholamandal Friday Movies at the Artist Village on ECR is one of my favorite places for Art documentary. When in France Remember to be polite and friendly when you address people. The French have the galanterie, which is the courtesy to let the other person pass through the door first, or greet a woman first when receiving a group of friends. There are crowds in many places in France, but we try to keep our distance and will not cut through a queue to go directly to the counter. For entertainment, visit museums, historical sites such as Chateaux de la Loire, the horse races or the famous amusement parks and trendy discos clubs. Finally, there is variety in the dishes that the French eat – there are no specific vegetarian/non-vegetarian options in restaurants, but you can find vegetarian or organic dishes in most places. For more information on activities in Chennai, visit the following sites: www.internations.org; www.madrashash.com; http:// www.ch3online.com 1

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May 2014

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Look who’s in town Mumbai

Desi Décor

1 Japanese national Kaho shows us where to pick up trendy yet comfortable items for the home For Kaho and her family, who have been living in Mumbai for a year now, the city is “vibrant and exciting”. In particular, she loves the coastline and the buildings along it, as she finds it “very pretty”. Mumbai is the city where her family “learns, grows together and appreciates life as a family”. And, as they say, home is where the heart is! Kaho strives to make her Mumbai home a comfy one. She fondly recalls the first piece of furniture she bought: “I was invited to join my neighbour to go furniture shopping. He was buying a rattan swing chair for his daughter – it happened to be the chair that I wanted to own for quite a while! I am usually not an impulsive buyer, but I made the decision right away to purchase one for my family too! I still love the rattan swing chair and I am very glad that we own it.” Home in the States When shopping back home in the United States, I check out sales at my favourite stores, or go to IKEA and buy what is in style at the time. Here, in India, I also look for sales, but, when I shop, I focus more on the design and practicality. I try my best to invest in items that I truly love, and that I can see myself taking home when we move. Top Shops My three picks for setting up home are ‘Sanctum’ for eclectic modern rustic furniture, home décor, ceramics and fabric items;

‘Magnolia’ for modern chic Indian furniture and decorative items; and ‘Freedom Tree’ for contemporary print textiles, items made of fabric and modern design furniture. If you have an endless budget, ‘Good Earth’ would be a place to visit for elegant Indian items. House Proud Before you step out on a shopping spree: • Patience – you might find the item you want, but it could be the last piece and not in the condition you like. In most cases, you won’t get a good discount for it. Wait for the next shipment or hope that the item will remain until a sale comes up. • Not sure? I’d sit on it. I like to spend time thinking about whether I really need it or not. • Grab it – if you love it! When in Japan I’d say, bring only the items you really need and love. You will have to use all the space allowed wisely to fit everything in your house as storage space is very limited. Try to embrace a minimalist style for home decoration in Japan. The three best places to shop for the home are IKEA, Nitori and Muji. IKEA and Nitori have stylish furniture and home goods at reasonable prices, while Muji has items that are simply designed yet beautiful. 1

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May 2014

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So where are they? my expat friend asked, when I said I was planning a trip to the Andamans. “And they are part of India?” Lying far out in the Bay of Bengal, spread out over 500 kilometres, the Andaman and Nicobar Islands have retained a pristine beauty by virtue of being one of the world’s remotest places. This vast archipelago of almost 600 islands is home to some of the last uncontacted tribes of Eurasia and a dizzying diversity of flora and fauna. Only nine of the islands are open to foreigners and you need a Restricted Area Permit to reach them, but that is issued routinely on arrival. The Government ferry service from Chennai is a gruelling, four- to five-day voyage on sometimes turbulent seas, and most of the passengers eschew their cramped cabins to sleep out on deck. The far speedier option is a flight from Chennai, Delhi or Kolkata. It was mid-morning when I arrived at Port Blair’s Phoenix jetty, and found myself jostling for elbow room in a scrum of determined women at the ticket counter for the Government ferry. Forty-five minutes later, wielding one of the last remaining tickets of the day, I was racing to the quayside, backpack hanging precariously off one shoulder. I just cleared the security gates in time – the ship’s siren was sounding and it was about to depart. For the next two-and-a-half hours, I sat on the hot metal deck with the salty wind in my hair as we sailed calmly over inky-blue waters. When Havelock appeared in a silvery haze, it was a green strip of dense virgin forest edged with a ribbon of pale gold. We docked in a sleepy harbour and piled out onto the jetty, where a policewoman checked our permits and ushered us through a gate onto the island. We were greeted by auto drivers waving diving school pamphlets and a small band of wandering goats. Accommodation on Havelock is laidback and rustic. I slept in a lovingly designed bamboo hut, just metres from the shore, and had my meals at a rickety table on the beach, watching young men load coconuts into wooden canoes while the ebbing tide teased the exposed roots of mangrove trees. The wet sand at my feet was strewn with pretty shells, fallen coconuts and tiny little hermit crabs scurrying from hole to hole. By late afternoon, the sky paled to a peachy glow; at night, a halo of stars shone over the soft to-and-fro of the slumbering sea. By day, I explored the island on a scooter I had hired at a very reasonable rate from the backyard of a house on Beach No.3. The small settlements on Havelock have been numbered rather than named, which adds to the island’s simple charm. The junction near Beach No.3 is home to a fruit and vegetable market, a wine shop, an ATM and the friendly little ‘Welcome Restaurant’. If you’re after fresh fish, a seaplane or a ferry, you go to Beach No.1. Most of the beach

resorts are dotted along the single east coast road, between Nos.3 and 5. One afternoon, I took the road that leads to the northwest, past grassy fields and single-storey shacks with wild flower gardens, where big brown betel nuts are laid out in the sun to dry. I parked by a hand-painted sign that said ‘Way to Elephant Beach’, and set off on foot through the jungle. Along the narrow dirt track, huge buttress roots supported soaring evergreens. Red-breasted parakeets

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May 2014

Seeing India by Helen Taylor

Halcyon Days

1 The Andamans are a sanctuary, one of the last refuges for travellers who want to truly get away from it all squawked in the canopy above. Watchful lizards crouched motionless, blinking at me from the shade, and a thin green tree viper swished across the path in front of me. Eventually, the forest gave way to mangroves and I emerged onto the beach where divers and snorkellers flock and tourists go to jet-ski, sea-walk and take glass-bottomed boat trips. I sipped the reviving milk of a coconut and had my first taste of sweet, earthy ramphal fruit, served on a banana leaf. But, to my surprise, the once beautiful shoreline was littered from end to end with torn tree trunks, jagged and bleached, and huge, uprooted stumps, tossed lifeless onto the sand like toys. Later, I learnt that the Andamans and Nicobars were just north of the epicentre of the 2004 Boxing Day earthquake. The Nicobars were ravaged by the resulting

tsunami and, although the Andamans escaped relatively unscathed, signs of the devastation are still plain to see. Further south and thankfully unscarred, Radhanagar Beach or Beach No.7 is the true gem of Havelock. It was declared the â&#x20AC;&#x2DC;Best Beach in Asiaâ&#x20AC;&#x2122; by TIME magazine in 2004. A great swathe of silky sand borders a smooth curve of crystal-clear sea. Behind it, the forest provides welcome shade and an old man offers elephant rides for a few hours each day. At the far north end of the beach, hidden from view, lies the exquisite Blue Lagoon. It is the perfect spot for whiling away the hours, sunbathing or snorkelling over the coral reefs that teem with rainbow-coloured fish, just beneath the surface. Lying there in the mottled shade of an overhanging tree, I knew I was in a place like no other. The Andamans are a sanctuary where you can rest and dream; one of the last refuges for travellers who want to truly get away from it all. 1

May 2014

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Seeing India by K.Chandrashekar

Walk on the wild side

1 Follow the trail of the tiger, rest awhile at the riverside and watch the elephants bathe, or peep through the tall grass to catch a glimpse of a deer at the Corbett National Park

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Nestled in the foothills of the mighty Himalayas is the Corbett National Park – a haven for wildlife and nature lovers. The Ramganga river flows through the valley, cutting it into two parts: the upper regions that boast thick vegetation while the lower grasslands are more flat and sway gently to the cool northerly winds. The birds have started their chorus as we drive along the banks of the river at dawn. We hear a throaty bark from somewhere inside the forest, then another. “Sambar alarm,” our driver whispers. “Definitely a tiger.” The Jim Corbett National Park, the oldest park in India, was established in 1936 to protect the Bengal tiger. Initially known as the Hailey Park, the park was rechristened after the legendary Sir Edward Jim Corbett, a tracker-turnedconservationist, who contributed immensely towards establishing the park. There are close to 70,000 visitors every year, and the crowd has been on the increase – but tourists are allowed only in select areas. Ramnagar, a small town, located 65 km from Nanital, is the district headquarters, and the gateway to Corbett. Ramnagar played a important part in Jim Corbett’s life – it was to this town that he would go to send telegrams to his mother and sister to tell them know about the man-eaters’ situation and position. Little wonder that almost every establishment here is named after Jim Corbett. At Ramnagar, we were welcomed by the sight of an open jeep and an experienced guide, who would accompany us for the next four or five days. After a quick exchange of greetings, we set off for one of the most sought-after places in Corbett – the Dhikala grasslands, which offer an amazing view of the valley. We had to enter through the Dhangadi Gate; the Dhikala Forest Guest House is located 30 kms from the Gate. The one-and-half-hour drive through the forest is an exciting one. Sunlight barely filtered through the thick cover of Sal trees, and the weather dipped by two degrees as we enter the jungle. It was around noon when we reach the Guest House. We were asked to have a quick lunch before going on a drive. Lunch, served in a common area, was all vegetarian – a spread of hot chapattis, dhal, sabzis (vegetable gravy), salad and papad. We set off on a drive at 1.30 p.m. Before the gates opened, the topic of discussion was about when and where a tiger was last sighted. We halted by the river side, strained our ears for alarm calls and anxiously looked out for the big cat. We returned to the Guest House as the sun begins to set. We were up the next day at 5.30 a.m. The drivers led the jeeps along the same tracks as the previous evening. I stood up to get a clear view. The driver, who had been regaling us with the history of Corbett, suddenly paused as the vehicle came

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to a halt. “Alarm call.” The cheetals or spotted deers were on high alert. The calls grew louder. “Sir, don’t take your eyes off your camera; she will come any minute,” said the driver. Then, the tigress arrived. The shutters clicked away like a machine gun, but she was not bothered. It was her land and she was the queen. Then, as suddenly as she had come, she vanished into the tall grass. The drive along the Ramganga river was a different experience. We saw pug marks and caught sight of a leopard walking along the banks of the river. The rivers is the hunting ground for many birds. We saw a pied kingfisher hovering over the water, swooping down to pick up a fish; the fish eagle taking off from a high perch in search of its prey; a small blue kingfisher sitting on the rocks, patiently waiting for the fish to show up. After a five-and-a-half-hour safari, we returned to the Guest House for lunch. After lunch, we relaxed for an hour or so before getting back into the jeeps. The place takes on a magical feel in the evening. The setting sun shines its golden light over the grasslands, making them glow like gold. The predators, especially tiger, are very active in the evenings, as are the deer, whose calls are heard from afar.

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Next day we are off to Bijrani, which was once part of a shooting block and was famous during colonial times as a hunting ground. The Guest Houses are smaller than those at Dhikala, but the magnificent view more than made up for it. One of the safari drivers asked us to proceed to waterhole number four immediately – they had seen a tigress and four cubs a little while back. When we arrived, two of the cubs were walking away into the tall grass. I managed to get a few clicks, but I knew a lot more was waiting for me in the afternoon. The driver crossed the grassland where we saw the cubs, went past a waterhole and drove straight ahead. Suddenly, he braked, reversed and said, “Sir, kill kiya hai,” (“She has made a kill”). I had not noticed the drag marks made by an antelope horn’s on the ground. The driver then turned the jeep and came to halt at the waterhole. The silence of the jungle was broken by the growls of the cubs; behind the lantana shrubs, the cubs were enjoying their meal. The days fly and it is soon time to bid goodbye to Corbett and board the train to Old Delhi. As the landscape rushes past, I recline and close my eyes – memories of spotting the tiger come to mind. It is a feeling that is hard to explain – one I hope to relive in the days to come. 1

How to get there: One needs to take the Corbett Park Link Express from Old Delhi railway station to Ramnagar in Uttrakand. The best time to visit the Park is from mid-February to mid-April. The nearest Airport to Corbett is Pantnanagar airport which is situated 80 km from Corbett, taxis are available from here to Corbett. Places to stay: At Dhikala, the only place to stay is the forest Guest House. For bookings, e-mail info@dhikalaforestlodge.in. Contact numbers are +91-120-4052601 to 99 (85 hunting lines are available). Fax No is +91-120-4052699. Food: Inside the park, at all the forest Guest Houses, only vegetarian food is cooked. Food is prepared hygienically and served at a common dining place at particular timings. At the resorts outside the park, different types of cuisines are available. What and where to buy: There are many shops along the roadside from Ramnagar to Corbett selling curios, caps, jackets, gloves and hats. One needs to spend time and negotiate for the best prices. What to wear: Summer: Light coloured clothing, sun creams, hat, sunglasses Winter: Light coloured clothing, pullover, neck warmer, gloves, moisturiser, thermals. To pack in your kit: Dust covers for cameras, torch, pair of floaters along with a good pair of sneakers, multi-pin charger, medicine kit, pen knife, and IDEA and Vodafone SIM card (as these are the two services available in select places).

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May 2014

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Daily Cuppa by Zach Marks and Resham Gellatly

What's brewing? 1 A small village in South India begins each morning with a special, personalised cup of chai brewed at the local tea shop

Photo Michael Ditter

Mornings start early in Rettanai, a small agricultural village about four hours south of Chennai in the state of Tamil Nadu. Cows begin to stir and roosters start to crow by 4 a.m. If the animals don’t wake you, the temples surely will. By 4:30 a.m., the main temples in and around the village are competing to see which one can blare prayer music the loudest. The old speakers can hardly take it and emit a mix of crackles and garbled chants. But a quieter awakening takes place at Mohan’s tea stall. Farmers, eager to get to the fields early, gather around one of Rettanai’s oldest tea shops at dawn – and wake up with Mohan’s milky chai. For 40 years, men (and the occasional woman) have gathered at the stall to discuss village matters, read the newspaper and prepare for the day ahead over a cup of hot tea. Mohan’s daily routine begins at 3 a.m., when he milks his cows. “It is the first thing I do before I even brush my teeth,” he says. He will go through about 10 litres of milk over the course of the day to serve his regular customers. We visited Mohan on Pongal, the Tamil harvest festival. We wondered if the village tea shops might be closed for the

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holiday, but Mohan opened his stall even earlier than usual. “We wake up especially early on this day. Some people might open their shops early and then close them to handle their Pongal festivities, but we stay open all day to start the year right. If we were to close, it could mean that business will be bad the rest of the year.” As the sky lightened from black to deep blue, Mohan’s customers began to arrive. Wrapped in shawls to ward off the nippy morning air, they walked up to the stall and nodded their head – the signal for Mohan to begin preparing their brew. In the tradition of many South Indian tea kadais (chai stalls in Tamil), Mohan’s set-up includes a large copper boiler filled with hot water, a pot of steaming milk and a tumbler of brewed black tea both perched atop rusted tin stoves filled with burning coals.With each order, he ladled milk and sugar into a glass, then strained the tea decoction through a worn piece of cloth before pouring the contents back and forth to achieve the perfect frothy cup of chai. Unlike the dum method of preparation commonly found in North India, in which all ingredients are thrown together in a pot – with the resulting cups of chai tasting more or less the same – Mohan’s preparation allows him to make each cup to order. More sugar for the chubby pre-adolescent boy who sat bleary-eyed alongside his wiry grandfather. An extra ladle of milk for the elderly man with a cap of white hair and a stooped back beneath his simple woolen shawl. Cup after cup of instant coffee for the city boy settled in Chennai, who has returned to his ancestral village for Pongal. As he poured, ladled, scooped, stirred and rinsed, Mohan told us his story. In the 1970s, Mohan’s father – a “very poor farmer” – started the stall in front of his small home on the village’s main road. In doing so, he unleashed a wave of entrepreneurial ventures that would change the family’s economic fortunes. Mohan’s father used savings from the tea stall to purchase several adjacent properties on what has now become Rettanai’s major commercial strip, which features a string of general stores and small businesses. The rental income from those properties allowed Mohan to diversify into commercial agriculture. For the past 10 years, he has bought a contract to harvest a nearby 30-acre mango plantation. He pays Rs. 300,000 for the contract and makes about Rs. 200,000 profit every year by hiring farmworkers and selling the produce. With these additional sources of income, Mohan does not need to run the tea stall to feed his family. But he says he will not give it up. “People come here everyday. They find out if someone needs work on their farm. If someone is

May 2014

Photo: Tobias Schmidt, Germany

going to Tindivanam [a nearby city], they come here and see if anyone needs them to buy something. Where would they go if I closed?” Mohan asks. The tea shop has given Mohan’s wife, Rajeshwari, a chance to try her hand at business as well. She has converted the front room of their house, which opens up to Mohan’s tea stall, into a restaurant serving her home-cooked food – tiffin items of idli, dosai and vadai in the morning, and meals of rice, lentils and vegetable curries in the afternoon. Mohan says there is no chance that his son will take over the shop. “Never. He’s over-qualified. This looks simple, but it’s a backbreaking job. You need to stand all day and get up early. I want something better and easier for my children.” But, “I am very attached to this shop. I will never leave this place even if I make more money. This is in my blood and it is where I came from. I will not just leave it behind.” 1

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Picture Story by Vishal Sabharwal

An Indian

SUMMER As the sun beats down mercilessly, even the air seems to shimmer with heat. Time slows down as the shadows shrink; as colourful garments bleed over the arid landscape; when the trail of water is the only direction that matters. Scratch the ground and fine cloud of dust rises, forming a trace of clouds in an otherwise clear sky. This is a time when patience is most sought after, as one waits for the turn of the seasons. And this is also the wondrous time when all of nature is drawn out from its core and left out in the open for all to see. 1

During summer months, the Mahabalipuram beach in Tamil Nadu attracts hundreds of locals and a few tourists every day.

A local boy in Rajasthan takes an evening bath along the main road under a â&#x20AC;&#x2DC;multipurposeâ&#x20AC;&#x2122; tap that is connected to a water tank.

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An intermediate egret at Keoladeo National Park, Bharatpur, tosses a tiny fish out of the lake. In summer months, when the ground is dry and hard, it is difficult for them to find worms and insects that form a part of their diet.

An elephant and her calf enjoy a long dip at a watering hole in Kaziranga National Park in Assam. One can easily spot wildlife around watering holes, where most animals gather to cool off.

A shepherd in Spiti Valley, Himachal Pradesh, navigates his cattle to a nearby river for grazing. Summers here arenâ&#x20AC;&#x2122;t harsh, although the lack of sufficient rainfall year-round renders this river the lifeline for these parts.

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Locals suspend water pots from trees for birds in the Ranthambore National Park in Rajasthan. The clay base helps reduce evaporation of the water inside.

A local woman in Sawai Madhopur, Rajasthan, walks an hour several times daily to fetch water from a bore-well.

May 2014

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Calendar of events

May

Presenting the best of India’s events in different categories across Delhi, Mumbai, Bengaluru, Chennai and nearby suburbs

Art & Exhibitions

Art Exhibition Delhi

Painting Exhibition Chennai

Titled ‘Indian Divine: Gods & Goddesses in 20th Century Modern Art’, the exhibition presents 300 artworks by about 80 artists from three centuries. The exhibition includes 19th-century art on mythological and religious themes from regions as diverse as Bombay and Bengal by well-known artists of the academic realist styles, such as Raja Ravi Varma and M.V. Dhurandhar, and mythological/religious episodes. It also includes works by prominent artists like Bikash Bhattacharjee, Ganesh Pyne, M.F. Husain and K.K. Hebbar. Call +91 11 46005300 for more details.

The exhibition, titled ‘Godhuli’, brings out the age-old tradition of Pichwai paintings. Pichwai paintings depict a custom wherein screens of cloth are draped to form a backdrop for Lord Krishna. Each screen displays intricately woven tales of the boy Krishna. The exhibition aims to showcase this beautiful tradition of devotion and love. Call +91 44 30958077 for more details. Date: April 10 to June 5 Venue: The Leela Palace, Adyar Seaface, MRC Nagar, Chennai Time: 1100h to 2000h

Date: March 18 to May 31 Venue: Delhi Art Gallery, Hauz Khas Village, Delhi Time: 1030h to 1900h

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Art Exhibition Mumbai The Jehangir Nicholson Art Foundation and The Chhatrapati Shivaji Maharaj Vastu Sangrahalaya present ‘Taking the Line for a Walk’ – an exhibition of rare drawings by masters such as K.H. Ara, S.H. Raza, F.N. Souza and Tyeb Mehta. It also showcases the works of younger artists like Laxman Sreshta and Manjit Bawa. This exhibition looks at drawing as a significant art practice – an end product in itself – and presents a collection of 45 profound drawings. Call +91 22 22029613 for more details. Date: March 1 to August 30 Venue: Chhatrapati Shivaji Maharaj Vastu Sanghralaya, East Wing, Mahatma Gandhi Road, Colaba, Mumbai Time: 1015h to 1800h

Photography Exhibition Delhi Tasveer and Vadehra Art Gallery New Delhi present an exhibition of photographs by Indian artist and printmaker Jyoti Bhatt. The 48 images featured in this exhibition chronicle the artist’s travels through rural environments in Gujarat, Rajasthan, Haryana, Madhya Pradesh, Orissa, West Bengal and Bihar from 1967 to 1995. history of photography in India. Call +91 11 46103550 for more details. Date: April 19 to May 14 Venue: Vadehra Art Gallery, D-40, Defence Colony, Delhi. Time: 1100h to 2000h

May 2014

Events

Story Telling Workshop Chennai Blue Movement Circle is hosting a storytelling session with well-known storyteller Geetha Kailasam for children. The interactive and fun workshop includes activities such as dance training, fitness, martial art form of Kalarippayattu, singing and painting. Call +91 44 42013604 for more details. Date: April 14 to May 23 Venue: Blue Movement Circle, 2nd floor, Eldams Road, Alwarpet, Chennai Time: 1000h to 1200h

Puppetry workshop Delhi The Ishara Puppet Theatre presents a puppetry workshop by Dadi Pudumjee for children between 8 and 12 years. The aim of the workshop is to develop the interest of children in puppetry. Dadi Pudumjee is the founder of The Ishara Puppet Theatre and is a well-known master puppeteer. Call +91 11 26529022 for more details. Date: May 5 to June 6 Time: 1600h to 1800h Venue: Sri Aurobindo Centre for Arts, Shaheed Jeet Singh Marg, Delhi

May 2014

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Art camp for children Bengaluru

Dance Workshop Delhi

Atta Galatta presents The Art Wizard, a summer camp for children aged 6 to 10 years. The camp will feature a variety of activities such as painting, quilling, glass painting, origami and storytelling and photography. Children will be taught the basics of photography and art of taking pictures. There will also be a session on robotics: design, build, program technology, science of robotics. Call +91 80 41600677 for more details.

Learn to tango, the traditional dance of Argentina and Uruguay. Since 2009, tango has been recognised as Intangible Cultural Heritage of Humanity by UNESCO. Previous knowledge of Spanish is not necessary as lessons will be in English. Call +91 11 436 819 00 for more details.

Date: May 12 to May 23 Venue: Atta Galatta, 1st floor, 5th block, KHB colony, Koramangala, Bengaluru

Music Concert Chennai SuidAkrA, the legendary folk metal band from Germany, will play in Chennai as part of the Wacken Metal Battle India tour. The Wacken Metal Battle is a worldwide music contest that takes place in 30 countries across the world. The finals of this competition are held at the Wacken Festival in Germany. Call +91 44 28331314 for more details. Date: May 24 Venue: Goethe Institut, Rutland Gate, Chennai

Date: April 10 to June 5 Venue: Instituto Cervantes de Nueva, 48, Hanuman Road , Delhi Time: 1730h to 1930h

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May 2014

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pHOTO Marina Marangos, Greece

The Lighter Side by Marina Marangos

It's getting hot in here...

When you live in Delhi, you quickly realise that there are two seasons in the year. Forget the in-between times – because they are gone before you can throw open your windows. There is a hot, dry season, and a cooler wet one. The bits in between can be momentarily pleasant but the winters are often misty and bitterly cold. Interestingly, people’s perceptions of a country can be quite distorted. Most people think that India in its entirety is hot. They are mostly right, except when the barometer dips and Delhi is in the grip of numbing cold – a cold that is so penetrating, it catches you by surprise. But

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Photo: Marianne van Loo, Dutch

1 This is a population that knows its physical limits and is able to handle the rigours of the heat with a sense of calm and introspection. During these hot days, the whole population, thankfully at varying times, heads off to a land of slumber and serenity amidst the cacophony of cars and creatures on the shoulders of their mums balanced side-saddle on the backs of motorbikes, as their men folk worm and weave their way though the busy traffic. There was one who seemed to fall asleep on the petrol tank, which must have been a little jarring and a little smelly, but sleep he did. This is a population that knows its physical limits and is able to handle the rigours of the heat with a sense of calm and introspection. They say that to meditate you need to block out thoughts but also disturbances from the outside world. During these hot days, the whole population, thankfully at varying times, heads off to a land of slumber and serenity amidst the cacophony of cars and creatures, as Mother India lullabies her subjects big and small. 1

pHOTO Marina Marangos, Greece

once we banish the cold for the year, we look anxiously as the barometer steadily climbs to those dizzying heights before the rains. That dry, intense, searing heat – you can feel it beating down on your head and frazzling the few remaining brain cells you have. When bananas melt on the inside (yes, I have seen this); when bread becomes green instantly if left outside the fridge; where crows lick up the remains of a melted icecream off the pavement; and where the only escape for a lot of expats is the cool interior of an air-conditioned room. This is the time when people on the street – who cannot escape into an air-conditioned room – live through relentless heat. There are not the same rules and regulations in India that govern the ability to work in these high temperatures, as perhaps you would find in some other countries. The barometer can climb to 44 or 45 deg C and Indians still go about their daily business. You do ask yourself how. It was on one such day, travelling in the car into town, that I suddenly became acutely aware of Delhi’s coping mechanism. The need for sleep is ever present as a balm and as a rejuvenator. What is staggering is how it happens and where – this, I promise you, will be an eye opener for all of you out there on your next trip into town. Spend a few minutes gazing around and catch the contortions of the bicycle rickshaw drivers’ attempts to get comfortable on the tiny seat of their rickshaw, legs precariously dangling off the handlebars. The construction workers who choose a cool plaque of cement to lay their weary body.The beggars in the middle of a central reservation in Chandni Chowk who, as if by some glue, are able to sleep on these incredibly narrow ledges as cars shoot past, horns blaring, buses exhaling exhaust fumes and they are seemingly blissfully, by the looks of some, in la la land. Perhaps being high on something helps, but it is admirable nevertheless. Have you noticed the ice-cream vendor taking a kip on his iced box? Now there is a clever man. Or the vegetable seller who has dispensed with a corner of his produce to make enough room to allow himself a rest. Babies nod off

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Photo: Marlon Pieris, Canada

May 2014

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Myth & Mythology by Devdutt Pattanaik

Not without the

Goddess Photo: Aurelie Marsan, France

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A prince abandons his wife and infant son to become a sage who discovers the path of liberation from suffering. The prince came to be known as the Buddha and his path came to be known as Buddhism. The very opposite story is found in Hinduism: a sage is coaxed to marry and produce sons who provide for and protect humanity, while his wife encourages him through conversation to reveal the secret of outgrowing the human fear of invalidation. This sage is called Shiva and he is called the destroyer in Hinduism. He destroys by embracing the Goddess, addressing her as his Shakti, strength, rather than as Maya, delusion. The opposing structure of the two stories reveals the fundamental tension in Indian thought: must we give up worldly life to be truly happy or can happiness emerge within the household itself? Despite the hold of monastic orders, it is the latter thought that finds greater favour in Indian society. Ultimately, even God has to marry. Without the Goddess he is stripped of divinity. The Goddess plays a key role in Indic thought, most in Hinduism, quite a bit in Buddhism and to some degree in Jainism. In the Hindu Puranas, it is the Goddess who challenges ritualism and hierarchies and notions of purification that shape Indian society, when as Sati she defies her fatherâ&#x20AC;&#x2122;s ritualistic excesses by choosing to marry a man/god, Shiva, who disregards all rituals. Buddhism of the Buddha transforms as the centuries pass from the old Thervada school (Sri Lanka) to the later Mahayana (China/Japan) and Vajrayana (Tibet) schools. In narratives and imagery, he becomes less intellectual and more affectionate, less withdrawn and more compassionate, sprouting many hands that comfort and guide, as the concept of Bodhisattva gains ground. And this transformation is also associated with a Goddess, Tara. She softens the stern world-

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1 the Goddess demands that life be affirmed, not denied. ultimately, even God has to marry. Without the Goddess, he is stripped of divinity renouncing Buddha and makes him a saviour who helps those who are unable to help themselves. Tara is a mysterious goddess who can transcend the divide of Buddhism and Hinduism. Her temples are found across Bengal, Orissa and Assam but here she is identified with Kali: very different from the Blue and Yellow and White and Green Taras of Tibetan Buddhism who are associated with Lakshmi and Saraswati as well as Durga and Kali. In Jainism, she is Padmavati, a demi-goddess, having not quite the stature of the ascetics such as the Tirthankaras but one very popular amongst the common folk who seek material pleasures in this life, hoping to eventually outgrow their karmic hunger for wealth and power and fame, and walk the path of the Jina. Although her name associates her with a lotus and hence with Lakshmi, she is also a fighter and guardian goddess like Durga, who along with her husband, Dhararendra (Indra of the earth), protects Parshva, the 23rd supreme sage of this era. Padmavati is more popular with the Digambara Jain tradition, not the Shvetambara tradition. Goddess is central to Tantra, a body of texts (not just Hindu) that emerged alongside Agamas and Puranas in medieval times. These texts gave great value to imagery and all things tangible over the abstract philosophies of the sages. They spoke less about delusions and more about power. They spoke less about purification and more about pollution. Tranquillity was abandoned in favour of sensory agitation. In other words, the Goddess demanded that life be affirmed, not denied. 1

Published on 29th September, 2013, in Mid-Day. Reprinted with permission from www.devdutt.com http://devdutt.com/articles/world-mythology/not-without-the-goddess.html

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Classical Indian mysticism compares the mind to a lake, which for most of us is continually lashed into waves by the winds of emotional stimulus and response. The real storm winds are four: anger, fear, greed, and self-will. One or another is generally blowing. As a result, the water is in a constant state of agitation. Even when the surface appears calm, murky currents are stirring underneath. Through meditation and the other powerful allied disciplines, however, the lake of the mind can be made absolutely clear. When not even a ripple disturbs the surface, you can look into the crystal waters of the mind and see the very bottom: the divine ground of existence which is the basis of our personality, which in Sanskrit is called simply Atman, “the Self.” On the surface level of awareness, everyone seems separate. We look different, wear different clothes, have different speech patterns, different ambitions, different conditioning. This is the physical level of awareness, below which the vast majority of us cannot see because of the agitation of the mind. Just below the surface is the level of personal, individual consciousness, a comparatively shallow region which is easily stirred by the winds of sense impressions and emotions. The more physically oriented

1 When the lake of the mind is absolutely clear, you can look into the crystal waters of the mind and see the basis of our personality, which, in Sanskrit, is called Atman, ‘the Self’ we are – that is, the more we identify with our bodies and feelings – the more caught up we will be in this mind-world of constantly changing forms. In this state it can be quite a chore to get close to other people; all our awareness is caught in the things that make us seem separate from them and unique. Their differences seem to keep getting in our way. And underlying this level, largely unsuspected, lies the depths of the collective unconscious. There is only one collective unconscious: at bottom, everyone’s unconscious is the same. The deeper we get, the more clearly we shall see that our differences with others are superficial, and that ninetynine percent of what we are is the same for everyone. To the extent that we can turn our back on our petty, private mind-world and learn to dive into deeper consciousness, we can free ourselves from the influence of the storms that stir up those shallow waters at the surface. At

May 2014

Holistic living by Eknath Easwaran

Testing the depths the same time, as we get deeper, we move closer and closer to other people; we feel closer to life as a whole. This, in effect, is what learning to swim in the unconscious is all about. I have read of people who can race along on a Harley-Davidson and leap over a row of cars. This is an accomplishment, I agree. It requires daring, training, and resolution. But of what real use is it? By contrast, with that same kind of daring, you can learn to go deep-sea diving in the fathomless lake of the mind. In our contemporary world, when most people, I think, feel helplessly at sea, this is a vital gift. When you master it, your life becomes a beacon that others can follow. The mind, of course, has been the subject of very serious study. But from the point of view of spiritual psychology, how can we expect to understand the mind by using the same methods we use to study the physical universe? The very concept of entering the unconscious while conscious is beyond the scope of our imagination. We identify ourselves with the mind, so how can we expect to study it objectively? As long as we believe we are the mind, we take for granted that we can find fulfillment by catering to its demands and living for its private satisfactions. And as long as we remain at the surface like this, we can never see through the mind

Photo: Arnaud de la Porte du Theil, France

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5 Join Us Every Saturday India Immersion Centre in Chennai facilitates a weekly spiritual fellowship group following Easwaran’s Eight Point Programme of Meditation. E-mail us for more information at globalindian@globaladjustments.com. If you are in other cities, visit www.easwaran.org for e-satsangs.

clearly. We have little choice but to be tossed about like a toy boat in its fierce storms. But we can learn a different perspective. In meditation we discover that we are not the mind. It is an inner world of its own, an environment we can learn to move through. Just as those children now go to the pool with eagerness on their faces, when I find tempests rising in the mind I have learned to swim with joy. I can dive to the bottom and bring up pearls, the infinite inner resources that are the legacy of us all. Instead of feeling threatened by adverse circumstances, I can remain calm and help to change those circumstances. Instead of moving away from difficult people, I can actually enjoy their company, move closer to them, and win them over. 1 Reprinted with permission from ‘Learning to Swim’ an article by Eknath Easwaran from The Blue Mountain Journal. Copyright The Blue Mountain Center of Meditation, P.O. Box 256, Tomales, CA 94971, www.easwaran.org. (Extract from http://www.easwaran.org/learning-to-swim.html)

May 2014

culturama

Festival of the month

Akshaya Tritiya May 2

Buddha Purnima May 14

Akshaya Tritiya, an auspicious day in the Hindu calendar, is believed to be a good day to begin any new venture. Akshaya means ‘never diminishing’ and Tritiya means ‘third day’ (as the day falls on the third day of the Vaisakha month). For most people in India, the day begins with a ritualistic oil bath and prayers. While Akshaya Trithiya has become synonymous with buying gold – often seen as a form of investment, it is also beneficial to do an act of charity on this day.

The birth anniversary of Lord Buddha is celebrated as Buddha Purnima. This is also said to be the day that he attained enlightenment in the city of Bodh Gaya, which led to the founding of Buddhism. On this day, Buddhists go to a vihaara or monastery wearing white and offer prayers, incense and fruits to Lord Buddha. Flags adorn monasteries and calm, austere processions are held.

3 Booking your gold in advance might help, as jewellery shops get crowded. Donate in cash or kind to a charity of your choice. Planting trees is also a good way to start the day.

3 The Mahabodhi temple in Bodh Gaya is the most venerated pilgrimage site. Other prominent places include Kushinagar in Uttar Pradesh – where the Buddha passed away, and Sarnath in Uttar Pradesh – where he taught Dharma to his followers.

culturama

May 2014

culturama

At Global Adjustments

Mesmerising Music and More Aikya 2014 celebrated the ‘Journey of Love’ with poetry, music and dance. Taking centre stage were talented young singers Sikkil Gurucharan and Shweta Mohan, who presented compositions that highlighted the different facets of love and the need for self-love that underlies it all. The vocalists were accompanied by Navneet Sundar (piano); Patri Sathish (mridangam); Embar Kannan (violin); Vishnu (flute); Sai Shravanam (tabla); and Murad Ali (sarangi). Lending a special touch was the Chennai String Orchestra, conducted by Raj Kumar Bharati, great-grandson of legendary Tamil poet Subramanya Bharati. Danseuse Priyadarsini Govind used abhinaya or expressions to enact the poetry of Kabir, Bharati and Purandaradasa. Global Adjustments’ founder-CEO Ranjini Manian summed up the concert fittingly: “In the uncertain times that we are in now, the Aikya theme, which draws on classical, film and Hindustani music, reminds us of the only lasting source of peace security and happiness – oneness stemming from love.” Aikya raises funds in support of two causes: helping retiring accompanying artists in the fields of music, dance and performance arts by providing them a life-long pension; and empowering women by supporting the complete technical education of under-privileged girls and self-help groups of rural women.

Song & Dance India As a special gesture of appreciation, attendees of Aikya 2014 were given a coffee table book, Song & Dance India. Published by Global Adjustments, this full-colour collectible touches on the basics of Indian music and dance. For copies of the book, please email ceooffice@globaladjustments.com 1

“When the curtains opened and we saw the lit up lotus and lamps we were truly transported into another world of love, the singers did an amazing job this Aikya.” – Sujatha Shankar “Truly an amazing evening! Gets better every year. And the coffee table book, Song & Dance India, is a treasure.” – Aruna Subramanian “I thoroughly enjoyed Aikya - it was a brilliant combination of Carnatic, Hindustani and Western.” – Usha Kannan “Thank you for sending me a copy of Song & Dance India. The book is very interesting and informative, with the history of all kinds of music, dance forms and famous artistes. I am sure it will be a great hit. Best wishes.” – Maharaja Gaj Singh of Jodhpur “The fusion of wonderful Carnatic music with a violin orchestra, sarangi and other instruments had come out exceedingly well. The choreography and execution of Aikya 2014 was par excellence.” – P.T. Govindarajan

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May 2014

culturama

Give to India by Shefali Ganesh

The Miracle Vessel

1 The Akshaya Patra Foundation feeds 1.3 million children in India every day – a mammoth task made possible by sheer determination and goodwill At around 3 a.m. when most of us are asleep, the kitchens of The Akshaya Patra Foundation (TAPF) begin their work. ‘Unlimited’ and ‘abundant’ are words that come to mind when one sees their large-scale kitchens. The Foundation supplies free meals to children across Karnataka and other States in India – and it is the promise of this nutritious, flavourful meal that brings many poverty-stricken children to their rightful places in schools. The mid-day meal scheme of the Government of India is the world’s largest school lunch programme, and reaches more than 100 million children; TAPF is the Government's largest partner in this scheme. Aptly named after the golden vessel that gives an unlimited supply food mentioned in

the Indian epic Mahabharata, TAPF was founded in 2000. It began with a single kitchen pilot project that catered to 1,500 children in five schools in Bengaluru; the NGO now has 20 centralised kitchens across nine States. The huge scale and the technologically advanced, synchronous operations of the Akshaya Patra kitchens made it the subject of a Harvard Business School case study. Eleven of the foundation’s kitchens have received the ISO 22000 certification. The largest of its kitchens, at Hubli, can cook close to 6,000 kilos of rice, 4.5 to 5 tonnes of vegetables and 6,000 litres of sambar in around four hours. A standardised three-item menu, tailored to the traditional taste of each region, is followed through the week. With industrial

culturama

May 2014

kerala BACKWATER BLISS custom-made machines for operations like chopping and washing vegetables and making rotis, the food is cooked hygienically, with minimal human contact, and in an energyefficient manner. In addition to its well-equipped kitchens, TAPF also runs an impeccable supply chain system that takes the prepared food to schools from its kitchens. While centralised kitchens distribute food in the urban areas like Bengaluru, rural areas with scattered schools have smaller kitchens on site. The vehicles that transport the food are custom-built with heat insulation and keep the food. Supervisors at the schools give the Foundation feedback on the quality of food. The Akshya Patra Foundation has been working to address two key issues – hunger and education. By giving poor children a balanced meal, it gives them an incentive to attend school – if not, they have to work to earn their meals. The programme has shown that the free meal scheme has helped reduced drop-out rates in schools, and even promoted communal harmony among children in rural areas. As the foundation’s chairman, Sri Madhu Pandit Dasa, said, “The divine vessel, akshaya patra, symbolises unlimited portions that can feed countless mouths. But this vessel sought a few willing human hearts, minds and hands to feed one million children everyday”. In 2012, TAPF served its billionth meal and has gone on to set its mission of reaching five million children by 2020. With the vision of ‘No child should be deprived of education because of hunger’, the kitchens of Akshaya Patra continue to churn out hopes and dreams for a better future. 1

3 Volunteer or partner with Akshaya Patra in their CSR activities. Contact them at +91 80 30143400 or visit their website at www.akshayapatra.org 3 Help sponsor a child’s meal for a year or more. Visit www.akshayapatra.org/onlinedonations 3 Artiste Shankar Mahadevan commemorated Akshaya Patra’s billionth meal with a special song. Listen to 'Ode to a billion' at http://tinyurl.com/qytpwrg

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May 2014

culturama

Realty Bytes by Anita Krishnaswamy

Between the Lines For all those niggling questions you might have on housing and realty in India, write to anita@globaladjustments.com What is it that I should check for in a rental or lease agreement? (Iranian tenant in Mumbai)

5. Mention clearly the notice period for moving out of the property and if it is within the lock-in period or outside the lock-in period.

Before getting into a rental or lease agreement in India, please verify the legal documents of the property, which include the sale deed, proof of title, non-encumbrance certificate, No Objection Certificate, and jurisdiction of the property. If the property is being handled by an appointed agent (authorised signatory) on behalf of the owner, please verify the power of attorney papers issued in the name of the agent and the identity of the agent through any government issued document. Once this is clarified, here are a few pointers to keep in mind before you sign on the dotted line:

6. Make sure that in the rent escalation clause, the date and percentage of escalation for renewal or extension, or during the period of stay, must be clearly stated.

1. The lease period is also treated as a lock-in period. If you have defined a lock-in period, please mutually agree on an exit clause in case of an emergency. 2. The monthly rental value mutually agreed upon must be specified in the agreement and additional charges for maintenance and other helping staff in and around the house to be included. 3. List of responsibilities of the landlord versus the tenant to be attached to the lease for clarity. 4. Rent payable to and the maintenance payable to must be specified. It can be payable to one entity or multiple persons in case of large communities.

7. A list of amenities like common areas of use (swimming pool, gym, club house, play area, car parks allocated for the property if it is a community) to be included. 8. If the owner decides to sell the property during tenancy, the notice period to search for another accommodation must be stated in the agreement. 9. If the lease period is more than 11 months, please ensure that the document is registered. In cities like Bombay and Delhi, irrespective of the period, all leases must be registered. 10. It is important to check if all the connections and utilities provided in the house are in working condition. Please check if all important government documents like property tax, water tax, and electricity bills are in place before you sign the agreement. 1

culturama

May 2014

culturama

4 Chennai Property Adyar New Modern Apartment for Rent • 3 En-suite Bedrooms, • Private home theatre room • Private gym • Bright and Spacious • Covered car Park • 100% power back up

Poes Garden City Apartment in Posh Location • 4 bedrooms, 4000 sq.ft. house • Architect designed • Bright and spacious • Covered car park • Beautiful garden with a fish pond • 100% Power back-up

Akkarai Beach Facing Villa for Rent • 4 Bedrooms, 5 Bathrooms • 4000 sq.ft., fully furnished villa, • Infinity swimming pool overlooking the sea • Parking, 100% Generator

Kilpauk Ethnic apartment for Rent • 3 En-suite Bedrooms with French windows • 3600 sq ft with spacious balconies • Fully fitted modular kitchen • Generator, parking, garden

Porur Gated Community for Rent • Villa-style community • 4 Bedrooms,4 bathrooms, • Common swimming Pool and Club House • Children’s play area, Gym, Parking, Generator

CLIENT SPEAK “Thank you Global Adjustments for the exceptional services provided in locating an expatriate tenant for my property. Your executives put in a lot of hard work to satisfy the client and the owners liked us, to the mutual understanding and satisfaction of both sides. It is great to know that we can count on you for rental of our properties.” N.Rajagopalan & Seetha Rajagopalan Landlord

For more properties, call Global Adjustments at 91 44 24617902/91 72999 12605 (Chennai), or e-mail: realty@globaladjustments.com Please note that any changes to the information above are done at the property owner’s sole discretion. Global Adjustments assumes no responsibility for such changes.

culturama

Global wellness series

Movement is Life

May 2014

3. Warming Up: A warm-up before games consisting of gentle aerobic activity like jogging, cycling until you start to stretch is required. 4. Stretching exercises: Stretching exercises form the core of any physical fitness or sports program. A shortened contracted muscle is

Dr.J.Clement Joseph of the Arthroscopy & Sports Medicine Division tells us about taking care of your joints, fitness and preventing injuries.

more prone for injury. Stretching not only elongates the muscles but also promotes blood flow to your muscles. 5. Cooling down: Once the sports activity is finished, it is important to cool down, which may consist of few minutes of low intensity exercises and stretching. 6. Attending to a sports injury: Major injuries to joints and bones should always be seen by an orthopedics surgeon specializing in sports injuries.

In a lifetime a normal human take millions of steps and walk

Taking care of your joints

approximately 114000 miles. Sports and exercises are universally

• Watch your weight.

considered to be an effective way of getting into shape. But sports

• Exercise. Aerobic exercises are advisable, especially ones that put

injuries are common and often put an end to your pursuit of fitness.

less impact on the joints like swimming and cycling than jogging

Here we look at ways of preventing injuries and to promote the

or treadmill.

fitness. 1. Hydration: It is very important to have adequate amounts of fluids before, during and after a sport to prevent dehydration. 2. Always wear clothing and protective equipment appropriate for the sport.

Postcard from India

den d its Rock Gar Chandigarh an sit if you e a weekend vi rv se de ly n ai cert ed city is he well-organis live in Delhi. T a Rock ique concept of home to this un tion of amazing collec Garden with an y but as a very hot da w It . es ur pt ul sc t this walking though I couldn't stop rner , where every co fantasy garden By the rful surprises. de on w up s w thro es of a these sculptur cascade, I saw ater – it en collecting w group of wom is was be a that I knew th looked so real ted to capture. memory I wan ezo, Spain - Carles Berru

• Move frequently. Take breaks, walk around, do exercises frequently. • Build endurance and learn game techniques. As fatigue and poor technique lead to injuries. 1

May 2014

culturama

4 Bengaluru Property South Bengaluru House for Rent

Central Bengaluru Apartment for Rent

• 3 bedrooms • Modern furnishing • Fully furnished • Independent house

• 4 bedrooms • Semi-furnished • Club amenities • Apartment complex

North Bengaluru Villa for Rent

South Bengaluru Spacious House for Rent

• 4 bedrooms • Fully furnished • Villa in gated community • Club amenities

• 5 bedrooms • Fully furnished • Independent house • Gym facility

For the above sample and many more such properties call 91 80 41267152 /9986960315 or email: blr@globaladjustments.com

4 Delhi Property Vasant Vihar Luxury Apartment for Rent

Chanakyapuri Duplex Apartment for Rent

• 4 bedrooms with attached bathrooms • Dedicated elevator, power backup • Imported fixtures and marble flooring • Dedicated terrace with gazebo, bar, park facing

• 6 bedrooms • Brand new, fully air-conditioned • With lift, spacious living room • Front garden, park facing

Gurgaon Aralias property for Rent

Gurgaon Park Place Apartment for Rent

• 4 bedrooms • New, fully air-conditioned • Large terrace and living room • 100% power back-up, security, clubhouse • Tennis, swimming pool, spa and restaurant

• 4 bedrooms • 2,700 sq.ft. • Fully air-conditioned • 100% power back-up, security • Play area for children

For the above sample and many more such properties call 91 124 435 4236/ 981551070 or email: del@globaladjustments.com

4 Mumbai Property Bandra Large Apartment for Rent

Bandra West Semi Furnished Apartment for Rent

• 3 bedroom, 1,750 sq.ft. • Marble flooring, Modular kitchen • Fully furnished • Car parking space, servant’s quarters

• 3 bedrooms, 1,250 sq.ft. • Semi furnished apartment • Modular kitchen and car parking space • Children’s play area and garden

Santa Cruz West Furnished Apartment for Rent

Bandra West Spacious Apartment for Rent

• 3 bedrooms, 2,450 sq.ft. • Modular kitchen, marble flooring • Car parking space, servant’s quarters • Gym

• 3 bedrooms, 2,650 sq.ft. • Fully furnished • Modular kitchen • Car parking space, servant’s quarters

For the above sample and many more such properties call 91 22 66104191/ 9769001515 or email: mum@globaladjustments.

culturama

May 2014

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