Culturama - September 2010 by Rohini Manian

VOLUME 1, iSSUE 7 september 2010

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Previously known as At A Glance – Understanding India

LIGHTS ON A look at India’s night rituals

AFTER SUNSET Discovering India by night

D e a r

R e a d e r s “There is no twilight in India. Darkness overtakes with shocking finality.” – from the book, The Black Englishman by Carolyn Slaughter

Photo G Venket Ram

WHEN I visited Russia recently, their “White Nights” left an indelible mark in my mind. It is when Moscow and Saint Petersburg have bright sunlight till 11 p.m. and again a sunrise by 3 a.m. It was strangely unsettling, with the feeling of tiredness persisting without the natural respite of darkness. Which got me thinking about (and longing for!) the warm Indian nights and I suddenly became deeply aware of the contrast of night and day. So this issue is our tribute to the “Dark Nights” of India, where a certain sense of magic silently unfolds. Our theatre or cinema soars in the “heart of darkness”, our soul-stirring night rituals and traditions are a resounding testimony to the power of light, knowledge and truth, our sights and sounds are overpowering, sometimes more magnificent than bright daylight, or even our festivals, that suddenly gain momentum in the evenings, and especially this month. Come September and you know it’s the beginning of one long night of gaiety, colour and food that lasts till the end of the year, as one festival after another takes centrestage. It’s a time when boundaries and lines become immaterial under the blanket of camaraderie. As writer and mythologist Devdutt Pattanaik said in an earlier issue of Culturama that every festival has a subliminal meaning attached to it. Citing the example of Ganesh Chaturthi, he talks about avahan – welcoming the clay idol of Ganesh, the elephantheaded god, also known as the “remover of obstacles” – and visarjan – immersing the clay idol in the ocean each year. This seemingly simple act subconsciously teaches us the ephemeral nature of life and all things on earth. Or even the butter that Lord Krishna feasts on – by nature, butter melts away too, reminding us to let our egos do the same, if we are to reach the good and pure that lives in all of us. But most importantly, this issue celebrates the spirit of India. No, I am not talking about her spirit of unity in diversity, or her never-say-no attitude, or her rising economic power. I am simply thankful to her spirit of equilibrium, so fundamentally illustrated in her division of night and day, and glad that she is who she is. . Ranjini Manian Editor

AT A GLANCE – Understanding India is now CULTURAMA. India’s only free cultural magazine for expatriates! Also read it online at www.globaladjustments.com

culturama | september 2010

contents AS THE sun goes down and it’s time to welcome the night, India, like most other countries, undergoes a transformation – one that is as predictable as it is unpredictable. Its unmistakable charm of simplicity in grandeur is its biggest strength, as our cover image illustrates, inviting our readers to discover its many nuances.

12 Coffee & Conversation

Shooting Stars

18 INDIA CALLING

Hard Facts

20 TOPNOTCH THOUGHTS

Game Plan 22 Culture

Sketch Marks 24 24 by city

Bhubaneswar Snapshots 26 INdia inventions

Ill Effects Cover Photo: John L Tooke, UK Location: Golden Temple, Amritsar

Editor-in-Chief Managing Editor Associate Editor Contributions Advertising Chennai Bengaluru Delhi-NCR Mumbai & Pune Advisory Committee Chief Designer Associate Designers E-version

Ranjini Manian Praveena Shivram Poonam M Ganglani Saritha Rao, Kavitha Ramaswamy, Devika Singh, Lakshmi Sivadas Anupama Raj, Sunitha Kotadia Shubha Seetharaman, Divya Vasan, Radhika Hemant Preeti Bindra, Ruchika Srivastava Farah Bakhshay, Ashish Chaulkar Timeri N Murari, N Ram, Elaine Wood, James J Williams, G Venket Ram, Claire Clinton-Butler JayaKrishna Behera M Hari Haran, P Lakshmikanthan Jeyabal Rajasegaran

38 Calendars

26 INterpretations

Hair Say

44 Tales of India

Face Off

28 Feature

48 Photo Feature

32 INdia on a platter

50 View from the top

Faith Full Nights Royal Well Fare

36 Look Who’s in town

After Hours

Inheritance of Loss 51 Postcard

Blind Side

52 India & I

Bar Code 54 expat circle

Spic & Sparkle

56 India & I Chennai 5, 3rd Main Road, R. A. Puram, Chennai 600028, India. Telefax. +91-44-24617902 E-mail: designstore@globaladjustments.com Bengaluru 216, Prestige Center Point, Off Cunningham Road, 7, Edward Road, Bengaluru 560052. Tel.+91-80-41267152/41148540. E-mail: blr@globaladjustments.com Delhi-NCR Level 4, Augusta Point, DLF Golf Course Road, Sector-53, Gurgaon - 122 002. Haryana. Tel.+91-124-435 4236. E-mail: del@globaladjustments.com Mumbai/Pune Rustom Court, 2nd Floor, Dr. Annie Besant Road, Worli, Mumbai 400030. Tel.+91-22-66104191/2 E-mail: mum@globaladjustments.com Published and owned by Ranjini Manian at #5, 3rd Main Road, Raja Annamalai Puram, Chennai – 600028 and printed by K Srinivasan of Srikals Graphics Pvt Ltd at #5, Balaji Nagar, 1st Street, Ekkattuthangal, Chennai – 600097. Editor: Ranjini Manian

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44 48

Capital Charm 62 Holistic living

P.S. I Like You

58 India Immersion Centre

Multiplicity & Through the Glass Ceiling

64 iSeries

iRead, iSee, iAsk

70 Know your festivals 72 space & the city

N e w s w o r t h y

Glitterati

Letters to the Editor Dear Editor,

SOME call it the ‘Tears of St. Lawrence’ and some ‘Perseids’. Either way, the meteor shower left many people around the globe, particularly in the United States and in Canada, enthralled between the nights of August 11 and 13. The annual event which has been observed for over 2000 years illuminated the skies, creating a spectacular sight for stargazers. The shower, which resulted from the Earth’s orbit passing through the debris of the comet ‘Swift Tuttle’, was more visible over the Northern Hemisphere, where the rate reached 60 or more per hour during peak hours..

“Your excerpts from ‘Patience: A Little Book of Inner Strength’ by Eknath Easwaran are presented tastefully and with good care. Just looking at the photographs that accompany the excerpts makes me feel peaceful and more patient . . . thank you for that. And thank you for supporting the works of Easwaran and Nilgiri Press” – Debbie McMurray Dear Editor, “Culturama makes for very enjoyable reading every month. The production and content team deserve special praise! ” – Bharathi Kaavalar Dr. K. Ramamurthi Dear Editor, “Great editorial! That’s the first thing I read when I get Culturama. Mubarak!” — Zubeida Askar Ali Dear Editor, “I now receive the e-version of Culturama and read it end to end, thank you so much. It has been most informative and helpful when I was away travelling in the Netherlands and the United States. ” – Rajam Subramanian Dear Editor, “I really like your way of advising people to slow down a bit and to reconnect with the petrol station of life. Without roots, the tree will die. Listening, Openness, Valuing and Extending appreciation, brilliant! ” – Dr. Charles Savage, President, KEE International, Munich

Send your reader feedback to culturama@ globaladjustments.com

culturama | September 2010

Three to Tango MEANWHILE, with the planets Venus, Mars and Saturn crowding together over the Western horizon in early August, we in India were treated to an atypical astronomical phenomenon ourselves. While the occurrence of the three planets in a straight line is fairly common, the formation of a close triangle was a rather unusual sight. Nevertheless, these being among the brightest planets, sky enthusiasts were warned by experts to use suitable eye gear to view the phenomenon, which could be best viewed shortly after dusk.

Coffee & Conversation

Acclaimed film and theatre artiste Rajit Kapur in conversation

Shooting Stars 12

culturama | September 2010

Photos P Srinivasan

with celebrated Indian ciné icon, Prakash Raj BRINGING Rajit Kapur and Prakash Raj together in conversation is much like conducting a whimsical chemical experiment: you’re curious to know what the final product will be and you’re guaranteed some interesting reactions along the way. Marked by a manner as animated as it is poetic, film and theatre artiste Rajit Kapur is famed for his awardwinning role of Mahatma Gandhi in the 1996 film, ‘The Making of the Mahatma’. His name is equally synonymous with his collaborative theatre production company based in Mumbai, ‘Rage’. In unique juxtaposition is national awardwinning actor and producer of South Indian languagefilms, Prakash Raj. Sturdily exuding star charisma, the quintessential ciné icon is famously known for his lead role in the 2009 Tamil film, ‘Kanchivaram’. Tête-à-tête for the first time exclusively for Culturama, Poonam M Ganglani listens in as Rajit Kapur and Prakash Raj discover the many common elements they share.

Rajit Kapur: It strikes me that we’ve both juggled the roles of producer, actor and director. Which role would you say is closest to heart? Prakash Raj: Being a producer is not my profession … nor is acting my profession … nor is directing my profession. I’m just stumbling around. I always call myself an ‘alleged’ actor. RK: (laughs) PR: I’m good at it, so that’s a different thing! (laughs). But I come from the ’70s generation where we didn’t know what to do, coming from a lower middle-class family. So I never had a formal education in acting or producing – we were groping. I always knew what I should not be than what I should be. So I was an actor because that was the only way I could get away. But I’ve just got into production headlong. I had some money and I could make films which are not formula films. I started because of passion, but at the same time, I’ve realised that we need to have managerial abilities to bring it to people in the right way. So it’s a process

I’m learning. RK: I haven’t produced a film, but we produce a lot of plays, and the reason I got into production is because I was dissatisfied with the production while working for outside producers. So I got into it by default, and said, “Let me figure it out.” I’m not a trained actor either. And it’s exactly the same thing – there was a process of groping. Yes, at some stage, post-college, I realised that this is what I want to do, but there was no question of training. Although at one point, I brought a form from National School of Drama and there was chaos at home, because I come from a business family. So I had to just tear it up and throw it away. But the way people ran a production … it used to annoy me. So at that stage, twelve years ago, I produced and directed short stories for television. PR: For me, it was that I used to hear scripts from my friends and there was nobody to make these films. So I said, “Why shouldn’t I make it?” Because I could afford to lose and I was …

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If today, actors or anybody in their field feel that they have stagnated, it’s because they’ve stopped searching! They’ve put so many full stops and commas, that they find it difficult to cross them.

RK: … you were in the position to put that package together. PR: Exactly. But even now, people keep asking, “Why is Prakash doing such films when he can do with big stars or run-of-the-mill stories?” And I say, “Guys, I’m earning enough and I don’t need to earn more.” And they still find me to be an idiot! RK: There’s certainly room for experimental films like your ‘Kanchivaram’, but how it’s channelled has to be figured out. If there’s any product in the market and the consumer is not aware of it, then why would they go for that product? So to that extent, you need to make your public aware of what you have to offer. Believe me, if that is done … PR: … then it’s done. Moreover, I think the public has no problem watching experimental theatre or cinema. But the whole distribution sector or the media through which we reach people is … I would call it a mafia, because it is controlled by people who make a lot of money through it and they find that they don’t make a lot of money out of experimental cinema. But somebody has

culturama | September 2010

to bell the cat. As you said, we need to find different platforms, see how we can cover our expenses, because publicity really costs a lot more than production. RK: True. You have today Hindi films that are made on shoestring budgets, like ‘Udaan’ or ‘Tere Bin Laden,’ but they’ve got the correct marketing platform to present themselves. The audience is always there for a film like ‘Kanchivaram’ or ‘Peepli (Live)’, but at the end of the day, marketing plays an important role in a film’s success. Success, of course, is a relative term. How would you say one really measures it? PR: Well, box office is definitely a practicality – we need to get back what we’ve invested, both in terms of money and time, the tangible and intangible. But success is left to the person who has created the film – where does he get maximum satisfaction? Does he feel that his purpose of having invested money, time and intellect … has he got it back? For me personally, I chose to look at a ten-year balance sheet … this is the seventh year and I have hit it. And I have also grown in the way I have packaged

things … the only thing I am proud of is I have not let myself lose my integrity. RK: I totally agree. There have been instances where even my own family has said, “You are an idiot, you have no business sense!” I could’ve accepted projects where I’d be making pots of money and sitting at home, but that’s not my intention. I’m totally in sync with you when you say, “I don’t want to lose my integrity.” PR: But I think in today’s scenario, being aesthetic, being successful, being purposeful … it’s all been redefined. Today’s youngsters are more informed than we were in our days and if we don’t accept that today’s twenty-yearold youngster is as mature, as intense and as capable as, in my generation, a thirty-year-old would be, then we will become irrelevant. But the point is that these talents are tools. And what makes a difference is the person behind it. That’s the integrity I’m talking about … it is you. RK: But what frightens me about some of today’s youngsters is that they want quick success. I say that there has to be a process, because if you’re going to just jump, then the fear of falling is also from a greater height. An actor has to perform his task and then the eventual result is fame or success. But you can’t tell me that fame is my aim! PR: Fame is also something that one has to learn to deal with. It’s a process that one goes through. RK: What I’ve learned is that … I always keep telling myself, “Don’t lose your humility.” The moment you think you’ve done something, it’s over. You’ll never be able to take more strides forward. If today, actors or anybody in their field feel that they’ve stagnated, it’s because they’ve stopped searching! They’ve put so many full stops and commas, that they find it difficult to cross them. PR: I just don’t let anything affect me.

Being a producer is not my profession... nor is acting my profession... nor is directing my profession. I’m just stumbling around. I always call myself an ‘alleged’ actor.

If somebody walks up to me and says, “Prakash Raj!” I say, “Ya, I know.” It takes time away from me, because all said and done, I know the truth – I’m like any other normal person. I have my hurt, I have my pain, I have my daughters, I have my life. You lose a piece of yourself to fame only if you let it go, if you start living for others. RK: And if it affects you, then it becomes a vicious cycle … you forget who you are. I’ve seen it happening to colleagues of mine. If I’m very close to them, then sometimes I give them a shake and say, “What are you doing? There’s something wrong, just rethink things!” PR: It’s important to stay grounded in reality. But over the years, do you feel your reality has been influenced by some of the characters you’ve played? RK: It’s hard to be specific, but it’s in the subconscious. A lot of people ask me, “You’ve played Mahatma Gandhi, so what is the influence?” I think somewhere, I’ve become more stubborn, more determined … but it has percolated gradually. PR: It was probably within you all these years … just that it came out

culturama | September 2010

through your role. RK: Yes … it blossomed, or it got a catalyst. A film could play a catalyst in that sense. Sometimes you become like a sieve – you try and absorb what you want from something and you just drain out the other. PR: It’s a strange thing. Sometimes, when a director is narrating a character’s story to me, I say, “I know him, I know how to handle him.” It’s not already in you, but you know him. Over the years, we’ve come across so much literature, we’ve met people, we try to understand people … Shakespeare would’ve told you, the Mahabharata would’ve told you, your father would’ve told you … RK: Your experiences in life add to all of it. You know, we share another common experience that has probably influenced our life and work. It’s that you were a Boy Scout and I was a Troop Leader as well. And I think the Boy Scout inside has been responsible for a certain kind of discipline that we take forth in everything else. PR: In every sense of the word … we can camp anywhere, we can be

comfortable anywhere … RK: Today when we travel and my team asks, “How did you get ready in five minutes?” I say, “We are trained to do that!” There’s a … forbearance, that’s the word. The forbearance that I’m sure both of us have is because of that training that we got as Boy Scouts. PR: I take my daughters to our beach house sometimes, because I want them to see what darkness is, what rain is ... I want them to know the sea within them. This enjoying darkness and stars came to me from my scouting. RK: We’ve lived in the open. I still want to go and lie down in the grass. People say, “You’re mad!” and I say, “I’d rather be mad then!” PR: But I envy you Rajit, because you’re still doing theatre. I did theatre quite some time ago, but it’s been about ten years now. RK: I know you did ‘Nagamandala’. I’ve seen so many versions of the play and it still has that fascinating quality. PR: Of course, I’m now taken by the magic of cinema, but now and then … you know, recently I went to see a play and I just stood there and I cried. Something was pulling me … I’m not sure I can let go of the luggage that I’ve taken in my journey, but I really envy you. Not the show, not that moment on stage, but those moments of rehearsing for a play. That’s where I miss theatre! RK: That is the high of theatre that I don’t want to give up. I’m working towards the position you’ve created, where you can produce and direct the films that you’re doing. But because I still want to give so much time to this process of theatre rehearsal, it’s a catch-22 situation – how much time have you got on your hands? My mother has to keep telling me, “You’re not twenty years old, can you slow down?” But it’s in my psyche. PR: I suppose the age of the world is the age within. If you’re young, then your world outside will always stay young.

India Calling

P radeep C hakra v arth y

Mythology and management come together in the Dhenupurisvarar temple in Chennai, embodying the relevance of past frameworks to present practices THERE are certain moments when the past, usually a fading imprint in the hollows of history, comes astoundingly close to the present. It takes a special kind of historical chronicler to enable this travel back in time and the Dhenupurisvarar temple in Chennai is one such relic. Enfolded in sylvan landscape and untouched by invasion, the ancient temple dedicated to the Hindu God of Destruction, Lord Shiva, is an intriguing fragment of Chola rule. As one explores the 10th century construction, the mythological beliefs, architectural craftsmanship and bureaucratic mastery of the Chola kings and their ministers come to life through the icons and inscriptions permanently etched on the walls. The pillared porch is a veritable sculpture gallery of 16th –17th century Gods of the Hindu pantheon. Many of these representations are rare. One, for instance, is a bas relief of Joradeva, the

God of Fever, said to have sprung from the third eye of Lord Shiva. Others include rare forms of Shiva’s mount, Nandi, and the representation of the planet Jupiter as a god riding an elephant. The temple’s most prominent architectural feature, however, is the garbha griha or the sanctum, shaped like the back of a sleeping elephant. But beyond mythological musings, the inscriptions engraved in Tamil on the walls of the temple give us a fascinating glimpse into the way the bureaucracy functioned in the Chola kingdom. In directing a vast empire spanning the islands of the Maldives in the south to the banks of the Ganges in the north, and present day Malaysia in the east, the Chola kings displayed assiduous managerial acumen that could be mapped to modern-day organisational structures and protocols. The division of work, for instance, reflected prudence in the selection of

trustworthy ministers. Each minister was responsible for a specific area, and each area fulfilled well-defined revenue generation targets, ensuring prosperity and peaceful coexistence, without hierarchical clashes that cripple much of modern corporate workings. The system was a happy combination of just the right dose of central control from the capital in a society that ran on the basis of decisions taken by elected bodies at the village level. Reciprocative strategies for reward and recognition equally demonstrated the administrative finesse of the Chola rulers. It was customary for the king to reward his ministers with stately titles and vast lands. In turn, the ministers would continually create new settlements, feeding the king’s treasury with more revenue, thus ensuring a system that effectively yet ethically created a win-win situation for all.

The Dhenupurisvarar temple is located in Madambakkam, near Rajakilpakkam in East Tambaram, Chennai. A 45-minute heritage walk is conducted by the writer on a regular basis. For details, mail pradeepandanusha@gmail.com. 18

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Photos ananth narayanan

HardFacts

Topnotch Thoughts Last month, we asked the question “Is India ready to host the 2010 Commonwealth Games?” Here are some of the responses we received from our readers.

“Going by all the press coverage and media images of unfinished work, I’m very doubtful about the smooth running of the Commonwealth Games. I don’t think this is a plain case of media criticism: the media is in fact bringing the truth to light and exposing it to the public. A lot of sportspeople are looking forward to this event and I want it to work, so we just have to keep our fingers crossed!” – Fathima Sharafath, Director, Market Head South, Standard Chartered Private Bank

“I don’t know if any country is ever ready for an event on the scale of the Commonwealth Games. These things have a way of coming together at the last minute. As for the negative publicity floating around, I think that the media’s job is to be critical of whatever is happening, no matter how perfect things are going. So if the organisers keep their heads down and keep working, I think that it will all work out as it should.” – Eric Gossard, Head of Finance, Hospira Healthcare India Pvt. Ltd.

“I think that everything will be ready for the Commonwealth Games in the last week. There may be some things that are not finalised at the moment, but India will not disappoint. I have noticed that in India, everything always fixes itself in the end, so I am confident that it will happen in this case as well.” – Marcus Karlsson, Head, System and Technology, Ericsson India

“As India is always the ‘last-minute country’, arrangements for the Commonwealth Games will be ready in the last minute. Look at the recent FIFA World Cup in South Africa. Nobody else thought it would turn out the way it did, but in the end, it was simply the people who made it the success that it was. Perhaps the Delhiites should have the same good dances like the South Africans … things will surely work well then!” – Karl Pechatscheck, Director, Goethe InstitutMax Mueller Bhavan

Inviting Reader Response! The topic next month is: How far does the Indian media influence popular notions of people? Send in your responses in 75 words or less with a photograph by September 15 to culturama@globaladjustments.com. The best entries will be published! 20

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saritha rao

Photos saritha rao

C u l t u r e

sketchmarks B. K. NAYAK, a Patachitra craftsperson from Raghurajpur near Puri in Orissa, says, “In our village, over 500 people are employed in making both Chitra Pothi as well as Patachitra. A blanket term of Patachitra is attributed for the sake of convenience to these two distinct creative forms. While the themes depicted may be the same, the techniques are very different.” The first, Chitra Pothi also called Talapatra-chitra (palm-leaf illustration), is a craft that uses the ancient technique of manuscript engraving on palm-leaf strips to create illustrated panels that can be framed as art. In ancient India and parts of South East Asia, strips of treated palm-leaf were used as paper. These engraved and inked palm-leaf pages would be bound together to make a book bundle. In some of these Pothis (manuscripts), illustrations were added to complement the text. This is perhaps the oldest form of the Chitra Pothi craft and much of the technique used remains the same to this day. Nayak says, “For Chitra Pothi, we use an iron needle to engrave the designs carefully on the ‘tal-patra’ (palm-leaf). Then an ink, usually kohl, is applied on the leaf. The black colour remains in the engraved lines even when the ink is wiped from the leaf. The finished product is a set of panels assembled by stitching, to denote a picture.”

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Unlike the usually single-coloured engraved panel of Chitra Pothi, Patachitra is an art that uses Tussar silk or canvas as an even base. The pata (canvas) is made with cotton fabric pasted together with tamarind glue and chalk powder. This resilient base is then used to paint the subjects in natural colours made from ground seashells, bark and stone. Nayak narrates a fascinating ritual that merges religious ritual and local art. “Sixteen days before the famous annual Rath Jatra (chariot procession), the presiding deities at the Jagannath temple at Puri – Subhadra, Balabhadra and Jagannath – are given a ritual bath on an occasion called Debasnana Purnima. Following this, the gods are supposed to be suffering from cold and fever. They are kept isolated from the public for a period of fifteen days. On those days, all the worship and rituals at the temple are conducted for Patachitra representations of the deities. At the end of this ‘recovery’ period, the wooden deities are repainted and presented to the public. Every year a new set of Patachitra paintings is made to take the place of the ailing deities.” In both creative forms, the themes depicted are primarily Hindu religious and mythological figures, though today, the art form includes village themes and scenes from Nature in both creative forms.

24 By City

bhubaneswar

Snapshots

rock edicts of Asoka are at the base. Zoological Park A zoological park in the lush Chandaka Forest, Nandankanan is renowned for its population of white tigers, successfully bred in-house. It also has a reptile park, acquaria and safaris for spotting lions and white tigers. It is open from 7.30 a.m. to 5. 30 p.m (April to September) and 8 a.m. to 5 p.m. (October to March). Truly Tribal Bhubaneswar is home to the Tribal Research and Training Institute. It has a fascinating Tribal Museum that provides an insight into the lives of the 62 indigenous tribes in Orissa. It is open Monday through Saturday from 10 a.m. to 5 p.m. and remains closed on second Saturdays.

Designed by the German architect Otto KĂśnigsberger, modern Bhubaneswar is a welL-planned city that looks to the future with infrastructure development while taking pride in its historical identity as the capital of the ancient kingdom of Kalinga Temples Bhubaneswar is known as the Temple City of India, and not without reason. The many temples you see are a survived fraction of hundreds more that existed in ancient times. The Lingaraj Temple is one of the most important temples in Bhubaneswar and a perfect representation of Oriya temple architecture. The presiding deity, Lord Shiva, is also known as Lingaraj (The King of Lingas) and Tribhuvaneswar (Lord of the Three Worlds). It is from the latter title that the name of the city was derived.

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Other important sites that capture the evolution of Oriya architecture are the temples of Megheswar, Mukteswar, Kedar Gowri, Parasurameswar, Rajarani and Vaital. Dhauli Giri The Mauryan emperor Asoka is said to have waged the bloody Kalinga War in 261 BC near this site. When he saw the river Daya flow red with the blood of thousands, he renounced violence and converted to Buddhism. A stupa (Buddhist pagoda) stands atop the hill. The

Food A chain of restaurants called Dalma serves traditional Oriya platters. Dalma is itself a staple vegetarian Oriya dish, made with lentils and mixed vegetables like pumpkin, raw banana, etc. Donâ&#x20AC;&#x2122;t miss the fish curry made with Hilsa, Pohala and Mahurali varieties. All these side dishes are served with boiled rice. Also try the shrimp, prawn or crab preparations with a distinct Oriya flavour. Shopping Ekamra Haat is a vibrant shopping destination that showcases the art and craft of Orissa. Pick up silver filigree work, terracotta, Chitra Pothi and Patachitra paintings, Ikat and other fabric products from Pipli, Cuttack and Sambhalpur in cotton and silk. Timings: weekdays 10 a.m. to 10 p.m. Visit the Market Building for a taste of local shopping. Rub shoulders with locals and savour some of their favourite snacks like Gupchup (called Pani Puri in other parts of India) and rolls. Utkalika, the government-run handicraft emporium, is located here.

Ill Effects WITH the current fad of plastic surgery and butox, where it’s become so commonplace to go under the knife for that aquiline nose, higher cheek bones, flatter stomach or thicker lips, one wonders where it all began. Apparently, and quite surprisingly, it began in India! And we don’t mean just plastic surgery. The first instances of surgery were recorded around 800 BC by Shusruta in Shusruta-Samahita (Shusruta’s compendium). Be it plastic surgery, the removal of cataracts, dental surgery or the discovery of diabetes, Shusruta, along with other practitioners like Charaka and Atraya, not only discovered them but also found cures and performed complex surgeries. And this was before the invention of anesthesia. Shastrakarma or surgery was one of the eight primary sub-divisions of Ayurveda, the ancient system of medicine in India. Shusruta, a pioneer in the study of human anatomy, specialised in plastic surgery and cataract surgery. His treatise on medicine describes surgery under eight different phases called Chedya (excision), Lekhya (scarification), Vedhya (puncturing), Esya (exploration), Ahrya (extraction), Vsraya (evacuation) and Sivya (Suturing). The surgeries performed by Shusruta and Charaka in 800 BC strongly resemble surgeries performed in this day and age. They held the belief that the body functions on the three doshas (bile, phlegm and wind), which are produced when dhatus (blood, flesh and marrow) reacts to food, and thus diseases occurred when there was an imbalance between these factors. Apart from identifying this equation, they also provided natural solutions to restore the said imbalance. These practitioners not only provided us with a world of knowledge on diseases and cures by recording their work but also helped in identifying the basic functioning of the human body.

culturama | September 2010

Interpretations

Hair Say IN INDIA, hair or no hair plays a social role in the country. It is, in fact, an important part to many rituals, each of which has its symbolism. The Bald Monks: For the Buddhist and Jain monks in the country, shaving their hair is seen as a sign of the loss of ego, all things material and a deeper, unhindered spiritual leaning toward enlightenment. The Matted Hair: Identified with Lord Shiva, the ‘jata’ or matted hair is worn by many ascetics and followers of Shiva. Worn this way, it invokes fear and thereby allows them to gain isolation and separation from the world. The Top Knot: The practice of shaving all but the tuft of hair on top is common to Hinduism – particularly to the Brahmins (priest) and the Sanyasis (ascetics). According to the Upanishads, the top knot denotes knowledge and wisdom. The Tonsured Head: Tonsuring at temples and places of worship is practiced as an offering to God. This is done when a devotee promises the shaving of his head in return for God’s grace in some matter. Practiced famously at the Tirupati temple of Lord Vishnu, it symbolises offering up your crowning glory. At funerals, it is also associated with mourning and sorrow. The Long Haired Sikhs: In Sikhism, long hair or “kes”, as it is called, is considered an essential part of Sikh identity and is one of the five ordainments of Sikhism. It is also seen as a show of respect towards God’s creation.

Photo julie chitty, usa

India Inventions

Feature

D r C hithra M adha v an

Faith Full Nights Indiaâ&#x20AC;&#x2122;s night-time rituals are made distinct by their unique charm under the shroud of darkness INDIAâ&#x20AC;&#x2122;S tenable bond with her culture is something that remains elusive. It is so entrenched in our collective consciousness that, paradoxically, we find it difficult to confine it to a definition. And so, each time, with every festival or custom, we renew this ancient understanding with the same vigour and enthusiasm, seeking to alter the intangible to a tangible reality. Somehow, it only seems closest in the hours when the sun has retired for the day and the solitude of the night allows this bond to flourish, because you see the light only in the heart of darkness.

culturama | September 2010

Photo Philippe armand, France

Nine Nights

Navaratri (literally meaning ‘nine nights’ in Sanskrit) is the nine-day festival, culminating in Vijayadasami (also called Dashara or Dusshera) on the tenth day. It is a festival dedicated to Saraswathi (Goddessoflearningandspeech),Lakshmi (Goddess of wealth and prosperity) and Parvati (Goddess of strength and courage), who are the consorts of Brahma, Vishnu and Shiva (the Trinity of Hinduism) respectively. It is believed that the battle between Goddess Parvati in Her incarnation as Chamundeshwari and the buffalo-headed asura (demon), Mahishasura, lasted nine days and nine nights and this period constitutes Navaratri. The tenth day, when Goddess Chamundeshwari killed Mahishasura is known as Vijayadasami, which means the t` enth day of victory’. Navaratri and Vijayadasami are celebrated all over India and the evenings of these ten days are considered very auspicious.

Row of Lamps

Photo kendra philips, usa

Night of Shiva

Photo Ran Chakrabarti, indian

Shivaratri or Maha Shivaratri (the n ` ight of Shiva’ or the g ` reat night of Shiva), dedicated to Lord Shiva, is observed on the eve of the new moon day in the months of Maagha and Phalguna of the Hindu calendar which corresponds to February-March in the English calendar. During the length of this night, devotees do not sleep and instead fast, chant verses from the scriptures in praise of this deity, either at temples for Shiva or at the comfort of their homes. Devotees believe that to worship Shiva on this auspicious night is to attain freedom from the cycle of birth and death. The Mahabharata, the world’s longest epic, also mentions the Shivaratri, thus making this a centuriesold ritual.

Deepavali (which means a r` ow of lamps’ in Sanskrit), celebrated on the last two days of the dark half of the Hindu month of Karthik (October – November), is a festival that signifies the victory of good over evil, of knowledge over ignorance. While some believe that it is for the return of the righteous king, Lord Rama, to his capital city Ayodhya, after defeating the evil demon king, Ravana of Lanka, others aver that it is celebrated in honour of the slaying of demon king Narakasura by Lord Krishna. The evening and night before the actual day of celebration are light-filled occasions with terracotta lamps and fireworks taking centrestage. This is followed by the month of Karthik or Karthigai (mid-November to midDecember), when the night of the full moon is considered auspicious, with homes across the country lined with an array of lamps.

Colour of the Night

Holi or H ` olika Dahan’ that means b ` urning of Holika’ is celebrated with a burst of colour, especially in North India. It is believed that Holika, a sister of the demon Hiranyakasipu, carried the latter’s son Prahlad (a great devotee of Lord Vishnu, the preserver of the

culturama | september 2010

Photo roopak verma, usa

Universe) into a fire. The child Prahlad escaped due to his unshakeable faith, but Holika was burnt. Holi is a two-day festival, usually occurring in March. In villages, traditionally, people collect waste material like old furniture, clothes, etc., and pile them onto a public place. On the eve of Holi, this becomes a huge bonfire, signifying the destruction of the old and the birth of the new.

Temple Traditions

In the temples of India, there are special rituals conducted in the night before the actual closure of the temple. Songs are sung and sacred verses are chanted before the deity. In the very large and ancient temple dedicated to Lord Vishnu located on the island of Srirangam in Tamil Nadu, there is a centurieslong tradition of playing the stringed-instrument veena before the deity at night. In south India, an annual festival called Brahmotsavam is celebrated for ten days. During this festival, deities are placed on wooden mounts and taken out in a procession during the day and night. In the evenings, the processions are a grand sight as devotees provide illumination by holding poles with cloth soaked in oil or ghee tied to the top and lit. The brightly dressed deities adorned with floral garlands, the chanting of verses from the scriptures, the accompanying musical instruments and the atmosphere of devotion, make these processions an unforgettable experience.

Photo Catherine Rose G. Torres, philippines

The writer is a historian and archeologist, and regularly conducts temple walks in the country. 30

culturama | September 2010

India on a Platter

P oonam M G anglani

Royal Well Fare

Characterised by elegant spreads, full flavours and perfect attention to detail, Uttar Pradesh’s cuisine contains whispers of a bygone, royal era

IF YOU ever have the good fortune of being invited for a simple meal in Uttar Pradesh, do not be deceived by the modest invitation. In a state that once played host to royalty, simplicity on the plate is, understandably, quite inconceivable. The central region of Awadh in Uttar Pradesh is recognised as the unrivalled ambassador of the state’s culinary identity. Historically governed by the Mughal Empire and by Nawabs of Persian descent, Awadh has had a culinary lineage of exquisite flavours, fastidious preparation techniques and aristocratic presentation. These qualities have been preserved in the region’s modern-day cuisine, making each meal, quite literally, fit for a king. Every meticulous detail is covered in a traditional Awadhi feast. To begin with, nimbu sharbat, a spiced lemon beverage, is served as a welcome drink, preparing the palate for the yakhni shorba or mutton stock soup that follows. Featuring next is the fare’s pièce de résistance: a sinful, voluptuous spread of kebabs. The popular galawati kebab, originally developed as a recipe for aging, toothless Nawabs, consists of minced lamb tenderised by raw papaya. True to its intention, the silky delicacy glides effortlessly down the throat, leaving little labour for the jaws. Equally interesting in origin is the kakori kebab, christened after its birthplace in Uttar Pradesh. The story goes that an exacting Nawab,

culturama | September 2010

determined to please his British guests, commanded his royal cook known as the ‘khansama’ to develop a thin-grain, near-deliquescent kebab. Using kidney fat as a binder for the meat, the khansama successfully created what would become one of the region’s culinary classics. These indulgences, however, are merely meant to tease the appetite, for the lavish main course that follows merits equal gastronomic appreciation. Nehari, a lamb-based gravy cooked in turmeric paste, or korma, a mixture of meat or vegetables braised in yoghurt, are relished with a variety of breads. Among them is the sensuously textured sheermal made from white flour, clarified butter and milk, delicately flavoured with saffron and baked in a clay oven. Also part of the fare is the aromatic pulao, a mixed rice preparation that seduces the palate with its full, yet gentle flavours of saffron and cloves. But the best, as they say, is always saved for last. With the saffron-laced rice pudding, zafrani kheer, or the sweet vermicelli delight, muzaffar, the Awadhi feast is brought to a satiating close. Despite the elaborate courses, the symphonic blend of spices and the regal presentation, the state’s cuisine remains unpretentious in its equanimous flavours and spices. Herein lies the unfailing culinary charm of Uttar Pradesh – the same one that has taken its courtly cuisine all across the nation and the globe.

Ingredients Green lentils — 1 kg Refined oil — 100 gm Turmeric powder — 10 gm Ginger paste — 50 gm Garlic paste — 50 gm Mace powder — 3 gm Attar (aromatic syrup) — 2 drops Cardamom powder — 5 gm Saffron — 1 gm Red chilly powder — 30 gm Salt to taste Sandalwood powder — 5 gm Bay leaf — 5 gm Roasted chickpeas —100 gm

Method 1. Lightly fry green lentils in refined oil. 2. At normal temperature, boil the lentils with chickpeas, bay leaf, ginger paste, garlic paste, turmeric powder, saffron, red chilly powder and salt for 30 minutes.

4. Knead the mixture and add the remaining spices: mace powder, cardamom powder and sandalwood powder. 5. Add drops of attar and roll the mixture into round or oval-shaped patties.

3. Drain the vessel of water and put all the ingredients into a blender. Process to a fine lentil paste.

Special Thanks to Chef M. Rehman, Kitchenett-E-Awadh, Lucknow, for sharing some intriguing facts about Awadhi cuisine. Chef Rehman was part of the Lucknow Food Festival at Minar in Hotel Savera, Chennai, earlier this year.

Quick Bytes ▪ The hundred-year-old ‘Tunde ke Kebab’ in Lucknow, the modern-day capital of Uttar Pradesh, is one of the city’s most-visited food stalls thanks to its unsurpassed offering of succulent kebabs. • Uttar Pradesh’s cuisine is said to comprise one of the heaviest diets in the world. Almonds, sunflower seeds and cashews, often used as garnishing in other cuisines, are principal ingredients in many dishes. • The state is also famous for its variety of chaat, a popular snack in India. Chowk ki tikki, a potatobased chaat savoured with a raw mango and jaggery sauce, is a coveted specialty in Chowk market, Lucknow.

culturama | September 2010

In the Kitchen To keep cauliflower a bright white, add a little milk while boiling. Keep yolks centered in eggs by stirring the water while cooking hard-boiled eggs. To prevent soggy salads, place an inverted saucer at the bottom of the salad bowl. The excess liquid drains off under the saucer, keeping the salad fresh and crisp.

In Season Mangosteen Where: Nilgiris, Kanyakumari and Kerala, between August and October. What: Rich in xanthone, it is known to fight against cancer and arthritis. When: Though fibrous and tough to open at first, it softens and is easy to open upon ripening. How: Peel the shell and cut the fruit into four segments, and then eat the white flesh inside.

Photo & Recipe Courtesy Minar, Hotel Savera, Chennai

Dhal Shammi (Green Lentil Kebabs)

Look who’s in Town canada

Feico, Moniek, Wibien, Olivia and Lynne de Zwaan Managing Director, Elsevier, Chennai My India, My Country One of the striking things about India is the energy the people have. No matter what they do, they do it with extreme effort and devotion. My Favourite Indian Manmohan Singh. Although it has been a very difficult period, he is proving to be a very steady Prime Minister, humble but determined. Anyone able to lead such a diverse country in a stable way deserves appreciation. My Indian Cuisine All these tasty vegetarian dishes! The kids’ favourites are simple: naan, paratha, chapatti and plain rice (as long as it’s non spicy!). My India Insight It’s wonderful to share your food, even homemade dishes. Indians could improve their last-minute planning in work and daily life. My Tip to India The Dutch very much believe in equality of every human being and although Indians have a different perception, they will try and treat you as such. Like any other child, Dutch children do not like to be pinched on their cheeks.

culturama | September 2010

delhi

chennai

netherlands

Dan, Margaret, McKenna and Torrin Stefels Senior Director, Markets, ‘Grant Thornton’ My India, My Country There are a couple of significant differences between India and Canada. The rules and expectations around driving are probably the biggest. We identify the difference as everyone assuming that they have the “right of way”. My Favourite Indian We have a big passion for disadvantaged people, and, for her lifelong work with the poorest in India, we would have to say Mother Teresa. My Indian Cuisine Our favourite Indian dish in Canada was butter chicken, but out here it would probably be dal. Margaret and the girls eat a lot of pasta and stir-fry’s. My India Insight There is tremendous warmth in the Indian people. We have really enjoyed the willingness of people to help in any way that they can. Our one frustration with this attitude is that people will give directions whether they know where the destination is or not! My Tip to India Canadians come from a very different climate, both culturally and from a climate perspective. We typically don’t handle spicy foods well, are really clean and adhere to line-ups.

bengaluru Paul Meekin Headmaster, Trio World School, Bangalore My India, My Country While I love my home country, I have fallen in love with India and its people. England is so tiny compared to India – the culture, the weather, the smells and sounds and tastes here are all simply fascinating. Fabulous India! My Favourite Indian Mrs. Catherine Charles, the Head of Admin at Trio World School in Bangalore – an incredibly sophisticated woman who is an outstanding female ambassador for India. My Indian Cuisine Having just arrived I have been asking for, “What’s good to eat/drink here?” and I have not been disappointed. The food in India is tremendous and I have been in gourmet heaven since my arrival. My India Insight What is wonderful and unique about Indian people is that they can smile in the face of adversity. My suggestion (my prayer) for transformation is for everyone to be more composed while driving. Beeping the horn and driving recklessly is simply not intelligent or caring. My Tip to India The English are, in general, aloof, disciplined and conservative but they do have a warmer side. When you see my fellow Brits try and strike up a conversation with them – suggestions include the weather or the roads!

mumbai

spain

Blanca Dean Director and Teacher, Instituto Hispania, Mumbai (www.institutohispania.com) My India, My Country The similarity between Spain and India is that people are welcoming, hospitable and give a lot of importance to family. The dissimilarities are that there are many contrasts in India like the rich and the poor, modernity and tradition, etc. My Favourite Indian Tagore … I love his poems and his thoughts. My Indian Cuisine I love Indian food, as long as it’s not too spicy! My favourites are dal, paneer, chicken curry, fish curry and pulao. My India Insight I like the respect and tolerance towards other creeds, customs, etc., but I don’t like the caste system and the way people treat each other because of it. In fact, in my Spanish classes, I often talk about this to my students. My Tip to India Spain is a very informal culture. Spaniards say what they think and they speak their heart. People greet each other with kisses and in a very affectionate way even if they don’t know you much. In India, for instance, people usually don’t open their presents in front of you; in Spain, if someone gives you a present, you need to open it immediately. Otherwise, it looks bad.

culturama | september 2010

CALENDAR MUMBAI MUSIC & DANCE

film French Film Screenings In collaboration with the Alliance Française de Bombay, The Little Theatre celebrates the genius of French filmmaker Jacques Tati. His unique contributions to comic cinema including ‘Jour de Fete’, ‘Soigne ton Gauche’ and other masterpieces will be screened starting this month. Admission on a first-comefirst-served basis with preferential seating for NCPA and Friends of Cinema.

17 Godrej Dance Theatre, 1830h

23 Jamshed Bhabha Theatre, 1900h

Pick of the month

8 Little Theatre, 1830h

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

English Film Screening In association with the Enlighten Film Society, Dance Theatre is screening ‘The Aviator’(2004) centering on the life of aviation pioneer, Howard Hughes. Admission on a first-come-first-served basis with preferential seating for NCPA and Enlighten Film Society Members. both films on a first-come-first-served basis.

1 Gallery Mirchandani Steinruecke, 1100h – 1900h

Andrew Lloyd Webber Gala Mark a special spot in your calendar for an evening with Andrew Lloyd Webber’s timeless works. Conducted by Anne Randine Overby, compositions from ‘Phantom of the Opera’, ‘Sunset Boulevard’ and ‘Evita’ will enthrall with their universal appeal. Tickets are priced at Rs. 4,000, 3,000, 2,000 and 1,000.

24 Little Theatre, 1830h

FOOD & SHOPPING

ART & EXHIBITION Solo Show Discover the world of artist Manish Nai through drawings, sculptures and digital prints, reflecting a shift to new media in terms of texture, dimension and illusion. On till September 11.

1 Namak Sahara Star, 1230h – 1500h

Corporate Lunch The exclusive corporate lunch at Namak brings you succulent kebabs, curries, biryanis and homemade desserts that you can relish with a complimentary glass of beer or a soft drink. Priced at Rs. 1,150 plus taxes. Offer on till September 30.

WORKSHOPS & EVENTS

Hindustani Music and Dance Recital In collaboration with the Indian Council 1 Women’s Graduates Union, Colaba for Cultural Relations, Little Theatre Aerobics Classes presents ‘Horizon Series’ by classi Make fun and fitness a part of your cal music connoisseur Padmini Rao daily routine with reinvigorating aerobics and Kathak exponent Prachee Shah. sessions. One-hour sessions starting at Admission on a first-come-first-served 0700h and at 1900h. will be conducted basis with preferential seating for NCPA from Monday to Friday. Contact the members. venue for details.

1 Konkan Café, Taj President

Theatre

New Monsoon Menu Tickle your taste buds with The Konkan Café’s authentic Monsoon Menu featuring ‘Prawn Gassi’ (Mangalorestyle prawns), ‘Malabar Chicken Masala’ and Mutton Stew. Also splurge on exciting vegetarian dishes and save room for some traditional coastal desserts! Offer on till September 30.

9 Experimental Theatre, 1900h

Rage’s ‘Chaos Theory’ A ‘Rage’ presents ‘Chaos Theory’, a comedy of ideas that tracks the eras, worlds and lives of two professors who experience a lifetime together without expressing their real emotions. Tickets are priced at Rs. 270 for members and at Rs. 300 for non-members. Also on September 10

28 Jamshed Bhabha Theatre, 1930h

25 Tata Theatre, 1900h

Opera – ‘Tosca’ Opera-lovers are in for a treat with ‘Tosca’, an opera in three acts conducted by Anne Randine Øverby. Tickets are priced at Rs. 4000, 3000, 2000 and 1000. Also on September 30.

Ace Production’s ‘The Game’ Produced by Raell Padamsee, ‘The Game’ exposes the frustrations, failures and angst-filled regrets of the central characters as the ghosts of their past come to the surface and the cards of their lives are dealt again. Tickets priced at Rs. 750, 570, 435, 300, 150 and 120 for members and at Rs. 1000, 760, 580, 400, 200 and 160 for nonmembers. 25 Experimental Theatre, 1830h The Lady of Burma A Radha Kalpa and Centre for Film and Drama production, Richard Shannon’s ‘The Lady of Burma’ is set in the aftermath of the 2003 Depayin Massacre in Burma. Tickets priced at Rs. 225 for members and at Rs. 250 for 1 The Guild Art Gallery, 1100h – non-members. Also on September 26.

ART & EXHIBITION

culturama | September 2010

1900h

Art Exhibition As part of a unique initiative, The Guild Art Gallery brings together diverse artists under a single exhibition titled ‘I Think Therefore Graffiti’. Among the artists are Apnavi Thacker, Gigi Scaria, Kiran Subbaiah, Sathyanand Mohan, Sumedh Rajendran, Ved Gupta, Vivek Vilasini and various others. On till September 8.

VENUES 18 Sea View Room, 1030h – 1730h

Theatre Lighting Design Workshop Conducted in collaboration with Astitva, this workshop will introduce the basic principles of Theatre & Dramatics’ light and lighting design, combining theory, observation and practical work. Participation is limited to a maximum of 25–30, on a first-come-first-served basis. Registration fee: Rs. 1000. For details, contact Deepa Shinde on 66223802 between 1000h and 1800h on weekdays. Last date for registration: September 13.

Tata Theatre, Jamshed Bhabha Theatre, Experimental Theatre, Little Theatre,Godrej Dance Theatre, NCPA Marg & Dorabji Tata Road, Nariman Point, Mumbai – 400 021

The Guild Art Gallery

28 B, Pipewala Building, 58-70, Shahid Bhagat Singh Road, Colaba, Mumbai – 400 005 Tel: 2288 0116

Gallery Mirchandani Steinruecke

16 / 18, Sunny House, Mareweather Road No. 2, Colaba, Mumbai – 400 005 Tel: 2202 3030

Women’s Graduates Union Sasoon Dock Cross Road, Near BPT Garden, Colaba, Mumbai – 400 005 Tel: 9820324162

Namak, Hotel Sahara Star

Opposite Domestic Airport, Western Express Highway, Vile Parle (East), Mumbai – 400 099 Tel: 3989 5000

Konkan Café

Taj President, 90, Cuffe Parade, Mumbai — 400 005 Tel: 6665 0808

CALENDAR BENGALURU THEATRE 1 Ranga Shankara

FOOD & SHOPPING

ART & EXHIBITIONS 1 Galerie Third Eye, 1000h – 1800h

Tales of Tenali Rama Directed by Sridhar Ramanathan and Aliyeh Rizvi, this 105-minute play in English reprises the stories of one of India’s favourite witty characters, Tenali Rama. This is a Bangalore Little Theatre production, on till the 3rd. To book your tickets, log on to www.bookmyshow. com or call 98863 70614.

2 Vivanta by Taj, 1700h

Group Show An exhibition of contemporary paintings curated by Jasmine Khanna is on display till 30th. Call 41640471 / 9845585235 for more details.

Wine Buffet Every Thursday through the month at Tease, get unlimited servings of vintages from our vast selection of Indian and International wines.

4 Ranga Shankara, 1530h

Mysore Painting Workshop Participants will learn the traditional art form of Tanjore paintings on the theme of Lord Krishna and Lord Ganesha. Priced at Rs 2,500 (exclusive of taxes and material fees). Sunday Cycling Campaign ‘Go Green Go Cycling’ is a group of working professionals who promote cycling in the city to create awareness about the ill effects of global warming. They meet every Sunday at 0720h at the Cubbon Park Central Library. Contact Prabhakar Rao at 9845065950/ prabhakarrao.cm@gmail.com for more details.

Gentlemen – Global Productions Global Productions presents 11 Shilton Royale ‘Gentlemen’, an 80-minute play in Photography Workshop English, directed by Anil Abraham. On till Kalyan Varma, a noted photographer, the 5th. will conduct a workshop for photographers at all levels. Priced at Rs. 6,000. 4 Ngma Auditorium Shakespeare Film Festival 18 Active Canvas National Gallery of Modern Art along Painting Workshop with Bengaluru Film Society is screening Using oil/acrylic paints, participants films based on Shakespeare’s plays – will learn and create a painting on the ‘Hamlet’, directed by Rodney Bennet, theme of monsoons. Priced at Rs. 1,500 ‘Hamlet Goes Business’, directed by Aki (exclusive of taxes and material fees). Kaurismaki, ‘Rosencratz & Guildenstern 18 Travel Photography Workshop are Dead’, directed by Tom Stoppard Hema Narayanan, a photojournalist and and ‘The Winter’s Tale’, directed by writer in Bengaluru is holding a travel Jane Howell will be screened during photography workshop. It will be a weekends till the 18th. one-day course (0.5 day theory, 0.5 day 9 Ranga Shankara field trip), followed by an image review. Robinson and Crusoe The workshop will also be conducted on A play in English for children aged 8 and the 25th. Details at: http://www.hemaover, it is directed by Nino D’Introna, narayanan.com/TravelPhotography.html. Giacomo Ravicchio and Gracias Devaraj. Contact her at hemana@gmail.com / On till the 12th. Call 98800 36611 for 098452 89719. more details.

Pick of the month

4 Vivanta by Taj, 1900h

BBQ Weekend Nights At Terracota, take your pick of kebabs, grills, seafood and curries along with unlimited sparkling rose plus more. On till the 26th.

7 The Oberoi

14 Aloro at Crowne Plaza

Pastas and Risotto Authentic homemade or imported pasta and risotto for lunch and dinner, along with a selection of excellent Italian wines specially cellared for the occasion. On till the 30th.

1 Kynkyny Art Gallery, 1100h

Dakshin Art Exhibition Celebrating art from the heart of South India, Tamil Nadu, three talented and distinctive artists from the region – Santhana Krishnan, Sivabalan and Elayaraja – use mixed media works and paintings to create a vivid tapestry of the life, times and culture of the deep South. On display till the 7th.

Scampi Specials At Szechwan Court, Chef Lin presents unique sauces from the Szechwan province paired with fresh scampi of the season for dinner. On till the 20th.

ART & EXHIBITIONS

Kebabs of India Try a range of succulent and flavourful kebabs from across India at the gorgeous Alfresco Bar, till the 30th.

venues

5 Cubbon Park

21 The Oberoi

WORKSHOP & EVENTS

4 Active Canvas

FOOD & SHOPPING

18 The Oberoi

Earthy Flavors At Le Jardin for dinner, Chef Jaydeep digs deep to unearth a plethora of wild mushrooms to create exotic dishes. On till the 30th.

20 Taj Residency, 1930h

August Moon Festival At Memories of China, taste the true essence of the Chinese food festival that is on till the 30th.

Active Canvas

343, 3rd Cross, 10th A Main, Jayanagar, 1st Block, Bengaluru Tel: 4160-9122 / 99801-29768 Email: info@activecanvas.in

The Oberoi

37-39, M. G. Road, Bengaluru – 560001 Tel: 25585858 Email: reservations.bangalore@oberoihotels.com

Vivanta by Taj

ITPB, Whitefield, Bengaluru – 560066 Tel: 66933333

Taj Residency

41/3, Mahatma Gandhi Road, Bengaluru – 560001 Tel: 6660 4444

Crowne Plaza

43, Electronics City Hosur Road, Bengaluru – 560100 Tel: 30030303

Ngma Auditorium

No.49, Manikyavelu Mansion, Palace Road, Bengaluru Tel: 22342338, 22201027 Email: ngma.bengaluru@gmail.com

Shilton Royale

9, 100 Ft Road, Koramangala, Bengaluru – 560 047 Tel: 40607777

Kynkyny Art Gallery

33/200, NS Iyengar Street, Nehrunagar, Kumara Park, Bengaluru Tel: 40926202, 40926206

Ranga Shankara

36/2, 8th Cross, II Phase, JP Nagar, Bengaluru – 560078 Tel: 26493982 / 26592777 Email: rstheatre@gmail.com

Galerie Third Eye

A – 1, Epsilon Offices, 2nd Floor, Yemlur Main Road, Next to Logican IT Park & HAL Bengaluru – 560037

culturama | september 2010

CALENDAR DELHI ART & EXHIBITIONS

1 Italian Embassy Cultural Centre, 1830h

1 Visual Arts Gallery, India Habitat Centre

Stealing Beauty Directed by Bernardo Bertolucci, ‘Stealing Beauty’ is the story of19-yearof a 19-year-old old Lucy Harmon Lucy in Harmon searchinofsearch her father. of her father. After her mother After her commits mothersuicide, commits Lucy suicide,toLucy travels Italytravels and visits to Italy her and mother’s visits her mother’s friends Dianafriends and herDiana husband and Ian, her an husband Irish artist, Ian,hoping an Irish to artist, solve the hoping mystery. to solvefilm This the will mystery. be screened This film again will on be the 1 screened 4th at 1400h. again on the 4th at 1400h.

Photography Exhibition ‘India – Abode of Of the TheGods’ Gods’isisaacolleccollection of selected photographs by Tarun Chhabra showcasing people performing different ceremonies and rituals, celebrating colourful festivals, and much more. On display till the 30th at the Lobbies 5A, 4A and 4B.

Break Free Directed by Gianluca Maria Tavarelli, ‘Break Free’ is about the search for freedom. The closure of a chemical factory results in several people losing their jobs, and this film traces one family’s journey through this crisis. This film will be screened again on the 18th at 1400h.

1 Craft House

Fragrant Artefacts Handmade aromatic floral candles and cosmo incense sticks in divine fragrances available all through this month.

Meal for 2: Rs 1,500–Rs 1,500 – Rs3,000 3,000

1 Amrapali Jewels

Art Workshop Every Saturday and Sunday, join Rohit Kumar Sharma for an art workshop at the Palm Court Conference room. Call the venue to check timings. On till the 30th.

Traditional Jewellery Check out traditional Indian jewellery in precious and semi-precious stones at Amrapali through this month.

Italian Embassy Cultural Centre 50- E, Chandragupta Marg, Chanakyapuri, New Delhi – 110 021 Tel: 26871901/03/04

3 Azad Bhavan, ICCR, 1800h

Sufi Kathak Concert Conceptualised and performed by Manjari Chaturvedi, Sufi Kathak is a living tradition that integrates rich heritage of poetry, literature, mythology, philosophy and spiritual and emotional thoughts.

India Habitat Centre

Lodi Road, New Delhi – 110003 Tel: 4366-3333/3090/3080 4366-3333 / 3090 / 3080

Azad Bhavan, ICCR Indraprastha Estate, IP Estate, New Delhi – 110002

1 Wrap it Up

18 Kamani Auditorium, 1900h

Indian Classical Dance Mohiniyattam is the classical dance form of Kerala. A leading exponent of this art form, Pallavi Krishnan, who received the state award in 2008 from the Kerala Sangeet Natak NatakaAkademi, Akademi,will will perform perform at the at venue. the venue.

MUSIC

Joy Luck Moon

S 10, Select City Walk Mall, Second Floor, District Centre, Saket Tel: 98687 04418 Meal for 2: Rs 1,500–Rs 1,500 – Rs3,000 3,000

venues

DANCE

Aquum

11-14, Southern Park, Behind Select Citywalk Mall, District Centre, Saket Tel: 011 (4669-6141).

Group Show ‘Spiral Jetty’ brings together the work of seven artists who work in a diverse array of mediums (including painting, sculpture, print-making, photography, video and installation). The title also refers to the form of the spiral that turns inward, reflecting upon itself. On till the 7th.

1 Visual Arts Gallery, India Habitat Centre

Must Eat At

Gallery Nature Morte, 1000h– 1000h – 1800h

WORKSHOPS & EVENTS 15 Italian Embassy Cultural Centre, 1830h

food & SHOPPING Pick of the month

film

1 Visual Arts Gallery, India Habitat Centre

Art Workshop Every Friday, the ‘Paint your Canvas’ workshop by Kavita Jaiswal aims to give a unique creative experience in oil painting. On till the 30th.

Handmade Gifts A beautiful selection of handmade paper and paper products are on display through this month. Gift wrapping services also available.

Kamani Auditorium 1, Copernicus Marg, Mandi House, New Delhi

Craft House

The Metropolitan Hotel, Bangla Sahib Road, New Delhi

Amrapali Jewels

39, Khan Market, New Delhi – 110003 Tel: 41752024

Gallery Nature Morte, A-1, Neeti Bagh, New Delhi – 110049

Wrap it Up

1, Hauz Khas Village, New Delhi – 110016 Tel: 269 68127

culturama | September 2010

CALENDAR CHENNAI film

1 Forum Art Gallery

18 Kapaleeshwarar Temple, 1600h – 1700h

Mixed-media Exhibition Inspire your aesthetic sense with Forum Art Gallery’s ‘Present in the Past’, featuring an exhibition of paintings, musical narratives and humourous works. On display till September 15.

WORKSHOPS & EVENTS 1 Hansel & Gretel, 1400h–1600h

‘Craft it Yourself’ Workshops Continue to be a part of the IPL 3 mania all through this month, with the final match on April 25 at Navi Mumbai. For the complete schedule of matches, log on http://www.ipl2010.org/schedule/ season-3.html.

Pick of the month

My Dear Enemy This sensational film, directed by Lee Yoon-ki, stars celebrated performer, Jung-woo Ha and award-winning actress, Do-yeon Jeon. Entry is free. Contact the venue to register or to arrange for special screenings.

THEATRE 21, 22 Sri Mutha Venkatasubha Rao Concert Hall

Theatre Festival Media Mix brings you ‘30 days in September’ produced by Mahesh Dattani and directed by Lillete Dubey; and ‘Love on the Brink’, produced and directed by Lillete Dubey. Day passes priced at Rs. 700, 500 and 350. Season passes priced at Rs. 1,200, 800 and 600. Contact 9884663342 for details.

Fortnightly Run Take part in a family hash run that happens every fortnight for an hour, followed by an evening of beer and relaxation. Also be a part of the group’s 10th anniversary celebrations at Kerala and Goa from September 29 to October 3. For details, contact Sashi Varma at 9840866083 or Allun Bett at 9962012290.

24 Museum Theatre, 1900

The Park’s New Festival Organised annually by the Prakriti Foundation, the festival showcases the cutting edge in contemporary performing and visual arts by world artistes. It takes off with the soul-gripping ‘Sweet Sorrow’, a performance combining dance, text, film and music. Other musical and theatrical performances including ‘Kashmir Kashmir’, ‘Bollywood Bandwagon’ and ‘Asima’ will be staged. On till September 26. For the full schedule of events, visit www. 12 Let’s Do Something theparksnewfestival.com or contact Pottery Workshop 9840666761. Learn to make your own artifacts with raw clay, complete with final touches of painting and decoration. Classes will be conducted by a veteran of the art and will take place in separate batches for adults and children. For registration and 1 Apparao Galleries details, log on to www.letsdosomething. Paintings Sale in. The artistic works by Rajesh Patil,

1 Italia, The Park Pod

documentarian, Lakshmi Viswanathan.

culturama | September 2010

New Pizza Menu ‘Italia’ presents a new, mouthwatering pizza menu featuring Neapolitan style artisanal pizzas, made with the best of Italian flour, Italian olive oil and baked in an Italian ‘morello forni’ oven. Through this month.

4 C.P. Art Centre

Exhibition cum Sale Ghosh Majumdhar-Taranglola presents an exciting new collection of festival and casual wear. The sale includes colourful sarees in Bengal cotton, dhakai, jamdani and tanshar silks, in hand woven designs. Also on display will be hand-printed salwar suits and fabrics in traditional and contemporary styles. On till September 7.

4 Amethyst, 1100h–2000h

New Collections Amethyst presents a range of new collections from national brands, ‘Sutra’, ‘Weavers Studio’and ‘Rangoli’ throughout the month. Walk in and take your pick of specialised fabrics, stoles, shawls, sarees and garments, crafted using varied techniques of hand block printing, stencils, hand paint, hand weaving and more. Contact the venue for details.

10 Peek-a-Boo Patterns

ART & EXHIBITION

Alex Davis, Madhavan Palanisami and 24 India Immersion Centre, 1030h – various other artists will be on sale 1130h all through the month. The works Coffee Morning reflect everyday glimpses of the Celebrate Tanjore’s dance heritage city, recreated through photography with a lecture and demonstration by and digital manipulation techniques. renowned classical dancer, author and Contact the venue for details.

Join the IIC for a special celebration of Gandhiji’s birth anniversary! A special talk by cultural activist, V. R. Devika, will be followed by the unveiling of a unique Gandhi statue. By invitation only, contact iic@globaladjustments.com.

Heritage Walk The India Immersion Centre (IIC) is organising a tour of the Kapaleeshwarar Temple at Mylapore with Pradeep Chakravarthy, a writer and authority on India’s ancient heritage. Following a brief meeting at the IIC, the group will proceed to the temple for an enlightening glimpse of South Indian history. Contact iic@globaladjustments. com for details.

FOOD & SHOPPING

1 Chennai Hash House Harriers

October 1 India Immersion Centre, 1830h – 2030h Gandhi Jayanti Celebrations

WORKSHOPS & EVENTS

ART & EXHIBITION

24 InKo Centre, 1900h

Amethyst

14/30 Padmavathi Road, Jeypore Colony,Gopalapuram, Chennai — 600 086 Tel: 28351143

Apparao Galleries

No 7, Wallace Gardens,3rd Street, Nungambakkam,Chennai – 600006 Tel: 28332226 / 0726

C.P. Art Centre

Eldams Road, Lubdhi Colony, Teynampet, Chennai – 600018 Tel: 24337023 Forum Art Gallery No. 57, Padmanabha Nagar, 5th Street Adyar, Chennai – 600020 Tel: 42115596.

Hansel & Gretel

11 Jagadambal Street T.Nagar, Chennai 600017 Tel: 28152549 / 9840431549

Launch of New Showroom Peek-a-Boo Patterns is launching a new showroom at Express Avenue Mall with the choicest variety of furniture, bathroom sets, wall décor and stationery for children.

21 Taj Coromandel, 1100h–2000h

venues

Fashion Yatra ‘Fashion Yatra’ presented by MBS Jewellers in Hyderabad and led by Kamini Saraf is a lifestyle, retail exhibition that will showcase the best of fashion, accessories, jewellery and home décor. On display will be Abha Dalmia’s saree collection, Preeti Jhawar’s festive line, Jaya Misra’s bridal couture and much more. For details, log on to www. fashionyatra.in.

India Immersion Centre

Global Adjustments Services Pvt Ltd. 5, 3rd Main Road, RA Puram, Chennai – 600028 Tel: 2461 7902

InKo Centre

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

Peek-a-Boo Patterns

No. 16, Kasturi Rangan Road, Alwarpet, Chennai – 600018 Tel: 24992365

Prakriti Foundation

C Block, 9th Floor,Gemini Parsn Apts, 599, Cathedral Garden Road, Chennai – 600006 Tel: 9840215765

The Park Pod

Khader Nawaz Khan Road, Thousand Lights, Chennai – 600006 Tel: 42955555

Tales of India

S u mathi S u dhakar

Renouncing worldly richness led to a richness in mind and spirit that lasted a lifetime and beyond

BAHUBALI and Bharat were two sons of King Rishabha of Podanpur. Rishabha was not only a great king but also the first tirthankar or foundersaint of the Jain religion. When they came of age, Bharat and Bahubali shared the kingdom between themselves. But Bahubali soon proved to be the more competent ruler. Under his ruling, the kingdom prospered and thrived. He became known as the wise and able ruler. This maddened Bharat, who was an ambitious man. Resolving to become the ruler of the world, he declared war against Bahubali who in turn prepared well to meet this new threat to his sovereignty. Mercifully, there were wise ministers on both sides who could foresee the disaster such a war would bring the kingdom. They intervened and managed to convince the brothers that instead of the battle of arms, they could fight in three traditional duels that would help prove one’s superiority. Whoever won the three rounds would get to rule the whole kingdom and the other would admit defeat. The brothers agreed. A huge crowd gathered to watch the duel and cheered for their respective leader. The first round was the staring match. Whoever outstared the other would be declared the winner. Bahubali won that round. Then came the spectacular jala yudha, or water duel, where they fought in water. Again, Bahubali won. The third round was crucial – mallu yudha or wrestling. The brothers began fighting. It was a bitterly fought duel, but Bahubali soon got the better of his brother. Soon he lifted his brother from the ground and would have thrown him back to prove his victory, when something snapped inside him. A great thought swamped his senses. “What am I doing?” he asked himself, horrified. “The man at my mercy is my own brother. What pleasure does this victory bring? Of what use

culturama | September 2010

to me is this kingdom when I have hurt my own precious brother?” Bahubali gently placed his brother back on his feet. “You can keep your kingdom,” he declared to the astounded Bharat. “And you can take mine, too. I am going away.” Bahubali left the field, never to return. He renounced his kingdom and wandered in search of true knowledge. After years of study, contemplation and meditation, Bahubali grew enlightened. It is said that he stood on a hill for years lost in meditation and contemplation till he finally saw the light of true wisdom. To mark his penance and spiritual victory, a huge statue of Bahubali was erected by Chaavundaraya, a minister, around 981 AD on Vindhyagiri hill, Shravanabelagola, Karnataka. This 57-feet tall statue of the nude figure of Bahubali carved out of the hill is the tallest monolith in the world. More importantly, it is an important place of pilgrimage for Jains even today.

illustration vincent moses raja

Face Off

Postcard from India

ur arrival in month of o a IN H IT W by an Indian were invited e w , ai f nn he C a festival o ate Diwali, br le ce to in family Christmas parable with nn lights, com ious di er ting a delic ea er ft A . the Europe our hands, leaves using es. m on banana utdoor ga d to play o te an w n re child outfit, I South Indian e et pl m co y Despite m in in. decided to jo xt game they d seek, the ne After hide an an’, me if you C was ‘Touch ith w up e d cam one to be blin , I was the first en ev and of course h t to catc rather difficul folded! It was emorable remains a m it t bu , em one of th experience.

Blind Side

s, holland

Hedwig Baar

Pause for Concern IT IS said that when a butterfly flaps its wings in one part of the world, it can cause a hurricane in another. When Leh, one of India’s most beautiful and pristine landscapes, fell victim to Nature’s fury last month, it reminded us once again how fragile human life is – and how indomitable the human spirit is. CULTURAMA requests its readers to show their solidarity to the victims of Leh’s flash floods, by joining the Confederation of Indian Industries’ campaign to mobilise relief material. Some of the immediate relief material required are: • Water for 5000 people, water purification tablets • Medicines • Woollens • Toiletries • Kitchen Items • Solar Lanterns • Water Storage Tanks • Emergency Lights / Torches • Shoes

For more details, write to Ms Navdeep Kaur at navdeep.kaur@cii.in or call +91-9815973674.

culturama | September 2010

Photo Feature

praveena shivram

“When it is dark enough, you can see the stars.” – Charles Austin Beard, American historian and educator

After

Hours AS A tourist, or someone visiting a place for the first time, we tend to focus all our energies on things to see and do during the day. We have our lists ready, our Lonely Planets snuggly waiting in our backpacks, our cameras forever on standby and a bottle of mineral water handy. By the time the sun goes down, we are invariably ready to hit the sack, gearing up for another day of possibilities. But there is something indefinably seductive about the night – it never overtly calls out to you, preferring to remain hidden behind the curtains, leaving a gentle whisper of an invitation floating in the air. It never actively seeks out your company and yet when you offer your hand it gladly accepts. It has no expectations and makes absolutely no demands of you, except when in India. You need to forgo the day in order to truly experience the ethereality of night. Because in India, nightlife isn’t restricted to the four walls of a nightclub or a pub. As darkness descends and dreams emerge, the action is veritably on the streets arbitrarily lit up with an amalgamation of stars, kerosene lanterns, clay lamps, street lights, candles, fluorescent bulbs and fairy lights. Be it the throbbing atmosphere of a bazaar or the silence of a corner tea shop; the verve of a road procession of the Gods with the sounds of a generator overpowering those of reverence or the quiet piety of a temple magnificently lit up for the night; the fiery power of burning effigies during festivals or the smug grandeur of city palaces; the transcendental quality of all-night folk performances or the earnest severity of poetry readings; the glorious night skies painted with stars or the flicker of city lights like impatient fireflies; the slowness of everyday life or the speed of empty roads; the tempting call of rooftop eateries or the unobtrusive tinkle of the sweets vendor – India’s warm nights are her true testimony to a variety that the colours and chaos of the day take away from her. It is where magic reigns supreme, even in that solitary lantern providing temporary sustenance. And all you need to take with you is an open mind.

culturama | September 2010

photo Claude bahout, france photo Olivia Taghioff, sweden

photo brian jolley, usa

photo darren burnham, uk

photo Kerstin Vieth, germany culturama | september 2010

View from the Top

“VLCC is a culmination of my vision to make health and beauty accessible to all segments of society .”

Inheritance

of loss

AT THE Cherie Blair Foundation conference, “Women Mean Business”, held in Mumbai last year, she spoke to CULTURAMA about encouraging leaders at her business centres to imitate her profit share-ownership model of entrepreneurship. It was a powerful statement, one backed by the incredible success she has created. Meet Vandana Luthra, Founder and Mentor of VLCC, India’s pioneering beauty and health brand.

What was your vision behind the establishment of a holistic health and beauty centre in India? After my education in nutrition and cosmetology from Germany, I was keen to translate my learning into something worthwhile. VLCC is a culmination of my vision to make health and beauty accessible to all segments of society, and even today, it is this drive that keeps me going. When I opened the first Transformation Centre in Safdaurjung Enclave, New Delhi, in 1989, the health and beauty market was very nascent, and the concept of combining fitness and beauty as an approach to holistic wellness was a completely new paradigm. We have worked painstakingly to help this industry be recognised as an organised sector, setting quality standards, benchmarking services and customer satisfaction, while employing top-of-the-line technology and applications. The initial claims of VLCC’s slimming techniques were met with

culturama | September 2010

much criticism. How did you deal with that? I would not term it as criticism, it was more apprehension. The concept of complete transformation, with slimming and beauty as two sides of the same coin, was a new concept which the Indian public was not exposed to. Despite the apprehension, we never deviated from what we offered. Today, our R&D is the best in the industry and all our weight loss and beauty treatments are researchbased, combining scientific excellence with traditional therapeutic approach. We are delighted to have served 10 million customers since our inception. What is your advice to the younger generation who place excessive importance on appearances, with little consideration to implications of health? I think young people need to realise that while it is important to look good, it is far more important to feel good, and that can happen only when you lead a

balanced life, with the right combination of physical activity and nutritious diet. I am a ‘foodie’ myself but the mantra I follow is to balance the scales – by all means indulge your taste buds, but maintain the balance by consciously choosing the next thing you eat, and your activity pattern for the day What sets apart VLCC from its competition? VLCC’s success has been in pioneering the amalgamation of slimming and beauty solutions for holistic wellness. Our key strength lies in the extensive R&D that we have been consistently investing in, that helps us provide a personalised and solution-oriented approach. We are today a preventive healthcare and wellness brand. We propagate wellness as a way of life, and our success has been our products and services that reflect the culmination of scientific research and traditional concepts.

India and I

A ndrew G oldman

Photo Courtesy Taj Blue Bar, Delhi

Bar Code When I think of a traditional public house in England, i might imagine somewhere nestled beside a village green, a pint of bitter in hand and distant crack of leather on willow...

culturama | September 2010

OKAY, let’s face it. Pubs in India are bound to be completely different from those in the UK, aren’t they? When I think of a traditional public house in England, I might imagine somewhere nestled beside a village green, a pint of bitter in hand and distant crack of leather on willow as well as polite ripples of applause as local cricket teams battle it out in the warmth of an Indian summer. Well funnily enough, ‘Howzatt!’ in Gurgaon, on the fringes of Delhi proper, sports all these sights, sounds and sensations. You will have to allow me a little poetic license but it is generally a great place to sink a pint of beer. It is in fact a micro-brewery producing its own bitters and lighter beers on site. Something that is a bit of rarity in India, apparently (illegal in Delhi itself but allowed in neighbouring Hyderabad). You can also escape the heat of a true India summer and enjoy constant cricket, albeit on flat screen TVs. There is also lots of cricketing memorabilia on the walls and plentiful pub snacks. So if you want to enjoy cricket and some ‘real’ beer then ‘Howzatt’ is a good hang-out. OK, it might be more of a themed bar than a pub, but don’t let that get in the way of a decent pint. If you want something with a bit more of a traditional pub name, then try the Drunken Duck in Connaught Place, central Delhi. The appeal is perhaps to English expats who want a bit of home from home. Red telephone boxes are lined up at the entrance and inside the wall frescos offer up mottled images of an iconic England. The beers are not

bad, mostly of the lager variety. But that’s made up for by the friendly staff (as you will have gathered I am more of a bitter fan) The place also does a good line in food but the ambience is made more publike by the scattering of round tables and comfy worn leather chairs that would look quite at home in a spit and sawdust tavern in the back streets of London. The only drawback is that Connaught Place is Connaught Place, so it is quite touristy, perhaps a bit pricey and when you come out you are bound to be surrounded by a persistent swarm of tuc tuc drivers keen to take your unspent beer money for a ride home. A little more authentic in terms of a theme is the Dublin bar in ITC Maurya Hotel, central Delhi. So you have to walk through the air-conditioned lobby of the hotel first, past a few designer stores and then down the steps to get there. But once you are in, you are immersed in the dark, woodpanelled ambience of a pub that could quite easily pass for a Guinness den in the streets of Dublin. It has a long bar, wooden floors, low lighting and cubby hole seating where you can drink the night away. The trouble is that while the walls are adorned with Guinness posters, the place doesn’t actually serve the dark velvet brew on tap. Only in bottles. But there is a reasonable selection of beers and spirits and good crowd of patrons giving it the buzz of a good watering hole. And if you want to go even more up-market in Delhi there is plenty of choice. There’s the Zest bar in the Emporio Mall for example, Vasant Kunj. The cocktails certainly are an art form here and

the ‘mixologists’ behind the bar will recommend drinks to suit your taste. For something a little more sublime, try the Aqua Bar at the Park Hotel (15 Parliament Street, Connaught Place). Timber pavilions, circular rattan beds together with bamboo screens entice you to occupy them. And then there is of course the alluring aquamarine pool by which the place gets its name. Or for a real five star experience a must try is the newly opened Blue Bar at the Taj Palace Hotel (Sardar Patel Marg Diplomatic Enclave). There is nothing blue about The Blue Bar – mood, colour, or lighting. The first thing that strikes you is the seductive symphony of the place with its deep red chairs and very clever lighting. As a result, you glide in rather than walk, and feel generally happy with life as you soak in the ambience. But for design gurus out there, check out the bar itself: The top, made from transparent concrete, emits millions of points of light into the glassware on the bar via fibre-optic threads. Cool! Ask for the drinks menu and you are presented with a weighty tome with hundreds of choices. For whisky lovers it is heaven: They have a huge selection including several Scottish single malts. But just about anything goes. Ask for your favourite and they generally have it. So are there any similarities between pub culture in the United Kingdom and India? Perhaps, but Indian pubs are not quite the real deal if you are used to unsophisticated pubs in England where the promise is of a warm pint, a cheese sandwich and a good conversation. You can still get the conversation in India, no doubt. But probably not a cheese sandwich, certainly no warm beer and plenty of sophistication. Maybe that’s the difference between a bar and pub. A subject for a conversation over a pint perhaps?

The writer is British and lives in New Delhi.

culturama | september 2010

Expat Circle

C laire C linton - B u tler

Spic and sparkle AS THE saying goes, ‘A diamond is a girl’s best friend’… but why is it that, here in India, very good quality diamonds are more within our reach? Most people know that a diamond is created naturally from carbon, over the course of some millions of years: the purer the diamond, the higher the percentage of carbon with 100% being the highest possible grade. In 1953 the Gemological Institute of America introduced its diamond grading system which today is used Worldwide so when you are ready to make your purchase, remember the four C’s: Colour, Clarity, Cut, Carat, though the order of preference of these four C’s is all down to your personal choice. Colour (or tone): Ranges from pure white (the most expensive) through yellow down to brown. Clarity: Describes whether it is a clean stone or if there are inclusions contained within it. Cut: Range runs from Excellent through Very Good, Good to Fair Cut. Typical diamond shapes are Brilliant Cut (round), Princess Cut (square), Pear Cut (drop), Marquise (boat shape), Emerald to Baguette and Tapers, Heart and Oval Carat: Describes the weight of the diamond The combination will vary depending upon what piece of jewellery you have in mind and the level of investment you intend to make. Then, of course you need to determine what type of setting would suit you best. It is very unusual for a diamond to be set in silver, usually it is either yellow or white gold (white gold being a complete mixture of palladium/ yellow gold – not to be confused with rhodium plated yellow gold). Platinum is not very popular in India, not just due to it being a more expensive metal but because it is a particularly hard metal and therefore very difficult to work with. Moving on to the question of why very good quality diamonds are more affordable here in India: Surat, a city in Gujarat, is the main hub for cutting diamonds with approximately 80% of the world’s diamonds travelling through here. Until relatively recently, 90-95% of these diamonds came from South Africa, but now places such as Australia, Russia and Canada are also mining these beautiful stones. All raw diamonds are initially cut by hand prior to being machine cut and here overheads including labour are much less than when compared to Europe and America.

We have all heard the terrible phrase ‘Blood Diamond’ so, when making your purchase, it is always important to seek confirmation that it was mined in a conflict-free zone. When buying a pair of diamond earring studs that you wish to wear almost daily, opt for screw backs as this will help avoid accidentally losing studs when undertaking daily routine such as combing your hair, swimming, etc. Do ensure that you go to a reputable diamond merchant – not all diamonds have their own, individual certificate. However, if you are buying a large stone and making a big investment, you should insist on an individual certificate.

With special thanks to Mogha Jewellers, Le Meridien Hotel, Windsor Place, Janpath, New Delhi 110001. 54

culturama | September 2010

India and I

H ansa P iparsania

capital charm 56

culturama | September 2010

Returning to Delhi after a gap of 13 years was the highlight of repatriating to india. And through the ‘seven cities of delhi’ group, I rediscovered the city’s rich heritage DELHI is not new to me. Almost every summer vacation we were here, en route to Agra – our hometown. Every time we visited, my father would religiously take us sightseeing and patiently show off the city’s impressive storehouse of historic ruins. As he spoke, all the pages of my Indian history text books from school would come alive. I imagined the great Hindu Rajput king Prithviraj Chauhan galloping on his favourite horse, defending his land against Islamic invaders; I saw the emperor of the world Shahjahan, in a grand procession, waving to his subjects on his way to the Holy mosque. I could even visualise the great Indian mutiny of 1857 when 300 native soldiers stormed into the Red Fort in Delhi to challenge the 200 years of British domination in India. Returning to Delhi after a gap of 13 years was the highlight of repatriating to India. Having settled home and family life I heard about the ‘Seven Cities of Delhi’, a group that met to discuss Delhi’s rich history and culture in depth. I jumped at the opportunity to rediscover the city with people who were enthusiastic about India, had respect for its heritage and saw it from a whole new perspective. Every Wednesday, our motley crew of 35 women, from all corners of the world, walked the streets of Delhi. We invited glares, giggles, shock and admiration. Most people were impressed that we ventured into many parts of the city where even seasoned Delhiites had never dared to step into. Delhi’s relationship with its past was fascinating. It had witnessed countless invasions, victory and defeat at the hands of many foreign powers who firmly believed that whoever held Delhi controlled Bharat, Hindustan or India as we call it today. Modern day Delhi is actually an amalgamation of many different cities that existed under different names over the last 1,000 years or more. Historically, the most famous ‘Seven Cities of Delhi’ were also known as Lalkot, Siri, Tughlakabad, Jahanpanah, Firozabad, Dinpanah and Shahjahanabad (old Delhi). These were capitals built and ruled by various Hindu Rajput kings, the Sultans from Central Asia (under the Qutub, Khilji and Tughlak dynasties) and the Mughals (Humayun, Shahjahan, etc.) who were of Turko-Mongol origin. Seven Cities gave me the chance to revisit all the places that I had seen in my childhood and appreciate them so much more. There were times when I walked down a lane, past a haveli (an ancient courtyard house) and had a strong sense of déjà vu. I smiled, remembering the exact photograph from a page in my history text book, and other times when I had a tear in my eye upon hearing a story being narrated by an old priest in an ancient Jain temple.

Very often we Indians take our heritage for granted. Almost everyday in Delhi we drive past structures of monumental importance, without even a second glance. Most are so engrossed in their routine that they are oblivious to the treasures around them. And few find time to appreciate the invaluable legacy that our ancestors have left behind for us. Recalling my summer holidays and the sweltering days I spent seeing the ruins in Delhi, I realised I was always passionate about our history. I just didn’t know it then. When I completed the Seven Cities programme, the pieces of the puzzle just seemed to fall naturally into place. I felt fulfilled, as if I had retraced my steps on a path that would take me further in my quest. The journey had just begun. .

culturama | september 2010

MultipliCity Mr S Muthiah in front along with the audience listening on

WHAT is common between a Frenchman who speaks Tamil, a Finn who rides her scooter to the Krishnamachri Yoga Mandiram, a German who enjoys breakfast at Murugan Idli, an American who discovered differing sense of humours, and a returning Indian who rediscovered his childhood at the Madras Museum? If you haven’t guessed the recurring pattern already, the common factor is undoubtedly Chennai, the city that launched a thousand experiences. And they came together at Global Adjustments’ India Immersion Centre to celebrate the city’s 371st birthday to reaffirm the sentiment, ‘Madras is Namma Chennai too’. An interesting panel of expatriates took the centrestage – Finnish Head of Finpro, Silva Paananen; the French Head of Michelin, Nicholas Beaumont; the Indian Head of McKinsey, Ananth Narayanan; the German Head of Arcelor Mittal, Bernd Thommes; and the American Head of Hospira, Eric Gossard – along with historian, columnist and author, S Muthiah as the special guest, to unravel the nuances of what makes Chennai the city that it is. Be it Silva’s happy transition to a morning person, thanks to a barking dog, or Ananth’s experience of discovering the soul of Madras in Mylapore, one of the oldest parts of the city, or Bernd’s brush with confusing Indian names, or Nicholas’ excitement for Tamil films, to

culturama | September 2010

finally, Eric’s impromptu street tours, the range of anecdotes were truly engaging. As S Muthiah rightly summed it up, “You will find a different city in every part of Chennai and I implore both the expat and the Indian community to discover a part of the city that you are not familiar with.” The panel discussion ended with brunch, courtesy Isha Life, and Cognizant Technologies was the programme sponsor.

View Points

“I enjoyed the diversity of everyone’s experience and liked the fact that, as an audience, we were allowed to interact with the panelists.” – Lennart Isaksson, Sweden “As someone new in Chennai, it’s always helpful to have fellow expatriates suggest tips on how to get more involved in the city and for me, this event did just that.” – Âsa Holm, Sweden “It was refreshing to see how adventurous expatriates in Chennai are, which is great for the city.” – Usha Srinivasan, India “It was nice to be able to identify with similar experiences from fellow expatriates – it gave me a sense of belonging.” – Tomonori Minowa, Japan

L to R: Eric Gossard, Bernd Thommes, Silva Paananen, Ananth Narayanan and Nicholas Beaumont

chennai calling The city is now called the ‘Detroit of India’ as it has 30% of India’s automobile industry and 35% of its auto components industry. Chennai is the second largest exporter of software in the country after Bengaluru. Chennai is often referred to as the ‘Health Capital of India’ due to its international standards of medical services. The Mofussil bus terminus at Koyambedu, Chennai, is the largest in Asia. The Vandalur Zoo in Chennai is the first public zoo (1855) in India and one of the largest in South Asia.

ACCORDING toNASSCOM, one in two people entering the multi-billion dollar IT industry in India is a woman. With such a strong female presence, it has become critical to gear Indian women with the tools to break through the glass ceiling. In this direction, ‘Empowering Women in IT’ (eWIT), a burgeoning women’s forum, works to unleash the Indian woman’s potential and optimise her growth in the industry. As part of their monthly networking event, Ranjini Manian, CEO, Global Adjustments, addressed a gathering of women IT professionals at the India Immersion Centre (IIC) on July 2 as part of their ‘Role Model’ series. The question under discussion was ‘Are Indian Women in Business Global-Ready?’ According to Ranjini, characteristics such as flexibility and adaptability could become the cultural vantages of an Indian woman. She also stressed that enhanced AICOP skills (A – Ability to say a solution-oriented “No”, I – India Awareness, C – communication, O – Organisation, and P – Presentation) would be the key for Indian women to thrive in a global scenario. In the Q&A session that followed, the audience raised questions about cultural dictates in the workplace, comparing the gender-related work ethic in India and in China. The interactive event threw light on aspects that are yet to be addressed, before Indian women are truly and fully globally poised.

Global Adjustments in Chennai conducts a mentoring programme titled ‘The Balancing Act: Gender Intelligence Strengthening’, providing insights into gender relationships at the workplace. This is a one-year course combining six contact classses with online mentoring. Women with two years work experience may apply. Limited number of seats available, contact courses@ globaladjustments.com for more details.

culturama | September 2010

Holistic Living

P.S. I Like You

eknath eswaran

MY MOTHER must have been born kind; in seventy years I don’t remember her uttering a hurtful word to anyone. But I was like everyone else. As children do, I sometimes said hurtful things that I was ashamed of afterward, and when I did, it would torment me. I would toss and turn throughout the night, and the next morning I would go straight to my cousin or whoever it was and say, “I hope what I said yesterday didn’t hurt you.” To make it worse, he would look at me blankly and ask, “What was it?” I used to complain to my grandmother, “This isn’t fair! He is the one who should feel hurt, and he doesn’t even remember it. Why should I be the one who can’t sleep?” “That is the makings of what is in store for you,” she would say mysteriously. “That is the way you learn.” I didn’t understand, and I could never get her to explain. But she was right: my motivation grew. If somebody said something rude to me, I learned to hold back a rude response and think, “Oh, no. I don’t

Photo darren burnham, Uk

Letting other people take undue advantage of us is not helpful to them any more than it is for us. Instead, we can bear with them and at the same time improve the situation with their help. When it is necessary to show our love by expressing disapproval, we should learn to disagree constructively. Sri Ramakrishna, a great saint of Bengal, advises us to hiss gently when necessary, but not to bite. This is particularly applicable in relationships with children, who can be ingenious in needling us to see how far they can go. What they are trying to say is, “Hiss at us so we’ll know when to stop.” I saw the value of a well-timed hiss when I was out for a walk with our dog Muka, who tries to play with every creature he sees. He found a snake in the garden and offered to play with it. The snake was doing whatever snakes do early in the morning, and when Muka tried to get it to play there was a sharp hisss! and Muka came hopping out of the grass like a jackrabbit.

want to lie awake at night!” That is how it began. Today, that reversal has gone so far that if someone says or does something unkind to me I feel sorry for that person, not for myself. The Snake Who Didn’t Want to Play Bearing with people, especially those who really do cause us problems, is the essence of forgiveness. It is not particularly helpful to do this with a feeling of martyrdom, either; we need to bear with people cheerfully. This doesn’t mean making ourselves into a doormat.

The Dog who Liked Everybody Some time ago, while Christine was in the bank, I decided to stay in the car and read the paper. The door of the car was open, and a dog, rather plebeian, came up and looked at me for a long time to see whether I would welcome a little company. He must have decided I would, because he put two paws on my lap and said, “Bowwow.” I said, “Yes, thank you, I am always well.” He had quite a nice way about him, so he probably would have understood if I had said instead, “I don’t have time to talk to dogs”; I imagine he would have just said, “I feel sorry for you” and walked away. But I can understand the ways of dogs easily, and I started petting him. By this time he was drawing himself more and more into the car until at last more of him was in than out. He was sitting on my lap, and we were getting along very well when a woman who was passing by said jocularly, “He’s a mutt. He likes everybody.” Mutt or not, I wanted to tell her, that dog was teaching us a lesson. Those who like everybody, even if their opinions or colour or social status is different, have tremendous potential. Such people can go far spiritually, because they identify themselves very little with their body, their feelings, and their opinions. They do not forget that people are people just like them, so they do not put labels on them: “reactionary or radical,” “straight or not so straight,” “for me or against me.” And they never make the mistake of thinking of people as political animals or economic units; for all of us have feelings that can be hurt and needs that should be respected. When you see someone like this, remind yourself that he or she already has some awareness that all of us are one.

Reprinted with permission from Patience: A Little Book of Inner Strength, by Eknath Easwaran (Nilgiri Press, 2010). Copyright 2010 by The Blue Mountain Center of Meditation, P. O. Box 256, Tomales, CA 94971, www.easwaran.org.

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Book Johnny Gone Down

Film Meghe Dhaka Tara

Author Karan Bajaj

Director Ritwik Ghatak

Price Rs 99

Language Bengali

OVER 20 years and 324 taut pages, Nick Arya goes from being a young MIT graduate with a promising NASA career in hand, to a player in a game of chance unhesitant to put a gun to his own head. Nick’s journey begins on the day of his graduation when his friend Sameer picks Cambodia as a holiday destination, little knowing that the country was at that very moment being taken over by the Khmer Rouge. Nick helps Sameer escape, but he himself is captured. When he does escape Phnom Penh, it is into a life that reboots itself every few years with a different alias in a new location. He discovers a quiet resilience that becomes invaluable in the years to come as he loses an arm to gangrene, falls in love, becomes a Buddhist monk, becomes an accountant to a drug empire, fathers a child and loses everything many times over. Nick’s character arc is intertwined with those of many others — Dechen the Buddhist monk in Thailand, Lara the supermodel from Brazil, Marco the druglord, Philip North a struggling entrepreneur in Minnesota and Dayaram, his opponent in the game of death in India. At every step, the book challenges the reader’s tendency to stereotype people, places and situations, but most of all, the mindset of a Non Resident Indian protagonist. Nick makes sacrifices but is human enough to acknowledge the regret of having made them, as he charts his rocky destiny through Cambodia, Thailand, Brazil, USA and finally, India.

NEETA’S (Supriya Choudhuri) family is one of many refugees who were displaced from Bangladesh and moved to West Bengal during the Partition. With her meagre earnings as a tuition teacher, Neeta strives to support not only her parents but also an older brother Shankar (Anil Chatterjee) who is a struggling singer, a younger brother Montu whose passion for football she nurtures and a sister, the coquettish Gita. Neeta also financially supports her scientist fiancé, Sanat, who is ultimately lured away by Gita at the behest of their mother who wants to ensure that Neeta remains unmarried to continue supporting the family. Following her sister’s deceit and mother’s machinations, Neeta begins to feel suffocated by her life. Her sole source of emotional succour is her brother, Shankar, whose life thereon gradually moves inverse to his sister’s. The family finally begins to thrive, but Neeta’s emotional suffocation manifests at a metaphysical level as tuberculosis. Neeta is now a wasted human being and in the end, her final anguished vocalisation of her desire to live resonates in the hills that she always wanted to visit. Ritwik Ghatak is considered one of the pathbreaking directors of Indian cinema. This movie is renowned for the way the sound and visual design communicate the emotional climate of each scene. The architecture of the scenes is also indicative of the turns that Neeta’s life takes. ‘Meghe Dhaka Tara’ is a tragic story, but one that highlights the Partition’s socio-economic impact on immigrant families in post-Independence West Bengal.

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Dark Matters What’s appropriate to wear to nightclubs in India? While Indian day wear is more conventional, nightlife dressing in India is increasingly catching on to Western trends. Jeans or skirts paired with trendy t-shirts or blouses are the norm for women, while men usually opt for trousers and swanky shirts. Aim for a look that’s elegant yet stylish and you can’t go wrong. You could also up the bling factor with the latest in accessories. It might be useful to remember that slippers and shorts are prohibited in certain nightclubs, so verify dress codes in advance. For women travelling in taxis, be sure to throw on a stole or a shawl until you reach your destination. Until what time is it safe to use public transport at night? This differs from city to city and also within areas of the city itself. While Delhi could be challenging, Mumbai is easy to deal with. As a general thumb rule, opt for reputed taxi and car hire companies over public transport after 8.00 p.m. Once again, it would be of good discretion to dress conservatively while travelling at night. Are there any places in India that are open all night? In general, pharmacies and chemist stores are open twenty-four hours. Convenience stores in fuel stations are also in service all

Photos l-R Anabel, UK; Prashanth Mangal, indian

through the night. For middle-of-the-night hunger pangs, a five-star hotel would be your best bet. The rest is city-specific, so it would be best to get additional guidance from local friends and colleagues. Why do Hindu weddings take place at different times within different communities, with some weddings even taking place late at night? The timings of Hindu weddings are decided by the common principle of a muhurta, deemed to be the auspicious time at which a new journey should commence. ‘Muhurta’ stems from the belief that our lives are largely determined by planetary influences. Calculating the moment at which maximum positive forces are at play helps harmonise the effects of nature on any new endeavour. The uniqueness of planetary effects on each individual is a fundamental reason for the varying timings of wedding ceremonies. However, social aspects equally influence the timings of weddings in different communities. South Indian weddings follow Vedic systems and are mandated to be performed as close to sunrise as possible. They are therefore held in the morning with the blessings of the sun. On the contrary, most North Indian weddings consist of merry revelry alongside prayers and rituals, as a result of which most ceremonies take place late in the evening or at night.

Your Festive Calendar

September

2 11 11

Janmashtami

Janmashtami or Krishna Jayanthi is the birthday of Lord Krishna. On this day, in the South, homes are decorated with imprints of small feet drawn with rice flour, leading from the entrance of the house to the room of worship, symbolising baby Krishna coming to bless his devotees. In Maharashtra, this festival is popularly known as Dahi Handi (curd vessel). A pot is filled with curd and placed at a certain height; a human pyramid is then formed to try and hit the pot. Curd is used because Krishna was most fond of it as a child.

Ganesh Chaturthi

Vinayaka Chathurthi or Ganesh Chaturthi is the birthday of the elephant-headed god, Lord Ganesh. People across the country buy clay idols of Ganesh, ranging from miniature to larger-than-life versions. Five or ten days later, the decorated idols are taken from homes and street corners in a procession to the beach, where they are immersed in the sea with a wish that the Remover of Obstacles might return next year to take away misfortunes.

Id-ul Fitr

This festival falls immediately after the month of Ramazan and lasts up to three days. During this festival, people greet each other by saying ‘Id mubarak’ (blessed Id). They dress in their best clothes, offering thanksgiving to Allah and sharing their happiness with relatives and friends.

October

November

December

2 Gandhi Jayanthi

2 Guru Nanak Jayanti

1 Karthikai Deepam

Mahatma Gandhi’s birth anniversary.

Guru Nanak’s (a Sikh guru) birth anniversary.

8-17 Navaratri

3 Dhan Teras

Nine-day festival dedicated to the nine manifestations of Durga, a Hindu warrior goddess.

This festival is held in order to worship Lakshmi, the goddess of wealth and prosperity.

13-17 Durga Puja

5 Diwali/Deepawali

The last five days of Navaratri, widely celebrated in West Bengal, Assam and Jharkhand.

Marks the beginning of the Hindu New Year. Also known as the ‘Festival of Lights’.

17 Dussehra

14 Children’s Day

The last day of Navaratri, solely devoted to the defeat of the demon king Ravana.

25 Karva Chauth Married women in North India fast and pray for the wellbeing of their husbands.

Celebrating the birth anniversary of Pandit Jawaharlal Nehru, independent India’s first Prime Minister.

17 Bakrid It commemorates prophet Ibrahim, who was willing to sacrifice his son for God.

Festival of Lamps

7 Muharram This is the first month of the Islamic New Year.

25 Christmas Happy birthday, Jesus Christ! January

13 Lohri An annual thanksgiving festival, marking the end of the harvest season in North India.

14 Pongal Annual four-day harvest festival celebrated in Tamil Nadu.

14 Makar Sankranti Celebrates the journey of the sun from Saggitarius to Capricon..

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culturama | September 2010

Creations and Celebrations We at Gehna understand that every woman deserves a special, singular identity. In this tradition, we have crafted customised jewelry for the women of Chennai over six years, ensuring that no two people possess the same piece. Celebrating six unstinting years of service, Gehna is organising a jewelry designing contest, giving both professionals and amateurs the chance to ‘Be the Designer.’ Come with a creative idea and our designers will help transpose that to a unique piece jewelry, especially for you. As an additional offering, visit our workshop and explore the intricacies of the jewelry-making process. A whole lot of exciting prizes are to be won, so save this special date for a celebration of the unique individual that is you. The contest closes on 30th September, 2010. For more details, contact 9841039449 or 42638368.

Happenings @ The India Immersion Centre Event: ‘Coffee and Conversation’ with authors and diplomats, Pavan K Varma and R Kannan Date: Friday, September 3, 2010 Time: 6:30 pm to 8:30 pm Venue: Park Sheraton

Event: Doll Festival – Celebrating a nine-day south Indian festival Date: Tuesday, October 12, 2010 Time: 5 pm to 7pm Venue: India Immersion Centre

Event: Music Appreciation Workshop with a renowned classical vocalist Date: Saturday, December 4, 2010 Time: 10:30 am to 12:00 pm Venue: India Immersion Centre

Event: Heritage Walk at the Kapaleeshwarar Temple, Mylapore, with Pradeep Chakravarthy Date: Saturday, September 18, 2010 Time: 4 pm to 5 pm Venue: We proceed to the temple after a brief meet at IIC

Event: Story Telling Workshop Date: Saturday, October 30, 2010 Time: 3 pm to 5 pm Venue: India Immersion Centre

Ongoing Events: Bollywood dancing classes,

Event: Coffee Morning: Celebrating Tanjore’s Dance Heritage with author, Lakshmi Viswananthan Date: Friday, September 24, 2010 Time: 10:30 am to 11:30 am Venue: India Immersion Centre Event: Celebrating Gandhiji’s birth anniversary with a lecdem by cultural activist, V R Devika, followed by the unveiling of a Gandhi Statue Date: Friday, October 1, 2010 Time: 6:30 pm to 8:30 pm Venue: India Immersion Centre

Event: The 13th Annual Beautiful India Expatriate Photo Competition Awards Ceremony Date: Sunday, November 21, 2010 Time: 10 am onwards Venue: To be finalised

Indian cooking classes, Language classes Eknath Easwaran’s Spiritual Fellowship sessions.

Event: Dance Appreciation Workshop with award-winning Bharatnatyam dancers, Dhananjayan and his wife, Shanta Dhananjayan Date: Friday, December 3, 2010 Time: 10:30 am to 12:00 pm Venue: India Immersion Centre An initiative of Global Adjustments in aid of The Interface * Event details are correct at the time of printing. Events/Classses are subject to a minimum number of participants.

For more contact Usha |Sridhar at iic@globaladjustments.com or 24617902. 76details,culturama September 2010

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