VOL 27 NO. 3 JULY-AUGUST 2013
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P O T P O U R R I Navigation satellite
Tribal fest
India has successfully launched its first dedicated navigation satellite using the Polar Satellite Launch Vehicle, PSLV-C22. The vehicle, carrying navigation satellite system IRNSS-1A, lifted off from Satish Dhawan Space Centre, in Sriharikota in July.
Anthropological Survey of India, Nagpur, organised an event of dance and music of Central Indian tribes. The event was a part of the initiative to take the unique and colourful lives of indigenous tribes to the people. The performances were from Bastar band from Chhattisgarh, Karma dance by Baiga tribes of Dindori and Saila dance by Bharia tribe of Patalkot in Madhya Pradesh.
Rajasthan hill forts on Heritage List Six of Rajasthan’s hill forts have made it to UNESCO’s World Heritage List. The eclectic architecture of the forts – Chittorgarh Fort, Kumbhalgarh Fort, Ranthambore Fort, Jaisalmer Fort, Amber Fort and Gagron Fort – some up to 20 km in circumference, bears testimony to the power of the Rajput princely states that flourished in the region from 8th to 18th centuries.
Decorative Arts
India bids adieu to telegram The glorious saga of the telegram, the fastest means of communication till the entry of the internet and the cell phone, became history in India. The service came to an end on July 14, with thousands queuing up to bid farewell to the 160-year-old service. AFP
The National Museum, New Delhi has a renovated gallery of Decorative Arts. The gallery has exhibits of varied sizes, including objects carved in ivory, jade and ceramic, throwing light on the rich craftsmanship of the 18th and 19th century India. The highlights are a huqqa inscribed with the name of Mughal Emperor Jahangir and a five-feet elephant tusk carved with life scenes of Lord Buddha.
EDITORIAL NOTE
Tagore award to Zubin Mehta Tagore Award for Cultural Harmony, 2013 is being conferred on the noted maestro, Zubin Mehta in recognition of his outstanding contribution to cultural harmony. The annual award was instituted by the Government of India during the commemoration of 150th birth anniversary of Rabindranath Tagore. The award was conferred on Indian sitar legend Pt. Ravi Shankar in 2012.
Annaad bhavanti bhuutaani parjanyaad-anna sambhavah, yagnyaad bhavati parjanyo yagnyah karma samudbhavah Bhagavad Gita: Chapter 3, Verse 14
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n this famous verse Lord Krishna reveals to Arjuna that life is born from food, food is produced by rain, rain is produced by performing yagnya (a ritual of offerings and chanting), which in turn is born of action. The verse honours rain as an integral component of evolution. No doubt the belief practiced over centuries has made Indians look up to the clouds for showers of bliss. The expectation has been packed with emotions throughout, well documented as verses, ragas, paintings and renditions since time immemorial. Today’s artists have retained the inspiration and, in few cases, done experiments around it to show how gratifying the season can be onstage and onscreen. Now what could be more opportune than the monsoon months of July and August to evoke all those emotions? Recalling rain-inspired thoughts from Indian literature, art, music and dance, films, travel destinations and festivals, the lead feature of our edition captures India while it is happily drenched. An august month indeed, August is also when India gained independence in 1947. Now in its 67th year, independent India may have lost many of its freedom fighters, but still has a spectator who narrates the nation’s journey to freedom. This Independence Day we take our readers through the journey of Indian tricolour, Tiranga, its values and achievements. The edition also has features on the historic city of Hampi, a UNESCO World Heritage site in Karnataka, and Himachal Pradesh. The edition covers the visit of Prime Minister Manmohan Singh to Japan this May and the joint resolve of India and Japan to transform their relations and sculpt the contours of a rising Asia. In Partnerships, we cover India’s humanitarian initiatives in Sri Lanka that are transforming lives of thousands displaced by the armed conflict. Last but not least, the edition brings you good news. If you are one of the billion-plus smartphone users in the world, you can read India Perspectives wherever you are through the MeaIndia app. Available for free download, the app gives access to a range of information and services from the Ministry of External Affairs.
Riva Ganguly Das
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July-August 2013 VOL 27 No. 3/2013
Editor: Riva Ganguly Das Assistant Editor: Nikhilesh Dixit
MEDIA TRANSASIA TEAM Associate Editor: Jyoti Verma Assistant Editor: Aashruti Kak Junior Features Writer: Pallavi Paul Creative Director: Bipin Kumar Editorial Coordinator: Kanchan Rana Design: Ajay Kumar (Assistant Art Director), Sujit Singh (Sr. Visualiser) Production: Sunil Dubey (DGM), Ritesh Roy (Sr. Manager), Devender Pandey (Manager), Jeetendra Madaan (Assistant Manager - Prepress)
JULY-AUGUST 2013
Chairman: J.S. Uberoi President: Xavier Collaco Send editorial contributions and letters to Media Transasia India Ltd. 323, Udyog Vihar, Phase IV, Gurgaon 122016 Haryana, India E-mail: feedback.indiaperspectives@mtil.biz Telephone: 91-124-4759500 Fax: 91-124-4759550 India Perspectives is published in Arabic, Bahasa Indonesia, English, French, German, Hindi, Italian, Pashto, Persian, Portuguese, Russian, Sinhala, Spanish, Tamil and Vietnamese. Views expressed in the articles are those of the contributors and not necessarily those of the Ministry of External Affairs.
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Financial Controller: Puneet Nanda
Marina Beach, Tamil Nadu, on a rainy day
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This edition is published for the Ministry of External Affairs by Riva Ganguly Das, Joint Secretary, Public Diplomacy Division, New Delhi, 0145, 'A' Wing, Jawahar Lal Nehru Bhawan, New Delhi-110011 Tel: 91-11-49015276 Fax: 91-11-49015277
Potpourri
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Monsoon India’s bond with the season
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Festival Teej
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Global Perspectives Prime Minister’s visit to Japan
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Partnerships India’s development initiatives in Sri Lanka
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Independence Day Journey of Tiranga
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History Hampi
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Travel Gwalior
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Tradition Theyyam
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Photo Feature Himachal Pradesh
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Exhibition Akshara
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Review Photo exhibition of Indian Railways
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Verbatim Anurag Kashyap
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Website: http://www.indiandiplomacy.in Text may be reproduced with an acknowledgement to India Perspectives For a copy of India Perspectives contact the nearest Indian diplomatic mission.
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COVER PHOTO: A THEYYAM PERFORMER / INDIAPICTURE; COVER DESIGN: BIPIN KUMAR
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INDIA IS/S KUMAR S
MONSOON
A slice of rainbow The favourite season of India, monsoon has impressions on everything the country has. Literature, art, music and dance, films, cuisine and travel, all have drawn inspiration from the rain. India Perspectives captures India’s encounter with the season, picking up clues from texts to kitchens
In Meghduta, Sanskrit poet Kalidas describes the woes of a lover and his request to the ‘cloud messenger’ to carry his love message
dances and finally left this earth on a rainy night. No wonder, Krishna is called Ghanshyam or Meghashyam – meaning the dark cloud of rain. Thus, all literature about Krishna celebrates rains with great abandon. Even the Bhagavad Gita venerates monsoon saying: “The whole world finds its source in food, which is created by Parjanya (rain) which gives blessings and abundance.” The Rigveda too devotes hymns to the monsoon as the ‘Prana’ or the life force of India: “Sing these songs as your welcome to the mighty Monsoon, in adoration and praise of Parjanya, which lays the seed for germination,” it says. The Parjanya Sukta says: “Then the winds blow. Then the lightning falls. Then the flora sprouts and grows. Then the space overflows. The land prepares for the welfare of all. When Parjanya the rain god protects the earth by waters! Food springs abundant for all living creatures when Parjanya quickens the earth with moisture!” The omnipresence of rain continued in Indian literature through the centuries. Great Sanskrit poet Kalidas (6th century CE) wrote Meghduta, describing the woes of a lover separated from his beloved and his request to the ‘cloud messenger’ to carry his love message. Jayadeva’s (12th century)
INDIA PICTURE INDIA IS/SURESH KUMAR C
LITERATURE
Monsoon rhymes From the Vedic Age to modern era, Indian writers have been under rain’s magical spell TEXT: VIMLA PATIL
t is rare in human history that a whole civilisation adores one single child! But this miracle has happened in India – this nation has been in love with the divine Krishna for thousands of years. Perhaps it is because Krishna can be loved as a child, as a romantic lover, as a statesman of great wisdom and finally as the ‘guru’ of the world because of the immortal Bhagavad Gita. Yet another vignette of Krishna endears him to the nation – his constant association with rain as love, beauty, magic and blessing. The Bhagavata Purana, which narrates the wondrous story of Krishna, tells how this divine child was born in a prison cell on a rain-and-lightning-streaked night and was carried across the raging river Yamuna. It tells how he rejoiced the rain
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(Previous page) A game at Thousand Lights West and (above) Marina Beach in Chennai, Tamil Nadu, and (right) a painting depicting Krishna holding Govardhan amidst heavy rains
Geet Govind took the poetic presence of rain in literature to magical heights when he described the rendezvous of Radha and Krishna on rainy nights under a cover. Later, when the huge mingling of Sufism and the Bhakti Movement covered India, Akbar’s court spawned the poetry of Swami Haridas, Surdas, Ramdas and Tansen, again writing songs of Krishna and rain. Surdas’s famous song Nisdin barasata nain hamare, sada rahat pavas ritu hampar, jab se shyam sidhare (my eyes have not stopped raining. For me, it is monsoon forever since Krishna left me) is the cry of this blind poet. Tansen too, it is said, brought rain by singing barso re kale badarava. Later, Muhammad Shah Rangeela (1719-1748) patronised two poet-musicians – Sadarang and Adrang – who composed thousands of songs in praise of Krishna and rain in ragas like Megh, Malhar, Mian Ki Malhar and Sur Malhar. The literary movement spread to peninsular India with Dnyaneshwar and other poets of the Varkari Panth writing beautiful songs on Krishna and rain. The Guru Granth Sahib also praised Krishna as the absolute truth from whom all elements come. It contains a beautiful painting of Krishna blowing the conch to invite the monsoon. Tulsidas wrote in his famous Ram Charit
Throughout history, every community in India created its own cache of literature in the local language, and this too was full of rain songs
INDIA IS/SAMMYA BRATA MULLICK
INDIA PICTURE
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(From left) Paintings of Krishna dancing in rain and beneath dark clouds, and Gangtok, Sikkim
Manas, Ghana ghamand nabha barsat ghora, piyabin tarsat man mora, to allude to the allegory that just as all rain water falling from the skies flows to merge with the ocean, all living beings flow finally into the shining pool of divinity. Meerabai, Kabir, Surdas, his father Ramdas, Tulsidas and other poets and saints of the Middle Ages wrote songs about the monsoon and its magical rhapsody whenever they wanted to express their longing for the divine soul. Modern Hindi poet Rajiv Krishna Saxena’s Rim jhim baras raha hai paani heartily welcomes rain. Sarveshwer Dayal in Megh aaye bade ban than ke sanwar ke compares the approaching clouds to a fancy visitor returning from city to village after a year. Rabindranath Tagore writes, “Clouds come floating into my life, no longer to carry rain or usher storm, but to add colour to my sunset sky.” Folk literature was not far behind. Throughout history, every community, every village in India created its own cache of literature and poetry in the local language, and this too was full of rain songs. Today, there are special prayers to the rain god in every language in India. Children’s text books too feature songs like ye re ye re pavsa, tula deto paisa (Come down rain, I will give you money)!
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ART
The elixir of life There are incidences of artists falling in love with life every time they think of rain TEXT: DEEPIKA KHURANA
or years, nature, and rain in particular, has inspired the work of generations of artists. One such glaring example of this is at the Ajanta caves, in Maharashtra. The caves have frescos of animals and birds such as peacocks, tortoises, crocodiles and elephants – most of which are associated with rain or water. Similarly the monuments at Bharhut, Amaravati and Sanchi display stylised figures of frogs, Makara (the mythical crocodile), peacocks, swans and cattle, besides people who appear prosperous. Another prominent motif visible is the Peepal tree, which in ancient literature is symbolic of rain. Artistically, the season provides for great visuals, so much so that for many artists, the year begins with monsoon. The passion artists showed for rain during ancient ages was carried forward during Medieval India as well. The romance of Krishna and Radha was already enveloped in the rain theme. “The most evident ones are the ancient Ragamala paintings, where Krishna is seen with a flute, making tunes in the rain-drenched lawns of Vrindavan, setting aflutter people and peacocks alike. These paintings have inspired renditions in Carnatic and folk music as well,” says veteran artist Naresh Kapuria. Since time immemorial, India has collected a resplendent treasure of art based on the theme of monsoon. With the rise of multimedia, the art has become more creative and interactive. Rain and clouds on canvases, umbrella installations and various emotions during rain have been magical. Papertells Art Gallery in Pune, Maharashtra, recently held a show of works inspired by monsoon, capturing the ephemeral “moods” it brings along. From drenched streets and peacocks in the rain to the torments of monsoon, the artists well executed various moods. Most of them used water colours, as they are naturally transparent and communicate wetness. Inspired by monsoon, Vadodara-based Palak Raval has done a series of paintings and installations. Her installation at the Kala Ghoda festival in Mumbai featured the umbrella as an everyday symbol of freedom by carving multiple windows into it. “It has its boundaries and at the same time it has infinite possibilities,” she says. It’s this power of evoking myriad emotions that makes monsoon inspirational for any artist.
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DEEPIKA KHURANA
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PHOTOS COURTESY: PAPERTELLS
(Clockwise from above) A Ragamala painting, and monsoon art works by Amit (on display at Lalit Hotel, New Delhi) and Sandeep Yadav, Raosaheb Gurav and Zahed Shaikh (during the exhibition at Papertells, Pune)
MUSIC AND DANCE
It’s raining ragas The season offers an artist opportunities and experiences eyond the highly regarded raga Malhar, a lot of traditional music, songs and song-forms relate to the monsoon. One of the most popular forms of this music is kajri, which literally means black rainy clouds, and explains the sorrow of a separated lover during the rainy season and the joy of rains. Sawaan, on the other hand, is a rainy season song that lays emphasis on seasonal beauty of rain and not essentially human sentiments. Jhoola is a song sung by women while playing the swings during monsoon depicting the romantic mood of Lord Krishna and Radha. To Hindustani vocalist Shubha Mudgal, such songs have led to many opportunities and experiences. “The obvious enjoyment that comes from singing and listening to music (like kajri and jhoola) is of course paramount, but the song composition itself holds many little secrets that the seekers can try and unfold. Lyrics and texts of these compositions often contain information about rituals, myths, legends and folklore,” she shares. The information that one could cull from songs of Indian monsoon could vary. “One could be colour and its association with seasons. Dhaani or moss green is one of the colours associated with varsha ritu (monsoon). Dhaani chunar is a recurring motif in songs of the monsoon. Over the years, popular folk forms such as kajri have been adapted for communicating important social and political messages. A kajri I found in a published collection of folk songs talked of the First War of Independence in 1857 and went something like this: gadar sattaavan ke, maheenaa bhaye saawan ke,” says Mudgal. Rain has captivated the imagination of classical dancers as well. Eminent Kuchipudi dancers Raja and Radha Reddy once suggested monsoon to be a dance between the three realms of earth. The artists have drawn inspiration from ragas and texts, and developed performances blending other dance forms. Many such interesting works have been showcased at rain-inspired festivals like Malhaar (Delhi), Megha Utsav (Odisha) and Monsoon Dance Festival (Kerala). An annual festival hosted by Indian Council of Cultural Relations, Malhaar witnesses acclaimed musicians and dancers in action. “Considering there are as many as 12 different kinds of raga Malhar, dealing with various stages of rain and myriad moods, the inspiration has led to many outstanding creations to date,” says Suresh K Goel, former DG, ICCR.
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A painting of Lord Krishna playing instruments to call rain
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FILM
A ‘hit’ formula Indian films turn to rain whatever be the mood
he arrival of monsoon may mean different things to different people. For some, it’s a relief from scorching temperatures of summer and enjoyment, and for others, a reason for trains to run late and roads being jammed. But for Indian films, rain is always a magical backdrop that has the potential to convey any situation and emotion. Drizzles on celluloid are a ‘super hit’ formula, whatever is the context. The emotions rains communicate range from affection, joy, euphoria, hope, celebration and determination to mischief, sorrow and disappointment. The rain-soaked scenes and songs of 1950s’ landmark Shree 420 to 2001’s Lagaan show the admiration Indians have for the season. Rain portrays affection and empowerment, and often gives interesting twists to film scripts, like in Vijay Anand’s Guide and Ashutosh Gowarikar’s Lagaan. Eminent lyricist and director, Gulzar used monsoon extensively in Ijazzat, a film shot at the Khandala station during the season. Its title song, Chotti si kahani se, baarishon ke paani se is equally famous. Not just Gulzar, other eminent film makers such as Rituparno Ghosh (Raincoat), Santosh Sivan (Before the Rains) and Mira Nair (Monsoon Wedding) have worked around the theme. The most photogenic season also gets the best lyrics, enchanting music, and entertaining choreography. The songs of Indian cinema’s golden era, Ek ladki bheegi bhaagi si (Chalti Ka Naam Gaadi), Rimjhim ke ye pyaare (Usne Kaha Tha) and Barkha bahar aayi (Parakh) still evoke nostalgia. In recent years, Chameli’s Bhaage re mann, Guru’s Barso re megha, Satya’s Gila gila paani and 1942 A Love Story’s Rim jhim rim jhim have been popular. Music directors have also used shades of raga Malhar in their style. The raga has been used in songs such as Bole re papihara (Guddi), Badal ghumad (Saaz), Nach Mere Mor (Tere Dwar Khada Bhagwan), Garjat barsat saawan (Barsat ki Raat) and Dar lage garaje badariya (Ram Rajya). Acclaimed singer K L Saighal sang Baagh laga doon sajni (Tansen) in raga Malhar, and Naushad Ali used it in Mother India to announce the arrival of monsoon and bliss with Dukh bhare din beetay re bhaiya, ab sukh aayo re. The raga can also be found in Kahan se aaye badra (Chashme Baddoor, 1981).
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(Clockwise from top left) Shots from Shree 420, Guru, Chalti Ka Naam Gaadi, 1942 A Love Story and Lagaan
CHERRAPUNJI (SOHRA)
All is wet GETTING THERE By air: The nearest airport is at Guwahati, 181 km away. By rail: The nearest railhead is at Guwahati from where buses or taxis ply from the Paltan Bazaar bus stand to Cherrapunji. By road: Cherrapunji is well connected by road. Meghalaya Tourism buses from Shillong (60 km) ply to Cherrapunji.
(Right) Dindigul in Tamil Nadu during monsoon, and (below) Nohkalikai Falls, Sohra
herrapunji is a record holder when it comes to rainfall. Though it is no longer the wettest place on earth, it is still known for having just one season throughout the year, monsoon. Located in the East Khasi Hill district of Meghalaya, the place is now called Sohra and has beautiful waterfalls nearby. About 5 km short of Sohra is the Dain Thlen waterfall. Nohkalikai Falls, believed to be the world’s fourth highest, is the most associated with the place. Other breathtaking spots here are Kyllang rock, made of granite, and over 700 caves, many not yet mapped or explored. The most amazing of these are the Mawsmai caves, about 60 km away from the town. The natural stalactite and stalagmite formations are breathtaking but challenging to navigate. The Mawsmai caves are well lit so you can easily explore them. The heaviest downpours in Sohra last about five months — from May to September. Throughout these months, Cherrapunji is transformed into a sea of tiny, gushing rivulets. Besides the natural beauty of the land, visit the Nongsawlia Presbyterian Church, the oldest church in the north east of India. Built in 1846 with red bricks, the church has a stunning bell tower.
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— Khursheed Dinshaw
INDIA IS/AGATHA FOSTER
TRAVEL
Catch the rain Nothing smells as refreshing and dizzying as the fragrance of wet earth after the first monsoon showers. In case you want to witness how showers turn barren land into prosperous, lush patches, be with us, as we visit India’s most wondrous rain-drenched destinations
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AGRA AND MANDU
Rain-blessed love onsidering rains are associated with affection, what could be better than the Taj Mahal, at Agra in Uttar Pradesh, to witness the bond? The wondrous spectacle increases manifold under a dramatic monsoon sky. Taj’s marble and gardens become fresh and pristine after the rains. The culmination of positive forces – nature, love, purity, grandeur and heritage – makes the experience everlasting. The same goes for the nearby city Fatehpur Sikri, built by Mughal emperor Akbar. Another place that becomes magical during monsoon is Mandu, Madhya Pradesh. Made famous by royal lovers Baz Bahadur and Rani Roopmati, Mandu is a haven for nature lovers for its virgin beauty. Mughal emperor Jehangir once said, “I know of no other place that is so pleasant in climate and with such attractive scenery as Mandu in the rainy season.” The hill-fort in the Vindhyan Range, Mandu has palaces, tombs, mansions, pleasure pavilions and mosques. The marvels include Jami Masjid, tomb of Hoshang Shah, Ashrafi Mahal, and Jahaz Mahal (ship palace). Built by Mandu’s great ruler, Ghiyas-ud-din, the Jahaz Mahal resembles an anchored ship, more evident during the monsoon when the lakes are full.
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— Natasha Adlakha and Anil Mehrotra
GETTING THERE By air: Both Agra and Mandu are well connected by air with prime Indian cities. By rail: Trains ply from all major cities to Agra. Indore and Ratlam are the nearest railheads for Mandu. By road: Agra is less than four hours away from capital Delhi. Mandu is connected by good motorable roads with different places in India.
(Clockwise from right) Fatehpur Sikri, Jahaz Mahal at Mandu, and children enjoying a game at Agra
KERALA
Raincoats and paper boats GETTING THERE By air: The nearest airport to Athirapally is at Kochi (55 km) By rail: The nearest rail head is Chalakudi (30 km) By road: Bus services are available from Chalakudy on the Cochin−Trichur highway.
(Clockwise from left) Ruins of Fort Chapora near Vagator in Goa, and a fishing village in Varkala, Kerala
GOA
Mist-shrouded horizon rom June to September, Goa takes a breather to rest, rejuvenate and recharge before the onslaught of the next season. What it also gets is a lush and refreshing green countryside. The heavy rains sometimes go on for days together and the mist-shrouded horizon lends an enchanting air of mystery to the scene. An attraction of the season is the joyous rain festival of Sao Joao festival in Siolim in North Goa. Celebrated on June 24 every year during the Feast of San Joao, it is when people of all ages jump into wells, streams and ponds and enjoy Goa’s famous liquor, Feni. Though celebrated all over the state, the village of Siolim is where the celebrations are particularly grand. Join a merry group of men wearing coronets of fresh flowers and leaves as they go in procession around the village singing traditional songs. Other monsoon events in Goa are the Bonderam Festival − celebrated on the Island of Divar on the fourth Saturday of August every year − and the Feast of St. Lawrence held on August 10, to celebrate the reopening of sandbars in the Mandovi river to traffic and the end of monsoon.
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— Valerie Rodrigues
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GETTING THERE By air: Goa International airport, Dabolim, is 55 km away from Siolim. By rail: The nearest railhead is Thivim Railway Station, 15 km away By road: There are regular bus services from Panaji to Siolim. The Kadamba Bus Terminal in Mapusa is 7 km from Siolim.
t is often said that the best time to enjoy the beauty of Kerala is during rains, when its backwaters are outlined by lush greenery and waterfalls are boisterous. It is the season to lay back in the comfort of your house-boat, sipping hot coffee as raindrops fall in the river. The beautiful destinations to explore here are Palakkad, Munnar, Kumarakom, Fort Cochin, Wayanad and Varkala, all of which exude their unique charm during monsoon. Venture out on walks to take in the natural beauty, and go for a rejuvenating Ayurvedic massage such as Panchkarma (a personalised treatment) or Sukha Chikitsa (to detoxify and reactivate tired cells). During monsoon, an interesting place to visit is the milky Athirapally falls, also known as Indian Niagra. Athirapally is a hamlet in the Sholiyar forest range. Five kilometres away from here is Vazhachal, a large slope dotted with rocks. Water leaps and rushes over these rocks, creating a cascading effect. During rains and from the precipitous height, the tapestry of the water looks like God’s mane. It fumes and foams, but calms down after hitting the plains.
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— V Guhan
LONAVALA
For panoramic views estled snugly in the Western Ghats, the hill stations of Lonavala and Khandala beckon holiday revellers to a rain-soaked rendezvous during monsoon. Contrary to popular belief that one should avoid the Ghats during monsoon, the rains signal the arrival of tourists by hordes in Lonavala. The hill resort is green and picturesque with breathtaking views. Coined as ‘lake district’ of Western India, the region boasts of many artificial lakes. The Tungarli lake, Monsoon lake and Valvan lake, are all created by the monsoon. Tourists, however, love to throng at Bhushi dam, where water runs over the steps of the dam, creating a beautiful waterfall. Discovered in 1871 by Sir Elphinstone, the Governor of the Bombay Presidency, Lonavala lives up to its name, which means ‘city surrounded by caves’. When in Lonavala, visit ancient Karla and Bhaja caves that showcase ancient Buddhist rock-cut architecture. The stupa at Karla caves is believed to be 2,200 years old. The Lohagad, Visapur, Tikona, Tung and Koregad forts are some classic structures waiting to be explored.
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— Lalitha Balasubramanian
GETTING THERE By air: The Pune airport is 64 km away, while the Mumbai airport is at 102 km. By rail: Lonavala has a railway station. By road: Buses ply every 15 minutes from Mumbai. It takes over two hours to reach Lonavala via the Mumbai−Pune Expressway.
(Clockwise from right) City Palace, Pichola Lake, Udaipur and the Karla Caves near Lonavala
INDIA PICTURE
MIHIRGARH AND UDAIPUR
Palaces and lakes GETTING THERE By air/rail: For Mihirgarh, the nearest airport and railhead are at Jodhpur. For Udaipur, Dabok Airport is nearest at 24 km. Trains to Udaipur run from Chittaurgarh, Ajmer, Jaipur and Delhi. By road: Near to Mihirgarh, start from Rohetgarh (16 km) on the Jodhpur−Pali highway. A network of bus services link Udaipur with big cities of India.
hoever has the idea of Rajasthan not getting enough rains, must visit Mihirgarh and Udaipur once. Mihirgarh, meaning citadel of the sun, and located at the edge of the desert, is merely an hour and a half from Jodhpur. A pleasant retreat during rains, the fort here is enclosed within tall mud walls that have slightly rounded corners, numerous alcoves and plenty of courtyards that convey spaciousness. The mud fort aesthetically blends in with the shifting sands of Thar. When in Mihirgarh, opt for a grand royal picnic in the vast golden desert, go on a jeep safari or visit the villages around to get a feel of rural lifestyle. Another palace worth visiting is the City of Lakes, Udaipur. The city is equally popular for its palaces. The Lake Palace (Jag Niwas) located in the middle of Pichola Lake, City Palace on the banks of the lake, and Monsoon Palace (Sajjan Garh) on the hill above, are architectural and cultural marvels. The palaces look their best after the lakes are blessed by rains. Udaipur is also a centre for performing arts, crafts and famous for miniature paintings.
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— Sanjay Singh Badnor
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CUISINE
Food of the season When rains knock, it’s time to be at the window with a warm cup of tea and piping hot snacks
INDIA IS/AGATHA FOSTER
TEXT: SANJEEV KAPOOR
he moment rains spread bliss in the environment, heat-affected Indian cities and people gear up to live the moment. Most people come out to their balconies with a cup of tea, with the sound of raindrops blending well with the sweet melodies of Kishore Kumar playing in the background. Like any other cheerful moment, this too is not complete without food. Crisp, piping-hot savoury snacks — pakoras, vadas, tikkis — straight from the kitchen become a ritual across homes. Also called bhajiyas in some parts of the country, pakora is a deep-fried corn flour and vegetable snack. Hot onion and potato pakoras are a classic, but something like chawal ke pakore (rice pakora) or a paneer (cottage cheese) sandwich pakora or even a pasta pakora are innovative choices. Among the regional delicacies celebrated during monsoon are dhoklas, made with fermented batter, and dosas, uttappams and appams. A south Indian dish, appam, served with stew, helps one get over hunger pangs without compromising on nutrition. Hot sambhar and coconut chutney pep them up further. Corn on the cob is another favourite monsoon snack. Have them roasted over coal fire or gas flame and sprinkle with spices, or just boil the kernels, mix them with chopped onions and tomatoes, sprinkle spices and lemon juice and they are good to go. Another wholesome snack could be ragda pattice or chole tikki. Top them with chutneys and chopped onions — they are absolute tongue ticklers. For those who worry about falling sick in the tricky weather, a healthy option is an Indian shorba (a thick soup or gravy), which is nutritious, easy to make and gives you ample freedom to tweak the recipe. A bowl of hot shorba on a rainy day is what bliss really is about. Besides, you can add a number of side dishes such as vegetable sticks, croutons, bread sticks and salads, to make a complete meal out of it. These are minimum effort–maximum satisfaction dishes, which is all you need for monsoon.
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(Clockwise from top) Monsoon clouds at Dindigul, Tamil Nadu, and pakora, ragda pattice, corn, vadas, appam and dhokla are famous monsoon snacks
The writer is a celebrated chef, author and television host
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FESTIVAL
SWINGS AND
The annual Teej procession in Jaipur
BLISS A JOYFUL OCCASION, TEEJ IN JAIPUR IS AN EXPERIENCE WORTH REPEATING
TEXT: RASHMI SABLANIA
he onset of monsoon is a festival itself in India, especially in its warmer pockets such as Rajasthan, which also gears up for its annual festival, Teej, during the season. Two years ago, we eventually got a chance to be in Jaipur, the capital of the royal state, during monsoon and witness the celebrations of which we had heard a lot. The visit began on a good note with a downpour, leaving behind a pleasing scent of wet soil. The neighbourhood parks were more lush and busier with flower-adorned swings hung on trees and well-dressed girls swinging and playing games, dancing and singing traditional songs. The markets were also busy selling traditional dresses and jewellery, and savories such as ghevar and malpua, made especially for the occasion. Teej gets its name from the word ‘three’ in the local language, as it is observed on the third day of the bright moon fortnight of Sharaavan (monsoon month) of Hindu calendar. The festival commemorates the union of Lord Shiva with his consort Parvati, and so celebrates marital bliss, well-being of spouse and children, and purification of body and soul. The festivities, generally spread over three days,
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INDIA PICTURE
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TEEJ
IS A FESTIVAL OF MARITAL BLISS, WELL-BEING OF SPOUSE AND CHILDREN, AND PURIFICATION OF BODY AND SOUL
TEEJ FACTS l Teej is celebrated with
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RASHMI SABLANIA
INDIA PICTURE
(Clockwise from top) Rajasthani sweet ghevar, traditional dance Kalbelia, swings, henna and decorated elephants are part of Teej celebrations
INDIA PICTURE
zeal throughout India, from Delhi, Haryana, Punjab, Madhya Pradesh, Uttar Pradesh and Bihar, to Nepal, with a few variations. l A distinct difference between Teej and Gangaur (another festival to worship goddess Parvati observed during March–April) is that the idol has a canopy during Teej and not during Gangaur. l An important ritual of Teej is to worship the Nyagrodha tree or Vat Vriksha, which is considered auspicious, as its branches symbolise knowledge. l In Jaipur, Teej celebrations begin much ahead. Rajasthan Tourism Development Corporation makes special arrangements for tourists’ lodging, boarding and entertainment.
combine both sumptuous feasts with rigid fasting by women. Young girls and married women wear colourful traditional outfits and bangles, apply henna on their palms and sing traditional songs. With so much to see and enjoy, we were ready with our camera to capture Teej in its entirety. The destination was City Palace from where a procession had to start soon. The place was already bustling when we reached. Soon, colourful teams of folk performers, accompanied with bedecked camels, elephants, horses and bullock carts, captivated almost everyone gathered. The main protagonist of the procession was a palanquin carrying the idol of Parvati, also known as goddess Teej. We had to move fast as the procession moved towards Chaugan Stadium, where it was to end. We could see residents and tourists gathered on both sides of the streets, perched on top of shops, hotels and other buildings on the way, just to catch a glimpse of the parade. The procession and celebrations, loaded with Rajasthani heritage, continued as women gathered in houses and temples to worship goddess Parvati. Our visit to Jaipur came to an end just after Teej. It was not raining, but was pleasant on the day we left for Delhi, making the whole experience a sheer pleasure. n
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GLOBAL PERSPECTIVES
Prime Minister Dr Manmohan Singh with his Japanese counterpart, Shinzo Abe during the joint statement annoucement in Tokyo
SCULPTORS OF A RISING ASIA India and Japan are cohering in a confluence of shared strategic and economic interests TEXT: MANISH CHAND
I
n the Land of the Rising Sun, a new script of Asian renaissance quietly unfolded this May when India and Japan, Asia’s leading democracies, decided to hitch their destinies and recast their relations to shape a rapidly evolving world order. The May 27-29 visit of Prime Minister Manmohan Singh to Japan marked the defining moment when the two maritime Asian democracies shed their ambivalence and declared their joint resolve to transform their relations and sculpt the contours of a rising Asia. The bonhomie and warm feelings flowed spontaneously at a reception in Tokyo where Manmohan Singh recalled his enduring love affair with a country he visited first in 1971 as a young bureaucrat and unfurled his dream to “see this relationship grow and prosper.” In Japan’s new prime minister Shinzo Abe, Manmohan Singh found a perfect interlocutor, who has an oceanic feeling for the India–Japan relationship, what he has famously called “a confluence of the two seas.” In an impassioned address to Indian and Japanese parliamentarians and businessmen in Tokyo on May 28, Dr. Singh enunciated a robust vision of an Asian century that puts closer security and economic ties with Japan at the heart of the unfolding Asian resurgence. He underlined that India and Japan have “a shared vision of a rising Asia” and pitched for injecting more strategic content into the blossoming India–Japan relations. “Asia’s resurgence began over a century ago on this island of the Rising Sun. Ever since, Japan has shown us the way forward. India and Japan have a shared vision of a rising Asia,” he said eloquently. “We also have the greatest opportunity to chart a new course for Asia in this century,” he said. Echoing Abe’s Two Oceans formulation, Dr. Singh signalled that the much-awaited transformative moment in India–Japan relations was close at hand. “We see Japan as a natural and indispensable partner in our quest for stability and peace in the vast region in Asia that is washed by the Pacific and Indian Oceans,” he underlined. During his first outing as Japan’s leader, Shinzo Abe spoke of “the confluence of the two seas” — the Pacific and the Indian Oceans — when he addressed the Indian Parliament in August 2007. Recalling that important speech, Dr. Singh said this congruence of strategic and economic interests in the region has “defined the new framework for our bilateral relationship.” “Prime Minister Abe and I will work together to strengthen our strategic
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Dr. Singh with Hiromasa Yonekura, chairman of Sumitomo Chemical Co. and of business lobby Keidanren; the exchange of MoUs; and Dr Singh with Japanese Minister of Economy, Trade and Industry, Toshimitsu Motegi in Tokyo
THE TOKYO SUMMIT WILL BE REMEMBERED FOR THE SALIENCE IT PLACED ON INCREASING SECURITY AND MARITIME COOPERATION BETWEEN THE ASIAN DEMOCRACIES
partnership, impart new momentum to our economic cooperation and deepen our dialogue on shared regional and global interests.” Cynics are prone to dismiss such inspired vision as a lot of grandiloquence, but the fact that the two countries and their leaders meant business was clear from the outcomes of the wide-ranging summit discussions between Dr. Singh and Abe on May 29. In an important move, Japan, a non-proliferation hawk and the only nation in the world to have been attacked by atomic weapons, signalled its strategic intent to transform ties with India by agreeing to speed up the conclusion of a bilateral civil nuclear deal that will enable the export of Japanese nuclear technologies to Asia’s third largest economy. Armed with a vision of an economically resurgent and assertive Japan, Abe has made upgrading ties with India a key foreign policy priority. The attempt at nuclear rapprochement, therefore, acquires greater traction as Tokyo was among the more vocal critics of India’s 1998 nuclear tests, but the bilateral relations have since then been upgraded systematically and incrementally. A joint statement at the end of the talks said the two prime ministers reaffirmed the importance of civil nuclear cooperation, while recognising that nuclear safety is a priority for both governments. “In this context, they directed their officials to accelerate the negotiations of an Agreement for Cooperation in the Peaceful Uses of Nuclear Energy towards an early conclusion,” said the May 29 statement. The road ahead is not going to be easy, given a powerful lobby of nuclear hawks in Japan. It looks like the business impulse will eventually triumph over the non-proliferation theology as top Japanese nuclear companies like Hitachi and Toshiba don’t want to lose out on a share of the lucrative civil nuclear market, with India nurturing ambitious plans to scale up the share of atomic electricity in the country’s overall energy mix. In another diplomatic booster for India, Japan has agreed to jointly work with India to make it a full member of international export control regimes like the Nuclear Suppliers Group, the Missile Technology Control Regime, the Australia Group and the Wassenaar Arrangement. The Tokyo summit will, however, be remembered for the salience it placed on increasing security and maritime cooperation between India and Japan. The democracies have agreed to strengthen their security and maritime cooperation and described themselves as “natural and indispensable partners.” Abe has exuded sincere
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INDIA’S INFRASTRUCTURE SECTOR, WHICH NEEDS AT LEAST A TRILLION DOLLARS OVER THE NEXT FEW YEARS, IS POISED TO PROVIDE JAPANESE COMPANIES UNMATCHED OPPORTUNITIES
Dr. Singh and wife Gursharan Kaur with Japan's Empress Michiko at Imperial Palace; and Prime Minister Singh with Prime Minister Abe at the delegation-level talks in Tokyo
optimism on this front. “In the political and security area, maritime security cooperation will further be strengthened … On civil nuclear cooperation, negotiation will be accelerated toward the early conclusion of the agreement,” Abe said in Tokyo, after the talks. Looking ahead, Dr. Singh underlined that the focus will be on deepening strategic dimension of the India–Japan relationship. “Going forward, therefore, we should intensify our political dialogue and expand our strategic consultations on regions and issues of mutual interest. Our defence and security dialogue, military exercises and defence technology collaboration should grow. We should consult and coordinate more closely in global and regional forums.” The security cooperation between the two Asian democracies is set for an upsurge, but the economic imperative will play an equally critical role in sustaining the momentum in bilateral ties. Japan, a key player in signature infrastructure projects in India like the Delhi–Mumbai Industrial Corridor (DMIC) and Dedicated Freight Corridor Projects on the Mumbai–Delhi and the Delhi– Howrah routes, has emerged as an important foreign investor in Asia’s third largest economy. Japanese companies are now seeing India as a new land of opportunity. Sony, Suzuki, Toshiba and Honda have become almost Indian brands. India has been the largest recipient of Japan’s Official Development Assistance, with Tokyo pledging over $35 billion in the last decade. With Japan’s economy on an upswing after the lost decades and the Indian economy faring relatively well amid the corrosive global downturn, the economic potential of the India–Japan relations looks set to fructify in the near future. India’s infrastructure sector, which needs at least a trillion dollars over the next few years, is poised to provide Japanese companies unmatched opportunities for win-win business partnerships. In this context, the $75 billion DMIC is poised to be a game-changer. In a seminal sense, it is the “Japan moment” in India’s international relations (as described by veteran diplomat Shyam Saran), and it is also the India moment in Japan. Going by the Tokyo summit, it’s good to see the two countries shedding ambivalence and cohering in a confluence of shared strategic and economic interests. (The writer is editor-in-chief of www.indiawrites.org, an e-zine-journal focused on international affairs and the India Story)
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(Clockwise from top) An Emergency Medical Unit at Pulmoddai, a training session of the solar lantern project, and vocational training centre in Sri Lanka
t’s an act of faith and a spirited exercise in units in Northern and Eastern Provinces was launched transformational diplomacy, driven by enduring bonds on October 2, 2012. More than 11,500 houses are of friendship and fraternal empathy between the currently under construction. The entire project of people of India and Sri Lanka. Away from the glare of building 50,000 houses in Northern, Eastern and Central spotlight, India’s humanitarian initiatives in Sri Lanka are Provinces, costing approximately $270 million, is quietly and incrementally transforming the lives of expected to be completed by October 2015. This is thousands of Sri Lankan Tamils displaced by the end of India’s single largest development assistance project the armed conflict four years ago. anywhere in the world on a grant basis. Since the end of conflict in Sri Lanka in May 2009, the India was quick to anticipate shelter needs of the Government of India has attached the highest priority to displaced and pitched in with massive assistance – the welfare and well-being of the Tamils in Sri Lanka. The 2,60,000 family packs, including clothing, food and despair, dislocation and dead-end personal hygiene items, were feeling of going nowhere that distributed to IDPs during the conflict and post-conflict period. enveloped nearly 300,000 internally SINCE 2009, India’s external affairs ministry, in displaced Tamils (IDPs) have now INDIA HAS coordination with other ministries been replaced by a new narrative of IMPLEMENTED and institutions, firmed up a multihope, opportunity and a sense of PROJECTS WORTH starting anew. In the summer of pronged strategy to revive AROUND $100 2010, when Indian Prime Minister agriculture, fishing and small and MILLION UNDER Manmohan Singh announced a medium enterprises to provide ITS GRANTS redemptive programme of livelihood and employment to the ASSISTANCE reconstructing 50,000 houses for IDPs. The initiatives included PROGRAMME IN Sri Lankan IDPs, it looked like a gifting 95,000 starter packs of SRI LANKA dream to many of the war-displaced agriculture tools; 500 tractors to who despaired of having anything agrocentres of Northern Province like home, at least in the for reviving farming; 200 boats, foreseeable future. But the dream is now a reality, thanks fishing nets and storage units supplied to IDP fishermen to multi-pronged efforts by a host of Indian institutions. in Vaharai and Mannar; and 10,000 bicycles given to IDP A pilot project of building 1,000 houses was launched, families of Northern Province to support their livelihood. covering all the five districts of Northern Province, during The focus has shifted to building more enduring and the visit of then External Affairs Minister S.M. Krishna to sustainable job-creating avenues, which has been Sri Lanka in November 2010 at Ariyalai, near Jaffna. The reflected in the setting up of an India-aided modern project was completed in July 2012 and houses were fishnet factory in Jaffna and an industrial estate being handed over to Lankan Tamils. Subsequently, on set up at Atchchuvely in Jaffna. The Indian government Mahatma Gandhi’s birthday, the second phase of the also provided financial assistance to 1,230 small project for the construction and repair of 43,000 housing business enterprises and helped set up a handicrafts
I PARTNERSHIPS
A NEW NARRATIVE OF
HOPE
India’s humanitarian initiatives in Sri Lanka are transforming lives of thousands displaced by the armed conflict, says Manish Chand
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(Clockwise from top) The modernised Galle—Matara railway line, a vocational training centre, former External Affairs Minister S.M. Krishna in Jaffna, tractors gifted to revive farming and an India-built house
village in Jaffna. Five vocational training centres in bank has also been associated with the $78 million Puttalam, Nuwara Eliya and Batticaloa districts were also project to upgrade the coastal railway line from Matara to opened to provide skills to Tamil students. Kalutara South. India has also set up 20 e-learning centres and gifted The $18 million renovation of Kankesanthurai Harbour more than 1,000 computers to rural schools in Eastern has been completed through India’s assistance in Province to promote IT education. A modern vocational removing wrecks at the facility. The air connectivity training centre at Jaffna is in the process of being set up. between India and Sri Lanka has steadily gone up and The war-affected women in the Eastern Province are there are over 100 flights on average per week between being helped through a training and employment Colombo and prime Indian cities. India has assisted in the generation project being implemented by SEWA. rehabilitation of the runway at Palaly Airport in Jaffna at a India’s all-encompassing reconstruction assistance cost of over $3 million. Indian tourists going to Sri Lanka have risen dramatically, with their does not only benefit Indian Origin Tamils, but also has a pannumber going up to 1,76,340 in Island footprint. Capacity building, 2012. Sri Lankan tourists, too, are INDIA IS AMONG human resource development among the top ten sources for the THE FOUR LARGEST and enhanced connectivity form Indian tourism market. The Free INVESTORS IN SRI the triumvirate of India’s long-term Trade Agreement, which came into LANKA WITH reconstruction strategy in force in March 2000, has already INVESTMENTS OVER Sri Lanka. multiplied bilateral trade manifold $800 MILLION. THE Since 2009, the Indian to over $4.6 billion. India is among FTA BETWEEN government has implemented the four largest investors in Sri THEM HAS LED projects worth around $100 million Lanka with cumulative investments BILATERAL TRADE under its grants assistance over $800 million. India sees this CROSS $4 BILLION programme in Sri Lanka and is reconstruction as an investment in committed to spending an additional the resurgence and stability of a amount of $350 million over the next friendly nation, entwined by ties of three years. Under a line of credit (LOC) of $167.4 million, geography, history and mutual goodwill. the tsunami-damaged Colombo−Matara rail link has been India’s engagement in Sri Lanka in areas of housing, repaired and upgraded. Another LOC of $800 million for de-mining, education, public health and connectivity has track laying and supply of rolling stock to support helped restore a degree of normalcy in the area and has construction of Medawachchiya to Madhu, Madhu to contributed to the resettlement and rehabilitation efforts Talaimannar, Omanthai to Pallai, Pallai to Kankesanthurai of IDPs in Sri Lanka. India continues to offer all possible railway lines and setting up of signaling and assistance to help achieve the goals of relief, telecommunications systems in Northern Sri Lanka is rehabilitation and long-term reconstruction of the already operational. The project is expected to be affected IDPs and areas. completed by December 2013. The reconstruction of the (The writer is editor-in-chief of www.indiawrites.org, an e-zine-journal focused on international affairs and the India Story) Northern railway is financed by India’s EXIM Bank. The
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The flag of Sister Nivedita (1905)
LEGACY
Journey of
The Calcutta Flag (August 6, 1906)
The Flag of Home Rule League (1916)
The flag of Madame Bhikaiji Cama (August 22, 1907)
The First flag of Indian freedom movement as designed by Pingali Venkayya (1921), commonly known as Swaraj flag
TIRANGA A national flag is not only a country’s identity, but also a symbol of its faith and ideals. The Indian National Flag too bears testimony to the fact
The India Tricolour (July 22, 1947)
TEXT & PHOTOGRAPHS : LT. CDR. K.V. SINGH (RETD)
L
ong time ago when land was not divided by national boundaries, people and clans used flags to identify themselves as a unit or a cult they belonged to. That piece of cloth hung on a structure or carried by leaders represented the ideals of the land and its people. As nations developed, the flag became more than a mere identification; it symbolised all that people valued and fought for. The ideals, goals, philosophy, hopes,
achievements, aspiration and pride of the people gave the flag colours, symbols and design that encapsulated all the patriotic emotions. The story of Indian national flag is no different. Post 1857, the Indian independence movement gained momentum nationally and freedom fighters preferred to form organisations and come under a common flag, and so emerged the ideas that represented India. The elements used on previous
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HIGHLIGHTS
(From left) Pingali Venkayya with the flag; Pandit Nehru while presenting Tiranga to the Constituent Assembly on July 22, 1947; Col. J.K. Bajaj with the tricolour at South Pole; Squadron Leader Sanjay Thapar planting the Tiranga at the North Pole; and Tiranga at Kargil War Memorial in Drass, J&K
Indian flags included lotus, charkha (spinning wheel), stars and crescent. Eminent freedom fighters such as Sister Nivedita (a disciple of Swami Vivekanada), Madame Bhikaiji Cama, Annie Besant and Pingali Venkayya contributed to these flags to proclaim freedom. The Indian tricolour or Tiranga was eventually came into being on July 22, 1947, when an ad hoc committee of the Constituent Assembly adopted it as the national flag of independent India. Tiranga was subsequently retained as the national flag on India’s first Republic Day in 1950. The then Indian Prime Minister, Pandit Jawaharlal Nehru, introduced the flag with a memorable speech, Tryst with Destiny, in the
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Constituent Assembly and moved the resolution to adopt the new flag for Free India. Describing the design and dimension of the flag, Nehru said, “The national flag of India shall be the horizontal tricolour of deep saffron (kesari), white and dark green in equal proportions. In the centre of the white band, there shall be a wheel, the Ashoka Chakra in navy blue to represent the charkha. There are four colours: saffron, white and green as principal colours, and navy blue of the Ashok Chakra as the secondary colour.” In terms of values, saffron stands for courage, sacrifice, valour and the spirit of renunciation. The white in Tiranga stands for purity and sun’s rays, and
so denotes the path of light. The green is for growth and of our relation with earth. The blue signifies the boundless sky above us and the fathomless sea below. The blue also implies inner energy. After the official declaration of independence by the Constituent Assembly on the eve of August 1415, 1947, a group of 72 women led by Hansa Mehta presented the Tiranga to Dr. Rajendra Prasad on behalf of the women of India, symbolising the birth of the Indian National Flag. It was this flag that was hoisted on the Council House on August 15, 1947 at 8.30 am. Now in its 66th year, Tiranga is still going strong, not just at home, but globally. —The writer is author of The Indian Tricolor
• The national flag was hoisted for the first time on ramparts of the Red Fort on August 16, 1947 at 8.30 am, and not on August 15, 1947. It was from 1948 onwards that the flaghoisting ceremony took place at the Red Fort. • The Parliament House, in New Delhi, is the only building in India where three flags are flown at a time, representing the three distinguished office bearers: Speaker of Lok Sabha, Deputy Speaker of Lok Sabha and the Chairman of Rajya Sabha. Before 1958, when the Supreme Court was housed in the Parliament House, four flags used to fly over the circular building. • On May 29, 1953, the Indian tricolour had the rare honour of being first hoisted on Mt. Everest along with the Union Jack and the Nepalese national flag by Sherpa Tenzing and Edmund Hillary, when they became the first men to climb the peak. So far, the Tiranga has gone up to Mt. Everest 38 times. • In 1971, the Indian tricolour, for the first time, travelled in space on board Apollo-15. Cosmonaut Wing Commander Rakesh Sharma later wore it as a medallion on his space suit during the Indo¬Soviet joint space flight in April 1984. • The flag was hoisted on the South Pole on January 17, 1989 by Colonel J.K. Bajaj, and on the North Pole on April 21, 1996 by Squadron Leader Sanjay Thapar.
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UTTAR PRADESH, INDIA.
HISTORY
The lost
EMPIRE The ruins of Hampi, a world heritage site in Karnataka, have witnessed the best of Indian history, says Navneet Sandhu
et on the banks of the Tungabhadra river, Hampi, the capital of the Vijayanagar empire (1336-1565 AD) is a canvas set in the bygone era, blending tales of gallantry, glory and greatness of the epics and medieval history. Each boulder at the ruins at Hampi has a tale to tell about the beauty of creation and the destruction at the hands of the Deccan kings. Hampi is also the mythological Kishkinda, the kingdom of monkey king Sugrive and birthplace of Hanuman, from epic Ramayana. Traces of the classic exist everywhere, from the temple built on top of the Anjaneya Hill where Hanuman was born to the cave where Sugrive took shelter and the fortress which his brother, Bali had usurped, and the splendidly carved pattern on the boulder where Lord Rama coronated Vibhishan as the king of Lanka. On a vacation here, I had put up at a hotel just three km away from this UNESCO World Heritage Site. So, just a short drive later, I came across the first astounding structure, a 6.7-metre statue of Ugra Narasimha, carved from a single stone. Its overpowering presence beside the nearly six-feethigh Badavilinga Shiva temple set the pace for sighting
S
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Hampi ruins are signs of temples, palaces and stables the city once had
Hampi, the capital of
Vijayanagar empire, which stretched from the Arabian Sea to the Indian Ocean, was protected by over a million soldiers
(Above) The scenic sunset view and (below) visitors enjoying a coracle ride at Hampi
other monolithic sculptural marvels dotting the whole of Hampi. My next stop was at the Krishna temple, showcasing the classical designs of temples built by the Vijayanagar Rayas. The temples have intricate carvings of celestial figures on stone pillars, while the gopuram (a monumental tower) is made of brick and limestone. A little away from there, I came across the 4.6 metre-high Kadalekalu Ganesha statue. While the huge belly of the beloved deity had been broken, the amazing idol of Sasivekalu Ganesha nearby remained intact. Carved out of brown stone, the omniscient intelligent eyes and the mustard seed shaped belly took my breath away. Behind the compound area were several temples scattered on the Matunga Hill, built from time to time by various nobles. This place also provides a view of the majestic Virupaksha temple built in the seventh century on the banks of Tungabhadra. The temple dedicated to Lord Shiva and his consorts, Goddess Pampa and Bhuvaneshwari, has been in worship through the troubled times. Apart from outstanding architecture, resident elephants keep photographers busy here. Next on my agenda were the Lotus Mahal and elephant stables, both of which are a distinct blend of Islamic and Hindu sensibilities. The double-storeyed ladies pavilion
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Not just
tourists, the splendid Hampi is equally popular among Indian and international film makers as a shooting location
amidst wonderfully-manicured lawns with delicate lattice carvings is outstanding, and the specially-built elephant stables are a reminder about the place of pride elephants occupied during those times. Other amazing spots were the Royal Enclosure, especially the underground royal mint, the bathing well and the Mahanavami Dibba – the platform from where the mighty Krishnadeva Raya, under whom the Vijayanagar empire rose to its peak – watched the sacrifices and procession during the nine-day Navami festivities. My final destination of the day was the Vittala temple with its 56 musical pillars that reverberate when tapped and the magnificent ornate stone chariot in the courtyard, the sheer creativity, ingenuity and originality of which is astounding. I then drove past the longest dam in South India, the Tungabhadra Dam and came back to complete the sights of the colossal sculptures in stone comprising the Hazara Rama, Pattabhirama and Achuta Raya’s temples. In the evening, I dared to take a coracle ride to Anegundi village. Sitting in the small round boat that was spun around by a single oar on the roaring Tungabhadra was both petrifying and exhilarating. As the sun set over the silhouettes of the Hampi ruins, the orange hue cast its shadow on the mute boulders that once witnessed golden eras, I left Hampi with a song in my heart. n
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(Above) A woman meditating at sunset and ruins of ancient bridge in Hampi
TRAVEL
This erstwhile imperial capital offers a rare combination of instruction, recreation and retreat, says Christian Belger
i
f you are in India looking for that occasional tryst with rest and recreation, Gwalior could be your destination. Situated on the northern borders of Madhya Pradesh, the royal city not just presents ancient heritage and architecture to visitors, but many aspects of vivid Indian culture. Gwalior is spread around a hillock of sandstone rock, crowned by an impressive fortress, which the first Mughal emperor, Babur, called “the pearl in the necklace of forts of Hind.” It comprises three main areas: Lashkar, the business part; Morar, the rural marketplace for farmers and villagers from surrounding places; and Old Gwalior, where you find the rich history of this highly interesting city. The first traces of human inhabitation in this area go back to the Middle Stone Age, around 20,000 years ago, and there are cave paintings that stand witness to the dawn of mankind on the Indian subcontinent. In Mahabharata, Gwalior is mentioned as Gopalkaksh, where Bheema gained victory. The recorded history of Gwalior starts around 2,000 years ago, when the Nagvanshi rulers built their dynasty here. The beginning of the legendary fort lies in the 5th century during the rule of a Kachhwaha Rajput, Suraj Sen. For the next thousand years, the fort and the city grew, were conquered, destroyed and rebuilt. The Delhi Sultanate and the Slave Dynasty had also ruled this fort. After the first battle of Panipat, in 1526, the Mughal empire under Babur, took control of the fort. An Italian traveller, Niccolao Manucci, who visited the fort in 1655, wrote in his book A Pepys of Mogul India: “There is only one single road to ascend it, and having many gates to bar the way, each having its guard and sentinels. The rest of the hill is rock, perpendicular as a wall, though made by nature. All around this mountain are to be seen many balconies, lanterns, rooms and verandahs in different styles of architecture, with Hindu sculptures—all of this making the view most agreeable and pleasant to the visitor.”
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The Gwalior Fort overlooks the modern city. Entering the fortress by car after passing the Urvai Gate, one can see impressive statues of Jain Tirthankaras carved in rock
(Clockwise from top) Ancient statues of Jain Tirthankaras in Gopachal Parvat; Teli Ka Mandir and Saas-Bahu temples in Gwalior Fort
NAVIGATOR
INDIA PICTURE
By air: Gwalior is well connected by air to Delhi, Mumbai, Bhopal and Indore, and is serviced by all major airlines. By rail: A number of trains connect Gwalior with major Indian cities. By road: Regular bus services operate between Gwalior and major cities like Delhi, Bhopal and Agra.
(Clockwise from top) The Jai Vilas Palace; the rail track of the silver train set and chandeliers
INDIA PICTURE
The third battle of Panipat (1761) brought another change to Gwalior — a Jat ruler Lokendra took over the area. But four years later, an able Maratha chief, Mahadji Scindia, defeated him. The Scindia descendants still stay at the Jai Vilas Palace, when they are in Gwalior. The palace is a South Asian Versailles that has been partly converted into a museum. The world’s largest single-piece carpet, depicting historical personalities, hangs here. The royal Durbar Hall is a magnificent structure supported only by four columns. From its painted ceiling hangs a most impressive pair of crystal chandeliers that was made in Belgium and bought in Paris. There also is a silver toy train that was once used to serve food around the huge dining table. In spite of the wealth exhibited in the palace, the town’s landmark is unquestionably the Gwalior Fort. Visible from far, it overlooks the modern city. Its area is about 3 km in length and the widest part from east to west is about 1 km. Entering the fortress by car after passing the Urvai Gate, one can see impressive statues of Jain Tirthankaras carved in rock. In the fort, one can marvel at the 9th-century Saas-Bahu temples, dedicated to Lord Vishnu and Lord Shiva, grouped at the southern cliff of the plateau. In Hindi, saas means mother-in-law and bahu means daughter-in-law. But, in fact, Shashtrabaahu is another name for Lord Vishnu, so the origin of the name is found in that direction. Nearby the temple lies the 70-ft-high Teli Ka Mandir. Built in the 11th century, the temple is a mixture of Indo-Aryan and Dravidian styles of architecture. Another fascinating building is the Man Mandir Palace, built between 1486 and 1517 by Raja Man Singh, of the Tomar dynasty. This palace was where Mughal emperor Aurangzeb imprisoned and executed his poet-philosopher brother Dara Shikoh. Indeed, it takes more time than a day to explore Gwalior. But each minute spent here is like taking in history and nobility. july-august 2013 IndIa PersPectIves
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TRADITION
Theyyam, a ritual performance of Kerala, is one of the most well-preserved dances of India, says Urmila Marak
t was October and the first harvest season had come to an end in Kerala. I was in Kannur, one of the three districts known for Theyyam; the other two being Kasargod and Wayanad. A living tradition that has been preserved for centuries, Theyyam is a ritual dance form embodying myth, drama, music and art, unique to the North Malabar region of Kerala. It was the last day of Vishu festivities, the New Year in Kerala, and the blazing sun was overhead. I could hear the drum beats and the chanting from a distance, making me all the more excited. The shrine ground, where Puthiya Bhagavati was to perform, was teeming with people, from toddlers in their mothers’ arms, to men and women of all ages, clad in traditional attires. They were all jostling for space to get the perfect view of the courtyard where they could see the performer transform into their favourite deity. “The same performance takes place in all the shrines every year with equal zest and vigour. But the energy level seems new each year,” said A.V. Ajayakumar, a Fulbright scholar and researcher on Theyyam at the University of Calicut. Theyyam is a combination of the words daivam signifying God, and attam meaning dance. It is believed the performer incarnates the deity, whose manifestation corresponds to an image foreseen centuries ago in a vision. The ritual reveals the influence of the divine presence, which is further demonstrated by the heroic performance. “There are over 400 forms of Theyyam, but the basic forms are only 40. Muthappan is the most popular one and Puthiya Bhagavati is the most worshipped,” said Ajayakumar, adding, “Initially, the gods and goddesses were conventional local deities with impulsive, feral and influential persona. However, the Hindu mythology had a huge effect in determining many gods and goddesses of the Theyyam cult, so much so that Hindu deities govern the cult.” Theyyam, performed solely by the male members of the Vannan, Malayan, Velan, Mavilan, Pulayan and Koppalan communities, takes place in shrines and sacred groves. It is a seasonal occupation for these performers, who are professionals employed in various regular jobs. Their preparations begin 41 days ahead of the performance, amidst a rigid set of rules. They abstain from alcohol and non-vegetarian food and maintain celibacy during the period.
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The large head-gear, ornamental decorations and colourful make-up make the performance spectacular. The ritual in its modern avatar is also a community get-together
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Theyyam is based on the belief that a man, after apt mental, physical and spiritual developments, can assume divine powers As I found my way through the crowd, I could see the artiste getting his final make-up. His costumes and make-up were a mixture of red and orange, except for his kohl-rimmed eyes. I was enamoured with the intricate face painting, which I learned is done in a reverse way, as the performer rests his head on the makeup artist’s lap. The drum beats became louder. As the temple priests lifted the giant headgear, made of tender coconut leaves, to put on the performer, he started stamping his feet to the beats of the music. His eyes got fiery and now he was almost ready to invite the deity into his body. The drummers stepped up their beats and somebody blew the conch, making way for the performer as he entered the courtyard. A silence descended on the crowd. The performer now stood in front of the shrine and was given a lamp. “This is where the first transformation from a low-key identity to the goddess takes place,” said Ajayakumar. The mood was somber, but the drum beats continued. The performer went to each priest and blessed them before circumambulating the shrine with a sword in hand, and the priests, drummers and other musicians in tow, some holding colourful canopies to protect the goddess from the scorching sun. The fireworks went up and the place was charged up, as with each circumambulation the performer increased the pace of his dance. Soon, he was in frenzy and started dancing like a man possessed, talking, chanting and walking up to children and patting them. People reached out and sought the goddess’ blessings. The drum beats and fireworks never ceased. The main essence of Theyyam, explained Ajayakumar, is eternal worship that carries the power of deities. The drum beats faded, and he suddenly took the holy lamp and put it off and kept it back at the shrine. I was nudged back to reality. The performer removed his headgear and placed it before the shrine and at that moment everything was over. He was no more the deity, but an ordinary performer. He began to weep, realising that he is just a mortal and not god. There was a resounding silence. But as I looked around I could see the bonhomie in the crowd. As if reading my thoughts, Ajayakumar said, “Apart from the ritual of worship, Theyyam in its modern avatar is also a community get-together, where people come to share camaraderie.” I left the venue along with the crowd, with images of the vigorous performance – heart-thumping drum beats, flamboyant costumes and giant headgear, intricate face painting, sacred frenzy and chanting – etched in my mind for life. n
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A suspension bridge over river Beas as it flows through the high mountains and valleys of Himachal India
P H O T O F E AT U R E
HIMACHAL PRADESH
A picturesque state, Himachal Pradesh simply has no bad angles. India Perspectives halts at its slopes to capture its perennial beauty and prosperity
(Clockwise from top) A view from Mcleod Ganj; near Manali; and young women in Kinnaur
INDIA PICTURE
Magnetic, electric Being in the lap of majestic Himalayas makes Himachal rich with immense natural wealth. Not just high peaks with persistent snow, rivers and serene lakes, thick forests and acres of verdant alpine meadows, but also diverse flora and fauna and simple lifestyle of people, everything here makes for a picture. Capture your best shots at capital Shimla, Dalhousie, Dharamshala, Kangra, Kasauli, Kullu, Mcleod Ganj, Manali, Mashobra, Palampur and Solan.
(From left) Himachal cap is known for its comfort and style; the Viceregal Lodge in Shimla; and an artist making a wood craft
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Himachal Pradesh has always been a preferred holiday destination for monarchs and viceroys, who have left behind magnificent forts, palaces and lodges. The monuments such as Viceregal Lodge, Kumru Fort, Chail Palace and Kangra Fort have further glorified the opulence of the state. Himachal is also known for its embroidered shawls, caps, paintings and wood crafts globally.
INDIA PICTURE
People power
INDIA PICTURE
(Clockwise from left) Dussehra procession and Manikaran Sahib with its thermal springs in Kullu; and the statue of Padmasambhava at Rawalsar
Land of Gods Himachal Pradesh is known for its churches, temples, Sikh shrines or gurudwara and monasteries. The structures boast of different styles of architecture. Eminent Hindu pilgrimage sites are Bajreshwari, Chamunda Devi, Chintpurni, Rewalsar and Naina Devi. Paonta Sahib and Manikaran Sahib are famous gurudwaras. Visit Dharamsala for monasteries and Shimla, Dalhousie and Kasauli for churches, and Kullu for Dussehra festivities.
(From left) An apple orchard in Kinnaur; a kiwi fruit plantation in Manali; and wild berries growing in upper reaches of the state
Known globally for its apples, Himachal orchards also supply other fruits to India and abroad. Its sub-tropical zone has orchards of mango, litchi, guava, fig and citrus fruits. The mid hills have stone fruits – peaches and plums, apricots and pomegranate, persimmon and pear. Kiwi and olive are steadily making their presence felt. Cherry, walnut and chestnut, raisins, prunes and almonds are also produced here.
INDIA PICTURE
Fruit bowl of India
(Clockwise from top) Tourists enjoying paragliding at Solang Valley, Manali; a hiking woman in Hampta Pass, Kullu; and a white water rafting expedition on river Beas near Manali
Adrenaline rush Thrill gets a new meaning in Himachal. The sheer geographical diversity of the state leads to the possibilities for a wide range of adventure activities. Go for trekking (Dhauladhar and Pir Panjal ranges), rock climbing (Manali), skiing (Kufri, Mahasu ridge and Narkanda), heliskiing, iceskating, paragliding (Billing peak, Bundla Dhar and Intkali), water sports (Kangra, Chamba, Bilaspur and Pandoh lake), mountain-cycling, camping, angling (Rohru, Chirgaon, Baspa river and Uhl river) and vehicle safaris.
PHOTO COURTESY: DASTKARI HAAT SAMITI
EXHIBITION
TEXT: JAYA JAITLY
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t is an interesting phenomenon that as globalisation brought a fair degree of homogeneity across the world in areas of production, services, infrastructure and methodologies of doing business, it has alongside created a healthy craving for expressions of specific cultures and identities. For those cultures and countries that have industrialised more than a century ago and wiped out artisanal practices, there is an indefinable sense of loss. India, on the other hand, remains rich and replete with creative cultural expressions in language, literature, dance, architecture, apparel, food and in the making of its infinite variety of arts, crafts and textiles. There are over 15 million crafts people, who offer hundreds of millions of rupees worth of enchanting handmade goods to the world. To marry the skills of these artisans to an elevated sense of their own cultural wealth, a project took shape in 2006 and came to fruition in 2012. It was conceived and created by the Dastkari Haat Samiti, a national association of crafts people from all states of India. The organisation was also responsible in creating the Dilli Haat, a popular crafts marketplace in Delhi. A project was taken up by the Samiti and named Akshara, meaning ‘letter’ in Sanskrit. The project sought to instill in 60 artisans working in 21 assorted craft skills, across 16 states of India, the need for literacy and an aesthetic appreciation of the beauty of their own regional languages. It worked with the immense possibilities of making
A contemporary, chic exhibition, Akshara did away with romanticising the mud hut and ethnic appeal
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letters and scripts into elements of design that would give a unique dimension to art and craft from India. The art of beautiful writing is called calligraphy, yet Indian artists – inheritors of the legacy of 22 official languages and hundreds of dialects – had no idea that they could apply their skill to the written word. India had but a small section of Arabic/Persian/Urdu or Devanagari inscriptions on Mughal art from Rajasthan to show for itself. The Samiti pursued the many goals of bringing the value of literacy, design development, access to sophisticated markets, and the need to nurture India’s cultural heritage through the Akshara project. Working with artisans, both of fine art and rural art, over 150 museum-quality exhibits were created over a period of one year. Each has a special story to tell, either in the way the design came about, or the meaning of the script that embellished the object. Painting styles ranged from Patachitra from Odisha to Kalighat and Jharna Patachitra from West Bengal, and papier-mâché art from Kashmir. There was a range of embroidery styles from Bihar, Gujarat and Rajasthan, apart from brocade and Jamdani weaves from Varanasi and block printing from Rajasthan. Woodcarving and inlay, metal work, stonework and pottery were also worked upon to express alphabets, scripts, phrases, thoughts, devotional songs and verses with aspirational ideas and inspirational meanings. The project brought out intricate nuggets of local cultures, long forgotten songs and poetic phrases in the vernacular idiom. A very contemporary, chic exhibition that did away with romanticising the mud hut and ethnic appeal was mounted in New Delhi in September 2012 and again
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The products on display ranged from decorative and utility items to apparel and art panels
Woodcarving and inlay, metal work, stonework and pottery were developed with calligraphy in mind
in Cairo, Egypt, in April this year, as a part of the India by the Nile Festival. The exhibition in Cairo – showcasing hundred-odd exhibits – had large panels of calligraphy in Devanagari providing a backdrop of a constantly evolving projection of Braille and morphing alphabets. In one area a 20-minute film, Aksharakaram presented the interplay between classical dance and calligraphy. Artisans and calligraphers interacted with each other and the visitors. Panels giving the history of 14 of India’s official scripts with calligraphy on a sheer linen fabric base offered a sense of antiquity and aesthetic elegance. Akshara now aims to showcase at the UNESCO headquarters in Paris in midSeptember 2013, where the diversity of languages and craft skills towards education and livelihoods will be highlighted. A seminar is also envisaged where senior leaders and officials apart from experts from India and other countries will discuss the benefits of diversity in languages, and how calligraphy and crafts can be used together as a medium to preserve languages. Akshara organisers also hope to display the project in Singapore and Japan. The art book on the Akshara project has already elicited appreciative responses in the USA. Akshara seeks to inform, inspire and entertain, both the practitioner of crafts and calligraphy, as well as the viewer, who, above all, appreciates skills that should be acknowledged and shared for the development of livelihood and heritage skills in an aesthetic and creative manner. —The writer is President, Dastkari Haat Samiti
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REVIEW
VINTAGE JUNCTIONS Lifeline of the nation, Indian Railways celebrated its 160th anniversary with a photo exhibition TEXT: ANANDITA BHARDWAJ
t was travelling back in time for anyone walking in the Twin Art Gallery of Indira Gandhi Kala Kendra, New Delhi. The mere difference was there was no time machine, but coaches of Indian Railways ready to transport people as far as 1853. Celebrating its amazing 160 years of existence, the Indian Railways put up a photo exhibition to showcase some of its glorious historical moments. Held in June, the exhibition had on display a collection of over 200 black-and-white, sepia-toned and colour photographs. The show did not trace the history of Indian railways sequentially from 1853 to the present, but was a thematic portrayal of its many facets – station architecture, locomotives and trains, personalities and men at work. The collection was sourced from vast historical archives and put together to present the story of Indian Railways’ inception and evolution through pre- and post-independence era. The outstanding photographs included the only picture of the first passenger train from Mumbai to Thane in 1853, famous trains Ms Muffet
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PHOTO COURTESY: MINISTRY OF RAILWAYS
(Clockwise from top) A train emerging from a tunnel over a bridge (Dyang) in Assam; Old Morbi Railway station, Gujarat; the three generations of locomotives: steam, diesel and electrical engines; and Mahatma Gandhi at Madurai railway station
NOT JUST ADVANCEMENT OF TECHNOLOGY, THE PHOTOS ALSO PRESENTED THE STRATIFICATION OF INDIAN SOCIETY AND THE DEVELOPMENT STAGES OF ITS TOWNS AND CITIES
(Clockwise from top left) A helicopter loaded on a flat wagon for transportation; lighting lamp at a railway station; a railway turntable at Bitragunta; Tagore in a train; Patiala monorail powered by oxen and mules; and Kalka—Shimla train
and Silver Bullet engine, of stations like Chhtrapati Shivaji Terminus at Mumbai, Kanpur, Ranchi and Baroda with description of their architectural styles. Other noteworthy pictures were of a narrow gauge train being pulled by bullock carts instead of an engine, and a turntable used for reversing the steam engines at Bitragunta Loco Shed in Andhra Pradesh. The photos also presented the stratification of Indian society and the development stages of its towns and cities. The ‘Personalities’ section was of special interest, as it showcased the views of some eminent leaders on the Railways. There were photographs of a Rabindranath Tagore looking out of a window, Mahatma Gandhi extending out his arms to bless followers and Prime Minister Jawahar Lal Nehru inside a railway engine. Equally impressive was the ‘Men at Work’ section that acknowledged the great contribution of human force in development of Indian Railways. The photos showed the gangmen, foremen and light men on job to make the trains run smoothly. The photographs reflected the hard labour put in to transport millions of people across thousands of kilometers and marked practices most of which are fundamental to railway even today. Revisting the statement, “a picture is worth a thousand words,” the exhibition did the narration of Indian Railways’ journey well. It made the visitors realise that it is not just a mass-transit service, but a spectator of India’s journey towards independence, development and to a better future.
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VERBATIM
THE INTELLIGENT FILMMAKER t was 1998 when Anurag Kashyap unleashed his talent as a writer with a gritty, raw underworld film Satya. In the next 10 years, he had become an acclaimed director and producer with films such as Black Friday, Dev.D, Udaan, Gangs of Wasseypur and The Lunchbox. A global filmmaker today, Kashyap’s films are a highlight at international film festivals such as Locarno, Venice and Cannes. The ambassador of neo-cinema speaks to Jyoti Verma on getting French Government’s Knight of the Order of Arts and Letters award, film making and Indian cinema.
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Q. How important are global recognitions and film festivals for a filmmaker today? A. The recognitions are important, as these increase your audience base. Participating in international film festivals helps your films, creativity, skills and confidence. You reach out to more people and your films make more money. This is important when one is not funded. Every time you participate in such festivals, it makes you feel small among the amazing work happening globally.
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Q. Indian Cinema is now 100 years old. How has it changed? A. People at international festivals have often complimented me that Indian Cinema is getting bolder, but it is not yet there. As a person, I believe you are as free as you think you are. So, you can make films you want to make. Today, I can go beyond a certain budget and make a film I want to make. This approach has led to interesting attempts. Bombay Talkies was one such attempt, where four directors came together to make something meaningful. We need to collaborate to make better work. The biggest challenge Indian Cinema faces is the hypersensitive audience. In fact, it is not even the audience, but the selfproclaimed representatives of the audience that are hypersensitive.
GOING
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Q. How should a filmmaker ensure both critical acclaim and box office success? A. You need to be committed towards the film. It may or may not be a box office success. Going against the grain and with neglected truths always make good stories. The success of a film, today, to a great extent, depends on the audience. When the audience slams a film just because they didn’t have fun while watching it, the film eventually flops. However, that cannot be considered the only benchmark for an intelligent film. Q. From a writer, producer and director, which role have you enjoyed the most? A. I only want to make films. I see myself as an enabler in a good film. This could be whatever – writing, directing or producing – and irrespective of the expectations people have from me and my films. AFP
AGAINST THE GRAIN ALWAYS MAKE GOOD STORIES. THE SUCCESS OF A FILM, TODAY, TO A GREAT EXTENT, DEPENDS ON THE AUDIENCE
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