Mumbai chefs on steering clear of cultural appropriation in their kitchens

Jamie Oliver. Pic/Flickr

When Kishwar Choudhury, one of the finalists in the 13th season of MasterChef Australia, served the humble Panta bhaat, it was an ode in recognition of her rice-eating community in Bangladesh. Undeniably, it was also a gutsy rejection of hierarchical beliefs around culinary experiences, especially in restaurants. The rice mush fermented overnight and seasoned with salt, crushed shallots and green chillies, often served with fried fish or an eggplant mash, is only halfway there, culturally, without the fermentation. The rice's night-long wait in water soaks in the complex past of a country's people, their economic capital and the need for wholesomeness within limits. Recently, Jamie Oliver hired a team to rule out chances of appropriating food recipes such as the classic roast chicken, but do Indian chefs and food artistes navigate equally delicate grounds while re-routing local dishes on their menus? Does reclaiming of dishes in mainstream practices risk cultural appropriation? We ask the experts.

The thin line

Niyati Rao

Niyati Rao, chef and partner at Ekaa, feels as long as you rely on the basic framework of food prepared by our ancestors and give it your own spin, you can steer clear of cultural appropriation. "Sometimes, working on a dish is about presenting a nuanced culinary landscape and focusing on a certain community, but eventually, the dish will also bear the chef's contribution. Your efforts may or may not be received well, but the satisfaction lies in remaining true to your sources," she explains, adding that shifts in recipes can't always be labelled as appropriation. Rao mentions Parindey mein parinda, a lost recipe from her tasting menu that was common in ancient Mughal circles. "The preparation involves stuffing a duck with chicken mousse. We've used the main technique but with our own set of spices. The flavour profile is totally new and tasters liked it," she says.

Give credit where it's due

Prateek Sadhu

Those who experiment with food can't keep serving the same fare for years, and that's exactly why food is fluid, says Prateek Sadhu, chef and co-founder, Masque. "One should give credit when loaning the idea for a dish from a particular culture. India is wrought in diversity; food practices depart from traditions and again, overlap. So, if I am making five different things with nolen gur, I will remember to mention the harvesting process of this kind of jaggery in the Sunderbans. Some five years ago, even I wasn't aware of nolen gur and its possibilities. Now that I know, as a chef, the onus of getting people excited about the ingredient is on me. They should also source it from the actual sellers," Sadhu says. He feels it's essential to carefully choose vocabulary while communicating a food's background to consumers, and thus, discovering local fare in a new light won't subsume the ethos of a group.

The power of research

Prashant Issar

Ishaara's founder and chef, Prashant Issar, agrees that he and his team addresses appropriation through two basics - a list of boundary conditions and guiding principles. He believes that before developing a food item, chefs or culinary curators should research its roots. "Appropriation isn't restricted to the final recipe. It begins from the time you cut your meat or vegetables. For instance, if you are making kebabs, opt to mince and not cut it. The meat you use in kebabs is also significant. Lamb or mutton make good kebabs, but chicken dries out in the heat. We lace chicken with duck meat so it doesn't dry out and become tough. Is that appropriation?" Issar asks. He adds that earlier chefs used to describe dishes in fancy but vague terms. Now, thanks to provenance, developing a menu on classical and contemporary cooking techniques, and explaining the exact ingredients to your customers, go a long way.