On her way to the airport, makeup artist Bianca Louzado shares her go-to sleep ritual — a blend of magnesium spray, a lavender-infused weighted eye pillow, and a comforting cup of chamomile tea — essential for unwinding after long workdays and odd travel hours. “Chamomile tea is my ultimate relaxation aid,” Louzado says. “It’s perfect for easing insomnia, menopause symptoms, or post-pregnancy recovery. After dinner, I wind down by moisturising my feet and applying magnesium spray to soothe sore muscles and prevent dryness. Frequent travel and long hours strain my eyes, making sleep elusive. That’s where my flaxseed eye pillow, infused with calming lavender, works wonders. It relieves tension, blocks out light, and helps me slip into a deep, restful sleep.” Like Louzado, many Mumbaikars are embracing sleepmaxxing — a viral trend among Gen Z and millennials aimed at optimising sleep for better health and productivity. Popular methods include mouth tape, magnesium, sleep trackers, jaw straps, red light therapy, tart cherry juice, and relaxation supplements. Dr Radhika Banka; Roohi Punjabi and Dr (Col) SP Rai Dr (Col) SP Rai, consultant, Pulmonary and Sleep Medicine at Kokilaben Dhirubhai Ambani Hospital, defines sleepmaxxing as optimising sleep for peak well-being through routine, environment, hygiene, and stress management. The payoff? Better energy, focus, immunity, weight balance, and deeper rest. Bring in the structure Dr Rai recommends calming activities like meditation, deep breathing, and reading under dim light to ease stress, while a warm bath signals sleep readiness. He also stresses a sleep-friendly environment — a cool (15-19°C) dark room with minimal noise and comfortable bedding that supports deeper, more restful sleep. Bianca Louzado wears a sleep mask as part of her routine Dr Radhika Banka, Consultant Respiratory Physician at PD Hinduja Hospital, stresses a consistent bed-time and limiting screen time before sleep. “Avoid screens 30 minutes before bed; if sleep doesn’t come after 20 minutes, get up and do a relaxing activity. Mentally unwinding and removing visible clocks can ease anxiety.” She also recommends a cool, dark room and a pre-bed shower to lower body temperature. While mouth taping — another viral sleepmaxxing hack — is trending to prevent snoring and dry mouth, doctors warn against forcing nasal breathing, as it can be risky. Supplement your sleep Dr Rai also advises caution about sleep supplements, recommending a ‘start low, go slow’ approach. Supplements like melatonin (0.5-3 mg), magnesium (200-400 mg), theanine, and glycine can support sleep by easing stress, relaxing muscles, and regulating body temperature. “Begin with 0.5-1 mg of melatonin or 200 mg of magnesium, increasing only if necessary. Melatonin is most effective 30 to 60 minutes before bed, while magnesium works best one-two hours prior. Melatonin should be used short-term alongside good sleep hygiene. Opt for fast-release melatonin or magnesium glycinate to reduce side effects and avoid long-term use to prevent tolerance, dependency, and disrupted melatonin production. Cycle usage and consult a doctor before prolonged use.” Noise-cancelling earplugs can come in handy for light sleepers For Mahim resident Isha Limaye, Cosmix’s Sleep Like a Baby has been a game-changer. The blend of cinnamon, schisandra, organic turmeric, jatamansi, fennel, coconut milk powder, nutmeg, cardamom, chamomile, beetroot, black pepper, and monk fruit helps her fall asleep faster, improves sleep quality, and reduces morning grogginess. Another option is Sereko’s calming candy tabs, formulated with magnesium lactate, saffron extract, and hydrolysed milk protein to support restorative sleep, balance sleep cycles, and reduce interruptions. Touted as a non-drowsy alternative to traditional sleep aids, clinical studies show they can improve sleep efficiency by 73 per cent, reduce sleep interruptions by 38 per cent, and lower acute mental stress by 21 per cent. Keep the stress out of sleep Bandra-based designer Roohi Punjabi swears by magnesium glycinate but admits screens are her biggest sleep disruptor. “The nights I doom-scroll, sleep is doomed.” She once tried melatonin but found it too strong, and is now opting for pranayama and Yoga Nidra — a 20-minute guided meditation by Lizzy Hill to unwind. Dr Rai underscores that managing stress is key to sleepmaxxing, as it directly impacts sleep quality. “Cognitive Behavioral Therapy for Insomnia (CBT-I) helps reframe negative sleep patterns, while breathing exercises like box breathing calm the nervous system. Mindfulness, regular physical activity, and limiting stimulants like caffeine and alcohol further support restful sleep,” he explains. He also warns against common sleep mistakes: “Inconsistent sleep schedules confuse the circadian rhythm, blue light from screens suppresses melatonin and heavy meals before bed can cause discomfort. Even napping too long or too late reduces night-time sleepiness.” Eat, work, sleep, repeat Dr Banka highlights that while nutrients like tryptophan (in milk) and melatonin (in cherries) may aid sleep, evidence is limited. Factors like exercise, stress, and smoking also impact sleep. A balanced diet is key as processed foods, irregular meals, and rising caffeine intake can disrupt sleep. Dr Rai adds that almonds, walnuts, bananas, chamomile tea, warm milk, and kiwi support relaxation and melatonin production. Tech matters India’s wearable sleep tracker market, valued at $ (US) 300.5 million in 2023, is projected to reach $ (US) 658.9 million by 2030, reflecting the growing role of technology in sleepmaxxing. Innovations like Loop Dream earplugs, with their closed-loop design and ultra-soft silicone, offer 27 dB noise reduction for a secure, uninterrupted sleep — ideal for side sleepers or those with snoring partners. Red light therapy taps into specific wavelengths to enhance relaxation and align with the body’s natural sleep-wake cycle. At the same time, InnerGize, a mental health wearable, uses Neuro-Acoustic Vagal Modulation to stimulate the vagus nerve, easing the body into a calmer state. From fine-tuning sleep environments to promoting deeper rest, tech is reshaping how we sleep. Sip up to sleep The Sleepy Girl Mocktail has become a popular bedtime drink in the West. It combines magnesium powder, tart cherry juice, and lemonade. Tart cherries naturally boost melatonin, while magnesium promotes relaxation, making it a soothing choice for better sleep. The Guide suggests discussing new health routines with your doctor before putting it into practice
13 March,2025 09:40 AM IST | Mumbai | Nasrin Modak SiddiqiIt started with me stopping random autorickshaws on the road and asking them “Chaloge, Bhaiya?” I had no clue at any point as to where they were taking me,” Aryaan Misra, co-founder of Desi Studios and the co-host of Desi Crime Podcast, tells us when we broach the topic of his latest digital project, Chaloge Bhaiya? that premieres on YouTube today. Shot as a six-episode series, where Misra takes viewers through multiple auto rides in the city, the series uncovers those unknown addas, eateries and bars frequented by Mumbai’s autorickshaw drivers, or as Misra puts it “Places you wouldn’t find in a food blogger’s list.” So, how did he hop on this idea? “Three years ago, I was working as a producer on investigative crime shows in New York City, and would regularly take the subway. That is when I started thinking about how extensive public transportation is. When I moved to Mumbai about a year ago, I was fascinated by autorickshaws here. They are one of the most cost-efficient and functional modes of commutation we have. The very fact that a Bollywood film star was taken to hospital in an autorickshaw after an attack tells you a lot about how it is one of the biggest equalisers in society,” Misra explains. But the idea was marinating in his head for quite some time, we learn. Misra (right) shares drinks with autorickshaw drivers at a bar “I had this idea in my mind for a long time when I stumbled upon comedian Kareem Rahma’s show, Subway Takes. You could say that I was driven by creative envy, as any good creative should be for being lazy about ideas and not acting on them. It was high time that I worked on my intuition for creating this series,” he adds.Hurtling all across the city, from Andheri to Sakinaka, Chembur and Bandra, Misra discovered quaint haunts and bars by asking just one simple question — “Bhaiya, aap mujhe apni favourite jagah le chaloge?” The meter and the conversation began from thereon. “We would hail autorickshaws from the street and it was amazing how open and interactive all of them would be. This one autorickshaw driver took me to a place called Gupta Tea and Snacks in Powai, where I had a fantastic misal pav. Then one guy took me to a local bar in Vikhroli where he explained the concept of a happy peg to me. After finishing a bottle or two, they collect leftover alcohol droplets in a cup and savour it in the end as a happy peg. I also took several happy pegs with them,” Misra shares, adding that in his conversations one of the most recurring topics of discussion were the perils of the profession. The host shares a meal with an autorickshaw driver in Powai “Almost all auto drivers talked about how they don’t get enough respect in the profession. A Jain auto driver recounted an incident where he was stopped by the cops for a routine check when the officer who saw his driver’s license said, “Your people are businessmen. Why do you drive an auto?” At that moment, he felt as if he had disappointed his ilk. He explained how he feels that he too is a ‘businessman’ who owns his own autorickshaw and works on his own time, but nobody sees it that way,” Misra added. With conversations that ranged from the recent price hike in autorickshaw fares to the gap created by aggregator transport services, the series places its primary focus on the stories of autorickshaw drivers and also, taxi drivers to propel the narrative. “Most of the content on the Internet is in English, which disenfranchises quite a big chunk of our digital content consumers. The show, which is in Hindi, is trying to tell an Indian story with the highest production quality. The food will reel you in but it is the story that will keep you hooked,” he concludes. AVAILABLE ON YouTube
13 March,2025 09:36 AM IST | Mumbai | Divyasha PandaIF you’ve ever wandered into the television aisle of an electronics showroom, hypnotised by the endless rows of massive TV screens playing the same wildlife scene in sync, you’ve walked right into a classic jungle scheme. “In the wild, bright shades help birds stand out from the rest. The shinier and brighter they look, the higher the chances of being noticed by a potential mate,” explains nature education officer Akash Mhadgut. Once Mumbaikars scrub away the last speck of colour after tomorrow’s Holi celebrations, Mhadgut will invite them to the Chenna trail at Sanjay Gandhi National Park’s North Division in Yeoor for a trail titled Colours of Nature: Explained. “Spring is upon us and the flora and fauna on the banks of Chenna River that flows through the national park is thriving with new life. There isn’t a better time to understand the science behind these hues,” the naturalist explains. Vigor’s Sunbird. Pic Courtesy/Vaibhav Haldipur On the banks of the river, the first clues that paint a better picture emerge, literally. “The mineral rich rocks in the region helped early inhabitants derive colours centuries ago. A sulphur-rich rock, for instance, will deposit yellow shades when rubbed on a surface. A rock with high iron or manganese content, on the other hand, gives you a brownish red hue,” he reveals, adding that these methods are also believed to have helped cave paintings in the Kanheri Caves Complex situated southwards. Plain Tiger butterfly. Pic Courtesy/Akash Mhadgut If you’re still bitter about walking into that scheme earlier, it should be some consolation that you’re at least not alone. The male Purple Sunbird is a hardened charmer, after all. “The bird has evolved to show bright yellow or red streaks on its feathers when it is ready to mate. A shiny, bright plumage tells the female he comes from an abundance of resources like food and safe shelter. And thus, they agree to mate,” Mhadgut explains. The Vigor’s Sunbird or Sahyadri Sunbird adopts a similar modus operandi, except the colour of choice is a bright red in this case. Purple Sunbird. Pic Courtesy/Wikimedia Commons Life in the jungle is not all about painting for leisure and mating, however. For many inhabitants like the moths and butterflies of the forest, colours are a defence mechanism that could save their life. “The bright colours are not simply ornamental. Predators often consider bright colours on insects unpalatable and steer clear of them. On the other hand, many butterflies like the yellow leaf butterfly fade into their surroundings courtesy of their leafy hues,” the naturalist reveals. Akash Mhadgut (centre) leads a previous trail in the forest While the colours are in full bloom for now, Mhadgut points to a worry looming over the purple winged enchanter, the humble leaf butterfly and many more inhabitants. “With their habitats declining owing to deforestation, these species might no longer have the resources to pull it all off,” he warns. But there’s a splash of relief, nonetheless. The expert believes that the species have, and will continue to evolve with the changing conditions to keep the complex play of colours going. In other words, as Jeff Goldblum assured us in Jurassic Park (1993), life finds a way. ON March 16; 4 pm to 6 pmMEETING POINT Kajupada Bus Stop, Ghodbunder Road.CALL 8591382079ENTRY Rs 150 (5 to 12 years); Rs 300 (12 years and above)
13 March,2025 09:27 AM IST | Mumbai | Devashish KambleIt is not every day that you find a pioneer who performed alongside legends of American music such as John Lee Hooker or Frankie Lee walk through the SoBo roads. Alvon Johnson will do just that on Friday when he opens up the Soulful Blues Festival at NCPA. The 73-year-old Blues performer is often called the ‘Ambassador of the Blues’ and made a mark alongside RnB and Blues bands such as The Drifters, The Shirelles and The Coasters. “I decided to start playing the Blues because I knew that it was part of my heritage,” writes Johnson. “The Blues are a cultural vehicle of expression,” he states. Tia Carroll He is not alone to feel that. Thornetta Davis will also be making her debut in Mumbai with a performance at the festival. Crowned Detroit’s Queen of the Blues, Davis is also a ten-time Blues Music award-winner. Dismissing the idea that the genre is built on melancholy, Davis writes, “I know people assume that the music of the Blues is sad. But I will say that my Blues will uplift you.” Davis’ popularity among the younger generation is only rivalled by Tia Carroll who continues to tour with many bands, including Dave Matthews Blues Band in California. Incidentally, this Blues legend once moonlighted as a singer, while keeping a full-time job as an accountant. “I think it was because of my voice that I had customers who would wait to not pay their bills because they wanted me to call them,” she says. Thornetta Davis The three-day performance will see the trio perform the range of their experiences and music to the stage. Then again, Blues is about more than music. Carroll admits it does not matter what the audience is as long as you can read the room. Johnson, who shaped his performances with a touch of flair from comedians such as Renaldo Rey, Robin Harris, and Skillet and Leroy, shares that it is a genre of storytelling. “I am not just standing there, playing the guitar and hollering in the mic. I am performing the song,” he concludes. From March 14 to March 16; 6.30 pm At Tata Theatre, NCPA, Nariman Point. Log on To ncpamumbai.com Entry Rs 450 onwards (members); Rs 500 onwards (non-members)
12 March,2025 09:57 AM IST | Mumbai | Shriram IyengarWomen are always for others to find,” states the narrator, a policewoman called Vanitha. If they aren’t where they are supposed to be, a missing person’s case is reported in the police station. The woman who leaves of her own will is caught and brought to the courts, which then declare a judgment giving her free will. “What a joke!” This sentiment is where Jissa Jose’s Kerala Sahitya Akademi shortlisted novel, Mudritha (Harper Perennial), translated from the Malayalam into English by Jayasree Kalathil, begins. A former tour guide-turned-tutor, 30-year-old Aniruddhan, visits the police station to report one such case. A woman named Mudritha has disappeared. He has neither met her, nor has an interest in following-up on the progress of the case. When he was overwhelmed by immense insecurity in his life, she had entered his life, contacting him about a 10-day trip to Odisha with nine other women, and, through her email exchanges, understood him. He believes he owes her this much. No one woman knows the other, but each, carefully curated by Mudritha, is connected by a shared love of travelling and a desperate desire to live an unencumbered life. When the narrative moves from Aniruddhan’s report and notebook pages, which reflect Mudritha’s emails, into the lives of the nine women, Jose’s prose reads like nine short stories. Each chapter takes the reader into the heart of an immediate trigger that had led each woman to Mudritha, as well as a possible ignition to undertake a journey along the banks of the Chitrotpala River. Their stories are peppered with tales of women from puranas, local myths and legends, which succeed in indicating women’s shared desires over centuries. Mudritha’s narrative is the only one that is several pitches hazier than others’, and only reveals itself in parts. Jayasree Kalathil and Jissa Jose Vanitha, who coalesces numerous strands of disparate stories, stands out for her meticulous note-taking and tender familiarity in reaching out to the nine women. Her urgency in trying to piece together each narrative and, through it, Mudritha’s story, points to two achievements of the writer. Jose introduces a policewoman as the core narrator of the novel, a character that rarely gets a voice in Indian fiction. Moreover, Vanitha’s sure-footedness, determination, and her emotional depth in understanding the 10 women, make hers a well-rounded character. Having held a precarious position, she’s faced with microaggressions within the police station. Vanitha works overtime and puts up with her colleague Renji, who on seeing her dark circles, teases her with an assumed affair, completely dismissing her efforts towards an abandoned case. In her translator’s note, Kalathil writes, “Mudritha is the story of Kerala’s women… In the male-dominated space of Malayalam literature, pennezhuthu (women’s writing) has been relegated to women writing about ‘women’s issues’, as though these are not part of the public and political imaginary.” Yet, a novel like Mudritha throws down the gauntlet to the male reader. Jose experiments with form, embedding email exchanges, diary notes, mini-stories, and poems that help create different narrative levels. This enables the reader to actively engage with the novel till the last page. Available At leading bookstores and e-stores Cost Rs 599
12 March,2025 09:50 AM IST | Mumbai | Nandini VarmaWhile you might not be able to own an iconic work of his art yet, you can definitely dine on one. If you are a fan of the famed Dutch master, Vincent Van Gogh, you might want to head to Andheri. This month-long celebration at Luv and Akash Deshpande’s new haunt, Luv, pays tribute to the old master through creations on the plate. In addition to their show-stopping Starry Night dessert and Van Gogh-inspired coffee art, visitors will take home an artistic postcard recalling the Dutch master’s prized creation. On the big day though, the restaurant will turn into a gallery hosting the works of Aadnya Manerkar and digital artist Ayush Shah, for a day-long exhibition. Till March 30; 12 pm to 11 pm At Luv Restaurant, Sterling Apartments, Sundervan Complex Road, Lokhandwala Complex, Andheri West. CALL 9920781422
12 March,2025 09:42 AM IST | Mumbai | The Guide TeamWhen architect and designer Rooshad Shroff moved back to Mumbai after living in the US for 10 years (and studying at Harvard’s and Cornell Universities), he did not have much work to do in the initial days of his practice in 2011, and so he started making furniture to keep himself occupied. Around that time, mid-day had featured his first pieces that were displayed at Le Mill’s Wadi Bunder store. Cut to 2025, Shroff has now opened Gallery RooshadSHROFF on the same floor of his Dubash House headquarters in Ballard Estate, to showcase his oeuvre and collaborative results of working with Indian artisans for over a decade. Furniture has always been a passion-led project for Shroff. “When I first started researching different crafts of India to see how we can make them relevant to a modern design language and not just to use as ethnic souvenirs, I realised that there was no reference to craft. And it was all about the numbers game then; nobody wanted to touch those pieces. That pushed me to work with handmade objects and craft because we have access to great crafts that many don’t value,” says Shroff. Handmade objects have always appealed to him and the idea of craft is rooted in every piece he makes. Shroff considers furniture as a testing ground to research different techniques that don’t just culminate to furniture, but also design accents such as surface cladding for his interior projects. As Shroff dedicated more time to his passion, it turned into a business, and people wanted to see his collectable designs. He moved out of his Horniman Circle office-studio space (in the erstwhile Louboutin office) last year, after having outgrown the space. Shroff will only use this gallery to showcase artist-artisan collaborations, and his pieces and not as a pop-up event space he says. “We don’t expect a large footfall. We don’t want a large footfall, but we want the right footfall. Many galleries support design in the West, but India doesn’t really have any design galleries, we have art galleries, but not design,” he says. Shroff beside a creation from his Balance series at the Ballard Estate gallery What’s in store? Shroff doesn’t want the gallery to intimidate design lovers but to make them feel at home; you even ring a doorbell like at a friend’s home. Sunlight bounces off the white walls and white mosaic floors which provide the perfect backdrop for the pieces, a mix of collaborations and his own. Like the Burma teak panels with marble inlay by T Venkanna, or the furniture collaboration with Tanya Goel. Pieces that he is also proud of are the ones that are a result of artist and artisan residency collaboration from Lucknow’s Kalhath Institute (Shroff is on their advisory board) which invites fine artists for residency to explore embroidery as a medium. “Even the artworks are results of a residency. I collect art but didn’t want to just put up frames to divert the viewer’s attention from the crafts on display. This is a space dedicated to and is a celebration of handmade craftsmanship,” he says. Also on display are pieces from his Balance series, which uses onyx and travertine to play with light, sculpture and gravity. “I like to push the boundaries of material through furniture. Then if it sells, it sells. I want it to be the purest form of expressing who I am as a designer and what we kind of stand for, at the threshold of design and art. They are not always the most utilitarian pieces, but collectable designs.” White walls and mosaic flooring provide a bright, blank canvas for the designs in the gallery Shroff has always worked at the grassroots level with artisans for his pieces and has a process. “We never design a collection and then go to the artisan to get it made. We first see what they are capable of doing, identify a craft, go to that cluster, and find an artisan who’s willing to experiment, who has the patience to experiment with me to kind of deviate from what they are doing. That’s how we train them; a lot of our smaller objects are a result of the training sessions. Once they reach a particular standard of quality, we push them to do something which they’re not traditionally capable of doing while maintaining that same quality, to look beyond the ethnic nature of that craft. My marble lights are made by third generation murtikars,” says Shroff, who sources the marble carving work in Jaipur, marble inlays from Agra and embroideries from Mumbai. He believes that the only way to sustain traditional crafts is to make them relevant. “From Hermès to McQueen, and Chanel, everyone gets their pieces worked on in India but the brand’s design identity is so strong that you’ll never think that it’s done by the same needle and thread. Design-led processes change the way in which a craft can be sustained,” he sums up. Gallery RooshadSHROFFAT Third floor, Dubash House, JN Heredia Marg, Ballard Estate. Time Monday to Friday, 11 am to 7 pm; Saturdays, by appointment onlyCall 9833630201
12 March,2025 09:38 AM IST | Mumbai | Dhara Vora SabhnaniWith spring in full bloom and the weather getting warmer, one can already feel the excitement as Holi draws near. While there will be multiple colour-soaked, musical celebrations popping up all across the city, the Mumbai chapter of the Indian National Trust for Art and Cultural Heritage (INTACH) is conducting a Holi special walk in Worli Koliwada to celebrate the festival of colours with the indigenous community of the city. “With these walks, the idea is to introduce people to the lesser-known histories and stories of the city so that participants are aware about the people who shaped Mumbai and their contribution to the making of the city. The Koli community originally planted the seed of Bombay as we know today, yet, very few are aware of how the community celebrates Holi, which is why it is important to bring Koli traditions to the fore,” explains Katyayani Agarwal, the convener of INTACH. The food offerings include sweets and legumes; (right) a traditional rangoli Scheduled to start in the evening, the walk will begin at the Golfa Devi temple and take people through the bylanes of the Worli Koliwada. “While most of the country celebrates the festival on the day of purnima (full moon night), the Koli community celebrates it a day before. There are two days of celebrations; Kombad holi and Patlanchi Holi, as it is called in the gaothans. They call it Kombad Holi because as a lore goes, a rooster wakes up everyone in the morning after a full night-long celebration,” Anita Yewale, the host of the walk and co-convener of INTACH Mumbai Chapter explains. The session, which will begin at the temple premises, will discuss the community’s culture and traditions followed by an aarti at 7 pm and a walk through the neighbourhood. “I will be sharing myths and legends attached to Golfa Devi, who is a revered deity of the community. We will also try to bring attention to the issue of how Koliwadas were declared as slums and most importantly, how gaothans are losing space to development,” she adds. A woman arranges a flower rangoli to decorate the neighbourhood The walk will be punctuated with cultural celebrations and a look into the community’s Holi rituals which as Yewale tells us, is a rich process of celebrating Holika (a female demon in Hindu mythology) dahan. “The Kolis usually make a humanoid figure of Holika and deck her up in jewellery and sarees. She is then perched on top of a stick and beautiful rangolis are drawn around her with ingredients like coconut, betel leaves, uncooked rice, turmeric and others offered as part of the pooja. For the cultural celebrations, we will be joined by Koli singer Chintamani Shiwadikar who will serenade us with holi folk songs,” Yewale reveals. With courtyards adorned in flowers, colourful rangolis all around and traditional songs and dance, the festive energy is infectious, Yewale admits. “As a popular saying in the community goes, “Holi re Holi, puranachi poli,” we will also be serving people ghee-laden puranpolis for a sweet touch to the walk,” she concludes. Anita Yewale ON March 12; 6 pm to 9.30 pmMEETING POINT Indian Coast Guard Headquarters, Worli Koliwada. CALL 8087773299 (for registration, limited spots) COST Rs 200 (members of INTACH), R400 (for non-members)
11 March,2025 09:32 AM IST | Mumbai | Divyasha PandaTo design a performance for sensory organs, other than the eyes, can be more challenging than we imagine. “It can be a reality check,” shares Damini Gairola, artiste and creator of the performance piece, Thank You For Your Visit, that makes its India debut today at the Mahalaxmi venue of G5A. Yet, it was this unique and unexplored audience that drew her attention during an artist residency in Hamburg back in 2021. “It was the post-pandemic period, and I wanted to write something that spoke of my experience of two pandemics — being away from home, and experiencing the pandemic,” the Bengaluru-based Gairola says. Having worked with mentors on productions that utilised audio description, the artiste chose to embark on an idea that utilised it as an element of her performance. Props are used as tactile tools in the performance Words as a creative tool “Audio description is an accessibility feature that is used in videos on YouTube, Netflix and some platforms, to enable visually impaired individuals to experience events on the screen through audio. It is also practiced live in events, and theatres, with an individual describing the show,” shares Maitreyee Joshi, Gairola’s partner in the production. Joshi was initially roped in by Gairola as an ‘outside perspective’ for her Hamburg residency, but soon was an irrefutable part of the performance itself. With the performance built around the shared experience of unexpressed grief, the duo realised that audio description required an understanding of language as an experiential tool. In the dance, it becomes, Joshi points out, the ‘third performer’. The performers interact with the audience seated around them in a circle; (right) ← Damini Gairola (left) and Maitreyee Joshi in performance. Pics Courtesy/Oncu Gultekin Language for a seeing individual is often built on unconscious visual reference points. An innocuous quip as ‘Look there’ might leave a visually impaired audience confused. The duo reached out to accessibility experts to help them bring a non-sighted perspective. In Germany, Ursina Tossi, Naomi Sanfo, Sophia Neises, Nicole Meyer offered them inputs, while Dominic MJ and Mayuri Atre have collaborated with them on the India leg. “Dominic is a dancer who lost his sight a few years ago, and works with the film industry in South India. He and Mayuri sat through our performances and would listen to the audio description whilst offering us feedback.” Linguistic borders While most audio descriptions can be dry in order to relay accurate information, the performance called for expressive language that was not always precise. “There is never going to be a blueprint to describe the exact thing since almost everything for a non-sighted person is imaginative’,” reveals Joshi. Gairola admits, “Since we approach our audio description as an artistic and creative tool, we understand that its reception will be subjective.” While the initial performance had audio in German, the Indian leg threw in another variable into the mix. They opted for an English description, before Aabha Soumitra (composer and vocalist handling the integrated description) pointed out that most visually impaired in India use the vernacular. Now, the auditory information is primarily in English with Marathi inputs. Touch tactics Words were not the only tool in the artistes’ arsenal. The music composed by Anne Leira van poppel y lubeigt is specifically shaped, while keeping in mind the audio description. Gairola adds, “We do not have any vocal elements in the music. It was composed specifically for the piece, and the conversation was about including audio description as part of the rhythm.” One more input from the experts was the need for tactile reference points brought in by tasks, props and movements that make the audience a participant. “The performance also takes place in a circle. We inculcated a lot of sound-based movements where breath, information from the ground under you and dynamism add to the experience,” Joshi informs us. On tour The Mumbai show is part of their G5A Warehouse Performance Grant, and Pune and Bengaluru will follow. The duo remarks that it is not an easy task. From costs on language research for the audio description to finding volunteers to help sight-impaired audiences attend the performances, there are challenges. Joshi says, “We always think of everything, from offering our visually-impaired audiences a tour before the performance, to helping them get familiar with the stage. But you always learn something more.” ON Today; 6 pm (touch tour); 6.30 pm (performance) AT G5A Warehouse, Laxmi Mills Estate, Mahalaxmi West. CALL 9075929809 (for touch tour) LOG ON TO district.inCOST Rs 499
11 March,2025 09:30 AM IST | Mumbai | Shriram IyengarTalking about art can often be a challenge. As curator Anupa Mehta picks up the call, this writer realises that there is a certain surrealism in trying to explain artworks, some of which are still in the process of completion. Yet, it lends itself to the theme of Voir Dire: In The Round, the title of Mehta’s curation that opens in her Colaba gallery, AMCA, on March 13. My story if often neglected, Benitha Perciyal “It is a legal term that literally means ‘to speak the truth’. It refers to the process of preliminary examination where both prosecution and defense sift through the evidence examining their truths,” the curator explains. The artists featured include Sudarshan Shetty, Valay Shende, G Ravinder Reddy, Riyas Komu, Chittrovanu Mazumdar, Bose Krishnamachari, Benitha Perciyal and Arunkumar HG. The works themselves range from sculptures to wall reliefs to offer a round perspective. This perspective is at the core of the curatorial concept. Voir Dire goes beyond the legal term and into an examination of truth, in the philosophical sense, she notes. “There is no absolute truth. There are always variables. I am using the concept of various truths and perspectives, and how they are shaped, to explore what the original intent of the artwork is.” Sacred Object, G Ravinder Reddy This examination of truths acquires another layer of meaning in the works themselves. For instance, Riyas Komu’s wall relief is a stark depiction of a skeleton with its clearly defined brain — like guts spilling out, says Mehta — that symbolises the struggle of a creative thinker in an increasingly oppressive society. The artist himself notes it as a continuing exploration. “I think society today has created a sense of numbness. When I read the concept note [by Mehta], I thought of a similar kind of extremity that the artist goes through, and through which art allows you to respond.” Untitled, Sudarshan Shetty Similar to these are Mazumdar’s A lost note on an altar that depicts a broken violin, at once political and lyrical — an elegy for all that we have lost, says Mehta. Shende approaches it with a more direct statement through his work, EVM, showcasing a metal trap etched with the words to warn about the democratic process. Yet, the works are not activism, Mehta explains. She points to Sudarshan Shetty’s untitled work featuring two vases, part wooden part porcelain that explore memories and absences of old homes. Benitha Perciyal’s My story if often neglected, is a sculpture that works on two levels, of shape and sense. “Benitha uses myrrh and sandalwood to shape her sculpture, giving it a fragrance. She has used a discarded pillar from a home, to create the bust of a man. It is how people are often edified, forgotten, and yet there is a lingering memory that stays,” Mehta elaborates. (From left) Anupa Mehta, Riyas Komu and Bose Krishnamachari Another familiar city name that finds its way into the curation is Bose Krishnamachari whose work Genie brings a city icon to light. “I was looking at the most important icon on the human level, the dabbawalla, who played an important role. The bronze dabba is an icon of survival. Then, there was Gandhi’s lathi, an element that I wanted to bring to embody the influence he had on me. I brought these two or three elements to play to create an object that embodies optimism and memory,” the artist shares. These objects, ordinary and everyday in their presence, embody the multiple truths the artists explore. Mehta says, “These things are commentaries on the materiality of things. On one level, they are hallowed art objects, and on another level they have a certain irony about them.” This is the first part of the exhibition, with a second to follow in June. Mehta concludes, “The second show will also have eight artists, but from a younger and newer generation. Incidentally, their concerns lean towards the environment making for an interesting observation.” FROM March 13 to April 30; 11 am to 6 pmAT AMCA Colaba, Ground floor, Royal Terrace, 58 Wodehouse Road, Colaba.
10 March,2025 07:13 AM IST | Mumbai | Shriram IyengarAt one point in Amb Da Boota (The Mango Tree), a new play by young theatremakers from the Drama School of Mumbai, Lata — the sole female character — breaks into unrestrained laughter at an innocent joke. Her family laughs along, but soon enough, her joy becomes ‘too much’, too ‘unwomanly’. A stern glance from her husband is enough to silence her chuckles. With Women’s Day celebrations burning bright and fading fast behind us, this moment feels like a quiet reminder. Priyanshu Gupta practises his part at an actors’ residency in Kamshet leading up to the premiere. PICS COURTESY/SUMIT RAWAL The hour-long play conceptualised as part of an academic project follows Lata’s life — the fag end of it if we were to be precise — as she battles a terminal illness and reveals an unusual last wish to her family. She dreams of becoming a mango tree. The tree serves as a metaphor for freedom, being unbound, or perhaps something more. “We have been discovering new interpretations as we go as well. The central question remains, what happens when a mother wholly, stubbornly, demands the freedom to be who she truly wishes to be?” says troupe member Pranjal Vaid, who sowed the seed of this amb da boota earlier this year. “I have a chachi [aunt] back home in Delhi who loves a hearty laugh, much like Lata’s in the scene,” Vaid chuckles. Having grown up in a Punjabi family, Vaid borrows from the nuances of a typical North Indian family, including how his aunt’s laughter that often lingered too long would be eventually curtailed. “In another scene, Lata’s son negotiates a truce. ‘You called the shots for me my entire life, why won’t you listen to us now?’ he reasons. These narratives draw from the lives lived and unlived by our mothers, and their mothers before them,” Vaid explains. Gupta plays the fantastical frog. Pic courtesy/Instagram For a story coloured in complexities (including a cameo by a fantastical frog, if you fancy a spoiler), the stage design is strikingly minimal. A short staircase on one end, and a lone block on the other. “The block is where Lata finds her comfort and peace, at one point even locking herself in the space,” reveals actor Bhavya Rampal. Déjà vu yet again, this time for Rampal, who remembers how his 90-year-old grandmother had a designated spot for herself in their ancestral home in Delhi. “That was her safe space, so to say. Her everyday essentials, water bottle, and medicines would be neatly arranged around it,” he recalls fondly. What the production lacks in visual extravagance, it makes up for with its sound design. With original Punjabi lyrics penned by Rampal, the soundtrack finds inspiration in Punjabi folklore and the artform of tappe — fast, rhythmic melodic recitations. “A thousand crows peck on me with the sound of kach kach kach kach, and every time the monsoon comes, I’ll dance a mad dance,” Rampal translates one of the lines from the titular theme song he penned. Alongside Anya Ghai, who essays the role of Lata, and actors Jai Prakash Kumar and Priyanshu Gupta, the young troupe is eyeing a homecoming of sorts after its Mumbai premiere today. “The stories emerge from our homes in Delhi; it’s only fair that we take them home as soon as we can,” Vaid signs off. ON Today; 6 pm and 8 pmAT Chaubara by Veda Factory, Aram Nagar Part 2, Versova.LOG ON TO in.bookmyshow.comENTRY Rs 350
10 March,2025 07:11 AM IST | Mumbai | Devashish KambleADVERTISEMENT
