Architecture often expresses cultural nuances through its seemingly ordinary brick and mortar structures. Following a similar vein of thought, and digging into the ancient heritage of temple design, the Indian Education Society’s College of Architecture (IESCOA) is organising Deulkathan — an exhibition exploring the heritage of temple architecture in the Konkan region at the Bombay Art Society starting from December 5. Students work on models of the temples leading up to the exhibition “The exhibition is a culmination of work done by the students of our college over the past eight years. These involve drawings and models where the narratives of temples, such as the Deulwada Temple complex in Malvan, Shri Vijaydurga Temple in Keri among others, are outlined graphically for people. The exhibition will also include talks every evening where community leaders and experts in conservation, temple design, and temple management will offer insights into the subject,” Shilpa Bakshi Chandawarkar, professor and head coordinator of the event explains. Students document the architecture of a structure in the temple complex A work-in-progress for eight years, Deulkathan is a labour of love for the academic community. “We have been documenting one temple every year. A team of first-year students spent over a week living in these temple precincts and creating measured drawings of the built form, as well as undertaking an ethnographic study of the community. The exhibition was also strengthened by contribution from every batch of students who graduated from the course. We also have a team designing graphic models to explain the ecology, geography, community and story of each temple and refurbishing older models.” The Shree Katyayani Baneshwar temple in Aversa Sociologically, temples stand at an intersection of history, ecology and culture, making their study a significant step towards understanding the story of a civilisation. Katyayani Agarwal, the convenor of Indian National Trust for Art and Cultural Heritage and one of the speakers at the event explains, “Architecture serves as a link between the tangible past and present. In this day and age, it is difficult to predict what might happen to these heritage sites. This is why we wanted to tell the world about these temples, and work towards preserving them.” Shilpa Bakshi Chandawarkar and Katyayani Agarwal But why temples of the Konkan region, we ask? “India is geographically and culturally diverse, and being a Maharashtra-based institution, Konkan seemed like the perfect place to start. The vernacular construction technology and materials of the region align with our courses and the scale of these temples is optimal, as are the towns in which they exist. We also chose temples that have not been previously documented in order to create a repository of this architectural heritage,” Chandawarkar signs off. ON December 5; 4 pm to 7 pm (inauguration); December 6 to 8, 11 am to 7 pm (exhibition) AT Bombay Art Society, KC Marg, Bandra West.
02 December,2024 08:46 AM IST | Mumbai | Divyasha PandaCourtesy our college bestie, we know just one phrase in Malayalam: ‘Enikku vishakkunnu’. This translates to ‘I am hungry’ in English. Thankfully, at the newly launched Kerala Quarters, a kitchen and urban quarter bar, there is no chance of going hungry or thirsty. Dished out by Flavour Pot Foods that runs Taftoon, Cirqa and Oye Kake, this latest offering reimagines a typical Keralite toddy shop in buzzing Lower Parel. The space opens into an al fresco seating that leads into an indoor resto-bar done up in mustard yellow walls, wicker decor and a statement bar. Coasters sport popular lingo in Malayalam, such as Adipoli! which means something fantastic and Chetta! which means older brother. Chef Sudheesan PG from Kannur makes a tawa fry. Pics/Ashish Raje Aping a typical quarter system bar, we liked inclusions like achappam (savoury rice and coconut milk crackers, Rs 149), murukku rice fritters, pappadam, tapioca and banana chips, and boiled kadala or black chickpeas. When founder (and food nerd) Pankaj Gupta was introduced to Shobha Pillai Coutinho, a food historian and Kerala culture enthusiast, he roped her into the core team — to perfect cultural references, pronunciations, slang, along with her food expertise. The menu is divided into three parts — arambham (beginning), madhyabhagam (middle) and avasadam (end). Vazhapoo parippu cutlets “At Kerala Quarters, I am the fact-checker,” she laughs. Pillai spent her childhood holidays in her maternal grandmother’s home in Mavelikara, Alleppey district. “I was intrigued by the Kerala kitchens, its chimneys, and cooking matta rice on the adapei (woodfire),” recalls Pillai, who wrote Aaharam–Sadhya: A Perfect Culinary Legacy from God’s Own Country, in the lockdown. This recipe book is an introduction to Keralite sadhya, an elaborate buffet eaten on special occasions and community celebrations. “Starting with salt, pickle, avial, sambar and two types of payasams there are 26 to 28 items in total,” says Pillai. Shobha Pillai and Pankaj Gupta Kannur-based brand chef Sudheesan PG mans the kitchen, and exacts the rustic food approach of the Malabaris (northern), Surianis (central and southern part), as well as the Iyers’ traditions in the kitchen. “Kerala cuisine sees five distinct cooking styles — pollichattu (roasted or grilled), ularthiyathu (slow-roast or stir-fried) varuthathu (deep fry), aaviyil vevichadhu (steam), cooking Matta rice in aduppu and varutharacha (roasted and ground) or roasted coconut gravy like the shappile pork curry (Rs 689), pork’s shoulder and belly cooked in onion and tomatoes and seasoned with un-pounded spices,” Sudheeshan explains. Malabar monk mule and Attirachi ularthiyathu Ernakulam-style dry roasted mutton “The north Malabari region sees a tamed spice level, like the fish moilee or the kudampuli. In the centre, the food gets spicier with generous use of black and green pepper and red kandari chillies,” Gupta adds. The team has covered regions from Thiruvananthapuram along the southern coast, Thrissur in central Kerala, to Kottayam in the east, and Alleppey in the south west. “In southern Kerala, communities such as the Syrian Christians are known for their rich coconut-based stews, while the central region of Palakkad — geographically in northeastern Kerala — is influenced by Tamil Brahmin cuisine, which predominantly features vegetarian dishes. Meanwhile, the Alleppey and Kottayam regions stand out for their abundant seafood offerings, including prawns and meats like pork,” explains Pillai. Chemmeen koonthal tawa roast and KQ creme caramel Our culinary trip begins with a humble parippu moringa soup (Rs 459). Drumsticks are simmered in a light lentil stock, warmly opening the taste buds. Vazhapoo parippu cutlets are crunchy discs made from banana flower and masoor gram patties (Rs 389) with a pasty red chilli chutney that starts the ignition for the meal to come. Attirachi ularthiyathu (Rs 689), an Ernakulam-style dry roasted mutton cooked in onions, coconut and a robust tempering of curry leaves. The meat is tender, the spices bold. The chemmeen koonthal tawa roast (Rs 699) is a toddy shop specialty of prawns and squid rings roasted with a touch of coconut oil. It is an oily balance of spice and tang. We wipe this clean with ney pathiri (Rs 249), a deep fried puri made of rice powder and seasoned with cumin seeds. To pace the spice, we bite into the ney pathiri. Throughout the meal, we sip on two drinks: Nannari soda sarbath (Rs 349) is a refreshing basil seed and lemon juice drink spiked with sarsaparilla syrup. From the cocktails, we sip Malabar monk mule (Rs 749). Old Monk meets orange zing of Aperol, and is finished with lime and kudampuli tamarind. The vanilla sweetness of the rum meets the bitterness of Aperol and pushes the possibilities of the dark rum. The most beautifully executed dish is koon kizhi (Rs 459). Traditionally, steaming in banana leaves is usually done for fish. Here is a vegetarian execution with mushroom and shallots. A delicate symphony unfolds with the sweetness of the banana leaves that mingles with the gentle spice of coconut gravy. We pair it with idiyappams and egg appams and indulge in the pacha manga curry (Rs 589) that lends a tangy playfulness with red rice. KQ creme caramel (Rs 449) is a sweet bite of caramel custard with black Kerala jaggery sauce. A filter coffee on the side is a perfect ending. Starting next month, the resto-bar will also host Sunday Sadya brunches. Kerala QuartersAt Mathuradas Mill Compound, Plot 126, Senapati Bapat Pawar Marg, opposite Zeba, Lower Parel. Time: 11.30 am to 3.30 pm; 6 pm to 12.30 am (all week) Call: 9930335941
02 December,2024 08:44 AM IST | Mumbai | Phorum PandyaYou can complain about social media forcing the ubiquitous beige aesthetic down everyone’s throat until you’re hoarse, but there’s no denying that viral trends have been instrumental in sparking interest among younger generations about India’s rich legacy of craftsmanship. As proof, we offer you the latest trend that’s being adopted with gusto by Gen-Z — craftcore. Kalki Koechlin sports a printed jacket And no, we’re not referring to your grandma’s doilies being repurposed as napkins or kerchiefs, but rather a more fascinating fusion of heritage Indian crafts and textiles with contemporary silhouettes. “Craftcore is a contemporary fashion aesthetic that celebrates both heritage and innovation,” explains fashion designer Sanjana Bubber. In that, the trend focuses on highlighting the beauty of Indian textiles and techniques, while elevating everyday garments into artistic statements, she adds. Maximal, minimal and everything in between A block printed shirt paired with blue trousers “Some of the crafts we’re seeing on contemporary clothing include khadi, chikankari, indigo dying, daboo, kalamkari, Banarasi, ikkat, bagh, kantha, Chanderi, bandhani and phulkari. For wearers, it represents a fresh perspective of how fashion can celebrate Indian culture, sustainability and individuality,” says Bubber. For a more statement look, she suggests incorporating crafts into major silhouettes such as shirts, pants, trousers, blouses and dresses. Karisma Kapoor wears a blazer with a dress to complete the look >> A khadi, indigo-dyed or ajrakh-printed shirt, for example, can be dressed down with distressed jeans, loose chinos, or even simple khadi pants for a balanced look. If you’re keen to make a bold fashion statement, you can experiment with contrasting patterns or prints, in the form of ikkat trousers, or a pair made of Chanderi linen. For visual balance, add solid black or white tee, or a white button-down shirt. Vijay Varma in maroon high waist hand-embroidered trousers >> A kalamkari or chikankari blouse, or a bandhani top in vibrant colours can be paired with tailored trousers or a flared skirt. For an edgier ensemble, wear a fitted short skirt or ripped denim jeans. >> When it comes to dresses, a patola silk dress is perfect for formal events, while chikankari embroidered shift dresses exude a delicate air of refinement. Ikkat prints work well in both maxi and shift styles, and you can experiment with bold patterns. Indian textiles are a bold statement in themselves, which makes it easier to style these pieces. They also work well with relaxed silhouettes. Sanjana Bubber >> For menswear, a khadi kurta in a lean cut can easily replace a shirt when paired with distressed jeans or chinos. >> You could also wear your pick of Indian textiles in blazers and bomber jackets. For instance, a phulkari blazer with distressed jeans and tee, or an ikkat bomber jacket with tee and formal well-fitted trousers will instantly ensure that your look stands out. >> Craftcore can also be minimal and chic, with subtle craft elements added as accents to your overall outfit. A hand-embroidered chikankari cuff or block printed lining in a tailored blazer can add visual interest without overwhelming your look. You could also keep it simple with khadi basics and natural-dyed products that celebrate Indian hand craftsmanship. Bubber notes that such accents can add a touch of luxury to your look. Fashion researcher Arti Sandhu in a bandhani tie-dye indigo outfit (right) Pair your craftcore overshirts with solid tees or printed trousers >> Another easy way to add crafty elements to your existing wardrobe is to add artsy accessories. Handcrafted sandals made of block printed fabric, sneakers made of naturally-dyed fabric, or a tote bag featuring ajrakh or ikkat prints can add visual depth to a modern look, as can statement jewellery. Hand-embroidered jewellery is having a fashion moment on social media and can infuse your look with femininity.
02 December,2024 08:33 AM IST | Mumbai | Anindita PaulWe are leading increasingly individualistic and lonely lives in the city,” says theatremaker Tanvi Shah. We can’t deny it. This writer, like many others, has possibly seen the inside of an Internet influencer’s home on Instagram more often than their next door neighbour’s. Shah’s two new initiatives under an upcoming theatre company aim to bridge the gap by transforming rooftops and living rooms into stages. The first few sessions of Unplugged Mehfil — a safe space for musicians from varying disciplines to unwind, and Ghargatta — a home performance series, have already paved the way. The recently concluded inaugural sessions at Shah’s Vile Parle pad could’ve easily been mistaken for a musical instrument expo of sorts. Picture this — musician Neil Khopkar’s Appalachian dulcimer playing in tandem with a forgotten age-old folk song from Karnataka sung by Gulbarga-based researcher and singer Shilpa Mudbi. Or harpist Nush Lewis’ plucks reverberating alongside a rendition of Sahir Ludhianvi’s poetry. Among these peculiar sounds, there’s another percussion instrument that is telling its own story — a musician is gently tapping away on Shah’s grandmother’s old wooden cot — a family heirloom — to keep rhythm. (From left) Neil Khopkar plays the Appalachian dulcimer; Shilpa Mudbi sings a folk song from Karnataka; Ria Modak (on guitar) and Meera Desai (on harmonium) at a previous Unplugged Mehfil gathering in Vile Parle Khopkar, who grew up under the tutelage of veteran classical vocalist Neela Bhagwat in Dadar’s Shivaji Park, isn’t a stranger to the concept of baithaks or private performances in homes. “What’s different here, however, is the kind of feedback you receive. Classical baithak audiences can be passive at times — they’ll tell you how much they enjoyed the performance, and that’s about it. But when your audience comprises musicians from across disciplines, there are new ideas, unexpected collaborations and technical learnings that you take home,” he shares. To ensure these nuances aren’t lost in the pursuit of scaling up, Shah invites 20 musicians from the registrations she receives every month to be a part of the gathering. The theatremaker has a way of reimagining the traditional baithaks too. What was once considered a gathering only for patrons who understood the deep nuances of classical music, needs a dose of democratisation, Shah believes. At one of the first Ghargatta gatherings last weekend that was open to attendance by non-artistes, vocalist Shruthi Veena Vishwanath performed poetry written by 13th century female poets of the Warkari (or Varkari) movement such as Janabai and Muktabai. “Many of our audience members had never listened to an abhanga before, let alone these rare ones written by women. These kinds of performances find it hard to find a stage in Mumbai where real estate and stage time both come with a hefty price tag,” she reasons. Tanvi Shah Shah’s efforts to convince Mumbaikars to open their homes to strangers might sound like a shot in the dark to many. But the theatremaker has already started receiving queries about hosting these gatherings from across the city and its suburbs. “I have had my share of big fancy productions as a theatremaker. The goal now is to build an alternate performance culture in the city’s homes with monthly programming,” she shares. The upcoming theatre company, she reveals to us, will be called Jaan. “It’s an endearing title you’ll hear only in the unmatched comfort and warmth of a home. Hopefully, it hasn’t faded so far from memory that we can’t help people remember it,” she signs off. LOG ON TO @provocauteure; @unsharedchildhoods (for schedule) FREE
30 November,2024 07:03 AM IST | Mumbai | Devashish KambleHow I Write (HarperCollins India) is a collection of conversations between seasoned writers, filmmakers, and journalists, on their craft and creative processes. Artists interview artists and enrich the discussion on the challenges faced during the making of their work and the choices that helped them move ahead. Edited and compiled by author and academic Sonia Faleiro, the anthology of interviews was created as part of South Asia Speaks, a mentorship programme that supports emerging writers from South Asia on their journey into writing their first book. Here are five tips from the book that will help all creative thinkers in their journey: 1 Navigate the first draft: The biggest challenge standing between us and our creative projects is our fear of a bad first draft. It’s true for most creative endeavours. The first draft is the toughest. There’s always an itch to make edits along the way. Every creator has experienced this. Kamila Shamsie advises, “Don’t worry about making it [i.e. the first draft] good. There needs to be enough to work with.” Manjushree Thapa echoes her sentiment, especially for work that involves any kind of research: “The research has to stop at some point. You have to recognise ‘What’s enough research?’” It cannot be an excuse for avoiding completion of that first draft. “You have to grit your teeth and get through it.” Pankaj Mishra 2 Gauge the community: There are two ways to think about communities. The first concerns the larger society that we’re a part of. In his interview, Pankaj Mishra insists that if we are approaching a society, we need to learn as much as possible about it. “Read up on those who’ve done the work before you,” he says, adding that we mustn’t restrict ourselves to speaking with people of the community alone. The second way of thinking about community is to acknowledge that we are also a part of a creative community and we need to engage with it and learn from it. Nilanjana S Roy 3 Structure your work: Nilanjana S Roy writes about outlining and structuring one’s work. She explains, “Once I do that [i.e. lay down the structure], the imagination can float around wherever it wants to.” The biggest fear in such situations, she shares, can be that the outline would act as a barrier. On the contrary, it liberates us and allows room for play. Kamila Shamsie and Meena Kandasamy 4 Criticism of your work is not a criticism of you: Meena Kandasamy expresses in her interview that the only thing that we have control over is what goes into our creation before we put it out for the world to see. It’s important then, to be able to kill our darlings. ‘Be proud of [your creation], but don’t be precious,’ she writes. With creative thinkers, there is a tendency to take each feedback as an attack. It’s a natural reaction. Kamila Shamsie expands this thought. She adds that if anger is a response to the feedback we receive, we must return to our draft, especially if the anger emerges not from the person having paid little attention to the work, but from the knowledge that they are “right about something that’s deeply wrong” with the work. Mira Nair 5 Don’t think about the fruits of action: It is easy to think about the success of a creation: the shape and form it can take. This thought is crippling. It can take away from the process of creation. Mira Nair argues that there are several “yardsticks of success” these days — a prize here and there. However, creative thinkers need to move away from thinking about such awards and other faces of success. Instead, they must focus on the work. The thought of success is also messy because, in addition to ruining our journey, it can lead to us making dangerous comparisons with other creators and artists. Also Read: Indian flautist Pandit Ronu Majumdar: ‘Youngsters are in a hurry to perform on-stage’ Available At leading bookstores and e-stores
30 November,2024 06:54 AM IST | Mumbai | Nandini VarmaWalking past the Green Gate of Indira Docks on Ballard Pier, this writer was amused by the contrasting sight. With its steadfast mast, an intricate rigging, and ornately carved broadside, the latest Italian arrival in Mumbai looks like it popped out of a Robert Louis Stevenson novel. Its contoured broadside strikes a contrast against the sharp edges of more modern ships on the dock. Yet, the Nave Amerigo Vespucci has already braved the currents of the Atlantic, Pacific and Indian Oceans on its way to Mumbai. Sketches of the ship by artist Subhash Bathé Housed alongside the Villaggio Italia — an enclave celebrating Italian culture, art, music and design — the ship’s visit is part of a five-day initiative led by the Italian government to showcase the country’s culture, and further relations with India. The gilded figurehead of Amerigo Vespucci at the bow of the ship We are welcomed by a stage that will host musical performances and screenings. We notice singers already busy in rehearsal. The stage faces an expo pavilion that will house works of art and pieces that highlight Italian design. This writer was taken by the sight of an aqua blue Vespa showcased inside right near its entrance.With the sun climbing, the crowds began to file in and we decided to follow them. We climb into the ship through a wooden drawbridge. “This is perhaps the quieter area of the ship,” laughs Alessandro Cazzato, Lieutenant junior grade, as he welcomes us onboard. Cazzato has been on the ship since it left Genoa on July 1, 2023 on its world tour. As he guides us through the deck, it is hard to not marvel at the intricate but sturdy woodwork that define its hull. Although equipped with modern navigation systems, the ship still retains its classical design The Nave Amerigo Vespucci, as it is officially known, was built in 1931 in the Castellammare di Stabia in Naples, Italy. Termed ‘one of the most beautiful ships in the world’ by the American Navy, it is a full square-rigged vessel that carries 28 sails and 36 kms of natural fibre ropes that bind the rigging and keep the sails in place, the lieutenant informs us. As we stand beneath the mast, it dwarfs us, leading us to wonder what it takes to handle the rigging in the midst of a treacherous sea. No surprise then that the vessel is used as a training ship for navy cadets and young sailors. A view of the guns placed on the deck, with bugles and a cap The journey of the Vespucci began from the port of Genoa, continuing down to Las Palmas in Spain, and Dakar on the coast of Africa, before crossing the Atlantic Ocean to circumnavigate South America. “Our proudest moment was to pass Cape Horn, the tip of the South American continent. It is very treacherous for ships, especially a sail ship like ours. We crossed it with sails unfurled,” beamed Cazzato. Having passed Australia and Phuket, the vessel will dock in Mumbai till December 2 before heading home through the Middle East. Lt Cazzato describes the journey of the vessel For a 93-year-old, the Vespucci looks in good shape. Like us, the crowd is mesmerised by the collection of the past that continues to mark the elegant vessel. With three sections — upper, middle and tween — the ship is manned by crew members dressed in all whites guiding the crowds. If you walk past caps placed surreptitiously on hangers above working stations, do not be surprised. A crew member tells us that it is a way to keep them handy for when the captain walks the deck. It is a timely reminder that despite the nature of the visit, the ship is still a part of the Italian Navy. A view of the rigging from the deck of the ship The ship has already caught the attention of crowds beyond. As we step out, we notice artists Subhash Bathé and retired captain Prafulla Udaykar seated by the pavilion. The Pune-based duo has travelled all the way to the city to sketch the ship. “It is hard to get a full view of the ship,” Bathé remarks. We agree. Perhaps, next time we will be so lucky as to take it out to sea. Till December 2; 10 am onwards At Green Gate, Indira Docks, Ballard Pier. Log on to tourvespucci.it (registration mandatory)Free
30 November,2024 06:51 AM IST | Mumbai | Shriram IyengarVaulting, dodging, climbing and swerving through tight corners might not be novel challenges for you if you’ve survived the city as a true Mumbaikar. But as athletes and coaches reveal later in this report, a good outdoor session is more about the mind than the body. “When I’m practising an extreme sport, my worldly worries melt away. My focus is channelled into my next leap, my next step, my next big decision,” says skateboarder Advait Raj. We pick our tried-and-tested safe outdoor sporting disciplines across the city and the suburbs to test-drive your adventure thrills. Get a grip A boulderer navigates an inclined climb. Pics/Atul Kamble Bouldering, a simplified version of rock climbing that is practised on artificial walls, has more takers in the city than you’d think. A roofed artificial bouldering wall in Nerul managed by the Girivihar club offers free access and training under experienced coaches. While the International Federation of Sport Climbing-standard wall was imported from China in 2016, the holds and mats were flown in from across Europe for a world-class experience. “Bouldering has long been seen as a competitive sport, but recently, people have realised its value as part of a personal fitness regime. It’s the perfect way to get moving and work on your strength between hectic workdays,” shares boulderer and coach Rohan Gawand. The routes are customisable to allow the coach to build easier or harder routes as you make progress on your journey. Experts suggest using a pair of rock climbing shoes specialised for a better grip to get hold of things faster. At: Shree Math Acharya Renukacharya Udyan, Sector 21, Nerul East. Where the OGs roll The skatepark hosts multiple ledges. PICS/KIRTI SURVE PARADE Don’t fix what ain’t broken, they say. The Carter Road skatepark has been a long-time favourite for skateboarders like 16-year-old collegian Advait Raj for its humble, yet reliable setup since its inauguration in 2020. Most recently, the skatepark has been installed with solar-powered lights and netted fencing that allow skateboarders to safely skate through the breezy, quaint evenings. “This skatepark has survived the test of time, thanks to the community. You’ll see skateboarders clean up after their sessions every single time,” Raj says. With an easy level bowl setup for children and beginners, and railings and ledges and rails for those chasing the high from stunts, this skatepark is a great introduction to not just the sport, but also the culture that keeps it alive. At: Carter Road Skatepark, near the Office of the Additional Commissioner of Police, Bandra West. Parkour by the sea Participants learn the basics of parkour at the outdoor session. PICS/ANURAG AHIRE Vaulting, running and rolling your way through urban landscapes comes with its own risks and rewards. A new outdoor parkour programme overseen by coaches Rishi Prasad and Cyrus Khan in Bandra West might be a good way to start your training until you find your footing. “The modern architecture in Mumbai is extremely conducive to parkour. The newly-renovated section of the Carter Road promenade, near the amphitheatre is a prime location, given its solid surfaces and railings,” the experts reveal, adding that contrary to popular belief, parkour is not only for the athletic bunch. “It is almost like a form of self-expression. It might look like rocket science when you see it in movies and on your television sets, but once you get the basics right, it’s a breeze,” they add. The tougher part, we assume, is to fight the urge to parkour your way through Bandra’s endless traffic jams on your way back. At: Carter Road Amphitheatre, near Union Park, Bandra West.Entry: Rs 300 per session Skate under the over The compact skatepark under the Dattapada Flyover. PICS COURTESY/KUSHAL GAIKWAD The latest addition to a skateboarder’s map of Mumbai is a newly-built skatepark under the Dattapada Flyover in Borivli East. While a similar project that popped up under the Hindmata Flyover in Dadar in 2023 has lost its charm (and functionality), skateboarder Kushal Gaikwad believes the Borivli counterpart will fare better. “Most parts of the park feel well-built. It is naturally not the most spacious park, but a few obstacles like the downrail and ledges are built to perfection despite the space constraints. The monsoons will be a litmus test of its reliability. Nevertheless, I’m happy it will usher in a new skateboarding community here in the northern suburbs,” Gaikwad shares his approval. We are happy to report that during our visit to the park, we met the park’s polite security guard who keeps a close eye on skateboarders’ safety, and a closer eye on miscreants and vandals after dark. At: Pillar No 15, Dattapada Flyover, Tata Power Residential Colony, Borivli East.
29 November,2024 11:42 AM IST | Mumbai | Devashish KambleWe walk into the buzzing Jehangir Nicholson Art Foundation (JNAF). It is the preview of her new exhibition, and Dayanita Singh is already at the centre of the conversation. We see veteran journalist and editor P Sainath in an earnest discussion with her. Around them, multiple photographs adorn the gallery walls with an aesthetic geometry. They are part of Singh’s touring exhibition that opened with Photo Lies in Mumbai on November 21. The exhibition draws from her previous work, Dancing with My Camera that toured Europe with the Frith Street Gallery, London, as well as bringing some new unseen works to India for the first time, Singh reveals. “Since this is a tour, I had to think of a curation to suit every venue. Puja [Vaish] and I settled on this concept around architecture and deception,” she explains. The deception is part of Singh’s questioning of photography as an accepted evidence of truth. An exhibit titled Make Space “Photography, even in documentaries, is deception. I was just having that same debate with Sainath, and he opined that this could be true of photography of power, but not protest,” she reveals. Singh’s non-conforming idea, to this writer, is not dissimilar to the surrealist painter Rene Magritte’s famed Treachery of Images. On being told, she laughs, “You are not entirely wrong. There are 2,000 years of architecture in these images from Pompeii and Ellora, to architects Le Corbusier and Rahul Mehrotra. I have interspersed geography and time. Each of these places [in the photographs] are different in time and geography. The only place they can exist in is here,” she remarks. Many of the montages emerge from Singh’s long nurtured photographic archives of architectural spaces. Places such as Carlos Scarpa’s Brion cemetery blend into Martand Khosla’s Delhi residence; Geoffrey Bawa’s structures amalgamated seamlessly into a photograph of Álvaro Siza’s works. At one point, photographs of Studio Mumbai and the Ellora Caves are cut into each other with a play of light that makes it difficult to point out the oddities. A patron views the Bawa Rocks pillar The artist admits that she worked instinctively when creating these analogue cut-out combinations; “…like a DJ.” Echoing the sentiment in her walkthrough of the exhibition, Singh told visitors, “I love it when my architect friends look at a photograph and say, “Ahh Bawa,” and I get to tell them “Look again.” This show is about slowing down, looking carefully; otherwise you miss the fact that there are pieces of the images moving back and forth.” There is durability in the visions of stone structures in black and white, against the wooden teak frames that interrupt the flow of visitors walking through the gallery. “The frames are shaped by our perception of photographs. These are square frames, and these are 35mm frames,” she points out. There are also pillars of three architects — the Corbu pillar, Bawa Rocks and BV Stairs. Bombay Cinema House Museums (foreground) and Archiviologies Each wall brings out a different aspect. One of the walls hosts painted over images of photographs giving them a ghostly appearance. This novelty is also the reason she chose the venues, including JNAF. Singh shares, “One cannot always rely on commercial galleries. It is not their role to question norms of photography, or architecture. We need spaces that allow such questions or disruptions of order.” The tour will continue across India till April with stops in Jaipur, Kolkata, Ahmedabad and Vadodara. For now, Mumbaikars can walk in and admire the aesthetic beauty between truth and deception. Till February 23; 10.15 am to 6 pmAt JNAF, second floor, Chhatrapati Shivaji Maharaj Vastu Sangrahalaya, Fort.
29 November,2024 09:37 AM IST | Mumbai | Shriram IyengarI want to ensure the bansuri gets the identity it deserves across the world,” is legendary Indian flautist Pandit Ronu Majumdar’s prompt reply when asked about his next goal. This passion for the instrument that has shaped his musical journey over the years shines through in every question he answers. Majumdar, who is known for his jugalbandis with other instrumentalists, will take the stage at a music festival organised by St Xavier’s College’s Indian Music Group this weekend, performing alongside his son, Hrishikesh Majumdar. “I am excited about this father-son jugalbandi. I hope my 24-year-old son’s performance will inspire youngsters to take up music as a career,” he shared. Apart from taking bansuri to the global stage, Majumdar’s efforts to popularise the instrument among the youth, is well-documented. “Youngsters are interested in learning to play the flute. Through the Ronu Majumdar Flute Foundation that I started in February 2022, I am teaching so many children from around the world,” the flautist reveals. However, youngsters’ approach towards acknowledging Indian classical music has changed. “Indian classical music is currently in a phase of change. There was a time when we used to do only alaap for an hour. Now, people have lost patience. To connect better with them, we have had to change the packaging of performances. Younger audiences appreciate the rhythmic jugalbandi. We have taken to fusion music as well. It is essentially classical music, interspersed with interesting beats and lyrics,” Majumdar explains. Majumdar feels it’s necessary to make Indian classical music more interesting for youngsters, to encourage them to pursue this art form. However, he has an important message for them, “Youngsters are running behind success; they seem to care only about how quickly they can take the stage to perform. That’s the wrong attitude. Your guru will tell you when the right time to go on stage is. One needs to have seriousness and devotion towards learning the subject.” Drawing from his love and dedication towards this craft, Majumdar wants to get ‘bansuri’ its due. He remarks, “Sitar and tabla are popular in foreign countries as Indian classical instruments. But when it comes to bansuri, they refer to it as the ‘Indian flute’. That hurts me. When I composed music for the Hollywood film, Primary Colours, I ensured that they mentioned the instrument as ‘Bansuri, the Indian flute’ in the CD. My next goal is to make the Indian flute known as ‘bansuri’ because that’s its identity.” On November 30; 4 pm onwards AT St Xavier’s College, Dhobi Talao, Fort. ENTRY Walk-ins permitted Mumbai and Majumdar Varanasi-born Majumdar was influenced by the musically rich environment of the city, which was home to stalwarts like Kishan Maharaj, Girija Devi and Ustad Bismillah Khan. However, he believes that Mumbai played a huge role in shaping his career in music. “I came to Mumbai in 1973 with my father. He insisted that I learn from a guru who can help master my craft, so I became a disciple of Pandit Vijay Raghav Rao,” he recalls. “My first concert was in Mumbai as a 13-year-old. After the performance, when people said that this kid played like a maestro, I realised that the flute is going to be my life. Mumbai gave me everything I have today. The city is an ocean of music,” he summarised.
28 November,2024 12:27 PM IST | Mumbai | Raaina JainThursdayMid-week laughs Anirban Dasgupta, Gurleen Pannu and Shashank Chakrabarti push back the week’s trauma with some schadenfreude and self-defeat in their new late-night sets. Time 10 pm onwardsAT The J Spot, Gulmohar Road, Juhu Scheme, Juhu.Log on to in.bookmyshow.comCost Rs 349 onwards FridayBrew ’em up Nothing beats the stress of a work week like a good cuppa joe. Learn the secret to brewing your perfect cuppa at the ongoing Mumbai Coffee Festival, with showcases of latte art, and diverse coffee brews to lift your spirits.Till December 1; (varying Time slots)AT South Sky, Jio World Drive, BKC. Log on to in.bookmyshow.comCost Rs 549 onwards SaturdayRide the line Pics Courtesy/Instagram If this does not get your kids off the couch, nothing will. Help them learn skateboard tricks and skills from professional skateboarders. With equipment provided, it is the perfect outing for kids. Time 11 am onwardsAT Ramhari Kishan Dhote Udyan, near Hinduja Hospital, Mahim. Log on to @skateboardinginMumbai SundayTuck into OG Odia fare Enjoy Odia cuisine such as the mandia guda sherbet and dali bara at this rare pop-up by MasterChef India contestant Biswajit Moharathi at Momo Café. Time 7 pm to 11 pmAT Momo Café, Courtyard By Marriott Mumbai, Andheri-Kurla Road, Andheri East.Cost Rs 2,475 onwards (buffet service) Art retail therapy Looking for good art to brighten up your home? This massive exhibition of over 3,500 works of art at the Kalaa Spandan Art Fair has many works on sale. From mandala to Madhubani and mosaic, take your pick from the works on offer. Time 11 am to 7 pmAT Nehru Centre, Dr Annie Besant Road, Worli.
28 November,2024 12:06 PM IST | Mumbai | Shriram IyengarSimple and seasonal, is what Dakiwanri Warjri AKA Daki, one half of Symbai, a Khasi food pop-up, tells us when we ask her to describe the dishes that she and her sister Daphimanroi AKA Daphi usually prepare for their culinary trips in India. “The point of Symbai is to introduce people to traditional Khasi cuisine and some of its quintessential dishes which are simple yet very flavourful,” Daki tells us over a call. The sisters have planned a five-course spread in a limited-seating dining experience with the platform, Mumbai Foodie that will take patrons on a culinary journey to the lofty Khasi hills of Meghalaya, replete with soups, salads, curries and seasonal fruit pickles indigenous to the region. “One of the things that have been a favourite on the menu and people actually look forward to having is the smoked pork. The Khasi people eat it a lot which is why it is on the menu as well. Another one would be chicken cooked in black sesame, a very traditional preparation. There are many sub-tribes within the Khasi area. Bhoi is one such region in the hills where they cook a lot with fermented fish. Drawing inspiration from the region, we have fermented soy, chestnut curry and ash gourd cooked in black sesame for vegetarians as well. The fruit pickles are also coated in a spice mix rather than just brine to pack a punch,” Daki explains. They also have an interesting take on dessert. “We’re not a dessert-eating community but the honey from the hills served with purple yam makes for a great combination. Unlike regular honey, it has a citrusy note to it which makes it even more interesting,” Daki reveals to us. From what started as a fun pop-up for friends in Puducherry in 2022, Symbai has come a long way with the flavours of Khasi food permeating different corners of the country. “We have had pop-ups in Bhubaneswar, Hyderabad, Puducherry; this is our sixth edition in Mumbai. We wanted to showcase Khasi cuisine to people because there is very little knowledge about it in general. Khasi food is actually one of the simplest and most nutritional meals you can have. It was on our friends’ suggestion that we thought of building a brand around Khasi food. With time, we realised that people actually enjoyed the cuisine. Given that we didn’t even have a name when we started, we received a lot of traction for our pop-up,” Daki tells us. Dakiwanri (left) and Daphimanroi prepare a dish during a pop-up When we ask her for the meaning of Symbai, she says, “It means seed. It’s like we are planting a seed of Khasi cuisine in people’s minds. Also, a seed is the beginning of food, so it made sense. It is quite metaphorical actually. But more than that, I think I liked the word a lot, which is why it got stuck with us,” she laughs before signing off. Log on to: @symbai_pop on Instagram Note: Seats for the pop-up were sold out at the time of going to press. Ja stem (Rice cooked with turmeric) Daki and Daphi have listed out a simple Khasi dish for patrons to try at home. Ingredients >> 250 gm rice>> 3 tbsp lard>> 2 big, grated red onion>> 1 crushed garlic, clove>> 1 thumb ginger (grated)>> 1/2 tsp Lakadong turmeric>> 1/2 tsp wild pepper>> Water (double the quantity of rice)>> Salt to taste MetthodWash the rice and keep it aside. Heat the lard in a pan. Add onions, garlic and turmeric once hot. Fry until slightly brown. Add half cup of water and bring to a boil. Add in the ginger and pepper and let it simmer for five to six minutes. Add water and salt and bring the mix to a boil again. Add in the rice and bring to a boil, then simmer for 15 to 18 minutes, or until the rice is cooked. Need to know >> Khasi cuisine is not very heavy on spices; the cooking is simple, and it leans on seasonal fare.>> Several ingredients in Khasi cuisine are picked locally, and foraged to this day.
28 November,2024 09:40 AM IST | Mumbai | Divyasha PandaADVERTISEMENT
