Four years after his passing, actor Lupita Nyong’o recently wrote about the death of her former co-star Chadwick Boseman: “Grief never ends. But it changes. It is a passage, not a place to stay. Grief is not a sign of weakness, nor a lack of faith. It’s the price of love.” Her evocative words touched a chord with thousands of fans, who could either relate to the very personal loss of a loved one, or the collective and almost as crushing loss of a beloved celebrity like Boseman. And while Nyong’o reflected on the transformative nature of her grief, for many, the unspoken burden of loss is often theirs to shoulder alone. Journalling can be a therapeutic tool to process grief It was this realisation that led psychotherapist Sonali Gupta to devote an entire book, You Will Be Alright (Penguin India) to the topic. She shares, “Over the last two decades of my work, I have witnessed and seen that we have a culture of intergenerational silence when it comes to grief. We are neither taught nor trained to have a vocabulary for grief. As a result, it’s extremely common for clients who come to therapy sessions to tell me how they find it hard to articulate what is being evoked in them in the event of a loss, either due to death or the end of a relationship. Grief takes the form of that ‘who must not be named’ — we carry irrational beliefs around death and mortality — such as believing that something bad may really happen if we talk about death.” Also Read: Did it heal me? Sunday mid-day tests therapy sessions with a new AI chatbot Gupta’s book addresses the topic through a multifaceted lens, with careful consideration to those parts of grief that are often considered too ‘difficult’ to address and are therefore relegated to silence. This, she says, was a conscious decision. “How we accept and process grief impacts everything. I believe it shapes how we love and how we live. This, in turn, also means that if we choose to suppress and avoid dealing with our grief, then in so many ways it starts coming in the way of how we love,” she elaborates. Complexities of loss In the book, Gupta writes that while grief is typically associated with death, it is more accurately described as the human response to loss. This loss can take various forms — drifting apart from an old friend, a miscarriage, the end of a relationship or even betrayal. She notes that grief can also be attributed to the loss of a thing, or even an abstraction. Acknowledging the grief that results from such losses, says Gupta, is the first step towards processing those emotions and seeking the necessary support. Individual therapy sessions can help you cope with the loss Another interesting observation is that while emotions such as fear, devastating sorrow and hopelessness are considered typical of the grieving process, individuals experiencing grief may sometimes find their sadness tinged with contradictory emotions such as relief, shame, anger or even guilt. “Situations that could be associated with relief are when there have been years of care giving and a certain degree of fatigue and exhaustion have set in,” Gupta writes. “Very often, relief is accompanied by a feeling of guilt. We begin to think of ourselves as bad people, who feel relief in the aftermath of a loved one’s death. The reality is that we can still love someone deeply and yet feel relieved when they pass away. It is normal and a part of being human,” she continues. Similarly, she writes about the possibility of grief being accompanied by feelings of shame, combined with anger and even hatred for the person who passed away, particularly when there was addiction involved — like alcohol or drugs, for instance. These emotions are often intertwined with sadness and may be experienced at the same time. For many, this duality and paradoxical reality may seem difficult to comprehend. “If you are supporting someone who is dealing with these emotions, learning to accept what the bereaved is saying, without trying to judge them for it, is the biggest part of grief,” she notes. Help through it all When supporting a grieving individual, the ‘how’ matters as much as the intent, Gupta emphasises, “Statements like ‘time is a big healer’, ‘you will get over it’, or telling someone to ‘think of the road ahead’ don’t help at all. The reality is that we never get over our losses; we only learn to build a life around loss. There are no timelines when it comes to grief and telling someone that it gets better with time can often feel like trivialising their loss. Just as our love remains even after we have lost a loved one, our grief also remains — it changes and feels different as we begin to process the loss. Learning to listen, offering an attentive presence rather than saying ‘I know exactly how you feel’ is important, as grief never looks the same for two individuals,” she adds. In the book, Gupta reminds us that just as our love remains even after we have lost a loved one, so does our grief — it changes and feels different as we begin to process the loss. Representation pics Knowing when to seek the right kind of support is also crucial. “Grief is deeply personal, feels overwhelming and often shows up in the most unexpected ways. There are clients who reach out in therapy because they find it hard to talk to their loved ones and often need a safe space that feels objective and non-judgmental. In scenarios where the bereaved had an ambivalent relationship with the individual who passed away and has mixed feelings about this loss, the support of an expert can help. In my experience, if you are experiencing panic attacks, suicidal ideation or intrusive thoughts at a rapid frequency, it is important to reach out to a mental health professional. Similarly, if the loss was due to suicide, homicide or under traumatic circumstances, it becomes crucial to reach out,” Gupta explains. Grief or depression? At the same time, she points out that it’s important to not pathologise grief. “While the devastating sadness that follows grief seems a lot like depression, it’s important to not confuse the two. Grief and depression share some similar characteristics; however, they are not the same. We need to remember that every grieving individual is not depressed. When you are supporting someone who is grieving, learn to be patient and recognise grief for what it is, while also being alert about persistent and intrusive symptoms that do need attention,” she concludes. Is it normal to mourn celebrity deaths? Michael Jackson’s death in 2009 resulted in an unprecedented global mourning The short answer, says Gupta, is yes. “Clients often talk about celebrity deaths in therapy sessions. My sense is that these deaths remind us of our own mortality… more so, when the deaths are untimely, the idea of uncertainty and unpredictability of life also emerges. It is also very common for clients who struggle with clinical depression and suicidal thoughts to experience an increased intensity when it comes to their own moods, particularly when a celebrity death is attributed to suicide or strange circumstances, or is considered untimely,” she writes. She notes that it is important to allow yourself to mourn and grieve these losses, just as you would mourn the passing of someone close to you. “Engaging with their work, limiting the consumption of news and social media, journalling your thoughts, and seeking support are some ways in which you can process this grief,” Gupta says.Also Read: Emotional hangover: What is this new mental health buzzword and how can you recognise it?
18 November,2024 11:25 AM IST | Mumbai | Anindita PaulIt is a lovely weekend when we reach out to artiste Prachi Saathi and designer Upasana Nattoji Roy ahead of their show in the city. The duo will present their unique concept performance that combines three different art forms — Bharatanatyam, Warli Art and immersive animation. Quite the challenge, particularly when the three forms are structurally different. “When I write choreography for my sets, I often draw stick figures to explore the idea. One day, the similarity in the geometric nature of both Bharatanatyam and Warli art struck me. It led me to think, why not weave a story around it?” shares Saathi, recalling the origins of the idea. A moment from the performance For Nattoji Roy, it was a matter of fundamental storytelling that culminated in this confluence. “The performance is all about the coming together of a story through dramaturgy. Animation and Bharatanatyam are both time-based mediums of presentation, and Warli art is an expression of tribal culture. It was all natural, and is actually a way to create a bridge between art, technology and design,” she explains.Also Read: Psychotherapist Sonali Gupta dives into the complexities of grief in new book Saathi first conceived the idea of the performance in 2019 with Roy and nurtured it for three and a half years before they presented it to the public in 2023. She admits that one of her objectives was to bring in more audiences to classical performances. “The set is especially designed to attract children who are our future audience base. I wouldn’t have been able to pull it off without the help of Upasana, Rajendra Chaudhari (who designed the props), Swapnil Shapekar and Satish Krishnamurti (who provided the sound arrangement),” the former voice artiste tells us. Upasana Nattoji Roy The performances are intrinsically linked to Warli art, and are an attempt to reconnect with nature. The art form became a key to this creative expression. “I wanted to integrate the vibrant Warli tradition into the story. Indigenous communities have been the first dwellers of the land, and their ancient practices find voice through their artistic practices, specifically in Warli art,” Saathi notes. The 42-year old artiste spent three days among the Warli community of Jawahar Pada in Palghar for research. They have also invited 30 Warli artists to watch the show. “It is a way to tell them that this performance is for you,” Saathi says. “We want people to rethink their actions towards climate. Does development have to be at the cost of nature? Can ecology and economy go hand in hand?” Saathi asks. The name of the performance is another one of its intriguing facets. “We named it When walls dance because when you see tribal art it seems as though the figures are dancing on the wall; as are we in this performance. So, it seemed apt,” she signs off. ON November 19; 6 pm and 8 pmAT G5A Warehouse, Laxmi Mills Estate, Shakti Mills Lane, Mahalaxmi. LOG ON TO insider.inCOST Rs 250 (first-come-first-serve basis)Also Read: Why you can visit this new restaurant in Lower Parel
18 November,2024 11:12 AM IST | Mumbai | Divyasha PandaIn hindsight, we are glad that we didn’t head to Lil Gamby in Lower Parel with our kids. We would’ve been tongue-tied, trying to reveal the letters masked by asterisks in F****N and or B***H for dishes on the menu, or explain what ‘knock me up’ means on the menu. The space had started as a humble cloud kitchen during the second lockdown and since then, has expanded into restaurant formats across Chembur, Khar West, and Versova, but this one at Lower Parel, which has come up in place of Cafe Panama (and Cafe Zoe before that) is bold and has playful interiors. Inspired by Shaan Gidwani’s (founder, Acapella Hospitality) travels and experiences, the restaurant blends global street culture with a distinct Bombay vibe, drawing from hotspots like Miami’s Wynwood, London’s Shoreditch, and Brooklyn. There’s also a game zone with air hockey to chill at. Gamey mistress pizza Lil Gamby’s menu includes signature sourdough pizzas, smash burgers, panuozzo, and bar bites. The Neapolitan-style pizzas, with a 48-hour cold-fermented crust, are topped with buffalo mozzarella, premium Italian ingredients, and local flavours. We tried The gamey mistress (R475) pizza, with its San Marzano tomato base, burrata, mozzarella, and scamorza. The crust was beautifully airy, but the balance between the two kinds of cheese — soft burrata and mozzarella and sharp-tasting scamorza — was slightly off.Also Read: At this Worli café, brew your own coffee from bean to cup Chef’s hangover cure The ghee roast tacos (Rs 435) hit hard with bold spices wrapped in a flaky Malabar parotta, offering a daring flavour twist to this Mangalorean staple. Simply put, it was like eating ghee roast with paratha; a fiery option that will please spice-loving patrons. While it may seem incorrect to compare, considering that we loved Cafe Panama’s fish tacos, this dish should have been called anything else but tacos. Ghee roast tacos Chef’s hangover cure pasta (Rs 495) was the highlight: silky, al dente pappardelle twirled in a rich, comforting pulled lamb ragu felt like a warm, flavourful hug — perfectly balanced and deeply satisfying. It was also high on the spice levels. The drinks were refreshingly simple. We enjoyed the Feisty taxi (R295), a lively blend of guava, orange, cranberry, peach, and lime, and their in-house iced tea (R235). For those keen to get bolder, there’s a selection of 16 craft beers, including collaborations with local breweries like Drifters and Rolling Mills. Lil Gamby iced tea (right) Feisty taxi (red) Lil Gamby’s vibe is unapologetically rebellious — a sports bar meets street culture, designed for a casual, come-as-you-are crowd of adults under 35. We might return to appreciate the vibrant art on display, courtesy of the city’s talent, and relive the place come alive. Lil GambyAT Lower Parel Compound, SJ Marg, Lower Parel. Time 12 pm to 1 am (deliveries until 5 am) **** Exceptional, *** Excellent, ** very Good, * Good, Average. Lil Gamby didn’t know we were there. The Guide reviews anonymously and pays for mealsAlso Read: On the sundae trail: Enjoy the dessert at these places in Mumbai
18 November,2024 11:09 AM IST | Mumbai | Nasrin Modak SiddiqiBefore Mumbai became the cosmopolitan character that we now know it as today, the city’s bustling port, a feature historically appreciated and exploited, served as a vital hub for one of the most pivotal chapters in history — The World War I (1914-1919). Numerous spots and memorials scattered across the city offer a glimpse into its wartime history and commemorate the sacrifices made by Indian soldiers and sailors during the conflict. “Bombay was a British originated port city, a Presidency capital and an operational hub of war support. It’s noteworthy that mandatory coercive conscription was never used by British in India, and participation by Indian royalty and ordinary professional sailors or soldiers was largely based on various diverse political, economic or individual reasons,” R Venkatesh, heritage researcher and Member of Maritime Museum Society explains. A facade at the Indian Sailors Home Society; the memorial plaques in the hall. Pics Courtesy/R Venkatesh Honouring the city’s heroes Shaped as a lamp post in beautiful sandstone and covered in brass plaques, the Port Trust War Memorial is an unassuming wartime memorial in the middle of Mumbai’s business district. “The Bombay Port Trust and its Railways, the Royal Indian Marine (as Navy was then called), and the Naval Dockyard contributed significantly to World War I operations. The Bombay Port Trust dealt with over 3,000 transport ships, over 600 hospital ships, movement of 1.9 million troops and gigantic amounts of cargo, in addition to port staff lives were lost. All of that is explicitly commemorated at this Ballard Estate War memorial,” Venkatesh, reveals over a call.AT Port Trust War Memorial, Shoorji Vallabhdas Road, Ballard Estate. Inside CSMVS museum. FILE pic A museum of time The Chhatrapati Shivaji Maharaj Vastu Sangrahalaya, formerly known as the Prince of Wales Museum of Western India has a direct link to World War I. “The foundation stone of the building was laid by the Prince of Wales on 11th November 1905 and the structure was completed in 1914. Naturally, the British had it converted into a military hospital for the soldiers during World War I,” Dr Anita Rane-Kothare, head of Ancient Indian History, Culture and Archeology at St Xavier’s College tells us.AT Chhatrapati Shivaji Maharaj Vastu Sangrahalaya, Mahatma Gandhi Road, Fort.TIME 10.15 am to 6 pm (Wednesday’s closed) The brass plates at the Cathedral In prayers, always Mumbai’s first Anglican church, St Thomas’ Cathedral has also been a witness to the city’s contribution in the War. “The Cathedral has two plaques dedicated to WWI martyrs, one for army men and one for the Royal Indian Marine. They are poignant reminders of the supreme sacrifice by Indian or British lives alike in various war theatres,” informs Ventakesh.At St Thomas Cathedral, Veer Nariman Road, Fort.TIME 7 am to 6 pm R Venkatesh and Anita Rane-Kothare Home of the brave This dome-shaped building is one of the few places documenting India’s maritime contribution in the Great War. An octagonal room in the Indian Sailors Home Society has memorialized the efforts that went into the conflict. “The Indian Sailors Home War memorial was constructed with grand memorial plaques with thousands of names, categorising them as Royal Indian Marine or merchant navy. This memorial is one of the few places which gives you the names and details of soldiers who died in the war.” Venkatesh says.AT Indian Sailors Home Society, Dana Bunder, Mandvi.CALL 2223721803
16 November,2024 08:41 AM IST | Mumbai | Divyasha PandaWalking Bandra’s buzzy Veronica Road one evening, this writer witnessed a revelatory interaction: a man stuck his head through the window of a villa to ask an attendant at a nondescript grocery store to send a milk packet for his evening tea. As the duo discussed how this request could be accommodated, it struck us that despite Bandra’s ascent into the stratosphere of the city’s cool, its provision stores have survived the onslaught of e-commerce, to command a loyal patronage. Here are a few landmarks that have become an indispensable part of the quotidian routine. Growing up together Established by Kutchi businessman, Nanji Shah — a transplant from Gujarat — in 1980, Neelam Foodland is a landmark. Usha Mahendra Jain, a 57-year-old homemaker who lives a few blocks away from the store, says, “We have been shopping from Neelam almost exclusively for 30 years now, and will continue to be loyal customers. They are like my go-to family store. In case of emergencies, they even deliver groceries to my home, which makes life much easier. They are a trusted store. The owner, staff and us — we have watched each other grow. Jain speaks fondly of Neelam’s progression from a small kirana store to a name that’s now known globally. “The store has grown in terms of products and also their quality of food. For many students and young professionals travelling abroad, shopping for ready-to-eat items is almost a rite of passage. In fact, when my daughter Vinanti went to the UK for her higher education, I packed ready-to-eat chole, rajma, dal makhani, jeera bhakris, banana chips, khakras, and even snacks like croutons. The staff is well-versed with such requests and will package the items accordingly. For my daughter, it was a special taste of home, even when she was miles away,” she continues. AT Neelam Foodland, 1st, 5,6,7 Tanna Kutir, 17th Road, Khar Danda. CALL 9930012320 An aisle in Mount Mary Stores Mini wonder mart Now run by the second-generation, this small but well-stocked store is modelled along a mini-mart, with the exception of smiling staff who remember you from past visits and an ever-expanding repertoire of products. From pet food to organic tofu to baking supplies to a modest assortment of fresh vegetables, the store stays abreast with the changing times by offering excellent deals on clearance products and even collaborates with local residents for fresh East Indian snacks. But, as is the Bandra way, you can expect the shutters to be closed for a leisurely siesta in the afternoons and at 9 pm every evening. AT Mount Mary Society Stores, Shop No 1, Anthliz Apartment, John Baptist Road, Bandra West.CALL 26406042 Treasure hunt A briskly-run store that has also expanded to accommodate a small beauty counter, Patel is the type of place you enter for a bag of rice, and leave armed with cut and prepared fruit and perhaps a puri-bhaji snack. The layout is a mish-mash, which makes shopping here akin to a treasure hunt of sorts. Pooja Sachdev, a Mount Mary resident in her late 40s, praises the fresh and high-quality products and says she has been shopping from the store since her early childhood. “Of course, there are days when we will just order what we need from a grocery delivery app but our weekly shopping runs are always at Patel. You invariably find everything you need and are sometimes surprised by the sheer variety of products they store,” she exclaims.AT Patel Provision Stores, 100A, Hill Road, near Mehboob Studio, Bandra West. CALL 9820395783 Local is cool Despite its location on one of Bandra’s busiest streets, this store holds on to its unlit signage, which makes it virtually invisible after dark. This could mean only two things: the store is renowned enough to not need to proclaim its existence or that the bulk of its business occurs in daylight hours. In the case of Mahima, both are true. The store is busiest around 9 am, when neighbourhood residents throng for freshly-made and packaged meals that range from dosa to chawli-roti combinations. Invariably, these goodies run out by 10 am. But then, you can also stop by for Mangalorean packaged masalas, chips, laddoos and plantains — regulars swear by the authenticity and the very reasonable pricing.AT Mahima Mangalore Stores, 45, Hill Road, Ranwar, Bandra West.CALL 26400661
16 November,2024 08:30 AM IST | Mumbai | Anindita PaulDinu and Iru are aboard a steamship that is returning from Europe to India. On dreary days, they decide to “embroider a whole tablecloth together”. Over the years, this will be passed down as a family heirloom; all their children and grandchildren will have heard of it. Today, though lost, it remains treasured through its story. “Sometimes, a thing resides in the memories of those who saw it and knew what meaning it held, beyond its function,” write her granddaughter Urmilla Deshpande and Thiago Pinto Barbosa in Iru (Speaking Tiger), an intimate new biography of Irawati Karve (1905-70). Stories about her home, travels, friendships, and conversations at work, make up the five sections of the book. To the world, Karve was a woman who walked across Berlin and parts of Maharashtra, measuring skulls and bones, to reveal the cracks on which Eurocentric and Brahmanical beliefs of the 1920s were built. To her husband, Dinkar Karve (Dinu), and her children, she was Iru. Fieldwork in 1944. Pics Courtesy/Urmilla Deshpande; (right) Iru and Dinu at the house on Law College Road, 1931 The anthropologist, sociologist, educator and writer lived on Pune’s Law College Road, and drove her Lambretta scooter to work at the iconic Deccan College. Here, she started and headed the anthropology department. Pune, at the time, had already “hosted several renowned academic and other learning institutions,” shares Barbosa. “It was also at the centre of crucial national events, being an important base for key social reformist and nationalist movements during the colonial era.” Karve had been responding to these events. Her essays, her fieldwork on the outskirts of Pune, and her masterpiece Yuganta, a critical examination of The Mahabharata, demonstrate her understanding of the society. Thiago Pinto Barbosa and Urmilla Deshpande Her early discoveries, however, began in Weimar Berlin in the 1920s, when she went for her doctoral studies in anthropology. (The Weimar Republic is the name given to the German government between the end of the Imperial period (1918) and the beginning of Nazi Germany (1933). Inspired by Berlin, “replete with possibilities, particularly fraught and historically significant,” Deshpande wanted to write a novel based on Karve’s Berlin years. “I knew very little about Iru, aside from my own experience. No one said much about her; no one told any stories. She was in a way ‘just’ a family member.” Cooking on site during fieldwork She adds, “Maybe her loss was a shock that my mother’s generation didn’t properly get over. My mother talked about her as her mother.” But that’s all she had, she recollects. Meanwhile, Barbosa had been working on his dissertation about Karve’s life in Germany, having stumbled upon her work while researching German scientific racism. “Irawati stood out as the only researcher at a centre for racial and eugenics research who challenged the theory of that time and place.” The book brought both writers together about four years ago. In Berlin’s KWI-A with human skulls during her PhD, 1928 “A young man from Belo Horizonte in Brazil, and a (then) 57-ish woman who grew up in Bombay,” as Deshpande puts it; the two walked the streets of Berlin, searching for traces of Karve. Over time, they developed a deep friendship, speaking on the phone for hours and exchanging letters and books with each other. They realised that, in addition to their shared admiration for Irawati, they shared a love of South American magical realism. Barbosa felt that “the genre [related] to the way some books in South Asian literature narrate family stories. Iru is not a ‘magical’ book, but we cultivated some elements of enchantment about life in it.” It’s why readers will notice a singular voice in the book, despite their differing cultures and fields of study. Additionally, Karve’s alacrity and discernment, which refused to turn a blind eye on the baselessness of the dominant ideologies of the time, reflect in stories from her personal and professional life. “She would talk to people on trains, overhear or request for songs, and let her curiosity guide her research questions.” In her last days, Karve would take long walks in the forest with her student, Maxine Berntsen, and would be “especially attentive and appreciative of the birds and their sounds,” reveals Barbosa. Deshpande’s passion for reconstructing time and place strengthens Karve’s narrative. “Making the past real, placing someone in it, walking with them, feeling their feelings; I feel liberated now that we have done this biography,” she admits. “We are no longer bound by her life and reality, and the Irawati of imagination is free to live how she wants.” AVAILABLE Leading bookstores and e-storesCOST Rs 699 Also Read: Art finds a new home in Fort
16 November,2024 08:18 AM IST | Mumbai | Nandini VarmaThe obsession began when my father, PT Abraham gifted me a Vaseline jar filled with rare coins from Travancore [to remind him of his roots] when I moved to Delhi as a student,” recalls Paul Abraham, founder of Sarmaya Arts Foundation as he shares anecdotal snapshots of the journey from amateur collector to founder of an arts platform, and now proud occupant of a home for his sourced collection of coins, maps, photographs, contemporary art works, historical documents and 15,000-odd books in the heart of bustling DN Road. The incessant buzz of weekday traffic appears distant enough to not disturb his team. They are busy working towards D-Day in the tastefully restored address located on the second level of a 146-year-old building named after the city’s oldest optician brand, when the inaugural talk by historian Manu Pillai opens their calendar. “We want people to engage in the arts, culture and heritage, have intimate conversations and access our vast collection of books,” he shares, giving us the tour as morning sunlight streams in from the arched windows, bathing its restored interiors in a warm, inviting glow. Members of the restoration team display rare books and artefacts (Tholu Bommalata shadow puppets) from their archive in the lab section Half-way through our conversation with Abraham, we get a sense of the larger, envisioned picture: the arts platform intends to micro-curate this exhaustive, diverse collection in bite-sized modules — be it a theme-driven exhibition, a talk centred on a historically relevant book, or a walkthrough of the ancient maps and modern art from its envious archive. The passion that surfaced 40 years back, as Abraham reveals, has come to fruition in ways that he had never imagined. “Never did I think that this dream would be realised! My obsession for numismatics made me learn Urdu and I was able to decipher the etchings on coins’ surfaces. Since then, there’s been no turning back. I would meet collectors who were generous with information and sources.” Over time, this interest became a pursuit and took the form of an arts foundation that was built after hours of painstaking resource-gathering and sourcing of handpicked archival material from across the Indian Subcontinent. Paul Abraham opens a photo book that documented the Plague of Bombay (Title: Plague Visitation, Bombay; 1896-97) and its aftermath that includes images of records, sanitation and medical updates of that period Founded in 2015 by Abraham and Pavitra Rajaram, Sarmaya Arts Foundation carved a niche in the city’s (and country’s) cultural calendar, hosting, talks, sessions, video walks and educational outreach programmes for school children in far flung parts of India. For the banker and arts patron, a leap of faith by setting up a physical space for the not-for-profit organisation, was important to offer access to like-minded citizens keen to immerse themselves in art and culture. At its Fort archive, we learn that Sarmaya will offer access to its collection and curated programming, especially for children, senior citizens, young adults and students. Its library — the pièce de résistance — reminds us of a scene from Hogwarts School of Witchcraft and Wizardry, and covers Indian art, culture and history. It will be open to researchers and students. As we move on to the restoration lab, the hub’s heartbeat, it is abuzz with activity. Here, artefacts and antiquities are carefully undergoing R&R to extend their historicity and age. A page from Plantae Asiaticae Rariores by Nathaniel Wallich, dating back to 1831, includes stunning watercolours of ‘East Indian plants’ with detailed information of its origins and botanical significance “We aim to make Sarmaya a space for intimate conversations on art, history, culture and all the stories in between,” Abraham reveals, as we come to the end of the tour. Silently, we wish that Mumbai’s philanthropists and visionaries take a cue from this initiative, and establish more spaces so the arts, culture and heritage don’t just survive but also thrive despite the madding crowd. Their archive boasts of a 6-feet (approximate) high Tholu Bommalata puppet of Lankini, whose origins can be traced to Andhra Pradesh. This was a specially commissioned project INAUGURAL TALK December 6; 6 pm onwards (Manu Pillai: Gods Guns and Missionaries: The Making of the Modern Hindu Identity)AT Sarmaya Arts Foundation, 2nd floor, Lawrence & Mayo Building, Dr DN Road, Fort. LOG ON TO sarmaya.in; @sarmaya_india (for upcoming events)E-mail connect@sarmaya.in (to register) Also Read: Enter the world of ceramic art with this festival in Mumbai
15 November,2024 07:03 PM IST | Mumbai | Fiona FernandezLeave trash lying around your house, and you’ll soon have your friendly neighbour knocking at your door for an unfriendly chat. Nothing the average Mumbaikar can’t handle — unless your neighbours are prowling leopards and notorious monkeys. In Palaspada, one of the hamlets in the forested edge of Mulund West, environmentalists predict a rise in human-leopard encounters in the near future, driven by waste mismanagement. A series of street plays by iNaturewatch Foundation aims to nip the problem in the bud. Children of Palaspada take a walk through the forest “When you leave trash out in the wild, it lures in stray dogs and wild pigs who feed on it. Leopards can smell the presence of these smaller animals and it’s their cue to head into the settlements,” explains environmentalist Dr V Shubhalaxmi, who has been working with the multicultural population in the area for the past year. The Katkari tribe, a Particularly Vulnerable Tribal Group (PVTG) as declared by the Ministry of Tribal Affairs, forms a large part of the population, followed by scattered Muslim communities. “Literacy remains a pitfall here. A street play, hence, proved to be the ideal medium,” Shubhalaxmi explains. While the environmentalist is a familiar face for residents, thanks to her regular workshops and forest walks in the area, Dadar-based director Pritesh Manjalkar is making his first foray into the wild this weekend. Manjalkar and his troupe of seven professional street play actors, who have previously staged plays for causes like HIV awareness, domestic violence and workplace discrimination, will slip into leopard suits and tribal attire to stage the 15-minute-long play. “Merely staging the play isn’t enough. We will engage the residents in a Q&A session after the play to ensure we’re leaving a lasting impact,” he explains. The Dadar-based street play troupe rehearses a scene What could have taken these efforts so long to reach the eastern suburbs, especially when the western edge of the forest in Borivli and Goregaon are constantly buzzing with programmes, we ask the environmentalist. “In the 2000s, Aarey and Borivli East saw a spike in leopard encounters, ushering in efforts to educate the locals, and plug the gaps. Today, conflicts in the area are rare. However, the area east of the Tulsi and Vihar lakes has never been in focus until now. With increasing trash mismanagement, history is bound to repeat itself. We must make sure the locals are not left to fend for themselves,” Shubhalaxmi shares. The environmentalist sees an optimistic future, though. It’s the children, she says, who will lead the way. “Areas near natural resources are often geographically contested. The diverse mix of residents in Palaspada have their own internal unwritten prejudices. The children, however, show the willingness to break these shackles and focus on more pressing issues,” the duo reveals, adding that the ongoing efforts have already brought a sliver of hope in the hamlet. Pritesh Manjalkar and Dr V Shubhalaxmi Following the performance this weekend, the group plans to stage the play in three more padas in the region. “With the help of the Maharashtra Forest Department, we hope to take the show to the western borders of the forest in the near future,” Shubhalaxmi reveals. For now, the troupe is tuning its dafs (handheld drums) that will awaken Palaspada this Sunday to the live performance, and hopefully a brighter, safer future. ON November 17; 5 pmAT Palaspada, near Khindipada Water Supply Pumping Station, Mulund West. LOG ON TO @ inaturewatch on Instagram Also Read: World Wildlife Day 2023: Hidden adventures of wildlife rescuers
15 November,2024 07:01 PM IST | Mumbai | Devashish KambleThroughout its history, Sri Lanka has been scarred by civil war and infighting. In 2022, the country reached the brink of bankruptcy, causing mass panic. The concerns of art, nature and aesthetics feel superficial at such times. Yet, for 73-year old Senaka Senanayake, it is art that can best capture the beauty and complexity of Sri Lanka. The banana grove triptych, oil on canvas “People often forget that like India, Sri Lanka too emerged from the aftermath of colonialism,” Senanayake points out. The artist points to the fading Sri Lankan rainforests as the proof of the pudding. “The island boasts of a tropical rainforest hotspot with over 60 percent endemic species that cannot be found anywhere else in the world. It is a UNESCO World Heritage Site,” remarks Senanayake, who spent the last three years in the Sinharaja Reserve in the Galle district. Elephants aside, rare species of butterflies, orchids, the toque macaque, Sri Lankan leopards, woodpeckers dot these forests, he notes. Yet, these rare resources are ignored. It is no surprise then that the greenery from the emerald isle inspires his latest exhibition in the city. Twenty-five pieces of oil paintings, alongside sketches and watercolours, emerged from his exhaustive efforts of conservation and documentation of Sri Lankan wildlife, and are currently on display at the Snowball Studios in Worli. “The idea was to bring these visuals to awaken a new generation of Sri Lankans to the treasures at home,” he says. Untitled (Monks 3) Art is the only way I can speak, says Senanayake. If the surname seems familiar it is only because he hails from a family that produced two former Prime Ministers of the country, including DS Senanayake — the first Prime Minister of independent Sri Lanka — and later Dudley Senanayake, along with several members of parliament. “I took to art,” he laughs. Emerging as a prodigy as an eight-year-old, he went on to study in Yale and later, Cambridge. “My parents wanted me to become a doctor or a lawyer. I had no interest in either. The next best thing that offered some scope for creativity was architecture,” he shares. This education in architecture, and the travels overseas, inculcated a keen love for the natural resources at home. “I could see that these landscapes and species do not exist anywhere else. And this is a scientific fact,” he tells us. The artist turns to an ancient Indian connection, “There is a legend that says Ravana once carried a mountain from the Himalayas down to Sri Lanka, along with the trees, flowers and animals. Perhaps, there is a kernel of truth to it,” Senanayake laughs. In Search of The Purple Orchid Through his canvas, these species return. The bright colours, the soft pastels and an optimistic portrayal is his way of conveying hope. “The landscape is constantly changing. For me, the canvas is a way to remind people of what they are losing. I have seen the Asian elephant move away from the highlands to the low areas where they come into conflict with people,” he says. As he has travelled with the exhibition, Senanayake notes the commonality of the problem. “I began on this series as a Sri Lankan artist. But I can see a resonance in Mumbai, the Sunderbans, and even the Himalayas. It is an issue that raises questions on our next step as a human society,” he concludes. TILL November 16; 11 am to 7 pm AT Snowball Studios, Mohatta Bhavan, Dr E Moses Road, Worli. Also Read: Souza, Sherpa and symbolism
15 November,2024 08:44 AM IST | Mumbai | Shriram IyengarThursdayA laugh riot Unwind and enjoy an evening of comedy, stories and music as stand-up comics Kautuk Srivastava, Aadar Malik and Varun Thakur bring their best acts on stage in The Internet Said So.Time 8 pm At Below the Habitat, Khar West. Log on to in.bookmyshow.comCost Rs 799 FridayRemembering the genius of Guru Dutt Pic Courtesy/Wikipedia Relive the cinematic legacy of Guru Dutt at this launch of the book, Pyaasa by late author Sudhir Nandgaonkar followed by a screening of the iconic movie. Time 6.30 pmAt Marathi Granth Sangrahalaya, Thane West. SaturdayFun-gi times ahead Step out in the sun and spend a day learning the science of fungi and understand the principles and requirements for cultivating oyster mushrooms at home. Time 9 am to 6 pmAt IndiGo Green Camp, Sunvalley, Mangoan Khurd. Call 9820068611Cost Rs 5,000 Story time People seated around the godhadi in one of the sessions Attend a unique theatrical experience called ‘Unshared Childhoods’ by Tanvi Shah, where patrons will gather around a ‘godhadi’ and witness music and stories in motion.Time 4 pm to 5.30 pmAt Zeba World, Senapati Bapat Marg, Lower Parel. Log on to @unsharedchildhoods on InstagramCost Rs 800 Sarangi notes Enjoy an evening of soulful performances dedicated to the late sarangi maestro Padma Bhushan Ustad Sultan Khan.TIME 6 pm to 10 pm at Royal Opera House, Girgaon. Log on to @mumbaiopera (to register, first-come first-served) SundayUnwind, switch off Discover inner peace and unwind through art-based therapy by psychologist Prarthana Agarwal.Time 11 am to 1 pmAt Kaya Yoga Studio, Devi Dayal Road, Mulund West. Log on to @metta.art.therapy on InstagramCost Rs 800 Make it a purr-fect Sunday! People play with their pets at a previous edition of the festival Dedicate this day to your cats and bring them to the ultimate fun at catapalooza. Along with fun games, free health check-ups have also been organised for your fur balls.Time 3 pm to 6 pm At The Beer Café, Shop no 6, ground floor, Cambata Building, Maharshi Karve Road, Churchgate. Log on to @petfedindia on Instagram Wanderlust Reconnect with nature and embark on an exhilarating night trek to Kalsubai that promises views of the Bhandardara backwaters and Arthur Lake.Time 8.45 pm meeting point Kasara railway station. Log on to bhatakna.comCost Rs 499 onwards Also Read: Enter the world of ceramic art with this festival in Mumbai
14 November,2024 08:41 AM IST | Mumbai | Divyasha PandaAn ode to clay and the vessels that accompany us through every stage of life, from refreshing sips of cool water after outdoor play, to the soothing comfort of chai on quiet mornings, will be celebrated at Kathiwada City House as part of their ongoing Maati Putr Ceramic Festival. Paying homage to the significance of clay in our lives, the event will feature a storytelling session led by ceramic artist Shampa Shah and a soulful ghatam performance by Sumana Chandrashekhar. People work on clay kulhads at an earlier workshop The festival, which began on October 18, aims to rekindle appreciation for ceramic art. “Our aim is to bring about more awareness to ceramic art as a high form of art and we wish to continuously inspire people to see the value and beauty in it. We plan to transform the gallery into a theatre with baithak-style seating for this event, creating an atmosphere that brings the essence of traditional gatherings into the heart of the city,” expressed Sangita Kathiwada, founder and artistic director of Kathiwada City House. The evening will open with an introduction of the artists, followed by Shah’s storytelling session. The Bhopal-based ceramic collector and curator has extensively studied ceramic art, travelling to various regions since 1992 collecting instruments and stories of potter’s lives. She will be sharing these stories of the potters and the types of pottery from the Thar Desert, and its surrounding regions. Her storytelling will help the audience trace the role of clay in every phase of life, from a child’s first meal cooked in a new pot to the clay vessel that holds a person’s ashes. Sumana Chandrashekhar and Sangita Kathiwada In this session, Shah will share mythical stories about ancestral potters Siria Devi and Sawla Kumbhar, as well as narratives of potters like Lunaram, Gopi Bai, and Siddharoji from Pokhran and Jaisalmer district, respectively, whom she met in 1994. “The session will discuss the techniques of potters from the desert region, their stories and perspectives on the changes in the tradition,” she elaborated. Shah will narrate in a free-flowing style and will use slides to visually illustrate elements within the story. A traditional set-up of pots, including some from Shah’s own collection from Jaisalmer, will further enhance the experience. “Pairing these stories with tactile elements like the pots will help listeners feel connected to them and the potters,” she added. After the storytelling, attendees will enjoy a break with a traditional mahua-based drink made from fermented mahua flowers, complemented by artisanal snacks. The food will feature artisanal snacks and a mahua-based drink The second segment of the evening will feature a ghatam performance by Sumana Chandrashekhar, a musician from Bengaluru with 15 years of experience. The ghatam, a clay pot with a narrow mouth, is considered to be one of the oldest percussion instruments. Chandrashekhar’s performance will weave together sounds of the pot, mystical poetry, as well as konnakol, the vocal percussion language of Carnatic music. Shampa Shah “I feel that the performance will bring a fresh sonic dimension and allow attendees to interpret the sounds and find a storyline within the beats. They will be able to notice the metallic ring of the ghatam’s notes as well as explore the variety of sounds created from different parts of the instrument,” she explained. In addition to these performances, attendees can explore a contemporary art exhibit by Gunjan Arora, showcasing textile and mixed media artworks. ON November 15; 6.30 pm onwardsAT Kathiwada City House 69, West More Apartments, B Wing, Sir Pochkhanawala Road, Worli. LOG ON TO bookmyshow.inCALL 9372859864COST Rs 1,799 onwards Also Read: This farm stay-cum-pottery studio in Titwala offers a creative escape from city life
14 November,2024 08:29 AM IST | Mumbai | Kanisha SoftaADVERTISEMENT
