There’s an odd, twisted fascination you feel towards Cyra Ali’s sculptures of disembodied intertwined limbs on display at New York’s Aicon Gallery. The limbs are adorned with bright, floral fabrics and carry a bizarre sexuality to them. The pieces evoke a gaze from the viewer, the very gaze that Ali seems to invite in her subversion of conventional femininity in Pakistani society. It’s a bold challenge to the longstanding patriarchal desires to repress female sexuality by using the very body parts that have traditionally been deemed taboo. Ali’s work is part of a bold, captivating new exhibit called Méré Humd(r)um: Contemporary Art from Pakistan at New York’s Aicon Gallery, which is running until February 25, 2012.

The exhibit consists of work from twelve young artists – most of whom are in their 20s – that spans a variety of mediums and styles. The dual meaning of the exhibit’s name, Méré Humd(r)um, evokes two parallel, yet equally potent, feelings – ‘méré humdum’ (my soulmate) and ‘mere humdrum’ (where the ordinary, the everyday, is something most Pakistanis long for). “Chaos is a big part of their lives,” says Aicon New York Gallery director Andrew Shea, “so the theme we have here is how these artists react to the chaos and violence that surrounds their lives in cities like Karachi and Lahore.”

This chaos and violence is very evident in its various interpretations by the artists. Abdullah M.I. Syed’s Flying Rug pieces, for example, are a multi-layered commentary on various aspects of life and politics in Pakistan. Syed uses the Eastern legends of the flying carpet as the basis for two of the exhibit’s most gripping works. The first is a series of US one dollar bills folded into paper airplanes, pinned together and arranged into a beautiful Islamic symmetrical pattern. The shadows it casts form the image of an ornate flying carpet. However its subtext – US capitalism, paper airplanes, prayer rug – provides plenty to trigger a discussion around the issues. Created with a similar intention, the Flying Rug of Drones, is perhaps a much more aggressive commentary by Syed. In this piece, numerous box-cutter blades are assembled into squadrons of drone-line airplanes descending from the ceiling and again forming the image of a flying carpet, albeit a much darker and dangerous one.

This generation of young Pakistani artists represents an odd dichotomy.”There was a first new wave of contemporary artists,” explains Shea. “Then we asked, what’s the next generation doing? How do they see their country and the world?” What they found in these artists and their work was that the unpredictable political, economic and social climate of Pakistan and its lack of opportunities is in turn providing ample fodder for the transformation of the visual arts. A creative flowering, if you will, out of the crisis of a struggling state.

The artists are also deviating from their traditional artistic heritage, such as miniature painting, and using modern, local materials and concepts to offer their forms of expression. For instance, Shoaib Mehmood’s re-appropriated miniature painting, Just Do It, depicts several headless figures wearing the exact same blue jeans and yellow Nike shirt. This commentary on globalization influencing traditional heritage arts is a powerful statement that peels yet another layer towards a deeper understanding of contemporary Pakistan. This threat of globalization is evident in many other parts of the world as well, further suggesting that in some ways Pakistan’s struggles are no different from anywhere else.

Another artist, Sara Khan, reflects on a symbol and object that is the very epitome of violence – a gun. In her various pieces, she paints bright floral patterns all over toy guns, offering a subversive meaning for the very symbol that is a tool for so much violence. Thus it becomes clear as you explore the various works that the artists are also making a conscious effort to imbue a sense of optimism, however hidden or reluctant, into what they are expressing.

Commenting on the exposure these young Pakistani artists are beginning to receive worldwide, Shea says, ”Contemporary Pakistani art is starting to pick up steam in the West. The Asia Society [in New York] did an exhibit, which was the turning point. But I don’t know of any other gallery that focuses exclusively on contemporary art out of Pakistan like we do at the Aicon Gallery.” It’s a significant moment in the art world and for people in the West to experience a part of Pakistan that is both drowned out by the constant images of violence and is also a reaction to those very images. These artists and their work represent part of the voice of the Pakistani youth; the youth that is struggling to find opportunity and growth in a country where simply too much is uncertain.

The exhibit at New York Aicon Gallery features the work of artists Roohi Ahmed, Cyra Ali, Sara Khan, Rehana Mangi, Shoaib Mehmood, Hassan Mujtaba, Seher Naveed, Aisha Rahim, Abdullah M. I. Syed, Amjad Ali Talpur, Iqra Tanveer and Ehsan ul Haq.

For more information, visit the Aicon Gallery website.

Image courtesy of the Aicon Gallery.

Dear NRI readers why not connect with us on the following social media platforms.

Click here to join our Facebook Fan Page

Click here to join our LinkedIn Group

In a country obsessed with cinema and filmy music, it is truly a feat to maintain a loyal fan base with non-film albums. But considering the immense talent and unique music of Kailash Kher and his band Kailasa, it’s no surprise they are one of the most popular bands in India. After three memorable and successful albums – Kailasa (2006), Jhoomo Re (2007), and Chaandan Mein (2009) – Kailasa is back with with their new album, Rangeele. As the title suggests, it’s a colorful album, but ‘colorful’ in the way that Kailasa does best – soulful music influenced by folk, sufi and western traditions.

The album doesn’t exactly start with a bang, but instead with the melodious, calming and foot-tapping Rangeele. It’s just as effective. It’s a mostly acoustic song with hints of saxophone and flute that give it a classy flair. It also sets the mood for the rest of the album, which stays melodious with rustic influences blended in.

The next track, Tu Kya Jaane, actually goes one step better than the title track. It’s a song about unrequited love and a complete devotion to that love, but remaining fairly upbeat throughout. Kher’s soulful voice carries the track through its beautiful arrangement. The cherry on the cake, however, is whenever fellow band members Naresh and Paresh come in with the chorus. The harmony between Kher, Naresh and Paresh works really well, especially the last two minutes of the song where the tempo builds. This one will make you go for repeat listens.

Albeliya starts on a slow piano track, which gradually builds into a rather catchy arrangement. However, the vocals and lyrics don’t carry as much gusto as the two previous tracks. The best part here remains the arrangement.

The following track, Yadaan Teriyaan, bears a suspenseful, haunting quality from the very beginning. A song about haunting memories, the orchestration and Kher’s vocals have an intensity that works well to evoke a sense of longing. It’s one of the instances where Kher proves once again the great versatility of his voice. The Yadaan Teriyaan Acoustic version  has a much more somber feel to it, not as intense or haunting. The effect is that of a song that is more sad and dejected, which is not quite as impactful as the original version.

Kher jumps right into Daaro Na Rang, kicking off a beat that calls for almost immediate foot-tapping. The song has a very unique arrangement, blending what seems like Middle Eastern and country western influences with a steady drum beat.

Kathagaan is an incredibly refreshing track in the album. It changes the tone immediately with its peppiness. Kher seems to be having fun with this song, getting into the full spirit of singing a story. It also helps that the arrangement and vocal backing is inspired, adding a new sound to the  already diverse Kailasa palette. A fun listen!

The following song, Babbaji, makes a complete flip turn, going for a much more somber mood. It’s worth a listen but one of the weaker tracks in the album since it doesn’t offer anything too new to the album.

The mood picks up once again with Samvaad (Hudkaan Maan Bitti), a fast-spaced, comical song. Kher once again has fun singing this one, playing with his pitch, tone, and even accents. The song also features a special appearance by Kher’s two-year-old son Kabir, whose vocals add a good dose of innocence to the whole track.

One of the special tracks in this album is Dharti Pe Jannat Ka Nazara, which brings in Amitabh Bachchan for a short cameo. However, more than the cameo, the song itself is uplifting, spirited and memorable. As Kher told The NRI in an interview, the song was composed for the show ‘Kaun Banega Crorepati’ (the Indian version of ‘Who Wants To Be A Millionaire’), which would explain Bachchan’s cameo and also its generally upbeat feel. It’s short and sweet, but makes you want it to be longer.

The album ends with Ujaale Baant Lo, an evocative song that allows Kher to explore his more serious side. The song warns of darkness taking over the world and calls for the spreading of light. It’s a meaningful listen but perhaps not the best choice as the final track of an album that has otherwise maintained a colorful, spirited feel throughout.

Kailasa’s Rangeele adds another feather in the band’s accomplished cap. They retain their unique charm and wonderfully fused music throughout this album as well. As with their previous albums, Rangeele boasts songs that will be remembered down the line, proving once more that Kailasa is one of the best contemporary bands in India today.

For more information on Kailasa’s upcoming world tour, visit Saregama Events.

Dear NRI readers why not connect with us on the following social media platforms.

Click here to join our Facebook Fan Page

Click here to join our LinkedIn Group

In an industry where fickle item numbers and Hindi remixes rule the Indian charts for a few weeks before vanishing, the music of Kailash Kher has stood the test of time. As a singer, lyricist and composer, Kher is considered one of India’s top musical talents and rightly so. If you’ve heard ‘Allah Ke Bande‘, ‘Teri Diwani‘ or ‘Saiyyan‘, you’ll agree with us.

His powerful voice, poignant writing and inspiring personality have made him a household name in India and across the globe. Thanks to his populist approach and knack for writing catchy hits with his band Kailasa, Kher has helped bridge the divide between traditional and contemporary styles.

Gearing up for his very first world tour in April with his band, Kher tells The NRI why performing live across the world and creating his fourth album, Rangeele, is more meaningful than simply selling units.

You’ve just released your new album titled Rangeele with your band Kailasa. How did that come about?

Rangeele is my fourth album in conjunction with my band Kailasa who I have been with since 2004. Our fans globally have been quite angry on Facebook demanding to know why we hadn’t released something for a long while. The kept asking for us to come up with new stuff so it was long overdue.

What can your fans expect from Rangeele?

The album features eleven original tracks that are about discovering love from different perspectives.  Rangeele is my accolade to love in all its forms, be it longing, passion, patriotism, devotion or even hatred. It is also my gratitude to all my listeners since this is a reflection of my observation of my fans through my eight year career journey.

Love is a recurrent theme in Indian music. Is it possible to make an album without a tribute to love?

Yes of course! Love fascinates me, which is why I write about it. But people write about anything and everything and that is okay. You are free to create whatever you want for entertainment. I always joke that wherever there is alcohol available there are also love, prayer and enlightening (laughs). It’s an individual choice.

Legendary Bollywood actor Amitabh Bachchan is one of the surprise highlights on the album. How did you get him on board?

Apart from acting Amitabh ji is a great musician and singer because he knows folk music. He comes from a background of music and poetry as his father was a well known poet. I invited him to join us on ‘Dharti Pe Jannat Ka Nazara’, a song we were working on for the television show Kaun Banega Crorepati (Indian version of Who Wants To Be A Millionaire). I requested him to sing a few lines for that and he agreed. Once he did that we were all excited. To our surprise he came to our Kailasa recording studio and sang, so we just had to include this in Rangeele.

Your two-year-old son Kabir (pictured above) makes his singing debut in Rangeele. How did he end up contributing?

We were all surprised when we heard him humming the tunes as we created them in the studio. But as soon as we put him in front of the microphone he would get shy. We put in our best efforts and finally captured his vocals for Samvaad (Hudkaan Maan Bitti) which is a light-hearted song inspired by my childhood.

Your lyrics are often spiritual and intimate in nature. What kind of writing process to you go through when creating a new song?

When I write lyrics I don’t do that in formal written form but in the spoken language which we call ‘bol chal ki basha’. Then I compose a very intense melody and then Naresh and Paresh Kamath, my Kailasa music partners, kind of come up with a very real and organic song. So our sound is a very unique in its own way and our fans are more of a niche yet mainstream audience. They are very sincere and genuine and count our music as more of a classic form, a kind of a collector’s edition.

Your rich, powerful voice has earned you comparisons to Pakistani legend Ustad Nusrat Fateh Ali Khan. Is that a badge of honour or burden?

It’s a huge compliment but with that comes responsibility. I don’t take it lightly. Nothing can get me carried away because my beginning was very tough and I came through big hardships that made me realise that nothing comes easy. And if it does come easy then you have to give it your best and make the world a better place because of you.

Besides performing with Kailasa and appearing as a judge on reality television talent shows, you are synonymous with Bollywood playback singing. How did that aspect of your career come about?

My career actually started through jingles in 2002 when somebody heard my voice and only then I started getting offers for films. I had my band Kailasa and was working on my own private album and that’s also where people came across my style of singing. Luckily the film songs I sang became chartbusters. I have worked with big composers like A R Rahman, Shankar-Ehsaan-Loy, Vishal-Shekhar, Vishal Bhardwaj, Ram Sampath and Saleem-Suleiman and have learnt so much. God has been kind to put me through so many variations of work.

You have been involved with Anna Hazare anti-corruption campaign in India. Do you have a political stance and where does the music fit in?

As a responsible citizen of India I always grew up listening to great people sacrificing for our country and our voice, so I am very sensitive to these things. When I heard about Anna Hazare and his movement I really wanted to do something. The best thing I could do was to compose music and so I wrote and performed the song ‘Ambar Tak Yahi Naad Goonjege.’ The song is very popular amongst the youth and Anna said it was being used as an anthem, especially in his village, to rally support. I composed it in April 2011 when he first went on hunger strike.

Kailasa is going in its first ever world tour beginning in April 2012. Where will that take you?

My band Kailasa and I haven’t been on tour before in the UK and Europe so we are really looking forward to coming to London, Birmingham, Leicester and Liverpool. The tour will make a pit stop in the Netherlands before moving on to the United States, Canada, Surinam and Trinidad amongst other Caribbean countries.

What can your fans expect to hear?

We will be performing crowd favourites like ‘Allah Ke Bande’, ‘Teri Deewani’ and ‘Saiyyaan,’ as well as tracks from Rangeele, plus Nusrat classics like ‘Sanu Ek Pal Chain Na Avey.’ People just go crazy for these songs. The concerts will be about giving audiences a rocking experience and enlightenment through music. We are very excited and looking for a good audience turn out. We want everyone to know that Kailasa is coming to your city and we are going to rock you and connect soul to soul. Come and experience it.

Why is it important for you to be part of a band?

I formed Kailasa because I had very different sensibilities for the kind of music I believed in creating. I come from the Indian countryside and all the band members, including the key founder members Naresh and Paresh, have been born and bought up in modern cities, so their influences are completely international and western sounded. But our sensibilities gelled completely and by some miracle they compliment each other.

You’re a role model to many. What’s your advice to aspiring singers and musicians?

Follow your instincts, listen to all kinds of music and don’t get stuck with only film music. Film music comes from all kinds of music. You can create your own way and your own interpretation of music and that’s how you can make a difference.

Kailash Kher and Kailasa’s UK Tour Dates:

Wednesday 4th April 2012 – Symphony Hall, Birmingham

Friday 6th April 2012 – Philharmonic Hall, Liverpool

Sunday 8th April 2012 – HMV Hammersmith Apollo, London

Monday 9th April 2012 – De Montfort Hall, Leicester

For more information visit www.saregamaevents.com

Image courtesy of Saregama Events.

Dear NRI readers why not connect with us on the following social media platforms.

Click here to join our Facebook Fan Page

Click here to join our LinkedIn Group

The Jaipur Literature Festival, the ever-expanding brainchild of noted India-focused writer and historian William Dalrymple, is in full swing. However, its most notable speaker is notably absent. Salman Rushdie, it seems, has not shaken off the controversy that has dogged him for most of his writing career – and as always, this particular incident is not a result of a wilful attempt on Rushdie’s part to stir up trouble. On the contrary, it is a wilful attempt by a third party, the Maulana of Darul Uloom Deoband, to draw attention with spirited (though calculated) outrage.

I wanted to believe, this time as with Rohinton Mistry and all the others, that books and literature being debated in the public sphere in India was a healthy thing. My logic would have been that if the words of an excellent, challenging writer are being discussed by many people in a society, that society is in good shape. It is in a good position to understand the value of language, both on the page and in conversation, as a collective tool for reflection, and then to actively engage in holding up the mirror and talking – not merely thinking – about what one sees.

But Rushdie’s words, the thousands upon thousands he has eloquently published in novels, essays, children’s books and more, were not what was being debated. In fact, to call the Maulana (or Raj Thackeray’s, or Ayatollah Khomeini’s) invective ‘debate’ discredits the word. The agenda was far simpler and more closed than that: if Rushdie appears at Jaipur, trained assassins will shoot him down on behalf of a tiny minority of professionally outraged individuals. There is no debating floor to be won over with skilled argument, only a battleground, and you have two choices: pitch up and fight on the same terms, or appease the aggressor and leave them to occupy the space.

This is more or less what Rushdie has done. His statement of backing down, released Friday, appears to have been made entirely for others: his family, to whom he is a cherished part of their lives, and the rest of the Jaipur crowd, who could be caught in the crossfire. It’s hard to argue with that logic. On the other hand, he displays no fear for his own life (and has since openly questioned the threats against it); by now, such threats must be more tiresome than worrying.

But how tiresome, how dispiriting. I wonder how willing Rushdie would be to stand alone on that battleground if there were nobody else’s safety to consider; would he stand proudly and be gunned down for free speech? Having proved himself many times over on various debating floors, almost as talented an arguer as his recently departed friend Christopher Hitchens, perhaps Rushdie would rather leave the battleground to those whose language extends little further than violence. While they provoke governments into book-bannings with the threat of bullets, he would continue to provoke, or stimulate, by writing and speaking the truth he sees.

I’ve always felt Rushdie has quite an ego about him – as Hitchens did, as every great arguer must – but this is not his burden to bear, more an armour against the opposing opinions of others. His burden is as a provocateur of the most essential kind: one who does engage in debate, who will hold a mirror up to society and stick around to hear what people have to say. Unlike the Deoband leader, this makes Rushdie a stimulating and valuable presence in India and the rest of the world, but also unlike the Deoband leader, it puts him and those around him in danger. Worse, it turns them into exiles – Rushdie was persona non grata to the Indian government for a full decade after The Satanic Verses – while the viciously offended remain free to do and say as they please, the threat of violence always present to ensure that freedom.

This, I suspect, is what will frustrate and sadden Rushdie most. That feeling of being in exile again, of being seen as a provocateur rather than a thinker or simply a good writer, of having opened up to the floor and watched language transform into violence in the Prophet’s name. Meanwhile, the only real consequence for the bullies is extra publicity and a further extension of the government-allowed limits of outrage.

It isn’t as black and white as this, of course – nothing in India is – but there are no shades of grey when it comes to offence being taken, and certainly none in settling an argument with fists or guns. And then black can become white, if the Maulana – who condemned terrorist acts in 2008 – wishes it to. The mess is in losing track of the ground rules of debate, which has, in essence, disappeared across India under a mask of outright condemnation.

It’s important to remember at such a time that this mask is worn by a select few who happen to have wide influence, rather than the representation of a state-wide ideological shift. Many Indians are as argumentative as ever, and Rushdie is among them, for he remains very much an Indian. I don’t know if or when the tide of outrage will dissipate in India, but I am relieved that many are almost as outraged at the government’s inaction in this case as the Maulana is at Rushdie’s perceived slights against Islam.

The possibility that will lead to this (or any) government in India taking appropriate action in future declarations of holy battle seems, as written in The Hindu recently, a sadly unlikely proposition.

NB: Since this piece was written, a petition to unban The Satanic Verses in India has been launched by noted writer Nilanjana Roy. You can view it (and sign if you wish) here.

Photo credit: Alexander Baxevanis

Dear NRI readers why not connect with us on the following social media platforms.

Click here to join our Facebook Fan Page

Click here to join our LinkedIn Group

Last week, The Guardian’s theatre blog asked if theatre was by white people, for white people.

Referencing a piece by an American university lecturer who teaches theatre arts, the original piece used statistics from a survey of Broadway audiences as the basis for its argument, that theatre, all of it, is a white art form.

Ignoring how plays like East is East or the more recent Bollywood Trip attract mainly Asian audiences, or that musicals like Fela attract equal numbers of black theatregoers, it is true that theatre’s core demographic is mostly white, middle-class and 30-plus. Which might be why, no matter what the play, this audience is rarely far from a theatre company’s mind: even a play such as Bollywood Trip, hinged loosely on the mind state of its disoriented Hindi film star, is really about his white doctor’s love life. This would go some way to explain why the majority of theatre companies have all-white staffs. But it doesn’t explain why the same is true for the outfits whose purpose is to produce plays for and about Asian audiences. Shouldn’t it be different for them?

This isn’t to say non-Asians can’t play a worthwhile part in Asian culture, or offer an interesting perspective on it – this site is proof that outsider perspectives are valuable. And expecting large swathes of Asian or black staff in an industry ruled largely, and protectively, by white, middle class women is probably a fool’s errand. But expecting a few brown faces in companies supposedly committed to the stories of these communities shouldn’t be asking too much.

Take a trip to the offices of BBC World Service, and each department dedicated to a different corner of the globe has employees from those regions. They are skilled in their field but they are also familiar with the culture. Venture through the offices of any London-based Asian theatre company however, and you might struggle to tell the difference between them and their white equivalents. Tokenistic diversity initiatives have always seemed doomed to fail, but these are places that might do well to give them a go. While Asian theatre organisations are needed and at their best, reveal a world not often seen on the boards of England’s theatres, it’s worth considering whether a shift in the makeup of those deciding what happens behind the stage – whether as commissioners, directors, or producers – could have a positive effect on what plays on it, and how.

In 2012, British Asian stories are more varied than ever. We have the narratives of those who have settled, and the newer tales of those still making that process – the new Asian migrants. With immigration never off the news agenda, the process of their assimilation, both with second and third generation Asians and the broader populous, is as fertile for drama as it’s ever been. The old guard who have won establishment acceptance say the old identity wars have been won, but in truth, the battle lines have just become more nuanced. They deserve new responses. Marriage, gender, racism, religion, identity; they might seem like hackneyed dramatic fodder, but they still play a role in our lives, if not in the same way they used to. And they are still ripe for fresh artistic interpretation. They just need people calling the shots who are able to see this.

With TV only able to serve up clueless notions of ‘diverse’ Britain and the UK film industry generally uninterested in stories that reflect the country as it is, rather than was, maybe it’s up to theatre – even in the most conservative arts climate in decades – to take up the mantle. Shouldn’t Asian theatre address these changing realities? Writers getting their hands dirty with the places these stories are taking place is one way to do this. But what’s also needed is a shakeup both behind and in front of the scenes. Don’t Asians – those with an understanding of the stage and an insight into the communities they come from – deserve to make the decisions as well as accept them?

Dear NRI readers why not connect with us on the following social media platforms.

Click here to join our Facebook Fan Page

Click here to join our LinkedIn Group

This time of year, more than any other sees an emergence of great story telling. The coldness of winter combined with its darkness encourages humans to dwell within cosier settings. During these times we indulge and delight in the magic of story telling. In the west, this idea has manifested itself in the winter pantomime, ballet or blockbuster. Fond examples include The Nutcracker or The Snowman. In the east, where the climate has remained a little more comfortable, stories have still emerged, though most often through oral tradition – therefore taking on new meaning and interpretation. The Ramayan for example, is conveniently placed to tell a story of light versus darkness at just the right time of year.

A great example of the stories that spread through both the cultural divide are The Arabian Nights. Told and re-told, this series of stories – profile the nature of story-telling itself. Scheherazade, our protagonist, volunteers herself as a bride to a king – knowing her likelihood of him being killed the next day. She avoids this by beginning to tell a lengthy series of stories that start and end at just the right moment. Though there have been countless interpretations of this tale, most of the true values have remained the same, each story whether Ali Baba or Aladdin has retained its stronghold on the imagination – and magic, whether as magical-realism or as pure magic features heavily in these tales. Quite often, the older the stories – the greater the tendency there is for magic to exist. However its inclusion is always open to interpretation. Marina Warner’s Stranger Magic, Charmed States and the Arabian Nights touches on this idea to a further extent. The Chatto & Windus release announces the following:

“Magic is not simply a matter of the occult arts, but a whole way of thinking, of dreaming the impossible. As such it has tremendous force in opening the mind to new realms of achievement: imagination precedes the fact. It used to be associated with wisdom, understanding the powers of nature, and with technical ingenuity that could let men do things they had never dreamed of before.”1

With this in mind, I wanted to explore the use of magic in an altogether more firmly Indian story, namely, that of the God Shiva. Upon my recent visit to India, I came across Amish Tripathi’s Shiva Trilogy. Beginning with The Immortals of Meluha, it chronicles the life of Lord Shiva from tribal warrior to ‘the chosen one’. The first book looks closely at the relationship between Shiva and his partner Sati – amongst other themes. It succeeds by painting Shiva as the everyman, something that helps the viewer engage with any genre, let alone magic. When we can see events through the eyes of Frodo Baggins or Harry Potter – then it makes the world they’re immersed in all the more identifiable. Like wise, Tripathi has normalised the context of his books through taking us on the same journey Shiva does. Shiva’s realisation of having powers, for example, is new to him and he reacts much in the same way as the reader. The reader is therefore asked to suspend their understanding of Shiva as the Hindu God as we’ve come to see him in theology, but more-so as a human being facing extraordinary circumstances. In this style, modern day writers have been able to re-examine age old myths and humanise events through a twenty-first-century style narrative.

In the Immortals of Meluha – Tripathi’s method for doing this is largely through what some have termed ‘everyday language.’ Which could also be interpreted as colloquial. At first, this was rather annoying, but after immersion became perfectly natural. Where on one hand, I was expecting the language of kings of old, instead this novel was littered with phrases such as ‘bloody hell’ and ‘Goddammit’ etc, which do aid the pace of what turns out to be a frenetic page-turner.

At the heart of the novel is the idea that Shiva, (The Neelkanth) is the saviour of a nation, he finds himself in the cross-wire between the ideology of one kingdom that considers itself supreme and another that is deemed wicked. Through the mythology and magic that Tripathi weaves into this plot line, we begin to understand nothing is quiet ever as it seems. There are vital lessons to be learnt and journeys yet to be made. Essentially Tripathi succeeds at taking what we ordinarily deem as stifling religious text and making it uniquely his own, fast and exciting. Though not specifically hibernal, his story carries with it – the hallmark of literature that is far-away and escapist, much like the Arabian Nights – or like any other film, novel or programme that emerges at this time of year.

What I take away from Warner and Tripathi the most is that when exploring an element of fantasy that goes beyond our time of understanding – we either have to try and understand the social dynamic of the time and age. If we can’t do so, then we embellish where we can. Throughout history countless retellings of Greek myth have given us very different interpretations. Tarsem Singh’s Immortals – is his telling of the Theseus legend for instance and though bold and brazen, is far apart from the Minotaur monster imaginings I had in my head.

We often deem the cultural interests we partake in at this time of year as ‘Christmassy’ but what we’re really saying is that they lend themselves to being more enjoyable right now. Growing up in London, I wondered whether the stories my mum told me would be on par with The Chronicles of Narnia etc – but on a fundamental level, I was probably just conditioned into expecting something ethereal, snowy and Dickensian. Ultimately however, when you’re stuck inside during the darkest of December and January, almost anything set in a far away land will be enough to whet your appetite.

Photo credit: thehindu.com

Dear NRI readers why not connect with us on the following social media platforms.

Click here to join our Facebook Fan Page

Click here to join our LinkedIn Group

‘Pehli baar London aa raha hoon, pata nahin dekhne koi aayega ki nahin!’ is what prominent Indian playback singer KK said as he walked onto stage, at the Wembley Arena last Saturday evening. He needn’t have worried, for there wasn’t so much as an empty seat in the house! Rock On Music and Air India presented a scintillating concert by Sunidhi Chauhan and KK at the Wembley Arena, London.

Being a true-blooded Bollywood fan, I eagerly waited for the concert to begin at 6:30 pm, however it wasn’t Sunidhi or KK who opened the concert, but another singer. I decided to wait patiently for the ‘real’ show to being. But how wrong was I!! This gentleman treated us to a completely delightful collection of Shammi Kapoor hits like Badan Pe Sitare and several others. We simply had to ‘Baar Baar Dekho’ this very gifted singer as he walked off stage with a flourish.

Back to the main show, KK mesmerised us with a collection of songs from his various box-office hits Kal Ho Na Ho, Om Shanti Om, Devdas, etc. He cast a spell on a very willing audience with a string of hits like Tu Hi Meri Shab Hai and Hai Junoon. Of all the songs he chose however, one particular performance made my heart race. Ever heard of ‘Uyirin Uyire’ or ‘Khwabon Khwabon’ If you haven’t, please do. KK being KK, skilfully proved that music knows no language barriers, and sung this song as a perfectly seamless mix of both Tamil and Hindi. The end result was, as you might have already guessed, a huge round of applause.

Lut Gaye had an exceptional piano score in the background, while (needless to say) Pal left the audience breathless. Somewhere during the show, KK said something really nice. ‘Artists can only be as good as the songs YOU like!’

And then, thanks to a timely warning from compere Ravi, we fastened our seatbelts as sensational diva, Sunidhi made her appearance. Clad in a black velvet outfit and sheer shimmering cape, the truly sexy lady on the floor took the audience by storm!. All one could say was, ‘Crazy kiya re!’

There was NEVER a dull moment as Sunidhi had the audience dancing to the tunes of Pelhi Baar Mohabbat Ki Hai, Marjani, Dance pe chance, Sajna ki vaari, Avi Avi, Mind blowing Mahiya and much, much more. As you might imagine, in between songs, the entire hall rung with chants of … ‘Sheela! Sheela! Sheela!!!!!’

One particular song started rather slowly, and to squeals of delight, Sunidhi broke into Desi Girl (with lots of little impromptu improvisations). This amazing desi girl got a very well deserved thunderous applause.

As always between performances, there was some brief comedy/mimicry entertainment by Ravi. I truly feel bad for people who made the mistake of taking a quick loo / samosa-chutney-break (as the case may be) during this time. They missed out on some really hilarious entertainment. Take a look at this mimicry clip (a pretend scene where famous Bollywood actors pray to ‘Durga Ma’).

His friendly jibes at the Gujju, Punjabi, Maharashtrian and South Indian communities were met with raucous laughter and left us in splits.

Now, no prizes for guessing the culmination of the concert… an electrifying performance of ‘Sheeeelaaaa’. It was exactly what the entire audience had been waiting for (or dare I say, come for) It was a perfect end to a perfect show.

The concert was a treat for any Bollywood fan. An enjoyable mix of foot-tapping and slow songs and an exceptionally talented bands of musicians, technicians and singers.

At the risk of sounding greedy, it would have been nice to see both KK and Sunidhi performing together in more songs than just the one (Ek Nazar mein bhi). But hey, I’m not complaining. It was an amazing evening, memories of which will linger on for a long time to come.

The concert truly lived up to its name – ‘Rock On’!!

Dear NRI readers why not connect with us on the following social media platforms.

Click here to join our Facebook Fan Page

Click here to join our LinkedIn Group

It’s not very often one finds a fusion of Indian and Pakistani artists from Canada delivering the title track to a Bolly-Holly film production. And, a track titled ‘Chaddi Waale Yaar’ at that, literally meaning ‘Bum Chums’.

Meet Josh, the Montreal based Asian fusion band who are making waves with their music which showcases modern and traditional Bhangra beats but (in their own words) ‘strongly influenced by hip hop and pop music’. In London recently for their first ever appearance at the O2 London Mela 2011, and after a long stint away from the London ‘scene’, Josh wooed the crowds with tracks ranging from their much loved ‘Mahi Ve’ to the upcoming title track for the Akshay Kumar production ‘Breakaway – Speedy Singhs’. Josh comprises Rup (Rupinder Magon) and Q (Qurram Hussain), who tell us that whilst being recognised as political ambassadors, at the end of the day, they are 2 desi guys who just love ‘being desi’.

Josh brings together the rawness of Pakistani music and combines it with conventional Bhangra whilst polishing their tunes with a very modern hip hop style. Music lovers are presented with songs that conform to neither stereotype yet provide something for every genre’s lover to cherish. And herein lies Josh’s ability to steal the show by tapering their style of presentation quite artistically to match the crowd’s ‘type’ and mood; a feat not many performers achieve.

Recently they performed at the highly acclaimed Pakistani version of Coke Studio, after having worked with the likes of Nelly Furtado and Bhangra idol Sukhbir. “We were just so excited to be part of Coke Studio!” commented Q, when asked about their experience there. “We were the only international artists that have performed there in four seasons….being the only non Pakistani on that show, it was a really unique experience for me”, remarked Rup.

Josh has released four critically commended albums and made their film debut with an Indo Canadian production, Breakaway-Speedy Singhs, released on 24th September 2011. Speedy Singhs, directed by Robert Lieberman is a Canadian/Punjabi drama film and features Vinay Virmani, Russell Peters, Camilla Belle, and Anupam Kher. Rup portrays the character of Jassi Singh, an ice hockey player. “Acting is one thing, but when you’re acting with Rob Lowe and Akshay Kumar and Russell Peters, it’s a little bit of an intimidating experience” commented Rup.

As this interesting duo of cultural amalgamation performed to an enthralled London crowd, we managed to get up and close with the boys. The exclusive interview with Josh can be viewed here:

We are increasingly seeing new musical collaborations between the East and the West resulting in an interesting genre of cultural hybrids. This is great news for us NRIs as we get to experience music which incorporates our Asian roots but also encompasses a wide range of the modern music styles we are now accustomed to.

You can connect with Josh  on www.planetjosh.com

Photo credit: ians.in

Dear NRI readers why not connect with us on the following social media platforms.

Click here to join our Facebook Fan Page

Click here to join our LinkedIn Group