Neeta Baxi, a Pune-based entrepreneur, speaks about the time when her mother and grandmother would use copper vessels to prepare delicacies. “Copper has been used in our culture for a very long time. I still remember my grandmother storing water in copper vessels,” she reminisces. And when she learnt about Studio Coppre, an enterprise working with metalworking artisans in Maharashtra to promote heritage crafts of India, she was hooked.

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“When Studio Coppre was first launched, I went to check out their line of products at an event. I loved what they had to offer and they have such a beautiful story about how they began,” she says.

Studio Coppre, a social-venture formally conceptualised in 2014, works for the promotion and preservation of handcrafting traditions through design and marketing intervention. They work closely with rural and urban artisans, designing products which are modern to look at but are deeply-rooted in tradition. The startup has impacted the lives of 250 artisans with whom they work closely. These artisans belong to states like Maharashtra, Karnataka, Rajasthan, Uttar Pradesh and West Bengal.

With people becoming more aware of the material used to make modern cookware, traditional materials like iron, stone, copper, and clay now coming back in the Indian kitchens. There are many reports of stainless steel leaching chromium and nickel and and plastics leaking BPA into food. People are now turning to brands that specialise in heirloom and heritage cookware. And Studio Coppre is one such brand.

Chhanda Bihari, one of the four co-founders of Studio Coppre, says that they established this start-up because they saw the powerhouse of artisanal skills and knowhow in Maharashtra on the verge of redundancy. They also saw the transformative power of design on our ancient crafting traditions. “How we could reinvent traditional forms and contours to suit contemporary homes and living was a challenge we embraced,” says Chhanda.

The beginning of Studio Coppre and the products they make

The four co-founders had been working unofficially as a project team in 2012 with INTACH. This team then laid the foundation of Studio Coppre with the help of INTACH and the Forbes Marshall Foundation. Chhanda, who has corporate experience, heads Finance and Operations in the enterprise.

Rashmi Ranade heads Design and has been instrumental in bringing back the focus on the traditional arts. Sudakshina handles Market Outreach for Studio Coppre while, Seemantini brings her two-fold expertise in branding and communications as well as social ventures management to Studio Coppre.

“So, with a diverse range of operational excellence in various fields, the idea was to create a successful Livelihood Project (focused on metal-working artisans) and which can be replicated across other handcrafted sectors also. And today we stand at an intersection point of Design, Craft, Social impact and Business,” says Rashmi.

Rashmi explains that most of their designing begins with mini-explorations. “From theme boards for each season to the culmination of a product or collection, it could take anywhere between 6-12 months. Product planning for successive seasons based on trends is an important exercise for us,” she says.

From the design boards, they then get into prototype development to hone the ideas further. “This is a long process as we may have to do these multiple times. Once the production sample is finalised we start our production,” says Rashmi.

Since they also take customised orders, delivering it to customers may take any where between 4-12 months depending on the complexity of the design and the number of pieces in each collection.

Made with care and attention to detail

Kishore Karde, 69, from the Raigad district in the Konkan region has been working as an artisan since he was 16 years old. For the past eight years, Karde has been working with Studio Coppre and has been handling his workshop in the Pune cluster. There is a collective of eight to ten people in his workshop now who work with Coppre regularly, along with a few vendors in the market.

Karde explains that since he started working with Coppre, not only is he earning three times more in a month but is also getting regular assignments. “Before, there would be a stretch of almost four months where I would not get any kind of orders. Now, I get regular orders and I am also learning about new designs which are modern and beautiful to look at,” he says.

Chhanda explains that empowering the vendors with fair-trade practices and preserving the craftsmanship is at the core of Studio Coppre’s values since inception.

However, there have been a substantial number of challenges that the co-founders encounter.
One of them is training clusters of artisans and maintaining uniformity in the quality of products. The other includes maintaining a smooth supply chain starting from the design, production and sales to timely delivery of the goods.

It is also challenging for them to venture into international markets as they are still a small social enterprise. “It becomes imperative that our councils and bodies working in the Handcrafted sector become significantly more active in this,” says Chhanda.

She adds that most of their artisans work in precincts which are more than 200 years old. “Though we do help them to upgrade their facilities with soft loans, as a social enterprise, we do not have access to larger grants to improve their workspaces and give them a better environment to work,” adds Chhanda.

The way forward

As a social venture, Studio Coppre aims toward sustainable growth with a focus on livelihood generation, product development, exploring new target markets, increasing artisanal footprint and working with more metal craft forms to increase the reach and impact of their work.

“We have been instrumental in reviving the copper craft of Maharashtra and aims to be a model for sustainable craft-based ventures across states,” Chhanda says.

For Baxi, who nurtures her love for all things bespoke by collecting heritage handloom and handicraft, Studio Coppre is to her what a candy store is to a child!

Also Read: K’Taka Org Revives 200-YO Dying Toymaking Craft, Doubles Income of Women Artisans!

(Edited by Saiqua Sultan)

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Before Madhubala, Nargis, and Meena Kumari, there was Devika Rani, a star actor and film producer, who co-founded Bombay Talkies, India’s first self-contained film studio, alongside her first husband Himanshu Rai in 1934, and later became its sole boss after Rai’s untimely death.

She donned these roles at a time when the very concept of working women wasn’t celebrated with fanfare in mainstream society.

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A pioneer in the truest sense, Devika played a fundamental role in bringing Indian cinema to the world. She acted in 15 movies in 10 years, and headed Bombay Talkies for 5 years, before abruptly quitting the film business altogether in 1945 following a business dispute, according to this Indian Express profile.

Born on March 30, 1908, Rani grew up in affluence. Her father, Manmathanath Chaudhuri, was the first Indian surgeon-general of Madras Presidency, and Rabindranath Tagore was her granduncle.

Sent to a private school in London, she earned a scholarship from the Royal Academy of Dramatic Arts in the United Kingdom to pursue her dreams of acting at the age of 16.

In addition to acting, she also studied textile design, décor and architecture. She met her first husband Himanshu Rai in 1928 while assisting with costume design and art direction for his experimental silent film ‘A Throw of Dice’ in 1929.

Rai was 16 years her senior, but the fact hardly bothered Rani, and the couple wed the same year. Soon, they shifted base to Berlin, where they worked at the UFA studios, a once-legendary German motion-picture production company, where Rani received training in several aspects of filmmaking under various luminaries like director GW Pabst and Eric Pommer.

“I first entered as an ordinary worker and was an apprentice in the make-up, costume and sets departments. I worked under their most famous make-up man. And yet, after two years of intensive general training and tests, you were asked to forget it all, because you had become too mechanical! You were asked to become yourself,” she said in an interview to Filmfare after receiving the first Dadasaheb Phalke Award in 1958.

Rani eventually made her on-screen debut in 1933 alongside Rai in his bilingual film, Karma.

The film was premiered in England and received excellent reviews with Rani’s performance coming in for special mention. The movie was particularly known for its nearly four-minute-long kissing scene between Rani and Rai, which unfortunately did not endear Indian audiences when it was re-released in India as Nagin Ki Ragini the following year.

However, it did not stop them from setting up Bombay Talkies the same year on an 18-acre plot in Malad, Mumbai, alongside Bengali screenwriter Niranjan Pal. The studio released its first film Jawani Ki Hawa (1935), a crime thriller, starring Rani and Najm-ul-Hassan.

But it was during the shooting for the next film Jeevan Naiya when the relationship between Rai and Rani fell apart with the latter eloping with Najm-ul-Hassan.

Sashadhar Mukherjee, an assistant sound-engineer, helped the couple come to a truce which held among other things that Rani would have sole control of her finances and the firing of Najm-ul-Hassan from the studio.

For the remainder of the film, Mukherjee’s brother-in-law, the legendary Ashok Kumar, who was a laboratory assistant at the time, was hired and cast opposite Rani. The following year, the Rani and Ashok Kumar were paired together in Achhut Kanya (1936), portraying the roles of an untouchable girl and Brahmin boy who fall in love.

It was a remarkable film for its time, depicting the caste system in all its ugliness. The pair would go onto act in nearly ten films that were largely based on strong women characters with a heavy dose of social realism.

The reputation of Bombay Talkies as India’s premier film studio was largely down to Rani’s charismatic performances on-screen and her ability to pitch these films to financiers.

In 1940, Rai died after a “nervous breakdown,” and subsequently, the board of directors at Bombay Talkies selected Rani to take up the top job and run the studio.

In the following five years, the studio produced hits like Naya Sansar (1941) and Kismet (1943), a noir film and “one of the early blockbusters of Indian cinema” which ran for three straight years at Kolkata’s Roxy theatre.

Rani also gave Dilip Kumar his first major break in the film industry with Jwar Bhata (1944), casting him as the lead.

Despite her success, the film industry was an arena dominated by men where sexism reigned supreme. In 1943, Mukherjee led an exodus of talent from Bombay Talkies, which included among other people, Ashok Kumar, to establish Filmistan.

After a string of films which failed to break the bank, the knives were out for her exit. Instead of suffering the indignity of being ousted, she resigned herself and quit the business altogether. Suffice to say, Bombay Talkies never recovered from her resignation.

Devika Rani with her husband Svetoslav Roerich (Source: FilmHistoryPic/Twitter)

She would go onto marry Russian painter Svetoslav Roerich, the son of legendary Russian artist Nicholas Roerich, and move to an estate in the Kullu Valley, Himachal Pradesh, before retiring altogether at the 468-acre Tataguni Estate on the outskirts of Bengaluru.

She passed away on March 9, 1994, in Bengaluru.

In a world where women would endure several hard knocks for even contemplating these measures in the film industry, Devika Rani walked a path that few women in Indian cinema have managed to, and showed them what it means to take ownership of their craft and finances.

Also Read: Sahir Ludhianvi, The Poet of Peace Whose Lyrics Made a Home in People’s Hearts

(Edited by Gayatri Mishra)

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The moment you step into this tiny shop located at the corner of Rash Behari Avenue, the dust and noise of the main road settles down into a serene silence. The charming quiet of the run-down shop is periodically interrupted by the tuning of a sitar or the strumming of a tanpura.

Despite its dilapidated exteriors, a single peek inside reveals a treasure trove of musical instruments.

You cut through the canopy of sitars hanging from the ceiling, dusty wooden shelves stacked with violins and harmoniums, and cross the walls covered with sarods and guitars, to reach the end table where Ratan Kumar Sen sits meditatively working on a beautiful sitar.

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Behind him, a wall covered with framed photographs over the peeling paint depicts the glorious past of Kolkata’s iconic musical instrument shop, Hemen & Co.

This 72-year-old shop which was frequented by celebrated musicians like Bhimsen Joshi, Nusrat Fateh Ali Khan, Sandhya Mukhopadhyay, Parveen Sultana and even Ravi Shankar, holds testimony to the musical brilliance of the yonder years.

Not just in India, Hemen & Co. was known for its outstanding craftsmanship even outside the country. Legends like Yehudi Menuhin, Jethro Tull’s Ian Anderson, and George Harrison, the lead guitarist of The Beatles, have walked through these doors, seeking to experience their handcrafted instruments.

“But the days of glory both for us and music, are in the past,” reflects Ratan, who along with his brother Tapan Kumar Sen, takes care of the shop and repairs instruments only created by them.

“My father, Hemen Chandra Sen, used to say that you can never make a good instrument if you know how to play it with ease. The instrument and the musician are two parts of one whole, and so it needs to be the best possible match,” he adds.

Each instrument in the shop is made to order with the best quality material sourced from various parts of the country.

“All our instruments are handcrafted and can survive a lifetime. Because at the end of the day, this is not a job or even a business for us. It is a proud passion that we have and will continue to carry on for generations.”

From a broken sitar to an iconic company

Hemen Chandra Sen had been playing the sitar since he was 10 years old. But at the age of 13, he had to move to Calcutta from East Bengal (present Bangladesh).

His keen interest in music soon earned him the prized tutelage of Baba Allauddin Khan of Maihar Gharana, as well as the guidance of Ustad Ayet Ali Khan, father of Ustad Bahadur Khan.

The story goes that one day, while in a class with Allauddin Khan, Hemen accidentally broke his Sitar. At the time he could not afford to get it repaired and so instead, he did it on his own.

“When Allauddin Khan saw the repaired sitar as good as new, he was extremely impressed. Others like Ayet Ali Khan, Ali Akbar Khan and even, Ravi Shankar, were taken aback by his skills. Allauddin Khan praised and encouraged him to take it up seriously, as there aren’t many who understand the instruments so well to transform them into their original condition. He even gave all his damaged Maihar instruments to my father for repairing. This was the beginning and many musical geniuses, like Pandit Nikhil Banerjee, Ustad Ali Akbar Khan, Annapurna Devi, Ustad Hafiz Ali Khan and Ustad Amjad Ali Khan, began to come to him for all their repair needs,” Ratan shares.

This eventually led to the genesis of Hemen & Co. in 1947, which over the last few decades has perfected the skill of creating and repairing instruments like tanpura, sitar, tabla, harmonium, flute, sarod, violin, esraj and guitar.

Hemen’s brilliant work also earned him the Hafiz Ali Khan award for lifetime achievements, at the hands of the then Prime Minister, Atal Bihari Vajpayee, in 2003.

After his death in 2010, Tapan and Ratan took over the family business.

“My father was a strict and disciplined man. I think that is crucial is you passionately want to pursue music. Our education was not limited to school. We would have to manage studies at school during the day, while also concentrating on music lessons, especially the sitar, and then get coached by father about the family trade and craftsmanship. He would always say that you cannot justly treat and cure an old or broken instrument if you are not a musician yourself!” recollects Ratan.

A star-studded clientele

In the last 72 years, Hemen & Co. has emerged to be the one-stop store for musical legends and maestros from all across the world.

One of Hemen’s first customers was his teacher, Allauddin Khan, and Ravi Shankar, who was a fellow student. Ratan remembers that the first time his father repaired Ravi Shankar’s sitar, he didn’t charge money. As a token of appreciation, Shankar sent a portable tape recorder.

“Ravi Shankar and my father were fellow musicians and good friends. It was invaluable, much beyond the ambit of money,” adds Ratan who was taught by his father to make Shankar’s unique kharaj pancham sitar.

It was through this connection with Shankar that George Harrison, the Beatles’ star guitarist, became a prized customer. Other members of the band also ordered from here, from time to time.

“George Harrison had bought a sitar from us somewhere in 1968, which was both a surprise and an honour. Then after two years, he ordered two acoustic guitars. I remember that he had asked us about guitars, on an earlier trip, and I replied that although we did our best, they might not be of the superior quality as available in the west. He, however, dismissed the humble confession, tried one of our acoustic guitars, and complimented us on the perfect tune. So, when this order for two guitars came in, we were delighted and sent them via Ravi Shankar’s secretary. To say thanks, Harrison sent us a huge German-made tape recorder!” says Ratan.

The next memorable encounter that Ratan remembers is with Jethro Tull’s Ian Anderson.

“I was a huge fan. Ian Anderson was like Lord Krishna, the only one who could play the flute for hours standing on one leg. I would be captivated throughout his shows, and so when he came to Kolkata to perform in 2008, I didn’t want to lose the opportunity to meet him. When I did finally saw him, I gifted him a bamboo flute, something he had never played before, as he used a metal one. He loved the one made of bamboo, and has ordered over 100 flutes from us,” he shares.

Superior quality ensuring generations of clients

Despite the onslaught of air-conditioned shops selling musical instruments in the area or even the internet, Hemen & Co., in its tiny enclosure, continues to be overburdened with orders all round the year. Ratan says that this is the influence of quality.

“My father did not build a mere company, he built a global family of musicians, and we are carrying it forward. Our instruments aren’t instant; they need time and patience to ensure quality. This is something that true musicians appreciate, and it is with their testimonials that the next generation continues to buy from us,” he shares.

One such third-generation customer is Sougata Ganguly, whose entire family has purchased instruments from Hemen & Co. Now, he also sends his students to the shop. Ravi Shankar’s daughter, Anoushka, is also a loyal customer.

Ratan mentions the quality of the instruments, especially sitar and sarod, is ensured with the talented craftsmanship and the best raw material.

Elaborating on the process, he says, “The sitar is primarily constructed out a specific kind of gourd which cannot be eaten due to its bitterness. This variety is specially cultivated for sitar and tanpura. It’s now grown in parts of Maharashtra and the Nadia district of West Bengal. Once fully grown, they are processed to arrive at this formation. At the initial stage, it looks like any typical gourd, green in colour, but then it is soaked in water allowing the inner contents to decompose. After that, these decayed contents are scooped out, keeping the shell intact. These shells are then sent to us. We only buy the thickest shells as they are heavy and sturdy. But, again, thick shells are rare and so, more expensive.”

After the shells, the wood used in making the sitar, tanpura and sarod is also a critical aspect. These are either sourced from Assam or demolished old houses.

“The older, the better. We usually go for tul or Burma teak, as per the preference of the musicians. For instance, Burma teak has a good temper and produces a powerful sound, while tul wood, is softer. Vilayat Khan used to prefer the Burma teak sitar, which was completely black as he concentrated more on taan. Ravi Shankar preferred a sitar made of tul and adorned with minute decorations, ideal for alaap.” he adds.

Ratan and Tapan have held fort for all these years and have also been preparing their sons with the hope that they will carry forward the legacy.

But, in a world of instant gratification and autotune, this work has become more difficult than ever before.

When asked about the future of Hemen & Co. Ratan remarked, “I’ve done my part in creating a treasure and will guard it till my last breath. Now, it is the job of your generation to keep it alive!”

Also Read: Paris to Calcutta In a Milk Van: A 19,000 km Road Trip That Captured the Sound of Music!

(Edited by Gayatri Mishra)

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As soon as 5-year-old Eshan Hilal heard a yesteryear hindi song, he would run to the sofa in front of the television and sit in his favourite spot.

Eyes glued to the screen, his mind would step into a magical world, mesmerised by Meena Kumari’s facial expressions in Chalte Chalte in Kamal Amrohi’s 1972 classic Pakeezah. A little while later, the little one would imitate her and try the intricate steps of Kathak.

Though Eshan’s dance moves garnered cheers from his family when he was young, things changed once his father noticed that his eldest son stayed indoors, instead of going out to play cricket like the other boys of the society in Delhi.

Soon, coercion turned into physical harassment and shaming became an everyday ritual. “I would be beaten up because of the way I walked, sat and the soft gestures I made. The unceasing mockery and taunts from friends and family made me believe that something was wrong with me,” Eshan tells The Better India.

However, braving all odds, and staying true to his passion for dancing, Eshan now performs on stages. And standing ovations have replaced abuses.

Now 25, Eshan is considered to be the first known professional male belly-dancer in India. He created waves in 2017 when he performed belly dancing wearing a long flowing skirt in a dance reality show.

Eshan’s art grabbed the attention of the nation. Audiences and judges on the show had never seen a man perform with such aplomb and grace, a dance usually performed by women.

Eshan had nailed the torso-driven dance with precise articulations of the hips. It was probably the first time when Eshan’s art was respected and appreciated.

Formative Years and Taking The Unconventional Route

Growing up in the 90s, Eshan loved to watch songs of graceful actresses of the early years like Waheeda Rehman, Vyjayanthimala and Rekha; unlike his friends who only liked old hindi songs if they were remixes.

Everytime he would see these actresses dancing on the screen, he tried and matched their rhythm; pirouetting and making his face expressive. Emoting the lyrics of the song came naturally to Eshan. And it was during one of these moments that the Delhi boy realised he had found his calling.

But, with his need to pursue his heart’s desire came the barrage of humiliating and abusive words from his family. In fact, during one of the family gatherings, his grandmother even went to the extent of calling him a prostitute for dancing while playing antakshari, a game of singing.

“I did not know the meaning but I knew that it meant trouble. I was once again beaten up by my father. Words like hijra and tawaif (courtesan) became common for me during my teenage years”, he reminisces.

Despite the backlash, Eshan’s fascination for classical dances continued. He even saved his pocket money and decided to enroll himself in Kathak class. When he finally managed to arrange enough money, he told his mother about the same.

And once again he was beaten up and called names, “My father threw out my ghungroos and thrashed me for hours until I got a hairline fracture on my ankle.” Eshan felt suffocated in his house.

One day, upon learning about dance auditions for a popular reality show back in 2008, Eshan ran away from the house.

“I was very naive to leave the house without any money. I reached Nainital and worked there in a hotel as a cleaner for a couple of months until my parents found me through police. The next few days after I returned to Delhi were very traumatic for me,” shares Eshan.

To keep his family’s honour and save himself from the drama, Eshan quit dancing when he was in 12th standard. He changed his way of living and forced himself to be a person he was not. Just when he felt he was losing his identity, a conversation with his mother came as a ray of hope.

“My mother said I was only accountable to God and I should be scared of Him. That piece of advice removed all my fears. I decided to get back to dancing.”

Breaking into the Female Bastion

It was while learning Kathak that Eshan came across belly dancing. He saw Mehr Malik, a well-known belly dancer and was bowled over by her moves and dancing style.

Wanting to pursue the same, Eshan contacted a class teaching the artform. But little did he realise that a gender stereotype awaited him as the instructors turned down his request. Not one to give up, he did the next best thing. He followed YouTube tutorials to follow his quest to learn the dance.

His father was further angered at Eshan’s choice of belly dancing. Questions like ‘why are you acting like a girl’, ‘why are you insistent on bringing shame to the family’ were thrown at him again.

But this time he neither quit nor ran away from the questions. He made multiple attempts at convincing his father; sadly all of them unsuccessful.

In 2013, he moved to Mumbai for his studies and completed a course in Fashion and continued with his YouTube lessons.

The breakthrough finally came when he was accepted at a belly dancing class in Delhi after he had completed his college studies. “The moment I stepped in the studio, I found myself again.”

However, the rigorous practice sessions made his life more difficult but fortunately he enjoyed the pressure.

“It was like a slap across my face. There were several reality checks. Belly dancing is more than just moving hips. It has a rhythm that not everyone can match. I had to shed my fears, inferiority complex, reservations. Basically, I had to get over my past and start fresh,” he says.

While the world of belly dancing gave him a new identity, it also taught him life-changing lessons. There have been praises, nasty comments on social media and some bad experiences.

Sharing one of the positive experiences, Eshan says:

After one of my performances in Bengaluru, a 70-year-old gentleman came up to me and told me how he regretted coming to a fusion of classical and belly dance in the beginning. But seeing a male belly dancing so gracefully it changed his perspective. Through my art I was able to shatter a stereotype that too of a person from the older generation. Now, people have stopped looking at my gender, they look at my art.

Today, Eshan is an accomplished performer, choreographer and teaches belly dancing in Delhi.

As for his family, they have still not accepted Eshan and his art whole-heartedly despite all the praise and fame he has accumulated.

But Eshan hopes they will come around.

He just has one piece of advice to anyone out there who fears rejection from the society or is scared to be themselves and pursue their dreams.

“It is important to accept yourself the way you are. Do not get succumbed to pressures, you know yourself. In a world where every person is living with a facade, be yourself,” says Eshan.

Growing up in an environment that constantly looked down upon him, a family that never supported his decisions and the bizarre conceptions of the society is no mean feat. Today, the little boy with stars in his eyes has come a long way in a journey that epitomises courage.

Check out Eshan’s brilliant performance:

You can follow Eshan’s epic journey of belly dancing here.

Also Read: Bullied, Bodyshamed as a Teen: Meet Plus-Size Model & Belly Dancer, Anjana Bapat

Featured Image Source: Eshan Hilal/Facebook 

(Edited by Saiqua Sultan)

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For Begum Akhtar, also known as the Mallika-e-Ghazal (The Queen Ghazals), it was a series of personal tragedies that formed the basis of her legendary vocal performances. Her magic lay in not merely expressing this pain, love and hope, but translating these emotions in ways that future generations would empathise with and understand.

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Rita Ganguly, a student of the great Begum, once said that her soulful voice emerged from the depths and years of “loneliness, pain, suppression and silence”. Her unforgettable voice took to the masses, the various forms of semi-classical and classical Hindustani music like the ghazal, thumri and dadra that were once restricted to private mehfils (audiences).

It was her voice which brought life and a certain soul to the remarkable poetry of literary giants like Mirza Ghalib, Kaifi Azmi, Shakil Badayuni, Mir Taqi Mir and Jigar Moradabadi.

For the only artist allowed to smoke in the premises of the All India Radio’s recording studios, it was music which had literally kept her alive amidst a series of personal tragedies until it finally consumed her. Posthumously awarded the Padma Bhushan, Begum Akhtar espoused a unique spirit in her voice which inspired legends like Pandit Jasraj to become a singer as a six-year-old and Agha Shahid Ali, the Kashmi-American poet, to pick up the pen.

Born on 7 October 1914, in Faizabad, Akhtar probably endured more heartaches than most of us do in a lifetime. Her lawyer father, Asghar Hussain, abandoned his wife, Mushtari, a small-time tawaif (courtesan, a profession Akhtar would don till her eventual marriage) and his two children – Akhtar and Zohra (twin sisters) when they were only four years old. After consuming poisoned sweets, both sisters were rushed to the hospital, but Zohra tragically didn’t make it.

In the midst of the devastating loss of a twin sister, it was music that offered Akhar refuge. While her mother insisted that she learn conventional Hindustani Classical Music, it was in other forms like the ghazal or thumri where she could truly express herself. Unfortunately, like many female singers of the time, she also endured a lot of physical abuse at the hands of her masters.

“Worse, Bibbi, or Akhtari Bai Faizabadi as she was by then known, was raped by a raja of one of the states of Bihar who was a patron of classical music. She gave birth to a girl, Shamima. Mushtari, determined that her daughter would not face the world as an unwed mother, pretended the baby was her own and Shamima became Akhtar’s sister. The singer stood by this story until her death,” says this 2008 profile in Mint.

All these events happened by the time she reached 13 years of age. However, her musical gift grew from strength to strength. She performed for the first time in front of an audience at a concert for the victims of 1934 Nepal-Bihar Earthquake, where Sarojini Naidu heaped praise on her singing talents. Akhtar even had a short stint in the film industry till the early 1940s, but left because her mother would have none of it.

“But Akhtari Bai managed to escape the matriarchal hold by arranging a marriage for herself into high society. She did this knowing that the price of respectability was a life in purdah, giving up the arts and individual freedom,” writes Mehru Jaffer for Women’s Feature Service.

For eight years, she gave up music. However, following multiple miscarriages and the death of her mother, she was devastated both mentally and physically. Doctors felt that it was only music that would give her an outlet for this grief, and soon she returned to music.

This gave her a second lease of life, and it was during this phase that she got into singing serious poetry. She even shifted her audiences from largely private mehfils to the public venues and eventually the All India Radio, which broadcasted her voice through vast swathes of this country.

Having mesmerised audiences through the length and breadth of India with her unforgettable performances, she eventually passed away on 30 October 1974, suffering a heart attack during a performance in Ahmedabad at the age of just 60.

It is noted critic Raghava Menon who best captures the essence of her greatness.

“Akhtar was constantly caught up in a male-dominated world. She could never escape, even in the middle class, for there were inescapable social stigmas. But, it seems to me, she had an understanding of the predicament of the human being, and she used her life as a source of understanding of the masses who have looked for things, searched for things, gone on a journey to discover things and, in some cases, come back empty handed, finally realising that the important thing is the journey. She seemed like that to me. She was a remarkable, highly evolved woman,” he once said.

Also Read: Paris to Calcutta In a Milk Van: A 19,000 km Road Trip That Captured the Sound of Music!

(Listen to some of her greatest hits here!)

(Edited by Saiqua Sultan)

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With the concept of sustainability pervading our lifestyle at every step, more and more artists in India are showing a proclivity towards eco-friendly art forms and mediums. From homemade, organic colours to art installations made from upcycled waste⁠—they are now open to experimenting with anything and everything that can save the planet. 

Rajendran Vadakkepadath is one among the above. The painter and art teacher from Chittur town in Palakkad, Kerala, has been etching bold brush strokes on an uncommon canvas⁠—dried banana leaf. 

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Harnessing the overabundance of banana leaves in his state, Rajendran has succeeded in turning the flaky and frail dried banana leaf into the perfect medium for intricate paintings. 

“Historically, banana leaves have rarely served as a medium of painting or calligraphy, unlike its sturdier counterparts like palm leaves or peepal leaves⁠—which finds use in traditional folk arts of Odisha. The only close example I have found is that of the dried bark of the banana stem being used as a canvas by the Masai tribe of Kenya, Africa,” shares Rajendran.

So, he believes he is one of the very few artists in the world who have attempted to paint on banana leaves. He has been practising this art form since 2013 and has brilliantly mastered the craft by now. 

One of his most exquisite works⁠—Sree Padmanabhaswamy⁠—painted on an 8 ft X 4.5 ft canvas, speaks volumes of his expertise and finesse. 

Though fresh banana leaves feature heavily in the everyday lifestyle in Kerala, there has never been much use for the dried ones, except perhaps as an ingredient for green manure. Rajendran, who has always had a penchant for eco-friendly mediums for painting, opted to paint on a banana leaf, on a whim. 

After several rounds of trials and errors, he achieved the impossible by turning the humble banana leaf into exquisite works of art. 

“There is a meticulous process involved in turning the fragile banana leaves suitable for painting. The method is a result of my experimentation,” mentions Rajendran, though he prefers not to disclose the ingenious procedure he follows to render his leaf canvas ready. 

He claims that if preserved within glass frames, a banana leaf painting can last up to a century.

Rajendran chooses to stick to monochrome colours in his paintings to bring out the natural, burnt-ochre tint of dry banana leaves. Water and oil colours do not work out on banana leaves, so the ace painter has taken up acrylic. 

To make the best of his unusual canvas, he has adopted a unique technique of reverse colouring, which often takes months to complete. For instance, his painting ‘Sree Padmanabhaswamy’, which features only the colour black, took nearly five months to attain completion. 

Alongside banana leaves, Rajendran also paints on palm leaves, though his preferred medium has been the former for the past six years. 

Rajendran is a devout admirer of legendary painters like Da Vinci and Artist Namboodiri, an Indian painter and sculptor, and aims to convey his love for the environment through banana leaf artworks. 

“I have been experimenting with eco-friendly art for quite a long time. I wish to inspire more people to adopt unique and sustainable art forms,” he concludes.

Also Read: Crafting a Green World: Manipur Artist Uses Waste Husk to Make Gorgeous Dolls!

All images are courtesy of Rajendran Vadakkepadath

(Edited by Gayatri Mishra)

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Judhaiya Bai Baiga’s painting recently travelled all the way to a Milan exhibition in Italy and was sold instantly. This was not the first time Baiga’s painting was displayed in an exhibition along with paintings of other talented artists.

A resident of Lorha village in Madhya Pradesh, 80-year-old Baiga who belongs to a tribal community, has the distinction of seeing her art travelling to several art galleries in India and abroad.

If, at her advanced age, her paintings are appreciated by people, it’s because she knows that an artist can never claim perfection, but always aspire to better their art.

Become the proud owner of a small part of India’s rich cultural heritage. Check out these beautiful paintings inspired by indigenous tribal communities here. 

“Age or fame has nothing to do with the errors. Perfecting any art is a myth as there is always scope for improvement,” Baiga repeats the sentence from the other end of the phone in case the message was not heard.

Despite being a Diwali week, Baiga is kind enough to oblige for an interview. The excitement to share tales of her village and paintings is clearly evident in her voice.

When asked how she feels about getting international recognition, she says, “It has not changed my life as such. But yes, a change can be seen as more and more women, including my daughter-in-law are taking an interest in painting. Some of these women always wanted to paint but did not have avenues back then.”

How Age Worked In Baiga’s Favour

Baiga belongs to a tribal community heavily dependent on forest resources for their livelihood and some engage in menial jobs. Education, roads and employment are still to reach the interiors of the region.

She lost her husband when she turned 40 and now lives with her two sons. Her only daughter is now married.

Baiga decided to start her second innings with a colourful attitude, literally.

Happy in their world, her community loves to dress in the brightest and most colourful clothes and lead life with the belief that there is no substitute to hard work.

This is probably the reason why Baiga took up painting at 70, an age when most people retire and indulge in rest. But Baiga, who worked in the fields for most of her life, finds relaxation in painting.

“Painting takes me to another world where I am as free as a bird. When I learnt about a teacher who is willing to teach for free in our village, I decided to give painting a try, something I was never interested in. Yet, on the very first day, I found my passion,” says Baiga.

She joined Ashish Swami, a well-known art teacher and an alumnus of Shantiniketan, West Bengal. He runs his studio ‘Jangan Tasweerkhana’ in several tribal belts of Madhya Pradesh to prevent local cultures and traditions from becoming extinct.

“We have such rich cultures across India that are on the verge of dying. Painting is an effective means to save them. By articulating the local practices or customs in paintings, we can also tell other people about local traditions,” Swami tells TBI.

Almost a decade ago, Swami opened a studio in a small room of Baiga’s village. He teaches painting for free and also helps them get fair monetary value through art dealings. Close to 15 local women have been a part of Swami’s classes for the past ten years.

Swami, particularly enjoys teaching people from Lorha village because of their peculiar imagination that colours the canvas.

“Even if they draw something as basic as a tree, their outlook is so different from the rest. They manage to capture innocence in wild animals and serenity in clouds. Their definition of a perfect nature lies in the harmony or co-existence between trees, birds, animals, water bodies and humans,” he explains.

Initially, Baiga and Swami would be happy with whatever amount the painting would be sold at. But soon, they realised the value of the paintings and stood firm on their quotations.

“Paintings are sold on craft and not on how creative they are. We are trying to change that and promote creativity by taking the painters to exhibitions that take place across India. Currently, paintings by Baiga are valued anything between Rs 300 to Rs 8,000,” he says.

While Baiga is content with the money her paintings are making, it is not the motivating factor behind her passion. For Baiga, its her way of putting her village on the global map and keeping traditions alive.

People like Baiga prove that there is no age to learning, and even nature can educate, one only has to be receptive.

Also Read: TBI Blogs: This Couple Is Trying to Preserve Telangana’s Fascinating Cheriyal Scroll Paintings

(Edited by Saiqua Sultan)

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For Mumbai-born Amar Muchhala, life was on the bitter side growing up in a society where stammering garners mockery and discrimination. During school days, Amar was the boy who took ‘forever’ to complete one sentence. The more fun people made, the lesser Amar talked.

Creating a shell around himself. Amar became withdrawn and fiercely guarded his personal space.

Today, almost two decades later, the shy and introverted boy is an internationally-renowned opera singer who has performed in countries like France, Germany and the United Kingdom. He has mastered one of the most challenging tenor arias, ‘Komm, O Holde Dame’ and is said to be the first Indian to perform Chamber Opera (an opera genre).

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When asked if had ever imagined singing live in front of thousands of people, he tells The Better India:

“I grew up learning Hindustani Classical music and harmonium. Since it was the only time when I did not stammer, I enjoyed and felt at peace while singing. I grew up in a Gujarati household where there was no exposure to Western classical music and so it wasn’t until I moved to America for studies, did I know what tenor meant.”

Amar’s love for music was limited as a hobby, “Not for once had I thought of music as a career option. It all started with an accidental encounter with a peer at Franklin and Marshall College.”

While pursuing his graduation in Business Management and French Literature, Amar decided to try his hand at choir music. To his surprise, the choirmaster immediately made him a tenor (a singing voice between baritone and alto or countertenor, the highest of the ordinary adult male range). College days saw him participating in several choir performances which helped him gain confidence in singing for a live audience.

After completing his studies, Amar returned to India and joined the family business as the plan was. Though he missed singing, the busy schedules did not allow him to pursue his passion. But, fate had other plans for Amar. Even before Amar identified his calling, his professor back in the United States knew the boy had a special voice.

On his teacher’s encouragment and of course his closeted love for western classical music, Amar took the plunge, “There were very limited options for learning opera in India. So I decided to go abroad. From there, learning opera was a very organic process.”

Hitting the Right Notes

Revealing his plans to quit his stable profession for opera singing did not go down well with his parents at first.

“Pursuing art as a career is rarely encouraged in many Indian households as it lacks financial security. All their concerns were justified but when I sat them down and expressed my passion for opera singing, they were quite supportive.”

Amar got into the Guildhall School of Music and Drama and moved to London in 2004 for a 5-year course.

The training, which included voice, linguistic and breathing lessons and amplifying voice without a microphone was very helpful in reducing Amar’s stammer.

After his first public performance in 2009, there was a dull period for nearly three years. Amar even contemplated quitting after innumerable auditions and rejections.

“There were two points in my life when I thought of quitting. But something in me did not allow me to give up. So I took a break and moved to Mumbai but somehow I kept going back to music. The fear of getting stuck in our family business pushed me to try again,” says Amar.

Life took a dramatic turn in 2013 after Amar was offered a lead cover role in Benjamin Britten’s opera Gloriana at the prestigious Royal Opera House with The Opera Group.

“Honestly, it was totally unexpected. Opera singers take years before they reach the Royal Opera House. I was surprised when they selected me, an outsider who had very little experience. After that performance, people started noticing the brown boy who had a peculiar and warm voice. It got me back my confidence,” shares Amar.

Since his debut performance, Amar has come a long way but even now auditions are hard in the ‘ruthless’ industry. The only difference now is that he is in a position to choose his roles.

“I have made decisions that did not work in my favour. People judge you mercilessly in my industry during auditions. Overtime, I developed the nature of the beast and only auditioned for principal roles. The best advice I give to myself is to put my best foot forward and present myself in the best light possible,” he adds.

Failures and rejections no longer discourage Amar. In fact, he tries to see them as lessons with which he can excel in the future. Amar does not believe in plan Bs. According to him, an individual can never give his 100 per cent if he or she knows that there is something to fall back on.

Among the many praises he has received, the most memorable ones are always from people who are in awe of the fact that Amar is a Gujarati from Mumbai.

“Three days ago I was in Brussels when this gentleman came up to me and said they had never heard anyone like me, it was elegant and warm. Such praises always motivate me to perform better.”

Even after letting his talent do the work for him, there are times when Amar is afraid to speak, thanks to the judgments passed by the society.

“Back in those days issues like speech impairment and dyslexia were brushed under the carpet leaving no medium for discussions. The kind of television and movie content we have in India is also majorly responsible for the lack of sensitivity and awareness. It is important for people to know that making fun of someone’s speech is not okay.”

With every opera performance Amar is breaking his own limitations, proving that no force in the world can pull you down if you tap into your potential.

Also Read: 27-YO Mumbaikar Woman Helps Beggars Turn Professional Singers, Earn Rs 35000/Show!

Picture Courtesy

(Edited by Saiqua Sultan)

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Sitting amid the dense greenery in Kalpetta in the Wayanad region of Kerala, Lovely Saji carefully dips her paintbrush in a pot of black paint. With gentle but deft strokes, she paints beautiful outlines on a bamboo surface. One of the many murals she has painted so far.

Want to buy Bhavm’s beautiful handcrafted art pieces from Kerala? Check out their collection on Karvinal!

Lovely sighs with contentment. She finally has a job that affords her the financial strength to help her husband who works as a house painter. “I am financially supporting my family and being able to educate my daughters,” she beams, “I am happy that I am engaged in producing these beautiful art works. I have learnt so much over the years and I continue to get better at shading and coloring,” adds a happy Lovely.

This story replicates in more than 20 women artisans who work with Bhavm — a social enterprise started in 2005 which provides training to people in the ancient art of Chuvarchitram or Kerala Mural Painting.

Based in Wayanad in Kerala, Bhavm was started by husband-wife duo Sujith MP and Surya LR. The couple began the initiative for multiple reasons; to provide a source of livelihood to women in rural Kerala, preserve the art of Chuvarchitram and to encourage more people to learn this skill.

Since its inception, the couple has trained more than 50 people in the traditional art and has also disseminated their knowledge of the artform to about 500+ students across different colleges. Their enterprise Bhavm has also participated in 100+ exhibitions so far.

The Scope of Bhavm

Bhavm specialises in bamboo murals, painted terracotta tiles, jewelry, sarees, dupattas and even cotton indoor footwear. They even make hand painted fridge magnets, bookmarks, pen holders, and handcrafted bamboo string lights.

“This traditional artform uses only five colors, namely, yellow, blue, red, green and black for the purpose of painting the designs. Also, for the bamboo murals, we use natural colors,” says 38-year-old Sujith.

For Surya, 38, their bamboo mural paintings are definitely the masterpieces. “These paintings are carefully prepared, where the bamboo is procured from dense forests and villages. These bamboo is then washed and dried after which it needs to be whitewashed at least about 30 to 40 times before it is painted upon.”

He says that their unconventional jewelry pieces are quite popular. With beautiful faces painted on flat terracotta pendants, their jewellery a steady clientele. “My wife Surya also makes these beautiful pendants by painting on a small piece of mirror,” he smiles.

Bhavm—Reception and Impact

With a BA (Hons) in History from Calicut University, 42-year-old Lovely was struggling to raise her two daughters. Despite her degree, she was unable to find a suitable job. While discussing her financial problems with her friends, she came to know about a workshop being organised by an organisation called Bhavm. She found out that they were looking to train and work with artisans in their mural painting unit in Kalpetta.

“I joined Bhavm in 2011, and learnt the artwork by working with yellow paint that most beginners start out with. Eight years down the line, I now have mastered the art and put the finishing touches on these paintings,” smiles Lovely, who has a regular source of income now.

At the other end of the retail chain is Manjari Khan who is a big fan of Bhavm’s products. The 75-year-old is based in Vythiri and has loved handicrafts since she was a little girl.

“I read about Bhavm for the first time about 10 years back. Since their studio was in Kalpetta and not too far from where I live, I decided to go and look around,” she informs.

Khan was amazed when she visited the studio. “I liked the fact that the couple had a spirit to do things. I could see that the women living in the area were not only learning but also working there. When I went upstairs, it was a beautiful space that had been turned into a gallery,” she visualises.

Since then, the septuagenarian has bought multiple craft pieces from Bhavm like trays, jewelry, bamboo mural paintings, and clay pots.

Founding and challenges

After finishing his BA degree in Political Science from Calicut University, Sujjith took up hotel management training in Wayanad. “But, this was not something my heart was set on. That is why, when I heard about a workshop in Chuvarchitram, I immediately signed up for it,” he says.

Bhavm’s founders met at the art workshop at Uravu, an eco-friendly community tourism project, where they had signed up for a ten day course in Chuvarchitram.

The total strength of the class was 20 with Surya from Muttil, Wayanad, being one of them. After finishing the training, Sujith and Surya, along with a few others, went on to work at the bamboo mural section at Uravu. However, this unit shut down due to marketing-related issues.

The two then founded Bhavm in January 2005, and opened a small unit in Muttil. The duo started out by making canvas miniatures, painted terracotta tiles, plywood and other materials.

In 2008, they shifted their unit from Muttil to Kalpetta as they wanted easier access to courier services, more space and hire more people. In the same year, they started the Bhavm art gallery and began providing training to people who wanted to come and learn the art form.

“One of the biggest turning points for us was when we put up an exhibit for the first time outside the state in Bengaluru at a craft store known as Kala Madhyam. This provided us with the exposure we needed and made our work popular,” says Surya.

Sujith informed that they got a lot of enquiries after that which helped them put up displays at art societies like Dastakar and Sampoorn. The couple also conducted workshops in Delhi, Chennai and Coimbatore through the Crafts Council of India.

“We have even gotten the opportunity to teach at art schools like the Gulbarga Fine Art School and the Bidar Fine Arts School,” says Sujith.

A problem they frequently face is marketing their products and they’ve tried to remedy this issue by participating in more exhibitions.

Because Kerala experiences heavy rainfall, there are times when it becomes difficult for them to source their raw materials. There are also issues with power failure and logistics that are big deterrents to the production process.

The way forward for Bhavm

“We want to train more people and provide them with livelihood opportunities by adding them to our team. We also have this small piece of land in  Thrikkaipetta, a heritage bamboo craft village. We want to convert this land into a studio-cum-training centre. We want to teach people who really want to learn and travelling all over becomes very difficult as we have a small team. Once this studio is established, it will be easier for us to share our knowledge,” says a hopeful Sujith.

Also Read: Starting With Just 3, This Woman Used Crochet To Empower 100+ Women in Rural Bihar

(Edited by Saiqua Sultan)

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Yahan se pachas pachas kos door gaon mein … jab bachcha raat ko rota hai, toh maa kehti hai bete so ja … so ja nahi toh Gabbar Singh aa jayega.

Dressed in a khaki suit and armed with a belt, when the most dreaded dacoit of the country with curly hair and black teeth delivered this dialogue on a 70 mm screen, it sent shivers down my father’s spine who was then barely eight. 

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“While Sholay had several racy dialogues, this threatening dialogue stayed with me as I walked out of Bombay’s Capitol Theatre. For the next couple of days, I started sleeping without making a fuss fearing Gabbar Singh would appear. Till this date, Amjad Khan’s tone makes me uneasy,” says my father. 

The ‘Gabar fever’ went beyond my father and seized millions of cinemagoers, leaving an ever-lasting impact and of course, setting an almost unsurpassable bar for many actors. 

With the most simple and not-so-profound dialogues like Kitne Aadmi The, Jo Darr Gaya Samjo Marr Gaya and Tera kya Hoga Kalia, Khan had arrived on the Bollywood scene, giving life to one of the most celebrated and iconic characters in Hindi cinema.

On his 79th birth anniversary, here are five amazing tales of actor Amjad Khan, probably the only actor who could go from sets to sets playing nine different characters in one day! 

1) Life Before Movies

Born to actor Jayant (Zakaria Khan) in undivided India’s Peshawar, in 1940, Khan belonged to a Pashtun family. 

Khan was a bright student who completed his schooling from St Andrew’s High School in Mumbai and got into R D National College. While at college, Khan was active in his college’s political scene, getting elected as a Student Body President. 

He loved reading English poets like Wordsworth and Keats and eagerly engaged in political theories or philosophies of Plato, Socrates and S. Radhakrishnan. 

After completing his Masters in Philosophy from Bombay University (now Mumbai University), Khan joined the world of theatre to give a chance to his passion for acting that he had imbibed from his father. 

2) Khan was Not the First Choice In Sholay 

Can you imagine anyone else ace those dialogues while chewing tobacco in the magnum opus? Though actor Danny Denzongpa had bagged the role of Gabbar, another commitment forced him to give the role up. 

It is said that the film’s writers, Salim Khan and Javed Akhtar, developed a new lingo or the character of Gabbar. No wonder both, Sanjeev Kumar and Amitabh Bachchan were ready to shed their ‘hero’ image to play the vicious villian. 

But destiny had different plans. 

Watch Gabbar Singh’s famous dialogues: 

Salim and Javed had spotted Khan on stage plays. Once they arranged a meeting with Khan and director Ramesh Sippy, they wrote Bollywood history. 

3) The Family Man 

As hard as it may seem to believe, Bollywood’s legendary villain lived a quintessential love story. 

Khan and his love interest Shehla, daughter of the late writer and lyricist Akhtar-ul-Iman, lived in the same building in Bandra, Mumbai. 

She was merely fourteen when Khan, who was then doing his Bachelors, fell for her. According to Filmfare, he even sent a marriage proposal which was rejected as she was too young. 

Their romance continued in true movie fashion through letters when Shehla was sent to Aligarh for studies. And, this particular love story saw a happy fate when the two lovebirds got married in 1972. 

Khan and Shehla had three children and the day their eldest son, Shadaab, was born, Khan signed Sholay. Despite being busy with movies, sometimes shooting multiple movies in one day, Khan always made time for his children just like any doting father. 

“Obviously, while growing up, kids my age would think that my father’s real-life nature was similar to his on-screen persona, but once they’d meet him they would become very fond of him because in real life he was a fun-loving and gentle person who was particularly good with children,” Khan’s son and actor Shadaab tells Man’s World India magazine. 

Though Khan passed away before Shadaab made his onscreen debut in the movie Raja ki Aayegi Baarat, Khan made sure his son did not become a product of nepotism. He always encouraged Shadaab to write his own destiny and leave his ‘ego’ at home. 

4) The Versatile Actor 

Throughout his professional journey, Amjad Khan portrayed many roles with panache and ease.

Whether it was risking his business and family life as Bishan for his childhood friend Kishan (played by Bachchan) in the superhit movie Yaarana or playing the funny policeman in Kumar Gaurav’s Love Story, Khan never shied away from stepping outside his comfort zone. 

One of his most powerful and memorable performances was in Satyajit Ray’s Shatranj Ke Khiladi (1977), where he plays Nawab Wajid Ali Shah, an artist, poet, and a sympathetic character. 

Khan received several chances to play interesting and colourful roles and he credits his directors and writers for seeing him beyond ‘Gabbar’ and giving him platforms to explore himself. 

“They saved me from getting typecast, always keeping an element of surprise for the audiences,” he said an interview.  

He also, unsuccessfully, tried his hand at producing and direction but gave up after a few failed attempts. 

5) Being the Right Kind of Senior Colleague

Being a President of the Cine and Television Artists Association, Khan was a benevolent leader who would go out of his way to sort issues in the film industry like demands for fair wages and better working conditions. He was also known for helping his juniors and other industry people in tight spots. 

“He helped his friends in turning producers and friends from his theatre days by encouraging them to be directors and actors in films. He helped two of his ordinary tailor friends to start designer outfit shops which are still doing well,” writes veteran film journalist Ali Peter John in Bollywood Hungama.

In a career spanning two decades, Khan went on to do over 130 movies, some of which will always be evergreen classics. 

It was in 1976 that Khan met with a serious accident on the Mumbai-Goa highway, on his way to shoot for the film The Great Gambler. It is said that the drugs he was administered during recovery caused him to gain weight very quickly. This led to Khan developing heart complications. And in 1992, at the mere age of 51, Khan died due to heart failure.

A versatile actor still remembered for his portrayals of ruthless antagonist and on point comic timing, Amjad Khan will always live in the collective memory of colleagues, friends, and admirers for his reel and real persona. 

Also Read: Memories of Mogambo: Little-Known Stories About the Legendary Amrish Puri

(Edited by Saiqua Sultan)

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“Oh friend, why is your face sweating profusely like this?” enquires the Nayaki (heroine) from her Sakhi, gracefully moving her hands on her face. Sakhi blames the sun, pointing her hands toward the sky. “Oh Sakhi, why does your hair, as beautiful as dark clouds, look untidy?” the curious friend persists. “It’s because of the fresh gentle breeze,” quipped Sakhi. Not one to give up easily, the Nayika pesters her Sakhi with innumerable questions. The audience is in thrall of the evocative performance by Padma Shri recipient, Dr Narthaki Natraj.

By enacting the roles of both the friend and heroine, she effortlessly emotes varied emotions like joy, anticipation and curiosity not only on stage but also in the people in the auditorium.

Narthaki’s child-like smile, expressive eyes, contagious laughter and flawless execution of different mudras make for perfect ingredients required to perform the Indian classical dance—Bharatnatyam.

“Shringara Padams and Jaavalis are my favourite dance compositions. It showcases the Nayaka-Nayaki bhava and has a lot of scope for the expression of feminism,” Narthaki, a renowned Bharatnatyam dancer and Padma Shri recipient, tells The Better India.

Thrown out from her home at the age of 11, Narthaki is the first transwoman to have received India’s fourth-highest civilian award.

“The award has been given for my merit as a Bharatnatyam artist. All the negativity has transformed into a great victory. After receiving the award I have been quite busy. Now people who are not familiar with the field of music or dance also recognise me,” smiles the 55-year-old.

Narthaki’s life is nothing short of a movie story, with its many ups and downs. No wonder it is featured in Tamil Nadu government’s 11th standard Language textbook.

Honoured with many awards including Sangeet Natak Akademi Award (2011) and the Kalaimamani Award (2007), this Bharatnatyam doyen two dancing schools, Narthaki Nrutya Kalalayam in Madurai and Velliambalam Trust School of dance in Chennai. Besides teaching students from across the world, the two academies also serve as a platform that promotes children from underprivileged backgrounds who have an artistic leaning.

Finding Solace In Dance

Narthaki was born in a well-to-do Tamil family in Madurai who assigned her the male gender. It wasn’t until she turned 10, did Narthaki realise that she was born in the wrong body.

Naturally, a 10-year-old’s confession was met with denial followed by a constant badgering to behave in a certain manner. Ordered to walk like a man, talk in a heavy voice and forced to play outdoor games with boys, the family took every step that conformed to societal norms of gender.

“I never had a childhood. It was sheer struggle and rejection. We were “born with a silver spoon” but not meant to own it easily. My parents were shocked, unhappy, worried and angry when I came out to them. Every time someone said I need to be like other boys, I did not feel right. It was like being told not to breathe through the nose or see through eyes. Basically, not be me,” she recalls.

Amidst all the confusion, pestering, bullying and mockery, Narthaki sought solace in dance. Her first exposure to the classical dance was at a very early age through the window of cinema.

The 3-year-old would be mesmerised by legendary actress and dancer Vyjayanthimala Bali’s lasya (a graceful dance from expressing happiness). Like every child, Narthaki too would pose in front of the mirror and enact her favourite actor and replicate her dance moves.

“Back in those days, filmmakers would include a lot of classical dance in the films. I am a huge fan of Vyjayanthimala Bali. More than her dialogues, it was her flawless expressions through dance that bowled me over,” recalls Narthaki.

Since Bharatnatyam was predominantly considered to be a feminine dance form, there was opposition from parents once again, “They were at a point where they felt disowning me would be the best option. I was thrown out from the house when I was just 11.”

When the whole world was against her, it was Shakthi, her best friend, who stood beside her like a rock.

“I am glad I had someone like Shakthi who never gave up on me. We faced all our struggles together and she has been my constant since then. We did odd jobs and had days when we could not even afford one single meal. We stayed at places of our well-wishers who were ready to accommodate us. We performed Bharatanatyam to old cinema music at small functions and temples where they would pay us. With that money, we somehow managed to take care of ourselves and finished our schooling,” says Narthaki.

Turning Abuses Into Applause

By performing with local troupes in temples and functions, Narthaki got to know about Kittappa Pillai, a scion of the famous Tanjore Quartet (a Bharatnatyam format). Incidentally, he was Vyjayanthimala’s guru.

“Kittappa Pillai had just received the Isai Perarignar Award and I knew from magazines that he was then at Thanjavur after returning from his travels abroad. So, we rushed off to Thanjavur to become his students, which was easier said than done. Becoming his student is nothing short of a miracle,” reminisces Narthaki.

It was in the 80s when she reached out to Pillai. To her surprise, Pillai had heard of a young child wanting to carve her own niche in Bharatnatyam.

Pillai invited Narthaki to attend Vyjayanthimala’s performance in Bengaluru which further led to several invites to performances in different parts of Southern India.

Invitations continued for a year without Pillai even once mentioning about teaching Narthaki. Travelling to different regions and buying tickets to performances took a serious financial toll on Narthaki but her hope never diminished.

“Come tomorrow. We will start the class. These words of guruji were music to my ears and I rushed back to Madurai from Chennai on the same day. I took some fruits and flowers as ‘guru dakshina’ and thus began the best and unforgettable phase of my life,” she shares.

The Joy of Learning Dancing

Brimming with joy, Narthaki started classes at Pillai’s hall in Ponniah Natya School, “It was like heaven. The more I danced, the more I felt I was nearing the treasure at a rainbow’s end.”

Though Bharatnatyam is considered to be one of the toughest dance forms to crack, Narthaki’s dedication and passion made the learning less difficult.

In fact, Pillai was supportive enough to let her stick to the cinematic style of dancing for some weeks and the easy-going attitude helped Narthaki to adapt to the traditional style quickly.

We are talking of a time when the society and audience had not seen a person from the third gender performing Bharatnatyam. Taunts and jeers were her constant companions and this was probably the reason why she strove harder than others.

“In a year, I learnt a full Margam (course). Guruji usually did not teach rare compositions to everybody on completing a Margam, but he made an exception in my case. I felt so honoured. However hungry I was, I danced on. His wife was very kind. She always had food ready for me after the classes. Those days won’t come back but I can confidently say my adolescence and youth were utilised to the best,” she adds.

Among all the stage performances, the most memorable for Narthaki remains her Arangetram (a dancer’s first show at the end of the dancing course) in 1983.

She was so confident of her skill that she headed to the then Mayor’s house to give him an invitation for the show. “No one believed he would actually come, even my family whom I finally informed. But the Mayor kept his word,” says Narthaki.

Her talent spoke for itself and defied all stereotypes and opposition from family and friends. In her dancing career, spanning four decades, Narthaki has been invited to several festivals and shows across different continents.

As for her family, they came around eventually and accepted her identity, “Initially, my family had no answers to give to the judgemental queries of the then conservative society, but now we have grown to understand each other.”

Narthaki has carved her own place in a world which refused to understand the young child and instead of acceptance, offered jibes and ridicule.

However, the Padma Shri awardee is also grateful to be a part of the society that is willing to shed away unrealistic norms.

“I often get invited to schools to give speeches or lectures. They see me as a star and inspiration. I stand as an answer to their question for the gender identity crises. There may be children among them who might be facing the same situation as I did. I did not have any exposure or an example to look up to. But today, these kids have me and they will understand that it is nothing wrong if their classmate or a friend behaves more like their opposite gender,” she says.

“You being a male or female or third gender is natural. You can’t change it. You don’t have to. It is your inner soul that you have to identify with. Only that matters and self-trust and confidence is all it takes to achieve success,” Narthaki signs off.

Images are sourced from Dr. Narthaki Nataraj

Also Read: ‘I Choose To Be Me’: Meet Eshan Hilal, A Belly Dancer Unlike Any Other You’ve Seen

(Edited by Saiqua Sultan)

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While his boss is screaming at him, an LIC agent checks the picture of an old lady that flashes across his mobile screen. Later, the agent rings a bell and the same old lady opens the door.

“Nomoshkar, Agnes D’Mello?” asks the innocuous-looking, smiling LIC agent.

The moment the woman confirms, “Ek minute,” says the LIC-agent-cum-contract-killer and pulling out his silent pistol, shoots her in cold blood.

Before leaving, he whips out his phone to check whether he had killed the right person, and calmly steps out.

Recycled printing paper, handmade paper notepads, bamboo pens and office accessories.  Check them all out in this eclectic collection of beautifully handcrafted stationery products.

For people who still have not guessed, he is Bob Biswas, who personally renders me speechless every time he shoots people dead, smiling in an innocently-creepy way after his humble ‘Nomoshkar’.

A psychopath, Bob Biswas, played by Bengali actor Saswata Chatterjee, is an integral character in the 2012 thriller Kahaani, starring Vidya Balan.

Bob is not your quintessential villain who has a vicious laughter, a fit body and evil expressions. In fact, he is an ordinary man with a paunch, who goes to the office during the day, wears huge glasses and can easily disappear in the crowd.

Bob’s character is now getting its own movie starring Abhishek Bachchan and as soon as the news broke, social media pages were flooded with excitement. Finally, the fans will now get an insight into Bob’s life.

Like Bob Biswas, Hindi cinema has given birth to terror-inducing and vicious villains, malefactors and assassins who have left a lasting impact in the minds of movie enthusiasts with their impeccable performances.

Here are seven other villains, who we feel, have left a mark on the history of Indian cinema:

1. Lajja Shankar Pandey: Movie—Sangharsh

The scene where Ashutosh Rana dressed in a red saree, screams madly at a scared Preity Zinta is nothing short of a nightmare.

Lajja Shankar Pandey is a character in Sangharsh who kills young children with a hope to become immortal.

Rana’s performance is remembered as one of the most intensely-portrayed one and is engraved in the list of the most iconic villains, ironically immortalising the character.

Rana’s ghastly role in the Kajol-starrer Dushman as Gokul Pandit, a serial rapist and murderer, is also unforgettable.

2. Gabbar Singh: Movie—Sholay

Dialogues of Gabbar Singh from the 70s superhit movie Sholay are probably the most imitated dialogues transcending all generations.

Even if you have not seen this Ramesh Sippy action-drama, you must still have come across Gabbar’s loud voice and notorious laughter somewhere on television.

Essayed by late actor Amjad Khan, the character took a lot of time and effort to be perfected by the dream team of Salim-Javed. No wonder, actors like Danny Denzongpa, Amitabh Bachchan and Sanjeev Kumar were in the race to play Gabbar.

Know more about the life of Gabbar aka Amjad Khan here.

3. Mogambo: Movie—Mr. India

As soon as you type Mogambo, Google will complete the rest of the sentence for you “. . . . khush hua”.

Amrish Puri did not conform to the stereotypical image of a movie hero and thanks to that, Hindi cinema got to witness him play some of the most memorable bad guys.

But of all the roles, Mogambo from Mr India, stands out.

Interestingly, actor Anupam Kher was the first choice for the role. Though upset initially on being replaced, Kher later confessed that the makers of the film took the right decision.

“When you are dropped from a film then generally an actor feels bad, but when I watched Mr India and saw Amrishji’s work as Mogambo then, I thought the makers of the film took the right decision by casting him in their film,” he told IANS.

Read more about Amrish Puri here.

4. Ishwar ‘Langda’ Tyagi: Movie—Omkara

Actor Saif Ali Khan turned out to be a surprise element in Vishal Bharadwaj’s Omkara—an adaptation of William Shakespeare’s Othello. After playing a metrosexual man in movies like Hum Tum, Dil Chahta Hai and Salam Namaste, Khan wowed people with his body language and perfectly-delivered lines in the local dialect of the interiors of western UP, outperforming his co-actors in several scenes.

Treacherous, cold-hearted and manipulative, Tyagi walks with a limp and plays revenge games with Kesu Upadhyaya (Vivek Oberoi) and Omi Shukla (Ajay Devgn).

5. Rahul Mehra: Movie—Darr

Way before Shah Rukh Khan conquered millions of hearts across the world with his charming and relatable roles, he was every woman’s nightmare as an obsessive stalker in Yash Chopra’s Darr.

Shah Rukh Khan’s character in the movie is so obsessed with Kiran (Juhi Chawla) that his intentions turn malicious and murderous, hell-bent on killing the man Kiran was in love with.

This is not the only film where Khan played an antagonist. Who can forget the scene in Baazigar where he pushes Shilpa Shetty from the terrace of a building to her gruesome death?

6. Isha (spoiler alert!): Movie—Gupt

Throughout this whodunnit, audiences are left guessing the identity of the mysterious killer.

Is it a politically-driven murder, money dispute or it is really Sahil (Bobby Deol) who killed his step-father for publicly insulting his girlfriend Isha (Kajol)?

I remember how my elder sister refused to speak to her best friend for months after she revealed the name of the murderer. And she was not the only ‘unlucky’ one to get the spoiler.

In a major plot twist and against everyone’s expectation, Kajol turns out to be the killer who ruthlessly stabs people who come in her and Sahil’s way.

It was a very bold move on Kajol’s part for shedding the heroine image and playing a villian in the beginning of her career.

7. Makdee

In and as Makdee, Shabana Azmi managed to convince cinemagoers, especially children, of a world where witchcraft was still alive.

With her long nails, demonic look, evil laughter and hatred for children, Azmi is unrecognisable in the movie.

She transforms Munni (Shweta Basu) into a chicken after she enters her house due to a prank. So, her identical twin Chunni agrees to bring a chicken daily in hopes of getting her sister back.

Released in 2002, Vishal Bharadwaj’s directorial Makdee definitely gave sleepless nights to many who feared entering a dilapidated building alone, even during the day.

So which one is your favourite bad guy?

Also Read: 17 ‘Must Watch’ Bollywood Films That Were Way Ahead of Their Times!

(Edited by Saiqua Sultan)

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The calendar leaf turned to announce the arrival of December, and yet, the clouds have lingered on, leaving many Bengalureans grumpy and cold.

When I moved to the city, I was advised to always carry an umbrella while stepping out⁠. In the past two years, I have rarely followed the advice (and regrettably so), but plain umbrellas are just not my style.

But now, there’s a way to add a pop of colour to dismally grey days! Click here to buy a Kalamkari umbrella now!

These beautiful umbrellas, from Mumbai-based Kalamkari Design Studio, will stand out amidst the boring black ones, and are the perfect accessories to help you stay safe from the rains and protect you from the heat.

Out with the plain black umbrellas and in with that is an art in itself! Follow this link for the coolest looking umbrella now!

What is the Kalamkari art form?

An ancient style of hand painting, Kalamkari is found in many Indian states, including Andhra Pradesh, Maharashtra, Odisha and Telangana. It is called pattachitra in Sanskrit⁠—where patta means cloth and chitra, a picture.

In the olden times, nomadic storytellers and artisans would travel from village to village, telling tales of our history and mythology. They were helped in this endeavour with large rolls of canvas painted with Kalamkari motifs, that would become a visual guide for eager listeners.

It was the Mughal patrons who called the artists qalamkar in their Persian tongue from which the term kalamkari⁠—art made with a pen⁠—came about.

Kalamkari is a cultural element older than many historical monuments across the country, and with a single umbrella, you can contribute to its revival! Head here to get yours now!

An umbrella as evergreen as the art:

Sturdy and compact, this Kalamkari umbrella is a superb companion and a must-have item in your bag; whether you live in a perpetually rain-soaked city like Bengaluru or Chennai, or any other part of the country where the sun shines mercilessly.

You can choose among maroon, blue and black colours for the three-fold umbrella that will fit easily in your handbag, sack or moped compartment.

What are you waiting for? Tell the rains that you are always prepared with your armour. In freezing winters, sweltering summers and of course⁠—soppy monsoons.

Click here to get your beautiful Kalamkari umbrellas now!

(Edited by Gayatri Mishra)

All images from Kalamkari Design Studio/ Facebook.

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Is it a painting? Is it a photograph? No! It is an embroidered portrait that has been made using a million metres of silk threads and one manual sewing machine.

Support a cause and the environment. Check out a collection of wonderful eco-friendly products created by artisans with disabilities. 

From the design of the ornaments and the effortless amalgamation of shades to the raw emotions of the woman with a sling around her waist⁠—the monochrome tapestry of a mother and child on a cloth is detailed to perfection.

The artist behind the stunning portrait is Patiala’s Arun Kumar Bajaj, who goes by the name ‘Needleman’ and is probably the only sewing artist in the world!

He has single-handedly crafted over 250 threaded pieces or tapestries that are being sold all over the world, from the United States to Russia.

For his unique skill, Arun has received several accolades including certificates from the Limca Book of Records and the India Book of Records. He even applied for the Guinness World Record, but his application was unfortunately rejected as his work failed to find a category.

How It All Started

It is difficult to believe, but Arun initially dismissed the idea of sitting on a sewing machine and stitching clothes for people.

“My father had a tailoring business, and growing up, I found the profession very uncool. It irritated me when my friends called me a ‘darzi ka beta’ (tailor’s son),” he mentions.

However, his father taught him the basics of stitching and embroidering, while assuring him that he would not be forced to make this his career.

But destiny had other plans.

Arun was 16 when his father passed away and to support his family he got into the tailoring business.

“I really wanted to pursue a different profession, one in which I would earn money and fame. One that would be ‘modern’. Initially, I used to dread going to my shop. I knew getting rid of it was not an option, so I changed my perspective. I wondered how could I make tailoring a fancy profession and one that would excite me,” shares Arun.

It was a dream, four years later, that signalled him to combine his passion for painting and profession.

“I saw myself making a portrait of Guru Nanakji on my sewing machine. Call it my faith or the just the fact how beautiful the portrait looked, the dream pushed me to try my hand at it,” he explains.

Turning Hatred to Love: Honing The Craft

The next morning after the dream, Arun did not take any stitching orders in his shop. He drew a portrait of the Sikh Guru on paper, gathered different coloured threads and started stitching, thread by thread. It took him almost 15 days and several failures before he came up with the final work.

This is how Arun found his forté in a profession that he detested all his life.

Embroidered tapestries are usually done by hand, but Arun does it with a sewing machine. He spends between 15 days to six months per tapestry, depending on the size.

It also took him years of practice to hone the shading part of the tapestry.

“In painting, usually, the shade is given by putting one colour onto the other. Over-stitching makes the work look shabby, so I complete it in a single layer. I have to be very careful as there is no room for undoing the work,” he mentions.

One of Arun’s most challenging portrait was that of a tiger, which took him over two years to finish. That was before he started to work on Lord Krishna’s portrait, which took him three years to complete, and is currently priced at a whopping one crore!

Despite all the recognition and appreciation for his art, Arun still sits in the same tailoring shop started by his father.

“I am immensely grateful to my father for pushing to join the tailoring business. My dissatisfaction was what drove me to perform better and look for ways to go beyond being called a ‘darzi’. It took me years of hard work, patience and dedication to reach where I am now. If I could turn my destiny in my favour, I believe everyone can. One only needs to have an intention,” he adds.

Here’s a look at his incredible artwork:

Watch him make the artwork:

All images are sourced from Arun Kumar Bajaj/Facebook

Also Read: Crafting a Green World: Manipur Artist Uses Waste Husk to Make Gorgeous Dolls!

(Edited by Gayatri Mishra)

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As a child, the only motivation for Deval Verma to wake up early on a Sunday was Harun Robert – the artist renowned for making stunning artworks from waste materials. Back then, he hosted the show M.A.D (Music, Art, and Dance) that aired on Pogo Channel. And it was Robert or ‘Rob Uncle’ who introduced the concepts of recycling and ‘Do-It-Yourself’ (DIY) to Deval for the first time. Now, almost 15 years later, Deval has carved his own niche in the same industry. The 28-year-old makes exquisite artworks upcycled from scrap metal.

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“Even before I could fully understand the meaning of upcycling, I was using waste materials to make miniature models of cars and motorcycles. After every episode of M.A.D, I would try to use some of Rob’s techniques to build something. I maintained a small kit where I kept all the scrap that I found in my house and school,” Deval, a resident of Indore, tells The Better India.

From forming a strong client base across India to selling his artworks in countries like Singapore, Italy and the United States, Deval’s uncanny artistry has travelled far and wide.

This artist’s journey boasts of around 100 artworks made from three tonnes of waste!

Deval’s First Model

Whenever Deval found time from school schedules and the company of friends, he made toy-sized models inspired by sci-fi movies like Transformers.

The first piece that got a loud cheer from friends and family was a tiny model of a motorcycle he had made using buttons, pen caps, screw and some nails.

In college, Deval pursued Mechanical Engineering and in the four-year course, he went on to make several models from scrap. In his final year, he worked on the official logo of Harley Davidson and the scrap installation that was displayed in the company’s showroom.

By this time, Deval had made connections with local garages and automotive factories who would ring up Deval every time they generated scrap.

Jobs awaited the fresh graduate but he chose to study Product Design from MIT Institute of Design in Pune. By the time he completed his studies, Deval had made up his mind. Art was where his heart was.

Turning Scrap to Art – First Exhibition

“My parents objected. The initial period was rough. Making art from waste was and is still a fairly new market in India. I was not able to detect the pulse of the customers and making revenue was extremely uncertain. On certain occasions, I had second thoughts but my mentors, Janak Palta McGilligan and Sameer Sharma, kept encouraging me,” he shares.

One of Deval’s first exhibitions was in Dubai where he displayed two guitars made with two kilos of metal scrap. Thereafter, through his mentors’ connections, Deval took part in several exhibitions across India.

Alongside, he entered the commercial market to raise awareness about upcycling. He tapped the corporates first and gradually moved toward individual collectors through word of mouth and social media. He also designed installations for companies like BMW and food chains like BBQ Nation.

From clocks to showpieces, all his products are sold on advance bookings.

One of the more popular products among his customers is Deval’s mini-robot planters made with ball bearings, pipes, nuts and bolts. The cute planters are Deval’s attempt to bring nature indoors, “These planters can be kept at office desks or in your room.”

Turning scrap into art needs a creative bend. And turning life’s passion into profession needs courage. Luckily, Deval has vast reserves of both!

Here’s a look at Deval Verma’s beautiful artwork made entirely from scrap metal:

Check out more here.

Also Read: How to Tackle E-Waste? Turn It Into 100% Recyclable Pots to Grow Plants!

(Edited by Saiqua Sultan)

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It was the mid-1970s. A young Jasuben Shilpi had received a sculpting assignment with the Rajkot Municipal Corporation.
The Ahmedabad resident could have easily taken a bus or train to cover the long journey. Instead, she set out on her scooter alone and drove 250 km to reach Rajkot.

Popularly known as the “Bronze woman of India,” Jasuben Shilpi was hardly someone who adhered to societal norms. Almost always seen in her characteristic denim dungarees with sculpting tools in hand, this feisty artist broke into the male bastion at a time when women sculptors were a rarity.

Keep this handmade Tanjore Lady Dancing Doll as curio in your home, or gift her to your friends and family.

In a career spanning nearly four decades, Jasuben had made 225 life-size statues and 525 busts in bronze.

“But there was more to her. She was not simply an award-winning sculptor, she was a businesswoman and a doting mother—a true versatile genius,” shares her son Dhruv, an accomplished sculptor himself.

Always a rebel

Born a year after Independence, Jasuben had nurtured an inclination towards arts and aesthetics since childhood, and this landed her in the CN College Of Fine Arts, making her one of the only five women in her class.

While she displayed equal expertise in almost all aspects of art, she preferred sculpture—specifically in the mediums of bronze, metal and stone—and decided to turn it into her profession.

After her marriage to fellow sculptor Manhar Shilpi, Jasumati came to be recognised as Jasuben Shilpi or Jasu Shilpi.

“Their marriage itself was a rebellious act. My father was an orphan from a poor background, and my family was against the match. But, my mother stood firm on her decision and got married to him,” shares Dhruv.

The period following their wedding presented Jasuben with a series of struggles. To make ends meet, she forsook her passion for a while and taught at a school as an art teacher.

The days of struggle

Dhruv Shilpi attributes his mother’s remarkable zeal and hard work for turning her passion into a fortune. He is Jasuben’s firstborn child, after whose birth she purchased a plot of land thinking about the future of the family. However, she had resorted to loaning substantial amounts for buying the land, and the debts now had to be repaid.

While Manhar preferred working from the comfort of his studio, Jasuben went from place to place doing a lot of mural work across cities and towns.

Almost every day, she would set out in her scooter for distant locations and work on massive murals from dawn till dusk. In addition to this, she was also at the forefront of their sculpture studio and managed all the business transactions for her and Manhar’s work.

In the early years of the eighties, Jasuben slowly started gaining popularity and earning a decent income. Little did she know that life had another blow in store for her.

“In 1984, my father was diagnosed with cancer. My mother now had to devote time additionally to take care of him while being the family’s sole breadwinner. My sister and I were young; little did we realise the insane amount of hard work she did daily.”

Manhar passed away in 1989, leaving a vast void in Jasuben’s life. She lost her closest companion, but found solace in art and continued to shine in her vocation.

Her immortal creations

Jasuben’s largest creation is a 28-feet-tall Hanuman statue, which clinched the world record of being the tallest bronze statue created by a woman. It is now stationed at Sumerpur in Rajasthan.

Her other notable works include four statues of Rani Laxmibai of Jhansi, at different locations in India, Rani Chenamma statue in Karnataka, and statues of Swami Vivekananda, and Mahatma Gandhi.

Each one of these statues evokes awe with their precise perfection and sheer elegance. The magic of her hands has infused life into these metal figurines.

Legacy

Jasuben Shilpi’s works have made it to the Miracles World Record Certificate as well as the Limca Book of Records. The Lincoln Centre of USA awarded her with Abraham Lincoln Artist Award. International Publishing House had chosen her for the Best Citizen of India Award. She gained a steady admirer base in international quarters as well.

The veteran artist passed away on 15th January 2013, while working on her dream project of a museum of bronze statues, on the lines of Madame Tussauds.

While that dream could not be realised, her children, sculptors Dhruv and Dhara Shilpi, have now started the Jasu Shilpi Art Foundation in her name, which aims to protect her legacy by supporting and uplifting more sculptors across India.

Also Read: World’s Tallest Statue: Meet The 93-YO Sculpting Legend Who Created The Monument

(Edited by Gayatri Mishra)

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On 1 January 1989, the indefatigable Safdar Hashmi led members of the street theatre group, Jan Natya Manch (Janam) to stage a play called Halla Bol (Raise Your Voice) at the Ambedkar Park in Jhandapur, near Delhi.

Organised by the Kisan Sabha and Centre of Indian Trade Unions (CITU), these plays often focussed on an economic and political system designed to crush ordinary labourers with poor wages and working conditions.

During the performance of this play, the theatre group were viciously attacked by goons associated with a political party led by Mukesh Sharma, who was contesting the upcoming municipal elections as an Independent candidate against Ramanand Jha, a trade union leader.

During this vicious attack, Hashmi suffered grievous injuries and tragically succumbed to them the following day.

Just two days later, however, Hashmi’s wife, Moloyashree and the rest of Janam, finished the play in Jhandapur, paying tribute to a man who forged a path of non-violent resistance against the establishment to spread messages of equality, religious tolerance, inclusiveness, women’s empowerment and workers rights.

Safdar Hashmi—Trading a Cushioned life to Work for the Deprived

It was the ultimate tribute to a man, who could have easily enjoyed the comforts life had offered, but instead chose to live in the dust surrounded by the most deprived sections of the Indian society. Through his craft, he brought theatre to the masses in a language they understood best.

Born on 12 April 1954 in Delhi, Hashmi spent the early parts of his life in relative comfort. He graduated from the prestigious St Stephen’s College in Delhi with a degree in English Literature followed by a Master’s degree in the same subject from Delhi University.

If Hashmi wanted, he could have quite easily forged a career in government service or gone abroad for further studies, but chose otherwise. During his time in college, he became intensely political and joined the Students Federation of India, the progressive Indian People’s Theatre Association and subsequently co-founded Janam.

In the early 1970s, his plays like ‘Kursi, Kursi, Chair, Chair’ spoke directly to the people about then Prime Minister Indira Gandhi’s thirst for power following accusations of election rigging.

Hasmi’s troupe would often perform plays for a mass audience. With the clampdown on public gatherings following the imposition of Emergency, Hashmi made his way to academia teaching English literature in different universities, while also becoming a member of the Communist Party of India (Marxist). He even had a short stint as a press officer at the West Bengal Information and Cultural Centre in Delhi. But considering the social and political turmoil in the country following Emergency, he felt no choice but to come back to spreading social awareness through street theatre.

But Hashmi’s street theatre wasn’t born in a vacuum. There is a context to it.

“In the late 1970s, it cost about Rs 5,000 to mount a show, set up a large stage, hire lights and sound technicians. It was a lot of money. The organisations that usually gave us space to perform, needed our plays but could not afford them. So Safdar said, ‘If we can’t take big plays to the people, we’ll take small plays’,” writes Sudhanva Deshpande, a storied member of Janam, for Scroll.in.

The plays he wrote and Janam performed were centered on a whole range of issues—Gaon Se Shahar Tak, DTC ki Dhandhli (on inflation), Aurat, Teen Crore (on unemployment), Machine (on violence imposed by the factory owners against their workers) and Hatyare & Apharan Bhaichare Ke (religious facism), among others.

“Janam’s early plays — including Aurat, Hatyare and Machine — became immensely popular for how they dealt with issues of the marginalised communities. Safdar used to write scripts and songs of these plays. He was against the idea of a particular class having hegemony over art or any creative fields. He wanted to take it to the working-class,” writes Danish Raza for the Hindustan Times.

With influences ranging from Sahir Ludhianvi and Faiz Ahmed Faiz to Cuban revolutionaries like Fidel Castro, Hashmi combined the anger of the oppressed with the wisdom of anti-establishment poets.

Taking Theatre to The Masses

For Hashmi, the very world outside was his stage, whether his troupe performed in a mohalla, street corner, villages or a park or across working-class neighbourhoods and factories. These plays were for the ordinary citizen. Prior to his tragic death at the age of 34, Janam had given over 4,000 performances of 24 street plays.

But Hashmi’s legacy lives on.

Janam continues to perform over 200 street plays every year, while the collective Safdar Hashmi Memorial Trust (Sahmat) offers a platform for socially and politically conscious artists. Films have been made on his life, and MF Hussain even sold a painting titled “Tribute to Hashmi” for a $1 million.

Also Read: Sahir Ludhianvi, The Poet of Peace Whose Lyrics Made a Home in People’s Hearts

But the real lesson we can draw from his life is how he showed true compassion for the most vulnerable living among us and fearlessly expressed it without any care for his own life. That’s true commitment.

(Edited by Saiqua Sultan)

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Whenever there is massive public unrest against the government of the day, celebrities in India are often put in a tight spot, because both fans and the government elicit their support. It’s a difficult choice to make, whatever their personal beliefs.

So, when former Prime Minister Indira Gandhi imposed Emergency in June 1975, the government’s spin doctors were working non-stop to facilitate support of this decision and enlisted the help of celebrities.

While many of them followed the government-approved line, some notable film personalities chose not to go along with this severe policy, which drastically curtailed civil liberties.

Some of them paid for their principled stand in a big way.

Take the example of legendary actor and playback singer Kishore Kumar.

Besides rejecting an invitation to perform at a Youth Congress rally in Mumbai, he also turned down the then Information & Broadcasting (I&B) Minister VC Shukla’s request to make and participate in advertisements promoting Sanjay Gandhi’s 20-point Economic Programme launched just after the imposition of Emergency.

In response, Shukla did what most petty votaries of governments do, which is direct public broadcasters like Doordarshan and All India Radio to ban all songs and films that feature him.

This was a tactic not only meant to intimidate Kumar but others in the film industry as well.

In fact, according to journalist Ranjan Das Gupta, legendary singer Manna Dey had told him, “[Mohammed] Rafi even questioned [Sanjay] Gandhi how he, being the grandson of a great man like Pandit Jawaharlal Nehru, could indulge in such an act.”

At a time when there were very few avenues to reach mass audiences, this was a crippling blow. At no point did he ever retract, and the ban was lifted only a year-and-a-half later when Emergency ended, and the Congress government was booted out of power.

Similarly, stars like Dev Anand and Shatrugan Sinha also had their films banned on Doordarshan. The government, in fact, threatened Sinha that he would be implicated in the Baroda Dynamite Case if he didn’t campaign for the party in Bihar.

Dev Anand, however, went beyond refusing the government’s invitation and publicly spoke out against Emergency with his brothers Chetan and Vijay Anand.

“The pro-Emergency lobby enforced strict discipline amongst the masses and the rank and file of the government offices through certain legislative measures. It did a lot of good for the country. But, the fact was that the soul of the people was smouldering, their spirit stifled by an iron hand,” wrote Anand in his autobiography, ‘Romancing With Life.’

“They were dying to break the shackles, and the lava inside them was gathering momentum, soon to explode into a spluttering volcano. It just needed a single matchstick to light up. And the matchstick was provided by Indira Gandhi herself,” he added.

In response, the government came down particularly hard on Anand and set up multiple hurdles during the shooting of his film, Des Pardes.

But he was fearless and spoke out on public platforms with support from fellow members of the film fraternity like Pran, Hrishikesh Mukherjee, Danny Dengzongpa and Sadhana.

During a public speech at Juhu beach in Mumbai, he directly attacked Indira Gandhi and her son Sanjay for their dictatorial behaviour. He even formed a political party called the National Party at the time to take on the government.

Then, of course, there was legendary actor and director Manoj Kumar, who many had initially seen as a supporter of the regime because he had managed to convince VC Shukla into clearing the epic film Sholay, despite the government’s reservations.

However, he was against the Emergency from the start and soon his opposition to it was out in the open.

“One morning, I received a call from the I&B Ministry to direct a pro-Emergency documentary written by Amrita Pritam. I point-blank refused to direct the documentary and even asked her directly if she had sold out as a writer,” he said, speaking to the Sunday Guardian.

An apologetic and ashamed Amrita Pritam asked him to burn the script.

When the time came for the release of his film, Shor, it was surprisingly telecast on Doordarshan two weeks before its scheduled release. Naturally, when the film was released in theatres, it flopped.

Another film of his, Dus Nambri, was also banned, but Kumar wasn’t going to take it anymore from the government and spent weeks challenging it in court. He eventually won the case and became the only filmmaker in the country to win a lawsuit against the Emergency.

Going beyond the likes of Dev Anand and Manoj Kumar were National Award-winning actresses like Snehalatha Reddy, who not only spoke out against the Emergency but also actively participated in the underground movement that sought to undermine the government.

She was arrested for her troubles and booked under the draconian MISA (Maintenance of Internal Security Act) on trumped-up charges and held without trial for eight months in Bangalore Central Jail. There, she endured inhumane conditions, torture and suffered a debilitating illness that eventually killed her five days after she was released from prison.

There were other famous film personalities like V Shantaram, Uttam Kumar, Satyajit Ray, Raaj Kumar and Gulzaar, who spoke out against the Emergency as well.

Satyajit Ray refused to accept Indira Gandhi’s request to direct a documentary on her father, Jawaharlal Nehru. Considering not just his popularity at home, but his international standing, there was no way the government was going to touch a filmmaker of Ray’s stature.

At a time when artists didn’t have multiple avenues to screen their work to massive audiences, it took real guts for a handful of them to stand up to the vindictive regime and their policies.

More than four decades later, it’s time for us to honour them once again.

Also Read: Fearless, Compassionate And Martyr: The Story of an Actress Who Took on The Emergency

(Edited by Gayatri Mishra)

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Nishi Srivastava was over the moon when she secured a job as a patent data scientist in New Delhi. However, her happiness soon turned to disappointment as her busy schedule left her with no time to pursue a beloved hobby—art.

At the time, Nishi was frustrated about the lack of creative places in the city, where she could just unwind and meet other people who shared her passion for art. Little did she know then that a leisure trip to the Kutch desert would turn her life around completely.

Today, the former data scientist works with over 80 artisans across India, doing her best to revive cultural art and craft forms.

Intrigued by her story? Join Nishi and The Craftsutra team in making eco-friendly chalk paint in Bengaluru. Click here to enrol in her workshop.

From approving patents to reviving dying crafts

The beginning of Nishi’s story was like thousands of others in the country. The resident of Prayagraj grew up with parents who encouraged her to study engineering and pursue a “good” lucrative job.

“Although I studied electronics engineering, it never really struck a chord with me. But that was life as I knew it. My social anxiety, low self-esteem and borderline depression were crippling my mental health, but I didn’t know what I was suffering from. I just knew that something was missing from my life. Nonetheless, I completed my studies and got a job in Delhi.”

There, she spent several months feeling listless. None of her colleagues were keen on exploring art galleries, and the spaces seemed intimidating when she visited them alone.

“The weekends felt empty, but I had no idea how I would utilise them constructively. My visit to Kutch came like a force of inspiration,” she mentions.

At Kutch, she witnessed Lippan, a raditional mural craft, for the first time. Popularly known as clay art, it is mostly done inside mud huts to keep them cool.

When Nishi inquired whether the artisans ever thought of replicating the impressive art on a commercial level, the response was tepid.

Determined to give the artisans a better platform where, Nishi learnt the art herself, documented it and brought it to Delhi.

In September 2017, she established The Craftsutra, an organisation based in Delhi that focuses on reviving dying ancient arts and help enthusiasts learn too. This weekend, she is organising a workshop in Bengaluru about chalk paint. Click here to book your place.

What is chalk paint, and where can I learn it in Bengaluru?

Developed by British artist Annie Sloan in 1990, chalk paint is a sustainable paint that eliminates the need for primers and sanding. It goes on basically everything- decorating your photo frames, furniture and home decor pieces effortlessly and giving them a vintage look.

A blessing in disguise for all those who love DIY projects, the chalk paint can be turned into any colour and stays on your furniture for a long time. So take out those broken chairs and shabby window sills to give them a beautiful paint finish.

“Although readily available in the market, you can learn to make the chalk paint yourself. In this 3-hour workshop, you will also learn the application of the paint so you can upcycle old furniture easily,” says Nishi.

The Craftsutra team is coming to Bengaluru, and you can join them in their workshop by clicking on this link.

You may also like: Recycling Is Not the Right Answer: Here’s Why You Need to Give up Plastic

(Edited by Gayatri Mishra)

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Eight national awards, over 80,000 songs recorded in languages ranging from Malayalam, Tamil, and Hindi to Latin and Arabic, and three Padma awards—KJ Yesudas is an inspiration to millions of singers and composers and is undoubtedly one of, if not the greatest, Indian singers of all time.

There is a reason why he is often referred to as the ‘Ganagandharvan’ (Celestial Singer) because that perfection in his singing could have only come down from the heavens.

“I have always said that no singer can match what a composer has in mind. If there is one singer who, very often, came close to the original creation and, at times, even enhanced it, it is Yesu. No other singer can sing with such bhava, such laya. And his pronunciation is perfect. In the case of other singers, there is only one style in which they can be slotted. In Yesu’s case, he can be moulded into any form. The essence of his voice will stay as a diamond even if you chip off the sides,” says MK Arjunan, a Malayalam music composer, speaking to The Hindu.

As he turns 80 today, we look back at a remarkable career in music that touched the souls of millions across regional, vernacular and communal divides.

Born in Kochi to a Latin Catholic Christian family, Yesudas grew up in a household that breathed music. His father, Augustine Joseph, was a well known Malayalam classical musician and stage actor, besides being his first teacher.

Yesudas first made his mark in the Malayalam film industry with the movie Bharya in 1962 but soon transitioned into the Tamil just two years later in the film Bommai.

More than a decade after traversing through the film industries in the South, Yesudas got his big break in Bollywood singing for the 1976 movie Chhoti Si Baat, particularly the hit song Jaaneman Jaaneman.

However, it was the film Chitchor released in the same year, when he left a significant impression on Hindi audiences with evergreen songs like ‘Gori Tera Gaon Bada Pyara,’ ‘Jab Deep Jale’ and ‘Aaj Se Phele Aaj Se.’

Having worked with every film composer and singer worth his/her salt in India over nearly six decades, the sheer diversity in his body of work is genuinely mind-boggling.

While many argue that his most exceptional performances on wax are in Malayalam—’Oru Pushpam Mathramen,’ a romantic ballad from the 1967 film ‘Pareksha,’ or ‘Harimuralaeeravam’ from the 1997 film ‘Aaram Thampuran,’—one can even make the same argument for Tamil as well, particularly songs in which he teamed up with the legendary composer Illaiyaraja.

There is a reason why so many composers have opted for his voice.

As a music aficionado, who may not always understand the meaning behind the lyrics, what stands out is his ability to elevate a song beyond the words and music.

There is an undeniable soul in his singing, which resonates across different music genres, languages and moods. His flexibility, particularly when it comes to range, is out of this world and music composers have often said that he can enhance an original composition like no other singer.

He has the natural ability to impart just the right amount of emotion into any song, and the tonality of his voice is unmatched. Whether he is reaching for high or low octaves, what’s undeniable is the clarity in his voice.

This is not just a product of natural talent, but years of training, discipline, and continuously working on his craft.

A master of Carnatic music, Yesudas is also famous for his devotional songs. Despite being a practising Christian, he has sung songs like Harivarasanam, a devotional song from the 1975 film Swami Ayyapan.

Composed by G Devarajan, the song is recited at the Sabarimala shrine every single day before the gates close.

Yesudas has also proven to be a genuine cultural ambassador for India.

“In 1965, he was invited by the Soviet Union government to perform at music concerts in various cities in the USSR and also sang a Russian song over Radio Kazakhstan. In 2001 he sang for album Ahimsa in Sanskrit, Latin and English and a mix of styles including New-Age and Carnatic]. In his music concerts in the Middle East he sings Arabic songs in the Carnatic style,” says journalist-turned-writer Kiran Ravindran.

But the true mark of any great is longevity. Through the decades, music has changed in a myriad of ways in terms of sound, aesthetic and most importantly, technology.

Yesudas, however, continues to stand out because of his willingness to adapt, but not at the cost of authenticity.

There is a reason why AR Rahman said that Yesudas is “one of my most favourite voices’ ever in the world.” There is a reason why Bappi Lahri refers to his voice as the one “touched by God.”

If you ever listened to him sing, you would understand why.

Also Read: Inka Time Aayega: Liked Gully Boy? Then Check Out Northeast’s thriving Hip Hop Scene!

(Edited by Gayatri Mishra)

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