“How did you make your baby comfortable with other caretakers? I need to start work next month.”

“I’m facing a lot of hair fall. I feel like I will go bald soon. What can I do?”

“I’m starting solids soon. What should I start with? Should I follow baby-led weaning or traditional weaning?”

It takes a village to raise a child. Ask any mother, and she will agree. Earlier, these villages were found quite literally, in homes, and neighbourhoods. When we were growing up, we would spend a lot of time playing downstairs or in our neighbours’ houses. In joint family settings, the village was present within the home.

In increasingly nuclear households, we, as mothers, don’t have that privilege. This leads us to look for villages in the virtual world. Since we also want to raise our children using modern methods and, often being single children or having just one sibling, we tend to seek support from peers experiencing similar situations.

From navigating the challenging postpartum period to receiving tips on feeding — whether it’s breastfeeding or formula — and starting solids, sleep training, and much more, virtual support groups have become a new mother’s go-to village in the 21st century. The questions mentioned are some of the most common ones you can find in any new mother’s support group.

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Personally, I found abundant help through these groups on Facebook and WhatsApp, where one can ask questions without fear of judgment and receive instant replies from the thousands of moms who are either going through the same dilemma or have already passed that stage.

Take 32-year-old Rohini’s example. The first-time mother had a complicated pregnancy that led to her facing severe postpartum depression. Her friend coerced her to join a WhatsApp group for new mothers, where she found instant answers to her many queries.

“I was unable to breastfeed and was pressured to give formula by the elders at home. This gradually led to a reduction in my breast milk, adding to my guilt. I found many contacts for lactation consultants through this group, through which I worked on increasing breast milk supply,” Rohini tells The Better India.

The best part though, she adds, is the sisterhood she found through this group. While a set of mothers advised her on how she could improve her milk supply, another set also assuaged her by saying there was nothing wrong with giving formula to a baby.

“They made me understand that a fed baby is what matters at the end of the day, which took a huge load off my back. I could vent and share the tiniest of troubles, and there was always somebody to listen. This group has been one of the biggest blessings,” she shares.

The ABCs of feeding

Just like the WhatsApp group Rohini is a part of, there are several others on the platform. While many such groups have shifted to WhatsApp due to ease of access, this movement of sorts really began on Facebook, sometime in the 2010s.

The first question that any new mother has after the birth of her child is about breastfeeding, which makes the requirement of such a group essential. Adhunika Prakash found herself alone in Ireland as she navigated the questions around breastfeeding and motherhood. She found support on an Irish breastfeeding group on Facebook. Not finding a similar one in India, she started ‘Breastfeeding Support For Indian Mothers’ (BSIM) in 2013, which has grown into one of the largest communities online, with almost 1.5 lakh members.

“I felt lonely and had no one to talk to about the challenges I was facing. I found that many of my friends and colleagues too had similar queries. Fact is, no one talks about how difficult the journey of breastfeeding and motherhood is. I started this group for mothers to unite and get answers,” Adhunika shares.

The community, through experts such as lactation counsellors and educators, offers tips and accurate information on lactation, how to wean off formula, and more. Besides the experts, other mothers too weigh in and share tips through their own experiences.

BSIM was named one of the top five Facebook groups in the world in 2018, thanks to its reach. Besides creating a community, BSIM also conducts webinars and offers one-on-one lactation consultation services.

The most common questions that the group receives are around breastfeeding post six months, and weaning off formula, informs Adhunika, who has also written a book called Breast Potion, advocating breastfeeding.

Just like BSIM, there are groups for formula-feeding mothers too. ‘Formula Feeding Moms of India’ was conceptualised to provide mothers with a guilt-free, happy community with no judgment. Here, queries around the quantity, formula brands, methods, feeding accessories and more are discussed.

“A happy mother will have a happy child. A fed baby is the best. Whether it’s out of choice or compulsion, do what is best for your child and you,” says Swati, who formula-fed her baby.

Just as mothers begin finding a rhythm with feeding, the next big challenge is starting solids. There are two popular methods followed among new mothers — one being traditional weaning, which is typically the parents feeding the child, also called spoon-feeding, and the other being baby-led weaning (BLW), where the baby is encouraged to eat by himself or herself right from the beginning.

This transition is a very confusing time for new mothers — right from deciding which method to follow, what to offer, how much to offer, when to offer, and much more.

This is where Facebook groups — like Traditional Weaning (Introducing Solids) India, with over 1.4 lakh members, and Baby Led Weaning for Indian babies – Recipes and Techniques, with over 45,000 members — and many WhatsApp groups again come to the rescue.

In addition to these groups, many nutritionists and new mothers are offering useful tips and tricks on Instagram through live sessions and even providing quick replies to their direct messages.

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A post shared by Gunjan Dewan (@tickletales_)

Gunjan Dewan is one such content creator who shares tips on starting solids through her Instagram page @tickletales_. The new mother started this page in June 2023, after her son Kiaan turned six months old. She wanted to fill the gap in information around starting solids and BLW in India. She also started a Tickle Tales Mommy Support and Daddy Support group on Telegram.

“Most of the information available around BLW is very Western and doesn’t work around the Indian context. I read a lot of books and blogs, and attended workshops by child nutritionists to help me feed my son. I decided to share this with other mothers,” she shares.

The most common questions she gets are about how to get their babies to eat more, how to know if their baby is eating enough, and how to deal with toddler tantrums!

For the 55,000 followers, Gunjan provides healthy recipes, meal plans, and tips to make their babies’ journey into solids a smooth one.

Hush little baby

The second question that every new mother faces is about sleep. How many naps a day should a baby take at different age groups? — is a very important question that plagues mothers.

Here too, peers come to the rescue through groups like Gentle Baby Sleep India on Facebook. The group was started by school friends Himani Dalmia and Neha Bhatt in 2016, who were new mothers at the time. The two reconnected through existing support groups like BSIM. They found that there were a lot of questions asked about baby sleep, a big pain point for parents.

“We both read and learnt a lot about baby sleep. There wasn’t much information in an Indian context, and the Western sleep training principles wouldn’t work for us. It focuses more on the crying method and making babies sleep independently. We started working on ways that work in our cultural realities, where babies share a bed with us,” Himani shares.

Gentle Baby Sleep India, with over 60,000 members, focuses on the ‘secret sauce’ to baby sleep and building a routine. The founders use science and evidence-based approaches to building a good schedule for babies.

The most common questions range from ‘When will the baby sleep through the night?’, ‘Why does the baby take short naps?’, and ‘Why do they wake up as soon as we put them down?’

And everything in between

Apart from these concerns, there are many other virtual groups focused on holistic support like Gentle Parenting India and addressing specific concerns like Cloth Diapering India, Babywearing India, and many more.

“The Cloth Diapering India Facebook group is a boon for young parents who want to use cloth diapers for their babies. It has the most helpful set of parents who answer every query and help in every way possible. It also has tons of information on everything related to cloth diapering. We exclusively cloth diapered our son (didn’t use any disposables) and couldn’t have done without it,” Sonika Bhasin shares.

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A post shared by Himani Dalmia | Baby Sleep (@gentlebabysleep.counselling)

Another pair of school friends who reconnected in the throes of motherhood are Vidya P and Neelufer Mulla, who run New Mother, a postnatal service for new mothers.

Their own struggles with handling the 180-degree change in life after delivery led to them starting a blog, which later turned into a course called ‘First Forty Days: After Childbirth’, which prepares a new mom for everything that follows post-childbirth. They also run an Instagram page by the same name, an application, and a support group on WhatsApp.

“How we were before childbirth and after are two completely different people. No one gives you a heads-up about this. Our aim is to let mothers be confident by tuning into their intuition. We created this programme as a source that every mother can fall back on,” Vidya shares, adding that her tip to new mothers is to accept the change in their lives.

Pratyusha, a new mother, shares that these groups provide logical answers to her queries. “Knowing that someone else is sailing in a similar boat feels comforting. The group I am a part of is a platform for everyone to grow together,” she shares.

These virtual groups offer comfort, sisterhood, and a supportive ear, fostering enduring friendships along the way. They lift you up, offering words of encouragement, affirming, “You’re doing an amazing job, mama!”

Edited by Pranita Bhat; Feature Image Courtesy Gunjan Dewan

On 15 November, 2023, Sumanti Devi, dressed in a red and white cotton saree, maintained a composed demeanour despite her excitement. With a job to fulfil and a role to embody, she concealed her feelings and prepared for the upcoming buzz at Jamshedpur’s Gopal Maidan.

“This is my tenth year of putting up a stall at Samvaad, and yet the jitters are very much there,” she told The Better India as she neatly placed Oraon paintings in her stall. She had carried more than 100 traditional paintings made by her and her family.

Sumanti works hard to preserve her community’s identity and culture through her involvement in Samvaad, an annual conclave organised by the Tata Steel Foundation (TSF). 

For five days, Sumanti and 109 other artisans showcased their cultural heritage through diverse creations like hand-printed silks, textiles, woven fabrics, mud paintings, bamboo items, and traditional clothing stalls from 15 to 19 November, 2023. The theme for Samvaad 2023, ‘Walk with Me’, focused on the journey of ideas, collectives, and changemakers associated with Samvaad since its beginning.

Sadly, many of the artistic traditions in India are losing their relevance. While some communities are embracing modern methods like synthetic colours and brushes, others, like Sumanti, are steadfastly preserving their original techniques to safeguard these art forms.

“The next generation does not want to continue their artistic traditions as they are shifting to other sources of livelihood due to lack of proper remuneration. We are working on the revival of tribal art and craft,” Smita Verma, Lead – Gender & Community Enterprise at TSF, tells The Better India.

‘Mud and fingers are our USP’

There are no records of when Oraon paintings originated. Sumanti says the paintings are several centuries old and were passed down from one generation to another. She grew up seeing her family, relatives, and neighbours do Oraon painting on the walls on various occasions in the Jashpur district of Chhattisgarh. 

“Calendars did not exist for me. I could tell which month or festival was coming up based on the painting my mother did on our house walls. For instance, people would draw the karam tree (Nauclea Parvifolia) ahead of the harvest festival. Drawing an egg in between rice grains meant Danda Kattna pooja for auspicious activities,” she shares.

The peculiar thing about Oraon paintings is that mud forms the main base due to the availability of various types of soils. The community creates different shades of black, brown and red from the soil. Green and white colours are made from leaves and rice respectively.

Sumanti says she adds glue to the colours so that it sticks to the canvas. To date, she and the people from her village have not used acrylic or synthetic colours.

She mentions two reasons for this, “Firstly, accessibility and cost came in the way, and secondly, natural colours are a very important part of our identity. Our ancestors were confined to villages, so they made natural colours on their own and took pride in them.”

Colours that come from the soil are seen as sacred, she informs. The elders of the house perform a brief ritual, praying for an obstacle-free search for the right soil. While red and brown soils were readily accessible, finding black ones was challenging at that time.

“Our ancestors would have to dig in forests to find the black soil. The rarity factor makes the soil so important in our culture. Besides, these three colours are used in all our pujas to date. According to a legend, Mahadev and Parvati ji told our ancestors to use these colours,” she shares.

Like colours, the primary themes also remain intact in the Oraon paintings. Mostly, the paintings depict community life — including their dance, customs, forest deities and festivals. The making can take up to 10 to 15 days due to the layered process. Each layer has to dry before the second layer is completed.

For all the paintings, Sumanti uses her fingers and cloth (for dabbing) even though the use of a brush is slowly penetrating the community, “But mud and fingers are our USP,” she says.

All these factors are what makes art so much more valuable and personal. The paintings do not preach or tell how one should live. Instead, it depicts Oraon’s culture most honestly.

“Art is a lifelong teacher. It has taught me to be fair towards myself and make the best of my circumstances. It is a reminder that despite the harshness of life, financial burdens, incomplete dreams and frustrated days, it is okay. Every time I paint, it shows me the genuine merit of life,” she shares.

Saving the fading art

Sumanti noticed migration and a decline in her village’s art over time. Her effort to take Oraon paintings to the popularity of Madhubani or Gond started 15 years ago. She pioneered the transition of these paintings from walls to cloth and handmade paper. Today, her artworks have journeyed across India, from Jammu and Kashmir, Maharashtra, and Chhattisgarh to Kerala.

“It started with a tribal art fair workshop in Bhubaneswar organised by Indira Gandhi Rashtriya Manav Sangrahalaya. We only sold one painting, but it gave us hope that if done correctly, it could be a viable option. A few years into doing exhibitions and local haats, I learnt about Samvaad. I joined the initiative as a fellow. As part of the fellowship, I released an art curation book titled ‘Evam Kala’ on Oraon folklore, documenting the culture and traditions,” says Sumanti, who has a master’s degree in political science.

She shares that she also attends handicraft and art workshops by Samvaad to learn about new market trends and skills that can help her with more sales.

“When you set up a stall in an exhibition, there is so much more than just selling the paintings. I learnt that if you wear traditional clothing in exhibitions, more people tend to visit your stall. The way you place your paintings in a small area also matters a lot. For example, always have a subtle and muted painting between two colourful paintings. It serves as a palette cleanser. Even the way you talk to people and tell your story matters. I learnt all this and more from experts who conduct Samvaad workshops,” Sumanti says.

Besides being an active participant in exhibitions, she is also passing on her skills to children.

“Along with telling the families in our village why Oraon paintings are important, I also tell them the financial perks and recognitions that come with it. I share with them the reasons why we have been making profits. I tell them that people, who have never heard about our tribe, like what we make! And it can be a lucrative career option. Several families are now either passing on the skills to their kids themselves or sending them to me for classes,” she adds.

Samvaad is a large gathering that includes over 200 tribal communities and brings together more than 2,500 people to celebrate tribal identity, art, healing practices, and culture.

(Edited by Pranita Bhat; All photos courtesy: Samvaad by Tata Steel Foundation)

In 2019, Brijesh Bhusara from Dadra Nagar Haveli walked the ramp at Samvaad. Back then, it was unusual for someone from the Kokna tribe to be invited to a fashion show. Now, nearly four years later, Brijesh, an active participant in Samvaad — Enabled by Tata Steel Foundation (TSF) — is celebrated not only by his tribe but also by neighbouring tribes like Konkani, Warli, and Dhodia.

During the five-day Samvaad conclave at Jamshedpur’s Gopal Maidan, Brijesh and 109 other artisans displayed their cultural heritage through various creations.

Brijesh showcased traditional woodcrafts and Warli art, giving a contemporary twist to a 400-year-old culture. His products — including umbrellas, fridge magnets, shawls, saris, and T-shirts — feature traditional triangular figurines but use modern colour and font combinations. This fusion was evident in most stalls at the event, which transformed Gopal Maidan into a vibrant ceremonial ground with hand-printed silks, textiles, woven fabrics, mud paintings, bamboo items, and traditional clothing from 15 to 19 November 2023.

What is Samvaad?

Samvaad, enabled by Tata Steel Foundation is among the country’s biggest tribal gatherings, bringing together over 2,500 people from 200 tribes. 

Samvaad, which stepped into its tenth year, has created a stable and consistent ecosystem for dialogue on tribal discourse. Tribes from across India come together to address issues affecting their communities and look for solutions.

In the last decade, Samvaad has brought together over 40,000 people from over 200 tribes in India and 17 other countries.  

The 10th edition commenced with the traditional beats of 251 nagadas, dhols, and musical instruments, commemorating the birth anniversary of Birsa Munda, the iconic tribal freedom fighter from Jharkhand.

The theme for this edition was ‘Walk with Me’, reflecting on the journey of ideas, collectives, and changemakers associated with Samvaad since its inception. It acknowledged the impact of solution-driven dialogues and conversations from the past decade.

“Over the last 10 years, the tribal art and craft have been on the verge of extinction due to several reasons like lack of remuneration, migration, or the next generation does not want to do it. We have been working on reviving the art by solving these problems. Art is directly related to one’s identity and culture,” Smita Verma, Lead – Gender & Community Enterprise, TSF, tells The Better India.

‘We are proud of our identity’

Led by Brijesh, the Sankalp Foundation involves around 300 people from 72 villages. This collective provides a platform for artists to learn about current trends and marketing strategies.

“It is a beautiful chaos when multiple tribal communities come together to make the products. Although the communities have different traditions, their turmoil is mostly similar, which then becomes a point of unity. People that were once ashamed of their skills and identities are now proudly wearing and adorning them while making money,” says Brijesh.

Being close to nature, the Sankalp Foundation is happy to walk on the sustainability route. All their wooden products are made from fallen chikoo twigs and branches.

Sustainability is also a winner in Brijesh’s neighbouring handloom stall belonging to the Bodo tribes of Assam. “All our cotton clothes are made from natural colours that last forever and are also good for the skin. We make colours from turmeric, leaves from plants and a few vegetables,” says Jaison Bhramo.

Jyotisankar Sahu of the Sabar tribe from Odisha is here for the second time. For him, the best benefit of putting up a stall is making his digital debut. “We are a group of 70 people who make brass showpieces. We always get orders after we return home from the conclave. Samvaad is a good platform to preserve our culture and tell the world about the exceptional skills that we learnt from our ancestors,” he says.

Besides the exposure, the artisans are also happy to see people taking an interest in their traditions. Sangeeta Meda from the Bhil tribe of Madhya Pradesh says, “This is our second time here, and people always ask us about our history and the significance of our Bhil Pithora paintings.”

“Our ancestors would make these dotted paintings on walls during festivities. Gradually, they moved onto paper. Our paintings tell the stories of our origin and who we are. While selling, we let the customers know our intention behind choosing a particular colour and theme. They feel connected to us. My grandmother, Buri Bai, was awarded Padma Shri for her preservation efforts. We are here to carry forward her legacy,” she adds.

Sangeeta shares that the family starts the work nearly eight months before Samvaad as it takes 10 days to make one painting. She happily adds that their paintings sell like hotcakes!

A few stalls away is Dinabandhu Soren from Odisha’s Ho tribe. It is his ninth year at Samvaad, and each year has been fruitful for him.

“Selling our paintings was a loss-making business in Ganjam district till we learnt about Samvaad. The workshops helped create a balance between our traditional painting techniques and the market demands. With a few tweaks and the right market linkages, we sold gond, sohra and juang paintings at Samvaad and across India. We were even selected to do live sketching at G20 this year,” says Soren.

He is also an art teacher at Srujanika, a women-led self-help group. Srujanika has 30 women who make paintings, Army uniforms, and other merchandise like dupattas and T-shirts throughout the year. Thanks to the profits, the women are passing on the skills to their children now.

Yazile from Nagaland’s Rengma tribe has a similar journey, from no sales to selling pan India. “Nearly every homemaker in the Dimapur area can make our traditional attire, mekhelas and shawls. The skills were there, but the selling opportunity was missing. We attended a workshop at Samvaad and learned that new designs can be implemented on pillow covers, cushion covers, T-shirts, etc. In our second year, we did that and made profits. I also made friends from other tribal communities to learn more about fashion trends across India,” says Yazile.

The art and craft workshops helped artists like Yazile and Dinabandhu post-pandemic when the market crashed and selling at local haats became impossible.

“We started building online market links for 26 tribal communities representing 30 art forms. We wanted to make Toda embroidery of Nilgiris, Muga silk of Assam, and more as popular as Banarasi, Ikat and Chikankari. We brought in experts from NIFT and NID to impart the skills, colour combinations, motifs, etc, that meet customer demands,” says Smita.

She adds, “Trends in the metro change fast, so we ask them not to change their cultural identity.  But they can experiment with colours and motifs. For example, if pastel colour is in the market, infuse those colours in the products,” she adds.

The thronging crowds at handicraft stalls were proof that the workshops were beneficial. Chaaya Saraiwala, an attendee, purchased Yazile’s shawls and Brijesh’s fridge magnets.

“This is my first time attending Samvaad and I am so happy to see the myriad products from different parts of our country. I have bought a few items for my family. Each product has a story to tell. There is so much history that we do not know, but I am glad that conclaves like Samvaad are changing that,” she shares.

(Edited by Pranita Bhat; All photos courtesy: Samvaad by Tata Steel Foundation)

Standing next to women dressed in colourful sarees, Pritesh Kumar Khalko looked out of place at first in his black jacket at Jamshedpur’s Gopal Maidan. He looked tired, but that did not stop him from excitedly inviting strangers to his food stall and narrating the fascinating story behind each dish.

“The baas (bamboo) pickle is good for your blood, and the hau chutney made from red weaver ants is rich in protein and calcium. Jamun powder helps control sugar; you will not find this anywhere else in India,” he told the potential customer at his stall.

The conviction in his tone changed as The Better India team asked about how his community cuisine could help his tribe do better. “Provide us platforms like Samvaad where we can share our culture and food, and most importantly, help us tell our own stories,” he said.

Pritesh’s focus on preserving his tribal identity through cuisine mirrored the essence of Samvaad — Enabled by Tata Steel Foundation (TSF), which brings together the diverse tribes of India on one platform for a five-day-long festivity, which lets everyone immerse in tribal art, culture, and traditions.

Pritesh belongs to one of the 200 tribal communities participating in Samvaad — a major tribal conclave which brings together tribes of the nation and beyond. It is emerging to be one of the most prominent platforms for dialogues on tribal discourse in India.

Strengthening the footprints of tribal identity

There are 13 elements of Samvaad, which have emerged over the years, creating a permanent space for dialogue and conversations that are poised to tackle some of the challenges that lie ahead. This annual conclave not only celebrates tribal art and culture but also fosters dialogue to drive change in rural areas.

Held from 15 to 19 November each year, Samvaad honours the legacy of Birsa Munda — a tribal independence activist and leader from Jharkhand’s Munda tribe. In its tenth year, themed ‘Walk with Me’, Samvaad reflected on a decade of impactful dialogues, recognising the journey of ideas and changemakers shaping the present and future.

“The different elements of Samvaad, including food, music, artisans, cultural markers, and others, bring a lot of intangible potential through this tribal cultural conclave. It is not only a platform of expression but also a forum for meaningful dialogues that add perspectives to the different aspects of life and one’s journey through it,” said Sourav Roy, CEO of TSF.

He continued, “Throughout the year, we engage with the tribes through our initiatives to converge on dialogues that set the tone for Samvaad each year. Many new ideas and innovations emerge from these conversations, moderated by experts from respective fields and changemakers from all over the country. Celebration of culture also forms an integral part of Samvaad, which not only generates livelihood for tribal artisans but also allows people to appreciate their unique traditions, passed down through generations, rich in wisdom.”

Samvaad’s varied ecosystem

The magnitude of Samvaad is reflected in its diverse ecosystem, which includes promoting tribal healers, artisans, cuisines, languages, sports and heritage conservation, Akhra, Samudaay ke Saath, Rhythms of the Earth, Tribal Leadership Programme, Samvaad Fellowship, and Samvaad Action Research Collective.

The Samvaad Fellowship aims to guide and nurture individuals committed to preserving tribal culture and heritage through community-based action. After a round of assessments, the fellows receive one-year grants and mentorships from academicians and experts. These fellowships have led to tangible outcomes like tribal dictionaries, song recordings, story books for children, collectives and more.

“From contesting elections to making documentaries on tribal issues, many people have emerged as leaders and changemakers. Some have even failed. Irrespective of your failure or success, you have made friends who will always support you. And that is what Samvaad aims to be,” says Jiren Xavier Topno, Head of Tribal Identity at TSF. 

Samvaad’s ‘10tak at Akhra’, is another way in which the conclave served as a platform where individuals from diverse tribal groups came together to share their journey of change, challenges, and possible solutions. As Samvaad stepped into its tenth year, over 500 people gathered to share their inspiring stories at the open-air Amphitheatre at the Tribal Cultural Centre (TCC). 

Aakash Pawar, instigated by the rising farmer suicides across Maharashtra, fought for his rights and now runs constitution schools to educate his community about their rights; Manasi from Odisha helped bring back thousands of migrant labourers amid the pandemic by being a citizen journalist; and Garima Siddhar is a lawyer providing justice to tribal communities. These changemakers are now a part of the tribal leadership programme alumni, which is over 400- members strong, who have stayed connected to share their narratives of change to inspire others.

From a cultural lens, Samvaad organises a grand inaugural show every year at Gopal Maidan. This year, 251 nagadas, dhols and musical instruments reverberated in homage to Birsa Munda. The tribals adorning bright yellow vests with white dhotis, played various goosebump-inducing songs — from the bonga taal, baika taal to the santal taal.

Dancers and singers participated in cultural performances as people gorged on tribal delicacies, shopped for vibrant artefacts (handcrafted by the same artisans who are selling them), and danced to the tribal beats.

“This is my tenth year and I have been a part of Samvaad since the beginning. I love the energy here. Of course, the highlight is selling our Oraon paintings,” said Sumanti Devi, a painter from Chhattisgarh. “Very few people knew about our paintings before, but now it is more popular. Initially, it was only handicrafts stalls, but Samvaad has grown so much with Akhara, fellowship, tribal healers, Tribal Leadership Programme and more.”

Meanwhile, Choisa Hakong from the Chakesang tribe (Nagaland) was at the conclave for the first time. “Samvaad is connecting tribals as one in spirit and culture. I am so happy to attend and showcase our products made from teak and bamboo,” he said.

Over the five days, Pritesh, Sumanti, and Choisa, along with people from 110 other tribes, displayed their cuisine, artwork, and healing practices. Besides the stalls, 140 home chefs from 37 tribes offered home delivery via the Zomato app.

The role of these artisans goes beyond selling their products. They also refine their skills through workshops and sessions led by handicraft experts, engage in healing practices, and showcase their culinary talents.

A tangible difference

Looking over the last decade of Samvaad, the initiative has seen a visible impact, bringing together over 40,000 people from India and 17 other countries. The beauty of this conclave is that it extends beyond the five days; the dialogue and actions continue throughout the year. This meticulous approach has led to outcomes that once seemed far-fetched.

Take, for example, ‘Rhythms of the Earth’ — an ensemble of tribal musicians from across the country composed and launched five original compositions on a tribal narrative at the conclave. The compositions are on the theme of unifying tribals in the face of adversity. They include ‘Nukhtharini Juwmang’ by the Rabha tribe, ‘Eklaivet Ajakong’ by the Karbi tribe, ‘Dela Dela’ by the Santal tribe, ‘Abua Disom’ from the Ho tribe and more.

Another significant outcome of Samvaad’s ten-year journey was seen in Jaincy John’s struggle to break away from the conventional narrative of urban education. Living in cities often limits our view of education to securing future jobs. However, for those in remote areas far from mainstream society, education is about identity and challenging stereotypes built over the years.

An academician and activist from Kerala’s Mala Arya community, Jaincy challenged the stereotypes around tribal identity. While she was working on extensive pieces on Adivasi and Dalit art, culture, and history, and completing her PhD, she encountered discrimination and abuse from her guide. However, that did not deter her from her path. She filed a complaint against him, which further helped other women open up about their similar experiences.

While Jancy continues to fight the legal battle, Samvaad has supported the right of many tribal members to represent themselves: “Nothing about us without us”.

This is important because tribal individuals deserve recognition as prominent leaders, and Samvaad is dedicated to amplifying their visibility. The conclave advocates for inclusivity and equality, ensuring that everyone has a voice and uniting those who have faced exploitation due to their identity. Today, members of tribal communities are not simply demanding a seat at the table; they are actively forging one.

(Edited by Pranita Bhat; All photos courtesy: Samvaad by Tata Steel Foundation)

The video is an attempt at telling the story of the Dum Pukht Lucknowi Pulao, better known as the eponymous Awadhi biryani. It is almost mesmerising to watch sliced onions find their way into the boiling oil as the meats patiently await their turn. Hindustani classical music accompanies the ensuing steps of the recipe, every beat announcing the next addition to the dish.  

The coming together of the ingredients is captured so brilliantly, that when the lid is finally taken off the sealed pot, I find my mouth watering at the outcome that will soon meet the camera’s eye. Few photographers can capture the elusive moments of magic in something as routine as biryani preparation. One of them is Maroof.  

He has been spinning enchanting narratives around India’s cultural lores for years with his Sony α7S III camera as his steadfast companion. From a college dropout to one of India’s most loved heritage storytellers — with over three lakh followers and counting — Maroof’s journey is fascinating.  

His candour towards fame and love for his craft is evident as he gets chatting with The Better India. “Like any artist, I look for happiness in my work; the food I taste, and the people I meet. If I look back at the graph of my happiness over the years it has always been a constant. The little things made me happy when I started and they continue to do so.”

But even while Maroof has found fame in diligently archiving India’s culture, that was never the original plan, he shares. Months into a commerce course, he figured the traditional academic route wasn’t for him and he dropped out to start a design agency in 2012. “The visual arts had always intrigued me. I’d always viewed the world from a different perspective,” he shares. 

Once the agency was on its feet, Maroof says there was a deeper calling he had. “I wanted to explore my city and tell the stories it held within its walls.” 

Looking beyond the obvious 

“You must visit the Bara Imambara when in Lucknow!”

If you’ve heard this countless times, you’re not the only one. The pride of the historic city, this architectural marvel, built by Nawab Asaf-ud-Daula, continues to garner attention from the world over.  

“You see, every city has a signature tourist spot; something that is a must-visit. But because these spots are so written about, they are often crowded. Meanwhile, other lesser-known places are deserted but equally beautiful.” 

So, five years ago when Maroof decided to start his Instagram page he did so with the intent of documenting the latter. Today, his page is brimming with evocative images that tell the story of Indian culture. Immortalising the nuances of history in a time frame of a few seconds isn’t easy. But Maroof has managed it commendably well. According to him, every crack in the wall tells a story, every chip in the marble speaks volumes and nothing should be left undocumented.  

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Documenting history is easier said than done. This owes to the many versions that exist of the same story. Maroof notes how he had immense help from historian Roshan Taqui whose expertise helped him get the story right many times. 

Recalling one such incident, he shares, “Once you enter the Bhool Bhulaiya at the Bada Imambara complex in Lucknow, you will find many guides. Each has a different take on the site. Many of them will take you to the stepwell and tell you that deep inside the water is a key to the king’s treasure that was thrown inside by the king himself.”

Concrete research led Maroof to solid facts. “I understood that the last king was Mirza Wajid Ali Shah and he was exiled to Kolkata and couldn’t carry anything with him. There wasn’t a scope of any key to be thrown into the well.” 

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If you tell anyone you’ve been to Lucknow and not tasted the khasta kachauri, you’ll be advised to take another trip. In one of his reels, Maroof deep dives into the legacy of this lentil-filled, deep-fried, savoury bread preparation that has been winning the hearts of the city’s residents. One such iconic spot serving the delicacy is the ‘Durga Khasta Corner’ nestled in the bustling lanes of Latouche Road. “Every visit there is marked by anticipation, as one joins the lengthy queue, surrounded by the lively chatter of patrons eagerly awaiting their orders. The experience reaches its peak when you’re handed your khasta, served on a green leaf, accompanied by lemon and green chilli. The flavours are simply unforgettable,” writes Maroof. 

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At the heart of every new project that Maroof engages in, there is an inherent love for the city’s artisan community. Once known as a place brimming with artisans, Lucknow now faces a dearth of these ‘magical hands’ as they are fondly called. Low wages, industrialisation and digitalisation haunt the families. In an attempt to revive the magic, Maroof began documenting a few of the legendary shops in the bazaars of the city. This is when he came across the hand-painted sign boards. “The artisans who specialise in this art form are true masters. With every stroke of their brush, they imbue each board with a unique personality. No two boards are the same; each one has its individuality.”

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History cannot be told without factoring in food. Maroof agrees. In fact, he goes a step further. “You can’t get an essence of any city’s culture just from tasting the commercial food which is very readily available. The essence of any culture or cuisine lies in the home-cooked food. So, we decided to start telling the stories of these places.”

Elaborating on one such rustic place that he has documented, Maroof says, “Aab-o-Daana is run by a home chef. What is commendable is that she has brought her love for cooking and her culture to the world and invited people to taste it.” 

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If you were to go back in time to the 17th century and visit Lucknow, a very different sight would greet you. The streets back then were filled with artists performing the glove puppet theatre (Gulabo-Sitabo). The short skits they would put up were notable for their improvised witticisms and varied subjects, which more often than not were drawn from daily life. Maroof points to how the once-popular art is now losing relevance as people don’t find the time to watch it anymore. “So, when we came across Naushad who is carrying forward the legacy, but finding it difficult to sustain, we pitched his story to Oppo. The short ad did wonders and helped Naushad’s story reach the world.” 

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Another such artisan whose life Maroof was able to change was Azeem Jafri, one of Lucknow’s last calligraphy artists. “He does phenomenal calligraphy and even teaches students the art,” recalls Maroof who documented the legend’s story for a Google video on Urdu day. 

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Tying back to the theory of off-beat monuments being incredible but deserted, Maroof shares the story of the Makka Darzi ka Imambara 120 km from Lucknow. “The story behind it is beautiful. The monument was built by a tailor who was working for the nawab. Fascinated by European clothes, he saved up his wages and finally built this monument that features the most wonderful motifs and stucco work that you cannot find in any other monument in Lucknow.”

The cities of India have revelled in the magic that Maroof creates through his lens, but as I ask him to pick one favourite of his, he smiles. “Poorane sheher ki baat hi kuch alag hoti hai. (Old cities have a different charm altogether.) If I had to pick a favourite place it would be old Delhi, old Lucknow, or the part of Jaipur that lies beyond the Chaupar. There is a certain energy about the olden part of the city that draws me to it.”

Edited by Padmashree Pande.

The happiness of the 150-odd people who have found companionship through the matchmaking agency is proof of its success rate. Whenever the topic of love in one’s silver years is addressed, one can’t help but think back to the year 2015. If you recall, there was a story of a couple in their sixties finding love. It broke the internet.

Channels and digital publications cited the story as proof of the shift in the way relationships were perceived in India and the acceptance of more modern ideologies. But, while we may like to think that live-in relationships have gotten their blessing from society, it is still taboo in many places and an unspoken sacrilege in rural India.

So, when Anil Yardi and Asawari Kulkarni’s “dating in old age” story emerged, the world saw it as a conversation starter to how senior citizens are beginning to shed their inhibitions when it comes to live-in relationships in India.

As the couple completes nine years of togetherness, they look back on the epic journey.

Kulkarni who retired in 2012 had been alone since her husband’s demise in 1997. Work occupied her mind but it was only when it came to a pause that she missed the beauty of companionship. And it was at one of the Happy Seniors meetups that she met Yardi, and the duo instantly hit it off. They took the plunge and decided to ‘live-in’ — “goals” as any Gen Z would say.

While telling the tale, Madhav Damle, a service engineer from Pune who played Cupid in this story, wells with pride.

Exploring the holy grail of love in old-age

Madhav’s evenings are jam-packed (I can testify as I have been on the receiving end of rescheduled calls!) His line-up of social obligations is the reason — a passion he traces back to his corporate years when he was closely associated with the Lions Club, an organisation dedicated to serving local communities and impacting society at large.

“Most of the events I was a part of were at old age homes. It was sad to watch the loneliness that senior citizens face,” he says. It was these incidents that tugged at his heartstrings.

“I wanted to do something for them,” says Madhav, adding that that’s when his century-old ancestral home in Mahabaleshwar’s Wai village seemed to beckon.

The sprawling wada was lying vacant before Madhav built a temple and an adjoining old age home on its premises. In the next couple of years, the space became a welcome abode for senior citizens whose partners had passed away. Everything was going well until an incident prompted Madhav to alter his approach to the idea of helping the elderly.

“In 2010, the same year I started the old age home, one of the uncles got into a verbal spat with his child. He took an extreme step, overdosed on his medications and became seriously ill. The staff called me from the nearest hospital where they had him admitted and I phoned his children asking them to come too, but they refused,” Madhav notes.

While early intervention helped the elderly man recover, Madhav pondered over the reality of the situation. “If his kids’ attitude was this when their father was in his sixties, would time make it worse?”

Everyone needs someone

“I began talking to him about the idea of companionship,” Madhav says, recalling how the gentleman’s first reaction was dismissive. “But eventually he saw sense in it. In time, we found a partner who we thought was compatible. The duo met, and in a year’s time, they got married.” 

Likewise, Madhav helped another elderly gentleman at the old age home also find a suitable partner. But the third time did not prove as lucky.

Since the man’s children were against the marriage, he backed out at the last minute leaving the woman stranded. Financial stability coupled with having a home of her own meant the shocking separation did not impact her much. “But if it was a housewife, she’d be left on the lurch in this situation,” she told Madhav, who realised he needed to adopt a more pragmatic approach to counter life’s curveballs.

Re-marriage isn’t a solution, but companionship is, Madhav thought. A live-in relationship might prove a solution. This was backed by the Supreme Court judgement that held that living together as partners without getting married is not illegal or a criminal offence. Thus, Happy Seniors was born in Pune in 2012 on the precipice of helping people find love in their old age.

A modern spin on companionship

Madhav Damle’s model of live-in relationships does not have any loopholes; he has seen to it.

“The main reason why these kinds of relationships are frowned upon among youngsters is because of the possibility of children. Whose responsibility will the children be if there is no marriage in place? But in the case of the senior citizens, there isn’t [much] scope for this problem to arise. Their children are settled in life,” he says.

He adds that all of the senior citizens he has assisted in finding the right partner are financially stable. In addition to this, property disputes do not arise as there is no legal binding between the couple.

And so, Happy Seniors began its journey with a handful of seniors looking for love. The group met every month and during the first ‘picnic’, the first match was made. A couple, the woman in her fifties and the man in his sixties, fell in love and decided to “date”. A year later they got married.

As local newspapers rushed to tell the tale, Madhav said it was good publicity for Happy Seniors. The number of members increased and so did the success stories.

Madhav, the proud matchmaker that he is, says he has “75 people in live-in relationships” at Happy Seniors. Every month, almost 20 new members join, hopeful of finding their soulmate.

Finding love can be a minefield, he agrees. And the tailored list of questions he asks every new joinee helps ease the process. “Do your children know you are open to a live-in? Are they okay with it? Are you financially stable? Do you have a flat of your own?” are some of the questions.

Elaborating, Madhav says it helps them get an idea of where the senior citizen stands when it comes to a live-in relationship.

“We see to it that every male member we are onboarding has an average income of Rs 35,000 a month. Also, both parties must open individual bank accounts when they get into the live-in and deposit a fixed amount of money in it. The first holder will be the person who deposits the money, the second holder will be their partner. If we see any hanky-panky happening from either side, the other person gets all the money as compensation,” he explains.

Currently, Happy Seniors sees elderly from Pune, Nagpur and Mumbai regions.

Even as Madhav scripts love stories by the day, it is a beautiful realisation that love indeed has no boundaries. People age; love does not.

In the hustle and bustle of metro cities, the urgency for elderly care has never been more important. A significant portion of senior citizens in India find themselves dependent, and alone, requiring essential assistance and support in their day-to-day lives.

A little more love, a little less loneliness. When you #VolunteerForSeniors, you help them get care, respect and dignity.

Edited by Pranita Bhat

Does the desire for companionship diminish with age?

On the contrary, as children grow up and move on to their own lives, the longing for a close friend, a true companion, “your person”, only intensifies in most people. Navigating one’s 50s and the years beyond retirement is then made easier with a partner to love and cherish by your side.

While the idea of remarriage may have been taboo in the past, today, it is accepted and even encouraged. We see examples of children actively encouraging their single parents to find love again because whether you’re in your 20s, 30s, or 70s, the pursuit of happiness knows no age limit. It’s a beautiful reversal of roles, with children advocating for their parents to “settle down” and find happiness once again.

This Valentine’s Day, we present to you tales of couples who discovered love in their 40s and 50s. These incredible love stories serve as a testament to the enduring power of that elusive four-letter word.

1. ‘We all deserve to be happy’

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At 57, actor and motivational speaker Ashish Vidyarthi married Rupali Barua, an entrepreneur, in May 2023.

Ashish, known for his travel and food vlogs on YouTube, spoke about the perpetual quest for companionship at any stage of life. Having previously been married to Rajoshi, they amicably parted ways. At 55, after his divorce, Ashish expressed his desire to find a partner for marriage, with whom he could travel the world.

“I let the word out into the universe,” he shared in one of his videos. And soon enough, he met Rupali.

Rupali, who had been widowed a few years earlier, had not considered remarriage until she connected with Ashish during one of his vlogging assignments. Rupali was 50 and Ashish was 57 when they found love in each other. As they spoke, they discovered the possibility of sharing their life together, making a fresh start.

In May 2023, they tied the know and embarked on a journey of exploring the world together, documenting their experience through videos on their YouTube channel ‘Fifty Plus Zindagi’.

Ashish explains that happiness is a universal need. “One thing common between all of us is that we want to be happy. Age doesn’t matter my friend; each one of us deserves to be happy,” he says.

2. ‘I got my mother remarried’

Gokul Sreedhar grew up watching his mother suffer through an unhappy, abusive marriage. When he was in Class 10, his mother finally walked out of her marriage. When he asked his mother why she endured this unhappiness for so many years, she told him that she was living for him.

As he walked out of that house holding his mother’s hand, he vowed to get her remarried. He wanted her to start living for herself and break the pattern of always putting others first.

“At least, now I want her to live her life, for herself,” shares Gokul, who lives in Kollam, Kerala.

After his parent’s divorce in 2013, his mother, Mini, started working as a librarian. Convincing her to get married again was not a cakewalk. Through her colleagues, they found a match for her in K Venu, a retired army colonel and widower.

He shared this story on Facebook, and the post went viral, with other children expressing their desire to get their single parents married.

“She sacrificed her youth for me, but there’s so much more to life, and I am happy that she can now explore it,” Gokul wrote in the post.

3. ‘I gave love a second chance’

Vaishali Chandorkar Chitale lost the “love of her life”, her first husband, in 2000. At the time, she didn’t think that she could find love again and decided to raise her children alone. But her mother had other plans.

Four years later, she broached the topic of Vaishali marrying again. Her mother arranged a meeting with Prashant, and Vaishali agreed, but with a few caveats.

“I wanted the person to have a daughter because I too have a daughter. I wanted someone who had also lost their partner because I wanted to freely talk about the memories of my first husband, and I wanted them also to talk about their past. Just because you are moving on doesn’t mean you love someone any less,” she notes.

When she first met Prashant, it was just to pacify her mother, and if nothing, to make a friend. But in Prashant, she found her match. He had lost his wife to cancer and had three children. Vaishali found him “kind, compassionate, and caring”, and the first meeting led to many more meetings.

They both eventually found companions who were in similar circumstances and could empathise with their respective situations. “I realised that after everything, I could still feel, and I felt for him — I fell in love again,” Vaishali told the Humans Of Bombay.

Today, they’ve been married for 20 years and are parents to five children and many grandchildren. Their children took time to accept the new family, but today, they are a solid, successful unit with plenty of love going around.

When Prashant’s daughter got married, she turned to Vaishali and asked her if she could call her “mom”, since she had been just that for so many years. It was a moment Vaishali says she will cherish forever.

Vaishali today is an advocate for other women to pursue their dreams and happiness after a tragedy. “I would say that the most important thing is that you are happy. You shouldn’t care about society. I advise girls who have lost their husbands that it isn’t a cue for them to stop living their lives.”

4. ‘I helped my mother find happiness again’

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Debarti Chakravorty got a call from her aunt sometime in 2021, saying, “Hey, there’s a man who likes your mom.” This sentence made the Shillong resident seriously consider the need for a partner in her mother’s life.

Debarti’s father passed away when she was just two, and her mother Moushumi, was just 25. They moved back to her maternal home in Shillong, where Moushumi struggled to make ends meet to ensure a good life for her daughter.

Over the years, many people asked Moushumi to consider remarriage, but she only focused on her daughter. As Debarti grew up, she moved to Mumbai for her education. That’s when her mother joined a singing app, where she met Swapan.

Swapan approached Moushumi through the app. But having been single for over 25 years, she was reluctant to the idea of finding love again. Debarti encouraged her to just befriend Swapan and proceed as per her wish.

“Things progressed positively. Swapan is amazing and my mom got along beautifully with him. He accepted her with all his heart, and now showers her with all the love she needs,” Debarti said to SheThePeople. Finally, in March 2022, the duo got married, and Debarti found a father and the family she craved for.

“I just want to tell the world that just like parents do their best for their children’s happiness, similarly, children are equally responsible for their parents’ happiness. I feel lucky that I got the opportunity to help my mother get her happiness,” she told SheThePeople.

5. ‘Finally, I married because I wanted to’

Actress Suhasini Mulay met her husband Atul Gurtu through Facebook in 2011. She opened an account on the social networking site to get work. It was here that the particle physicist sent her a friend request. Curious about why this scientist would befriend her, she accepted the request, and the rest, as they say, is history.

The two got chatting about science, which later led to their meeting. In an interview with the Hindustan Times, the 72-year-old shared that Atul told her, “You are very happy and busy running around, but if you want change [companionship], that won’t happen automatically.”

An article penned by Atul, who had tragically lost his wife of 36 years to cancer, had a profound impact on Suhasini. Atul’s narrative showed how he decided to make his late wife happy, instead of “sitting and crying over it”. This resilient outlook towards life resonated with Suhasini and was instrumental in her falling in love with Atul.

Having lived alone in Mumbai for 20 years before meeting Atul, this is Suhasini’s first marriage. “I never thought of getting married. You commit because you want to, not because society is pushing you,” she said to Hindustan Times.

Edited by Pranita Bhat

This Republic Day, in a celebration of India’s diverse and rich cultural heritage, the Ministry of Culture brings forth ‘Ananta Sutra’ — an initiative that breathes life into the timeless elegance of the sari. It invites us to explore the intricate threads of tradition, creativity, inclusivity, and unity that define the essence of India.

The textile installation will be showcased at Kartavya Path where over 1,900 saris and drapes from every corner of the country will ensemble in a beautiful array on wooden frames. Right from the luxurious Kanjeevarams and artistic Jamdanis to the breathtaking Patolas and geometric Ikkats, viewers will have a chance to feast their eyes on weaves that have been brought from the length and breadth of Bharat.

The display is an ode to the weavers and artists who have tirelessly created these exquisite drapes by pouring their passion into the warp and weft, keeping the age-old handloom tradition alive.

A dual cause for celebration is that the 2024 Republic Day Parade will witness the participation of two all-women contingents from the defence forces — with Captain Sandhya leading the all-women tri-services contingent, consisting of 148 members. This marks a significant milestone.

A touch of creativity and inclusivity

One of the most remarkable aspects of Ananta Sutra is its commitment to inclusivity by showcasing a sari crafted by autistic children. This not only reflects the boundless creativity of these young artists but also serves as a powerful testament to the ability of art to connect hearts and minds. It serves as a reminder that creativity knows no boundaries, and through art, we can bridge gaps and foster inclusivity.

A glimpse into history: The 150-year-old sari

The Ananta Sutra initiative also pays homage to history with the presentation of a 150-year-old sari — an exquisite piece of fabric that has witnessed generations of grace and beauty, serving as a symbol of the enduring legacy. It reminds us that traditions bridge the past and the present, connecting us to our roots while allowing us to evolve.

Unity in diversity: 30 weaves representing India

At the heart of Ananta Sutra lies the representation of unity in diversity. The initiative features 30 weaves from different corners of India — each a testament to its region’s unique traditions and artistry. These weaves, like threads from different regions, are intricately intertwined to craft a beautiful sari, highlighting the remarkable diversity and harmony that define India.

Just as the threads in a sari come together to create a masterpiece, these weaves symbolise the strength of unity that binds our nation.

Among the esteemed weavers featured in Ananta Sutra are:

– Hatsimla Tant Silpi Sambay Samity Ltd, District Burdwan

– Zahin M Qureshi, Chanderi

– Vankar Hitesh Dayala, Bhujodi

– Abdul Kaleem, Chanderi

– Mhalo Ezung, Tsumang Colony, Wokha, Nagaland

– Manipuri Handloom Products, Imphal West

– JK Handloom & Textile Produce Co Ltd, Barpeta

– Sainath Telia Rumal, Koyyalagudem

– Godoo Shawls Industries, Srinagar

– Uttara Rural Handloom, Dehradun

– Maharashtra Small Scale Industries Development Corporation

– Charkha Swayam Sahayta Samuh, Kinnaur

– Hira Enterprise, Gawahati

– Brinda Patola Art, Surendranagar

– Saree Speaks, Kunbi

– Suvarna Lakshmi Handlooms, Mangalgiri

– Dani Dasspub Saransa Silphukasri, Kamrup Metro, Gauhati

– Pachan Vankar, Bhujodi

– Ruhani Suf Embroidery, Luxmi Puwar

– Gadhwal Weavers Society, Ramgopal

– Hathkargha Self Help Group, Dehradun

– Aisha Shekhawati Bandhni and Shibori, Churu

– Purbashree Emporium, Bab Kharksingh Marg

– Choudhary Weave Crafts Co., Bhagalpur

– Orissa Handloom Ikkat Tie and Dye

– Apna Fab, Chander

– Shalom Welfare Society (Toda), Sheela Powel

– Sooji Daarada Mane (Lambani), Nirmala

The initiative is a reminder that in the rich tapestry of India’s cultural heritage, every thread, every weave, and every creative expression plays a vital role. It is where tradition meets innovation, and where threads connect hearts. It isn’t simply a celebration of the sari but also an event that encapsulates the spirit of India — where tradition, creativity, inclusivity, and unity come together in a magnificent tapestry of our rich heritage.

This Republic Day, let’s celebrate the diversity that makes us unique and the unity that makes us one.

Edited by Pranita Bhat

This distant dream for many came true for a couple, Shirish and Pooja Gavas, who worked in Mumbai.

Amid the COVID-19 pandemic, the couple had lost their jobs and life seemed to come to a halt. Instead of losing hope, they decided to start afresh by moving back to their roots – a small Konkan village in Maharashtra.

The couple was inspired by a Chinese blogger who was taking her culture to the world through YouTube videos. Similarly, Shirish and Pooja decided to highlight their Konkan food and its culture.

The couple started by sharing traditional food recipes on their channel — Red Soil Stories — and went on to show glimpses of the rich culture of their region. Today, they sweep the kaccha (mud) floors, harvest food from farms, cook food traditionally, and lead peaceful lives.

With their YouTube channel, the couple has earned an audience from more than 40 countries!

Watch how they made this journey possible:

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Edited by Padmashree Pande

Garba, which honours womanhood, is primarily from Gujarat but widely enjoyed all over India, especially during the nine-day festival of Navratri, which celebrates the divine feminine.

Indians have always embraced garba and now it seems the world has too!

This week, Gujarat’s garba made it to UNESCO’s list of ‘intangible cultural heritage’. As the website states, “The practitioners and bearers (of garba) are broad and inclusive, from the dancers to the musicians, social groups, craftspeople and religious figures involved in the festivities and preparations.”

However, this isn’t the first Indian cultural art form that has been given this honour. Over the years, 14 other heritage forms have made their way to the list. Here’s a glimpse at them.

1. Kutiyattam Sanskrit Theatre

One of India’s oldest living theatrical traditions, the Kutiyattam Sanskrit Theatre is believed to date back to more than 2,000 years. What is fascinating is the rigorous training that artists must undergo before being deemed eligible to become full-fledged performers.

The tradition is characterised by the dancer’s neta abhinaya (eye expression) and hasta abhinaya (the language of gestures). These gestures are said to be closely guarded secrets that belong to specific family lineages in Kerala.

2. Ramlila

The Ramacharitmanas is an epic poem composed by Indian poet Tulsidas in the 16th century, which continues to be popular to date. Ramlila is performed based on the texts mentioned in this epic. The act chronicles the battle between Lord Rama and the antagonist Ravana through a series of performances.

Ramlila is not only famous for evoking love for the epics but also for fostering a sense of brotherhood as it blurs boundaries of caste, creed and religion, encouraging all villagers to join in the preparation.

3. Kalbelia folk songs

The Kalbelia community of Thar, Rajasthan were popular for their skill in charming snakes. They were also credited for being one of the only tribes that could tame poisonous snakes. The children in this community often grew up among these venomous creatures without being hurt!

However, in modern times, the tribe’s work has become redundant. So, the community now channels their prowess into song and dance through the Kalbelia folk songs also known as the ‘Sapera Dance’ or snake dance.

The women dress in black skirts — mimicking snakes — while the men play the khanjari percussion instrument and the poongi.

4. Ramman

Centric to the state of Uttarakhand, the religious festival is celebrated with great fervour to honour the deity Bhumiyal Devta. Every year, one family in the village must take the onus of hosting the deity. This family must spend the year preparing for it with fasting and penance.

On the designated day, the entire village gathers for the celebration. Different roles are assigned during the ceremony — some lead the prayers, the young ones perform, elders supervise, and some wear sacred masks portraying Narasimha, a Hindu deity with the form of a half-man, half-lion.

5. Chhau Dance

If you happen to be in the states of Jharkhand, West Bengal or Odisha during the spring festival of Chaitra Prava, you are bound to witness this unique dance form. Usually put up at night and accompanied by the sound of drums, mohuri (reed pipes) and shehnai (a double reeded instrument), the dance features male performers who dramatise scenes from epics like Mahabharata and Ramayana.

It is said that the steps are inspired by the martial arts dance Phari Khanda Khela and thus mimic warrior actions. In fact, the name ‘chhau’ is derived from ‘chhauni’ which means military barracks.

6. Vedic chanting

Chanting the Vedas requires more than just regular skill; it demands intricate recitation methods taught to practitioners since childhood. This ensures flawless pronunciation and understanding of every word, preserving the chants for future generations. As the Vedas are the bedrock of Hinduism, this challenging practice seems appropriate.

These ‘books of knowledge’ are believed to have been composed over three centuries ago. Today, we know of them as the Rigveda — an anthology of sacred hymns, the Samaveda  — musical arrangements of the hymns, the Yajurveda — a collection of prayers, and the Atharvaveda — a compilation of incantations and spells.

7. Mudiyettu

The performance comprises numerous steps and is an ode to the Goddess Bhadrakali. On the morning of the ritual dance drama, Mudiyettu performers draw an image of the deity in coloured powders on the temple floor, known as kalamezhuthu.

Kalampuja follows in which the drawing is worshipped based on the belief that the deity’s spirit is now in it. The drawing is then erased and the performers gather in avatars of the deity, the demon Darika, and other characters. As percussion instruments ring into the night silence, the performance ensues.

8. Buddhist chanting of Ladakh

The Buddhist community in Ladakh treasures peace and harmony. They chant sacred texts to seek spiritual enlightenment and sometimes use chants to ward off evil spirits or to mark auspicious occasions on the calendar.

The air brims with serenity and calm as the monasteries around the area hum in unison. It is interesting to note that the chanting is accompanied by music, vibrations, and the lamas wearing traditional clothes while making graceful hand movements called mudras.

9. Sankirtana

Often hailed as the visible manifestation of God, Sankirtana is performed to mark the various stages of the life cycle of the Vaishnava people of the Manipur plains. It is said that the art form arrived in Manipur as early as the 15th century, and the first kirtana was performed at Lord Vishnu’s temple in Vishnupur village.

The performance includes two drummers and 10 dancers enacting the deeds of Lord Krishna. The energy during the play is so holy that audience members are prohibited from entering or leaving while the performance is on.

10. Thathera craft

The numerous health benefits of using copper and brass vessels are well known. However, around 200 years ago, these were even more popular than today. It is said that the Thathera craft was established when skilled metal workers from Kashmir settled in Jandiala Guru, Punjab under the reign of Maharaja Ranjit Singh.

Since then, Jandiala Guru has become a bustling mandi (market) for brass and copper vessels. The process of making these utensils is intense and involves heating the metal to high temperatures and then moulding it into shapes. A final polish of tamarind juice is applied to each piece before they are ready for sale.

11. Yoga

The ultimate goal of yoga is the liberation of body and mind. The poses (asanas), meditation, breathing exercises (pranayama) and chanting are done in yoga work to ease physical and emotional distress in the body.

Though the practice began as a way of promoting spiritual well-being, it is now hailed as one of the best ways of achieving holistic health. There are specific asanas that are said to help with migraines, lower back pain, obesity, menopause symptoms and even chronic diseases.

12. Nawrouz

The Irani festival also called ‘Persian New Year’ is marked by a Thanksgiving lunch where the family gathers to feast and celebrate. It takes place in March and the festivities go on for around two weeks. The festival is marked by parties, gifts being exchanged between friends and family, and several community activities that strengthen solidarity among its members.

According to UNESCO, “The Spirit of Noon, known as Rapithwina, who was considered to be driven underground by the Spirit of Winter during the cold months, was welcomed back with celebrations at noon on the day of Nowruz according to Zoroastrian tradition.”

13. Kumbh Mela

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The festival needs no introduction. It is celebrated four times over 12 years at four different sacred rivers — Haridwar’s Ganges River, Ujjain’s Shipra, Nashik’s Godavari, and  Prayagraj’s Ganges. The festival is hailed as one of the largest peaceful congregations of pilgrims on earth and sees people of every religion flocking to it.

Legend says that the Kumbh Mela began when the gods and demons were fighting over the pot (kumbha) of the elixir of immortality (amrita). During the tussle, a few drops of elixir fell on four earthly sites turning the rivers into nectar. To this end, pilgrims bathe in these rivers to achieve immortality.

14. Durga Puja

It is safe to say that the 10-day festival is the pride of Kolkata, where it is celebrated with great fervour to mark the homecoming of Goddess Durga. Idols of the Goddess made from unfired clay are sculpted and worshipped. The first day of the Puja sees eyes being painted on the idols to ‘bring the Goddess to life’. Then on the 10th day, the idols are immersed in the river, marking the end of the festivities.

The streets of Kolkata are an eclectic mix of religion and culture on the ten days of the festival. Echoes of “Dugga Dugga” are heard on the streets as people wish each other a safe life. Meanwhile, the aroma of sweets is accompanied by that of dhunuchi (a form of incense made from the resin of sal trees).

(Edited by Pranita Bhat)

A keen interest in capturing ethnic communities across India and the world defines Pandya’s photographic prowess. Explaining this unique draw, he says, it is because of a dynamic equilibrium that these tribes have with their environment. “A peace of mind in the felt experience of the moment,” he adds, quoting American mystic, Terence McKenna. 

Pandya was intent on photographing the Brokpa tribe that had maintained a recluse’s life for the major part of the century. With as few as 2,000 current members, the tribe is spread across the villages of Dha, Gharkun, Dharchiks and Hanu. 

Mingling with society has always been a major source of contention for them. But, it seems the Kargil War of 1999 changed things. It was during this time that the tribe members began farming, trading and more, even lugging rations, ammunition, etc for the army. 

As a member of the Brokpa tribe Tsering Dorje recounted in an article to the Deccan Herald, “Even our women carried loads. We had sore backs. In fact, some of them even died doing so.” 

For a tribe that has managed to keep much of their identity under wraps, it is a revelation to know of the many customs, cultures and lores that bind them. 

But, Pandya shares, what really drew him to capture them was the joy and abundance they exuded. While today, much more information is available on the tribe, their origins are still disputed. 

“One theory according to Brokpa folklore is that hundreds of years ago, three brothers, Galo, Melo, and Dulo, escaped in search of a new land to settle down,” shares Pandya. “The belief is that when these three brothers arrived in Ladakh, they emptied their shoes filled with husk which multiplied into a good crop. These brothers, considered Aryans, settled there, and their descendants are called the Brokpa,” Pandya explains. 

The Aryan theory is also backed by the community’s features — tall stature, green eyes and high cheekbones. 

But, another more popular theory suggests that this tribe was formed by the descendants of Alexander the Great’s ‘Lost Army’ who stayed back in the region long after the conqueror left in 326 BC. 

An insight into the coveted tribe

The Brokpa tribe has displayed a strong intent on guarding their cultural and social beliefs from ‘contamination’. The ‘last of the Aryan supreme race’ stays away from kinship and marriage outside the community to preserve this ancestry. But this close-knit bond also means a sense of brotherhood between members of the tribe. 

Pandya recalls admiring the love the tribe harbours for nature. “Their deep connection to the land is evident in the way they decorate themselves so beautifully with nature’s gifts – flowers, bright colours, and an aesthetic deeply related to the earth.” 

Pandya who has captured tribes across the world through his lens like the tribes in Guatemala, South Sudan, the Huaorani people of the Amazon and more, finds a common link that binds them – profound stories. 

“I was working with a National Geographic photographer Steve McCurry in 2012, and my first assignment from him was to handle the processing and cataloguing of the proofs from his most recent trip to the Omo Valley in Ethiopia,” he says recalling how his love for tribal subjects began. 

“While processing the images, the intended impact took hold of me. I became deeply obsessed and fascinated by the people and the culture captured in those images, igniting a strong determination to see these communities firsthand.”

Here’s a glimpse into his series chronicling the life of the Brokpa community. 

“About 130 km (80 miles) northeast of Kargil, on the Line of Control on the India-Pakistan border, where both countries fought the war in the summer of 1999, are the villages named Dha, Hanu, Darchik, and Garkon,” notes Pandya. “These villages are inhabited by a tribe that has lived in isolation for thousands of years; it’s the heartland of a tribe called the Brokpas or the Drokpas.”

He adds that one of the most striking cultural symbols of the Brokpa tribe is the headgear. “Embellished with ornate metal jewellery, coins, and exotic flowers, these headgears are worn to ward off evil. It is also believed that the flowers protect them from diseases.”

Living at high altitudes comes with its own set of challenges. And the tribe members ensure they are well protected from the chill. “Men and women are seen wearing coats lined with sheep fur,” says Pandya. He adds that the significance of the “elaborate headgear” called ‘Tepi’ is that it is believed to ward off evil and keep illnesses at bay.

During his time capturing the series, Pandya would often observe the elderly Brokpa women chanting and praying at the side of a small dirt road in the village. “As I approached one of them and inquired about what she was praying for, she replied, ‘I am praying for a better afterlife.’” he recalls. 

Pandya soon learnt that Brokpas practised Buddhism and believed in a cycle of death and rebirth called samsara. “Through karma and eventual enlightenment, they hope to escape samsara and achieve nirvana, an end to suffering. They also believe in the mystic Gods that they refer to in their folk songs and stories.” 

As winter sets in Ladakh, the community members move into the basement of the home which plays the role of a winter house. “This place is used to warm up and rest during the hostile winter months.” 

Even whilst isolated from the rest of the world, Pandya was amazed at how the tribe found its own ways of adapting. 

The ability to remain mysterious in a world where everything has become so accessible is unique. But while on his project, Pandya says that what the tribe lacks in written history they make up for in the form of songs sung down from many generations. “I visited one of the interesting Brokpa households where the basement has been converted into a museum to showcase important Brokpa artefacts. The Brokpa photographed here is a singer who believes in preserving their unique culture by singing and running the museum.”

Following the Indo-Pak war in 1999, road connectivity increased between the outside world and the Brokpa villages. “The otherwise isolated tribe has now started adapting and opening up to the world,” shares Pandya, who also noted their amicable nature while speaking of their customs. 

For Pandya, capturing this series on a tribe shrouded in mystery, was transformational. “My photography lets me intertwine both my creative hunger and my cultural curiosities.”

Here’s a look at the tribes across the world that Pandya has captured:

Edited by Padmashree Pande.

“I was a foodie since my childhood. Back in my hometown, I used to hog on the food that my grandma cooked. But while in Bangalore, I only had a few South Indian food options like dosas, vadas, and idlis, which also lacked taste and quality,” Suhas tells The Better India.

“My grandma used to cook the simplest foods with a handful of ingredients, yet they were filled with flavours,” he recalls.

Bengaluru boasts over 12,000 restaurants serving a variety of dosas, but Suhas says he noticed a lack of authentic Dakshina (South) Karnataka cuisine, particularly from his hometown Kundapura. To honour its culinary legacy, he and his wife Raksha Prasad started ‘Jagli Tindi’ restaurant in J P Nagar, Bengaluru.

Today, the eatery lures up to 1,200 foodies per day with its signature food delicacies — including avalakki bath, Mangalore buns, mandakki upkari, khotte kadabu, ghee jaggery ragi halbai, gasagase payasa, and more.

Bringing South Canara delicacies to Bengaluru

A graduate in business management, Suhas worked with multinational companies like Wipro and Aegon Religare for about eight years. Other than corporate work, he has always been passionate about fitness and health.

“I have seen people struggle with body shaming and low self-esteem. In fact, I myself struggled with the same. It took me two years to go from weighing 135 to 75 kg. It not only made me look good from the outside but also gave me self-confidence, self-respect and self-motivation,” he says adding that he went on to help other people in their transformation journey.

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“We cannot ignore the fact that the food we eat has a crucial role to play,” says the 33-year-old. “In cities like Bangalore, people are forced to eat poor-quality fast food. They remain unaware of the amounts of calories that go into their diet. Most of the restaurants use food colours, artificial flavour enhancers like MSG, adulterated lemon salt, and vanaspati.”

So when he and his wife launched Jagli Tindi in 2019, they kept health and nutrition intrinsic to the brand.

Talking about the couple’s dream, he shares, “Since the time we were dating, Raksha and I wanted to run a business together. Instead of going on honeymoon, we started the restaurant just six months after our marriage. This is our first baby,” he smiles.

Jagli Tindi, which translates to ‘food relished while sitting on a traditional deck area’ in Kannada, offers about 30 varieties of tempting Kundapura food. Priced between Rs 15 and Rs 120, the restaurant aims to serve nutritious food to people irrespective of income backgrounds.

Suhas says his restaurant attracts significant footfall every day. “Many people from across Karnataka move from their native places to Bangalore for work. Like me, they regularly crave traditional food. Whenever I interact with my customers, they tell me how they come to us to reminisce about their hometowns and recreate memories of what their mothers cooked,” he says.

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Their mandakki upkari is among the bestsellers. Served on a banana leaf, the delicacy is made with red puffed rice and is tossed with their ‘secret’ podi mix and onions. It is then topped with grated coconut and a good deal of peanuts.

Vignesh Holla, who hails from Udupi district, is a regular customer. “I have been visiting their restaurant for about four years now. Since day one, the flavours have been consistent. I feel homely whenever I go there and feel connected to my hometown with the food they offer,” he reiterates.

“The kind of food it offers makes the restaurant unique. I love to relish their avalakki bath, mandakki upkari, and khotte kadabu. You don’t find all these dishes in other restaurants in Bangalore,” Vignesh tells The Better India.

“Usually, cooks pour in a good deal of oils in the dosas. Often, I would encounter throat infections because of this. That is why I limited myself to this particular restaurant. Although this restaurant is 15 km away from my home, I find time to visit it at least twice a month,” he adds.

Our recipe for success

Today, the couple’s restaurant has become a go-to place for many foodies across the city. But this journey has not been without its own share of challenges.

“We have seen a lot of ups and downs. On the first anniversary of Jagli Tindi, we had to shut the restaurant due to the [COVID-19-induced] lockdown. We restarted it after taking loans. I sold my superbike as well. Unfortunately, we had to close it when the second lockdown was announced amid low sales,” says Suhas.

In all, the newlywed couple were burdened with a loan of Rs 12 lakh. “We did not want to give up on our dream. Without giving up hope, we pooled some money and went to cities like Hyderabad and Delhi to meet investors from the Taj Hotel, Radisson Blu, and Ashoka Hotel. They were impressed by our idea and invested in our work, and finally, we reopened our restaurant,” he adds.

Suhas says he does not come from any culinary background. In fact, he says, he did not even know the difference between urad (black gram) and chana dal (chickpea). Over the years, the couple learnt everything from scratch on their own and established the restaurant by using their grandma’s recipes and recreating delicacies from South Karnataka.

For Suhas, the journey has been full of learning, but at the same time, he feels immensely contented. “When I retire to my bed, I sleep peacefully knowing the value of the work I do. With this, I am able to revive my native delicacies in the simplest form with high nutritional value — just the way my grandma offered it to us,” he shares.

Edited by Pranita Bhat. All photos: Jagli Tindi.

The Dindori-born artist was deprived of a school education — a result of her father’s meagre income — but absorbed things happening around her faster than other children her age. As her dadi (grandmother) would put the last finishing touches to intricate paintings on the home’s mud walls, a young Durgabai watched.

Art, therefore, was her first subject, a love she carried with her through life.

“Growing up in Dindori, I would paint on the walls using white mud (chuhi), red mud, and sometimes even black mud (charcoal black). Festivals and weddings in the village were my favourite occasions since there would be opportunities for me to make dignas (a form of tribal art practised by members of the Gond community) on the home walls,” she shares.

Today, at 50, one would say art is in her genes, as she replicates her grandmother’s style. This time on canvas and walls that are hundreds of feet tall. Vyam’s artistic prowess led her to win many accolades throughout her career, one of the most prestigious being the Padma Shri in 2022.

Finding her niche in the art world 

The transition from mud walls to canvas happened in 1996 when Durgabai married Subhash Vyam, a native of Bhopal and a sculptor.

The latter worked at the Indira Gandhi Rashtriya Manav Sangrahalaya — a space that allowed artists to thrive. Here he was assigned the task of making clay and wooden sculptures. It was also here that Durgabai attended her first artists’ camp, an event that gave her dreams wings.

But though art was her love, it took on the role of a profession much later. For this, she credits the stalwart of modern Indian art, a pioneer of Gond paintings and her relative, Jangarh Singh Shyam.

The Madhya Pradesh artist’s name is not a new feature when speaking of tribal art. His signature style of interpreting the Gond community’s myths and beliefs into art paved the way for the emergence of many tribal artists. With exhibitions in Bhopal, Delhi, Tokyo and New York amongst others, Shyam created a name for himself that time would not erase even after his suicide in 2001.

In 1996, the same year that Vyam moved to Bhopal, she recalls seeing a beautiful painting of Hanuman on one of the village house walls. “Who made this?” she enquired. The answer surprised her.

“When I knew it was my cousin Jangarh Singh Shyam who had made the painting, I was inspired. I wanted to try my hand at it,” she says. 

From mud walls to metropolitans

Vyam’s art is unflinchingly honest in the story that it tells. Through the colourful landscapes of trees, birds, and nature, there is an attempt to convey a message. Her characters are notorious for exuding almost human-like traits. Her growing up years in Dindori, she says, is the reason for this.

Nature seemed to be her best friend. And everything around her seemed almost life-like. But considering the platforms she has gotten to showcase her work, it has taken on a more dignified and serious avatar.

“My art needs to have a message,” she emphasises. “The common ones are: save trees, save animals, be more mindful of nature…” When nature isn’t the focus, traditions and lores of the village take precedence.

Deities are a common subject of Vyam’s paintings. These include Ratmaimurkhuri — the guardian of the night, Khero Mata — a protector against evil, and Chula Dev — the god responsible for ensuring the household chulha (hearth) always burns.

Her works include the 2018 art installation curated for the Kochi-Muziris Biennale — an international exhibition of contemporary art; paintings at the Mumbai International Airport; art at Azim Premji University Bengaluru; and even at the Indira Gandhi Museum in Bhopal where Vyam painted on a 200 ft wall.

But she holds her first-ever painting dear.

“In 1997, a year after shifting to Bhopal, I made a painting on canvas of gau puja (a ritual popular in villages where deity Kharkhadev is worshipped, asking forgiveness for past sins and bringing prosperity to the family).” She adds that it being her first time painting on canvas, which is limited space in contrast to large walls, she was hesitant. But the painting was loved by all, and today stands at the Government Museum in Chandigarh.

In 2000, Vyam expanded her art canvas. She began making drawings for booklets published by the Eklavya Foundation. “Once they became popular, I was approached by Chennai-based Tara Books for the same.” 

But Vyam and her husband proudly declare their most iconic project to be illustrating for the book ‘Bhimayana: Experiences of Untouchability’, which chronicles the life and times of Dr Babasaheb Ambedkar.

In addition to this, the couple have illustrated children’s novels, history fiction, biographies and more. In 2008, Vyam was awarded the BolognaRagazzi award for her illustrations in ‘The Night Life of Trees’.

But even as I ask Vyam about these accolades, expecting an elaborate answer, she shrugs. “I am happy. The awards make me happy. It is a great feeling to see my dignas getting so much love,” she shares.

Edited by Pranita Bhat

With ‘vocal for local’ being heralded as the need of the hour, why not use this opportunity as a time to step up?

Here are a few brands that work directly with artisans to curate some beautiful handicrafts among other products. Get shopping!

1. P-Tal

The kitchenware products at P-Tal are an attempt to revive the ‘Thathera’ metal craft which dates back to 18th-century Punjab. It was introduced here in 1883 when Maharaja Ranjit Singh invited the ‘Thathera’ craftsmen from Kashmir to settle in the city. They began crafting products out of brass, copper and tin, eventually evolving into a crafts cluster.

The artisans’ craft gained recognition in 2014 as the first Indian craft to be etched in UNESCO’s Representative List of the Intangible Cultural Heritage of Humanity. P-Tal is now taking the legacy forward through its range of kitchenware made by artisans of Punjab.

Check out their range of products, here.

2. The India Craft House

“Craftsmanship in India comes naturally to hundreds of thousands of its unlettered people who weave myths, legends and simple daily experiences into different forms of creativity…,” reads the India Craft House website.

The brand works with over 2,000 artisans from across Andhra Pradesh, Bihar, Puducherry and Ladakh among other cities to ensure the artisans get a larger platform to showcase their works. Whether it’s dhurries, oil lamps or even piggy banks for kids, you are sure to find it here.

Check out their range of products, here.

3. The India Craft Project

When founder Saumya Pankaj took a trip through six Indian states a few years ago, she thoroughly enjoyed the time she spent in craft clusters across these places. Watching their cultures was a window into their lives and their work.

Fascinated by theyyam (a ritual art form) in Kerala and ajrakh block printing in Gujarat amidst other craft forms, Saumya was intent on building a larger digital space where these crafts could coexist. This was the inception of ‘The India Craft Project’, which works with thousands of artisans across the country.

Check out their range of products, here.

4. Jhappi

Through Jhappi’s unique model, beneficiaries across 38 NGOs in India feel a hug of hope when they are rewarded for their skills. Entrepreneurs Bhumika Marwaha and Bipin Joshi say this was what they always intended. The duo were looking to help people with disabilities, women from low-income groups, and more, through a model that would ensure they were being justly compensated for their skills and talents.

As Bipin explains, “To market products made by marginalised sections is challenging. Not because their quality, price or packaging is not right, but the way people perceive NGO products is the biggest hurdle. This would mean something more radical, more disruptive is needed to question the current attitude.”

Check out their range of products, here.

5. Guddee

While growing up, founder Harita Singh’s haven was the time she spent with her dolls at home.  In her opinion, this was the perfect world. Dolls made everything better, believed Harita who wanted to extend this concept beyond the playpens of kids. She went on to start ‘Guddee’ as an ode to this idea.

Today, the brand’s collection of tea lights, wall hangings, home decor and more is arguably some of the most beautiful ones you will find. These handicrafts are made out of clay, thread, wood and marble by artisans across the country.

Check out their range of products, here.

6. Kaati

The journey of the brand started in 1928 with its earliest carpets being woven with 140 knots per square inch. Weavers from Uttar Pradesh and local artisans were an integral part of the brand, which slowly transitioned to more modern washing techniques and high-lustre finishes for the carpets.

Take a look at their festive collection to take your pick of rugs.  

Check out their range of products, here.

7. Minimal Indian

Founder Adrita Sarkar’s long stint in the fashion industry exposed her to the many facets of this glamorous world. The National Institute of Fashion Technology student was always intent on creating a brand rooted in minimalism. A desire that was fortified as she travelled across the country and spent time in craft clusters.

These experiences shaped the brand Minimal Indian. Adrita works closely with studio potters from Bengaluru to make ceramics and other products sold by the brand.

Check out their range of products, here.

8. The Good Gift

What if we told you that every time you bought something from the platform, you were doing your bit to empower a woman from an indigenous tribe in the Nilgiris? These tribes struggle with their livelihoods — a fact noticed by duo Sunita and Suhas when they moved to the Nilgiris in 2018.

The duo set up ‘The Good Gift’ to enable the women of these communities to make products — dolls, coasters, accessories — and connect to relevant customer bases in cities.

Check out their range of products, here.

Edited by Pranita Bhat

The corporate executive-turned-storyteller made it clear from the start that he never planned to conduct the “regular” heritage walks. “What I am trying to do is tell the story of India in Bengaluru,” adds Pai, now in his 50s.

In 2004, after a brief 7-year stint in the corporate world, Pai decided he wanted more from life than a corner cabin and its perks.  During a business trip to London, he spent the major part of his days exploring the city, going on heritage walks, and wondering why India lacked these experiences.

On returning to Bengaluru, the feeling of diving into something creative overtook him. He bade goodbye to the corporate world and started ‘Bangalore Walks’, literally and figuratively taking the road less travelled.

Over the years, these walks have given the residents of the metropolis as well as celebrated personalities a chance to fall in love with the city’s unseen side.

During the early years of starting, Pai began to be identified as the man who showed up every Sunday morning at 7 on Bengaluru’s MG Road ready to begin his signature three-hour-long ‘Victorian Bangalore Walk’.

Come rain or shine, this was a weekly ritual. And the number of people who turned up never deterred his spirit. “Sometimes it was a handful, other times a crowd.” But Pai saw to it that the show went on. And today, he has taken over 30,000 people on more than 1,500 heritage walks.

Taking Indian history from textbooks to the world 

It is intriguing how a city that banks on its weekends after a five-day drill, is enthusiastic about rediscovering its history. The credit goes to the allure that Pai has managed to create around these walks. Praise him and he says this is where storytelling comes in.

Circling back to how it all started and where the board game Monopoly plays a role, Pai reminisces his own days of playing it. “King’s Cross Station, Mayfair, Piccadilly…these places were rooted in our memory. We could roll the dice, buy a property, and pay rent.”

He didn’t realise how the game was impacting him until his first trip to London revealed how he knew the city like the back of his hand. “I realised it wasn’t a simple game. It was designed with the intent of bringing the city alive in the imagination of kids whose only source of information was these board games back in the day.”

Ironically, while London seemed so familiar, Delhi did not. And Pai is quick to note the reason. “The only place we have learnt Indian history is in textbooks.”

That same year, with a desire to tell India’s story to anyone who would listen, he started ‘Bangalore Walks’. While fleshing out the idea for this initiative, he was firm that his focus would not lie on museums and monuments. Every street in the city boasts a story and Pai would find it and tell it.

A love affair with Bengaluru

The boom of startups and unicorns in Bengaluru has attracted people from all walks of life. Explaining the same history to these syncretic communities must be a challenge, I tell Pai. But he disagrees.

“Heritage walks usually focus on monuments and architecture. Engaging narration is lacking. The stories are becoming scripted, passed from one guide to the next. Tourism starts becoming a commodity. What I aim to do is tailor-make the story depending on the audience,” he shares.

It was this intent that compelled him to go to a bustling MG Road in Bengaluru and design a walk there as opposed to a well-known heritage site. “If I can get people to be interested in a familiar street they think they know, and see it in a new way, I have achieved what I set out to do.”

But deviating from the norm also meant Pai needed to brush up his knowledge of the city and figure out stories for himself that hadn’t made their way to the Internet. The beauty of this approach, he says, is that he began creating a story of his own along the way. And people loved it.

“What one needs to remember is that if it’s engaging for you, it’s also engaging for people who think like you.” Citing one example, he says “It’s easy going to a monument and talking about how it was built, it’s architectural details and ending the walk by saying the monument stood as a symbol of love.” But that isn’t all there is to it.

“What is the monument’s role geopolitically? What space did it fill in Indian history? What was going on in other parts of India and the world when this monument was built? How is it connected to other monuments the audience has seen? These are the questions I try answering,” he adds.

Discovering the secret sauce that makes the city ‘click’

While the walks do not have a set theme, Pai improvises along the way depending on the audience he is catering to. And he delivers every time.

Today, the model caters to specific groups as opposed to public walks. A group of 25 individuals from a policy think tank in the city who recently attended one of the walks will agree. After three hours spent covering what they thought were familiar areas in the city centre, (near their office), the group was enthralled by this new lens through which they were seeing it.

For Pai, it was the same route he took with all his groups, but the storytelling differed. “As there were retired army personnel and defence strategists in the group, I ended up talking about the military DNA of Bangalore more than I would to a bunch of school children for whom that is not so exciting. So you see, the slant changes.”

One of his favourite stories along the walks is narrating about the “dramatic” Battle of Bangalore that took place in 1791. After mortal combat with Tipu Sultan’s army, the Bangalore Fort was captured, leaving thousands of Mysoreans dead. “People know of the Battle of Panipat and Plassey but not this event, which had an equally large impact on India, if not more,” notes Pai. He adds, “This is an interesting story of the role the fall of Bengaluru played in our history, and I tell it in such a fashion that people want to learn more about it.”

Every story picked up by  Pai — the lores of the city’s churches, the mapping of India that began in the city — has global appeal and is infused with personal anecdotes. Often in the course of the walk, Pai gets asked about the “Christmas trees” that line the roads. He then stops and narrates how they came to be.

“Did you know they are actually from New Zealand?” he asks me. I didn’t.

“These 60-foot trees are so prevalent these days that most people think they are native to the city. But it is interesting to know that they were brought here almost 200 years ago as part of a massive botanical experiment by British and Indian scientists. They were trying to understand how to classify the world’s trees and plants,” he informs.

“Since the city is not too high, not too low, not too wet, not too dry, it turned out to be a conducive environment for these very foreign trees to grow. Today these ‘Christmas trees’ (Norfolk Island Pines) have acclimatised to this climate and soil and have become local.” 

Pai has narrated these and other stories of the city to some of the most influential people — including global MD of McKinsey Dominic Barton, president of Microsoft Brad Smith, Infosys founder NR Narayanamurthy, India’s Chief Economic Advisor Anantha Nageswaran, US Digital Ambassador Nathaniel Fick, former PM of Australia Kevin Rudd and comedian Trevor Noah.

As Nageswaran recounts, “I was so happy that my friends from iSPIRT arranged for me to join Arun Pai’s Bengaluru walk on 24 July. He was simply brilliant with his erudition, wit, and deep understanding of the history of the world, the country, and the city. His pride in being a Bangalorean came through so well that I was infected with that pride. He made Sir M Visweswaraiya and the Mysore Maharaja come alive with his vivid descriptions of their vision and their contributions to the city and the country. It was a perfect start to the day and made my short visit to Bengaluru entirely memorable.”

But in the midst of this adulation, one experience outshines it all — India’s Presidency of the G20 Summit in 2023. Karnataka played host to over 10 important summit meetings over the year including the G20 Summit. And Pai was the official representative of the Government of Karnataka for designing and planning the city tours and excursions to the last detail — including sites around cities like Mysuru, Hampi, and Bengaluru.

Recalling the experience at Hampi, Pai says it was phenomenal.

“Over the course of the three days, I highlighted globally relevant stories of India’s history, culture and society to over 200 delegates from 20 countries. We were given a clear task by Amitabh Kant — India’s Sherpa. He wanted us to provide the right context, background and experiences so that the splendour, scale and sagacity of the Vijayanagar Empire could be effectively communicated to the high-empowered global audience.”

For Pai, each walk is a creative utilisation of everything he has discovered about the city. He concludes by emphasising something I couldn’t agree with more —

“I am not a heritage walker. I am India’s storyteller.”

Edited by Pranita Bhat

In a recent thread on X (formerly known as Twitter), Karthik spoke about his visit to a restaurant in Japan’s Kyoto — ‘Tadka’. What’s surprising is that this eatery is not run by an Indian, but rather by a Japanese duo!

As Karthik writes, “They visit Chennai once every 6 months, learn new dishes, practise it to perfection and add it to their menu.” The duo’s dedication to delivering authentic South Indian cuisine has caught the attention of netizens.

The result of this effort is a platter of South Indian delights that received a thumbs up from Karthik, who found the place on par with many eateries in South India, where he hails from.

I visited this kick-ass south Indian restaurant called Tadka in Kyoto, Japan. Tadka is owned and run by Japanese people. They visit Chennai once every 6 months, learn new dishes, practice it to perfection and add it to their menu. pic.twitter.com/rDmBn4JbIC

— Prasanna Karthik (@prasannakarthik) October 29, 2023

Apparently Tadka has very very few Indians eating there. Its customers are mostly Japanese customers who have fallen in love with the food there. what a way to contribute to India's soft power!!! pic.twitter.com/3ETklgOwGj

— Prasanna Karthik (@prasannakarthik) October 29, 2023

In the process, the two have truly embraced Indian culture from the bottom of their heart. They developed a deeper understanding of Hinduism and fell in love with it. pic.twitter.com/Jbhpglskyo

— Prasanna Karthik (@prasannakarthik) October 29, 2023

I don’t have coffee or tea. But when I was leaving, they gave me a complimentary cup of south Indian filter coffee. Since I did not want to be rude, I accepted it. It turned out to be the best filter coffee I’ve ever had. These guys took Japanese precision to an all new level. pic.twitter.com/ZETj1lUN9T

— Prasanna Karthik (@prasannakarthik) October 29, 2023

He also went on to talk about the Indian culture encouraged at the restaurant among other things that surprised him. “In a country that uses chopsticks to eat food, Tadka actively promotes eating by hand…in true South Indian style.”

Needless to say, Karthik left the place impressed with just how Indian cuisine is finding love globally.

Edited by Pranita Bhat

The two, who have been “best friends” for ten years now, were getting their fill of the famous mishti delicacy at one of the City of Joy’s oldest sweet shops. 

After relishing rounds of the sweetened milk delight at ‘Nalin Chandra Das and Sons’ — a mithai shop in existence since 1841 in Kolkata’s Notun Bajar area — Dolon declared this was the best dessert she’d ever tasted, with Anindya heavily in agreement. This wasn’t just an outing for the friend duo. It is their way of life. 

As they explain, the intent behind visiting these legendary eateries is to amplify stories about Kolkata’s culinary heritage and those working to preserve it. These tales have found a space in ‘Kolkata Classics’, a digital story bank that documents the city’s unseen side on Instagram. 

“Food is an integral part of any Bengali’s life,” says Dolon, a banker who took to lifestyle blogging in 2012. A passion for history and culture influenced this decision. 

When Dolon met Anindya, a businessman-turned-photographer, the two bonded over the city’s food landscape. Anindya had been documenting food and recipes along with his wife, Madhushree, for their blog ‘Pikture Nama’ for years. Meeting Dolon was almost fated. 

He points to how digital archives are nothing more than a modern form of what cavemen would once do. “They would document their life in the form of drawings on the cave walls. They never thought that centuries later these drawings would give us a snapshot of their socio-economic condition. Maybe someday in the future, something similar will happen with the stories we leave behind on the internet.” 

In every story that goes up on Kolkata Classics, the hero element is always the establishment. “We try to talk about these places that are over 150 years old, the people running them, the challenges they encounter and the rich history behind their survival,” notes Anindya. 

Here’s a glimpse at five of these legacy eateries. 

1. Parbati Hotel 

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A post shared by Anindya Madhushree Basu | Kolkata Influencers (@pikturenama)

The restaurant’s story is a picture of resilience in the face of adversity. When Joydeb Kundu started the place over a century ago, he did it with the simple idea of serving homestyle Bengali meals at a reasonable price. Soon, the place amassed a great following with its fish curries. 

However, the COVID-19 pandemic posed tough times on the restaurant’s legacy as Sailendranath Kundu, Joydeb’s son, and the one who was spearheading the operations, passed away. Plans for shutting down the business were on the cards when Sailendranath’s wife stepped in. 

Today, the restaurant continues to draw love from the city it once served. 

2. Potlar Dokan 

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A post shared by Anindya Madhushree Basu | Kolkata Influencers (@pikturenama)

“The place never had a formal name,” says Anindya. The original name ‘Potlar’ stemmed from ‘Potla’ who was one of the seven sons of Shashi Bhushan Sen, a cashier in Calcutta Tramways, and the owner of the restaurant. For Anindya and Dolon, the main pull here is the kochuri (a Bengali-style kachori) and telebhaja (fritters). 

3. Paramount 

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A post shared by Anindya Madhushree Basu | Kolkata Influencers (@pikturenama)

A hot afternoon in Kolkata has only one antidote, as Anindya and Dolon will testify. This is the sherbet at Paramount, located on Bankim Chatterjee Street in the city. Standing tall since 1918, the restaurant provides its guests with an opportunity to take a walk back in time through the years that have shaped its history. As the late founder’s son, Mrigendra Majumdar, recalled in an article to Outlook, “My father had ingrained in us the ‘mantra’ of using quality ingredients, and that is what has stood us in good stead all these years.”

As Anindya and Dolon also discovered on their rendezvous here, the recipe for the daab sharbat was handed down by Acharya Prafulla Chandra Ray, a celebrated chemist and historian.

4. Bnete Da’s tea shop 

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A post shared by Kolkata Classics (@kolkataclassics)

In response to what her favourite memory while chronicling these stories for Kolkata Classics is, Dolon says it would be the time spent at Bnete Da’s tea shop. “It’s a streetside tea shop and though it is one of the oldest in the city, not many people would give it a second glance. It was started around 1920, around the same time that drinking tea became popular in India.” 

As the current owner of the shop narrated to the duo, everyone right from Rajiv Gandhi to Sachin Dev Burman had once stopped by for a cuppa. 

5. Swadhin Bharat Hindu Hotel 

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A post shared by Anindya Madhushree Basu | Kolkata Influencers (@pikturenama)

An interesting story that is often told when the Swadhin Bharat Hindu Hotel is spoken about is that of how the founder, Mangobindo Panda, welcomed freedom fighters here during the independence struggle. 

“One time, there was a group of freedom fighters inside the hotel conducting a meeting and there was a sudden raid by the police. Mangobindo stood at the doorway, refusing to budge. He was hit repeatedly but he did not move an inch and ultimately the men were forced to retreat,” writes Anindya. 

Edited by Padmashree Pande

While aficionados of steam locomotives can still hop onto the Darjeeling Himalayan Railway (DHR) and Nilgiri Mountain Railway (NMR) to experience the thrill of this heritage form of transport, the rest of the Indian railway scene has undergone a radical transformation. A fleet of diesel engines has replaced the steam ones through the years, marking an end to an era. 

But, even after the steam engines were phased out, Kishore Pratim Biswas, a Kolkata-born artist, wasn’t ready to part with these memories. Born in 1971 in Kolkata, he’d spent his years growing up watching the steam locomotives. Rides on the engine would often be accompanied by tales narrated by his uncle who was a locomotive driver. 

“Sometimes I rode in the engine with the motorman,” he smiles. “It was a remarkable experience. I got to witness how they work in close quarters. The engine used to be very hot and they had to spend a lot of time in it and yet they kept a smiling face and never complained.”

Kishore graduated in Fine Arts from the Government College of Art & Craft, Kolkata, in 1996, but struggled with the dearth of opportunities in the city.  In 2009, Kishore decided to move to Mumbai, which opened the doors to new opportunities. The contemporary artist cultivates a spirit of nostalgia through every project he undertakes and the ‘Indian Steam Locomotives’, a series he spent 25 years working on, is an ode to his craft. 

Through the series, he creates an unmatched visual experience of the locos, the journey and the experience that was enjoyed by people of the ’70s.  

History on wheels 

Watching the white steam of the locos billowing against the black engine are some of Kishore’s fondest childhood memories. “It was a dramatic visual experience for me,” he shares, adding that when he had to take up his first art project, he wanted it to be an ode to this memory. Their “unusual character” was something he wanted to highlight. 

Kishore explains, “The colours of the engine were mostly black and grey, while the body looked too muddy, dusty and unclean. But this gave its surface a unique look and lent the locomotives a distinct character. I have never found anything in the world as interesting as these trains.” 

As the 42-year-old artist looks back on the last 15 years and the art series he has taken up, he says the journey has strengthened his unconventional thought process. It has also orchestrated his painting style, which has transitioned from watercolours to acrylics.

Elaborating on how he curated the locomotive series, Kishore says its inception was during his time in Kolkata. “I would visit the railway workshops in the city every morning to sketch the locomotives. I would spend almost five to six hours every day doing this.” 

Breathing life into these sketches through watercolour, oil, pen and ink was a fulfilling process for Kishore. But the excitement came to an end one day in 1993 when Kishore watched the steam locos being dismantled. 

“They were being scrapped as they were no longer being operational. It was a very shocking experience for me and I was left in tears,” he recalls. While Kishore returned to Mumbai to complete the series — this time from the memory of what he had seen — he decided to turn it into more than just a painting of the engines. 

“I have captured the movement of people including the fireman, signalman, technical man, motorman and others working in the locomotive workshops. My paintings always have a deep expression of the characters, with dark, bearded faces sporting a red pagdi (turban) which looks very unusual,” he adds. 

Here’s a chance for you to travel through time through these artworks by Kishore:  

(Edited by Padmashree Pande)

We’ve put together a list of photographers whose journeys have been nothing short of remarkable. Through their shots, they are opening the doors to new worlds.

1. Capt Navtej Singh

Stills from remote places around India dot the pages of Capt Navtej Singh’s photography journey. He credits his experiences during his 32-year stint in the Indian Navy for this. There is a story that the Navy officer wishes to convey through each picture that he has captured — one about the essence of Indian culture and history.

As he emphasises, the job comes with its own set of demands. “You work in a hostile environment wearing gear, helmet, bulletproof jackets, etc, all while trying to click the perfect picture while in the thick of the action, and ensuring you are not obstructing someone’s duty.”

But the real challenge, he says, is taking advantage of every moment. “A missile is only fired once and you have a moment to get your shot. That moment won’t come back. Every instance, every picture has its own glory.”

2. Vidyasagar Hariharan

When banker Vidyasagar Hariharan caught his first glimpse of the flamingos that visited Mumbai in 2016, he fell in love. He recalls the moment as “magical”.

“I heard a loud noise as we were nearing the waterbody. It was the sound of thousands of flamingos cackling. The rising sun painted the murky tidal waters and the pink birds golden. I was enamoured,” adds the 47-year-old. Since that day, Vidyasagar has made a visit to the wetlands a part of his routine, while also extensively researching the birds.

Here’s a peek into his work.

3. Waswo X Waswo

A desire to do something “uncommon” led Waswo X Waswo, a photographer from the US, to go on a touristy escapade to Udaipur on his trip to India. The city felt so much like home to the photographer that he stayed behind for over 16 years, eventually building himself a house and two studios there.

“I felt too many photographers had used India purely as subject matter,” he shares, adding that his exhibition ‘Photowallah’ intended to sidestep this notion. ‘A Studio in Rajasthan’ is a hand-coloured series of black and white photographs that pay homage to traditional Indian portrait studios from the late 19th and early 20th centuries. Waswo worked closely with Udaipur artist Rajesh Soni who highlighted the black and white pictures with colour paints.

4. Suyash Keshari

The self-taught photographer has always relished tranquillity. In 2019, it compelled him to quit his job in the US to pursue his childhood passion — nature photography. Hours spent in the Bandhavgarh National Reserve, Madhya Pradesh, introduced Suyash not only to the beauty of wildlife but also to issues such as deforestation and poaching.

His debut five-part series ‘Safari with Suyash’ showcasing a cub Solo’s life in the reserve got him international acclaim. The series went on to establish an emotional chord with the audiences as well, who saw an eye-opening account of why wildlife must be conserved at every cost.

His work won him Nature’s Best Photography Asia Award at 19.

5. Dorje Angchuk

The promotion of astronomy in the Ladakh region is fundamental to Angchuk’s work. The 49-year-old Dorje Angchuk became the first Indian to be inducted as an Honorary Member of the International Astronomical Union. Ask him what keeps him going and he will tell you it’s a deep love for the skies.

But, a major turning point was in 2009 when he met Ajay Talwar, renowned astrophotographer and a member of The World At Night (TWAN) — an international project to produce and present a collection of high-quality photos, videos, and virtual reality (VR) images of the night sky.

“My journey into astrophotography began by taking star trails that were quite famous back then,” he explains.

Edited by Pranita Bhat

Like most other streets at this time of the year, Rue 21 St Sulpice is no stranger to the madness of the holidays. Saint-Sulpice is among the poshest districts in the French capital, and thousands throng to visit the local 400-year-old church, the pubs, cafes, and stores. 

But even in the flurry of passersby, there’s one shop that catches your eye — Mohanjeet. Said to be the oldest shop on the street, it exudes a nostalgic charm, with the prints behind the glass bearing remnants of simpler times. The fashion capital of the world has never been at a loss for new styles and chic designs, but this 51-year-old atelier has an allure that few others in the area do. 

At its helm is 92-year-old Mohanjeet Grewal, who says that at Mohanjeet, every collection has a story. 

Grewal has been deemed the ‘ambassador of Indian fashion’, a title she holds most dear. Having set foot in the fashion world in 1962, her work, she says, is an ode to India and a testimony of the culture she reveres. 

“Each of my collections, each accessory, speaks of a region in India — a cross-fertilisation of tradition and modernity,” she notes in conversation with The Better India.  

Embroidered with love, rooted in culture 

While she did not have any previous exposure or formal training in fashion, Mohanjeet relied on her natural flare for picking and combining designs. 

“For instance, take the mini saree I designed in 1967,” she says. “I always wore sarees but I had just begun wearing minis. So I designed the hemline of the sari, above the knee. It just happened! Likewise, I designed gold-rimmed dhotis as wraparounds to make it a globally relevant silhouette.”

Likewise, she was always open to new avenues in the field of fashion, and was one of the first to introduce khadi and vibrant, contrasting prints from Rajasthan to Europe. 

She reveals the roots of her inspiration — Indian miniatures. 

“If you look closely at the pattern, you see seven to eight different prints. I mix prints and combine materials — Indian silks, cottons and embroidered fabrics, hammered or brushed metal,” she notes, adding that it was her association with Indian craftsmen that guided her creations.

This association has been one of mutual understanding. 

“I have a huge respect for the fabric’s work. I want to be Indian and always put the label ‘Made in India’. I have sold expensive clothes to show that what is made in India can be very tailored, hand-embroidered, and not junky. The Mohanjeet clothes are for life, and almost exclusive pieces,” she says. 

When asked from where this love for Indian prints stems, she says the journey has been shaped by both bold choices as well as her experiences. 

From Punjab to Paris: A story that took Indian prints to the globe  

Grewal’s childhood was marked by memories of the Partition, she recalls. The family had to migrate from Lahore to Patiala, where Grewal grew up until she moved to the US in the 50s to pursue her further studies. 

Following a Doctorate at Berkeley in 1955, Grewal started her career as a journalist, and her name was a common sight in prestigious dailies such as the New York Herald Tribune and the New York Times. “It was really very exciting,” she recalls. 

After this stint abroad, when she returned to India in 1960, she realised she did not remember the country as she left it. “I did not know India, except Gandhi!,” she quips. 

Without much of a plan, but knowing she wanted to do great things, she packed her bags once again and moved to Paris, where — as she would soon learn — the rest of her life would begin to take shape. 

Her life in the French capital began with an interesting story. 

Wanting to do something about the money exchange crisis in India, Grewal says she approached the then Indian finance minister Morarji Desai with an idea.  

“I asked him, ‘You lament the lack of foreign exchange, impose import duties and restrict outgoing currency… but why don’t you encourage an increase in exports? India has so much to offer, so much to sell.’”

“The minister’s reply took me by surprise. He asked me to prepare a project and come back with the results,” she notes. 

And so, with the minister’s trust and an investor on board, she began exporting “trunk-loads of Indian textiles” into France in May 1964. The same year, she opened her first boutique La malle de l’Inde with 3,000 francs, which she’d loaned from a friend. 

“My vision was to display and sell Indian craftsmanship in cities like Paris. I singlehandedly curated a selection of items that I thought would fit in with the needs and expectations of the French,” she says. 

Several times a year, Grewal would make trips to India in search of the finest fabrics, handwoven by craftsmen. Consequently, she opened another boutique in 1968 at rue St Germain des Prés, and then in 1971, the flagship store Mohanjeet — the only one that remains — on Rue 21 St Sulpice. 

‘Like a potter with clay’

As the 92-year-old welcomes clients (now friends) — the likes of Romain Gary, Jean Seberg, Catherine Deneuve, Yves Saint Laurent and Jane Fonda — she reminisces how times have changed. 

“Years ago, fashion was led by big names like Balenciaga and Dior. The whole market was waiting for those top collections to come out in order to say what was in or not. The mass market was waiting for those collections in order to copy, and take off those clothes from famous names. But today, this is not the case,” she notes. 

“Nowadays, it is a daily show. We have thousands of names and there are designers everywhere. Everything is very fast-forward. There is no limit to creativity. Things keep coming back and going away, it changes all the time.”

“People are willing nowadays to close their eyes on quality, on a real story, know-how in order to have more and more clothes. Nowadays everyone seems to be wearing the same clothes,” she remarks. 

But, her brand hasn’t changed. 

Mohanjeet still relies on word of mouth and has not resorted to e-commerce yet. The reason for this, she says, is to be able to show and sell the clothes to “some real aficionados who could really enjoy the work and beauty behind all those creations”.

At the brand, every design is produced in only three sizes S, M and L and Mohanjeet emphasises that once sold out, the same design may be available later, but never the same fabric. 

When the fashion legend is not busy at her atelier, she says she loves exploring Paris and enjoying what it has to offer. “[I visit] museums, expositions, cinemas, [and enjoy] dancing, opera, listening to music,” she says, adding that she never defines herself as a stylist, even today. 

“I [instead] define myself as a potter who has clay in her hands and does something out of it.”

Edited by Divya Sethu

Growing up in a small village located between the border of India and Bhutan in Assam’s Baksa district, Kirat Brahma’s childhood was full of folklore and tribal tales.

While Kirat lived in different parts of the country, he longed to come back home and create a product that highlights our culture for the upcoming generations. 

In 2021, he started Zankla Studio with the aim of showcasing the rich culture of the Bodo Tribe. The studio creates handmade plastic-free soft toys that narrate stories deeply connected to the local culture and traditions of the Bodo community.

“When I was growing up, I did not have toys that represented people like me and others from my community. The markets are flooded with Spiderman, Mickey Mouse and Barbie dolls. So I wanted to create something to spread awareness among people about the existence of Northeastern communities,” he notes. 

Each toy created at Zankla Studio carries a narrative native to the tribe or is a representation of a prominent person from the tribe, such as Ada Lowdoom – a Bodo traveller, Bodo Jwhwlao – a traditional Bodo fighter, Gowdang Rani – a Bodo princess.

The products are sourced locally and are plastic-free. The toys come with a pamphlet containing the story or the tale of the fictional or real character that the toy is based on, explains Kirat.

As for future plans, Kirat says, “I wish to hire more artisans, hence providing more employment opportunities to the people of my tribe. To me, this is more than just a business; it is my chance to add value to my community and showcase it to the world.”

Like Kirat’s work?

Watch this short video to learn more about the stories behind the toys: 

(Edited by Padmashree Pande)

So as she grew older, she decided that if her future partner spoke a different language, she would make the effort to learn it.

“I always loved hearing people speak different languages. But when my stepfamily spoke Serbian at home, instead of learning it, my dad would leave the room. That’s when I decided that if I met someone from a different culture, I would try to learn their language, which would be good for us and our family too,” says Elizabeth Marie Keyton to The Better India.

The linguaphile started her career as an English teacher in South Korea when she was 21. She travelled to countries like UAE and Vietnam teaching English as a second language (ESL). It was in the UAE that she had her first brush with Malayalam, thanks to the large number of Malayalis there.

Sometime in 2017, she met her now husband Arjun, a Malayali, in Dubai. This eventually birthed her venture ‘Elikutty’ — a Malayalam teaching platform.

“When our relationship started looking serious, I decided to learn Malayalam. However, I found that there weren’t enough resources to learn the language. Most books available were outdated or made for children. Whatever material was available was too difficult for casual language learners like me,” says the 35-year-old.

She found an online tutor from Kozhikode through a platform called Italki and started taking lessons from him once a week. As luck would have it, the UAE banned Skype in 2017, which put an end to her classes and brought Elizabeth back to square one.

“Considering the number of Malayalis in the UAE, I struggled to find a tutor suited to my needs. Through online research, I found some grammar resources by Dr Ravi Sankar Nair and a textbook by Dr Moag,” adds the polyglot.

Learning the language through doodles

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A post shared by Learn Malayalam (@eli.kutty)

As an English teacher, Elizabeth used her teaching skills to learn Malayalam. She wrote notes and made doodles to learn the alphabet. “For me, the best way to learn is by explaining it to someone else. So I made an Instagram page in 2018 to share my notes and small drawings,” she says.

Called ‘eli.kutty’, the bio on the page reads ‘Let’s learn Malayalam together’.

The name was conceived as a joke because ‘eli’, short for Elizabeth, means rat in Malayalam and ‘kutty’ is a term of endearment used for children and adults. Through the Instagram page, Elizabeth now shares tips, resources and videos to help people learn the language.

She also embarked on a three-week solo trip across Kerala to familiarise herself with Malayalam.

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A post shared by Learn Malayalam (@eli.kutty)

“Studying the language and speaking it are two different things. Kerala has so many dialects and different accents. I went across the state and spoke to people to understand the language and people better. I also enrolled in a class during the lockdown to practise conversing in the language twice a week. This helped me develop vocabulary, fluency and confidence,” she adds.

Starting out with 1,000 followers in 2018, her Instagram page has over 70,000 followers today. She also has a YouTube channel and Discord server to teach the language. Her goal is to make learning Malayalam fun, accessible and easy while catering to the many Malayalis who are living abroad.

“There are a lot of Malayalis who live abroad and most of the younger generation don’t know the language well. There is a pride that people associate with speaking English, which unfortunately results in the mother tongue getting sidelined. My page is a safe space for people to ask questions,” she adds.

‘Don’t let Malayalam die’

English medium education is becoming more popular in India, causing a decline in knowledge of native languages. According to the National University of Education, Planning and Administration, the number of children studying in English medium schools in India increased by 273% between 2003 and 2011.

“This leads to a lot of children preferring to speak English at home, rather than their mother tongue, Malayalam,” says Deepa Manoharan, a Malayalam teacher who runs Muthassi — an online school for the language with her sister Darshana.

“Our students are mostly people staying outside Kerala. All of them study English and don’t even speak Malayalam at home. This is happening even within Kerala now and carries a hidden danger of the language being lost. It’s great that people like Elizabeth are helping youngsters learn the language,” says Deepa.

In fact, the National Education Policy (NEP) 2020 also bats for teaching in the mother tongue. The NEP reads, “Wherever possible, the medium of instruction until at least Grade 5, but preferably till Grade 8 and beyond, is to be the home language/mother tongue/local language/regional language.”

Muthassi is one of the schools that Elizabeth promotes as a resource for learning Malayalam. “The hard truth is that there are not good resources available to learn Malayalam. Eliza has done a commendable job learning the language being an American teacher herself,” remarks Deepa.

Elizabeth is soon coming out with a children’s book called ‘Davina Finds Her Vowels’, aimed at diaspora Malayalis.

“I have seen what happens when languages are ignored in my own house. My brother doesn’t know Serbian, which means his family won’t. It’s important to know English as it is a global language and helps if you go abroad. But the same respect should be given to native languages. They are the true way to a person’s heart,” says Elizabeth.

She says that learning the language helped her connect with her husband and in-laws. “Arjun and his parents speak fluent English. Yet, I was able to connect on a deeper level with them because I learned their mother tongue. It really makes a difference,” she adds.

Elizabeth gave birth to a baby boy Arivazhakan in June 2023. And just like she envisioned, she says she looks forward to giving her son the knowledge of both his parent’s cultures.

If you wish to learn Malayalam, you can follow Elizabeth on Instagram or YouTube.

Edited by Pranita Bhat

“I was always intrigued by stories that come alive when they are related to historical objects,” says Deepthi, now in her forties. “When you step into a museum, things become special only once you know the story behind them.”

With a Master’s in Museum Study under her belt, Deepthi was in New York on a scholarship when she felt a burning desire to do something more. In retrospect, she says that was precisely the moment Eka Archiving Services —  an initiative that works across museums, archives and art spaces to provide them with strategy consulting and design —  was conceived. It was formally launched in 2009. 

Over its 14-year lifespan the collective has undertaken 90 projects, published books, assessed collectables that have come down through generations, worked with historical collections, and even conducted project communication drives for corporates. 

Alongside has been evolving Deepthi’s love affair with pieces of history that have a story behind them. Here, we take a look at some rare fascinating and thought-provoking stories and pictures that she has come across during her work. 

1. The Jezail ammunition 

The Jezail guns in the picture were famous as long barrel muzzle-loading muskets. These handmade devices were cost-efficient and surprisingly had a greater range than their counterparts owing to their heavy weight and long barrels. They were a common sight among people of the Middle East and Afghans in the 19th century. 

Deepthi notes that these were “elaborately decorated” and recognisable for their unique shape. “The unique curve of the stock was either used for balance and one arm firing atop a camel or for balancing the weight and useful for tucking the forearm of the shooter.”

The weapons were popular in the region of Khanate of Kalat, which historically corresponds to the modern-day Balochistan province of Pakistan. “Once Mughal subjects, these fierce leaders and their tribes were descendants of the ethnic pastoralists of the region called Brahuis, after the language they spoke. The men typically wore their hair long,” she writes. 

2. Amrita Sher–Gil and Indira–Sher Gil  

As Deepthi points out, one of the learnings that she has acquired through her tryst with museums is that tiny bits of sartorial history that survive in the cracks of our society are incredible.

For instance, the strides in photography made by the Lumiere Brothers. It is a well-known fact that the autochrome technique — a colour photography process popular in the 19th century — was patented by the Lumiere brothers. It created an appeal among the people for its ability to produce coloured pictures.  

It was during her research that Deepthi came across a fact that continues to surprise her till date. “The autochrome plates had millions of tiny granules of potato starch coloured in the primary colours of red, blue and green!” she exclaims.  

The photograph here depicts this form of photography and features sisters Amrita Sher–Gil and Indira Sher–Gil. In fact, it was their father Umrao Singh Sher Gil, a Sikh aristocrat, who shot it. It was only in the early 2000s that this picture made its way to the world as part of a project ‘Re-take of Amrita’ by artist Vivan Sundaram (Indira’s son).

3. Ramaswamy Naidu 

Credited for introducing European techniques in fashion and dressing in 19th-century Travancore and adapting them for indigenous skin tones, Naidu was a popular name. One of his most famous works is the ‘Three Nayar Girls of Travancore’ where he portrays wealthy young girls from the Nair class immersed in learning. 

“The girl in the centre holds a metal stylus, firmly imprinting letters of the script onto a palm leaf. Her companion looks over her shoulder, an arm draped casually hanging onto another manuscript, loose leaves resting on the white of her mundu,” notes Deepthi. “The third girl clutches a necklace, the kasumalai, the ubiquitous coin necklace. In Travancore, as in Kerala today, this necklace strung together with gold sovereigns is a must in a bridal trousseau.”

She adds that what makes the painting a draw is that the scholarly pursuit by the girls is juxtaposed with the lavish extravagance of Kerala jewellery and costume. 

4. Lady Charlotte Canning

As the wife of the first Governor General of post-1857 India and close confidante of Queen Victoria, Lady Charlotte donned many hats. “She witnessed the transformation of India to a formal colony, was a champion of early photography, a watercolour painter and a diligent diarist,” says Deepthi. She was also the first First Lady to live at the new Government House in Calcutta. 

While a tragic campfire in 1859 destroyed her diaries in which she had chronicled her adventures, the salvaged and rescued singed pages have been meticulously stabilised by conservators. These were made available in 2019 which was when Deepthi got access to them.  

5. The quintessential gharara

Through her work as an archivist, Deepthi frequently comes across pictures that stay with her, simply for the kind of significance they hold today. In this particular favourite, a woman can be seen wearing a gharara (a traditional outfit comprising a kurti, dupatta, and wide-legged pants).

“The quintessential garment would be worn by the wealthy women of Awadh, royals, courtesans, and brides. Handworked and made in silk or velvet, the wide sweeping lower garment would trail on the floor. Its unique cut enabled many many metres of fabric necessary for women to elegantly sweep it up in neat folds and walk or pose with it.”

6. Indira Gandhi’s love for dance 

In this rare picture that Deepthi came across, former PM Indira Gandhi can be seen making the most of the moment. Having learnt dance in Guru Rabindranath Tagore’s Shantiniketan, she took a fond liking to Manipuri dance for its gentle and graceful movements. 

“And this love for dance she held close throughout her tempestuous life- as a leader, as a family person and as a dance patron,” says Deepthi. In fact, she inaugurated the National Centre for Performing Arts in 1969. 

In his book, ‘Mahroks: The Story of the Kambojas, Sikhs and Shaheeds’, author Jewan Deepak writes, “Indira Priyadarshini Nehru was in awe of these young men from Punjab [the Deepak Brothers who popularised Bhangra on stage]. She would come to their tents, where they were staying, and spend time talking and watching them practise Bhangra movements before the final day’s performance.”

7. Machhukatha Rabari shawl 

The Rabaris are an indigenous tribal caste often hailed as ‘camel and cattle herders’. Spread across Gujarat and Rajasthan, the clan prides themselves on the animals they rear and their crafts which are done with great attention to detail. 

The Machhukatha Rabari shawl is a testament to this. Crafted in wool on hand looms, the shawl is a masterpiece made for weddings, says Deepthi. “The wool is sourced from sheep and spun by the women, it is then dyed a dark colour, and woven on a narrow-width loom. Here two long pieces are joined vertically, and the joint is covered with beautiful, colourful embroidery.”

The motifs across the shawl depict women churning buttermilk, designs celebrating fertility and life and many other cultural traditions of the Rabari clans.

Edited by Divya Sethu

In the February of 1951, a Swiss architect set foot on Indian soil.

In decades to come, Charles-Edouard Jeanneret Gris, or as he was popularly known then, Le Corbusier, would be known as the man who revolutionised the country’s take on urban planning and design. Hailed as the ‘Town Planner of Chandigarh’, Le Corbusier was invited by then Prime Minister Jawaharlal Nehru, who entrusted him with this mighty task.

It was shortly after India had freed itself from the clutches of the British, and there was a need to bring order into the cacophony resulting from the Partition, which had left a mark not just in the lives of people but also in geographic terms.

There was a need for a city, the capital of Punjab. And Le Corbusier was chosen to be the one to make this happen.

Records of the architect’s diary suggest his excitement about this new project. “It is the hour that I have been waiting for — India, that human and profound civilisation — to construct a capital. Urbanism is the activity of society. Capital is the spirit of a nation.”

Chandigarh is born

The master architect’s design of the city has gone down in history as one that was nothing short of exceptional. He brought in contrasting ideas in architecture — concrete buildings against the landscape of previously prevalent gothic design — and rectilinear buildings that were reflective of minimalism. He kept in mind the climate of the new city, introducing Western concepts of sunshades and overhanging roofs to shield people from the heat.

High ceilings, domes, well-ventilated spaces and more were the highlights of his design. Among the most significant buildings that he designed in the city were the government offices and the Capitol Complex, comprising the Legislative Assembly, Secretariat and High Court.

But Le Corbusier was not alone in his quest to create a city that would be remembered. He was joined by an exceptional team of architects who worked under him to devise new designs, modern concepts, intricately planned layouts, and even the decor that would go into the newly constructed buildings.

A few from his team included Maxwell Fry, Jane Drew, and Indian architects Aditya Prakash — credited with designing the famous Neelam Theatre and the Chandigarh School of Art, Urmila Eulie Chowdhury — who was the chief architect for educational institutes and residences, Balkrishna Doshi, and Le Corbusier’s cousin Pierre Jeanneret, whom he had convinced to join in on the project.

And that is where the story of the Chandigarh chairs begins.

Made for government employees then, a symbol of luxury now

As more and more offices were brought up in the city, they needed to be filled with furnishings; at least the basic ones to begin with, such as tables and chairs. And so Pierre, who was handling the residential designs came up with a simple teak and cane idea that stuck to its ideals of being minimalistic while also serving its purpose — people could sit on these.

The chair was curiously and yet simply shaped with its legs in a V formation, polished with a natural finish, and was visible everywhere!

Right from middle-class homes to the most exclusive offices. For the residents of Chandigarh, these were a part of their daily lives, and they hadn’t the slightest clue that in a few years, these chairs would become a part of heritage heirloom, fetching dollars when sold.

But for the time being, the Chandigarh chairs were objects of demand in the local city. Workshops were being set up across the city to mass manufacture the furniture. Meanwhile, Le Corbusier and Pierre had completed what they set out to do with respect to the planning of Chandigarh and they left the country around 1965.

The legacy that they left behind was intangible. But in time, new brands and companies began emerging with their innovative designs, flashy colours and enticing creations, and the humble Chandigarh chairs were being replaced. In the 90s, these chairs were being dumped and left out in the harsh weather which rendered them unfit for use.

While it seemed like their fate had been sealed, things took a turn when international dealers and auctioneers noticed these chairs and were drawn to them.

Eric Touchaleaume of Galerie 54, François Laffanour, Philippe Jousse, and Patrick Seguin among others began sourcing these chairs from where they were being discarded and collecting them. In an article for Architectural Digest, Laffanour is quoted saying, “We said, let’s take the risk of buying these, and we’ll see what happens.”

Today, the chairs are a draw in some of the most elite rooms in the world including that of Kim Kardashian. “Some of my favourite furniture is these Jeanneret chairs and couches,” she was quoted saying in a post referring to the 12 Jeanneret teak conference chairs in her dining room and two more in her home office — each worth anywhere from $6,000 to $10,000 according to an article in Elle.

Edited by Pranita Bhat

Sources:

How Le Corbusier changed the history of architecture in India by Neha Jaiswal. 

The Indian Architects Behind Le Corbusier’s Seminal Work In Chandigarh by Something Curated, Published on 19 April 2022. 

How a Chair Designed for Government Workers Landed in a Kardashian‘s Dining Room by Hannah Martin, Published on 13 January 2017.

Speaking about the bygone days, Nirmala recounts them as magical times. “The sala [living room] and the dining room was the space where the family entertained guests, so these two rooms were elaborately decorated and embellished. Our house is probably the only house in Goa with the wash basin in the dining room made of pink marble, specially imported from Carrera in Italy.”

As she goes on about the memories the home has held through the years, her son Jose is hard at work these days, trying to put together the family tree. He says their tree is “unique” as it mentions the daughters’ names too, unlike others that focus mostly on male lineage.

While the Costa Frias family home has been witness to many generations of the family and their joys and sorrows, it is one of the many homes in Goa that has these legacy stories etched into its veins and cracks.

Heta Pandit’s book ‘Stories from Goan Houses’ is doing justice to bringing these stories to light. It shows the world that Goan homes transcend beyond being spots to point and marvel at while on a holiday, but rather they are time capsules that hold different worlds within their brightly painted facades.

At 69, Heta who grew up in Baroda says she defines herself as a pioneer of sorts.

“I worked with Dr Jane Goodall on a chimpanzee research station in Tanzania, East Africa; worked as a volunteer in the environmental field pioneering the saving of several monumental buildings in Bombay; then left for Munnar to work in the tea gardens after the 1993 communal riots in Bombay,” she says, adding that she played the role of the country’s first women tea plantation managers along with her cousin.

It was in the year 1995 that Heta moved to Goa, a place that would come to mean a great deal to her in the years to come. Today, having lived here for 28 years and counting, Heta says it’s been a journey. She has 11 books authored on Goan heritage to her credit, along with being the founder of the Goa Heritage Action Group.

A Goa of yesteryear

Having been a spectator of the evolving Goan culture, Heta says the changes she has witnessed have by far been positive. “That is, there is more awareness that Goa is more than a party destination, and that it has a history and culture that is unique and extraordinary. Even Goans have begun to sit up and take notice of the uniqueness of their own culture outside of their inner circles.”

She points to evidence of this in her personal experience. “When I worked on ‘Houses of Goa’ way back in 1998, there was very little trust. People did not know us. They did not know what goes into a book. They were shy about sharing. The world has changed a lot since then.”

She speaks of how people she had known for years now suddenly wanted to share their stories, the histories of their families.

“There is also the story of their struggle and the challenges they faced trying to preserve and protect their beautiful homes. In the past, they were ashamed of sharing these challenges with the world. They were ashamed of saying that they were facing financial difficulties, but now that they have overcome these challenges, they want the whole world to know about it. They are proud of their achievement!”

‘Stories from Goan Houses’ weaves the tale around 21 select homes in Goa to tell stories that have never been told before — legends associated with the house; the trials and tribulations; and the love and care that has gone into the preservation of not just the house but the house as a crucible of Goan culture.

Tracing these stories

Through the pages of the book, it is evident how homes are sometimes more than simple brick and mortar, but gatekeepers of secrets, silent watchers of family traditions, and sometimes even members themselves.

The 21 families chronicled in this book have novel tales that they recount to Heta, which she shares with the world.

For instance, the Gaunekar House in Bandora with its facade of yellow ochre and burnt clay is 250 years old, and the children recount how they grew up going for rides in British-made trucks down the road. It is only recently that the family switched to modern stoves from the traditional wood fire ones.

Another story is of the Dempo Nivas in Calapur, inhabited by the Dempo family. Yogesh, who grew up in this home echoes the thoughts of the family when he says, “I am who I am today because of this house.”

A common thread that binds the 21 homes is that of family and unity.

For instance, at the Nadkarni House in Sattari, the family believes in the principle that was passed down through their generations — staying under one roof.

Sandeep Nadkarni, one of the members recounts how his growing-up years sometimes had 30 kids of the same age under the same roof!

The best part about these stories, says Heta, is that they let her in on a part of these people’s lives. For instance, Sandeep shares in the book that the home had two unwritten rules — chicken would never be cooked in the house and a first floor would never be built.

While some homes are known for being close-knit, there are others that are known for opening their doors to just about anyone who wishes to come in and spend a moment. One such home is the Kelekar House in Priol, which is filled with the book collection of the Gandhian activist and famed author Ravindra Kelekar. Architect Girish Kelekar, his son, has now opened their doors to scholars, visitors and students who wish to immerse themselves in the legend’s writing.

The book also tells the tale of the Kamat House, the family who set their home in an old bead factory in the 18th century; the Dada Vaidya House, where Dada Vaidya, a pioneer of Ayurvedic medicine, practised; the Sanvordekar House — which housed 125 people under its roof at the same time — among others.

While these are glimpses into these homes and their stories, you can read the entire tale in Heta’s book, here.

Edited by Pranita Bhat

The modest food stall serves many dishes like Bengaluru-style dosa, idli, pudi masala dosa, idiyappam (string hopper), and lemonade.

Hundreds of hungry customers are served these delicious dishes by Swetha and her family. The Bengaluru-born software engineer tells The Better India, “I wanted to share the excellent food and cuisine that South India has to offer with people in my neighbourhood. We have been showered with so much love ever since we started.”

It all started with a lemonade stall

Born and raised in Bengaluru’s quaint locality of Malleshwaram, Swetha was always a foodie. She says her memories before moving to Brooklyn are replete with the delicacies her mother made.

“I can’t imagine my life without dosa, sambar, and vada,” she shares, adding that she finds immense joy and happiness in good food.

She moved to the United States in 2016 due to work. “My family in Malleshwaram and my husband’s family in Tumkur have similar food businesses. They sell South Indian tiffin. Dosas and other traditional food are a big part of our lifestyle. So, moving to Brooklyn and adjusting to the new culture was hard,” she says.

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After moving to Brooklyn, Swetha felt homesick and missed her community and food.

“There are not many outlets that serve South Indian food in our neighbourhood. I missed going out in the evening with my friends or family, and eating at different chaat and dosa centres. We would even hunt for good dosa places, but could never find the authentic Bengaluru-style dosas anywhere,” she adds.

She continues, “Life here [in Brooklyn] is quite different; we missed our culture and community. We could not find many Kannadigas in the area, and I wanted to do something to find my community and bring them closer.”

This is how the idea of starting an eatery grew roots in her mind. But with their full-time jobs, the couple was not able to implement it immediately. Then in 2021, the idea came to life when the couple helped their daughters set up a lemonade stand in Fort Greene.

“The stall was a fun family activity that we did on Saturdays. Fort Greene is a beautiful place, and we loved talking to people who visited our daughters’ stall. It gave us a sense of belonging to the local community,” she says.

“We thought, ‘Why not start selling our favourite food here too?’, and that is how the Brooklyn Curry Project started,” she shares, adding “Although we both come from families in the food business, we never thought we would end up starting our own.”

A family affair

Talking about her menu, she says, “Initially, we started small and made a few curry boxes. After a few months, we got our licence and started making dosas on the stall. We serve most South Indian dishes, right from dosa, vada, mini idli, idli sambar to pudis and masala chai, and even mango lassi.”

“On celebratory occasions like Ugadi, we make special food items that people really appreciate,” she adds.

“Most of the Indian food that people [in our neighbourhood] know are curries, butter chicken and chicken tikka. Brooklyn Curry Project is telling people that: ‘Hey! Here are some new Indian foods that you can try’,” she says.

In the neighbourhood where they lived, Swetha also noticed that a lot of people struggled to find vegan meals.

“Some would have dietary restrictions and some were vegans; they all struggled to find good vegan food. They were spending so much on it. This made me realise how most vegetarian South Indian food is vegan, gluten-free and affordable! Our food is also healthy, nutritious and probiotic,” she says.

So, Swetha cooked dosas and shared them with her neighbours and friends. The dish became an instant hit among them. This pushed her further to grow the food stall and widen her customer base.

The couple sources their raw materials from the local market and spices from Indian farmers. “We have relatives and friends back home who help us get our spices for the recipes.”

“Every family has their own way of making pudis and mine has too! So all the recipes of the food that we serve are like family heirlooms,” adds Swetha.

“The best part about this project, besides spreading the joy of food, is that it is a family affair. The four of us work together on this, and it has brought us closer together. We have met so many Kannadigas here, and now it finally feels like we have a community and home here,” she says.

Putting South Indian cuisine on the map

Completing two years in June, Swetha says, “The journey has been incredible. We started very small with limited options, but it has grown substantially. The initial reaction of the people was so overwhelming; they loved the taste of the food. Many were curious, and we explained all the things we cooked to them.”

“We also keep in mind our customer base. For example, we moderate our spices according to their taste and even wrap our dosas in a burrito shape so that it is easier for them to carry it and eat,” she says.

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Initially, they received customers from around the neighbourhood. However, with their growing popularity, Swetha informs that they now have customers coming all the way from Boston, Connecticut, and even New Jersey.

Gayatri, one of their customers, says, “It’s like having a piece of India in your backyard. Swetha puts love into every dosa she makes. They even catered for our two-year-old’s birthday and made it extra special! The sambar she makes is probably the best I’ve ever tasted; it’s spicy and tangy and flavoured in a way that’s very addictive. As a New Yorker with a small child and no family nearby, her stall makes Brooklyn feel more like home.”

Swetha says they have served over 10,000 customers in the span of two years. “My husband’s mango lassi, and the mini idli and pudi masala dosa from the hot food section are our bestsellers,” she remarks.

The Brooklyn Curry Project is open on weekends from 10:30 am. “Looking at the immense amount of love that we have gotten over the two years, we want to move to a bigger place. We also want to introduce new items on the food menu, such as akki roti, thatte idli etc,” says Swetha.

Edited by Pranita Bhat

“I get paid instantly for my work, which is a great source of income. More importantly, it is a matter of pride that my work is reaching the world. Earlier, it was challenging for us to sell our products,” she shares with The Better India.  

For the past 15 years, she has been travelling to Shalom Ooty, founded by Sheela Powell to sell her products. Mithipoov is one of the 200 women who work with Sheela. 

“This form of embroidery is only done by the Toda community, and if not preserved, it will eventually die,” opines 59-year-old Sheela. “India has so many such hidden artworks that are becoming a victim to mass-manufactured goods.” 

She sits down to discuss her tireless efforts spanning over decades to save the vanishing art form. 

The inception

Born and brought up in Ooty, Sheela went to a school dedicated to the people of the Toda community. “I have been up close with the community and was always intrigued by their work,” she recalls. “They have a lot of pride in their craft and pastoral lifestyle. The one thing that always intrigued me was their Toda embroidery. It is so intricate and sophisticated and is only done by their community in India.” 

After getting married in 1984, Sheela dedicated herself fully to growing a comfortable home. However, she always wanted to gain financial independence. 

“By 1992, I had two daughters, and the urge to get an extra income at home increased. I wanted to try my hand at something and build it on my own. This is when I started making small things like cushion covers, bags, and tablecloths to sell in the local markets,” she says. 

She continues, “Back then, I had no idea what I was doing. It was quite disorganised, and I would tailor the products myself and sell them. A few more women wanted to join me, and this gave me the idea of forming a self-help group in 1992,” she says.

Sheela’s self-help group gained quite some traction, and soon word reached other villages like Porthimandu, where these tribes predominantly reside.

“In 2005, a few women came with their embroidered shawls to me and asked me to help them to sell the shawls. On further discussion, I found out that the main reason they were not able to sell their pieces was because they did not speak the language of tourists,” she says.

“I agreed to keep their pieces and sell them, but those women requested me to pay them instantly. They needed the money,” she says.

This gave birth to ‘Shalom Ooty’ the same year. Sheela has spent nearly two decades promoting and selling Toda embroidery since then. “We have worked with over 250 women so far, and presently 200 women are collaborating with us. They earn something between Rs 2,000 to Rs 5,000 in a week. The products are sold all over India in cities like Bengaluru, Mumbai, Hyderabad and Chennai,” she informs. 

Preserving an ancient artform

Explaining how her business works, Sheela says, “Initially the women from the community would come to us with their products and I would purchase it. However, gradually I decided to bring more uniformity to the products.”

“We started to give them the fabric and thread for embroidery. This encouraged more women to join me. Presently, they come and take the materials from me and come back with the finished products. We make a variety of products such as shawls, handkerchiefs, table cloths, purses, and of course the famous shawls,” she adds.

Toda is a very intricate form of embroidery passed down from generation to generation. The women artisans use red and black threads on only white or off-white fabric, as it is clearly visible on them. There is no specific pattern for the embroidery, and the Toda women use their creativity to conjure patterns. Some common types are day-to-day activities, mythological stories, and colours of flora and fauna, stars, horns and buffalo, which are sacred to them.

Sheela says that most artisans she works with are women aged 55 and above. “Even with my efforts, the art is vanishing. Most of the youth do not want to take it up. Earlier, they did not even sell their shawls, they just made them for themselves and used them for special occasions like weddings and pujas. This scenario has changed but still, there is a long way to go.”

“There are hardly 1400 people in that community left now, of which 700 are women. The younger ones do not show much interest in the work, so we are only left with some 200-300 people. In my opinion, if we don’t encourage these women, the craft will disappear in the next 10 years,” she says.

Sheela also notes that women from other communities, too, should try to learn the art so that it can be preserved. 

“India has a range of such art and art forms that need to be preserved. While my motivation to keep the work going stems from protecting Toda embroidery, it also comes from the need to help those women. As a young woman, back in the day, all I wanted to do was bring extra income into the house. In the Toda community, women do not have a lot of career avenues. If I am contributing even a bit to open up opportunities for them, it is a win for me,” she says.

The products are available to buy in all the Tribes India showrooms in India. Sheela also has stores in Chennai, Coonoor, and Ooty to sell the products.

(Edited by Divya Sethu)

The Siddi community, who live in parts of coastal Karnataka, Gujarat, and Andhra Pradesh, arrived on the subcontinent centuries ago. Brought here by the Arabs, Portuguese, and British — some for slavery, while some arrived as free people to take up occupations like merchants and sailors — they are descendants of East Africa’s Bantu community. 

Anitha, 50, says it was an interesting play of fate that led her to this community in 2015. The Bengaluru-born art historian recounts her journey to The Better India. 

‘The day I started my journey’

After completing her Master’s degree in Art History in 1999, Anitha found herself drawn to everything that fell under the ambit of heritage and culture. Wanting to delve in deeper, she began paying frequent visits to the Ninasam Theatre Institute in Karnataka’s Shimoga district, where a friend of hers was studying. 

“I would love going there and clicking pictures of the productions,” she shares. Anitha would spend the rest of her time exploring ethnic communities and their crafts to get a better understanding. 

Meanwhile, in 2015, her friend sent her an invitation to his wedding with a woman from the Siddi community, asking Anitha to come spend a few days in Analesara village to partake in the festivities. This became her introduction to their lives. 

“They got married in the forest, and our group of friends stayed here for three days. We celebrated outdoors and it was a fun experience,” she says, adding that this also helped her bond with her friend’s family, and with the community as a whole. 

“I would meet the family yearly and give them clothes I thought they’d love to put to use. One day, I noticed a piece of clothing that I had given on the quilt that I was offered to sit on. It intrigued me.” 

On inquiring, Girija (her friend’s wife) told Anitha that the community believed in putting every piece of clothing to the maximum use — nothing was “too old”. This quilt was an example of this. 

“When I asked her if she had made it, she said a woman from the community had shown her how. I was so enthusiastic with what I saw that my immediate thought was to look for the creator of this quilt.”

A sense of community 

Thus started a quest. Anitha was intent on finding the person behind this vibrant work of art. She was joined by Girija as they made their way through the forest homes, the winding paths, and the densely covered turns. 

“It was a great help having Girija with me, as this community is shy and scared of outside folk. Finally, we were able to locate the woman.” 

While Anitha thought this would be the day she would uncover the mystery of the Siddi quilts, she was devastated to know that the woman wasn’t well and was in no state to be questioned. “But just when I thought the quest had been for nothing, a few of the women in the neighbouring hamlets told us that they, too, made these quilts, and could show me how it was done.” 

The women Anitha and Girija met seemed puzzled at the former’s enthusiasm for the quilts. For them, says Anitha, this was a regular, daily task, albeit not one they did for outsiders. 

“Quilt making (kawandi) is a community activity,” explains Anitha. “The quilts differ according to the occasion. Home summer quilts are often thinner compared to their winter counterparts. When one of their girls is getting married, the women make these quilts that reflect the celebratory mood. The images will be of people around cradles amidst other abstract designs.” 

Wondering if organising a workshop would be of interest to the women here, she gathered around 10. Not only was she looking to bring these quilts to the forefront across Indian markets, but also to highlight the Siddi community’s story and rich heritage. This was the very first of many workshops that Anitha would go on to conduct, as part of her initiative Siddi Kavand. 

“In northern Karnataka, not much is known about this community. But in the southern region, you’ll see these quilts hung everywhere — vibrant and colourful. I wanted to revive the craft and create sustainability for the women. They are still classified as scheduled tribes and have no ownership of land. The government can come and take it away at any time,” she notes. 

Though they have lived in India for centuries, the Siddi community have long faced racism and discrimination. While writing for BBC, Neelima Vallangi noted, “Stymied by government indifference and ridicule at the hands of fellow citizens, Siddis lead marginalised lives, while aspiring for a fighting chance at better prospects. Largely working as farmers and manual labourers, [they] lack sustainable work opportunities. And due to poverty, education cannot be a top priority either.” 

Anitha’s endeavour was to create a portal through which more people across India could witness the community’s artistic prowess, and in the process bring them into the mainstream. 

‘Novelty in every stitch’

Anitha says that to ensure the women were getting an income, she does not wait until the quilts are sold to pay them. “When people enquire about the quilts, I send them available images. I pay the women according to the number of hours they put in.” 

Every workshop lasts around 15 days. But throughout the year, Anitha gives them material sourced from various upcycle markets and factories in Bengaluru. “I want to keep the idea behind quilting intact.” 

Today, Anitha works with around 60 women across the villages of Karnataka, such as Domgoli, Sambrani, Adkehosur and Tattigeri. Her work has mobilised an attitude of leadership in these villages, she says. “More women want to work and I guide them and explain the process, give them material when possible, maintaining their idea of recycling and upcycling.” She also notes that repurposing fabric is integral to the community’s ideals. Layers of old garments or frayed pieces of fabric are stitched together to come up with a quilt worn by a family member and then passed on from one generation to the next. If a larger size quilt is needed, new material is simply layered onto the existing fabric. 

Rajmabi, one of the women associated with Anitha, says, “I am able to respect the domestic knowledge (skill) that I and others in our community took for granted.” She adds that after Anitha’s intervention, people look up to her. 

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A post shared by Anitha N (@anithanreddy)

“I see that quilts are not just made for functional purposes alone — I can stitch and express with colours, patterns, and shapes. I used to make quilts for my family, but now, I am getting enquiries from the other local communities to make quilts to gift to their daughters.” 

Anitha adds that the process of making a quilt is cumbersome, and in many cases, a woman can make perhaps 12 in her lifetime, owing to the number of years it takes to make just one. She adds that she gives the women the cloth and material and then leaves it to them to complete. The quilts are then shipped pan-India and even abroad to the USA, Canada, Australia and Germany, where Anitha says there is more awareness about them. “I would like to marry this craft with contemporary art. The fabric and material are a medium to express. They paint with the cloth.”

Anitha says they manage to make around 40 quilts every month. These are then sold at exhibitions or through her own Instagram account. 

I ask her how long a quilt takes to make, and she laughs. “This is the exact question I once asked one of the women as I was rushing to catch a flight to Bengaluru. And she smiled and said ‘Join me and you will know when it will be complete’.” 

“That’s when I understood you can’t have a number associated with this beautiful craft. It is timeless.” 

Edited by Divya Sethu

Here’s a look into eight such festivals that you cannot afford to miss out on this year, along with the months in which you can experience these! If you’ve missed the boat on some, you can always add them to your wish list for next year.

1. Tulip Festival, Srinagar

“A grand affair of natural beauty” is how many who have experienced this festival for themselves term it. What’s more, is that you can experience it right now!

Spread across 30 hectares, the Indira Gandhi Memorial Tulip Garden is one of the largest in Asia. It is during the months of March to May that the tulip buds begin to bloom, flooding the area in a beautiful flush. In fact, not just tulips, but a variety of hyacinths and roses fill the seven terraces that have been constructed here.

Take a moment to drink in the beauty of standing at an altitude of 5,600 ft with nothing but over 15 lakh tulips being your view!

Best time to visit: April

2. Rose Festival, Chandigarh

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An annual event celebrated every year in February, the rose festival is a way of paying tribute to these glorious flowers. It is organised by the Department of Tourism in the state.

The festivities are kicked off at the Zakir Hussain Rose Graden which spans 30 acres of land. The story goes that it was one man Mohinder Singh Randhawa, a historian and botanist, who was so interested in horticulture and gardening that he conceptualised this festival. It not only gives tourists a chance to admire the display of roses but also the light and sound show put up for the occasion.

Best time to visit: Last week of February

3. International Flower Festival, Gangtok

Have you ever walked through a maze of rhododendron flowers or stopped amidst a field of orchids and just taken a moment in time?

Well, you’d be able to do just that at the International Flower Festival in Gangtok. It not only allows guests to get a good view of numerous varieties of flowers — such as gladioli, ferns, conifers and more — but also partake in lectures by seasoned botanists who come to the festival. Marvel at the magnolias whilst you get a taste of the local dishes of Sikkim at this festival.

Best time to visit: May

4. Lalbaugh Flower Show, Bengaluru

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The show which usually takes place on Independence Day and Republic Day every year, fascinates its onlookers with its 240 acres of flowers that house over three lakh flower pots.

This show features flowers from various states around the country and is hosted by the Department of Horticulture at the Lalbagh Botanical Garden, enthralling its guests with rare types of flora under one roof. The Republic Day of 2023 was also the 213th flower show and was based on the theme ‘Bengaluru’s history & evolution’.

Best time to visit: Independence Day and Republic Day

5. Kurinji Festival, Tamil Nadu

Known as the flower that only blooms once in 12 years, the kurinji flower is native to the hills of South India. And at the auspicious times it does bloom, it bathes the Kodaikanal Palani area in a blue glow that rivals everything else.

This unusual bloom is because of the time of flowering that the species requires. But it is worth the wait, and nothing short of a magical experience, as the deep green of the hills takes on a blue avatar. The flower is believed to have religious significance and has found a place in the hearts of hopeless romantics, as Lord Muruga gifted it to his lady love.

If you’re looking to watch the beauty unfold, the Kurinji Garden, along the slopes of Coaker’s Walk in Kodaikanal is the best spot to witness it.

Best time to visit: The next bloom is expected to be in 2030

6. Phool Dei, Uttarakhand

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Spanning between March to April, the Uttarakhand communities belonging to Garhwal and Kumaon come together to celebrate the commencement of spring.

The name Phool Dei also stems from a tradition followed on this day, wherein dei (a ceremonial pudding made from jaggery) is served. Children spend the festival gathering flowers that have bloomed and offering these at the entrances to their homes to invite prosperity in. Mustard flowers, also known as pheonly, are the most common choice.

Best time to visit: April

7. Bathukamma Flower Festival, Telangana

Over time, the flower festival Bathukamma, which translates to ‘the festival of life’ has become synonymous with Telangana’s cultural heritage.

Celebrated by the women of the state, the festival is an ode to Goddess Parvati and her blessing on a king and queen who prayed for a child. The girl was named Bathukamma and legend says she jumped into a fire once when insulted by a demon.

Till today, the people of Telangana pay her tribute by making stacks of flowers and dancing around these during the nine days of Navaratri. The flowers in the stack include the ones blooming at the time, such as marigolds, chrysanthemums, katla, teku and more. Following this tradition, the women carry the stacks of flowers to the water body where ‘Bathukamma’ is immersed.

Best time to visit: September

8. Dasara Flower Show, Mysuru

The flower show, organised by the State Horticulture Department, is a chance for flora enthusiasts to come to marvel at the collections whilst also showcasing their own.

In addition to the usual roses and orchids, there are also bonsais, anthuriums and more to be seen here. Interestingly, Nishat Bagh, where the festival is held, was an ornamental garden owned by the royal family which later transferred it to the Horticulture Department. Scores of flowers in all their beautiful colour the landscape of the gardens, allowing guests to immerse themselves in an experience unlike any other.

Best time to visit: September

Edited by Pranita Bhat

In Nathdwara, time does not tick at its usual pace, and you won’t need maps to find your way. The artists of the town and their tales will suffice. The origin story of this town goes back to the 17th century, when the Shreenathji temple was established here, which continues to be the main draw of the town, attracting scores of devotees every year. 

The story goes that Vallabhacharya, a Brahmin from the Andhra region, was commanded to go to Mount Govardhan by none other than Krishna himself. Here, he discovered the living image of Shri Govardhananathji (a form of Lord Krishna), who came to be known as Shrinathji. Known to be the seven-year-old version of Krishna, Shreenathji is the presiding deity of the Vaishnava sect and the town of Nathdwara. 

As time progressed, Vallabhacharya’s son Vitthalnathji began encouraging artist groups in Nathdwara to design pichvais that would be used to adorn the temple and the city. These intricate paintings of the deity, would in a few hundred years go on to become the symbol of Nathdwara and its way to the world. 

Suresh Sharma, founder of the ‘Artists of Nathdwara’ — an association of the artists who are descendants of the Vaishnava sect and reside behind the Shreenathji Temple in the ‘chitrakaron ki galli (artists’ street)’ — is behind this introduction of pichvai form of art to the global stage. 

But even as there is so much talk about this artist association founded in 2015, Suresh says they are simply continuing the legacy that was left behind by their forefathers. Speaking to The Better India, he recalls, “The environment in the home was one of art. Everyone, including the women, would be engaged in this pichvai art form. Not just the home, but the entire town was filled with it. Inspiration came easy.” 

He goes on to tell of how it is a tradition in the town for artists to start working on their individual paintings when they turn 14. This is an attempt at becoming independent. 

In the recent past, especially after the founding of the artist association, Suresh says pichvai has received massive attention. “Earlier, the sale of our paintings would be limited to the dharamshalas (charitable houses) in Nathdwara. But now we see orders from shops in and around Rajasthan, and the online market too has been a boost to sales. We are changing with the times.” 

Tracing the beauty of the pichvai art

The name ‘pichvai’ has roots in the Sanskrit words pich (behind) and wai (hanging). The artworks are decked pieces of fabric often hung in temples and reflect intricately designed stories of the life of Shreenathji, temple rituals, and the Chappan Bhog, which is the feast comprising 56 delicacies. The artists of Nathdwara have come to be synonymous with their expressive works which detail animal features, rituals involving animals and more. 

As Suresh emphasises, nature is prime in every work of art. “For the paintings that revolve around people and deities, the proportions and consistency are key. Colour combinations are important too. There needs to be the right balance.” 

He adds that the goal of every work of art isn’t to be sold, but rather to evoke an emotion in the viewer. 

The pichvai art employs the use of natural colours, the same ones that were used 300 years ago, Suresh notes. “There was a process followed for the colours. Ingredients such as mud or neel would be ground on stone and then strained, followed by mixing with gum to get the right consistency. Then shades of the colour would be prepared.”

The wonder of the pichvai has crossed the sands of Rajasthan and found its way to the recently inaugurated Nita Mukesh Ambani Cultural Centre (NMACC) in Mumbai. Suresh speaks about one of the largest pichvai paintings that is currently at the centre — a sprawling 27 x 57 ft work of art that took eight months to make, replete with dancing peacocks and lotus flowers. 

A glimpse of history in pictures 

Here are a few of the artworks created by the artists of Nathdwara as an ode to Shreenathji and the lores that surround the deity. 

This work celebrates Gopashtami, the Festival of Cows, which occurs in late autumn and heralds Krishna’s elevation from a herder of calves to a full-fledged cowherd. During this auspicious festival, cows are adorned with henna designs and handprints, peacock plumes, and bells.

This pichvai is a celebration of the festival of Sharad Purnima —the first full moon night (Purnima) of the monsoon, which marks the onset of autumn (Sharad). Here we see Shrinathji flanked by beautiful gopis with a frame comprised of the 24 svarup of Lord Krishna.

Inspired by the popular theme of kamal talai (“lotus pond”) this pichvai shows Krisha wooing his beloved Radha in a vibrant pink chhatri surrounded by luscious lotus blossoms along the banks of the Yamuna River. 

This work explores the popular theme of kamal talai (lotus pond) in a more contemporary style which features colourful lotus blossoms scattered throughout an indigo-hued, geometrically-stylized pond. As the focal point, we see a singular blue lotus flower supporting one of Lord Krishna’s most prominent accoutrements — his melodious flute.

This stunning, gold-laden pichvai depicts Krishna charming a group of gopis who have been lured by the enticing tune of his flute as a herd of cows frolics through a lotus pond below. 

The painting depicts the shringar (adornment) of Shrinathji. Gol Kachni shringar of Shrinathji is done once a year on Ashvin Shukla Ekadashi. Here he is depicted donning elegant gold ornaments and an elaborately trimmed and elegant dress.

This dramatic pichvai represents mangla, the first of eight daily darshans at the Haveli of Shrinathji. This work depicts Shrinathji dressed for the warm summer months in a lightweight garment with stunning, yet comparatively minimal adornments. 

This pichvai is made from natural pigments on cloth with real gold and silver and shows Shrinathji flanked by two gopis tending to him with fans while four seated musicians entertain in each corner. 

As for Suresh, he is sentimental watching his ancestral works of art find their way from the closely spaced artist houses in Nathdwara to major cities, where they find their way to home shrines.

“These paintings reflect emotions and bring a sense of calm to anyone who sees them. The pichvai form of art is who we are. We will never stop.”

Edited by Divya Sethu

With more than 1,000 lifestyle and travel vlogs covering different destinations across the country, the 30-year-old Mumbai-based content creator has earned the fondness of more than 1.7 million people on YouTube.

His latest escapade was to witness the Ramadan celebrations in the iconic Jama Masjid in New Delhi. And prior to this, he biked nearly 1,300 kilometres to Mathura to celebrate Holi.

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In a jolly conversation with The Better India, he says, “I feel free when I ride a bike. I record everything that goes on in my life. Whether it is related to my instantaneous travel to Hyderabad to relish Biryani, going fishing in West Bengal, visiting Gurudwaras and Buddhist temples, or modifying sports bikes. I am known for these expeditions. I keep my religion aside when I travel, then I become an explorer.”

“Our country is so beautiful. From Mumbai, I have biked to Ladakh, Assam, Nagaland, Arunachal, Meghalaya, Rajasthan, Kerala, Himachal, and so many other places,” he adds. Salim has also travelled to Qatar, Abu Dhabi, Dubai, Thailand, Myanmar, Nepal, and Russia.

For taking Indian heritage to millions of followers, Salim has also been recognised as one of the 75 Young Cultural Brand Ambassadors of India by the Union Ministry of Culture under the aegis of 75 years of independence.

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“It was a very big achievement for me. I have received many awards from private entities but to get validation for my work from the government was very special,” says Salim, who has been listed as India’s Top 100 Digital Stars by Forbes and has been conferred with ‘Vlogger of The Year 2020 StreamConAsia’ award.

Breaking free from “the dark life” of Dharavi

For Salim, his childhood has not been as cheerful as his vlogs. Born in a small village in Dakshin Dinajpur district of West Bengal and brought up in Mumbai’s Dharavi, considered one of the world’s largest slums, he never imagined considering vlogging as a means of livelihood.

Before venturing into creating video content, he did various odd jobs and businesses to support his family of three — his younger brother, his father who worked as a watchman, and his mother who worked as a housemaid. They lived in a small rented shanty in Dharavi.

“My life was very dark back in Dharavi. People there would get agitated even at the smallest things. There would be arguments over water supply. One day, a person said mean things to my mother and threatened us to vacate the house. It really hurt me. I could never forget that day. But I wanted to give a befitting reply to such people through my work,” he recalls.

As a 13-year-old, he wanted to solve the financial condition of his family. So, he started learning turpai (hemming) work under a local tailor for Rs 10 a week.

“My mother would work as a bai (maid)…she would wash clothes and utensils and clean others’ homes. I had many reasons to work at a young age. When I handed Rs 10, my first income, to my mother, it just felt amazing. I continued work till Class 10 along with my studies. From time to time, I did small jobs like working as a waiter in a hotel,” he says.

Along with his studies and work, he played cricket as he aspired to play for the Indian cricket team. But he had to give up on this dream as he suffered a back injury while competing in school. To make ends meet, he continued the work risking his education.

At the age of 16, Salim started an e-commerce business, wherein he would sell fashion accessories online.

“In college, I heard about Flipkart and got motivated to become a seller. So, I started buying fashion accessories, leather bags, wallets, and shoes from the local market and started selling them online. With this work, I earned enough and even bought a house at the age of 21 in 2014,” says the BCom graduate.

“When we stepped inside our own home in Mumbai, my mother had tears in her eyes. No matter how many bikes I buy today, no matter what I achieve in life, that feeling was incredible. Now, no one can ask her to vacate the house; she is the queen,” he smiles.

Today, Salim manages to earn up to Rs 15 lakh a month with brand integration. “But it is not a fixed amount. Sometimes I earn less and at times, even more than this,” he says.

Vlogger by chance

Salim chose the e-commerce work out of helplessness. He wanted to pursue his passion for acting.

“After cricket, the closest profession in my life was acting. When I joined an acting school, I got opportunities to do advertisements. In 2016, I even won an award for best student filmmaker at the Nashik Film Festival for my short film Insaan. But acting is a profession where you do not get a regular job,” he says.

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“While watching a movie, I was introduced to the concept of vlogging. I got fascinated by the work as I used to write about my day-to-day activities. This helped me in writing scripts for vlogs,” he adds.

In September 2016, Salim started his channel ‘MSK Vlogs’ to improve his personality as an actor, work on his fears of facing the camera, and improve his communication skills.

“But once I entered this profession, I started enjoying it more. Eventually, many brands started sponsoring my content, and I realised it could be more than a hobby,” he says.

In 2019, he dedicated himself to creating informative, entertaining, and informative video content through his travel expeditions.

“I never dreamed of vlogging or creating content for YouTube. I just happened to take chance on every opportunity on my way. But now, I love my work. Every day in my life is new. When things are similar, I get bored, so I cannot do a regular job. The best part about my job is freedom, and while doing so, I am able to earn a livelihood. I can even take leave any day I want!” says Salim.

Edited by Pranita Bhat

One such landmark is the Bara Imambara, the famous congregation hall that was built to provide relief during the famine. The monument comprises Shahi Bowli, Asfi Mosque, and is primarily known for its incredible maze – Bhool Bhulaiya. The glorious structure is frequented by devotees and tourists all year round, and is among the city’s most famous attractions today. 

But Lucknow’s peculiarity lies in the fact that this hall is only one facet of its rich and vivid history. Here are 10 places that you must visit when you’re in Lucknow next for a peak into the eras gone by: 

1) Musa Bagh

One such place with great historical significance is Musa Bagh, which became the last stronghold of Indian troops under the leadership of Begum Hazrat Mahal in 1857, before its final capture by the British.

Located at the west end of Lucknow, the monument was built in 1903-04 by Saadat Ali Khan, the sixth nawab of Awadh to serve as a country retreat. The structure is picturesque, with green fertile fields and forest, and has an impressive Indo-European style monument.

Though in ruins now, its striking architecture is a window into its glorious past. The remains include four floors in one portion and two separate floors in another portion. Two big sections with a domed roof and a roofless structure have sunk beneath the ground, but can be seen at the sight.

2) British Residency

The British Residency of Lucknow acted as the headquarters for the British East India Company’s generals. During the 1857 rebellion for Independence, this residential complex became a British refugee camp. The fort is now in ruins, but most of its walls bear signs of bullets and the bombarding that happened during the revolt. It also houses a British cemetery with the graves of colonists who died during the siege of Lucknow. Every evening, the Residency stages a light and sound show reenacting the 1857 revolt.

3) Chattar Manzil

Built in the 19th century, Chattar Manzil was constructed by Nawab Ghazi Uddin Haider. It’s a wonderful blend of Nawabi and European architecture. Commonly called the Umbrella Palace, the 5-storied palace has a chhatri (umbrella) decorating its dome and twin underground floors with massive rooms, which open directly on the banks of the Gomti River.

Chattar Manzil served as a palace for the rulers of Awadh and their wives. During the Revolt of 1857, the building became a stronghold of Indian revolutionaries. AFter Independence, the palace was allotted to the Council of Scientific and Industrial Research, which used it as the Central Drug Research Institute since 1950. It is now proposed to be developed as a museum on Awadh heritage and traditions.

4) Jama Masjid

Another historical landmark in Lucknow is Jama Masjid, which was built with the aim to surpass Delhi’s Jama Masjid in size and grandeur. The mosque has gained popularity because of its unique architectural design. Built with Lakhori bricks plastered with lime, the structure has beautiful domes, charming minarets, over 260 pillars, and white walls decorated with sandstone calligraphy. Today, the mosque is a popular tourist and religious place in the city.

5) Sikander Bagh

Once a cultural center that hosted plays, music, dances, and poet competitions, Sikandar Bagh became the site of a fierce battle between the British and Indian forces during the independence struggle. Spread over an area of 120 square yards, it served as a summer accommodation for Nawab Wajid Ali Shah, the last Nawab of Oudh. It is now part of the National Botanical Research Institute.

6) Shah Najaf Imambara

Built in the 19th century, the historical site was constructed by the first king of the Awadh clan, Ghazi-ud-Din Haider. It is a replica of Ghazi-ud-Din’s tomb in Iraq. The remains of the nawab and his three wives are housed in the dome-shaped monument.

At present, the site is one of the main tourist attractions in Lucknow because of its historical significance and impressive Mughal architectural style. The all-white marble finished structure has a large dome with a unique onion-shaped neck. The Imambara is dedicated to Shah Najaf, a great intellectual whose gallant endeavors in protecting and popularising Islam won him the title of Haider-e-Khuda, meaning ‘Lion of Allah’.

7) Clock Tower

Located near the famous Rumi Darwaza, the Husainabad Clock Tower stands at an impressive height of 221 feet. It was built in 1881 upon the arrival of Sir George Cooper, who was the first lieutenant governor of the United Provinces of Oudh. The clock tower boasts of being one of the country’s tallest clock towers. The clock features a 14 feet pendulum and is designed as a 12-petaled flower. It also serves as an example of Gothic and Victorian-style architecture.

8) Chota Imambara

Located in old Lucknow, Chota Imambara is another attractive historical landmark. It was built in 1893 to serve as a place of worship for Shia Muslims. It has a blend of Persian and Indo-Islamic architecture, which makes it truly a sight to behold. The exterior walls of the Imambara have Quranic verses written in Arabic calligraphy, and it’s adorned with mirrors, big chandeliers, and a throne. It has small chambers that contain Tazias and other objects of worship.

9) Ambedkar Memorial Park

Built by former chief minister Mayawati, Dr Ambedkar Memorial Park houses the statues of freedom fighters and political leaders including Kanshi Ram, Birsa Munda, Jyotirao Phule, Narayan Guru, Shahuji Maharaj, and Bhimrao Ambedkar. Spread over 107 acres, the monument was constructed in 2008 using red sandstone collected from Rajasthan and dedicated to BR Ambedkar. 

The park houses a 125-feet statue of Dr Ambedark, and across its length and breadth, you will find over three thousand elephant sculptures of different sizes.

10) Dewa Sharif

Famous for its evenings of serenity and soulful Sufi music by Qawwals, Dewa Sharif is a secular space and is the seat of the renowned shrine of Sufi Saint Haji Waris Ali Shah, an exponent of universal brotherhood. This structure has a special place in the history of Awadh. 

It is believed that the Sufi Saint had mystical powers and was revered by members of all communities. Dewa Sharif was constructed in his memory, and hosts a 10-day annual fair to commemorate the saint. The fair includes poetry competitions and music performances. It is located roughly 35 kilometres from Lucknow and offers a good range of handicrafts for tourists.

Edited by Divya Sethu.

Food was an integral part of Shruti’s childhood and so, when the marketing professional lost her mother a few years back, alongside the grief she was dealing with, there was also the bolt from the blue — that her mother’s recipes lay forgotten in time. 

This got Shruti thinking about how food often holds a deep sense of connection in Indian homes, and how it is more than one of the three basic needs of life, a piece of legacy itself. 

Her mother’s passing, she says, brought with it the realisation that in being fed her comfort food every day, she had never really learned how to cook. “A part of me was left thinking that, the way watches and saris are often passed on from one generation to the next, recipes should also be inherited, as they, too, are priceless,” Shruti shares in conversation with The Better India.   

This was the thought behind the inception of Nivaala in 2021. This is a platform that enables people to record and document recipes to last years. As part of Nivaala, Shruti has conceptualised a range of projects, one of them being the most recent one ‘Relish’. 

“I wanted to help families create a compilation of recipes into a journal, ensuring that their treasure trove of recipes could be preserved. Relish is an inheritance of love helping families gather, preserve and archive treasured recipes,” she shares. 

In her quest, Shruti was joined by Chinmayee Manjunath, a seasoned journalist and publisher, with whom the former had bonded over the loss of loved ones, and how food remains a connection to those who are no longer with us. 

The duo says a common love for documenting recipes led them to this initiative, as every family deserves to create a beautifully designed and well-edited heirloom to pass from one generation to the next. 

“It is not the privilege of a few, but a right that everyone should have,” Shruti emphasises. 

A chance to ‘relish’ the story behind every dish

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The duo recall the warm welcome the idea of Relish received on its inception in February 2023. They add that this response was also because of the blunt message the COVID pandemic has conveyed — that no one is immortal. 

“We don’t have forever. And why should an entire culinary repertoire be lost in time when someone passes away?” thought Shruti. 

She adds that the magic of Relish goes beyond simply preserving recipes. It is also a nostalgic safe keep that generations of the family might revisit decades later to get an understanding of the culture their grandparents or aunts were brought up in. 

As for how a family can get their personalised recipe book curated, edited and published by Nivaala, Shruti says the process takes eight weeks. 

“Anyone wishing to document their family’s recipes can send us the shortlisted list of recipes they want in the final book. We request they include details such as the dish’s name, the story behind it, the ingredients, the method, etc, along with photographs for each recipe, or even family pictures. Using this material, the first draft of the book is created, and sent to the client for approval, followed by two more rounds of editing and final publishing.”  The project retails for Rs 40,000 for five copies. 

Three cookbooks have been published under Relish, but hundreds of orders have been placed already, says Shruti. And each is unique. Take, for instance, the cookbook published for the Mathur family. 

“The family was from Uttar Pradesh and wanted to publish this cookbook for their mother’s birthday, as she was passionate about cooking and food. Most of the recipes had been passed down from two to three generations. These include the bhardwan tinda (apple gourds in a gravy made with onions and tomatoes), shalgam chana (a lentil curry made with turnips) and the pachmail (a daal made with chickpeas).”

Where food tells a story 

While Relish is one pillar on which the Nivaala magic stands, there are several other initiatives that the platform undertakes, all aimed at giving food its rightful due, and letting it stay through the pages of time. 

One such project is the recipe journal arm of the platform. The difference between this and Relish, says Shruti, is that these are empty books that one can fill with their own recipes. 

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She adds that the reason these journals are a step ahead of commercial ones is because they are fine-tuned to suit the Indian audience. 

“In contrast to westernised versions that have the standard sections to fill — of whether your dish is a snack or main, with typical icons — ours have heirloom indicators. So people aren’t filling the usual sections, but rather the ones that will hold meaning to them when the journal is passed to the next generation. For example, to which generation the recipe belongs, which family member came up with it, an associated memory, the ingredients, and the method. It’s a simple process and adds to the emotional quotient that food has in Indian homes.”

Shruti shares that they have sold over 500 of these recipe journals to date, but the love goes beyond numbers. 

“I love when people find the same happiness as I did in this concept. I remember a girl who loved our recipe journals so much that she bought one for her mom, one for her aunt and another for a third relative. We joked about how she loved the journal so much she kept reordering it, and she said she’d gotten all of these people to fill their recipes in it and she now had a collection of 120 recipes. It was the sweetest thing!”

A platter of  culinary projects 

Alongside, Shruti has extended the magic of documenting to regional food as well, through collaborations with chefs across India as well as local farms. These collaborations preceded Relish, and took place in 2022, wherein Shruti says she “discovered the untapped potential that regional food had”. 

Each of these collaborations holds a special place in her heart. 

“We partnered with local farms across India, picked one ingredient, and sent it to chefs around the country asking them to come up with a dish of their choice using that hero ingredient. They would then prepare the dish, send us the recipe with pictures and stories of the dish, and we’d compile these into a magazine,” she adds. 

One of the earliest projects Nivaala hosted was The Legume Project in February 2022. Rajma, the bean of choice, was sent to chefs in various cities across India, and Nivaala published a magazine that was replete with a variety of rajma recipes, ranging from rajma mooncakes by Chef Prateek Bhaktiani to rajma sundal by Chef Keertida Phadke. With the project amassing so much love, Nivaala went on to do The Jackfruit Project, The Mushroom Project, and A Kitchen of One’s Own, building on the same concept. 

While Relish is a fairly new concept, the love it has received has been overwhelming to witness, says Shruti, who had no formal background in this field. The 35-year-old’s enthusiasm is evident as she talks about exploring the deeper meaning of food and relating it with stories, and how this subject has always been dear to her. 

Nivaala, which to date has collaborated with 30 chefs, is an ode to how recipes in Indian homes are beyond food — they are stories woven with the right ingredients and the guardians of memory.  

If you thought Nivaala’s tryst with food is exciting, there’s much more lined up for the year ahead. Shruti leads us in on another project Legacy Kitchen, which will be launched later this month wherein Nivaala, through partnerships with restaurants, will be curating recipes and hampers. She shares snippets of the project.  

“For our first segment under Legacy Kitchen, we will be collaborating with a restaurant in Jaipur, wherein their head chef will be sharing her recipe of aam kasundi (a Bengali pickle). We will then be making this dish in a haveli that belongs to Shan Agarwal, the founder of Jaipur Modern Kitchen. The packaging for it will be made by a local potter and hand painted by artisans using the very same ingredients that go into the pickle.”

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The idea is that when a customer receives the package, they will have the pickle in a handmade box, the recipe for it, along with a one-minute film that details the cultural roots of the dish and its journey from the state where it was born, to their plate.

“The idea is to explore how one recipe can be a gateway to understanding so much about someone’s culture.”

From the first female engineer to the linguist who gave the world novels to remember her by, these stalwarts have shaped the country into a region of prosperity, inspiration, and growth, knowingly and unknowingly creating a nation that others have looked on to for decades. 

Here’s recalling 10 such Indians who paved the way for generations: 

1. A stalwart in cricket 

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Recalled in history as the man who led India to her first Test win in cricket, Vijay Hazare came from the town of Sangli in Maharashtra and made his Ranji Trophy debut in the year 1934-35. He left his mark on Indian cricket when he scored an unbeaten 316 for Maharashtra against Pune in 1939–40.⁠⁠

History celebrates Hazare for his captaincy during the first test match ever won by India. Along with this feat, he is also credited for being the man who led the country to continue the sport even in the turmoil of World War II. 

2. A ray of hope for cancer patients 

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At the Adyar Cancer Institute in Chennai, Dr V. Shanta was a usual sight, tending to cancer patients with care and compassion. Inspired by Dr Muthulakshmi Reddy, the first woman medical graduate in the country, Dr Shanta studied medicine and was motivated to specialise in cancer. 

From a budding oncologist to a cancer crusader and chairperson of the Adyar Cancer Institute, Dr Shanta came a long way. She believed that a lack of awareness and a sense of complacency borne out of fear is behind the escalating number of cancer cases, particularly those of women suffering from cervical and breast cancer.⁠⁠

In 2006, she was awarded the prestigious Padma Bhushan for her exemplary work. 

3. A beacon of women’s empowerment 

Justice Fathima Beevi’s life was a list of firsts — the first woman to be appointed a Supreme Court Justice of India, the first Muslim woman in Higher Judiciary and the first woman to become a Supreme Court Justice in an Asian country.

When spoken to about these accomplishments in interviews, Justice Beevi was quoted saying, “I have opened the door”, referring to the path she had paved for women to shine in fields that were often considered male-dominated. ⁠

⁠On retirement from the court, Justice Beevi served as a member of the National Human Rights Commission. 

4. The first female engineer

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A pioneer in both engineering as well as equality and education, Ayyalasomayajula Lalitha wore many capes. An interesting anecdote that showcases her iron grit is when, following the death of her husband four months after she gave birth to a little girl, Lalitha decided that she wouldn’t be a depressed widow. Instead, she pursued the path of engineering, becoming the first female electrical engineer in the country. 

In 1964, she was elected as a full member of the Council of the Institution of Electrical Engineers and following this was the only female engineer attendee of the First International Conference of Women Engineers and Scientists (ICWES) held in New York. Following her death in 1979, her daughter Syamala followed in her footsteps, going on to study and teach maths and science.

5. A compassionate king 

Throughout history, India has held regard for her kings. In the dynasty eras, kings were bestowed with respect and reverence for the way they commanded their people and their ruling styles. But one such Maharaja was applauded and loved for more than just the way he ruled. 

Jayachamaraja Wadiyar, also the last Maharaja of the Mysuru kingdom, ascended the throne in 1990. Among the many reforms he brought about, there were educational institutions, the Philharmonia Orchestra, and grants for various irrigation and power projects. 

He went on to serve as the first chairman of the Indian Wildlife Board.⁠ 

6. An athlete with a grit of steel 

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When Mary D’souza Sequeira became one of India’s first female Olympians at the 1952 Olympics, the world cheered. She was often quoted for her saying, “Sports is not just about medals and winning. It teaches you how to win and lose in the game of life. I have had many challenges, and my sports experience has taught me to treat each day as another game and take life’s hurdles in my stride.”⁠

What very few know is that aside from the incredible skill that she displayed in sports, Mary also had perseverance. 

When she participated in the 1952 Helsinki Olympics and was selected as part of India’s first female contingent, the government fell short of funds to send her on a chartered flight. ⁠However, Mary was not one to give up easily. She raised funds for the participation fees by organising a dance competition and went on to participate in the tournament. 

7. A linguistic marvel 

Among the many talents that Toru Dutt offered the world were her linguistic works. These included novel Le Journal de Mademoiselle d’Arvers (published posthumously in 1879), the first novel in French by an Indian writer, novel Bianca (thought to be the first novel in English by an Indian woman writer) and an unfinished volume of original poems in English and Sanskrit translations.⁠⁠

This Bengali writer is considered to be the first Indian poetess to write in French and English. 

8. The beacon of the Tata family 

When Jamsetji started a trading company with only Rs 21,000, he did not know the empire he would be presiding over one day. From the year 1880 to his death in 1904, Jamsetji was consumed by three ideas — setting up an iron and steel company, generating hydroelectric power, and creating a world-class educational institution that would tutor Indians in the sciences. ⁠⁠

A visionary and founder of India’s biggest conglomerate, Jamsetji’s endeavours to build the Tata group put India on the map of industrialised countries. 

9. A star on and off screen 

Jayalalithaa, went on to be a megastar in Southern cinema with a career spanning three decades. It all started with her first movie Chinnada Gombe in 1964, which was a hit. From then on it was a series of highs for the prodigy. 

While off-screen, she would fascinate onlookers with her Bharatnatyam and Kathak performances. She was also well-versed with Manipuri dance and western classical piano. Jayalalithaa became the highest-paid Indian actress from 1964-1980 for the stellar performances she delivered. 

10. Penning excellence 

Contemporary writer and novelist Vinod Kumar Shukla has given the world some memorable works, including novels such as Deewar Mein Ek Khidki Rehti Thi and Naukar Ki Kameez. Celebrated for his style, which is usually focused on magic realism, Shukla went on to win the prestigious Sahitya Akademi Award in 1999. 

This year, Shukla was cited as the winner of the PEN/Nabokov Award for Achievement in International Literature for the outstanding body of work that he delivered throughout his career. 

Edited by Divya Sethu

One material often left out of the conversation is cannabis. But that changes now. 

If you’ve ever had the chance to visit the Ellora Caves in the Mumbai Harbour — around 10 km east of the main city — you’d recall marveling at the magnificent complex of rock-cut caves with artwork dating back to 1000 CE, stepping into the cool, hearing the steady drip of water somewhere in the distance, and gaping at the fact that after all these decades, the formations have stood the test of time. 

The reason, as has now been found, is the cannabis in the architecture. 

An astounding find

Archaeology experts shared a sense of intrigue since time immemorial about the sheer existence of the UNESCO World Heritage Site the Ellora caves. How were they in such good condition? Was it a special kind of rock that served as the foundation? Were there ancient principles of architecture? 

The answer, as was revealed in a study in 2016, lies in a mixture of hemp with clay and lime plaster. This simple mix has preserved the 1,500-year-old caves from being degraded.

The duo behind this discovery were Rajdeo Singh, a former superintendent archaeological chemist of the Archaeological Survey of India’s science branch (western region), and Milind M Sardesai, who teaches botany at Dr Babasaheb Ambedkar Marathwada University. This study was conducted to determine what gave the Ellora caves their durability and strength. 

The study states, “The use of hemp helped the caves and most of the paintings remain intact at the 6th century Unesco World Heritage site. The caves are breathtaking examples of rock-cut architecture that stand testimony to the imagination and artistry of its creators.” 

The duo used various methods to arrive at this conclusion. These included scanning using the electron microscope, Fourier transform, infrared spectroscopy and stereo-microscopic studies. In order to determine if the building blocks did indeed contain hemp, cannabis samples were collected from Jalna in Aurangabad and Delhi and matched with one of the Ellora caves. 

It was a perfect match!

“In the sample collected from the Ellora cave, we found a 10 percent share of cannabis sativa in the mix of mud or clay plaster. This is the reason why no insect activity is found at Ellora,” the study noted. 

With these findings, it comes as no surprise that the set of 34 caves at Ellora, with their temples and monasteries, remain so well preserved, while at Ajanta, the neighbouring caves, there have been signs of insect activity and degradation. 

However, the duo were intrigued as to what specific properties of hemp made it such a versatile building material. 

Sardesai was quoted saying, “The cannabis fibre appears to have a better quality and durability than other fibres. Moreover, the cannabis’ gum and sticky properties might have helped clay and lime to form a firm binder. As the hemp plaster has the ability to store heat, is fire-resistant and absorbs about 90 percent of airborne sound, a peaceful living environment for the monks has been created at Ellora Caves.”

As the spotlight falls on conversations around how hemp can be used in construction, it also raises important questions about the use of hemp in modern society and the legalities associated with it. 

Cannabis and its tryst with society

While hemp and marijuana, the psychoactive drug, belong to the same plant species, they differ based on their THC content, which is the levels of the psychoactive component. 

Marijuana, which contains much higher levels than hemp, is banned under the Narcotic Drugs and Psychotropic Substances (NDPS) Act, meaning that anyone found growing, transporting or consuming the plant will face serious repercussions. 

Uttarakhand was the first state in India to permit the commercial cultivation of industrial hemp. 

The laws in the country regulate the cultivation and sale of cannabis strictly. According to the current framework, if it is extracted from the leaves of the cannabis plant and does not contain more than 0.3 percent of THC (the psychoactive compound), then it is considered to be completely legal and can be sold. 

These products are recognised as hemp seed products and are a hero ingredient in the medical and nutritional industry for their many benefits. 

So, when it comes to the question of using hemp as a construction material, there are several unanswered questions. 

Speaking to The Times of India, Rajendra Mugdia, a special public prosecutor who had earlier in the capacity of additional public prosecutor tried over a dozen cases under the NDPS Act, 1985, said, “If hemp comes into use for construction work, it might lead to gross misuse. The government will have to make some amendments to the law introduced in 1985.  A separate authority will have to be created for allotting permissions.”

That said, the advantages of using hemp as a building material has been explored overseas, particularly in England. 

In The Hempcrete Book, authors William Stanwix and Alex Sparrow, who have been engaged in one such construction that employs hemp, say it is a wonderful material. The book cites that hempcrete is especially attractive to self-builders and community groups because of the relatively low-tech nature of the construction method. 

It adds, “Timber products can also claim to be sequestering carbon; however, hemp is superior to wood in this respect since it absorbs CO2 much more quickly, creating a very hard woody stem (2-4 m in height) in only 4-5 months.” 

Sources 

Scientists Say That Cannabis Helped Preserve Ellora Caves From Decay For 1500 Years by Krupa Joseph, Published on 8 June 2021. 

Hemp shielding Ellora caves from decay for 1,500 years: Study by Syed Rizwanullah, Published on 10 March 2016.

What is hemp and is it legal in India? Know everything about it here by Financial Express, Published on 29 December 2022. 

A blur of colour and activity, a gush of emotion, and a chance for people, regardless of caste or colour, to come together and celebrate, the festivals in India are almost magnetic, drawing people from every corner of the country, and uniting them with a knot of culture.

But even so, if you live in India or not, there are countless festivals that go by that are unheard of. Be it the wicker basket-weaving festival in Kashmir or ‘Shoonya’ the festival of nothingness, these uncommon fests are the essence of India, and here’s taking a look at them.

If you are planning your travel itinerary for 2023, you may want to factor these places in.

1. Kashmiri Ancient Basket Fishing Festival

When it’s summertime in Kashmir, there is a designated day when the men, women and children of the land, line up along the river banks; wicker baskets at the ready. The grand fishing festival commences, and the air around could not be filled with more excitement.

At the word ‘Go!’, hundreds of men wade into the muddy waters, hitching up their salwars and plunging the baskets into the water. And if luck is on their side, the baskets are pulled out from the water with numerous fish along with weeds, hence cleansing the water in the process. A bag on the head is where the catch is stored.

Where: Kashmir

When: Third week of May

2. Shoonya Festival

“To go beyond our own selves and lose the ego, and acknowledge the tiny nature of existence of the self in the vast, ever-abundant cosmos,” reads the Shoonya festival’s description. The festival invites artists, healers, meditators, travellers, gypsies, professionals, shamans, explorers, and those looking for magic in silence.

If you’re intrigued about the activities that take place during this zero-waste festival, well, that’s the beauty of it all. Nothing! Find yourself, and connect with the people around you.

Where: Jibhi, Himachal Pradesh

When: June

3. Madai Festival

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There is no better time to experience the beauty of Chhatisgarh than during the Madai festival. The festival comprises various folk activities that are dedicated to Goddess Kesharpal Kesharpalin Devi, one of the tribal deities, in an attempt to please her. As a tourist, you can watch the various dances, admire folk art, or even shop for tribal handicrafts made.

Where: Kanker, Bastar and Dantewada, Madhya Pradesh

When: December to March

4. Bani Festival

It is said that the immensity of the peace and emotion you experience during the Bani festival is unparalleled. Picture this — streets thronging with crowds of people chanting a string of words with lanterns and torches, and lathis (long sticks). As the legend goes, two demons — Mani and Mallasura — would trouble the noble men in the Devaragattu region.

It’s said that getting rid of the demons from this region was made possible only because of Lord Mala Malleswara Swamy and Goddess Parvati Devi. That’s why, to this day, the locals hit each other lightly on the head with the lathi to signify the victory of the gods.

Where: Andhra Pradesh

When: October/November

5. Made Snana

Enjoying your food takes over a whole new meaning at this festival in Karnataka. Banana leaves on which food had previously been served to Brahmins are kept in a line during the Shashti festival, and people roll on these leaves. While it sounds absurd, the reasoning behind the 500-year-old festival is manyfold. Some go through the rolling practice to cure a skin condition, whereas others do it to purify themselves of sins. Then there are those who roll to fulfil a vow they had taken.

Where: Karnataka 

When: November

6. Theyyam

If you have an appetite for adventure, the Theyyam festival will satiate it. There are numerous adventure activities throughout the course of the festival, all dedicated to pleasing the deity. It is believed that the men who perform these extraordinary practices are supreme, and people flock to take their blessings.

Several daring stunts are performed during the festival. Some of them include — dancing while wearing a crown of hair of length 10-12 metres, dancing with burning wicks of wire tied around the waist, walking on fire embers and more.

These 800-year-old practices are believed to impress the celestial bodies.

Where: Kerala

When: April

7. Sufi Festival 

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Unlike the other festivals, where you are a bystander, the Sufi festival celebrates you in all your uniqueness. The festive air is filled with the chants of soulful music that tug at every heartstring. As the sun goes down in Rajasthan, and the palaces and heritage homes are bathed in a  wonderful orange glow, the air seems almost electric with the harmony of Sufi music — which history says has been the bridge between the East and the West.

Where: Rajasthan

When: February

8. Holla Mohalla Anandpur Sahib 

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A festival that celebrates valour, bravery, courage, and the display of brotherhood, the Halla Mohalla Anandpur Sahib is a variation of Holi and is celebrated in March as spring sets in. It was initiated by the 10th Sikh leader Guru Gobind Singh in the 10th century and is celebrated by the Sikh warrior order in Punjab.

Numerous campsites are set up across Punjab, and community kitchens are organised here, wherein batches of food are prepared. On the last day of the festival, the warrior Sikhs display horsemanship.

Where: Punjab

When: March

9. Tarnetar Mela

The Tranetar Mela is a burst of colour and activity that takes place in Gujarat. Resembling a fair, the festival is a tribute to Draupadi’s swayamvar, and in fact, a wonderful opportunity for young men and women who are looking for partners. Women who are married wear a black zimi (skirt), and those looking to mingle wear a red zimi. Men meanwhile wear colourful dhotis (a traditional Indian dress).

Where: Gujarat

When: August to September

10. Agni Keli

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You wouldn’t want to be put on the streets to witness this eight-day festival in Karnataka. A daring celebration, the agni keli or firefight is commemorated by bare-bodied devotees hurling flaming palms at each other. In this, a person can attach their opponent only five times; the sixth time the palm frond is discarded. The one to get burnt first is then sprayed with water.

The centuries-old festival is practised by devotees to please the goddess and can be witnessed at the Kateel Durga Parameshwari Temple in Mangaluru.

Where: Mangaluru

When: April

Edited by Pranita Bhat

Looking around, the bedroom could easily pass off for a mini museum, and as Raja explains, this was exactly what he was looking to achieve.

Meanwhile, the bed is now a blur of vintage colour — coins, currency notes, postal stamps, stamp papers and even matchboxes dating back to the Mughal era.

The shelves in the room have their own antique symphony with a range of cameras, projectors, telephones, gramophones, radios, VCR players, typewriters, boxes, and utensils of copper, ivory, and brass that are 200 years old.

Amidst this, there is an item that stands out not just for its strategic display, but also for the story behind it. This, as Raja explains, is a brass compass that belonged to his great-grandfather Late Sri Puvvula Chinna Swamy Naidu. He was a local fund overseer during the British Raj and used the compass during his service.

Raja’s room boasts of some of the rarest items and is a ‘mini museum in itself’. His collection is not just a storehouse of heritage items from his own ancestors but also ones that his friends and strangers have contributed upon discovering Raja’s interest.

A journey of collecting artefacts

It all started when this postgraduate hospitality and tourism management student was nine years old. As he recounts, while spending time with his dad one day, Raja came across a coin collection that dated back to his father’s school days. He was pleasantly surprised to see these artefacts of history.

The now 22-year-old says he pinpoints that moment in time as when he became an antiquarian, a numismatist and a philatelist.

“I started collecting and preserving these rare artefacts since childhood, but with a twist,” he says, adding that while many collect coins and stamps, his passion extends towards safekeeping heritage and vintage memories that have come down through generations in his family.

“My love for preserving heritage is more than just a hobby,” he notes. And today, he introduces us to 10 out of the numerous artefacts that his collection houses.

1. Veena

“My great grandmother late Smt C Rajeswaramma used to play this veena when she was young, and my grandmother late Smt P Amrutha Valli Devi also learnt this traditional musical instrument,” says Raja.

Recounting the details of the instrument, he says it was bought from Thanjavur in Tamilnadu bedecked in ivory and that it is still in working condition. In the picture, you can also spot a 100-year-old handmade painting that was done by Raja’s great-grandfather Late Sri P Chinna Swamy Naidu.

2. Ivory scale

When Raja’s great-grandfather was serving in the British empire as an engineer, he used the ivory scales which he’d gotten from London. Made from elephant ivory, the scales were very popular during the time period when it came to measuring details during projects, as they were durable and sturdy.

“This particular model was manufactured between 1880-1900, and he used it for making drawings and surveying,” he says.

3. Coins of the British era

“These coins were collected by my father during his school days and date back to the time period of 1833 to 1947. In those days, 16 annas were equal to one rupee,” says Raja.

Among the coin collection are those dating back to pre-Independent India. The one rupee, the quarter rupee, and even the one pence were popular during the time period and were made of bronze, nickel-brass, cupro-nickel, and aluminium-bronze.

4. Vintage jewellery boxes and soapbox

“These vintage jewellery boxes are decorated with ivory, and the antique soap box was made of silver,” says Raja going on to narrate the story behind them.

Having gotten them from his great-grandmother who would use the boxes to keep her silver safe, Raja says he has always held a fond liking for the intricate designs done on the wood. “Elephant ivory is one of the strongest materials that exist, and this is why the boxes are preserved to date. They have come down through the ages as a kind of treasure in my family,” he notes.

5. Antique showpiece

What you see in the picture is a showpiece that has been in Raja’s family for over 100 years now. “It is made of rare red sandalwood and has been a prized possession in the family,” he says. The showpiece that appears to be a knight riding a horse is lucrative not just for its appearance but also for the material from which it is made.

It is said that red sandalwood is one of the rarest woods prevalent and also one of the most expensive. The red sandalwood tree takes hundreds of years to grow thick and is so dense that a piece when kept in water will immediately sink.

6. Vintage film cameras

The astounding fact is that some of these cameras are still working. “My father was very interested in photography and would use and collect these cameras in his day. They were known as reel cameras and were used in the 1990s. They were manufactured by some of the famous companies in that day such as Yashica, Canon, Kodak, Lubitel, Hotshot etc,” says Raja.

He says that while some of the cameras are still in working condition there are no studios these days that print these reel camera photocopies.

7. Antique box gramophone

The gramophone belongs to Raja’s great-grandfather and was made in erstwhile British Switzerland. “We used to listen to audio songs with the records on the gramophone player which was manufactured by a company named Leophone. This one is different from the regular gramophone as it is a box gramophone and can be easily carried anywhere,” he notes.

8. Vintage glass bottles

Recounting an anecdote, Raja says, “The tallest bottle (1800 ml) and the glass jar were contributed by my grandfather’s colleague Late Sri V S S V Rama Rao. He bought both of them for 50 paise from a Russian ship during his service at SAIL in around 1965. The eagle-shaped wine bottle from the pre-independent era was contributed by one of our neighbours after knowing about my passion. This was then preserved by his father as a showpiece. The 500 ml vintage glass milk bottle was preserved by my father; these bottles were used to exchange with refilled milk bottles until the ’70s.”

9. Vintage film projector

“In earlier days people would watch films and videos with the help of 8 mm reels on this projector manufactured by The Keystone Camera Company in the USA in the early 1940s,” says Raja.

10. Oldest Civil Service Examination certificates

“I felt very lucky when I chanced upon some British era archives at our house such as old Civil Service Examination certificates of my great great grandfather Late Sri Cetty Nagamayya Swami Naidu — the Circle Inspector of police during the British Raj — from the year 1880, ‘87 and ‘89, along with his membership certificate of the Theosophical Society (Indian section, Benares) from the year 1903,” says Raja.

Edited by Pranita Bhat

The imprinted textiles are worn as suits, sarees, lehengas and ghararas.

Chhapa is considered native to Bihar, but it is said to have been brought by migrants from Lucknow and Delhi who settled in Patna after the King of Afghans, Ahmad Shah Abdali, and the Shah of Iran, Nadir Shah, invaded the city in the early 1800s.

In the 19th century, these attires were in huge demand among Bihari Muslims. The art form continues to remain popular among them, and Bihari Muslim families around the world continue to wear chhapa printed clothes for weddings.

Gradually, modern techniques and equipment replaced skilled artisans for this labour-intensive art, forcing a lot of them to quit the work. However, many artisans in the streets of Sabzibagh, Shahganj and Sadar Gali of Patna are making efforts to keep this age-old craft alive.

While red and green used to be the only colours for chhapa earlier, they are now available in several vibrant colours including yellow, blue, violet and pink.

To learn more about the traditional art form, watch this video:

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Here are a series of pictures that celebrate India’s illustrious saga through the years and, more importantly, the individuals who made these glorious moments possible. 

1. A woman rises to heights

It was unheard of in the movie industry for a female protagonist to be paid a handsome sum of money, let alone a lakh. However, Bengali actress Suchitra Sen broke this norm when she was paid a fee of Rs 1 lakh for her movies. In fact, this was even higher than most male leads were paid. ⁠

She was also the first Indian actress to receive an award at an international film festival. This was at the 1963 Moscow International Film Festival, when she won the Silver Prize for Best Actress for Saat Pake Bandha.

2. The man who put Indian wrestling on the world map

In 1952, Indians watched with bated breath as Khashaba Dadasaheb Jadhav, also known as the ‘Pocket Dynamo’, won the bronze medal at Helsinki Olympics. When he returned to his village in Goleshwar, he was given a hero’s welcome, with a procession of 151 bullock carts and drummers. 

Recounting this day, his cousin Sampat Rao had said, “Every villager was basking in that moment of glory. Khashaba bhau brought the small village of Goleshwar, earlier a dot on the map, to the fore. The whole world knew and recognised Goleshwar as the village that gave India its first-ever Olympic champion.”⁠

But what few know is the behind-the-scenes story of how Khashaba reached the Olympics. Not being able to afford the trip, he began asking people for help and the principal of the college where he studied, R Khardikar, went the extra mile and mortgaged his house for Rs 7,000.

3. A ray of hope for Rajasthan 

Maharaja Ganga Singh of Bikaner, Rajasthan, brought in numerous positive developments in the state and surrounding regions. Besides being the first prince in Rajputana to grant a full charter of powers to a high court, he was credited with improving farming in the region. He even introduced prison reforms wherein the Bikaner prisoners weaved carpets that were then sold internationally. 

Not only Rajasthan, but even the rest of India has much to thank the prince for. 

It is said that during World War I, he commanded the Bikaner Camel Corps, which served in France, Egypt and Palestine. ⁠

4. Hero of the Kargil War 

During the Kargil War fought in 1999, Vikram Batra emerged as a brave and courageous soldier who was not afraid to lay down his life. He was only 24 when he fought in the war and lost his life on the front lines for his country. ⁠⁠

His father Giridhar Lal Batra, a former government school principal, once speaking of Vikram’s heroism, once said, “Vikram was an outstanding and extraordinary boy, very diligent and brilliant. As a father, I knew he was much ahead of ordinary people. He was given the name ‘Shershah’ because he was very brave.”⁠

He added, “During the Kargil War, he forced his junior man to go back and take his place, and that makes him no ordinary person. He had seen deaths before him during combat, but he was never afraid to go all out and fight. He always led from the front.”⁠

5. A pioneer in science 

Kamala Sohonie was intent on getting admitted into the Indian Institute of Science to pursue her research, but was denied because of her gender. After much persuasion, she was admitted by Sir C V Raman, then head of the institute. 

Her research focused on neera (a popular drink made from sweet palm nectar, legumes and rice flour) and how it could meet the nutritional needs of Indians, particularly of the poor.⁠

Kamala proved that women could do anything and following her earning a scholarship at UK’s prestigious Cambridge University, IISc began admitting female students. 

6. ⁠The man who took India to space

In 1984 when Rakesh Sharma returned to the Earth from space, he recounted how overwhelming it was. “Slowly, you begin to realise that borders are not visible from space and then you start looking at your country as part of a whole, and the whole being planet Earth itself. You come back feeling how fragile the planet is, and how it needs to be protected,” he said, adding that the best sight from space is the sunrise and sunset. 

However, he also spoke of the body changes that occur — the blood tends to rush to the head because the heart continues to pump at the same rate as it does while on Earth, the face and tongue swell up, and you develop space sickness, similar to travel sickness. ⁠

7. The pioneer of transport through the ghats 

Walchand group founder Seth Walchand Hirachand Doshi is known as the man behind India’s first modern shipyard, first aircraft factory and first car factory. The group also established several confectionery companies and engineering companies. 

But among the company’s notable projects is the commissioning of tunnels through the Bhor Ghats on the Mumbai-Pune railway route, which helped boost transport and mobility, earning Walchand the title of ‘Father of Transportation in India.”⁠

8. A woman hero during the freedom struggle 

Amar Kaur, the sister of Bhagat Singh, was a nationalist and prime leader during India’s struggle for freedom. She was even arrested in 1932 when during the Civil Disobedience Movement she pulled a chain in the running train and shouted nationalist slogans.  

She was arrested once again during the Quit India Movement in 1942 for setting up training camps in Lahore for women. However, nothing could deter her, and while in jail in 1942, she along with the other inmates hoisted the national flag on the jail gate.  

9. A medical superhero 

Lieutenant Colonel Dr Arcot G (AG) Rangaraj was known for his passion towards helping those in need of medical attention, and one such instance was when he led a medical mission to the Korean peninsula. 

In November 1950, the Colonel was promoted to head the 60th Parachute Field Ambulance unit and is said to have treated more than two lakh wounded soldiers, given training to local doctors, and even escaped near-death scenarios himself! 

10. A musical genius

When Philomena Thumboochetty — the daughter of the ‘Huzur’ secretary of the Maharaja of Mysore — was just a teenager, she took the fellowship examination offered by Trinity College London and was awarded 98 percent.

She then went on to be chosen for admission to the famed Paris Conservatoire and was the youngest and the first from India to do so.⁠ In fact that was the beginning of her illustrious career. In 1934, Philomena and her mother were presented at the court of King George V and Queen Mary. Dressed in a gold embroidered red saree with a set of emeralds, Philomena enthralled the royals with her grace. 

Located in Maharashtra’s Metgutad village on the Panchgani-Mahabaleshwar route, Vintage Miles has become Mahabaleshwar’s newest attraction for bike lovers. 

The iconic two-wheelers at the museum include Jawa’s first moped, Fantabulous by Royal Enfield, bikes used by British soldiers, Kinetic Luna, Lambretta 59, Ramona 1960, BSA Bond — India’s first mono-shock suspension bike — and Hercules Moped 1967.

The man behind the museum is Pune’s Vinit Kenjale, who has been collecting vintage two-wheelers from brands such as Vijai Super, Jawa, Chetak and Vespa since 1986. And nearly four decades later, he started the bike museum, in 2021.

“The 80s were a very interesting period for bikes in India. I saw people discarding old models and buying new bikes very fast. I wondered what happened to those old bikes and that’s when I hit upon the idea of collecting them,” the 56-year-old tells The Better India.

Vinit also points out that vintage bikes evoke a sense of nostalgia in visitors. “From dropping children to school and taking your beloved on long rides to giving lifts to strangers, there are several emotions associated with scooters. I want to give the older generation an opportunity to relive those moments again,” he adds.

The entry fee for the museum is Rs 100 per person.

Watch the museum’s massive collection of iconic wheels of yesteryear.

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Edited by Asha Prakash.

Known by the name Thakkadi, this dish, explains the Indian writer based in the San Francisco Bay Area, comprises tender meat cooked with dumplings into a gravy-like consistency. The 200-year-old recipe, she notes, was born in Tirunelveli and included fist-sized dumplings made with rice flour and flecks of coconut. Today its modern successor focuses on smaller portions. 

Did you find this anecdote interesting? 

You’ll be amazed to know that this is one of the several stories and heritage recipes that have been compiled into a book ‘A Kitchen of One’s Own’ by friends and colleagues Aysha Tanya and Anisha Rachel Oommen.

Food writers by profession, the duo were engaged in individual ventures before kick-starting their endeavour Goya in 2016. It happened whilst they were working at a food magazine in Bengaluru, as Anisha recounts. 

“A majority of food publications at the time focused on restaurants and there was very little talk of home cooking. We wanted to create a project that would document this aspect of cooking and Goya was our way of doing just this,” says Anisha. 

The digital archive collaborates with photographers, writers, and brands in the F&B space and invites just about anyone to share their stories related to food. 

‘A Kitchen of One’s Own’ is the physical manifestation of the digital collection of recipes and was published in 2022.  

A culinary treasure trove 

As Anisha explains, the authors of the vast series of recipes are not just writers, but people who come from various backgrounds and expertise — “economists, marine biologists, conservationists, historians. diplomats, authors, entrepreneurs, lawyers, chefs, home cooks, and brewers”. 

How did the idea of transitioning from a digital archive of recipes to a physical book come into play? The large traffic of requests from readers since the inception of Goya, Anisha explains. 

“There is something irreplaceable about having a beautiful, tangible edition of your favourite stories, to touch and feel, to thumb through and keep by your bedside or on your kitchen shelf,” she notes, adding that there was an instrumental third involved in making this dream come true. 

“In early 2022, Shruti Taneja of Nivaala — a venture that designs recipe journals — came to us with the idea of collaborating to create a book that would feature Goya’s recipes and Nivaala’s journal,” she says. 

Shruti, she adds, had started Nivaala following the passing away of her mother. 

“The incident made her realise that not only had she lost her mother, but also all the recipes that represented her family. She did not want others to go through the same, and thus had started recipe books as a way of highlighting recipes along with illustrations that had been passed on from generation to generation,” says Anisha, adding that they loved the idea and decided to go ahead. 

Once the idea was set in motion, the trio began finalising the 40-odd recipes that would finally make it to ‘A Kitchen of One’s Own’. But the task was daunting nevertheless. 

“It was like asking us to choose a favourite child. We had to go through six years of stories and recipes we had collected, commissioned, edited, and tested to shortlist for the final list. It forced us to pause our daily grind and take a beat to reflect on the work we’ve done,” notes Anisha. 

In 2022, the culinary labour of love was ready to hit shelves. 

What are you in for in the culinary book?

“Heirloom recipes that have been meticulously handed down through generations,” says Anisha. 

“These include Puli Fry — a beloved Anglo-Indian meat fry that tastes better the day after; wintry namkeen chai from Dehradun — made with yak milk and mutton fat, Assamese lokri (a dish made from the residue of milk solids); Rajasthani kanji vada (a Marwari delicacy made with moong dal); the stews of Nagaland; Kerala mutton stew and meen varuthathu (a Kerala style fish fry); the date and fenugreek chutney of Himalayan origins; and thum ki roti made with tender green garlic shoots,” adds Anisha. 

“Many of these recipes,” she adds, “have been preserved only in oral tradition, and are being documented for the first time in print. The simplest but most delicious recipe is probably the mavin gojju — a sweet and sour raw mango condiment that elevates the simplest of meals.”

A Kitchen of One’s Own is no ordinary recipe book. 

“It is a part cookbook, part-recipe journal, that aims to celebrate the reader’s own family recipes. The reader can add their own well-loved recipes to the collection, making it a thoughtful gift to pass down through generations,” says Anisha.  

Today anyone who possesses the cookbook can browse through Halasina Kadabu — steamed jackfruit dumplings best eaten alongside a cup of filter coffee; Sobai Jwng Dau — a chicken curry from the Bodo community; and Ilish Macher Matha diye Pui Shaak — a Bengali recipe for a fish head with Malabar spinach.

Recounting the challenges they encountered through the route of self-publishing, Aysha says, “All the efforts of design, layout, marketing, fund-raising, editing, and testing, fell squarely on us. We crowdfunded the book, one of the first such campaigns in India, and we relied entirely on our community to support us. It was equal parts a terrifying and incredibly fulfilling experience,” says Aysha. 

However, the duo say it was satisfying to watch in real-time how their community’s faith in them translated to action when they managed to raise “Rs 10 lakh for the cause”.

As Aysha notes, “So often, as entrepreneurs, we move from one crisis to the next and don’t take a breath to cheer each other on; to see the work we’re doing brings us so much joy but also to see what we’ve been able to accomplish.” 

(Edited by Divya Sethu)

1. Famines in India

Famines were very common in India due to hiccups in the agricultural system combined with policy failures. One such major famine was the one in Bengal in 1943. While the shortage of food was not the main reason, it was the inaccessibility to food that resulted in the Bengal famine. In addition to this, hoarding of food and panic buying worsened the famine, and it ended up claiming around 4 million lives.

2. INS Viraat

One of the longest-serving carriers in India’s history was HMS Hermes which served the British and Indian navies for more than 50 years. The Centaur class flattop hosted fighter jets and was designed for short and vertical takeoffs and landings. After a long stint with the British Royal Navy, the carrier was sold to India in 1986 and was commissioned into the navy as INS Viraat.

3. Indo-Pak war of 1971

The picture depicts a scene during the war when 14 Guards were dispatched to capture a Pakistani position at Gangasagar. This was on a major railway link; thus, a strategic position to capture.

On the night of 3 December, 1971, Lance Naik Albert Ekka — a soldier heading the operation, went with the battalion to the spot. Here the group was subjected to intense shelling. Though seriously injured during the firing, Lance Naik continued to fight back with the motto of his regiment, loud and clear — ‘Pahla Hamesha Pahla’ (First Always First).

While his bravery and heroic actions led to victory, Lance Naik Albert Ekka was killed in the war.

4. C V Raman’s discovery

Asia’s first Nobel laureate in physical science, C V Raman was often known for being a scientist like no other. There is an interesting story associated with this great persona.

It goes that in 1954, he received the Bharat Ratna for his contribution to the country in the field of physics, but later smashed it when he was unable to get funding for the platinum that he needed for his experiments. This fit of rage was a result of funded research being prioritised in state-owned institutes while other universities were left to fend for themselves.

5. Indo-China war

A war that went down in history for the loss of lives and property that it left behind, the Indo-China war was fought over the Aksai Chin region which lay along the border. It was a highly disputed region and caught the interest of both countries after seeing its potential.

China was intent on building a military road through the region while India insisted that the region was part of Ladakh and thus, under the Indian administration. This led to the war in 1962, where even women were trained to be militarily sound.

6. Sardar Vallabhai Patel’s speech

One of the most influential political leaders and a senior leader of the Indian National Congress, Sardar Vallabhai Patel advocated for India’s rights and the culture of the motherland. In 1949, one such speech given by him addressed these points.

“If you forget your citizenship and talk of religion, it is a cloak. Therefore, when I hear some people talking about Hinduism in danger, I feel that they are going the wrong way. Do not indulge in scaremongering for selfish ends. Do not employ the wrong methods for catching votes or forming the parties. It is a very dangerous game. After all, we too want to serve our own people.”

“Let us build our strength and reputation from this Union which on India’s map is posited like the feet of Mother India. If the legs are shaky, the whole edifice will topple. Let other Unions emulate your example. I wish you Godspeed and good administration.”

7. Ending Portuguese rule in Goa

Operation Vijay, which took place in 1961, had one goal in mind — to end the 450 years of Portuguese colonial rule in Goa. The operation was orchestrated by Pandit Nehru after several failed attempts to drive the Portuguese away.

The operation saw the Indian Army, Indian Navy and Indian Air Force come together and lasted for 36 hours, following which Goa’s deposed governor-general Manuel António Vassalo e Silva officially surrendered to the Indian forces.

8. Indira Gandhi’s visit to Morbi

A dam on the Machhu river located in Morbi, Gujarat, collapsed in 1979 and found its name in the Guinness Book of Records as the worst dam burst. Killing 1,500 people and more than 13,000 animals, the incident took less than 15 minutes to flood the city.

The picture shows Indira Gandhi visiting the area at the time and covering her nose due to the foul smell.

9. India’s first communication satellite

In 1981, ISRO scientists were on the way to launching India’s first communication APPLE satellite from the Guiana Space Centre in France.

Former ISRO scientist R M Vasagam noted in one of his papers — “ISRO did not even have enough mainframe computers and the computing time needed for structural, thermal and mission analysis could be met only through our engineers availing the night hours at IISc, IIT Madras and TIFR. We were close to the point of transporting the satellite to Toulouse in France for final tests to be followed by launch from Kourou. But the solution was found in the above five hours and at a cost of Rs 150 for hiring the cart! APPLE was put on a bullock cart to provide a non-magnetic environment and to conduct the antenna test in an open field to remedy the TT&C link problem caused by impedance matching problem.”

10. World War I

During World War I, there was a massive death toll along with injured soldiers on the battlefield. To help the injured, wealthy individuals stepped up and began donating ambulances. They were soon joined by businesses, trade unions, companies, churches etc. Influential companies were involved in manufacturing the ambulances — like Rolls-Royce, Daimler, Albion, Morris, Vulcan, Wolseley, Siddeley-Deasy, Renault, Lanchester, Ford Model T, Fiat and Star.

(Edited by Pranita Bhat)

Sources 

58 years, 2 navies, one war: A short history of one of the world’s longest-serving aircraft carriers by Stavros Atlamazoglou, Published on 18 April 2022. 

Remembering CV Raman, great physicist and Nobel Laureate at 42 by Rupanwita Bhattacharjee, Published on 7 November 2018. 

When former Prime Minister Indira Gandhi held a hanky to her nose while visiting the Machchhu dam disaster site in 1979 by opIndia, Published on 1 November 2022. 

The rocket science behind the bullock cart in India’s space story by Srishti Choudhary, Published on 23 July 2019. 

With rapid growth and modernisation, these art forms have adjusted themselves to the taste of modern times, while maintaining their raw authenticity.

Here are ten traditional folk arts from different states that have stood the test of time and are here to stay.

Chowk Poorana

Native to Punjab and practised in states like Haryana, Himachal Pradesh and Uttar Pradesh, Chowk Poorana is an art form used to decorate floors and walls of the house during festivities. Made by using flour and rice, it is said to conjure the blessings of Goddess Lakshmi and ward off evil spirits.

The paintings are bright in colour and usually have motifs of flowers, leaves, ferns, peacocks and geometrical patterns.

Aipan

This GI-tagged art form belongs to the Kumaon region of Uttarakhand. It is used to decorate pieces of cloth, paper and the walls to adorn the god/goddess of the household. The decoration is usually done on important occasions like the birth ceremony, thread ceremony, weddings and death.

Traditionally done by hand, the art has evolved and is now seen on pots, wall hangings, posters, greeting cards etc.

Kangra

Born in the beautiful landscapes of the lower Himalayan hills in the 18th century, Kangra is a pictorial art recognised by the government. This art form received a GI tag in 2012.

Named after Kangra, a former princely state in Himachal Pradesh, its central theme is around the Sringara Rasa, which depicts the stories of Radha and Krishna with picturesque imagery of nature and plants.

The art form, which saw a decline in its popularity, has managed to prevail with the efforts of the state government and the relentless work of the artisans.

Mughal miniature paintings

Contained in not more than a few square inches are Mughal miniature paintings, which detail illustrations of different events. Despite their tiny size, these paintings are extremely vivid and detailed with bright colours and soft brush strokes.

The art form is said to have emerged from Persian portraits but has its own unique features that set it aside. They depict very realistic scenes from legendary stories, hunting activities and royal life.

Madhubani 

Madhubani originated from Janakpur, which was the capital of ancient Mithila — present-day Bihar and Nepal region. Most of these paintings depict flora and fauna, women, gods and goddesses, geometrical patterns etc. It got recognition and a GI tag in 2007.

Madhubani paintings were rediscovered by the British after an earthquake in the 1930s. Also known as Mithila paintings, they mostly depict scenes from ancient tales or auspicious occasions. Traditionally painted on canvas, Madhubani art can now be found on various products like stoles, scarfs, sarees, bags etc and is sold all over the world.

Warli 

Made by one of the largest tribes in India, Warli art is native to Maharashtra. It is considered to be one of the oldest art forms finding its traces back to 2500 BCE. The art form also received a GI tag in 2011. The focal theme of Warli paintings started with nature and its elements, and it later moved on to depict everyday life.

The art form gained popularity because of its simplicity. It uses minimum tools to create beautiful motifs by using simple lines, triangles, squares, circles and dots. Each symbol is said to have its own significance. The circle, for instance, represents the moon and the sun, while the square represents a sacred piece of land.

Kalamkari 

Native to Andhra Pradesh, Kalamkari has two forms — Machilipatnam and Srikalahasti. Machilipatnam art form is block printed, whereas Srikalahasti is made with a free hand using a pen. Both forms received GI tags from the government in 2007.

This art form can be seen on temples, chariots and fabrics depicting tales from Indian epics like Mahabharat and Ramayana. The Mughals are said to be the first to patronise the art form, and it reached its peak in the middle ages. It became popular and spread to neighbouring states like Tamil Nadu. The paintings are beautifully crafted using bright colours and exquisite penmanship.

Gond

Often confused by the untrained eye with Madhubani paintings, Gond art is native to Madhya Pradesh and has spread across central India to places like Chhattisgarh and Odisha. Considered to be 1,400 years old, the art gets its name from the Dravidian word ‘Kond’ which means green mountain.

The art used to be practised by a tribal community that goes by the same name as the art. The paintings use vibrant colours like orange, green, yellow, red and blue. The main subject of Gond paintings is nature while taking inspiration from myths and legends in Indian epics. The images are mostly human and animal forms.

Rogan 

Traditionally used to embellish a bride’s dress, Rogan art was born in Kutch, Gujarat around 400 years ago.

The art is made using a flat iron rod with beautiful bright colours like orange, red and blue. To make the colours, castor seeds are manually pounded to extract oil. The oil is then boiled to create a paste, which is combined with coloured powder and diluted in water. 

Rogan art has geometrical patterns, birds and flowers, and is usually painted on rugs, sarees, scarves, etc.

Thanjavur Paintings

Thanjavur paintings are a classical South Indian art form, which originated in the town of Thanjavur in Tamil Nadu and soon spread to the neighbouring states. It was given a GI tag by the government of India in 2008.

What makes it unique is the detailed work with an inlay of precious and semi-precious stones and glittering gold foil. Artists have been modernising the artwork by adding 3D effects and using vibrant colours to make it more attractive.

Edited by Pranita Bhat

Sources: 

Drawing and designs on walls by Trisha Bhattacharya 

Kangra Painting by Government of Himachal Pradesh

Aipan art of Uttarakhand by euttarakhand

The astounding art of Mughal India by Surya Tubach 

Warli – Tribal art of India by Arigma Mohan

Gond art residing in the heart of India by Yosha Gupta

Madhubani art- history, themes and characteristics by Misha Jaswal

How rogan art is being kept alive by Kartikeya Shankar  

As Paresh Patel — a third-generation weaver of this family continues to carry forward the legacy of Ashavali weaving in the handlooms set up by his grandfather, he recounts how it was a hobby idea that sowed its beginning.

“My grandfather Somabhai Patel was a farmer in Ridrol, Gujarat. While the monsoons meant long hours and hard work in the fields, the summers came with a lot of free time. On one such day, my grandfather tried his hand at weaving at his friend’s loom,” recounts Paresh adding that Somabhai took such a liking to this craft that he wanted a loom of his own.

Since looms in those days used the jala mechanism which needed three people to operate it, Somabhai roped in two of his friends for the purpose.

“Their fabrics woven with the Ashavali brocade style soon found their way to the mainstream market,” says Paresh. “But my grandfather discovered they weren’t getting the right prices for their sales due to the number of middlemen involved in transporting the fabrics from Ridrol to Ahmedabad, where they were sold. He thought it was time to connect directly with the customers.”

This also enabled Somabhai to get a firsthand idea of what the customer was looking for. It helped him to decide the look and feel of the fabric, the colour combinations, and the final design.

What was initially a family venture with five looms, increased to 100 within the next decade because Somabhai convinced the artisans from Surat and Madhya Pradesh to shift to the looms in Gujarat with a promise to pay them well.

There is an interesting story of why the weavers were spread across these states at the time.

Through the lens of history: the tale behind the Ashavali art

The Ashavali brocade dates back to the 17th century and started as a craft in Ahmedabad, Gujarat.

“There were around 500 to 600 looms in Ashaval (the old name of Ahmedabad). The looms were famous for the picchwai (a piece of cloth that hangs from the back of an idol), kinkhab (a fabric woven with silver and gold threads), kasab borders (ancient form of embroidery), pallu (the loose end of a sari), sari, saddlecloth, floor spread, wall-hangings, yardages and canopies that the master weavers of the Hindu Khatri community would weave,” says Paresh.

These creations amassed great popularity and a bulk of them were sold in Iran, Turan, Egypt, Syria and other Middle Eastern countries. However, in 1300 AD, everything changed.

The fire in Gujarat posed a great threat to the weavers here and they began migrating to Agra, Ajmer, Delhi, Varanasi and Chennai, where they set up looms and continued the brocade work. Thus, a craft that had taken birth in Ahmedabad no longer existed in the city but was popular in other parts of India. This popularity too began to decline in 1950 as mass-market textiles began to overtake the market.

In light of this redundancy that the Ashavali brocade was seeing, Somabhai Patel’s loom came as a ray of hope.

As Paresh says, they are the “only family right now who is carrying forward the legacy and working whole-heartedly to sustain this woven heritage”. Through the years, the Patel family has remained resilient to changing patterns and popular trends and stuck to their heritage art.

A sustainable and sustaining craft

“An appetite for adventure is not uncommon in the Patel family tree”, says Paresh.

“My father had completed his civil engineering degree in 1980 and was set to take up a government job. But when he knew the family legacy would die if there was no one to continue it, he changed his plans,” says Paresh, who himself took over the business in 2014 after completing class 12.

He adds while previously the jala technique was prevalent during his grandfather’s time, his father resorted to the jacquard technique, which necessitates only two people in each loom.

Invented by a French weaver Joseph Marie Jacquard in 1804, the jacquard mechanism is an intricate form of weaving, which takes an artisan 20 days to produce a single sari.

It begins with drawing a repeatable design onto plain paper and then replicating this same design onto graph paper of a larger size. There are two kinds of threads responsible for two different patterns. The vertical lines on the graph represent the warp threads, while the horizontal ones represent the weft ones.

Holes are punched into the card paper representing warp up, while the blanks represent warp down. This punching of holes creates a series of card papers with holes and blanks, and the set of papers is then placed onto the cylinder of the loom.

Following this, the drumming and beaming of the warp threads are done, and the weaver can then begin weaving. As the weaving is done, a host of colours are spun into patterns resulting in a fabric that exudes beauty.

Paresh explains that at Royal Brocades, a range of 17 herbs is used to produce natural dyes which create the colour scheme. The raw materials include indigo, pomegranate skin, rust, lac, Himalayan burberry and walnut skins.

From Gujarat to the wardrobes of Rekha

As the “only surviving karkhana (factory) of Ashavali brocade in Gujarat”, the Patel family currently has 40 looms and 100 artisan family members that they work with.

“Our studio is open 24/7, and the artisans can work according to their mood. This creates a familial environment where no one feels forced to work. We pay them per piece. It also gives us the freedom to work as per our convenience in contrast to working according to strict deadlines as in the case of working with designers,” says Paresh.

However, he cites the one “looming” problem that they see, which is the generation gap that exists in this craft.

Lalubhai, one of the weavers says his son who is currently in class 8 does not wish to get into weaving. “He wants to study and says he wants to become something big in life. He is always on his phone, and even in the time he spends with me, he does not show much interest in weaving.”

Mohammad Akbar, another karigar (artisan) associated with the Patel family says, “When I tried passing on the skill to my children, they weren’t able to get it right. They now make boxes for the sales of the products.”

Paresh credits their B2C method of doing business as a factor that has stood them in good stead through changing times and seasons.

“People get to know our story and we feel there is a connection. It is not simply buying and selling; it is much more,” says Paresh priding himself on their unique customer base.

“In the 90s, Lata Mangeshkar would order tiranga (tricolour) saris from my father. Our designs are also worn by celebrities like Rekha, Shobha De and Anuradha Paudwal, and we have even served the royal families of Thailand,” he adds.

Paresh says Royal Brocades ships across India and has even reached foreign shores — the UAE, the US, the UK, Malaysia, and Thailand. The brand sees “an average order of 40 saris a month”.

As Paresh looks back at the legacy, he says they never aimed to be on the map when they started out.

“We live in a local remote area in Gujarat and simply continued our work, doing what we do best. The rest is because of all the love we got from people,” he says.

Edited by Pranita Bhat

One evening, the friend introduced her to a gentleman named Rohan Parikh. Malvika would soon learn two interesting things about him — one that they were neighbours, and the other that Parikh was running a unique initiative named The Citizens’ Archive of India. 

The digital oral history archive, she explains, aims to be a ready resource for anyone interested in learning about the past, as well as to start a conversation around stories that rarely get a voice.

At a meeting over a cup of chai, Parikh proposed that Malvika take over the running and management of the archive. Presently, she serves as the archive director. 

“Since I joined in 2017 to date, we have interviewed over 300 people born before Indian independence about their lives and the way they have seen India develop and change over the years. We also collect material memory — photographs, letters, envelopes, diaries, newspapers and the like, and have a collection of over 4,500 material items,” she explains. 

While the archive juggles a host of projects, a particular one that stands out. 

The Generation 1947 Project

The project involves interviewing any person who has a story predating Independence. 

“We speak to just about anyone who has lived a significant part of their life in India and was born before 15 August 1947,” adds Malvika. “We do all sorts of different stories, and it goes to show how different life is for people who grew up at different ends of the spectrum. It portrays how times have changed.” 

Malvika says her familial ties have profoundly influenced the ease she feels when engaging with people of the older generation. “I grew up in a home that echoed with laughter and voices of grandparents, granduncles and aunts. I’d established a kind of comfort with them,” she explains. 

So when Malvika began conducting interviews for the archive, she started right at home, with her own family. 

The brief she gave them was simple. “Tell the stories you told me as a child, but I’m going to keep a camera and microphone on while you do it.”

Through time, the archive has expanded to accommodate all the memories and stories of the past, shared by people who have lived them. 

Here’s a walk through some of the most heartfelt ones. 

1. A new age 

Mrs Mithoo Coorlawala (100 years old at the time of the interview) attended Newnham College at the University of Cambridge from 1938-1939. 

This was an age when women were not awarded degrees. As Mrs Coorlawala recalls, “The men’s colleges were so furious when two women’s colleges were established that they burnt down the gates of our college, Newnham, and also, they had a big tamasha in the marketplace. There was a lot of violence against the opening of a women’s college. And (they said), ‘You can have a college there if you must, but you don’t get degrees.’”

“You could study, have the same syllabus, sit for the same exams, but when you passed, you didn’t get a convocation. You got your degree by post. It was not a recognised thing. It was more a ‘do it if you must’. That was pretty humiliating. After a lot of agitation, they began to give degrees at a convocation, the same as the men. So I went to celebrate 50 years of that.”

2. Bon voyage 

International trips, while a common feature today, were nothing short of luxury in the past. The feeling of excitement at embarking on a new voyage, the thrill of waving goodbye to one’s relatives as they stood misty-eyed and the anticipation of the journey ahead, added to the charm of a trip. 

One of the interviewees Mrs Madhuri Bhatia experienced these emotions as she set sail to Japan from Bombay in 1937. Here is a page from her sister’s diary, describing their departure. 

3. Living to tell the tale 

Lt Rama Mehta (now Rama Khandwala), a rani in the Azad Hind Fauj, narrated her experiences of being an eyewitness to World War II at Maymyo, Burma.

“My mother used to work for the Indian Independence League, so when Netaji started the Indian National Army, she became a recruiter for them, and immediately sent my sister and me to be trained in the Rani Jhansi Regiment. We had military training and nurses’ training. We didn’t immediately have uniforms, so for a while, we trained in our ordinary clothes.”

4. A unique travelling style 

The Citizens’ Archive of India often gets calls pouring in from people across the globe, offering to send in their “bagfuls of photos” that may offer insight into pre-Independent India. The team is more than happy to go through this material memory, as it often leads to them discovering a story. 

One such instance was when they went through Mrs Lata Sampat’s wedding album and found a “rather odd picture” of a bus suspended across two boats.

As her testimony later indicated, the picture was an ode to a time before the bridges were built for the Konkan Railway. 

“The day after my wedding, my husband’s family was taken to visit Jog Falls. At one point they had to cross the Sharavati River, but there were no bridges then. So everyone had to get out of the bus, and the bus was put on top of two boats and taken across. Once on the other side, they could get in again and continue their trip.”

5. A photo that went down in history

The picture is of Wg Cmdr Jag Mohan Nath and his sister Rajmohini. 

“Wg Cmdr Jag Mohan Nath received his first Maha Vir Chakra in 1962 for his service in the war against China. He received the medal once more in 1965. Wg Cmdr Nath told us that the photographer was a close friend, and told his sister, Rajmohini, to kiss the medal. He was most embarrassed by this and reluctant to let this photograph be taken. Funnily enough, the photograph became famous and has been featured in a number of newspaper articles over the years.”

6. An address lost in time 

Another material item that the archive holds is an envelope dated July 1933, addressed to Messrs Jeewandas and Co, Merchants. Today, the dwelling, if it still exists, lies across the border — Karachi, India — a simple yet stark reminder of the Partition of 1947 that forced millions to flee their homes. 

A stamp on the left commemorates the opening of a new airmail service from Karachi to Calcutta via Delhi. 

7. A Republic Day memory 

The archive traces the story of Mr Kishore Desai, a keen photographer who watched the first Republic Day parade in Delhi and was able to photograph Dr Rajendra Prasad’s carriage. 

In his words, “I remember they barely had any security then. The President and Prime Minister would travel with a pilot motorcyclist at the most. I saw them on many occasions on the streets of Delhi.”

8. A slice of history with your tea

Mr Kartar Singh recounted to The Citizens’ Archive of India how the British introduced tea to India.  

As he recounted, “The British gave us the habit of drinking tea. I remember I would go to Man Singh Road – Tughlaq Road. They had a stall there, where they would distribute biscuits and cups of tea. For us, the tea was just an excuse to eat the biscuits.” He added that the biscuits were given for free. 

“They were trying to cultivate a habit. They served biscuits along with the tea because none of us Indians really drank tea. We drank it to get the biscuits.” Mr Kartar Singh’s interview was taken as part of the archive’s ‘Dilli Ki Khirki’ project, conducted in partnership with Oral Historian Ekta Chauhan.

9. A plea to be arrested 

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A post shared by The Citizens’ Archive of India (@citizensarchiveofindia)

In the recording, Mr Prahlad Khanna, who witnessed the Quit India Movement firsthand, shares insights about the freedom struggle. 

He recounts how his brother, a Congressman, was arrested along with other leaders, and the manner in which these arrests were made. “We used to garland them and send them off in the police cars.” 

10. A story pasted on the bedroom wall 

The CAI team, in the process of their interviews, stumbled upon a picture pasted onto the bedroom wall of Harbans Singh, daughter of the former governor of Rajasthan. 

Taken in 1961, the picture portrayed Harbans’ father Gurmukh Nihal Singh with the Queen. Harbans, who missed the visit, holds the picture very dear to herself. 

“At the time the Queen visited, I couldn’t go because there were guests at my in-laws’ house. My father had asked me to come, but I couldn’t. But I have kept a picture in my bedroom.”

Edited by Divya Sethu

He marvelled at the plantations that stretched for miles around, took a walk around the village, and even had his hair cut by the local barber. With a cartload of memories and praise for the kind of hospitality he was met with, the young man returned to his home country.

However, the couple who hosted him wasn’t quite ready to forget this experience just yet.

Baby Mathew and his wife Rani Vallikappen had just accomplished what they had often just spoken about as a distant plan — hosting their very first guest at their homestay.

“Why not expand the number of rooms and start welcoming more people?” thought the couple.

This idea came at a very strategic time. The couple had been worrying about the falling prices of vanilla — the spice after which the home had been christened, and so, starting a homestay would help them tide over the crunch.

The homestay is now managed by the third generation in the same family — Baby Mathew’s son, Mathew Vallikappen and his wife Silu Joseph.

Today, Vanilla County welcomes many such tourists and travellers from across the world — from South India to the United Kingdom and even Canada.

A place that predates independence

The colonial-style bungalow was built by Mathew Vallikappen’s grandfather V J Mathew Vallikappen, a planter-cum-banker. The era was pre-independence and VJ Mathew would often have his British friends over at the property for a cup of tea. Whilst the construction of the home began in 1947, through the three years that followed, these friends would frequent the site.

With time, these interactions profoundly influenced the British and Dutch-style interiors that one sees in the home today.

“The walls are made of lime and rocks with no cement whatsoever,” explains Baby Mathew adding that all the furniture is made of teak and rosewood from the family estate which is still intact.

When Mathew Vallikappen and Silu Joseph took charge of the reins of the homestay, they ensured that the heritage of the property was preserved, whilst introducing modern amenities for guests.

Mathew adds that the family always wanted to create a homely vibe in Vanilla County, and that’s what they have worked towards.

“Any guest who visits our home in Vagamon is treated like family,” emphasises Silu. “The place has a great nature quotient with its sprawling tea plantations and vanilla beans. Guests love hiking through these.”

In fact, it’s not just the hike that is the highlight, but also the guide. The couple’s friendly pet labrador Koffi is more than willing to lead the way around the property.

Following a day of hiking and long walks through the green landscape, resplendent with plantations of pepper, turmeric, clove, and pineapples, Silu ensures there’s a table full of Kerala delicacies awaiting the guests.

“The meal includes food cooked using local women’s special recipes, and the masalas are cooked on a wooden fire,” she adds.

Every night, the table at Vanilla County creaks under the weight of chicken stew made with coconut milk, kalappam (a dish where yeast is substituted with alcohol for fermentation), Kerala fish curry, spice buns made of African coriander grown at the homestay, and more.

But, the highlight among these is the paani, which takes around eight hours to prepare.

“We boil the palm toddy for eight hours and finally get a product which is sweet, similar to the consistency of honey, but even better,” says Silu. She encourages her guests to have this as a side with puttu (logs of rice flour steamed with coconut) or palappam (rice pancakes).

While dinners and lunches are a heavy affair, the couple ensures they stick to the adage ‘Breakfast like a King’.

The meal is incomplete without Silu’s homemade jams prepared from bananas, pineapples and other fruits at the farm. She adds that 85 per cent of the produce used in their dishes comes from the kitchen garden they have, which guests can observe during the spice tour.

‘Home in the hills’ experience

Every guest who enters the portals of the homestay wishes they had signed up for a few more days. As Mathew explains, this is because there is so much to do here.

“They are so curious to know about the culture, the traditions that exist around marriage, the history of Vagamon and how simple everyday activities that are expensive abroad are so economical here,” he says. “The haircuts by local barbers top this list, as does the visit to the local toddy shop.”

In the midst of the maze of activities at Vanilla County, the couple says they don’t want to lose sight of their initial dream, which was to create as homely an experience as possible.

“We don’t offer room service like traditional hotels, and we encourage our guests to indulge in slow travel. We build a connection with the guests through their stay,” adds Silu.

So last month when famed stand-up comedian Kenny Sebastian booked his stay at Vanilla County, Silu and Mathew were both excited and nervous about introducing him to this new way of holidaying.

Kenny did enjoy himself as his vlog posted later suggested! He can be quoted saying, “The place is beautiful and warm, mainly because of Silu and Mathew who run the place. We had good food, very good food.”

But whilst Vanilla County prides itself on the slow way of life, there is also adventure at every corner.

“If you’d like to learn about beekeeping, procuring honey from the combs, diving into a natural rock pool abundant in spring water and minerals, or even learning how to prepare a three-course Kerala meal from scratch for Rs 2,500, all of these activities are available here,” says Silu. 

Guests can also witness the journey of rubber right from the plantation to its final state. “After extracting the rubber sap from the plant, the rubber milk is made. Then sheets are made using this milk, following which the rubber sets into a pudding form,” she adds.

The couple says that guests can choose between the heritage bungalow that has four rooms, the garden view bungalow that has two rooms, and the mountain view bungalow that has two rooms.

“In the heritage bungalow, guests can view a mirror imported from Belgium, which has been there since 1977. The furniture too is 75 years old and the architecture dates back 100 years,” says Mathew.

A room is priced at Rs 6,000 per night and the couple says they welcome around 300 guests in peak season spanning November through February.

Today, as the couple surveys this creation that they have sustained, they feel overwhelmed, simply because this wasn’t the way they expected things to work out.

Mathew, who was working as a baker in New Zealand for five years wished to settle down there. But, it was the COVID pandemic that provoked the couple to think about the bigger picture — a heritage home in India that needed looking after.

As Mathew recounts, “Leaving New Zealand wasn’t an easy decision to make. But today, I think it was the best decision.”

He adds a simple message for guests who come here — “We’ll provide the setting and the required level of service. It’s up to you to make the memories.”

To book a room at this heritage stay, visit here.

Edited by Pranita Bhat

As we recall these events that have outlined India’s past as we know it, we celebrate 10 legendary figures behind them. They went beyond the call of duty and braved the odds to contribute to the country’s growth.

1. Maulana Abul Kalam Azad

A scholar, a former Congress president, a freedom fighter, and India’s first education minister, Maulana Abul Kalam Azad’s contribution to the Indian education system is unparalleled.

He set up India’s first IIT (Indian Institute of Technology). He also founded ⁠Sahitya Academy, Sangeet Natak Academy and Lalita Kala Academy to provide a common platform for the diverse literary and cultural heritage of India.⁠

During his tenure, the importance of scientific education, higher study, and establishing more research institutes was emphasised.

2. Surendranath Banerjee

Racial discrimination wasn’t uncommon during British rule. When Surendranath Banerjee cleared the British-instituted civil service exam, he was dismissed due to his background. And later in 1869, he was dismissed again due to a dispute about his age.

Surendranath used adversity to fuel his zeal, and in 1876, he launched the ‘The Bengal’ newspaper. He then used this platform to address the topic of racial discrimination, and speak out against issues, such as the age limit of students appearing for the civil service exam.

In the same year, he went on to found the ‘Indian National Association’ where he propagated the same values.

3. Dhondo Keshav Karve

Known as the man behind India’s first university for women, Dhondo Keshav Karve’s work in the social field and the welfare of people has its roots in his childhood.

When his wife Radhabai passed away at the age of 14, Karve established the Widow Remarriage Association in 1893. He then went on to marry Godubai, another widow. Apart from this, Karve was vocal about social issues that plagued the community at the time, like untouchability. He persisted, in spite of being insulted by orthodox members of society.

In 1896, he set up India’s first school for widows at Hingane village and then a residential school for girls that trained them for jobs.

Even Gandhi often acclaimed the heroic nature of Karve’s deeds.

4. Sukhdev Maharaj

Back in the days when India strictly operated through a patriarchal system, the dance form ‘Kathak’ was only performed by a certain sect of people. It was a tradition that the women tawaifs, who assumed the status of entertainers, would perform the dance and male gurus had the power to transmit the art to others.

However, Sukhdev Maharaj, a Kathak guru himself, was firm that he would not have his daughters limited to housework, but rather engage in performing arts.

Since society did not see it fit for the girls to learn Kathak, Sukhdev taught his daughters the dance form himself. Sitara Devi, one of the daughters, went on to excel in the art and is known today as the ‘Empress of Dance’.

But her father, Sukhdev, was shunned from the community for this bold move.

5. Bhupen Hazarika

While Hazarika’s songs find their way to the radios across India, very few know that the legendary musician began his career at the age of 10.

Growing up listening to tribal music, Hazarika developed an inclination to sing. And his mother’s lullabies introduced him to Assam folk music.⁠

He managed to impress Assamese filmmaker Jyotiprasad Agarwala, and even sang two songs in Agarwala’s film Indramalati –  Kaxote Kolosi Loi and Biswo Bijoyi Naujawan – at the age of 12.

6. Jaipal Singh Munda

Jaipal Munda wore many hats in one lifetime. Under Munda’s leadership, the Indian hockey team performed stupendously in the 1928 Amsterdam Olympic Games, where they won the gold medal.

In addition to this, he was a firm believer in tribal rights. He began a campaign in 1938 for the rights of indigenous communities, which turned out to be successful in 1946 when he was elected to the Constituent Assembly from a ‘general constituency’ in Bihar.⁠

He also helped to frame the Indian Constitution.⁠

7. ⁠Lata Mangeshkar and SD Burman

When their ‘Thandi Hawaayei’ song was released in 1951, it was a hit that put the duo on the charts. Lata Mangeshkar and S D Burman’s musical harmony was one that touched many hearts through their journey together.

Lata ji has often written about Burman ji as a ‘father figure’ and recounted how he has shaped much of her musical career.

“He would coach me and sing in his typical folksy style with the regular voice breaks, and reiterate the parts that I felt uncomfortable rendering,” she once said.

8. Prithviraj Kapoor

An Indian actor and one of the founding figures of Hindi cinema, Prithviraj Kapoor attempted to throw light on communal harmony through his play ‘Deewar’ in 1945.

However, it was met with staunch opposition from the Muslim League, and the British government refused to grant permission to showcase the film. The condition placed was that if Kapoor could obtain clearance from the Muslim League, the play would be allowed to be opened at the Royal House.

Kapoor managed to get the clearance by submitting only the application, without the last rejection page! ⁠The play not only did well but went down in cinematic history for its storytelling.

9. Homi Bhabha

In the iconic picture, JRD Tata, Homi Bhabha and Niels Bohr can be seen. This was clicked during an International colloquium on Function Theory in 1960.⁠

Bhabha firmly believed in the power of science and this was reflected in a letter he sent to his father while he was studying at Cambridge.

“I seriously say to you that business or a job as an engineer is not the thing for me. It is totally foreign to my nature and radically opposed to my temperament and opinions. Physics is my line. I know I shall do great things here. My success will not depend on what A or B thinks of me. My success will be what I make of my work. Besides, India is not a land where science cannot be carried on.”⁠

10. Kamaladevi Chattopadhyay

Kamaladevi’s role as an Indian social reformer and freedom activist is acclaimed. She is known as the ‘Culture Queen of India’, as she worked to revive the languishing arts and crafts of the people. She even travelled to the remotest parts of the country for the purpose.

She encouraged people to use local materials and even today, nearly 30 million are still affected by the cottage industry.

Following the Partition, she worked on creating a safe space for refugees from the Northwest Frontier province, and this led to the city of Faridabad.

(Edited by Pranita Bhat)

Sources:

Maulana Abul Kalam Azad by Cultural India. 

Lesser known facts about Sudha Kontho Dr. Bhupen Hazarika by NE Now News, Published on 5 November 2022.

Remembering Kamaladevi Chattopadhyay, the unsung feminist freedom fighter by India Today, Published on 29 October 2018.

Today, having one’s sari blouse stitched is an entire process of selecting the pattern, having the measurements taken, adding embellishments or threadwork, and then choosing the final look. But only a few decades ago, this ritual did not exist.

In ancient India, it wasn’t uncommon to see women comfortable with having the upper part of their torso bare — sometimes as a way of combating rising temperatures. As a testament to this, there are sculptures in temples and forts across the country that reflect the dressing style in that bygone era, and a sari blouse is nowhere in sight.

As the tailor continues to produce different names and patterns as I watch, I’m intrigued by how a piece of clothing that never existed, so to speak, now has an entire dedicated chapter in the book of Indian fashion.

Turns out, we have Jnanadanandini Debi from the Tagore family to thank for this. An advocate of women’s rights and a believer in liberalism, Jnanadanandini Debi has gone down in history as the woman who made the modern-day sari popular.

But first, let’s discover the incidents that led up to this.

Ancient India did not wear a sari blouse 

Tracing back to the Gupta and Maurya periods around 300 BC, women wore pieces of clothing on the lower and upper parts of their bodies. These were very similar to the coverings that were worn by men. Moreover, the concept of fashion had not taken root, let alone the concept of the sari.

It was during the 15th century that the Moghuls were in power and fashion was an integral part of daily life. The trends that emerged at the time set precedence for the traditional attire of today.

The women’s divided garments resembled the salwar kameez (trousers and tunic) while their blouses with long skirts were similar to the lehenga (ankle-length skirt).

It was only during the Indus Valley Civilisation around 2800 BC to 1800 BC that the first instances of the modern-day sari are reported. The attire of women comprised a three-piece garment or Poshak. It had a lower garment – Uttariya – which covered the part from the waist down; a chest band – Stanapatta; and a piece of fabric that went over the shoulder and covered the head – Antriya.

While popular, saris weren’t a norm and in hot climes, women would choose to ditch the chest band. As history tells us, it is only the British rule — and other western influences during the time — that led to the sari blouse becoming a part of mainstream fashion and Indian dressing as we know it today.

This is where Jnanadanandini Debi, comes in.

Who is Jnanadanandini Debi?

Born into a middle-class family, Jnanadanandini Debi was married at the age of seven into the prestigious Tagore family. She became the wife of Satyendranath Tagore, the brother of the famous Bengali poet Rabindranath Tagore.

Marrying into the Tagore family meant abiding by the stringent rules that women in Bengal then had to follow.

She wasn’t allowed to step out of the home much, lived confined to the room under the purdah system, and saw to the duties of the household.

In Women of the Tagore Household, Calcutta University’s late Dr Chitra Deb explained that no man, neither family member nor servant, was allowed into the inner rooms at will. Unmarried men were not allowed at all.

She writes, “It was only after marriage when a separate bedroom was allotted to him that a man came in at night to sleep.”

The system also extended to the dressing style that women had to follow.

As Dr Sonia Nishat Amin of the University of Dhaka writes in The World of Muslim Women in Colonial Bengal, Bengali attire known as the zenanas were closely linked to the culture.

“Behind the walls of the traditional Hindu andarmahal (palace interiors) of the well-to-do was a light sari worn without undergarments, which gave a semi-transparent look,” she writes.

Though Satyendranath was supportive of his wife and advocated for women’s rights, familial rules made it impossible for Jnanadanandini to get her freedom. But she persisted.

It is said that there were so many clashes in the home between her and her father-in-law Debendranath Tagore that Jnanadanandini moved into a separate house with her husband and children, thus setting the precedent for nuclear families in Calcutta.

Through these incidents, Jnanadanandini began to step out of the house more often and would encourage the women of Bengal to do so and lead a social life.

This sense of freedom was only elevated when Satyendranath was appointed as the assistant collector of Bombay, meaning that Jnanadanandini Debi was now associating with high circles. She would travel to Bombay and broaden her ways of thinking. It was during this time that an incident shaped the future of the sari blouse.

The idea of the sari blouse is born

During one of her social events, Jnanadanandini was trying to get entry into a club under the Raj (British rule) but was refused entry.

The reason was her attire — the Bengali zenana, which had the sari fabric lying over her bare breasts. Being denied entry because of her attire provoked Jnanadanandini, who then came up with a way of covering the upper torso, and draping the sari elegantly.

In her 2015 book Indian Fashion: Tradition, Innovation, Style, former TVOF columnist Arti Sandhu writes, “She adopted the Gujarati style of tying the sari by bringing the pallu around her body and throwing it over her left shoulder.”

From then on, the style trended and was soon used not only as traditional attire but also to make a fashion statement.

The story goes that once she returned to Calcutta, she invited women to learn this new way of draping the sari and hundreds of women turned up at her doorstep.

The style soon went on to be called the Brahmika sari, and gradually the trend transformed into chemise, jackets, and blouses.

While I discovered the tale of how the sari blouse travelled through time to become an integral piece of fashion, the tailor has progressed from suggesting trendy patterns to the timeless ones from the 80s.

Which pattern he will finally deem to be a head-turner is a story for another day.

(Edited by Pranita Bhat)

Sources

Dressing the Indian woman through history by BBC, Published on 6 December 2014. 

The Colonial History Of India’s Favourite Sari Blouse by Payal Mohta, Published on 3 September 2021. 

History of the sari, from ancient India to fashion runways – simple, versatile garments tell the stories of women who wear them by Bhakti Mathur, Published on 16 October 2020. 

Jnanadanandini Devi’s New-Age Sari Drapes by Cynthia Green, Published on 25 May 2020. 

Jnanadanandini Devi Tagore is an unsung heroine who led a social revolution in Bengal during the 19th century by Ninad Dange, Published on August 2018. 

These nuggets of history present us with a colourful account of the years that have gone by, along with pinpointing the iconic moments along the way. 

Here are a few interesting stories of people who made significant contributions to fields spanning science, art and sports, which have come to be celebrated worldwide. 

1. R K Laxman

As a college student, R K Laxman illustrated his older brother’s stories in a leading newspaper. After college, Laxman also went on to make sketches for the television adaptation of Malgudi Days written by R K Narayan.⁠

While in school, Laxman was an avid enthusiast of drawing and is said to have made drawings on the floors, walls and doors of his house and even caricatures of his teachers at school.

2. Debalina Mazumder and Manobina Roy 

While candid photography has become popular today, very few know of the two sisters who introduced the world to it. 

Debalina Mazumder and Manobina Roy were initiated into photography by their father Binode Behari Sen Roy, a school principal. During this time, staged photographs were very popular but following portable cameras becoming available in the market, the sisters began capturing their daily lives. 

⁠“After Debalina and Manobina got married, their photographic pursuits had to be accommodated within their growing responsibilities as wives and mothers amidst new households in Calcutta and Bombay,” Jadunath Bhavan Museum and Resource Centre said in a release.⁠

3. Sports legends 

In this frame, sporting legends Major Dhyan Chand, one of the greatest field hockey players in history, Milkha Singh, the field sprinter who came to be known as ‘The Flying Sikh’ due to his speed, and Dara Singh, the Indian wrestler, can be seen. 

The three legends’ contributions to history and India’s sporting scene, both individually and cumulatively, have been celebrated through the years. 

4. A musical trio

Songs like ‘Yahoo!’ were sung by Mohammed Rafi, while they were matched by fast-paced compositions by duo Shankar-Jaikishan and electrifying dance steps by late actor Shammi Kapoor.⁠

⁠This brilliance of Shankar-Jaikishan coupled with Shammi and Rafi created magic onscreen with Brahmachari (1968), which landed the best performance Filmfare award.⁠

⁠While Shankar-Jaikishan have been associated with 125 songs for the actor, it was the golden voice of Rafi that reached his soul. Together, the trio impacted generations and people still reminisce and groove to Shammi Kapoor’s dance styles. 

5. Philomena Thumboochetty 

Philomena Thumboochetty, the daughter of the ‘Huzur’ secretary of the Maharaja of Mysore, was a musical genius. When she was just a teenager, she took the fellowship examination offered by Trinity College London and was awarded 98 per cent. 

The examiner admitted that he had some difficulty in refraining from giving her the full score. ⁠

⁠The Indian violinist went on to be chosen for admission to the famed Paris Conservatoire and was the youngest and the first from India to do so.⁠

⁠Legendary violinist Yehudi Menuhin once said to her, “You still play perfectly in tune”. ⁠

6. ⁠An epic film crew 

The masterpiece ‘Sadgati’ (1981) was based on a story written by Munshi Premchand, adapted for the screen by Satyajit Ray, and featured two wonderful actors Om Puri and Smita Patil in the lead roles. 

The film was produced by Doordarshan and telecasted on television. Dukhiya, essayed by Om Puri, and his wife Jhuria, essayed by Smita Patil, are looking to get their daughter married. When Dukhiya goes to the village priest, the latter asks that he work for him for free. 

The film portrays the evils of untouchability and the caste system that were prevalent. 

7. The first Indian soap opera

India’s first soap opera show, ‘Hum Log’ was aimed at the middle class of society and the struggles they endured. 

Seema Pahwa, who played one of the lead characters of Badki, was quoted saying, “The honesty portrayed in these stories successfully reached people. The number of shots or the technology did not matter because the content was important, and that’s the main reason why people remember ‘Hum Log’ fondly to date.⁠”

8. The first women doctors 

In the frame are Anandi Gopal Joshi, Kei Okami and Sabat Islambooly – the first women doctors of India, Japan and Syria, respectively.⁠

⁠The three were alumni of the first women’s medical college in the world, the Women’s Medical College of Pennsylvania (WMCP), and became licensed doctors in the late 1800s.⁠

⁠But what stands out is Anandi’s story. 

Married at the age of nine to a much older husband, Anandi lost her child at a tender age to the unavailability of medical care in India. This incident made her decide to pursue a career in medicine.⁠

⁠Although she died at the age of 21, she was able to inspire more women to pursue healthcare in India. ⁠Sabat moved to Cairo after graduation, while Kei headed a gynaecology unit in a Tokyo Hospital. However, she chose to resign when the Emperor did not respect her enough as a doctor because she was a woman.⁠

9. ⁠Meena Kumari 

Described as ‘historically incomparable actress’ of Hindi cinema, Meena Kumari was put into films at a very young age, while other children were sent to school. 

Once she was asked about how she felt that since the age of four, she was working in films, she said, “I never chose it; I was pushed to choose it because of the circumstances. I wanted to go to school and study, become a doctor, lawyer, or something. But circumstances made me a film actress.”

⁠Meena Kumari’s career had her starring in over 90 movies. 

10. Johnny Lever 

John Rao Prakash Rao Janumala was born into a family, where his father would find it difficult to earn enough to sustain the three children. 

⁠Johnny had to leave school when he was in Class 7 to take up odd jobs and earn something. He sold pens, danced on the streets of Mumbai and mimicked Bollywood actors. One day, his father took him along to Hindustan Unilever Ltd (HUL)’s annual function, where he mimicked some senior officials and this show earned him the nickname Johnny ‘Lever’.  

Soon, he became one of the most popular stand-up comedians in India. ⁠

Edited by Yoshita Rao

This ritualistic folk art is synonymous with the Kumaon region of Uttarakhand and is known as aipan art. While the patterns of drawings have evolved in recent years, traditional aipan art was heavily focused on objects of nature and geometric designs. 

A decade ago, the Kumaon region would boast of this form of art with the empty walls decked in red and white designs and the festive seasons incomplete without it. However the same cannot be said for today. 

The sightings have become fewer and the tradition of the aipan is rarer. 

So when Minakshi Khati, a 24-year-old artist, made this observation while she was in college, she wanted to change the status quo. 

“I wanted to bring back the traditional aipan, which is the pride of Uttrakhand, and retain its cultural significance,” she says to The Better India. But she adds that to revive something, one must understand its importance in the first place. 

What is aipan art? 

Derived from the word ‘arpan’, which translates to ‘writing’, the aipan art is done by using the last three fingers of the right hand. 

A paste is made from rice and the desired patterns are then traced onto the red background. Usually done on empty walls, courtyards of the home and temples, the art is also synonymous with the festive season as it holds that the patterns are a way of invoking the divine and keeping evil spirits at bay. 

Growing up, Minakshi would hear of this as well as observe the art being predominant in her state. 

“Grandmothers would pass the tradition on to their daughters and they would pass it on to their daughters, thus continuing the cycle. It was a generational art form,” recounts Minakshi, adding that as a kid she would often trace patterns with the rice paste with her grandmother and mother. 

But in the years to come, this changed. 

“As I grew up I began to notice how the art form began to get rarer, not just in families, but even in social contexts,” she says. To this, she adds that ironically, while the birth state of aipan art was losing touch with it, other states loved it and held it in high esteem. 

This was a gap that Minakshi was intent on bridging, and once she had completed her Bachelor’s in Science, she started Minakriti: The Aipan Project in 2019, as a way of giving the art form its due recognition while doing this, also providing jobs to the local women. 

Popularising aipan art once again 

But, as she says, there was a lot of learning to be done. 

“Since this is a traditional art form, I needed to first understand the intricacies of it,” says Minakshi. “Sometimes I would wonder how I would learn all the finer nuances and manage to replicate it correctly.” 

To broaden her understanding she began making frequent trips to Kumaon as the art form had originated here. “I would also engage in conversations with the elders in the village and the local women. As I slowly learnt, there are people in Uttarkhand who have devoted their time to studying the art form in great depth and have done intense research on it,” she says, adding that speaking to these people helped her understand the art form in a better way.  

Once Minakshi felt she had learnt all there was to learn about aipan, she began conversing with the local women in Kumaon and gauging their interest in whether they would be interested in reviving this.

“We started with a few nameplates and wall hangings,” she says, adding that she posted pictures of these on social media, and was met with a great response.   

Slowly, more women began showing an interest in making decor and earning through this. 

Helping women earn through aipan

Today, Minakshi has 30 women who are associated with her venture and each of them she says earns Rs 5,000 to Rs 10,000 a month, depending upon how many orders they can complete. 

Along with this, Minakshi and her team of six train children through workshops that they conduct at schools and colleges. 

“I have trained around 20,000 children in aipan. These children are from schools in Dehradun, Haridwar, etc and if any of them are really interested in aipan and making decor items, I encourage them to do it and then connect them with customers I know of in those regions,” she says. 

As for the women who work with Minakshi, they come to the centre in Ramnagar and pick up the raw materials and then do the work in their homes. 

“The women work from their homes in the free time that they get, and I let them know the number of days that the order needs to be completed,” she says.

Among the products that the women make, there are name plates, coasters, showpieces, kettles, etc. During Diwali, there are puja thalis, torans, lotas for karva chauth, etc. The diyas are priced at Rs 20, while the rakhis are Rs 25, and the thalis are Rs 200. 

One of the women Neelam, who has been associated with Meenakshi for the last couple of years says her experience has been great. “It isn’t simply about making the products but also about learning the cultural significance of the art and it is refreshing to make these decor items.” 

Minakshi’s team comprises six people and while the orders that they receive depend upon the season time, she says in Diwali they got around “1,000 orders”. 

But for Minakshi, she says the most amazing part is that through this venture people around Uttarakhand and the neighbouring states also know of aipan art. 

“When I started out this was the biggest challenge I foresaw, on building a successful business model out of the art form.” 

But now in retrospect, she says the effort was worth it. 

Edited by Yoshita Rao

After working in the field for a year, in 2009, he quit his job and had two options — a Master’s degree in the US or staying back in India.

Eventually, he chose the latter, as he believed there was “a lot of meaning in being home and continuing the legacy of the culture that [he] was brought up in”. 

“Through the years, I have found that there is a value in having the luxury of time,” he tells The Better India, adding that in retrospect, he feels this decision has held him in good stead. 

Today, Himanshu’s venture Himachali Rasoi is a space where people can experience the “true authentic cuisine of the hills” and the much acclaimed traditional ancient ‘dham’. 

But Himachali Rasoi wasn’t the engineer’s first culinary venture. 

He also runs ‘Wake and Bake Cafe’, which he says was “one of the first cafes in Shimla”. The concept behind this was to bring about a change. 

“Shimla is known for its formal dining eateries but the cafe was a different setting,” says Himanshu, adding that the cafe continues to get a good crowd, both from the locals as well as from tourists. 

But whilst the cafe was a success, Himanshu noticed a gap. “There was a misrepresentation of Himachal food here,” he says.  “Being the capital, one would expect Shimla to have more restaurants that represented the ‘true culture’ of Himachal, but there weren’t many. It was surprising.” 

This thought eventually led him to start the Himachali Rasoi in 2015 as an attempt at reviving and preserving Himachal’s traditional cuisine. 

A rich and intricate history 

What stands out about the eatery is the dham that people travel from far and wide to experience. 

“Being from Kangra, my roots with tradition and culture are very strong,” explains Himanshu, adding that he wanted to take this forward and revive the ancient tradition of the ‘dham’,  which goes back several generations. 

The dham is based on mythology. The legend goes that Lord Ram’s son, who was a sage, came to the mountains, where he was recognised to be of royal blood. He called upon a conglomeration of khansumas from all over Himachal Pradesh and demanded that they fulfil a peculiar request — to be able to offer everything in the kingdom on one plate to the goddess. 

This platter of dishes came to be known as the ‘dham’ — rich, complete, and intricate in the way it was prepared. 

“It reflected consciousness and culture. From being a meal eaten on an everyday basis, it slowly became raj bhog, which was only eaten at weddings and during festive times,” Himanshu explains. 

However, the legacy of dham goes a little beyond this. 

“There is a community where Brahmin cooks known as botis would pass on the knowledge of cooking the dham from one generation to the next,” he says. 

Having heard these stories right from his young days, Himanshu decided to recreate the magic that had been lost in time. 

‘I spent six months with the botis to understand the intricacy of the dham.’ 

In 2014, a year before he opened Himachali Rasoi, Himanshu travelled to the villages across Himachal to work closely with botis to understand the process of preparing the dham. “When they were called to weddings and feasts, I would accompany them,” he recalls. This experience, he says, taught him a number of things. 

“Earlier, the dham used to be special, as every home would stick to the authentic version. But with globalisation, people have been exposed to different cultures and the concept of buffets has become popular.” 

This, he says, has led to a change in the idea of what is “exotic”, as people have simply started replicating what they think fits the definition. “As a result, the botis‘ positions as stalwarts in preparing the dham has reduced through the years. Additionally, their children do not want to continue this tradition.”  

So they were surprised that he was so intent on learning with them and taking the culture of the region so seriously. 

A day at Himachali Rasoi 

Preparing the dham is a tedious process, says Himanshu.

“The prep work begins the night before — soaking the lentils, preparing the masalas, and mixing the spices. We begin cooking the meal at 8.30 the next morning and it goes around till noon,” says Himanshu. 

He adds that doing this every day requires intense passion and dedication. 

“Everything has to be well timed,” he says. “It is crucial to get the flavours and proportions right as traditionally the meal shouldn’t be tasted before it is offered to the Goddess. We only alter the salt, that’s it.” 

Eventually, Himanshu began teaching apprentices to prepare the dham. “This did take time, as I wanted the flavours to be right,” he notes. 

At Himachali Rasoi, guests can have their fill of two dhams — the Kangri Dham and the Mandyali Dham. Alongside, they serve sidu, which is a steamed wheat bun; babroo, which is a fried wheat bread; and patande, or wheat pancakes. 

“The food has been curated keeping in mind the culture of the region and the nutrition requirements. People can have the food on the menu with ghee in the mornings and then head to the fields for a day of work,” says Himanshu.

Himachali Rasoi sees around 100 guests every day and the engineer-turned-chef couldn’t be more proud. Today, as he looks back at the years that have unfolded, he says he is proud of his choice to stay back in India. 

“If I had chosen otherwise, I would be just another cog in the machine.”

Edited by Divya Sethu

The menu at Cafe Farohar, an authentic Parsi cuisine restaurant, is a visual treat for those who make their way to the town of Udvada in Gujarat. 

Run by a mother-son duo Hilla Marolia, who is now 60, and her son Shezad Marolia, the eatery has been up and running since the year 2017 and it is a tale that deserves an ear.  

Moving to Udavada and starting Cafe Farohar

It all began when Hilla, who was then living in Mumbai, opened the newspaper one morning and read an advertisement. 

She says it was an ad for a vacancy for the role of manager at the dharamshala in Udvada. As fate would have it, Hilla applied for the post, bagged the role, and was set to start her new position in January 2017. 

When she began overseeing the activities and operations at the dharamshala, she noticed that there wasn’t much of a variety of food for the pilgrims who would come here. There was a set menu and the food lover in Hilla was awakened, wondering how she could wake up this town of Udvada with an idea. 

Since she was 18, Hilla always had a fascination for cooking and spreading her love for Parsi cuisine. 

In the 1980s, Hilla would cook what she knew best and distribute food through a tiffin service that she had started. Barely 18 years old at the time, she had quite a fan following in the Parsi community where they lived. 

“I have never learnt cooking professionally or done any courses in this regard,” says Hilla, explaining that she didn’t dream she’d ever be running a restaurant of her own someday in Udvada. 

However, once she had the brainwave of starting an eatery serving authentic Parsi cuisine in the town, things started falling into place and soon, she was living the dream. 

In her venture, Hilla was also joined by her son Shezad who had been working overseas as a general manager in the culinary space.

Having always harboured a dream to have a cafe of his own one day, this seemed like a perfect opportunity, and in 2017, he returned to India to join his mum in running Cafe Farohar. 

“We had a simple motive,” says Shezad, “And that was to bring a change in the culinary landscape of Udvada and start a space that would allow devotees to experience true authentic Parsi food.” 

True to their word, today Cafe Farohar stands as a hub of Parsi food, welcoming devotees who come to the pilgrim spot, and even others who travel miles for a lunch of dhansak and patrani macchi. 

At cafe Farohar, there is never a hurry. Lunches here are a sumptuous affair as you take in the aromas of every dish before gorging on these. 

As Shezad will tell you, setting up the space brought with it a lot of excitement as well as some learning. 

‘Every day we learn’. 

The mother-son duo initially had plenty of reservations about how the business would pick up and if they would be able to sustain it. And how the community would respond to this attempt at them reviving Parsi food without the tinge of other versions that are so popular today

“Every dish had to be done to perfection and nothing less,” says Shezad and in time he recalls that this became their selling point. “People began coming here for specific dishes as they knew these would be spot on.” 

But the biggest learning, the mother-son duo say, came during the pandemic. 

“The cafe shut down, and it was a zero rupee business in those months,” says Shezad, adding that since there weren’t many devotees visiting Udvada, his mother Hilla went back to making tiffins which Shezad would deliver in and around Mumbai and Gujarat under the brand name Farohar’s Kitchen. 

“We did not let the pandemic deter our spirit. Though we couldn’t let the venture go forward in its usual style, we continued spreading the love for Parsi food,” says Shezad, adding that even when things picked up and Cafe Farohar was set to start operations, they continued catering at weddings, navjots, etc. as part of Farohar’s Kitchen. 

Today, any pilgrim who makes their way to the town of Udvada doesn’t leave before they have a heavy lunch at the cafe. Cafe Farohar has become synonymous with Udvada, and Hilla’s recipes have made this possible. 

Dhansak, berry pulao and more

Over the years the mother-son duo has perfected many specialities and guests can be seen queuing up to get their fill of the sali marghi, atheli marghi, boi fish, the Indian mullet, salli boti, papri ma gosht, and so many other delicacies. 

The dishes are priced at nominal rates, ranging from Rs 200 to Rs 400. 

While on weekdays Shezad says they serve around 40 guests at lunch, he says the weekends are crazy. 

“There is a 45-minute waiting for lunch on weekends and lunch goes on till around 5 pm in the evenings,” he says, adding that they see a turnover of around 245 people on these days. 

“Some travel all the way from Mumbai just for a lunch,” he adds. 

As Shezad explains, the community and love that they have built over the years trace its roots to one simple reason: “When we use the word ‘authentic’ we mean it. The dish is exactly what it is promised to be and we ensure the taste remains consistent over time.”

He adds that his mother’s personal touch is in every dish and recipe and this sets their food apart from other places.

“We are not doing business here. I’d say instead it is simply a mother-son duo following their passion for food,” says Shezad. 

But in spite of building a successful venture, it has been tough. This, Hilla explains is because Parsi cuisine isn’t mainstream and sticking to authentic delicacies is a challenge. “Parsi cuisine is such that you need an acquired taste for it and while trying to preserve our heritage, it is a challenge to ensure people love the food too,” she says.

She adds that they do not feel compelled to compare themselves with anyone. 

All they want to make sure of is that in a community, whose numbers are slowly dwindling, they leave a legacy behind. 

As our discussions come to a close, it is four in the evening but Shezad calls out to the kitchen telling them they have a customer for their lunch menu.

Asked Shezad about this and he says, “At Cafe Farohar, we never turn away anyone. It is never too late for lunch to be served.”   

Edited by Yoshita Rao

“The Diu Fort was listed as one of the Seven Wonders of Portuguese origin in the world, which houses a chapel, a former residence of the governor and several other aspects inside the fort,” says Maria Victor, 38, who founded Make It Happen in 2011. An experiential travel company that started as a hobby travel venture, evolved into a community-led local experience initiative in Goa. 

“Soon we were invited by Diu Smart City, a government initiative, to set up heritage walks there. They saw the value of having heritage experiences to capture the essence of the city,” says Maria.

While Diu has been long known for being a Portuguese territory, Maria says, it has had a long-standing maritime heritage connection even before the Portuguese arrived. “It has palatial Havelis with Indian as well as influences from the eastern coast of Africa. It is also a fortified town where we have different communities living together,” she adds.

You can find more details about Diu Heritage Walks organised by Make it Happen on their website.

If you’re planning to visit Diu, here are 10 heritage structures that you cannot miss.

1. St Paul Church

St Paul’s Church is the largest functional church in Diu. Dedicated to Our Lady of Immaculate Conception, its construction was completed in 1601. Sharing close similarity with the Basilica of Bom Jesus in Goa, the church is known for its intricate sculptures and stunning Jesuit architecture by Indian craftsmen architecture. The church boasts rich wood carvings, a splendid facade, intriguing volutes and shell-like motifs.  

2. Gangeshwar temple

Situated amidst serenity and scenic beauty, the Gangeshwar Temple is dedicated to Lord Shiva. This ancient Hindu Temple is located on the seashore and is believed to have been built by the Pandavas 5000 years ago. The temple is famous for its five Shiva Lingas under a rock-cut cave. Only the tip of these rocks can be seen whenever there is a high tide as the sea water submerges them.  

3. Pani Kotha

Pani Kotha dates back to the era when Malik Aiyaz was the governor of Diu before the Portuguese arrived. The Portuguese reconstructed Pani Kotha and called it Fortim Do Mar which translates to Fortress of the Sea. They built a small Chapel in the fort in 1638, dedicated to Our Lady of Victory and a lighthouse as well. Pani Kotha also served as a jail during Portuguese rule. Pani Kotha was built at the mouth of the creek, north of Diu and can only be accessed by boat.

4. INS Khukri Memorial

Inaugurated on 15 December 1999, the INS Khukri Memorial is dedicated to the crew aboard the warship of the Indian Navy that was martyred during the Indo-Pak War in 1971. The memorial comprises a scaled model of INS Khukri F149  enclosed in a glass case. Names of all officers and sailors of the ship are displayed at the top. There is an open-air theatre towards the sea with seating arrangements for visitors. From the memorial, one can get a beautiful view of the setting sun over the Arabian Sea.

5. Diu Fort

This enormous monument had a residence for the nobles, a warehouse, barracks for the soldiers, a house of arms and ammunition, a prison, a church, and a chapel.

On the Fort stands a giant structure, now housing the lighthouse which serves as a navigation aid to the fishermen, and is considered the tallest structure in the Fort. The Fort has stood the test of time witnessing various siege battles fought to gain control over the island of Diu. The Fort was upgraded at various stages with over 70 cannons installed at all sides and defensive bastions that were built to make it a formidable structure. Diu fort is one of the Seven Wonders of Portuguese origin. This further highlighted the importance of the Fort and put it on the world tourism map.

6. Old town of Diu

This street highlights the local heritage through residential buildings colloquially known as Havelis. The functional and devotional buildings were built, maintained and conserved in the Old Town of Diu. The beauty of the Old Town’s a reflection of the wealth brought into Diu by the historically privileged contacts of Vaniyas and the journey of Vanzas, who was an integral part of the lucrative textile trade with East Africa.

7. Jagdish temple

Shri Jagdish is a form of Lord Vishnu and this residential Haveli has been repurposed as Shri Jagdish Mandir. Earlier only an image of the deity was placed at the end of Suraj Vav Chowk in the Old Town, which was bought from Odisha. The main idol is 300 years old and cut from a single piece of wood. This double-storey facade has carved stone work, floral design, and figures of sadhus and pandits soldiers and lions painted in bright colours.

8. Khukri Warship Museum

INS Khukri P49 was the lead vessel of her class of corvettes, in service with the Indian Navy. The ship was named after INS Khukri F149, the only Indian Navy ship to be martyred in combat.

Khukri was launched in 1986 and decommissioned in 2021. On the 26 of January 2022, the warship was formally handed over to the administration of the Diu district and was converted into a war museum. Travellers visiting the Khukri warship museum will get fascinating insights into advanced weaponry, Naval combat techniques, the life of Navy officers and crew aboard a warship and the Legacy of INS Khukri P49.

9. Tower of Silence

A dakhma, also known as the Tower of Silence, is a circular raised structure built by Zoroastrians for the deceased. Built by the Parsis as an excarnation site for their dead bodies that are eaten by vultures. The Tower of Silence in Diu stands as a testimony to the migration of Zoroastrians from Persia to India.

10. Nuno Da Cunha

Nuno Da Cunha is credited for building the Diu Fort in 1535 which was a result of a defence treaty between Bahadur Shah of Gujarat Sultanate and the Portuguese. This large statue was installed in his memory in Diu Fort and was later moved to the garden of the Collector’s office.

Edited by Yoshita Rao; All image credits to Make It Happen

Khichdi boasts of being one of the oldest dishes to be cooked in the country, as history says even French traveller Jean-Baptiste Tavernier remarked on his trips to India in the 1600s that this ‘peasant’s evening meal’ prepared with green lentils, rice and ghee was very common in the subcontinent. 

The name of the dish itself stems from the Sanskrit word ‘khiccha’, which translates to a dish prepared with rice and legumes. 

What is fascinating is that this meal has still managed to retain a prime spot on the dinner tables of today. 

Chefs over the world and in India too still trace their steps back to the dish when in doubt, as it is a dish that can never go out of style.

Two such food consultants, Ratika Bhargava and Riccha Khetan from Jaipur, who are the brains behind CauldronSisterss — a culinary venture that helps budding restaurant owners set up their space, curate menus, catering, etc — have come up with a book that is dedicated to the humble khichdi and its many variants that are abundant in India. 

While they started the venture CauldronSisterss in 2015 as a way of sharing their knowledge of food with a larger audience, the idea was always to dare to do something different. 

Discovering India’s khichdi and its magic 

Elaborating on this, Ratika says, “We ventured into jar cakes, saboo dana salad, peri peri popcorns, peanut fudge instead of the usual til gud chikki.” She adds that they also held a bread-making course in Jaipur and taught 250 people how to master the art. 

“There is a simple thought behind the venture and everything we do — cooking is not rocket science. Everyone can do it.”  

However, despite having a successful culinary venture, the sisters had never thought of coming up with a book, as they felt recipes were available online. But when Ratika’s guruji from school once suggested that more people would benefit from knowing about khichdi in all its glory, she thought it was a good idea to pen their recipes, and thoughts on the dish. 

And thus, the sister duo came up with their book Khichdi: Simple, Soulful & Soothing in 2021. 

As Riccha says, “People think of khichdi as beemaro ka khaana (food for the sick), but in our family, it was a very regular dish.” She goes on to add that while many Indians applaud pot meals that are available abroad, we have one right here that often does not get the credit it deserves. 

Thus, the book is a way of spreading the love for khichdi through recipes from all across India and has sold 15 copies, each priced at Rs 941. The sister duo has pledged to give away all proceeds from the sales to charity and says they have donated Rs 21,000 to date.  

Khichdi from across India 

As for how they sourced the recipes, Ratika says some were done through collaborations with chefs across India who shared their knowledge, while others were their own creations. 

“Each and every recipe in the book is tried and tested by us,” assures Ratika, adding that there was a day they cooked 31 khichdis in total. The book also comprises some fusion recipes such as oats khichdi, paneer butter masala khichdi. 

Ratika says the Balaee khichdi of Himachal Pradesh is one of her favourites. “It has rice, red gram, curd, onion, garlic and is actually a very close resemblance to yakhni pulao.”

While numerous khichdis from across India feature in the book, here are five that stand out. 

Kharzi from Arunachal Pradesh 

The spicy recipe is a staple food of Arunachal Pradesh and has oodles of cheese, a welcome addition to the dish. In traditional homes, the rice is cooked in bamboo over hot coal to give it the right flavour. What makes the dish hit the right notes is that it is prepared by grinding the rice with red chillis and fermented cheese. 

Gud Nariyal Khichdi from Goa 

What sets this dish apart is that it is cooked with jaggery and coconut and a special Goan rice ukdo tandool. There is a religious event called ‘Manni Punov’ during the full moon, where Goddess Jagdamba is worshipped with an offering of liquor, fish, eggs, and this khichdi. 

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Mongkhasar (Mong Khasar) from Kashmir 

As you may have guessed, yoghurt and the traditional Kashmiri red chillies are the star ingredients of the mongkhasar. The dish also features whole garam masalas and spices that give it its authentic flavour. Rice is the staple food in Kashmir and spicing it up to make the mongkhasar is fascinating. 

Jagannath Puri Khichdi Prasad from Odisha 

Odisha is famous for the Mahaprasad wherein a total of 56 holy dishes are cooked every day and offered to Lord Jagannath. Earthen pots are used for cooking and it is believed that the Goddess Mahalaxmi herself is doing the cooking in disguise. The Sankhudi Mahaprasad includes rice mixed with lentils into a porridge consistency. 

Bhoger Khichuri from West Bengal 

Prepared from Gobindobhog rice which is short-grained, white, aromatic and sticky rice, the bhoger khichuri of West Bengal is a favourite not just in the state but throughout India. If the variety of rice is not available, it can be substituted with basmati. The dish also features moong dal, cauliflowers and carrots and is a favourite during pujo. 

While these are traditional khichdis from across India, here is a fun fusion recipe by the CauldronSisterss.

Tandoori Paneer Khichdi  (Serves 4)

Ingredients 

• 1 cup rice (soaked for 30mins)
• 1/2 cup kala chana (soaked overnight)
• 1 onion finely chopped
• 1 green chilli finely chopped
• 1 tbsp garlic finely chopped
• 1 cup tomato purée
• 1 tbsp tandoori masala
• 2 tbsp cream
• 1 tbsp butter
• 1 cup paneer chopped into small pieces 
• 1 tbsp ghee
• Salt to taste

Method

Step 1: Take a pressure cooker and heat ghee in it. 

Step 2: Add onion, garlic, chillies and sauté. 

Step 3: Sauté soaked rice and chana. 

Step 4: Add four cups of water and salt. 

Step 5: Cool till four whistles. 

Step 6: In another pan, take butter and tandoori masala.

Step 7: Sauté till the raw smell goes and add tomato purée to it and sauté again till butter floats. 

Step 8: Add paneer cubes and toast till paneer is crispy. 

Step 9: Once the cooker is open, mix tomato into it. 

Step 10: Blend and heat. Serve with loads of butter.

Purchase Khichdi: Simple, Soulful & Soothing here. 

Edited by Yoshita Rao

The undisputed ‘dandiya queen’ has maintained a loyal and steady fanbase for three decades now, and every Navratri is a reminder that, in her own words, it is her season. 

Pathak is the youngest of five daughters, and grew up in a family that loved music, where the radio was always on. The self-taught singer’s first public singing would happen on her terrace.

“For as long as I can recall, I’ve been passionate about singing. I used to sit with my sister when she was learning, but I’ve never had any training. My neighbours would start to call out, ‘Falu, yeh gaana gaa (Sing that song)’,” Pathak told The Indian Express. 

Her first performance was at the age of nine at an Independence Day show, where she was paid Rs 25 for her work. She recalls that her father did not approve of her singing, and beat her. Undeterred, she continued pursuing her love for singing. 

“But I didn’t stop. I didn’t hide it from him, though. Ghar pe aane ka, maar khane ka, aur kya (I would come home, get beaten up, that’s all),” she said.

Her father would slowly come around, and Pathak began performing with a dandiya group in 1989. In ‘94, she formed her band Ta Thaiya, and hasn’t looked back since.  

“I never expected that people would love my performances so much. When I started out first in 1994 with my group called Ta Thaiya, it was our endeavour to make sure that our audience gets their money’s worth. We wanted them to go back home feeling fully satisfied. So we worked with that mantra. And with every passing year, we looked at where we went wrong, what improvements could be made, and how we could better ourselves next time,” Pathak told Cinebuster. 

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Her debut Indipop album Yaad Piya ki Aane Lagi was released four years later, and set the precedent for her popularity among the masses. And with this soaring popularity, Bollywood offers naturally followed. Yet, the singer refused to sign. 

“I never took Bollywood seriously. I did get offers, but when you enter Bollywood, you need to work doubly hard. I was happy doing my shows and albums,” she told Hindustan Times. 

A queer icon

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Despite never intending to, Pathak has gained the reputation of a ‘queer icon’ with her songs and persona alike. As activist Sonal Giani wrote for Agents of Ishq, “Falguni’s songs embodied same-sex attractions, bonds, and relationships without explicitly stating them, alongside heterosexual ones, and the echoes resonated in my consciousness. Through their shape, these stories helped my feelings find a place. The videos made tomboyishness normal without disempowering feminine women. Femme, tomboy, butch — anyone could be queer in whatever combo — there was no need to define, no need, even, to ‘choose a side’.” 

In fact, at the same time as India’s introduction to western ideals of femininity and beauty began, Falguni emerged as a singer with a difference — with her boy-cut hair and loose fitting clothes that many today say was their first brush with androgyny. 

For Pathak, her dressing sense comes from her family. “I am not aware of being an inspiration to people on this front. Here’s what happened — after four girls, my parents were expecting a boy. My sisters were much older than me and they dressed me up in a shirt and trousers and it’s all I’ve ever worn, apart from my school uniform,” she told The Indian Express.

It’s not as though Pathak’s legacy is revived only every Navratri — nostalgic fans still send her an outpour of love for giving them music that defined their growing years, and the swelling crowds at her shows her telling that even beyond the clothes and the music, it is she who shines and resonates. 

Edited by Divya Sethu

Sources

‘Dandiya Night Fever’ by Anushree Majumdar for Indian Express, Published on 03 October 2016

‘Falguni Pathak The Undisputed Dandiya Queen’ by Sonup Sahadevan for Cinebuster, Published on 14 September 2017

‘Every Navratri Falguni Made Me Feel That Queer Is Ekdum Cool’ by Sonal Giana for Agents of Ishq, Published on 05 October 2016

‘I never took Bollywood seriously: Falguni Pathak’ by Ruchika Kher for Hindustan Times, Published on 13 August 2016

The belief that Durga symbolises feminine strength and destruction of the unjust originates from the legend of how she defeated Mahishasura, a demon that was blessed with unbeatable power by the Gods themselves. 

She is not a figure that kills and destroys for hatred, but instead to restore peace, to deliver justice to and liberate those who need her in their direst times. She is terrifying but benevolent, destructive but peaceful — a fortress, as her name suggests, against all that is evil in the world. 

Durga Puja, or pujo, is an annual celebration to commemorate her victory and to worship this epitome of divine and feminine strength. At its core, the centuries-old festival remains a religious celebration of good over evil, but modern-day pujo has evolved into a symbol of many other things — community, creativity, a transforming public space, and culture evolving with time. 

This is the basis on which historian Tapati Guha-Thakurta, in her book In the Name of the Goddess: The Durga Pujas of Contemporary Kolkata (2015), traced the evolution of traditional pujo to its modern-day forms. Beyond religious aspects, she aimed to highlight the creative, cultural, and social economy that the grand festival generates. 

It was with this acknowledgement that UNESCO, in December 2021, included the Durga Puja in its Lists of Intangible Cultural Heritage. Guha-Thakurta was the historian behind this coveted tag, chosen by the Ministry of Culture to bring to light that the 10-day festival is a multi-layered, dynamic, and an integral aspect of Kolkata’s socio-cultural and political landscape.

Pujo — a cultural phenomenon 

For Guha-Thakurta, whose research began as early as 2002-03, the question to be answered was ‘How does pujo redefine our understanding of who an artist is, and what constitutes art?’  

“For the last two decades, I have become a researcher of Kolkata’s Durga Puja. I have always been a participant and spectator, but my new vocation as a researcher began around 2002,” she recalls. 

With fellow researcher Anjun Ghosh and a team from the Centre for Studies and Social Sciences, Kolkata, where she has worked as a professor and director of history, Guha-Thakurta began researching the nature of the contemporary festival.

She says, “Our focus was very much on the present, the modern history of this mega-urban festival, and we wanted to look at several issues. My main goal was to look at the transforming visual culture of the festival, the new aesthetics, the designs of the pandals…My colleague Anjun was looking into neighbourhoods and communities, and how the puja occupies and transforms public spaces.” 

The duo had a dedicated team of researchers and their work was seasonal, she says, typically beginning a month or two before each year’s festivities. Unfortunately in 2015, Anjun died suddenly due to cancer. “I was left bereft but was determined to finish the work we had both begun. It would perhaps not be the book we would have written together, but it would certainly reflect our joint research.” 

The history of the present

Guha-Thakurta says, “In 2014 when the West Bengal government took over the festival as a prime platform for their politics and governance, it offered me a convenient closing point to my research. Durga Puja also allowed me to think about the consumption and spectatorship of art, which is just as important as the aspects of worship and cultural celebration.” 

She adds that an integral part of pujo is also walking and touring the city, and how the artistic productions and pandals transport you not only from one geographical location to another, but also through different periods in time. 

“You could be walking from a replica of a Bhubaneswar temple to a remake of, say, a ‘Calcutta High Court’. Or you could be transported in time to, say, the Indus Valley Civilisation from modern-day celebrations. Folk villages from Africa and remote India alike are put on display. I spoke to artists, sponsors, advertisers, organisers, and all stakeholders to understand the makings of this grand festival,” she explains. “I studied how age-old traditions of image and pandal-making factor in and have been modified in the newer themes of celebration, how pujo champions cultural tradition and nostalgia alike.” 

She also brought in the Bonedi Barir Pujo (the most traditional celebration of the festival which mainly takes place within households) and how it amalgamates with street-level productions. “It gives you an understanding of how old families and households integrate new ways of celebration.” 

Guha-Thakurta emphasises that her book was not a history of Durga Puja, but rather a study of its newness — the sponsorship, awarding, publicity and commercialisation that have become an inalienable part of the phenomenon. She calls it a history of the present. 

“A common concern these days is how the Durga Puja has lost its link with worship altogether. But I would go against this formulation. The festival has always been only partly concerned with the arrival of the Goddess every autumn. Right from the late 18th and 19th centuries when it was held in aristocratic households, pujo has always been about mega extravaganza, entertainment, and social gatherings. This is part of the history of the urban phenomenon. What is new is the scale of art production.” 

Even as households warmly welcome Durga every year, she adds, her presence in the celebration is not limited to just worship. She also forms a part of the commercialisation — through ads and imagery. 

Kolkata’s Durga Puja 

Guha-Thakurta was invited by the Ministry of Culture to put together an extensive dossier to submit to UNESCO, based on her decades-long research. The government’s previous attempts to bring this recognition had not taken the required shape.  

“We began in September 2018 and were given four to five months to put the dossier together. It had very specific questions which were given to us as a form. The interest was in the community — its inclusivity, diversity, how it has kept up with changing times while retaining the core of the traditional elements of worship, how many people are involved, who the stakeholders are, its commercial and creative economy, the livelihoods, environmental impact, restrictions, governance…” 

Explaining the length and breadth of the significance of Durga Puja was a challenge, she says. Each question was concise and allowed only 150-300 words as answers. 

She laughs, “My book was like a long essay, like those we used to write in exams. The dossier, on the other hand, was a bit like those MCQ tests students today have to undergo. As a historian, I digress and analyse, but my team helped me streamline the process.” 

She also notes that the Government of India was keen on the inclusion of Durga Puja as a nationwide phenomenon rather than its significance in the city of Kolkata. “But that is too huge,” she opines. “Yes, the festival happens practically everywhere, but it is in Kolkata that it has taken a certain form…a kind of splendour…which is unique. UNESCO’s list emphasises a lot on community and location. We argued that pujo took on this form, a character in Kolkata, where it has its long history.” 

UNESCO was also interested in the gendered dimension of the festival, she notes.

“How far are women being included in the celebrations? We looked at women idol makers, a relatively new phenomenon. We looked at their community participation as the face of publicity and organisation, as dancers and performers of dhunuchi — where women have only recently begun to foray. We included the new range of artists and designers involved. Our signatures came from artists, organisers, traditional banedi barir organisers, bloc organisers, Kumurtuli idol-makers…we could not reach the priests, but looked at households as individual upholders of the traditional worship. Then of course was the biggest stakeholder of pujo — the West Bengal government.” 

The final dossier was submitted in March 2019 and after a few queries, the nomination was made last year for UNESCO’s Lists of Intangible Cultural Heritage. 

After the tag: What’s next? 

The final question that Guha-Thakurta looks to answer is, what does this tag signify? What will be its effects? 

“For a cultural phenomenon like Durga Puja, we do not know yet what the benefits of this international branding will be,” she notes. “It is now up to stakeholders, regulators, and governance bodies to bring in international attention. The question of the creative and cultural economy existed long before the tag. In fact, surveys beforehand analysed these economies well to show the huge turnover generated by Durga Puja. So there is no denying that a large commercial economy of the state rests on this one festival.” 

She also asks, “How far can you regulate pujo? Every pujo is run by a neighbourhood or club, so how do we look at this mega-controlled phenomenon as a single unit?” 

She says this can be done, to an extent, by looking at existing regulations around Durga Puja relating to tree damage, sound and river pollution, road safety, pilfering of electricity, and more.

For this, she opines, the police and local governing bodies have been working in tandem for many years to slightly discipline the celebrations. The government, she says, has also tried to regulate immersion so that the Hooghly River does not bear the brunt of it all, by creating immersion waterbodies or devi ghats, especially for this. 

Guha-Thakurta also reminds us that the UNESCO tag is subject to a five-year review.

“If the festival is no longer kept up to the standards awarded, the tag can be taken away.” She addresses stakeholders stating that the tag is for us to make maximum use of to benefit the festival and the economies generated as a whole. 

Edited by Yoshita Rao

Whatever your mood or occasion, there’s little doubt that you will find what you’re looking for in Bengaluru’s lanes. 

Anyone who’s lived in the city long enough will swear that the food is an unmissable aspect of their stay. Yes, the swanky restaurants with their bite-sized portions are heaven on a plate, but a bowl of good ol’ curry is like the city embracing you in a tight hug. 

Home kitchens of Bengaluru have taken the culinary scene in the city by storm and we are loving it. Here are a few you absolutely won’t regret trying out. 

1. Curly Sue

A breakfast of pork sausages and eggs, or a lunch with some vindaloo sounds like a perfect Sunday. At Curly Sue, pork is the star of the kitchen and every dish is made with a culinary finesse that’s hard to find elsewhere. As with these kinds of meals, the recipes and masalas are what set them apart, and rightly so, Curly Sue has generational expertise when it comes to this. 

As the family mentions on their website, “Our masalas are 100 per cent handmade and natural, following a lovingly guarded recipe that has been handed down from the family of our Biddanda grandmother.” 

Place your order here.

2. Tinni Ginni 

Now that Pujo excitement is high, here’s a place for you to gorge on homemade festive dishes. At Tinni Ginni, a traditional Pujo feast includes dishes such as peyaaj murushi dal, kosha mangsho, phulkopi aloo koraishuti bhaja and kala jaam. 

The chef Srobona Das combines recipes that she has learnt from her hometown Bengal with ones she has innovated through the years, to produce a delicious affair. 

Place your order here. 

3. Mother Promise Kitchen 

Shobini Raghavan’s Instagram bio reads that she is the mother of Mother Promise Kitchen. And if you’re ever craving a piece of home, we’d say why not order some of her delicious soul food and satisfy those cravings? 

Among her fiestas are the famous chittu chutney, beef roast, multi kashnam sambar, parippu curry and many other such dishes. 

Place your order here.

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4. The Cupcake Connection

Whoever says you need an occasion to eat cake? At The Cupcake Connection, you never do. Whipping up cakes and bakes and putting together lovely hampers, are two friends Nida and Nidhi. 

What’s more is that they have pretty hampers and baskets that you can choose from too, to gift your loved ones. The frosted little delights not only look great but are super affordable too. 

Place your order here.

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5. Wullar Kitchen 

Kashmiri cuisine, a spread of succulent meats marinated with curd and a melange of spices can turn even a simple lunch into a feast. At the Wullar Kitchen, there is always a heavenly aroma wafting through the air and that will surely translate onto your dining table. 

To name a few of the popular dishes from here, there is mutton yakhni, mutton rogan josh, waed prawns, chatt ras rice bowl and more. 

Place orders at 7676392299

6. Say You Made It ‐ Kitchen

The chef Sahar Adil leaves no stone unturned in making your Sundays blissful with her recipes that come from different regions of India. For all those who have been waiting for some scrumptious mutton, she recently brought back the aafreen mutton nehari dish and her classic Kerala-style stew continues to amass a fan following. 

Place your order here. 

7. Rati Dhananjayan 

While there are ample South Indian restaurants in Bengaluru serving an array of delicacies wrapped in banana leaves, what do you do when you crave authentic homely Malabar-style food? 

You reach out to Rati Dhananjayan. In an article for Lifestyle Asia, the owner Dhananjayan was quoted as saying, “I wanted people to experience that ‘naadan’ taste and flavours of home food that my grandma used to prepare when I was young, without any burden of sophistication.”

Place your order here. 

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8. Anurag Arora

Somedays you feel like sticking with comfort food while there are days you’re in for some adventure. On days like the latter, how would you like some mushroom burrata or some overnight soaked Japanese bread French toast with whipped vanilla bean mascarpone? Sounds delightful now, doesn’t it? 

Place your order here.

9. Adukkala 108

Venus Menon from Bengaluru, thought why not share her love for ghee roast and payasam with the city? So she went on to start her home cooking venture Adukkala 108. Now people gorge on the delicacies that she learned growing up. 

Place order here: 8296612242

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10. Karnivore Kitchen

You can never go wrong with a meaty meal and mutton chops. Chef Kalyan Gopalakrishna brings forth his legacy family recipes in the dishes that he serves at the Karnivore Kitchen. Don’t miss out on the pork ribs and pork belly fry. 

Place your order here. 

Sources

Bookmark these 15 home kitchens in Bengaluru to satiate all your cravings by Ruth Dsouza Prabhu, Published on 23 May 2021.

Edited by Yoshita Rao

Therefore, we have made a list of some of the best and extraordinary cultural experiences from across India that should definitely be on your bucket list.

1. Kullu Dussehra at Kullu, Himachal Pradesh

The Kullu Dussehra, celebrated in the Kullu Valley, is one of the most popular events of Himachal Pradesh. The annual week-long festival observed in the month of October attracts thousands of visitors from across the world.

This grand Dussehra celebration that takes place at the Dhalpur Maidan at Kullu signifies the triumph of good over evil. The folk flavour of the festivity, rituals and traditions make it stand out from the Dussehra celebrations that happen in the other parts of the country.

The festivities in the backdrop of beautiful landscape and breathtaking views from the valley adds to the beauty of the celebrations. With music, dance and huge feasts the festival symbolises happiness and joy.

The history of the festival dates back to the 17th century when the ruler of Kullu, King Jagat Singh installed an idol of Lord Raghunath from Ayodhya in order to eradicate a curse. With his prayer and devotion, the curse was lifted. That’s when he started this unique Dussehra festival which is celebrated for seven days after Vijaya Dashami.

Location: Dhalpur Maidan at Kullu, Himachal Pradesh
Dates: 5 October to 11 October 2022

2. Bhootha Kola at Tulu Nadu, Karnataka

Celebrated commonly in the coastal regions of Karnataka, Bhootha Kola or Bhootha Aradhane is a spirit worship ritual. ‘Bhootha’ means ‘spirit’ and ‘Kola’ means ‘play’ in Tulu. This ritual is performed in honour of the deities worshiped by the Tulu speaking community in rural parts of Dakshina Kannada and Udupi districts.

During the ritual, idols representing the spirits are taken out for a procession with drum beats and firecrackers. The Kola is then performed by professionals with an elaborate costume accompanied with music and recitals in Tulu speaking about the origin of the spirit. These recitals are known as paddanas.

The spirits are said to possess the performer, who carries a sword and jingling bells, thus making him dance fiercely and to perform the pooja rituals.

Location: Different parts of Dakshina Kannada and Udupi districts.
Dates: Performed during the months of December to May.

3. Ganga Aarti at Varanasi, Uttar Pradesh

A mesmerising ritual performed on the banks of the holy Ganges, the Ganga Aarti takes place at the ghats of Varanasi in Uttar Pradesh every evening. Performed by a group of priests on the ghat, the ritual is a visual treat involving huge brass lamps lit with oil accompanied by the chanting of holy mantras and the blowing of the conch shell.

The priests wearing kurta and dhoti perform the aarti with the multi-tiered brass lamps for about 45 minutes. Devotees float small diyas on leaf platters in the holy waters of Ganga.

The aarti can be witnessed either from the ghat stairs or on the boats at the banks.

Location: Dashashwamedh ghat, Varanasi
Time: Performed every day post-sunset ( 6:00 pm – 7:00 pm )

4. Hornbill Festival at Kisama Village, Nagaland

The Hornbill festival held in the first week of December every year showcases the rich and diverse culture and traditional arts of the indigenous tribes of Nagaland. The festival that revolves around agriculture promotes their unique heritage and customs of the state.

Organised by the Government of Nagaland, the Hornbill Festival is held at Kisama village which is about 12km from Kohima. With participation from all the tribal communities of Nagaland, the festival is a true celebration of their traditions involving music, dance and art forms.

Location: Naga Heritage Village, Kisama in Kohima
Dates: 1 December to 10 December

5. Losar at Lamayuru, Ladakh

One of the most important festivals in Ladakh, the Losar festival is celebrated annually from the first day of the first month in the Tibetan Lunar calendar. This religious festival extends to 15 days of celebrations marked with ceremonies that represent the conflict between good and evil.

In the Tibetan language, the term Losar means New Year. The festival involves elaborate events like traditional folk dance, music performances, feast and gathering of hundreds of people at sacred places.

During the festival, people clean their houses, prepare traditional cuisines and wear traditional and colourful attires. They also make offerings to the Buddhist gods at home. This vibrant festival can be witnessed in several monasteries across Ladakh.

Location: Ladakh
Dates: 21 February 2023

6. Chhau in Purulia, West Bengal

Chhau dance is one of the popular tribal dances in India that originated in the Purulia district of West Bengal. The word Chhau in Sanskrit means mask, shadow or image and is known as Seraikella Chau in Jharkhand, Mayurbhanj Chau in Orissa and Purulia Chhau in West Bengal.

The dance form, believed to have been inspired from martial arts, presents stories of Ramayana and Mahabharata in elaborate costumes involving masks and headgear indicating battle and war.

The Purulia Chhau is mostly performed in the countryside, especially during religious ceremonies where dancers perform on the ground with the audience seated in circular shape around them. The performance is usually accompanied by instruments like Dhol, Shehnai and Dhamsa.

Location: Performed at different locations and time.

7. Kalbelia dance at Jaisalmer, Rajasthan

The Kalbelia dance is a traditional dance form performed by a Rajasthani tribal community called Kalbelia, a community of snake charmers. Also known as ‘Sapera Dance’ or ‘Snake Charmer Dance’, the dance is a visual treat with graceful swirling and movements involved.

Performed by women wearing black skirts and gleaming jewelry, they try to replicate the movements of serpents to the musical beats played by the men. As the dance progresses, the tempo of the dance increases along with the dance steps.

Location: Performed at different locations and time.

8. Theyyam at Kanathoor, Kerala

The Kanathoor Nalvar Bhoothasthanam is a prominent Theyyam festival observed at the Kanathoor village in Kasaragod every year. Theyyam is a ritualistic art form originated in Northern Kerala that involves dance and mime along with music. The art form attributes great importance to the worship of heroes and ancestral spirits and are mostly performed in temples.

The Kanathoor Theyyam festival held in December for five days presents an array of Theyyams, including Chamundi theyyams and Vishnumoorthy theyyams. The performers wear colourful and heavy make up and wear flamboyant costumes along with a huge headgear and ornaments.

Location: Kanathoor, Kasaragod
Date: 28 December to 1 January 2023

Sources:

Kullu Dussehra: Significance Of Dussehra In Himachal’s Kullu Valley, by Debjani Chatterjee; published by NDTV on 26 December 2020.

Bhoota Kola – Bhootha Aradhane

A visual treat – Ganga aarti of Varanasi

About hornbill festival

All you need to know about Losar Festival in India, by Tina Choudhury; published by EastMojo on 2 March 2022.

(Edited by Yoshita Rao)

The world-renowned chef began his culinary career in Mumbai. A love for Indian cuisine and traditional recipes coupled with the desire to explore the country’s food preferences caused Pandya to be a success.

Following eight years of this, he got an opportunity to work for a fine dining restaurant in New York — Junoon.

However, it was his other restaurant ‘Rahi’ that made the news. Opened in 2017 with restaurateur Roni Mazumdar, Rahi is known for its authentic cuisine.

It’s a hub for the locals to experience a unique blend of flavours and spices in the range of dishes. Along with this, Pandya also has two more restaurants to its credit — Adda Indian Canteen and Dhamaka.

The menus at these are curated with one aim in mind, which is to give America a taste of India.

While Rahi focuses on upscale Indian cuisine, at Adda one is treated to what customers describe as ‘excellent and mouthwatering’ biryani. If you are a fan of Indian street food or rustic cuisine, Dhamaka is where you will find some delights.

Gorge on some chicken kofta with spicy coriander chutney or let a vada pav work its magic on you. What makes the menu stand out is that Pandya has even added some of his favourite dishes that were reminiscent of his life in Mumbai. These include begun bhaja and fried pomfret among others.

For Pandya however, the secret behind these dishes is simplicity. “My food philosophy is to keep things as simple and as nostalgic as possible,” he told MoneyControl. “The food at Dhamaka transports people to some place in India while still being in America.”

Here’s a look at how Chintan Pandya had America cheering for desi cuisine.

Sources

Meet Chintan Pandya: ‘Unapologetic Indian’ and the best chef in New York State by Nivedita Jayaram Pawar, Published on 19 June 2022.

Edited by Yoshita Rao

Over the centuries, pottery has continued to evolve both as a craft as well as an art.

So, here’s a look at some of the famous pottery traditions that have been practised across India:

1. Jaipur Blue Pottery, Rajasthan

Widely recognised as a traditional craft of Jaipur, the blue pottery has its origins derived from the Turko-Persian style.

The name blue pottery was derived from the attractive cobalt blue dye used to colour the pottery. It is made using Egyptian paste and dough obtained by blending quartz stone powder, powdered glass, Multani Mitti, borax, gum and water. It does not use clay and is glazed and low fired at a very low temperature making them fragile and brittle.

The range of products is mostly decorative like vases, coasters, bowls, boxes for trinkets and so on. These pottery items are mostly decorated with animal and bird motifs.

The colour palette is always restricted to blue derived from the cobalt oxide, green from the copper oxide and white, though other non-conventional colours, such as yellow and brown are sometimes included.

2. Khurja Pottery, Uttar Pradesh

The Khurja pottery, a traditional pottery work from Khurja in the Bulandshahr district of Uttar Pradesh, is believed to have been around for over 500 years. Colourful and elegant, the Khurja pottery’s history is alleged to have begun the time when Afghan King Timur’s accompanied Egyptian and Syrian potters during his campaign in the Khurja region over five centuries ago.

This traditional pottery known for its beautiful patterns and timeless appeal is characterised by exotic floral patterns which are painted in soothing shades of blue and brown on an off-white background. Also, a thick slip is used to raise some motifs to create a three-dimensional effect. Over time, more colours have been included like warm orange and light red glazes.

3. Khavda Pottery, Gujarat

The art of Khavda pottery is believed to have begun during the Indus Valley Civilisation, in the region of present-day Kutch. Khavda—a small village in Bhuj, Gujarat—craftsmen have been making earthen pots for generations, crafting a wide variety of vessels, such as matka for water storage, plates, diyas, boxes, ketli, and kulhada to keep buttermilk and more.

The Khavda potters only use the mud from a lake area near the village, known as ‘Rann ka mitti’. The soft clay is then used to shape a pot using a potter’s wheel and dried. It is the women of the pottery community who decorate each piece using red, black, and white clay-based paints with distinct community-specific designs.

Later, the pot is cleaned, sun-dried and then baked in a furnace, after which the vessels are coated with a thin geru (red colour), a type of soil (ocher/umber).

4. Andretta Pottery, Himachal

Andretta is a small artist village located near Palampur in the Kangra District of Himachal Pradesh, which was established by an Irish theatre artist and environmentalist called Norah Richards, who lived there during the partition.

In 1983, the son of the famous potter Sardar Gurcharan Singh, Mini set up Andretta Pottery and Craft Society in Himachal.

They make products majorly for tableware utility, like cups, bowls, plates and so on at the studio. All made of natural terracotta, even the glazes used are food-friendly ones. They also use slip trailing or designing methods where diluted clay is used to make designs on the surfaces. The designs and patterns they create are derived from the rangoli patterns of Kangra, Himachal Pradesh.

5. Bankura Pottery, West Bengal

The Kumbhakar potters of Panchmura village in the Bankura district of West Bengal are known for crafting their terracotta products. For centuries together the artisans of this area have developed this art. But they are particularly known for making the Bankura horse, which has been internationally commended for its elegance and unique charm.

Originally used for village rituals, the Bankura horse now is adorned as a decorative piece across the world as well as a symbol of Indian folk art and is even the official crest motif of the All India Handicrafts Board.

Panchmura, Rajagram, Sonamukhi and Hamirpur in the Bankura district are the places where the terracotta horses and elephants are mainly produced. Though each of these places has its own distinct local style, the Panchmura-style of pottery is considered the best and the finest of all the four types.

6. Longpi Pottery, Manipur

Longpi is a general reference to two villages namely Longpi Kajui and Longpi Khullen in the Ukhrul district of Manipur. The name ‘Longpi’ means ‘group lodge’ in the Tangkhul dialect.

For ages, Longpi has been famous for its old pottery making, locally called Longpi Ham. It is known that Longi Ham used to be the main cooking utensils among Tangkhuls before the aluminium pots.

Owing to its intricate designs and the technology used to produce them, the Longpi pottery has also gained prominence in the international markets.

This traditional pottery is unique since the artisans don’t use the potters’ wheel and are made from a mixed paste of ground black serpentinite stone and a special brown clay. It has been claimed by the locals that the clay is native to only Longpi village.

There is no use of chemicals or machines involved in the making of this pottery. Hence they’re considered very hygienic and are believed to have several medicinal values.

7. Bidriware, Karnataka

Bidriware is an art of metal handicrafts that originated during the 14th century in Karnataka, during the rule of the Bahamani sultans. The name ‘Bidriware’ originated from the region where it is mostly practised – Bidar in Karnataka.

This art form was believed to have initially been practised in Persia and it was brought to India by the followers of Sufi Khwaja Moinuddin Hasan Chisti. Thus Bidriware was developed as an art form having Turkish, Persian and Arabic influences.

The artisans use a blend of zinc, copper and silver to develop unique artefacts and products. It is a family legacy that has been taught and handed over to generations as time passed in Bidar.

Shiny and lustrous handcrafted products are considered a rich symbol of wealth and decor.

8. Molela Murtikala, Rajasthan

Mollela Murtikala is a clay craft of making murtis or idols of gods with terracotta, practised in the Molela village of Rajasthan.
Like most crafts, Murtikala has been passed from generation to generation, through the sons of the family. While the murtis were originally standing idols of local deities and various forms of Lord Vishnu, today they are often mounted on tiles or plaques and are hung from the walls of temples and homes.

These murtis can be multicoloured or can have a terracotta hue, as can be seen in various temples in Rajasthan and Gujarat. Also, groups of the tribal communities from Gujarat and Madhya Pradesh visit Mollela every year to buy the terracotta plaques. It is ritualistic, as they’re accompanied by a priest, and they usually focus on acquiring plaques depicting the deities Devnarayan and Nagaraja.

The potters prefer using the gentle winter sun to dry the clay, and apart from meeting religious demands, also mould scenes depicting the scenery around them.

Sources:

Himachal’s pot secret – it’s not what you think by Times of India, published on 10 January 2017.
Molela: Rajasthan’s terracotta plaque art patronised by Bhil, Mina & Garasiya tribal communities.
Bankura horses & terracotta handicrafts of Panchmura, West Bengal.
Govt. of Manipur.

Edited by Yoshita Rao

In early 2020, when the pandemic hit the country, the trio decided to build a business together. Though they weren’t sure about what the business should be about, they were clear about one thing — the unique selling proposition should be something Jammu-centric.

While all three were originally civil engineers and had well-paying jobs, they always yearned for doing something of their own.
“After post-graduation, I worked as a tunnel engineer for around two years. But I left my job in 2019 as I wasn’t enjoying the routine. I wanted to do something different,” says Shubham, adding that around the same time, Sandeep and Aman left their jobs to pursue their entrepreneurial dreams as well.

They sat together to come up with an idea where all three of them could work together. “We brainstormed and finally narrowed it down to building a cafe, but with a unique focus on offering dishes made with the indigenous cheese of Udhampur — Kalari cheese,” says the 28-year-old.

Named The Kalari Factory, the cafe currently offers over 20 dishes using kalari cheese. It turned out to be such a big hit that in 2021, the trio opened their second outlet in Jammu city as well.

From friends to business partners

Opened in September 2020, the cafe experiments with this traditional cheese to make dishes and snacks that everyone loves.
“Kalari is popular in Udhampur as a roadside snack, and everybody here loves it. It’s pretty much part of our culture. We felt the need for popularising it further, beyond Udhampur, especially as nobody has ever attempted it,” says Shubham, who had some experience working at a restaurant in Uttarakhand.

“We had several ideas, but a cafe felt right as it aligned well with our strengths and interests,” he adds.

Meanwhile, Sandeep’s culinary skills came handy while setting up the cafe. “Cooking has been my hobby since childhood. Both of my parents were working, so I used get a lot of time for myself at home, and that’s when I started experimenting with it,” says Sandeep, who took up the responsibility of experimenting and coming up with new dishes using kalari cheese.

“Kalari cheese is usually served with either bread or a kulcha. So we tried to make it more versatile by experimenting in different ways. We didn’t invent any new dishes, but we tried to innovate different dishes by using the traditional cheese,” he explains.

Aman, who took up the responsibility of back-end operations of the cafe, says that for them, kalari was also something with a kind of nostalgia attached to it. “We grew up together and would eat kalari cheese from the roadside eateries. It used to be one of our favourites, but we never imagined that we would end up starting a business around it,” he smiles.

He adds, “We weren’t sure when we started it during the first wave of the pandemic. But to our surprise, we received an overwhelming response from people. Since then, we haven’t had to look back.”

When they launched their cafe in 2020 using their own funds, it was a small setup which had a seating capacity of around 10 people. “Eventually, as business picked up, we moved to a bigger space in Udhampur itself, with a seating capacity of 30 people. As the business turned out to be a success, we felt the need for opening one more outlet but outside Udhampur. So we set up our second outlet in Jammu city with a seating capacity of 40 people,” says Shubham.

The Kalari Factory now has a proper menu listing around 20 dishes. “Though kalari is a cheese, it never had the status of a cheese and was considered just a snack. Through our cafe, we tried to call it a cheese that can be used in any dish to enhance the taste,” he explains.

“We make around ten different types of bread using kalari cheese. Other than that, we have the kalari paratha, kalari veg omelette, kalari lollipop, burger, pizza, momos, sandwiches, wraps and so on,” says Shubham, adding that the best selling item is the kalari momos.

How the unique Kalari cheese is made

Kalari cheese is made usually from cow or buffalo milk, and has a stretchy and dense texture with a mild mozzarella-like flavour. This cheese is also called the milk chapatti or maish krej in Kashmiri.

It is an intrinsic part of Kashmiri cuisine, traditionally made from raw full fat milk. The milk is vigorously churned in an iron pot with a wooden plunger-like tool, and the molten mass of milk solids is then separated by adding sour milk or curd, called mathar.

Blobs of the stretchy cheese are then flattened with hands and cooled on the black iron pot itself. Later, the solidified cheese is sundried on pine leaves. Since the ambient temperature in the mountains remains low despite a strong sun, the Kalari dries from the outside and remains moist inside.

Usually, flattened kalaris are salted and sautéed in their own fat on a hot griddle. While sautéing, they develop a crisp golden layer outside, but retain a soft, creamy, gooey molten inside. Flavoured with spices and topped with chopped vegetables, the kalari is then stuffed between a kulcha and served with garlic and chilli chutney.

Talking about how they source the cheese, Shubham says, “We source authentic kalari cheese from a nearby village called Ladda. We have tied up with several dairy farmers in the village who otherwise don’t have much of a market space for kalari. Now, it’s like an additional income for them.”

“We believe that, as we popularise kalari, the demand for it will increase, thereby providing a stable market for these dairy farmers,” he adds.

A cafe empowering artists

Other than popularising their traditional cheese, the trio also wanted to make a difference by providing a platform for artists.

“We wanted to help at least a few through our business. So we decided to make ours an art cafe where we display the artwork of local artists,” says Shubham, adding that these artists can display their artwork free of cost, and interested customers can buy these pieces directly from the artists.

“We have so far sold paintings worth Rs 15,000 to Rs 25,000,” he adds.

Nikhil Sharma from Udhampur, who is a regular customer at The Kalari Factory, says, “I have been going there with my friends and family ever since they started the cafe. We love all their dishes made of Kalari cheese, and the prices are also nominal. It’s a locally available cheese and they are promoting it in a very attractive way. The cafe is also helping the local artists by giving them a platform to showcase their work. I feel they should be encouraged for their efforts.”

The two outlets of the Kalari Factory also host several art events like live painting workshops, art exhibitions and more.

The trio is now planning to start a production unit in the Ladda village, as they are planning to expand their business in the coming years.

(Edited by Divya Sethu)

This was the start of Ispahani Company, a tea supply and distribution business which would years later fuel the idea for Finjaan Cafe in the bustling Banjara Hills of Hyderabad.

A slice of tradition with your chai

When Iqbal returned from Kolkata, he wondered why not start a tea business along with the pharmaceutical venture that the family had been running for a century.

The secrets of chai have run in the family’s veins for generations now. Taha, the grandson and a part of Finjaan Teas, says Finjaan was founded by his father and chacha (uncle) to diversify and enhance the tea business. “While it was established in 2005 in the form of a small tea store in the Towlichoki area where we used to sell and serve Finjaan tea, in 2012 we shifted the store to Banjara Hills Road and in 2021 we transformed this into a luxurious tea lounge.”

The cafe has been a stalwart in the city’s evolving history, attracting Hyderabadis as well as tourists who frequent the city. At the Finjaan Cafe, tea is the hero and the entire experience is nothing short of royal. With more than 50 varieties of exotic brews sourced from Darjeeling, Assam, and China and blended to the finest taste, your tastebuds will be spoilt for choice.

As you enter the cafe, you are invited to be a part of the ‘Tea Ceremony’ at the Chinese Tea Table. Here, every drop of the beverage is savoured and every aroma taken in. Taha says, “We lay great importance on the Tea Ceremony which stems from an old Chinese concept that originated in the 13th century, of greeting the guest and then serving tea on the table.”

Describing the ritual at the cafe, he says there is seating for two at every table and before the ceremony, the guests can choose two or three flavours of teas that they would love to try. “As they then indulge in their conversation, they can sip on beautiful blends of teas, and refill their ceramics from a machine that is placed on the table, that brews and pours tea directly into the cup.”

Unless you are in the city for a few days or weeks, it may not be possible to try all their varieties of teas. Additionally, browsing through the menu may have you confused as to which one you should go ahead and try first.

Taha suggests going for the ‘Jasmine Pearl Tea and ‘Blooming Tea’. “Both the teas have a soothing taste, as when the ingredients are put into the kettle, they ‘bloom’.” He also recommends the ‘Herbal Relief Tea’ for those who are looking to get help with their allergic reactions and getting the body to fight these.

“The signature tea, however,” he says is “the ‘Wonder of Dareeling’ which has an unforgettable colour and taste.” While guests can experience a traditional tea ceremony for Rs 315 per person, a pot of tea here serves two and starts from Rs 125 going up to Rs 295, depending on the variety of tea.

In a day, the family sees an order total of around 20 pots, while their tea ceremonies have a separate fan base. Along with teas the family also has a range of food options and snacks that they offer their guests. A ‘Finjaan’s Classic Chicken Pizza’ could be a great way to top off your experience at this heritage place.

Salman Taiyebi who founded Finjaan Cafe with Taha’s father says serving people tea holds great meaning to them. “It is a staple food and one can get back to work with energy and work for at least three hours after a cup of tea. It rejuvenates and relaxes both at the same time. Everyone tends to have one cup or two or multiple and that’s our business.”

Until you find the opportunity to stop by the Finjaan Cafe in Hyderabad, you can order their teas here.

Edited by Yoshita Rao

With every region boasting its unique cuisines, we at The Better India have created a collection of ‘India in Maps’ to share the ‘big picture’ of our heritage and what brings us together as a nation.

1. Indian mithais map

Indian sweets have always been an integral part of Indian culture and diet. Be it a wedding, a birthday or a festival, a celebration always calls for mithais.

From laddus to payasams, rasgullas to shahi tukda, India offers a wide variety of sweets from across the country that are diverse in their taste, texture, flavours and richness.

Here’s the Indian map tracing some of our favourite mithais.

2. Summer drinks map

What’s better than a refreshing drink to beat the heat this summer? Made from seasonal fruits, herbs and spices, traditional coolers are the perfect way to beat the heat on sizzling summer days.

Every region in India has its versions, each perfected by years of experience and passing time.

Here’s the map tracing some of the best traditional summer drinks in India.

3. Winter food map

Winters call for staying indoors, all snuggled up under thick fluffy blankets, sipping a strong cup of coffee. It’s also the time you crave some yummy and warm food.

Be it sweet or spicy, there are a wide variety of dishes that are specially prepared during the winters.

Here’s the map tracing some of the popular winter foods in India.

4. Pakora/bhajji map

Who doesn’t love a cup of steaming hot tea with a crispy and spicy pakora in the evening? A snack that is easily found in almost all corners of the country, pakoras or bhajjis come in a variety of versions.

This versatile snack can be made using any vegetable, greens, fruits, fish or even meat and is packed with a mix of ingredients making it rich in flavours. Although the flavour changes according to region, the snack remains a favourite for every Indian.

Here’s how we traced the varieties of pakoras/bhajjis across India.

5. Chutney map

Chutney is not just a mere accompaniment for Indians, it is something that unites the country’s diverse culinary culture.
Served mostly as an accompaniment to rice, dosa or idli or as a topping for chaat, chutneys offer a burst of flavours in the mouth and elevate the taste and quality of the food we have.

Here’s how we traced the varieties of chutneys across the country.

6. Biriyani map

Biriyani is more of an emotion than a food. It is surely one of the dishes that are equally loved across the country beyond generations and ages.

Cooked meat or vegetable on a bed of fragrant rice mixed with different spices could be defined as nothing but a celebration of flavours. Biriyanis also have different styles of preparations and servings depending on the regions. With over 100 variations, almost every state has a unique version of the mouth-watering Biryani.

Here’s the map tracing the variations of biriyanis prepared across the country.

7. Bread map

Chapatis, rotis, kulcha, naan are a few varieties of bread that are made across the country. These bread have been an integral part of traditional Indian home-cooked meals.

Deceptive in their simplicity, these Indian cuisine essentials seem easy to make but they require a complex balance of textures and flavours.

Here’s the map tracing different types of Indian bread.

8. Street food map

India is famous for its street foods due to its diversity across its regions. Be it Delhi, Mumbai, Bengaluru or any other city in the country, you could easily spot streets that are lined with vendors who sell different types of food ranging from full-fledged meals to snacks.

Indian street food, often spicy but delicious, is equally enjoyed by people of all generations and ages.

Here’s the street food map of India.

9. Chai map

An integral part of every Indian’s life, chai is undoubtedly the most popular drink in the country. Almost every household in India starts their day by brewing a hot cup of tea and it’s the same tea that unites the family in the evening over a plate of biscuits or pakoras.

But there are thousands of varieties of tea that are available across the world with their unique taste and even health benefits.

Here we trace the different varieties that are available in India.

10. Mango map

Everyone awaits the arrival of the mango season in India. Being a tropical paradise of fruits, India is home to more than 100 varieties of mangoes.

The juicy and delicious fruit, which is also native to India, often comes in different shades that vary from yellow to orange to tender green.

Here’s a map of Indian mango varieties.

11. Pickles map

Pickles are a lot more than condiments in India. Made with a mix of oil, vinegar and spices, pickles are highly versatile when it comes to their ingredients. Vegetables, fruits and even meat can be pickled with the right ingredients and oils.

Here’s a map tracing different types of pickles across the country.

12. Chilli map

Indian food is considered incomplete without the spice of chillies. In addition to adding a punch of flavour to dishes, chillies are also known for their several medicinal properties like improving digestion, promoting weight loss and heart health, preventing allergies and much more.

Though chillies are not native to India, the country is now one of the largest producers and exporters of chillies.

Here’s a map tracing the varieties of chillies in India.

13. Rice food map

A significant part of the Indian diet, rice is a staple for millions of people in India. A plate of rice, curd and pickle would make a perfect lunch for anyone who loves to eat rice.

From brown to white, short to tall, there are so many indigenous varieties of rice, that are grown in different parts of the country.

Here’s a map of some of India’s indigenous rice varieties.

14. Spice map

Be it Bengal’s shukto or Karbi Anglong in Assam’s organic ginger, we Indians have our own love language and it is a spicy one. From adding a punch of flavour to the dish to giving us several health benefits, Indian spices are used whole, powdered, roasted, dried or soaked in every dish.

Here’s a map tracing the spices of India.

15. Saag map

Saag or spinach is a green leafy vegetable, often disliked by children due to its taste and loved by adults for its health benefits. These greens are packed with several essential nutrients and are prepared in different ways across the country.
Just as its preparations, there are also a variety of spinaches that grow in different parts of the countries.

Here’s a map tracing the saag varieties in India.

Edited by Yoshita Rao

Take a look at five such festivals that you ought to know about in India.

1. Dahanu Festival

The recently concluded Dahanu festival is celebrated in this coastal town in Maharashtra. The Dahanu festival celebrates the agriculture of the land. The town has hectares of chikoo farms, palm trees and fragrant roses growing in full glory.

The annual festival was started to promote local culture and products. Stalls are put up to showcase ethnic art forms. Fishermen of this place arrange boat rides and trips for travellers. There’s a chikoo safari, a village tour and trekking, among other highlights.

The festival, which is conducted with a sustainability theme, has been a great boost to the local community.

The fest takes place in the month of March.

2. Konkan Fruit Festival

Another festival celebrating the fruits of the land, not many may know of Goa’s Konkan Fruit Festival (KFF) conducted by the botanical society of the state.

It is an attempt to preserve the endangered food diversity of Goa. Every year the festival provides a platform for farmers to market their lesser-known fruit varieties.

During the fest, you will see exotic and traditional varieties of fruits, as well as their seeds/ saplings, being exhibited and sold. It also connects farmers, government agencies such as the Indian Council for Agricultural Research (ICAR), agricultural colleges, scientists from regional fruit boards, technology/ machine manufacturers and fruit sellers.

The festival was first hosted in 2003 at Panaji. It is usually held in the month of May.

3. Hakki Habba Bird Festival

To attract more people to the cause of bird conservation, the Karnataka forest department launched an annual bird festival in 2014. Organised at Biligiri Rangaswamy Temple (BRT) Tiger Reserve in Chamarajanagar every year, the festival creates a checklist of the many species of birds.

Birdwatching and related classes are the main programmes of the fest. Films and documentaries related to the subject are also shown. The vast biodiversity of the place is showcased through the fest.

The fest takes place in the month of January at any major wildlife sanctuaries or tiger reserves of Mysore.

4. Hornbill Festival

In Nagaland, several tribal communities have their own language, traditions and art. The hornbill festival that takes place from 1 to 10 December every year is a platform to bring them together and exhibit their culture to the masses.

The festival aims to promote eco-tourism and socio-economic development by conducting this fest which is a celebration of all Naga tribes. Handicrafts by the communities are exhibited and sold during the event.

It takes place in Kohima, which can be easily reached by air from Guwahati and Kolkata.

5. Mobile Biodiversity Fest

For the past 21 years, Deccan Development Society (DDS), an agriculture-based NGO in Telangana, has been conducting a mobile biodiversity fest. It lasts for a month and holds the record for being the longest cultural campaign in India’s voluntary sector.

It focuses on food diversity and interestingly, it is organised by women farmers.

A moving festival with hundreds of local seeds mounted on bullock carts set in a caravan, it sees participation from folk singers, dancers and thousands of farmers. The carts travel through the villages and towns of Zaheerebad region of Sangareddy district. Several national and international agriculture experts arrive to witness the event.

This festival uplifts the agrotourism sector of the state tremendously and takes place during the months of January and February. The festival moves across at least 28 villages of Hyderabad over a 30 day period.

(Edited by Yoshita Rao)

Like in most love stories, it was their common ground that brought them closer together. For example, neither follows a religion — both of them are atheists. Both call themselves stubborn when it comes to their choice.

Nivetha is from Chennai, and Yatharth is from Khargone, Madhya Pradesh. While she grew up with her parents and sisters, he was raised in a joint family of over 15 people. Together, they run a venture of building eco-friendly houses and structures.

On 5 February this year, they took a step forward in their journey and got married via a ‘self-respecting’ wedding ceremony. Called suyamariyathai or Thamizh in Tamil, these marriages are typically between inter-caste couples and the rituals are non-patriarchal in nature.

“Priests, saat pheras, mangalsutra, kanyadan, etc. which are usually found in Hindu weddings, are not there in self respecting one. We were married by an officiant in the presence of our elders, family members, and friends. The idea is to do away with Brahmincal customs and traditions that are unequal, unfair and unjust,” Nivetha tells The Better India.

Started by EV Ramasamy Naicker (Periyar), a self-respecting wedding does away with all the usual rituals of a Hindu wedding, and is legal in Tamil Nadu under the state amendment of Hindu Marriage Act. Periyar introduced this concept as part of the ‘Self-Respect Movement’ that vouched for equality between men and women, and a caste-free society.

The duo notes that while a self-respecting wedding has a political aspect, they stayed away from this by not including any idols or photos of political leaders.

How different backgrounds and cultures come together

When Nivetha and Yatharth first decided to get married, they came across this concept through a friend, and did their research on the internet. In an interesting turn of events, when Nivetha discussed this possibility with her parents, they revealed their wedding, too, was a self-respecting one.

“I grew up in a household that practices both Hinduism and Christianity. Being from different religions, my parents had a self-respecting ceremony in 1987 where no priest was involved. So, it was easier for them to understand our decision,” she says.

Meanwhile, Yatharth’s father is a conventional wedding planner, so it was harder for him and his family to understand, he says.

“My parents know I do not follow any religion. But at the same, I am not against any religion. I do follow certain traditions if there is a scientific explanation. I told my parents why I didn’t want conventional rituals and they understood eventually,” he says.

With different cultures and backgrounds, how does one conduct a ceremony that everyone enjoys?

“In self-respecting weddings, you are free to decide how you want the wedding to go. Our officiant could speak Hindi and Tamil, so that every guest would understand,” says Yatharth.

While there were no religious symbols like aarti, idols or kumkum included, they did light diyas as a symbol for their bright and prosperous future.

Is the wedding as fun and joyous as a conventional one?

The first thing that both of them did was make sure their immediate families were on board. They mentally eliminated those who were ‘not important’ to ensure that no one asked, ‘log kya kahenge?’.

The wedding ceremony had around 50 guests and lasted for an hour, with two extra days dedicated to haldi and mehandi. It was conducted in a beach resort in Auroville.

“My family is used to four-day weddings, so we decided to keep mehandi and sangeet as they are not part of any religious ceremony. Mehendi is applied to ensure that the bride and groom cannot work and are well rested before the big day. Meanwhile, the haldi ceremony is for a facial glow. And the sangeet is kept so that families can mingle, and it’s a great ice breaker. Every event has a logical explanation,” says Yatharth.

On the first day, Yatharth’s sisters applied mehendi on Nivetha’s hand and in the evening, escorted Nivetha to the stage for the sangeet, thus shattering the notion that only brothers can escort the bride as a way to protect her. The sangeet had games that allowed everyone to mingle.

The second day had the haldi and engagement. Instead of Nivetha and Yatharth exchanging rings, their parents exchanged clothes as gifts. Even the reception had instrumental music to avoid language barriers.

The D-day began with the sunrise and the couple took vows by addressing five elements — air, water, fire, wind, and sun.

“Our officiant introduced himself and invited our parents to say a few words about us. He made us worship our parents, something we both wanted. We offered flowers to our parents and got blessings in return. We lit a kuthuvilakku (lamp). I took both our vows in Tamil, and he did the same in Hindi. Our marriage was concluded by exchanging rings and garlands. Our guests showered us with petals and then headed for breakfast,” explains Nivetha, who wore her mother’s 35-year-old wedding trousseau.

The ceremony was in harmony with nature as well. Niveth and Yatharth steered clear of single-use plastics and instead gave guests refrigerated PET bottles. All the gifts were either wrapped in cloth or paper, and decorations included only natural flowers. The venue provided food in biodegradable cutlery.

They expected hiccups, but the feedback from the guests was overwhelmingly positive, they say.

“We would like to urge the young generation to know and understand that they can stay away from the status quo while still respecting traditions. Many people want to opt out of the traditions and break stereotypes, but are unaware of the alternatives. By sharing our story, we want people to know there are several ways, of which this is one,” says Nivetha.

Sources

https://www.thenewsminute.com/article/no-thaali-no-priest-meet-couples-who-rejected-rituals-their-weddings-75727

https://timesofindia.indiatimes.com/india/self-respect-marriages-in-tamil-nadu-cant-be-declared-illegal-rules-madras-hc/articleshow/49725552.cms

https://www.deccanherald.com/content/666119/self-respect-marriage-transsexual-couple.html

https://homegrown.co.in/article/803570/self-respect-movement-india-s-first-fight-for-dignity-in-1925

Edited by Divya Sethu

A 13-year-old Anjali was overwhelmed by the process at the time. But having made ‘halwa dagine’ or ‘halwyache dagine’ (sugar jewellery) for 25 years now, she has mastered the art.

“Maharashtrian tradition dictates that newlyweds should don halwa dagine for Makar Sankranti during their first year of marriage. ‘Halwa’ is a sweet dish. So the new bride is expected to wear jewellery made of halwa dagine to usher in a year of sweetness.”

Halwa dagine is prepared during the auspicious festival of Makar Sankranti where the phrase ‘Tilgul ghya goad goad bola’ is often heard as a greeting. It means, ‘Eat this Tilgul (sweet) and talk sweetly’.

The customary sugar jewellery on the other hand is made by roasting sesame seeds combined with sabudana (sago) and sugar powder. Newlywed brides are dressed in black saris—their grooms wear suits or kurtas of black—while being clad from head to toe in halwa dagine.

Also Read: 14 Photos To Make You Fall in Love with Kite-Flying Season All over Again

Thane-based Heena Khandelwal, originally from Delhi’s Baniya community, married into a Maharashtrian family. But she was afraid to wear the delicate jewellery. She says, “It is very delicate and I was worried it might break.”

But it turned out to be a sweet deal once she did put them on. January has pleasant weather so wearing jewellery made out of sugar didn’t turn into a sticky affair, says Heena who wore earrings, a neckpiece, a ‘kamar patta’ (belt) and ‘maang tikka’ (headpiece) made of halwa dagine.

A Tradition Uniting Cultures

“The halwa has to be threaded through two cotton threads. It is very difficult and intricate work. There is a specific technique that we use and I teach those who are interested, too,” adds Anjali, the Virar-based jeweller.

Anjali adds, “Every year, for Makar Sakranti, I make 100 sets of halwa dagine. Each set is priced differently — mangal sutras go for Rs 350, necklaces are priced from Rs 100-Rs 450, as per the designs that the customer requests.”

While halwa dagine might be made on a small scale by folks like Anjali, a Pune-based store Khauwale Patankar has been making sugar jewellery for hundreds of their patrons for three decades.

The woman behind the store’s halwa dagine reminisces her first Makar Sankranti wearing this type of jewellery. “I was seven months pregnant at the time and didn’t want to participate in the festivities. But my mother-in-law was so enthusiastic that she insisted I try on the jewellery. When I saw the beautiful ornaments, I couldn’t resist,” says Sonia Patankar.

“Newlyweds and newborns wear halwa dagine. The winter cold is offset as we consume the heaty roasted sesame and jaggery sweets called Tilgul,” she adds.

Also Read: Science Says Traditional Til Ke Laddoos Helps You Lose Weight & Lowers Cholesterol

Sonia is married to third-generation entrepreneur, Ramesh, who currently runs the brand that was set up in 1947. She says that inspired by her mother-in-law, they started making halwa dagine on a commercial scale in 1993.

“We had 40 women making halwa manually and another 40 who made the jewellery. I used to overlook the designs for the jewellery while my mother-in-law supervised the halwa making process,” she says, adding that she now monitors the entire process.

About the designs, Sonia adds, “We started with simple ornaments like mangalsutras and neckpieces but have today evolved with changing consumer preferences and make the same ornaments that are also available in gold. From headpieces, to elaborate nose rings and even payals (anklets) — we make it all.”

Khauwale Patankar first started with 100 sets for children and 60-70 sets for women. “Today, we sell around 5,000 sets for children, 2,500 sets for women and a lot of sets for men, too,” she says.

The jewellery for men include garlands, artificial flower bouquets decorated with halwa, rings and bracelets.

Their single-piece jewellery for women start at Rs 100 and go up to Rs 300. The whole set for kids with ‘mukut’ (crown), ‘bajuband’ (armband), wristband and garlands ranges from Rs 250-Rs 600.

For gents, the garland starts at Rs 250.

Given that the jewellery is made of sweets, one wonders if you are privy to a dessert after the festivities. But Sonia emphatically says, “No!” “You can eat these beads before making dagine but not after. They are stuck on pieces of paper and decorated with ‘kundan’ (gold), colourful beads and other embellishments. So you can’t eat it then.”

When Khauwale Patankar requested a few of their customers to showcase their halwa dagine ornaments, they didn’t anticipate the response they got.

“One of our customers shared a picture of their son-in-law who was a native of South Africa. He was so interested in the Maharashtrian tradition that he agreed to wear all those ornaments the day of,” shares Sonia.

In another instance, a Japanese daughter-in-law asked her Maharashtrian mother-in-law to don the jewellery, click a picture of herself for reference and send it to her along with the jewellery.

“It was such a beautiful moment and perfectly encapsulates the essence of this entire ritual which is to bring people together,” she concludes.

(Edited by Vinayak Hegde)

Besides being an art form that is often associated with fighting, Gurukkal has been using Kalari to help people overcome issues like respiratory and body aches. 

“Many people believe that Kalari involves battleground and weaponry, which is a misconception. This martial art form is very effective for developing mental and physical strength,” Gurukkal tells The Better India. 

Gurukkal has been striving towards changing this conception and over the years he has had more than 2,000 students from various backgrounds such as dancing, karate and some simply learn Kalari to improve their physical health. 

“I had back problems due to Karate. Two years ago I switched to martial arts at my family’s suggestion. Being Keralites, we knew about the benefits of Kalari. Sure, it is one of the most testing art forms but due to these very challenging steps, my back problem receded,” Ashfaq, one of his student’s shares. 

Gurukkal served in the Kerala police force for nearly 32 years alongside running his Kalari centre. The 58-year-old unfolds the lesser-known side of Kalari and the various benefits that this fierce art form entails. 

Is Kalari For Everyone? 

Despite hailing from a family that has been practising Kalari for several generations, it took Gurukkal three to four years to gain a stronghold. 

“Kalari is not for people with low tolerance levels and focus issues. It requires immense patience, consistency and discipline to learn painstaking body movements and complex jumps. Fortunately, core and endurance can be built with practice so even the frailest looking person can nail Kalari,” says Gurukkal.

Kalaripayattu (‘Kalari’ means a place and ‘Payattu’ means action with arms) is divided into four levels, starting with body movements called ‘Meipayattu’. In the second stage, ‘Kolthari’ includes learning fighting techniques using sticks. The third stage, ‘Angathari’ is one notch higher with the inclusion of tools like Urmi, Vaal and Paricha. Finally in the last stage, ‘ Verum kai prayogam’, the students are taught to fight without weapons. 

“If you observe the stages of Kalari, you will realise that the technique begins as a defence and slowly switches to the offensive side. Every part of the body learns how to protect and attack,” explains Gurukkal. 

He further notes that Kalari is closely linked to Ayurveda massages called Marma therapy that helps in healing bones and joint pains. 

Gurukkal suggests that people interested in learning the art form should start early when the body is more flexible. Presently, he has 30 students aged seven and the eldest one is in his 40s. His students also include two batches of soldiers from the Indian Army who he recently trained. 

“I did not take up Kalari full time because I knew it was never a viable profession. While I earned by being in the police, I wanted to keep the tradition alive by teaching it for free. My training is a service to my nation and its rich heritage of multiple-diverse art forms,” says Gurukkal. 

Besides teaching, he has actively worked towards promoting Kalari through public events. From festivals, social gatherings to dancing events, Gurukkal has been performing for years now. He has also performed at the Wagah border. 

This has not only brought him accolades and recognitions but also drawn attention from people. Several of his students have learnt about his centre through this. Gurukkal has been nominated twice for President’s award by the Kerala police and received a badge of honour from his Director-General of Police. 

Ashish, a professional Jazz and Contemporary dancer, was mesmerised by Gurukkal moves in an online performance last year. He travelled from Uttarakhand to Kerala to learn Kalari from Gurukkal. 

“I always wanted to inculcate body movements and steps of Kalari in my dance routine. I trained under Gurukkal sir for nearly two-and-a-half months. Since I am a dancer, it was fairly easy for me to learn the techniques. One day, I hope to train children in Kalari, as this is one form that needs to be conserved and celebrated,” Ashish concludes.

All images are sourced from Gurukkal

(Edited by Yoshita Rao)

Today, we applaud men who go the extra mile to embrace their emotional intelligence, who aren’t fazed by patriarchal expectations that hurt them just as much they hurt women, and those who brush off toxic ideals of masculinity with ease and pride.

Here’s a look at six of them, who are unapologetically living their lives:

1) Ravishankar VM and Surya VM: Kolam, with its origin in Tamil Nadu and prevalence in other Southern Indian states, is traditionally drawn using rice flour by the ‘women of the house’ in a bid to bring it good fortune. Brothers Ravishankar VM and Surya VM from Thiruvottiyur in Chennai, however, challenged the ritual with misogynistic undertones during the lockdown last year. After having rediscovered their passion for the art form and dedicating time to perfecting it, they now regularly share their colourful creations on Murai Vaasal, their Instagram account with over 37,000 followers.

2) Kermin Bhat and Abhishek Monde-Bhat: At a point when the patriarchal norm of a woman taking her husband’s last name post their marriage has been normalised, Kermin Bhat and Abhishek Monde-Bhat present a refreshing take on theirs, with the man taking the woman’s name instead. The interfaith Maharashtrian couple remain united in their approach towards women empowerment and highlight one of the more important themes of gender equality — having the agency to pursue independent lifestyle choices.

3) Ankush Bhaguna: Of MensXP fame, Ankush Bhaguna is known for flexing his makeup expertise on social media, where he can also be seen creating looks for other web creators. “Are you trying to tell me that your masculinity is so fragile that it would get hidden under some translucent powder?” he asks in an Instagram reel that went viral last year. Notably, Ankush has criticised people for casually referring to him as a “revolutionary”, and gives due credit to queer individuals for popularising the movement first.

4) Sahitya Dewda: Pune resident Sahitya Dewda is a full-time homemaker and stay-at-home father to his five-year-old daughter Mishka. In an interview with Beehive, he talked about his wife Reshma’s professional growth coinciding with their daughter’s birth. The MBA graduate’s decision to prioritise his domestic duties did raise a few eyebrows, ranging from presumptuous parents at playgrounds and his family members based in Burhanpur, Madhya Pradesh, but he recognises why fulfilling gender roles is a flawed concept and loves his life the way it is.

5) Akhil: Based with the 108 ambulance service in Thiruvananthapuram, Kerala, Akhil is a male nurse who has often faced the stigma of being employed in a profession predominantly associated with women. A native of Kollam district, he fights societal taboos everyday, often projected by women, and finds joy in helping his patients in the remote area where the nearest hospital is a 45-minute ride away. The role of male medical personnel such as Akhil is extremely significant as the lack of prenatal healthcare is one of the leading causes of Indian women losing their lives during childbirth.

6) Mithun Shyam: Previously an IT professional, Mithun Shyam’s decision to become a full-time Bharatnatyam performer in 2010 was met with amusement and doubt in equal measure, but that didn’t deter him from following his heart. He’s trained in the Vazhuvoor style of Bharatanatyam and has performed in countries including China, the United States, the Middle East and Thailand. In an interview with Deccan Herald, Mithun, who trains over 500 students at Vaishnavi Natyashala, spoke out against male performers being termed effeminate. “Dance is my way of attaining salvation… when I am dancing, I am surrendering and that is all that matters,” he said. 

(Edited by Yoshita Rao)

Originating from the Sanskrit work, ‘Parna’ which translates to ‘leaf’, Paan finds mention in Indian mythology as well as Ayurveda, for its medicinal properties. The heart-shaped betel leaf (Piper Betle) with reticulate venation has been used in India in various religious ceremonies as well as daily consumption for over 5000 years.

But it is more than a delicious bite or a palette cleaner– it is a wonder leaf packed with health benefits.

Although in several traditions, it is often consumed with slaked lime, supari or areca nut along with or without tobacco, and has been often associated with the risk of oral cancer, it is important to note that there are other ways of consuming the leaf that has several benefits, including anti-inflammatory and anti-microbial properties among others.

Healthy heart-shaped wonder

While betel leaves are known to be rich in nutrients like thiamine, niacin, riboflavin, vitamin C, carotene and calcium, its consumption in limited quantities does not make it a big contributor of nutrients in a traditional Indian diet.

Instead, it is the other non-nutrient components that make Paan so valuable.

These consist of antioxidants, anti-inflammatory compounds along with anti-microbial and anti-diabetic properties. It is also said to be instrumental in preventing cardio-vascular disease, high blood pressure and high cholesterol.

Mentioned in traditional medicine and proven in several modern studies, it is said to be highly beneficial for treating wounds and inflammation.

According to Ena Ray Banerjee, from University of Calcutta’s Immunology and Regenerative Medicine Research Laboratory, the existing conflict around the effects of paan exists because of the generalisation of paan as one variety.

While some varieties can cause harm in the long run, others are beneficial, says the scientist. In a research, scientists at University of Calcutta and Indian Institute of Chemical Biology, examined nine varieties of betel leaf and identified those that have anti-inflammatory properties.

As per their findings, out of the nine varieties, five showed anti-inflammatory properties while one depicted the tendency to cause inflammation, and the remaining revealed insignificant results.

Additionally, it is also known to be an excellent analgesic that provides relief from pain, in case of any cuts, bruises or rashes. One can make a paste of the tender betel leaves and apply over the wound and leave it bandaged to heal.

It is said to accelerate the healing process. The same process of application can be also used to help with severe headaches.

In several ancient Ayurvedic texts, betel leaf juice is also recommended for consumption to provide relief from internal pains in the body.

Another prominent benefit of betel leaves include weight loss. It is said to reduce Medha dhatu or body fat and increase metabolic rate of the body. A powerhouse of antioxidants that is known to clear radicals from the body, betel leaves restore the normal PH levels and help ease an upset stomach.

This is also one of the reasons why an Indian traditional meal often ends with chewing on a beter leaf. It’s carminative, intestinal and anti-flatulent properties help in improving gut health while stimulating the intestines to absorb important nutrients.

Featured image source

(Edited by Vinayak Hegde)