The inviting lush green gardens at 1 AQ Mehrauli New Delhi is going to play host to ‘The Oasis’ festival. A one of its kind two day event, the festival organized by Vajor is an ‘exotic amalgamation of art, music, mindful fashion, home décor, collaborations, cultures and cuisines.’
Being held on the 7th and 8th December 2019, the festival aims to bring together the bohemian and eco-conscious community on the same platform to interact, learn and support each other.
What is the festival about?
“The Oasis Fest is a mindfully curated, lively experience for an eco-conscious tribe. The 2-day experience beacons people to gather around and indulge in a multitude of immersive conversations, shopping, workshops, music and more. “
What to expect?
The Main Attraction
Let the artist in you find wings with artistry workshops lined up for both days. The macramé workshop called ‘Knotty Affair’, upcycling workshop using fabric pieces; ‘A CLAYFUL DATE’ in a pottery workshop and a workshop on mindful eating are some you can try your hand at.
Stimulate your mind with interesting and informative panel discussions that touch topics centered on art and the creative life.
Get enthralled in the land of stories as travelers and writers share tales of the known and unknown.
Shop your heart out! A flea market of mindful brands that cater to the exquisite taste and eco-consciousness of the buyer will provide a range of shopping delights ranging from fashion garments, accessories, home décor and more.
Music and poetry go hand in hand. At The Oasis be prepared to groove to the soulful tunes on one hand and be intellectually awakened with the slam poetry on climate change.
“Finally, it is a chance to meet, interact and indulge with the best of mindful affairs and dive deeper into a pool of opportunities, learning not just how to become part of the Vajor tribe but to be able to earn and reap benefits with this vibrant fest where there is something for everyone!”
So don’t wait any longer. Book your tickets for the festival and spend two fruitful days soaking in an experience of wonderful artistic and creative energies.
Bengalis are known for they talent in both visual and performing arts, folk arts of West Bengal are so rich that audience get mesmerised at a glance. Baul or Bauls are a group of mystic minstrels who constitute a religious sect and a musical tradition. They compromise of a small fraction of the Bengali population and can be easily identified by their distinctive saffron clothes and musical instruments. Their contribution to the musical field of Bengal culture is immense and hence immeasurable. They are fondly known as “Moner Manush” (the person of the heart) which denotes these inspired people who have an eagerness for the spiritual life and wish to realize their union with the eternal beloved.
Baul music is known for its celebration of celestial love in earthly terms. Their religion is based on the expression of body and mind and concentrate much of their mystic energy on the four body fluids. The music of the Bauls or Baul Sangeet is a type of folk song but in recent times this rich culture seems to be fading. This UNESCO – World Heritage listed musical style has been reduced to a mere commodity in the present times. Once considered to be rich in culture, today it is performed behind closed doors in air-conditioned auditoriums for a fee. The artists earn very little from these programs as for them it is the sharing of their proud heritage but for the production managers these tickets sell as hot cakes, for many are intrigued by baul sangeet and the singers who live a rustic life.
Baul Singers at Shantiniketan – PTWO / Flickr
The baul music is incomplete in the absence of the ektara, a single stringed musical instrument used in creating the otherworldly charm of Baul sangeet. The instrument is made of dried gourd acting as a resonator; and has a metal string running through its neck. Plucking the string with the index finger generates a unique melody which is associated exclusively with the baul songs. Though the ektara is the main attraction, Baul songs would be incomplete without the accompaniment of percussion instruments such as the dhol cymbals, flute and the ghungroo.
Recently at the Bannerghatta campus of Christ University I had the privilege of watching famous Baul singer Haradhan Das Baul perform various songs written by his father and himself over the course of time. He tried to explain the tradition of Baul singers but almost no one was interested in the same and only wished to hear him sing. This shows the change seen in the audience culture during the present times…appreciation of culture and tradition is gone and all people want are entertainment. Owing to the kind patronage of the government of West Bengal, Baul music has been attempting to regain its lost sheen and attempts to gain a wider audience by improvising songs that may suit the tastes of many.
Till date Baul songs are widely celebrated in the state of West Bengal and in Bangladesh through the manifestation of the same in the songs of Rabindranath Tagore and hence Shantiniketan, the town founded by him, continues to be home for many of the wandering baul singers and hence the hub of baul culture in Bengal.
The Bauls worship music and are not associated with any mainstream religion. Their music is the culmination point of a huge range of cultures from around the world. It includes the tantric practices of the Hindus, the Sufi saints of Persia and certain elements of Buddhism has also been incorporated into their songs that leading to development in the roles of the individual sectors. The lyrics of the Baul songs are written in Bengali.
The lifestyle of the modern-day urban bauls is not one of simplicity as some of the practitioners hold celebrity statuses and are conducting foreign tours just like any other musician in the industry. Alternatively, there still exist some who have stayed true to their calling and continue to wander the streets of Bengal in their saffron robes with an ektara in hand.
The Baul culture is one to be upheld and preserved and passed on from generation to generation for it is rich in the heritage of Bengal and sings of oneness with nature and in these dire times of global warming and melting glaciers we human beings need reminders on preserving our universe.
Haradhan Das Baul, Papia Das Baul & Biswanath Das Baul – Wikimedia
The best place to witness this soul-stirring music is at local village fairs and at the annual Poush Mela held at Shantiniketan. They do not charge money for their performance but it is only thoughtful on our behalf to leave some money on their mats as a kind gesture for they too have a livelihood to earn just like any one of us. It is also considered to be a mark of respect and tribute to the grand culture of Baul music.
If at all you get a chance to ever witness the Baul singers make sure you utilise the opportunity for they truly are a treat to one’s heart and mind.
We perched precariously on a ledge, trying to pose in front of the city palace in Udaipur. The Danish tourist, whom we had requested to take our customary touristy snap, fumbled around with my Micromax phone, trying to figure out how to take a picture. When he finally managed to get one, it was that of my friend in midair as he tumbled off the ledge.
As my phone continuously buzzed with people ‘liking’ and re-tweeting this picture, I realised how I could have made some money had the image been of a comet shooting across the sky, instead of my clumsy friend falling.
Unfortunately, many photos on your camera are not actually yours because of the legal framework in India. The Indian Copyright Act of 1957, under section 2(d)(iv), states that the person taking the photograph will be the ‘author’ of the picture. Then it goes on to state in section 17 that the author of a work shall be the first owner of the copyright therein. The effect of these provisions is that under the Indian law, copyright belongs to the person, who clicks the picture rather than the one who owns the camera.
The only exception to this rule is in cases where the photographer clicks a picture as an employee or in return for money as consideration. Therefore, the photos taken by a magazine photographer are owned by the magazine, while you own the images clicked by the photographer you hire to cover your wedding.
On the other hand, of all the hundreds of images stored on your camera from your last trip, you only own the copyright to those which you have clicked yourself. In case of images that are taken by someone else, you must seek their permission before using the photos. Fortunately, India is not a very litigious country, so you can breathe easy. It is highly unlikely that you would be sued for copyright violation by a random passerby, who clicked a picture for you.
To be on the safer side, though, it would be wise to seek permission or to acknowledge the photographer if you know who that person is, especially if you intend to use the photo commercially. For all basic intents and purposes, permission sought and given via a simple email suffices, so there is no need to jump through the hoops of complicated legal documentation.
But if you want to avoid such issues entirely, there is an easy and increasingly popular way to do so. Click only selfies during your vacations! To help you click group photos, you can even get a selfie stick.
The latest narcissistic sensation sweeping the world may have some legal benefits after all!
The Pratap Mahal Ajmer is one of the top five star hotels in Ajmer that offers a rejuvenating getaway from the urban chaos. Perched against the backdrop of the glorious Aravalli hills, the luxury abode is drenched in cultural and historical hues that transports you to a bygone era of royalty while offering stunning views of the sacred and picturesque green oasis.
Sprawling over 8 acres, the architectural marvel stands out with its exquisite façade and aesthetic interiors. Echoing the flavours of Rajasthan, the Pratap Mahal Ajmer offers quintessential Rajput hospitality with folk dancers, finest craft artisans and illustrious Bani Thani paintings that adorn the premises. Its numerous rooms too are bathed in vintage beauty and glory while being equipped with indulgent, modern amenities that effortlessly blend the old and the contemporary. They also offer spectacular views of the Aravalli hills and the courtyard to the urban traveller while being seated on the indoor swing, sit-out balcony or private terrace.
Savour mouth-watering delicacies, while being cradled in the authentic Rajasthani ambience in the multi-cuisine restaurant Aravali, which is open round the clock to cater to your taste buds. Created from fresh local produce, the restaurant blends health and local delicacies and offers gastronomical delights in the form of both active foods and regional home-style dishes.
The alluring set up of the elegant abode serves a promising location for dreamy weddings and corporate retreats. The pillar-less Darbar Hall poses the perfect indoor location for large-scale conferences as well as family get-togethers and wedding functions. The picturesque Mughal Lawn and the pool deck too double as celebration areas for your special moments.
Unwind in the best resort in Ajmer by indulging in indoor games at the recreational centre, or focus on your health at the fitness centre and swimming pool. You can also make the most of the adventurous Thar Desert by opting for a camel safari. De-stress and rejuvenate your body, mind and soul by immersing in yoga and spa therapies. For kids, the Pratap Mahal Ajmer- IHCL SeleQtions hotel has a unique program called the Taj Kids, which keeps your kids engaged by indulging them in an active learning program that keeps them entertained. The Pratap Mahal Ajmer also presents one of the unique experiences in the form of the Wilderness Experience Dinner that is laid out in the foothills of the spectacular Aravalli Mountains away from the humdrum of city life, in the lap of the rough and unadulterated countryside. The evening is marked by life performances by Kalbeliya dancers and folk music, which can be enjoyed over a special menu of lost recipes curated by the chef along with your favourite cocktails.
Visit the Pushkar Lake and witness the Pushkar Ghat Aarti which is noted for religious and historical significance
Plan your travel along the time of the world-famous Pushkar fair and experience the spiritual ambience resonated by thousands of devotees who visit the holy destination to take a dip in the sacred waters
Evidence the glory of the picturesque Kishangarh Fort, one of the most notable tourist places in Ajmer, perched along the lakeside.
Stop by the numerous sacred temples such as the Atmeshwar Temple, Old Rangji Temple, Mahadeva Temple, Raghunath Temple, Apteshwar Temple, and Varah Temple, and pay reverence to the Gods
Visit the Ajmer Dargah, the tomb of Muin-ud-din-Chishti, a noted Sufi saint whose shrine has historical significance
Shop for stunning ornaments, embellished textiles, and exquisite souvenirs by local craftsmen at the Sarafa Bazaar
Experience tranquillity enveloped in luxury in this alluring resort in Ajmer that lies nestled in a spectacular green oasis, enveloped in the glory of the magnificent Aravalli Hills, right in the heart of the mesmerising, royal state of Rajasthan.
Mussoorie is a mountain destination which is nestled amidst pine trees, beautiful sunrises and snow capped peaks. It is the place where many couples went together to and fell in love. It is also the place where lost lovers met each other and rekindled their old spirits and found new energy. Mussoorie, has so many unexplored paths and offbeat local shops which are places where you can not only explore yourself, but also places where you can explore the person you love and may have lost touch with over time.
In relationships, you may continue loving the person, but you may end up losing the human touch which brings you emotionally close together. This makes travelling together very important because couples need to take time off their busy lives and invest time in each other as well. This makes both partners feel valued and kills the monotony which exists in the relationship.
Amidst snow capped peaks in Mussoorie, there is a hotel named “Savoy”. It looks like a grand palace from the outside and has a heritage element attached to it. The hotel has been there for almost 150 years. There are vast open gardens and lawns in the hotel where couples can relax and spend time with each other. Most of the rooms with a balcony opens up to a vast, open and unobstructed view of the Himalayas. This hotel forms a perfect setting for a getaway with your loved one.
The interiors of the hotel are quaint and english style. The area near the rooms has beautiful fountains with sculptures. The stairway to the dining room is made of marble and it opens to a huge room of woodwork. The Savoy has had many popular personalities drinking in their bar. Ruskin Bond and Jim Corbett are two of the more popular personalities who have been here in the past. For buffet, the hotel has a wide spread for all the meals and also has some fantastic a-la-carte. It is a great feeling to just sit by the window and enjoy the scrumptious meals while overlooking the himalayas. From the window, the Himalayas look so close that you can just put your arm out and touch the snow and at the same time they are far enough to feel safe.
In the evening, The Savoy has a charming guard change just like those in the Brisitsh era and it has a bonfire to keep yourself warm. As the sun descends, you can enjoy some tea and music by the bonfire. Mall road is at a walking distance from this hotel and you can walk around the quaint cafes and shops of mall road with your partner. Meeting Ruskin Bond and buying a book signed by him is one of the biggest highlights for lovers in Mussoorie. It’s a picture perfect trip, cut off from the world, where you can view the city lights of Dehradun from the mountains of Mussoorie. You can understand the mysteries which your partner has to offer to you and enjoy the silence of their company while you walk around the mountain. You can also explore some quaint places on the mountain side and simply take a midnight stroll.
It is very easy to find warmth on the mountain in someone you love, no matter how cold it gets outside. Mountains always have a strange way of making people come closer together. There is a certain beauty in the sunrise of the mountain which is able to bring in freshness and new beginnings. There is a wonderful scent in every flower which blooms on the streets lovers walk on in Mussoorie. You can find your lover again and explore them again on these mountains. You never know what the mountain has planned for you and you never know what secrets it holds.
Ladakh, the place is located at a height of 9,800 feet and is surrounded beautifully by the Himalayan mountain ranges is famously known as “THE LAND OF HIGH PASSES”. The Ladakh region comprises of some of the highest mountain passes in the world. Ladakh is the only cold desert of India and is surrounded by jagged mountain passes, plateaus and barren cliffs. Due to this, it offers various adventurous opportunities in water rafting, trekking and mountaineering. The Tibetan culture of the east is conglomerated with the Buddhist religion which adds an eccentric outlook to the region of Ladakh. Reflecting the rich Tibetan culture, the monasteries in Ladakh represent the true scintillating vibes of the Buddhist religion. Mostly located at the apex of the mountains, these monasteries offer an endearing picturesque view which showcases the peace and harmony of nature. Each monastery celebrates its own festival which reflects the unique culture prevalent in each of them. Ladakh has too much to offer…..particularly to the tourists…. right from the beautiful landscape to the refreshing rivers. Let’s take a look at some of the amazing and enriching monasteries of Ladakh.
Diskit Monastery is located in Nubra Valley, which is a beautiful place surrounded by the Shylok river. The beauty of the valley can be viewed from atop the monastery. The Diskit Monastery consists of a 106 foot tall Maitreya Buddha at its entrance which is a representation of pure dharma and complete enlightenment of the Buddhist religion. It was founded by Changzem Tsera Zangpo in the 14th century and it belongs to the Gelugpa sect of Tibetan Buddhism.
The Hemis Monastery constitutes a famous museum which showcases a collection of various ancient artifacts, Buddhist relics and statues. Artistic paintings and pictures cover the walls of the verandahs beautifully. It is home to the statue of Guru Rimpoche who is believed to be the founder of the Hemis Monastery. Besides this, there are two Buddha statues which overall compliment the architectural features of the monastery.
Situated at an altitude of 11800 feet, the monastery is cared for by the people of the Yellow Hat Sect. The 49-feet tall statue of Maitreya Buddha is a famous attraction of the Thiksey Monastery. It is a twelve-storied monument which consists of ten beautiful temples. Thiksey Gustor festival is celebrated annually every tenth month according to the Tibetan calendar. There is a separate temple singularly dedicated to Goddess Tara. The prayer hall of the monastery consists of a 40-foot tall Lord Buddha statue seated on a lotus which represents cosmic renewal. The famous temples of Thiksey monastery are Lamokhang Temple and Tara Temple.
The ancient 11th and 12th century Indo-Himalayan styled wall paintings are the main attraction of the Alchi Monastery. Situated at an altitude of 10200 feet, this monastery was constructed between 958 and 1055 AD by Guru Rinchen Zangpo. The Gompa consists of images of Buddha statues made in clay and the walls are magnificently decorated with bright colours. It also has a dining hall known as “DUKHANG” which is exquisitely decorated in kashmiri architecture. Mahakal and the wheel of life are famous locations present inside the Dukhang. The monastery also consists of a three-story temple named SUMTSEG which is situated in the centre of it. The life of Lord Buddha along with images of his family and followers is beautifully defined in the form of paintings at Sumtseg.
Shey Monastery is located in the Shey city of Ladakh which is also the summer capital of the city. The monastery is divided into sections comprising of two floors. The ground floor is surrounded with amazing mural paintings while the first floor has various Buddha murals depicted holding different hand gestures and forms. The upper floor, on the other hand has a large library which houses the ancient manuscripts. The assembly hall has the Shakyamuni Buddha statue , while the walls of the hall are designed by the mesmerizing paintings of different sages. A small shrine is present near the Shey Monastery which has a Buddha statue. Butter lamps are used to enlighten the upper floor of the monastery which generally remains dark from the inside.
Also known as “Pethup Gompa”; the Spituk Monastery is a blend of both Buddhism and the Hindu culture. It has a large statue of goddess Kali. Spituk Monastery belongs to the era of the 15th century and the assembly hall comprises the largest portion of the monastery. The antique arms, thangka, miniature chortens, ancient masks and sculptures are displayed in the assembly hall. The courtyard of the monastery is painted with beautiful tibetan paintings, while the meditation hall remains open for those willing to perform prayers and meditation.
The sceneric view of the monastery is visible right from the foothill of the ranges. The Likir Monastery consists of two assembly halls wherein the new hall is about 200 years old. The courtyard consists of a large Juniper tree, while the collection room shows tibetan styled-ancient pots, thangka collections and manuscripts written in the Pali language. The paintings and a wheel of life is present in the verandah of the courtyard. The glass room present exactly opposite to the Gonkhang house remains open for the celebration of the dance festival held there.
Also famously known as YURU MONASTERY, it is located near Lamayuru village and is known for its mask dance festival which takes place annually. The Lamayuru Monastery consists of prayer wheels, wall paintings and artifacts which shows the ancient culture of Buddhism and how it has evolved over the passage of time. A small portion of the ancient building still stands today while the remaining portion shows the ruined corners of the monastery. It consists of a beautiful prayer hall which remains open for the tourists to enjoy the rich culture of the monastery.
If you’ve ever been to a cultural event in Kerala or to a Malayali wedding, you would have noticed the unique Kerala sarees and mundus with a kasavu (gold zari) border. Kerala is known for its mundus and the Kerala saree, which are typically undyed cotton fabrics with color or kasavu (gold zari) borders and a kasavu stripe on the pallu. There are several regional variants in Kerala kasavu sarees, which have a few notable differences between them if you look closely at the fabric as well as the techniques used.
Basically there are four main centres for weaving the traditional handlooms of Kerala – Balaramapuram, Kuthampully, Chendamangalam, and Kasaragod. These centres specialize in the plain cotton designs with kasavu or half-fine zari border, while Kasaragod adopts simple patterns and colours. These textile designs have been given geographical indication tags (GI tags) to give importance to their uniqueness in Indian handloom sector.
Balaramapuram, being best-known places in Kerala for handloom, perhaps holds the monopoly over the traditional kasavu mundu (white cotton dhotis) and settu mundu (or mundum neriyathum). The tradition of weaving in Balaramapuram owes its patronage to the royal family of Travancore, which dates back to the end of the 18th century when Maharaja Balarama Varma brought weavers from what is now Valiyur in Tamil Nadu to weave clothing for the royal family.
Traditional Balaramapuram textiles have a gold zari border and usually a simple zari stripe at the end, and are typically woven from natural cotton yarn. Recently, experiments have been done with the patterns, such as weaving the same designs using coloured yarn for the weft, and the increasingly popular mural painting sarees – where fabric paints are used to recreate traditional Kerala temple art on the pallu of the saree. Given the light weight and coarse texture of the cotton fabric, these textiles are ideal for the warm and humid climate in Kerala.
Chendamangalam textiles (Ernakulam district)
The array of handloom fabrics woven in Chendamangalam is much the same as what one finds in Balaramapuram, but with less emphasis on kasavu patterns. Instead, the typical Chendamangalam mundu or settu mundu has coloured borders with a matching colour stripe, with only small amounts of kasavu for ornamentation. Like in other parts of Kerala, weavers in Chendamangalam were under official patronage of the feudal family of Paliam, who served as the chief ministers for the Rajas of Cochin. In terms of the actual process, Chendamangalam textiles are woven on frame looms, and their texture is slightly heavier than what one would find in the same types of fabrics from Balaramapuram.
Kuthampully textiles (Thrissur district)
Source
While Balaramapuram and Chendamangalam are known for traditional designs for mundus and sarees, Kuthampully sarees are the most visible style outside the state. These sarees are quite popular in Kerala as well, given the variety of jacquard designs that they are typically ornamented with – setting them apart from sarees woven elsewhere in the state. Since Kuthampully sarees are typically woven using half-fine zari, this keeps down on the cost of the final product and adds to its popularity. Another uniqueness of this design is that the kasavu border does not extend all of the way to the border, and this gap is white.
Like most other places in Kerala, the sarees woven here are generally off-white in colour, owing to the use of undyed cotton yarn. Kuthampully weavers have their roots in the Devanga Chettiar community from Mysore. They came under the patronage of the Kochi royal family, and originally had woven fabrics exclusively for the members of the palace – much like the weavers from Balaramapuram.
There’s not a whole lot of difference in terms of design between the sarees woven in Kasargod and those woven in Mangalore – technically it’s the same design for the most part, which is woven all the way from Kannur to Mangalore. Kasaragod’s weavers are originally from the Padmashaliya community, who were originally from Mysore. Surprisingly, there seems to be much more interest in the Kasargod saree than its counterpart in Mangalore. Kasargod sarees have got a GI tag while Mangalore sarees do not despite Karnataka having more GI products than any other state.
Kasargod sarees are the notable exception to the popular image of the Kerala saree being natural cotton and decorated with kasavu – instead, a variety of colours are popular and there is a lack of any zari ornamentation. Having said that, the design aesthetic remains relatively simple, much in line with what one would expect of the relatively sober preferences in Kerala. Vat dyes are commonly used for Kasaragod sarees, owing to the colour fastness as compared to most other commercially available dyes.
Other Centres for Handloom in Kerala
In addition to these places of traditional textiles, there are a few other centres for handloom in Kerala. Kannur manufactures a good deal of handloom running fabrics but few sarees, and this is typically done on frame looms. Palakkad is known these days for handloom sarees, but the style woven there typically bears more resemblance to those woven in Bengal than elsewhere in Kerala. There are even a few places where sarees with ikat patterns are woven, reminiscent of some of the simpler designs from Orissa and Telangana, but by and large most of the designs woven in Kerala are of the traditional varieties of mundus and sarees, with minor variations from the types woven at Balaramapuram, Chendamangalam, and Kuthampully.
In her early twenties, Sneha Suresh is every bit of an enthusiastic and aspiring youngster. Yet, there is one distinct factor that makes her stand out. Her love for the ancient and historic coupled with her artistic inclination has given rise to a wonderful repertoire of traditional visual art designs. The brain behind the Prajne and Inaipu series, she is also a proud entrepreneur of Tucksac.
Where Prajne was a series of illustrations that explained the utility of artifacts from Northern Kannada, Inaipu was an interesting take on Tamil letter forms and proverbs. Her most recent work is inspired by ‘Indian musical instruments that are either forgotten or on the verge of extinction.’
We spoke with Sneha about her latest projects, the need for preserving our heritage, her own brand and much more.
Tell us a bit about your series on Indian musical instruments. How many instruments have you illustrated and how did you go about your research for the same?
Lino Print of all artefacts together by Sneha Suresh
A year ago, my father visited his boarding school decades later where he found and re-united with his tabla after 48 whole years. The sheer joy on his face while holding an instrument that he played 48 years ago inspired me to work with Indian musical instruments that are lost in time.
This series of illustrations is a playful re-interpretation of lesser known Indian musical instruments that are either forgotten or on the verge of extinction. The purpose of this series is to preserve and pay tribute to these instruments and give them a new life through illustrations while keeping the essence of the old intact. Each illustration is a tribute to one such instrument with an aim to push people to think, wonder, imagine and perhaps even create.
This October I decided to take a few prompts from the #inktober2019 challenge and use them as cues to re-imagine and illustrate certain instruments that are on the verge of extinction. In each of the illustrations, the re-imagined instrument is painted in black and gold.
As a part of research, I did a lot of reading prior to a visit to IME (Indian Musical Experience), Bangalore. The museum was very well curated and gave me a better understanding of the context I’m dealing with. I’ve 4 illustrations that together cover 6 instruments.
The musical instruments are visually expressed as animals in your illustrations. Any reason why you chose to have this connection?
The instruments that I chose happened to be in the form of fish, crocodiles and snakes. For example, a ‘nagfani’ is an instrument that looks like a snake and translates to mean ‘snake hood’. And then, we also have a ‘makara yazh’ that looks like a crocodile and a ‘matsya yazh’ that looks like a fish. The words ‘makara’ and ‘matsya’ also mean crocodile and fish respectively.
How would you suggest reviving the use of these musical instruments?
There are museums in India that focus on tribal musical instruments and other instruments that are either endangered or forgotten. Some of these museums don’t have enough space to keep all the instruments that they have in their possession on display.
If given an opportunity, I would like to bring together collectors of such Indian musical instruments and artisans of India’s lesser known art forms. This would bring about awareness and give the history of these instruments a new life through work that tells their stories while also reviving art forms that are getting lost in time. The narratives could then be made more accessible through books and magazines in addition to being placed in the form of artwork along with the actual instrument at a museum. In museums that lack space, these narratives of instruments that are not on display along with a photograph of the instrument could be made available for viewers to pick and flip through.
The benefits of this project would be 2 fold – to preserve and pay tribute to India’s cultural heritage while also reviving dying art forms and giving artisans a sustainable stream of income.
Your earlier projects, Prajne and Inaipu also like your latest work is seated in the ancient or traditional realms. Being comparatively young what drives you to invest in older heritages?
I’m hugely inspired by Indian history, oral traditions, art forms and my cultural roots. Now that I think about it, this probably started when I was little. I was always drawn towards images of seals from the Indus Valley Civilization that featured in my school. Over the years, my love for people, conversations, communities and their practices continued to grow and that led me to dig a little deeper. While I also get inspired by our ‘everyday’, different cultures and traditions and all that we’re surrounded with here in India, my quest for narratives from the past continues to grow.
Out of the three projects, which one do you think was harder in terms of research and illustrations? Also, which one is closer to your heart?
In terms of which one is closer to my heart – I’d say Inaipu. I worked with my mother and both my grandmothers during the length of the project a couple of years ago and they helped me pull it off. We made memories that I’ll forever cherish.
In terms of research and illustrations being more challenging – I’d say Prajne. It was hard to get information about certain ancient artifacts even after speaking with historians, archaeologists and collectors. That series was also entirely lino-printed which is a very time consuming process.
Can the Prajne, Inaipu and illustrations on musical instruments also be purchased by art lovers?
At some point, yes!
Tell us the inspiration and motivation behind Tucksac.
In October 2014, I accidentally stumbled upon entrepreneurship when I got multiple orders for ‘roll-up stationery pouches’ that I had actually made for myself and my art professor to use. I was 18 back then, in my first year of Srishti Institute of Art, Design and Technology and decided to take my first baby steps into the world of entrepreneurship when I founded Tucksac. All that I knew back then was that I was passionate about textiles and wanted to avoid the use of leather and plastic while getting my products made.
Today, the brand works towards making certain narratives from the past more accessible while offering quality products for artists/designers. Tucksac also takes up commissions related to Branding, Surface Pattern Design, Wall Art for Commercial Spaces. You can find @tucksac on Instagram.
You call yourself a visual communicator. What does this mean?
My penchant for color, texture, pattern and text and image is what made me want specialize in Visual Communications and Strategic Branding.
I create with the intention of using visuals to tell a story that looks at particular theme through a different lens. Since what moves people in every case is the unknown, the aim is to tell a story through visuals that open doors for imagination in addition to creating awareness about a certain topic.
Which form of expression do you prefer more? Hand painting or digital designing?
That’s a tough one because though I enjoy hand painting and any kind of hands-on work more, I absolutely love combining that with digital work because of the endless possibilities that the medium offers. A good example of this would be Inaipu, where I first sketched all the letterforms out on paper, tweaked and composed them digitally and then eventually screen printed them on paper at home. In the case of Inaipu, though an important step was done digitally, the outcome involved hands-on work.
Who are your favorite illustrators or artist?
Chaaya Prabhat (Artist); Sophie Robinson (Interior Designer) My most favorite artist though is my little niece, who is just over 3 years of age. Her work amazes me while her carefree nature while creating inspires me. This 3 year old artist’s color vocabulary isn’t limited to yellow, blue and red but also includes words like “emerald/lime/olive green, turquoise, lavender and magenta”.
From ancient artifacts, to Tamil letters to musical instruments – do you plan to continue trying to revive or find meaning in traditional cultures or would you not mind switching to more modern topics in the future?
Just like any other creative practitioner, my practice is constantly evolving. For now, my work is also hugely inspired by nature. I trust the process, am open to and optimistic about the wonderful possibilities of the future.
Any thoughts or suggestions for youngsters trying to make their space in the artistic and entrepreneurial worlds.
The same things that I often tell myself:
Take one little step at a time, enjoy the process and know that whatever happens, really is for the best! 🙂
The belly dance is one of the most popular social performances whose history can be traced back to the 1920s when Egyptians converted this to a form to be presented on stage for an Oriental audience. Owing to its adaptability, it is one of the most widely practiced art forms worldwide. In India, the Nrityakosh dance company (based in Bangalore), established in 2017, by Debapriya Das, had a vision of introducing this dance form to an Indian audience, in a manner which created an association with the native culture without compromising the true spirit of belly dance.
Debapriya
Debapriya is not only a professional dancer and instructor trained in Bharatanatyam, Kathak, Ballet, Flamenco and contemporary dance, but also holds a master’s degree in Economics and has worked as a researcher for a leading India-based think tank in the fields of poverty, sustainable development and climate change adaptation. She has also represented India in several international oriental dance festivals – ‘5th International NY Cairo Raks Festival’, New York, ‘Cairo! 11th International Oriental Dance Festival’, Budapest, and ‘The 2019 Roma Tribal Meeting’, Rome. Debapriya is one of the principal dancers of Rhythmotion ensemble headed by Chitra Arvind and recently represented India at the Busan Dance Festival, 2018 which was funded by the Indian Council of Cultural Relations. Her specializations are Egyptian Oriental and Tribal Fusion Belly Dance, aside from being the artistic director of Nrityakosh. Debapriya’s work focuses on incorporating aesthetics from different dance forms into belly dance.
Some of Nrityakosh’s noteworthy works include Safar-E-Raqs, a theatrical belly dance production in collaboration with several independent belly dancers and theatre actors which showcases the adaptation of the form from the late 1970s to the present day through different cultures and audiences. In 2017 Nrityakosh explored the concept of the Bhava-Rasa theory of Natyashastra through belly dance in a collection of stories from the Ramayana as a part of a recital.
On 9th November Nrityakosh is set to present a production of belly dance, on the life of one of the most prolific poets of the Roma community – Papusza, at A.D.A. Rangamandira, Bangalore. It is a crowdfunded production as Nrityakosh has been able to raise 80% of the cost involved in staging. Romanis, popularly referred to as ‘gypsies’ in a derogatory manner, were an ethnic group that migrated out of Rajasthan and Punjab around 1,500 years ago. Papusza was a Polska Roma, a large ethno-subgroup in Poland. The Romanis were against female literacy and to this day, three quarters of Roma women are illiterate. As a female poet Papusza’s work was revolutionary and unheard of in the 1920s.
Debapriya comments, “Papusza’s life is both fascinating and tragic. She was a path-breaker, a female poet in a culture that deemed literacy ‘unsuitable’ for women. While her art made her the first Roma woman to be included in thePolish Literary Union, it also led to her being exiled by her own people.” Her poetry focused on poverty, impossible love, rootlessness, and life on the long road. After the Holocaust victimized the Romas along with the Jews, she wrote of their sufferings in war. “The production is the story of her relentless spirit and her quest for freedom to express herself through her art.” Debapriya added.
Since its inception, Nrityakosh has ventured to curate and convey through belly dance performances that are socially, culturally, and politically relevant, combining elements from storytelling and Oriental Dance vocabulary. In this regard Debapriya remarked, “In Papusza’s story, we find a tale that mirrors the story of the time we live in”, for it highlights the battles of artists who have been silenced for expressing themselves through their art.
Debapriya believes that “questioning and pushing cultural norms” is always the first tenet of art, and hence Papusza’s story is inspiring, for her bravery and belief in her art. This particular production shall employ several styles of belly dance and its fusion forms – Muwashshahat, Classical Egyptian oriental, Modern oriental, Hagallah, influences from American Tribal Style and Tribal Fusion. Certain pieces will also include Kathak, Flamenco, and contemporary vocabulary. Such varied styles and fusion forms of belly dance will be presented as a part of a production for the first time in Bangalore.
With trends changing every day, fashionistas sometimes find it hard to keep up with it. The audience has also become very diverse and susceptible to change. Indian and international brands have very well understood this consumer behaviour and have modified their collection accordingly. There are now many brands that are emerging as the new favourite among customers due to the wide array of options they provide. There are also many Indian, homegrown brands on the list too.
Shopping online has become very common these days. With websites offering the assured quality of products at a reasonable price, customers have their needs fulfilled. One such website is Flipkart. The deals and offers make it more desirable to the customers. Flipkart also has leading brands for women to shop from.
Here we discuss on the women brands available on Flipkart. You can find discount offers on Flipkart to avail these brands at a great price.
Allen Solly
A division of Aditya Birla group, this is one of the largest growing apparel company. From fancy tees to beautiful dresses, you can find them all under this name. The quality of clothes is what wins the likes of its customers. You can also find these at great Flipkart offers online.
FabIndia
Preparing for a colleague’s wedding or something to wear on an ethnic day, FabIndia has your back. One of the country’s most loved ethnic brands, FanIndia has a diverse collection of women wear. Watch out for the unique print kurta and pair them with jhumkas for a gorgeous look.
Biba
Another ethnic brand, Biba is known for its simple yet elegant look. The clothes are comfortable and the quality is top-notch. If you are looking for something to gift your mom, you have a wide range of options that fit in your exact choice here. Watch out for sales and offers to avail it at a good price.
Pepe Jeans
Are you looking for casual yet typical denim? Pepe Jeans is here for you. One of the favourite brands of women, PepeJeans is also known for its printed tees, sweatshirts, skirts, short and of course slim jeans.
Vero Moda
This is undoubtedly one of the favourite brands of the country. Whether you are looking something casual or something for a formal event, Vero Moda has it all. The brand knows the likes of people and modifies designs according to the latest trends.
These were some of the brands for women available online on Flipkart. Find your fit online at significant discounts and stay updated with the fashion trends.
