Home Blog Page 8

Mark Silcox: Striking comedy gold

0
Reading Time: 4 minutes

 

Stop me if you’ve heard this one before; a comedian called Mark Silcox walks on stage at a comedy club in England to tell some deadpan, self-deprecating jokes.

Except the person who walks on is a mild-mannered middle-aged Indian science teacher, and the jokes are meandering anti-humour lectures told with straight faced sincerity and a desi uncle accent.

“[There’s] complete separation from my personal feelings and what I want to present as a character,” Silcox explains.

“I build up lots of expectation and people can see there’s nothing behind it… that’s where the funny bit comes.”

It’s this dissonance between expectation and reality which Mark Silcox (obviously a stage name) has playfully mined since 2008, where he first created the persona as part of a comedy course at London’s adult education college CityLit.

“I was watching a documentary, and they were saying you don’t have to be born funny to become a comedian. I was 45, looking to experiment, so I did that course; it was funny because there were lots of actors doing really serious stuff about comedy, and I just couldn’t relate to any one of them, so I developed my own style of comedy – not telling jokes, just talking rubbish,” he says.

With a love of ‘winding people up’, Silcox’s unique style is antithetical to the current wave of lively, Vir-Das-esque social commentarians, or the observational hopscotch of British contemporaries like Russell Howard.

“In the textbook they will teach, you have to do this, you have to keep the energy high; I just ignore all those warnings and do whatever I like,” he says.

“I’m not solving any world problems; I just want to have fun and wind people up.”

It’s a comedic voice that’s both anomalous, and in the words of peer Paul Chowdhry ‘very British’; blunt, dry, subdued, and unlikely to translate back home in India.

“It takes time for a nation to develop the style of comedy; in India, comedy is relatively new. So everybody is copying the same style – the sharp joke, acting out your punchline, the energy, filling the room with your voice. People get kind of used to that, then someone does something completely different, and they remember it,” Silcox explains.

Mark Silcox comedian
Mark Silcox is obviously a stage name… (Source: Supplied)

Uncle Shady

“When I started doing comedy, none of the Asian comedians were doing my style of comedy; [the audience] actually relate to me more than other comedians, and because of the name, they remember me better.”

Silcox’s irreverent nonsense, as seen in his Channel 4 series ‘An Immigrant’s Guide to Britain’, isn’t for everyone – but Silcox wears his one-star reviews as a badge of honour, inspired by Steve Martin and the niche stylings of his friends Sam Campbell and Aaron Chen.

“Steve Martin’s comedy style was very loose; he’d say ‘I don’t want to push you, laugh [at] whatever you want’. I think I get a similar kind of response, sometimes they’re laughing,” Silcox says.

Nonetheless, it’s a persona that has charmed audiences across the globe, and after reaching the finals of the BBC New Comedy Awards in 2013, Mark Silcox has gone from strength to strength with his show-stealing turn as Uncle Shady in Guz Khan’s comedy-drama Man Like Mobeen, as well as roles in Channel 4’s Joe Lycett’s Got Your Back, and absurdist comedy series Mandy.

Despite being thrust into the spotlight through his silver screen appearances, Silcox isn’t concerned about reaching comedy stardom, having already achieved a successful career in science, including a PhD from Imperial College London and multiple journal publications.

“For me, [comedy’s] always been a hobby…I don’t have to prove my intelligence ’cause I have paper qualifications,” he says.

“Comedy is just like a paid holiday; I’m a science teacher, so I get paid from the school and I use my holiday to do comedy. I have a lot of respect for those who choose comedy as a career, because I know how hard it is for them to get a regular income.”

Instead, he appreciates having some distance between his home life and comedy persona.

“I invite my wife when I’m doing a panel show or some acting, then I will take her to the set to show things; but my stand-up comedy is so bad, I don’t want anybody to see it!” he says of showing his family his work.

This month, he brings his latest show “The Successful Gold Trader” to Melbourne’s Motley Wherehaus for the Comedy Festival. It’s one of the rare occasions the Bhopal-born Silcox has performed outside of the UK.

Based on his own experiences investing in the lead up to his retirement, the show takes the form of a dubious PowerPoint seminar told with a ‘somewhat charming yet deadpan delivery’.

“I wouldn’t be able to do this comedy in India, because people will demand – you haven’t worked hard, written some jokes, so what are you doing here on the stage?”

“So I haven’t gigged in India; it will take some time for the comedy [scene] to become more mature, [and for] people to want to explore more. That’s what happened in America, where Steve Martin started doing this kind of anti-comedy there.”

Content with his own pace, Mark Silcox, 62, looks forward to his retirement in five years, during which time he hopes to do as much comedy as he can.

“I don’t think I have struck comedy gold, but I’m having fun.”

READ ALSO: Classrooms, cosmos and everything in between

When periods begin, autism changes everything

0
autism and menstruation
Source: AI Generated Image
Reading Time: 5 minutes

for autism and menstruation

For many families, a girl’s first period is a milestone that arrives with a mix of pride, awkwardness and concern. But for parents of autistic girls, it can bring something more intense: fear.

Fear that she may not understand why she is bleeding. Fear that she may panic at school. Fear that a pad may feel unbearable against her skin. Fear that mood or behaviour changes will be misunderstood. Fear that poor understanding of privacy and body boundaries may place her at greater risk of harm.

These fears are real, yet they are rarely discussed openly.

In many Indian families, periods are still wrapped in silence, embarrassment or half-explanations. But autistic girls usually need the exact opposite. They need clear words, early preparation, repeated teaching and practical support. For them, menstruation may not be “just a period.” It can be a sensory, emotional and social challenge all at once.

That is why this conversation matters.

Don’t wait for the first period

Most girls begin menstruating between the ages of 9 and 15. For parents of autistic girls, that means one thing: preparation should begin early.

If an autistic girl suddenly sees blood in her underwear without warning, she may not think, “This is normal.” She may think she is injured, frightened or in trouble. The first experience can become distressing very quickly if nobody has explained what is happening.

Preparation should begin early (Source: Canva) for autism and menstruation

The best approach is not one uncomfortable “big talk,” but many small, calm conversations over time. Explain that periods are a normal part of growing up. Explain where the blood comes from, how long it may last, and that it will happen again every month. Use simple, direct language. Pictures, visual charts and step-by-step routines can help more than vague explanations.

For autistic children, predictability reduces fear. Preparation builds confidence.

Why periods can feel harder for autistic girls

Periods can be difficult for any teenager, but autism can make them feel bigger, heavier and harder to manage.

Some girls are very sensitive to touch, smell or dampness. A sanitary pad may feel scratchy, bulky or uncomfortable. The smell of blood may be overwhelming. Stained clothing may be upsetting. Stomach cramps may feel stronger or be harder to describe. Even getting used to a new routine can be exhausting.

Periods can also affect behaviour. A girl who is usually calm may suddenly become irritable, withdrawn, tearful or overwhelmed. Some may have meltdowns; others may shut down. Some may appear restless or angry without being able to explain why.

This is not bad behaviour. It is often distress, discomfort and confusion showing themselves in the only way the child can express.

Hygiene needs to be taught clearly

One of the biggest mistakes adults make is assuming girls will naturally know how to manage periods. Many autistic girls need these skills taught clearly, step by step, just like any other important life skill.

Parents may need to show how to open a pad, where to place it, when to change it, how to wrap and dispose of it, how to wash hands properly, and how to clean the body if there is leakage. Some girls may need repeated practice before they feel comfortable.

It also helps to teach body care around puberty more broadly. Bathing, changing clothes, washing underarms, managing body odour and understanding personal hygiene may all need extra support during this stage.

The goal is not only cleanliness. It is dignity, comfort and growing independence.

Comfort matters more than habit

There is no single perfect period product for every girl.

Some girls will manage well with disposable pads. Others may find period underwear much more comfortable because it feels closer to normal clothing. Some may prefer softer fabrics or different styles. What matters most is not what adults assume should work, but what the girl can tolerate and manage.

If one product causes distress, try another. If she dislikes the feel of pads, explore alternatives. If she is sensitive to the sight of blood, darker products or period underwear may feel less confronting. Period care should be adapted to the child, not forced in one rigid way.

When comfort improves, cooperation often improves too. for autism and menstruation

Pack before panic happens

School is where many parents worry most. Busy bathrooms, noise, embarrassment, fear of leaking and not knowing whom to ask for help can all make periods harder.

period kit
Keep a small period pouch in your daughter’s school bag (Source: Canva) autism and menstruation

A simple school plan can make a huge difference. Keep a small period pouch in your daughter’s school bag with spare pads or period underwear, clean underwear, and a bag for soiled clothes. Show her exactly where it is. Practise what she can do if bleeding starts at school. Some girls may benefit from a simple visual reminder card.

It is also wise to identify one trusted adult at school, a teacher, aide or wellbeing staff member , so your daughter knows exactly whom she can approach without fear or shame.

Many autistic girls cope better when the response is planned.

Behaviour changes need understanding, not blame

Parents often notice emotional or behavioural changes before a period begins. A daughter may become more sensitive, more tired, less patient or more easily overwhelmed. If the family does not recognise the pattern, the behaviour may be mistaken for defiance.

Tracking the menstrual cycle can help parents anticipate what is coming. A simple calendar or app can help connect mood changes, tiredness, discomfort or meltdowns with the timing of periods. This allows families to respond with more compassion and less frustration.

Sometimes the child herself does not know why she feels “different.” When adults understand the pattern, they can reduce demands, offer comfort and avoid unnecessary conflict.

Social rules are often invisible

Periods come with many unspoken rules. Change your pad discreetly. Hide stains. Don’t talk loudly about bleeding. Ask for help quietly. Keep it private.

The message should be simple: your body is normal, you are safe, and we will help you learn.
The message should be simple: your body is normal, you are safe, and we will help you learn. (Source: Canva)

But autistic girls may not pick up these social expectations on their own. They often need direct teaching about privacy, bathroom routines, stained clothing, asking for help, and what can be said in public versus private.

If something matters, it should be taught clearly. Never assume she will just “pick it up.”

Periods also bring a safety issue in autism and menstruation

Puberty is not only about periods. It is also the time to strengthen teaching around body safety, privacy and boundaries.

Autistic girls can be more vulnerable if they do not fully understand private body parts, consent, safe touch and unsafe touch, or who is allowed to help with intimate care. Parents should teach these ideas calmly and clearly. Explain which parts of the body are private, when the bathroom door should be shut, who can help if needed, and when to tell a trusted adult immediately.

These conversations can feel uncomfortable for families, but silence does not protect children. Clear teaching does.

Less shame, more support

In many homes, menstruation is treated as something secret or embarrassing. But autistic girls need openness, reassurance and practical guidance. They need to hear that periods are normal, that help is available, and that they are not doing anything wrong.

The message should be simple: your body is normal, you are safe, and we will help you learn.

For autistic girls, support during menstruation is not just about managing bleeding. It is about comfort, dignity, confidence, self-care and protection. And for parents, the goal is not perfection. It is preparation. for autism and menstruation

Because when families prepare early and respond with patience instead of panic, a frightening milestone can become a manageable part of growing up.

Read Also: More than blue lights: Autism and cultural barriers 

Dalit and First Nations voices meet and shine at Adelaide Fringe

0
dalit first nations featured
Reading Time: 4 minutes

 

This year’s Adelaide Fringe was different. The iconic arts festival where thousands of performances compete for attention, the presentation ‘We Belong’ did something rare – it made audiences stay back in silence, then speak. Not just about poetry, but about memory, erasure, caste, Country, and the uneasy inheritance of language.

When the spoken word performance ‘We Belong’ won the 2026 Award for Excellence in Poetry, it marked a milestone for an India-Australia collaboration. But for its director Tess Joseph, the recognition pointed to something deeper: that poetry, when held with care, can carry histories across continents – and still feel intimate.

Bringing together Australian First Nations poet Dakota Feirer and Indian Dalit poet Aleena Sabu, ‘We Belong’ creates a live dialogue between two marginalised histories – without collapsing their differences. The show is created by Kommune, a Mumbai-based creator collective.

‘We Belong’ won the 2026 Award for Excellence in Poetry
‘We Belong’ won the 2026 Award for Excellence in Poetry (Source: Supplied)

How the idea took root

For Tess, the project began not as a production, but as a feeling.

“I start my days with poetry,” she tells Indian Link. “It’s something my Amma began with me, and it has stayed like a quiet ritual, a way of listening to the world before all the talking begins.” 

That instinct sharpened a few years ago while moderating a panel with First Nations poet Kirli Saunders. What she heard echoed something she already knew from Dalit and Adivasi writing – particularly from Aleena and poets like Jacinta Kerketta.

Different lands, but a shared pulse of land, identity, memory, and resistance.

“That’s when the idea first began to take shape: what would it mean to bring these voices together in conversation?”

By the time she arrived at Adelaide Fringe in 2025, the idea had found direction.

When funding opened up, ‘We Belong’ became the proposal she had to write.

“It began as a concept, but I trusted that if we brought the right artists together, something truthful would emerge. And it did.”

English language, a bridge and burden

At the heart of ‘We Belong’ lies a central tension: English as both bridge and burden.

Tess deliberately places Aleena’s ‘My English’ alongside Dakota’s ‘English is my foster home’, forcing the audience into discomfort from the outset.

“English as access, but also as violence, as inheritance, but it not being the language that runs in our veins,” she explains.

Rather than smoothing this contradiction, the performance leans into it.

“We made deliberate choices to rupture English. Aleena’s ancestral Malayalam chant enters the second segment of the show as an invocation before comprehension. Its meaning is offered after it is sung.”

When the performance finally came together, something clicked. (Source: Supplied)

Through oral traditions – whale songlines, Pulaya cosmology, grandmother memory – the work reclaims spaces that existed long before English.

“So English becomes the bridge, but never the root.”

A stellar performance built across distance

In November 2025, the team began meeting weekly on Zoom, building trust, exchanging stories, and slowly shaping the work.

“The structure emerged like a journey, not a framework,” Tess says.

The narrative moves from language to myth and origin, then into lineage and water, before arriving in the present – where borders, visas, and bureaucracy complicate belonging.

Then came the challenge: the team met in person just one day before the actual show.

“We had one day. Four runs in my hotel room and one on stage rehearsal only. Jet lag wasn’t on the call sheet!”

Yet when the performance finally came together, something clicked.

“I still remember the first time we performed the duet in person. Suddenly – it landed! It was relief but also felt like ‘an arrival’.”

When two worlds meet

For Dakota Feirer, the show’s tone was set by “a provocation of solidarity across oceans”.

At its core was a question: “if two of our ancestors met, what would they say to one another?”

The answer unfolds through a dialogue that connects, but does not collapse, Dalit and First Nations experiences.

“’We Belong’ is also one of a kind in terms of a storytelling exchange between Dalit peoples and First Nations Australian peoples,” Dakota says.

“The specificities are different, but the realities often mirror each other,” Aleena adds. “We did not merge experiences, we allowed them to stand alongside one another in conversation.”

Dakota found that exchange equally powerful.

 

View this post on Instagram

 

A post shared by Kommune (@kommuneity)

“By not hanging up her Dalit identity before entering the room, Aleena forces everyone else to undress,” he says about his co-performer.

What emerges is not just comparison, but connection.

“What ‘We Belong’ ultimately offers to the world is a pause… that we are all bound by a shared human experience,” Dakota explains.

When ‘We Belong’ won at Adelaide Fringe, Tess redirected the credit.

“The award is an honour for all of us, but this award belongs to Aleena and Dakota. Their words… that is what won.”

For her, the recognition validates spoken word as something far more than performance.

“It is a living, breathing art form – it can hold the past and speak to the present and our future.”

Read Also: Classrooms, cosmos and everything in between

Maamla Legal Hai 2: Review

0
Maamla Legal Hai 2
Reading Time: 3 minutes

 

Courtrooms in India are rarely quiet. They are almost like chaotic characters. They gossip, they stall, they erupt, they decide fates. Netflix series Maamla Legal Hai Season 2 taps into this chaos with a little more heart, a little more self-awareness, and just enough madness to keep you hooked.

Set once again in the gloriously dysfunctional Patparganj District Court, Season 2 leans into what worked the first time. Quirky, almost unbelievable cases drawn from real life and then stretched to make it a bit OTT (over the top) for OTT (platforms). The show reminds you early on that truth, in Indian courts, is often stranger than fiction.

AT A GLANCE: 

  • Series: Maamla Legal Hai Season 2 (NETFLIX)
  • Creators: Sameer Saxena, Kunal Aneja, Saurabh Khanna
  • Cast: Ravi Kishan, Naila Grrewal, Nidhi Bisht, and Kusha Kapila
  • Rating: ★★★☆☆

From petty disputes to morally tangled cases, the series never tries to sermonise. Instead, it lets the absurdity of the system do the talking. And in doing so, it quietly slips in commentary on power, gender, trust, and the grey zones of justice.

It’s a show about people trying to survive the law.

Ravi Kishan with a gavel and gravitas

The biggest narrative pivot this season is Ravi Kishan’s V.D. Tyagi moving from lawyer to judge. It’s a shift that could have flattened the character, but instead, it adds a delicious tension.

Tyagi is now expected to embody restraint but instinctively remains a man of jugaad. Watching him negotiate this internal tug-of-war is where the show finds its sharpest humour and its most surprising emotional beats. Kishan plays this duality with ease. He doesn’t overplay the authority, nor does he abandon the street-smart chaos that made Tyagi memorable.

The women hold the room

Nidhi Bisht’s Sujata Negi continues to be the spine of the narrative. She is sharp, messy, and deeply human. She’s not here to be liked, she’s here to win. Enter Kusha Kapila as Naina Arora, the Harvard-returned disruptor who brings both rivalry and reflection. Her dynamic with Ananya (Naila Grewal) and their ego tussle makes it further interesting. The show smartly avoids turning its women into moral anchors. Instead, it lets them be flawed, ambitious, sometimes petty, and, therefore, real.

The humour still lands… mostly

What continues to work is the writing’s ability to mine humour from the mundane. A cough during an oath, a bizarre civil dispute, a client who makes no sense – more than punchlines, it is the lived realities that have been successfully turned into situational comedy by the writers.

But the season isn’t airtight. There are moments when it leans too heavily into Tyagi’s emotional arc, slowing down the otherwise brisk, episodic rhythm. The tonal shifts from comedy to melodrama don’t always blend seamlessly.

And yet, the show recovers quickly. Because it understands one thing: its strength lies in its ensemble and its world.

A courtroom that feels lived-in

What makes Maamla Legal Hai 2 quietly addictive is its ecosystem. The Patparganj court is a messy, crowded, unpredictable character. Lawyers hustle, clerks linger, clients overshare, and somewhere in the middle of it all, justice happens. There’s no glossy heroism here. Just a system trying to function, and people trying to function within it.

Season 2 doesn’t reinvent the wheel, and perhaps it doesn’t need to. It sharpens what already worked: humour rooted in reality, characters that feel like people you’ve met, and a legal system that is as chaotic as it is compelling. It falters in parts, especially when it tries too hard to feel important. But when it relaxes into its own absurdity, it’s a delight.

Because in Maamla Legal Hai, justice may be blind, but it’s also sarcastic, slightly confused, and running late.

Read more: Indian films releasing in April 2026

Prabhat Sinha: Medico, community builder, diversity advocate

0
Reading Time: 4 minutes

Dr Prabhat Sinha

Dr Prabhat Raj Sinha was born in Gwalior, India, and migrated to Australia in 1973 in pursuit of new horizons. He began his medical career in Australia as a Senior Medical Officer with the Health Commission of NSW in Sydney, serving until April 1975, after which he established his own private practice. As the founder of Strathfield Plaza Family Medical Practice in Strathfield, he devoted over five decades to delivering compassionate, high-quality medical care. His warmth, gentle manner, and reassuring presence earned the trust of generations of patients, many of whom travelled long distances to seek his care. He also served on the Medical Panel of the Indian Consulate and several insurance companies.

A proud Indian Australian, Dr Prabhat Sinha became an Australian citizen to fully participate in the life of his adopted country. A firm believer in multiculturalism and social cohesion, he dedicated himself to upholding the values of parliamentary democracy, rule of law, equality, and compassion. Together with his wife, Mrs Neena Sinha, he raised two children Piyush Raj Sinha and Pallavi Sinha in Australia while preserving and promoting Indian cultural traditions, languages, and heritage.

Dr Prabhat Sinha
Dr Sinha as the President of the United Indian Association (Source: supplied)

Dr Sinha’s contributions to community life were extraordinary in both scope and impact. As Founder and President of Sri Mandir in Auburn, he played a pivotal role in establishing one of the first Hindu temples in Australia. Through his efforts, the temple grew into a vibrant centre for religious, cultural, and social activities. He also initiated “Navrang,” an annual cultural programme to promote Indian performing arts and encourage youth participation.

As a Founder Member and Past President of the United Indian Association (UIA), he strengthened community engagement by establishing forums for youth, women, and senior citizens. In 2006, as President of UIA and Director of the India Australia Fair at Sydney Olympic Park, he led a landmark event attended by over 20,000 people, fostering cultural exchange and unity among diverse communities. He also initiated the involvement of other ethnic and faith communities (such as the Chinese and Polish communities) by inviting them to participate in cultural activities of the Fair. This resulted in better interaction and appreciation of different cultures.

Dr Prabhat Sinha
Dr Sinha at the Opera House Diwali Celebration (Source: Indian Link)

His community involvement extended widely. He served on Strathfield Council’s Multicultural Committee, founded Strathfield Australians of Indian Sub-Continental Heritage Inc., and helped organise the first Deepavali celebrations in Strathfield. As part of the Deepavali Celebration Committee of NSW Parliament, he helped in the organisation of Deepavali festival, illumination and installation of a plaque in the NSW Parliament. As a Founder Member and Vice President of Hindi Samaaj, he promoted Hindi language education. Dr Sinha was one of the Founders of Kayasth Vahini Association which was instrumental in helping children to retain their culture. He also contributed to healthcare advocacy as Vice-President of the Overseas and Australian Medical Graduates Association. As International Services Director Rotary Club of Strathfield, he raised significant funds for healthcare and the elderly. He also served as Worshipful Master of the Masonic Lodge.

His outstanding service was recognised through numerous accolades, including Inner West Business Awards for his medical practice and a Premier of NSW Government Award for Community Service.

Dr Sinha passed away in his beloved homeland India, and his ashes were immersed in the Ganges by his family.  Even on his plane trip to India, his commitment to community service was exemplified by provision of medical care, in response to a request for help on the plane. Dr Sinha was deeply devoted to his family, his profession, and his community. He embraced every opportunity to serve, to bring people together, and to uplift those around him. His enduring legacy is one of kindness, humility, compassion, and unwavering dedication. He is fondly remembered by his wife, his children and their spouses and his grandchildren, and the wider community for his gentle smile, his high standard of medical care and tireless service, and the profound difference he made in the lives of so many.

Dr Prabhat Sinha
Dr Sinha with wife Neena (Souce: Supplied)

Throughout his life, Dr Prabhat Sinha exemplified integrity, quiet strength, and a steadfast commitment to doing what was right.

As a cherished member of our community, he always offered his support with characteristic generosity and sincerity, and spoke thoughtfully about the importance of integrity and principled leadership.

His was a life lived with purpose, courage, and compassion. His achievements stand as a testament to his dedication, vision, and lasting contribution to our community.

The Sinha family will be holding a Shraddhanjali and Celebration of Life service to honour and remember Dr Sinha on Saturday 25 April at 3:00 PM. This Service will provide family, friends, and community members an opportunity to come together, pay their respects, share memories, and celebrate a life so meaningfully lived in service of others.

As places are strictly limited, for further details regarding the Service, attendees are kindly requested to contact Pallavi Sinha directly on 0410546685.

READ ALSO: Neena Badhwar: Community catalyst and connector

When stillness stole the spotlight: Nandana Nithin’s arrangetram

0
Reading Time: 4 minutes

Nandana Nithin

Did Krishna, Rama, Shiva, Hanuman – and so many others – ever truly exist? One wonders. Perhaps they live not in history, but in the vast landscape of our spiritual imagination. And yet, through music and dance, they are made vividly, almost tangibly real. When movement, melody, and costume align with meaning and intent, these figures step out of myth and stand before us. It was this thought that stayed with me as I watched Nanadana Nithin’s arangetram at NIDA, Sydney, late last month.

What stood out during the performance were the many evocative poses of Krishna, Rama, Shiva, and Hanuman that Nandana embodied throughout her recital – often balancing gracefully on one leg, holding each form with striking poise and control. Added to these were the dramatic scenes she created with her skilful abhinaya: Krishna’s birth, Poothani Samhara, Kalinga Mardhana, the rendering of Bhagavath Geetha, and Krishna’s assurance to us as “Yadha yadhahi dharamsya glanirbhavathi Bharata, Sambhavami yuge yuge.” [Whenever and wherever there is a decline in righteousness (Dharma), O Bharata (Arjuna), and a predominant rise of unrighteousness – at that time I manifest Myself on earth.

 

Poise in stillness, power in pose, nandana nithin
Poise in stillness, power in pose (Source: Supplied)

Turning to the Ramayana, we witnessed Lakshmana drawing the Lakshmana Rekha around Sita, the episode of Sita Apaharana, Jatayu’s valiant struggle, and a playful, humble Hanuman dancing about – to name just a few of the many moments brought to life.

Bharatanatya is a seamless blend of abstract nritya and expressive abhinaya, and Nandana excelled in both. Throughout the recital, she was given ample scope to showcase her command of mudras and the nuanced movements of the neck, eyes, and limbs through intricate jathis. She moved with striking agility across the stage – in one moment poised in a corner, and in the next, fluttering elsewhere like a butterfly.

Nandana started her recital with the usual Pushpanjali, ending in Kamakhya Shlokam. With brilliant footwork she showed that she has learnt the art well and compelled us to join her in her journey. 

The next item, addressed to the Lord Muruga and set to Shanmugapriya raga, was enlivened by the majestic vocal rendering of Balasubramanya Sharma. Words, rhythm, music all worked in unison towards a unique experience for the audience. It ended in a visibly grand finale. The item Ras Leela, portraying love between Radha and Krishna also provided such an experience. 

Mid-recital, fully immersed in the rhythm and emotion of her performance. (Source: Supplied)

Varnam is the piece where the dancer is tested for his or her stamina, imagination, craftsmanship and dance skills. The item chosen was Krishna portraying various aspects of his personality – stealing butter as a child, killing demons, as lover for hundreds of gopikas, driving the chariot for Arjuna (Partha Sarathy) and giving an assurance to mankind that He will preserve Dharma and righteousness in the world. It appeared as if the chosen raga Reethigowla was created for Him. Throughout this number, which took almost 45 minutes, Nandana exhibited her craft in pure dance as well as abhinaya

Nandana with Bangalore-based vocalist Balasubramanya Sharma
Nandana with her guru Manjula Viswanath (Source: Supplied)

In Pradosha Samayadi, Nandana took on the role of Shiva with remarkable control and intensity. A striking moment was her sustained wink, held steadily for over two minutes. She followed this with a sequence of thirty-two uninterrupted poses of Shiva, all performed while balancing on one leg – a testament to both her stamina and precision.

The performance also included a Thillana (in Athana Raga), the enchanting Pibare Ramarasam, and concluded with Managalam

At the conclusion, the 19-year-old debutante Nandana Nithin, a student at Macquarie University, expressed quiet satisfaction of having achieved something significant – a true milestone in her dance journey. The audience, too, felt they had spent an evening well, and offered warm appreciation and blessings to the young artiste. 

Nandana, the daughter of Sandhya Sugathan and Nithin Salgunan, is a student at Manjula Viswanath’s Rasika Dance Academy. Founded in 2001, the Academy has now completed 25 years of dedicated service to dance, nurturing numerous students while also extending its support to a range of charitable causes. It is heartening to note that twenty five of its students had completed their arangetrams and salangai poojas. Recipient of various awards, Guru Manjula herself has given over one thousand performances all over the world. 

nandana on stage with musicians
Nandana Nithin with her ensemble of musicians (Source: Supplied)

Nandana’s performance was supported by a team of musicians. The Bangalore-based Balasubramanya Sharma, most sought after, provided vocals – which at times reverberated in the auditorium and heightened the dance experience. The most essential mridanga support was given by the locally generated talent Janakan Suthanthiraraj, who seemed to enjoy himself, cleverly changing the tone of playing to suit the mood. The multi-talented Jeiram Jegathesan played the ghatam, morsing as well as the rhythm pad. He excelled in the Varnam with his haunting Morsing background. Venkatesh Sridharan played the flute melodiously, also presenting a solo item. Guru Manjuala gave a varied nattuvangam. She choreographed every item in the recital. Impressive lighting enhanced the experience, and the charming Sangarika (Manjula’s daughter) did an outstanding job as the MC.

Nandana’s family had made excellent arrangements for the event which included refreshments in the beginning, and dinner during the interval. 

Read Also: Gayathri’s Vaishnava Janato: where devotion, dance and storytelling meet

Classrooms, cosmos and everything in between

0
Reading Time: 3 minutes

Urvi Majumdar, Rao Morusupalli

Urvi Majumdar spends her days teaching in a classroom; Rao Morusupalli studies the stars. This year, both step onto the stage at the Melbourne International Comedy Festival, each testing whether their jokes hit.

In Miss!, Majumdar draws on the rhythms of the teacher-student dynamic, while Morusupalli’s Space Comedy launches audiences into the cosmos with his astrophysicist’s eye.

The performers are but two of over 30 Indian-origin artists bringing bold, electric energy and sharp wit to the lineup.  They speak here with Indian Link, describing their careers in comedy so far, bringing fresh perspectives and new voices to the stage, reshaping what South Asian comedy looks like, one show at a time.

Clearly, neither arrived at comedy through a conventional path. For Majumdar, the shift from classroom to stage revealed unexpected parallels. “You never know who you’ll be in front of!” she laughed. For Morusupalli, a life spent gazing at the universe became material – proof that some stories are simply too vast not to share.

Urvi Majumdar, Rao Morusupalli
Teacher-by-day and comedian-by-night, Urvi Majumdar’s “Miss!” delves into the dynamics | (Source: supplied)

Both comedians know though, that none of it works without the audience. Rao is refreshingly candid about it. “The audience is very important, it’s one of the main reasons I do comedy,” he says. For him, the comedian’s job is to earn their trust, direct energy, and bring everyone on board for the ride. Without them, the spaceship splutters and comes crashing back down to Earth. Urvi Majumdar, Rao Morusupalli

Urvi knows the feeling well. Her show thrives on spontaneous crowd connection, going off on tangents that pull her audience somewhere unexpected. The energy in the room, she believes, is what makes the night a success. “The more energetic the audience, the better the experience for everyone,” she explains.

Staying relevant in the age of social media algorithms is a challenge most artists face, but these artists believe that a truly good joke doesn’t need to be relevant to land. Urvi sees the relentless churn of the news cycle as a double-edged sword. By the time a joke is written, the story has already moved on. “News of the moment fades quickly,” Urvi says, explaining why she avoids following trends.

By contrast, Rao believes in the timelessness of comedy – with some of our favourites like Mr. Bean and Monty Python coming to mind. He believes in letting the jokes age, and performing for the connection, not the relevance. Even when it bombs, he follows an advice he received – “to not think about it after 24 hours.”

Urvi Majumdar, Rao Morusupalli
Rao Morusupalli’s Space Comedy launches its audience into outer space | (Source: MICF website)

Despite their different approaches, neither is chasing viral glory. Rao puts his faith in a well-crafted show over a perfectly timed crowd-work clip engineered for social media, saying that, “Written jokes are always stronger. An hour of crowd work can be fun, but a well-crafted show is much more impactful.” Urvi, meanwhile, ditches the tight script entirely in favour of something more alive and unpredictable, and when it doesn’t land, her greatest wish is for the audience to get amnesia the second she walks out the back door. Once, during a bit about potentially facing racist comments on a “curry bag” her parents had packed for her, a heckler decided it would be funny to shout out prices for selling her curries.

But when everything clicks, when the joke lands, the room erupts, and the connection is real, both describe the same feeling. “You feel less like a freak for thinking that way,” Urvi says. Rao puts it more succinctly, “Orgasmic.”

Whether it’s a classroom, a spaceship or a dimly lit comedy room, Urvi Majumdar and Rao Morusupalli are proof that the best stories come from the places you least expect.

READ ALSO: MICF 2026 features over 30 unmissable South Asian acts

Dhurandhar 2 rewrites Australia’s box office history in just 10 days

0
Dhurandhar in Australia
Reading Time: 3 minutes

 

If there was ever a moment that confirmed Hindi cinema’s global dominance, it is this one. Dhurandhar: The Revenge (also known as Dhurandhar 2) has not just performed well overseas, it has reset expectations – with Australia emerging as the most compelling headline. In just 10 days, the Ranveer Singh-led spectacle has become the highest-grossing Hindi film of all time in Australia. Not eventually. Not over weeks. Almost instantly.

Australia is no longer a side market for Hindi cinema

For years, Australia was seen as a dependable but secondary overseas territory for Indian cinema. Strong diaspora presence, steady footfall – but rarely the place where history was made. That narrative has now been disrupted.

Dhurandhar: The Revenge has already crossed AUD 6 million, officially overtaking all previous Indian films in the market. What earlier films took weeks or even months to achieve, this one delivered in days. It did not creep towards this record – it sprinted past it. Even more telling is the consistency. The second weekend alone brought in close to AUD 1.5 million from Australia and New Zealand, reinforcing the film’s strong hold beyond opening hype.

The diaspora effect has evolved

There is now a visible shift in how Indian films are being consumed in Australia. The diaspora is larger, younger, and more willing to show up for big-screen spectacles. But Dhurandhar 2 is not just benefiting from that shift – it is accelerating it.

The film has retained over 80 percent of its screens into week two across overseas markets, a rare feat that signals strong word of mouth and repeat viewing. In cities like Sydney and Melbourne, screenings have remained packed well beyond the opening weekend. This is franchise loyalty at work. The first part Dhurandhar had already set a benchmark in Australia; for its sequel to overtake it so swiftly reflects deep audience investment in the story, the characters, and the scale.

A global phenomenon anchored in local wins

While Australia is leading the narrative, the global numbers are equally striking. It took just 11 days for Dhurandhar: The Revenge to cross roughly AUD 55 million overseas, becoming the fastest Indian film to reach that milestone without relying on Gulf markets. The overseas total now stands at approximately AUD 56 million, with Australia and New Zealand contributing about AUD 7.8 million.

Globally, the film has surged past an estimated AUD 250 million, with overseas earnings exceeding AUD 60 million. North America alone has crossed roughly AUD 35 million, while the UK is pushing strong numbers close to AUD 7 million. Yet Australia stands out – not just for scale, but for the speed at which the record fell.

What may have worked

A combination of factors has driven this unprecedented run.

First, scale. Dhurandhar 2 is mounted like a global franchise – it looks and feels like an event that demands theatrical viewing.

Second, star power. Ranveer Singh leads a cast that blends mass appeal with strong recall across international audiences.

Third, timing. With fewer competing Hindi releases and a favourable holiday window, the film has capitalised on audience availability.

And finally, sentiment. The film taps into themes that resonate with diaspora audiences navigating identity, nationalism, and belonging. Whether one agrees with its messaging or not, it has clearly struck a chord – lingering in the music and lyrics that echo the ache of leaving home behind.

A new benchmark for Hindi cinema?

What Dhurandhar: The Revenge has achieved in Australia is more than a box office record – it marks a turning point. Markets like Australia are no longer peripheral; they are central to how success is measured. A film that dominates Sydney and Melbourne now carries as much cultural weight as one that dominates Mumbai or Delhi.

The fact that a Hindi film has crossed AUD 6 million in under two weeks – and is still climbing – signals a new phase for Indian cinema abroad. The ceiling has shifted.

And perhaps the most exciting part is this: if this is what the first 10 days can deliver, the final number may not just set a record – it could redefine the benchmark for years to come.

Read more: Can’t get over Dhurandhar? Try these next

Indian Link Loves: Our April Favourites

0
April 2026 Favourites indian link
Reading Time: 2 minutes

April favourites

READ 

kandasamy meena book
Author Meena Kandasamy and her latest book. (Source: kandasamy.co.uk)

In Fieldwork as a Sex Object, writer Meena Kandasamy tackles every contemporary author’s kryptonite: the subject of the internet. The result is a novel that truthfully represents the struggle of operating in online spaces. When main character Amrita Chaturvedi stumbles across a deepfake of her, she decides to take on the world of incels and reclaim her story. Described by reviewers as a “Bridget Jones meets Karl Marx” type of novel, this work will spark vital conversations about women’s agency in the digital world. 

WATCH 

riz ahmed bait
Guz Khan and Riz Ahmed on ‘Bait’ (Source: Instagram)

Shah Latif (Riz Ahmed), a down-on-his-luck actor often mistaken for Dev Patel, thinks he’ll become a spokesperson for the South Asian community by becoming the next James Bond. It’s a premise that hooks. But Bait truly shines for the alternate storyline which lies beneath it. Latif’s main adversary isn’t the casting director, but himself, as he struggles with his own self-worth and desire to become a ‘somebody’ for the sake of his family. It’s a show that’s unafraid to embrace its weirdness and is an honest reflection of the community it seeks to represent.

LISTEN 

anish kumar ak cuts vol 3
AK Cuts vol 3, Anish Kumar (Source: Soundcloud) April favourites

Anish Kumar’s club tunes bring together old Indian melodies with techno music to tell a story that is reflective of today’s diaspora. The artist has recently released two singles as part of his upcoming EP AK Cuts: Vol 3. His song ‘Come on Let’s Get It,’ constantly surprises with its combination of the spoken word, piano and techno, whilst ‘Passionfruit,’ takes a step back without losing its groove. He’s also recently collaborated with Grammy Award winner Arooj Aftab for an Urdu version of ‘Sweet Dreams Are Made of This,’ a sure sign that he’s on his way to bigger things. 

EAT 

 

View this post on Instagram

 

A post shared by tastyuk (@tastyuk)

Created by influencer Anjali Harikumar, this fusion dish is colourful, warm, aromatic and the reward you need after having braved through the first quarter of the year. The vegan twist, replacing milk with coconut cream, gives the panna cotta a softer, more delicate texture. When making halwa, Harikumar recommends using soy instead of nut milk for a creamier dish. What you’re left with in the end is a quick, indulgent dessert that’ll beat all your autumn/winter cravings. 

Read Also: Indian films releasing in April 2026

Awards to celebrate the men who get it right

0
Psotive role model awards
Reading Time: 4 minutes

Raj Shekhawat

Much of today’s discourse around masculinity is dominated by the language of crisis – toxic traits, harmful behaviours, and what needs fixing. While these discussions are necessary, they often leave little room to acknowledge the many invisible men who are quietly doing the right thing – showing up with integrity, supporting their communities, and leading with empathy.

Prof. Raj Shekhawat
Prof. Raj Shekhawat (Source: Supplied)

It is this gap that Adelaide-based Professor Raj Shekhawat is trying to address by shifting the narrative from critique to recognition through the Positive Role Model Awards. This is a growing initiative that celebrates men who embody what positive masculinity can look like in action.

The idea is simple – the unfair smearing of all men through a narrow focus on toxic masculinity must stop. The awards, first launched in 2024, and after two successful rounds in South Australia, are now expanding nationally, with its first stop in Victoria on 12 June this year.

“The idea emerged from a simple but powerful observation,” Prof. Shekhawat tells Indian Link. “We are surrounded by extraordinary men doing good work quietly, consistently, and without recognition.” 

The timing, he stressed, cannot be more accurate. “Why now? Because we are at a point where redefining masculinity in a constructive, inclusive way is not optional, it’s essential.”

Celebrating positive men

The thinking behind the awards is rooted in Prof. Shekhawat’s years in academia – a journey he describes as unplanned but transformative. 

“My entry into academia was never part of a grand plan, it was shaped by opportunity, curiosity, and a desire to contribute,” he recounts. “The turning point came after completing my PhD from the University of Auckland, NZ, when I realised that academia wasn’t just about teaching or research; it was a platform to influence systems, shape future professionals, and create meaningful societal impact.” 

What began as an accident, he adds, “became a deliberate commitment to impact at scale.”

The focus of the Positive Role Model Awards is on the “quiet achievers”
The focus of the Positive Role Model Awards is on the “quiet achievers” (Source: Linkedin)

At the core of both his academic and community work is a strong belief in people. “I am a product of generosity,” he confesses, continuing, “Every meaningful opportunity I’ve had has been because someone believed in me, often before I believed in myself.”

Shekhawat emphasises the role of mentors and networks in shaping his path. That grounding is reflected in how the awards define and identify impact.

For Shekhawat, positive masculinity is not about grand gestures but everyday actions. “To me, positive masculinity is about responsibility, respect, and contribution… it’s about showing up with integrity, being accountable for your actions, supporting others, and using your influence for good.” It also embraces “vulnerability, kindness, and strength in equal measure”.

Finding the model man

The focus of the Positive Role Model Awards is on the “quiet achievers” – those who work tirelessly behind the curtains, but their work’s impact is evident. 

“Impact isn’t always loud or easily quantifiable. We look for consistency over time, depth of contribution, and the ripple effect individuals have on others,” he explains. Often, it is testimonials from communities and colleagues that reveal the true extent of someone’s influence.

2025 Positive Role Model Award winners South Australia
2025 Positive Role Model Award winners South Australia (Source: Supplied)

The response to the awards has been positive. Reflecting on the first two editions, he recalls “the sheer depth and diversity of stories” – from teachers and tradies to healthcare workers and community leaders. 

“What stood out was the humility. Many nominees didn’t even see themselves as role models,” he says, reinforcing why such recognition matters even more.

This year as the initiative grows beyond South Australia, maintaining its core ethos is crucial. “We are intentionally keeping the focus on storytelling, community validation, and meaningful engagement rather than scale for the sake of visibility… If we ever lose authenticity, we lose the essence of why this started.”

In a landscape where conversations often revolve around toxic masculinity, Shekhawat believes there is a need for balance. “If we only focus on what’s going wrong, we risk overlooking and undervaluing what’s going right. Highlighting positive role models doesn’t negate the challenges, it provides tangible examples of what good looks like.”

For him, the awards are only the beginning. “The awards are just the vehicle, the real goal is cultural change,” he says. “This is about creating a movement that celebrates contribution, encourages reflection, and inspires the next generation.” 

Financial Reporting Specialists are the sponsors for the inaugural Victorian awards, to be presented at the Men’s Health gala event on 12 June. Winners will receive a cash prize totalling $1,000, and a certificate.

To nominate, head here

Read Also: International Men’s Day: When men feel, families heal