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Aus academics make statement in support of dissenting Indian students

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Reading Time: 5 minutes

 In Solidarity With The Dissenting Student Community In India:

A Statement From Australian Academics 
These are the views expressed by the above and do not necessarily reflect the views of the Indian Link editorial team 
As academics, students, writers, artists and activists from Australia, we condemn the use of oppressive power by the Indian state, its police, and Hindu fundamentalist groups to shut down voices of dissent emerging from within public universities in India.
We join the international community in extending our support to the students, faculty and staff at Jawaharlal Nehru University (JNU), Hyderabad Central University (HCU) and many other public universities, who have been courageously protesting the overreach of state power and brutal stifling of dissent, carried out in the guise of majoritarian Hindu nationalism (Hindutva).
Students at JNU and HCU have been targeted for opposing the death penalty awarded to Afzal Guru and Yakub Memon, convicted for “terrorism” by the Supreme Court of India. Students’ opposition to the death penalty – an act of violence carried out by the state to assert its sovereign might – has been manipulated by the state, university administrators, and irresponsible media reports, to be understood as their support for “terrorists”, and thus considered treasonous. The labelling of student activists as “anti-national” by invoking the draconian law on sedition (a legacy of British colonial rule), is a blatant attack on academic freedom. These attacks have been orchestrated by the BJP regime to strike fear among citizens who question its practices of anti-minority religious hate mongering and xenophobic propaganda. HCU student Rohith Vemula was suspended and driven to suicide because of the way the university administration and the state intimidated and threatened him. These attacks on students and free speech are not aberrations or sudden spurts of violence. Rather, they are part of a pattern of attacks on every idea and expression that does not pander to fascist Hindutva ideology.
We deplore the attack on journalists, students, academics and activists by the lawyers at the Patiala House Court premises. The silence and inaction of the police in controlling this situation only testify to the state’s complicity in these events. We are appalled by the jingoistic and prejudiced reporting by some media channels to vilify JNU student activists Kanhaiya Kumar and Umar Khalid.
We endorse the demands made by the protesting students, staff and faculty at JNU and HCU. We demand: a) the immediate release of the Kanhaiya Kumar, President of the JNU Student Union, and Umar Khalid and Anirban Bhattacharya; b) that the Bar Council of India enquiry into the attacks on journalists and protestors in Patiala House Court be carried out without political manipulation; c) that there should be no further intimidation and arrests of student activists for carrying out peaceful protests; d) the government must preserve the autonomy of universities and de-militarise campuses.
We acknowledge that our solidarity is being extended from territory occupied by a settler colonial state. We also acknowledge that the Indigenous peoples who have not ceded their sovereignty, own this land. This acknowledgement is a necessary precondition for building transnational solidarity against governments – like those in India and Australia – that use democracy and national security as alibis for legitimising their everyday violence.
Details, contact: Oishik Sircar, Melbourne Law School | The University of Melbourne | oishik.sircar@unimelb.edu.au
 
 
Endorsed by:

  1. Debolina Dutta, PhD Researcher and Lawyer, Melbourne Law School, University of Melbourne
  1. Oishik Sircar, Teaching Fellow and Doctoral Researcher, Institute for International Law and the Humanities, Melbourne Law School
  1. Samia Khatun, Postdoctoral Research Fellow, Department of History, University of Melbourne
  1. Shakira Hussein, Hon. Research Fellow, The University of Melbourne
  1. Mridula Nath Chakraborty, Academic, Monash University
  1. Irfan Ahmad, Associate Professor of Political Anthropology, ACU, Melbourne, Australia
  1. Rajgopal Saikumar, PhD Candidate, The Australian National University
  1. James Goodman, Associate Professor, University of Technology Sydney
  1. Kama Maclean, Associate Professor, UNSW
  1. Monique Hameed, Tutor, University of Melbourne
  1. Jordy Silverstein, Postdoctoral Research Associate, University of Melbourne
  1. Heather Goodall, Professor Emerita in History, University of Technology Sydney
  1. Sukhmani Khorana, Lecturer, University of Wollongong
  1. Dr Zeena Elton, Independent Researcher/Writer
  1. Trish May, PhD student, UNSW
  1. Maryam Alavi Nia, PhD Candidate, UNSW
  1. Assa Doron, Academic , Australian National University
  1. Meera Ashar, Lecturer (Assistant Professor), The Australian National University
  1. Samanthi Gunawardana, Lecturer, Monash University
  1. Josh Cullinan, Secretary, Australia Bangladesh Solidarity Network
  1. Dr Lionel Bopage, Retired Public Servant, n/a
  1. Neeti Aryal Khanal, PhD candidate, Monash University
  1. Erin Watson-Lynn, Lecturer, Monash University
  1. Roanna Gonsalves, Writer and academic, UNSW
  1. Michelle de Kretser, Writer, University of Sydney
  1. Dr Ruth De Souza, Stream Leader, Research, Policy and Evaluation, , Centre for Culture, Ethnicity and Health
  1. Hannah Courtney, PhD Candidate, UNSW
  1. Dr Danny Butt, Lecturer, Centre for Cultural Partnerships, Victorian College of the Arts, University of Melbourne
  1. John Zubrzycki, PhD Candidate, University of New South Wales
  1. Ben Spies-Butcher, Senior Lecturer, Macquarie University, Australia
  1. Camilla Palmer, Postgraduate Researcher, University of New South Wales
  1. Brenda Dobia, Senior Lecturer, Western Sydney University
  1. Coel Kirkby, Postdoctoral Fellow, Melbourne Law School
  1. Elizabeth King, Student, UNSW
  1. Rajpaul Sandhu, Teaching, ACS
  1. David Feith, Subject Coordinator, Humanities, Monash College
  1. Wimal Jayakody, Member of PHRE
  1. Steve Pereira , Community Engagement, Melbourne University
  1. Anura, Real Estate Sales, PHRE
  1. Sithy Marikar, Vice President – AGGSl, Australian Labor Party
  1. S. R. Sivasubramaniam, Engineer
  1. Padraic Gibson, Senior Researcher, Jumbunna Indigenous House of Learning, University of Technology Sydney
  1. Vandana Ram, Artist
  1. Victoria Baldwin, Administrator
  1. Robin Jeffrey, Retired Academic
  1. Nadia Rhook, Lecturer, Latrobe University
  1. Mohamed Masood, President, Werribee Islamic Centre
  1. Anthony P. D’Costa, Chair and Professor of Contemporary Indian Studies, University of Melbourne
  1. Yamini Narayanan, ARC DECRA Senior Research Fellow, Deakin University
  1. Monimalika Sengupta, PhD Candidate, Monash University
  1. Parichay Patra, Doctoral Candidate, Monash University, Australia
  1. Lucy Honan, Teacher, Australian Education Union Councillor
  1. Arka Chattopadhyay, PhD student, University of Western Sydney
  1. Rev.Dato’ Dr.Sumana Siri, Buddhist Cardinal of Europe, Buddhist Realists’ Movement, U.K.,Italy & France
  1. Kalpana Ram, Associate Professor of Anthropology, Macquarie University
  1. Dr Sagar Sanyal, Adjunct lecturer, University of Melbourne
  1. Piergiorgio Moro, Secretary, Australia Asia Worker Links
  1. Beth Sometimes, Researcher, VCA, Melbourne University
  1. Russell Smith, Lecturer, Australian National University
  1. Anuparna Mukherjee, Ph.D. Researcher, ANU
  1. Amy Thomas, PhD Candidate, University of Technology, Sydney
  1. Shak Sandhu, Restaurant Manager
  1. Stephen Church, Doctoral Student/Casual Lecturer & Tutor, University of New South Wales
  1. Angela Smith, Researcher, North Africa Mixed Migration Task Force
  1. Balraj Sangha, Justice Of The Peace, Australian Labor Party
  1. Emma Torzillo, Medical Doctor, University of Sydney and Royal Prince Alfred Hospital, Sydney
  1. Anne Brewster, Associate Professor, UNSW
  1. Lalitha Chelliah, Nurse, 3 CR Broadcaster; Socialist Alliance member
  1. Max Kaiser, PhD Candidate, University of Melbourne
  1. Dr Amanda Gilbertson, McKenzie Postdoctoral Fellow, University of Melbourne
  1. Faisal Al-Asaad, Graduate Research, University of Melbourne
  1. Jerome Small, Industrial Organiser, Socialist Alternative
  1. Milo Adler-Gillies, Student, Paris 8
  1. Priya Chacko, Lecturer, University of Adelaide
  1. Vivien Seyler, Administrative Officer, South Asian Studies Association of Australia
  1. Bina Fernandez, Senior Lecturer, University of Melbourne
  1. Ghassan Hage, Professor, University of Melbourne
  1. Maria Elander, Lecturer in Criminology, School of Social and Political Sciences, University of Melbourne
  1. Edward Mussawir, Lecturer, Griffith University
  1. Julia Lomas, PhD Candidate, Art History And Theory, Monash University
  1. Chris Andrews, Associate Professor, Western Sydney University
  1. Ben Silverstein, Lecturer, UNSW
  1. Alexandra Watkins, Academic, Deakin University
  1. Isabella Ofner, Researcher and Lecturer, The University of Melbourne
  1. Bina D’Costa, Academic, Department of International Relations, The Australian National University
  1. Shweta Kishore, Teaching Associate, Monash University
  1. Léuli Eshraghi, PhD Candidate, Monash University
  1. Dr. Ridwanul Hoque, Visiting Scholar at La Trobe Law School, La Trobe University
  1. Kristen Smith, Medical Anthropologist, University of Melbourne
  1. Joan Nestle, Independent Writer
  1. Adrian McNeil, Senior Lecturer, Monash University
  1. Parakrama Niriella, Theatre and Film Director, National Federation of Theatre Artists Sri Lanka
  1. Cait Storr, Sessional lecturer and PhD candidate, Melbourne Law School
  1. Greg Bailey, Hon. Research Fellow in Asian Studies (Sanskrit), La Trobe University
  1. Ian Woolford, Lecturer, La Trobe University
  1. Michael Stevenson, Retired
  1. Dolly Kikon, Department of Anthropology and Development Studies, University of Melbourne
  1. Jasmine Ali, Researcher, RMIT University
  1. Dr Kuntala Lahiri-Dutt, Senior Fellow, Resource, Environment & Development Program, Crawford School of Public Policy, The Australian National University
  1. Alison Young, Professor, University of Melbourne
  1. Usha Natarajan, Law Professor, American University in Cairo
  1. Ekta Sharma, Poet & Activist
  1. Rose Parfitt, Research Fellow, Melbourne Law School
  1. Suzette Mayr, PhD Student, University of New South Wales
  1. Leigh Hopkinson, Writer
  1. Amy Parish, PhD Candidate, UNSW
  1. Samantha Balaton-Chrimes, Lecturer in International Studies, Deakin University
  1. Audrey Yue, Associate Professor, The University of Melbourne

 

Going the distance in WA

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Reading Time: 6 minutes


Eddy was reeling in his fishing line. His catch of a prized mulloway was ample for dinner for him and his friends. He would stay put, fishing for the next few months, moving on only when he felt like it. “I gave up wearing a watch years ago,” he said, shaking his suntanned arm for effect. That day he’d seen a passing parade of reef sharks, blue nose tuna, dolphins, stingrays and humpback whales.

I was at 80 Mile Beach, 365 kilometres south of Broome in Western Australia where our coach had stopped for a break, the first of many on an overland tour stretching from Broome to Perth, a distance of 3081 kilometres.
Once a remote outpost, Broome has retained an exotic mix of influences from Chinese, Japanese and Filipino divers who came to dive for pearls when the town became a pearling port more than 100 years ago and stayed.
Leaving the historic pearling masters cottages and flowering frangipani behind, I joined eight other travellers from Japan, Taiwan, Canada, France, Italy and the UK. Soon we were barrelling along a straight smooth highway, with a parched desert landscape of scrub and termite mounds shaped like giant upturned ice-cream cones to our left and a brilliant blue coastline to our right.
 
Our journey had all the makings of an epic road trip on the Great Northern Highway that was much emptier than I’d imagined. Drivers waved as they drove by, a sure sign that they hadn’t seen anything but spinifex and kangaroos in hours. Between roadhouses spread several hundred kilometres apart, there were few signs of human habitation. At the first roadhouse we stopped at, the Sandfire, there were several dust caked road trains spanning 120 metres in length, and campervans driven by ‘grey nomads’ who take to the road indefinitely.

Leaving early the next morning, we left the coast behind heading inland to arrive after dark at Karijini National Park, the night sky brilliantly showing the stars of the Southern Cross.
For the next two days we immersed ourselves in the spectacular landscape, swimming in refreshing pools fed by waterfalls and tackling some challenging walks, shunting through narrow openings into the wide expanses of sheer sided gorges with towering red and crimson cliffs on either side, the deep river canyons cutting through the parched desert. The banded iron formations exposed in many of the rocks are some of earth’s oldest having originated more than 2500 million years ago.

The Banyjima, Yinhawangka and Kurrama Aboriginals know this area as Karijini, meaning “hilly place”, comprising 627,441 hectares of mountains and escarpments that rise up from the flat, arid plateau covered with spinifex and eucalypts and a multitude of wildflowers. Colour is everywhere from pink myrtle, golden wattle and purple mulla mullas.
 

After exploring Karijini we headed back to the coast to Exmouth at the northern tip of World Heritage listed Ningaloo Reef. Stretching for 260 kilometres along a largely uninhabited coastline, the reef is one of the world’s most biologically diverse marine environments. It is also the world’s closest coral reef to a land mass beginning just metres from the beach. We swam in the crystal blue waters of Turquoise Bay adrift with a technicolour array of fish – 520 species are found here including green and purple parrot fish, striped clown fish, butterfly fish, giant square headed mahi-mahi and schools of tiny blue fish that darted by.

I then went for a stroll along the brilliant white sand beach before we departed in the late afternoon, driving on into the night to arrive at the southern end of Ningaloo Reef at the small settlement of Coral Bay.
The next day I joined Jess from Ningaloo Reef Dive and Snorkel for a boat trip to three dive sites. The world below was a barrage of colour with fish circling the first mound of coral we came to, then alongside came two inquisitive loggerhead turtles. We explored more coral before Jess motioned. A black tip reef shark was circling, though on sensing our presence it shot away with a muscular flick of its tail. Our final dive was with huge manta rays, the outline of their black shadows deep below.
The drive to Monkey Mia took us past an arid, red landscape of acacias and flowering grevilleas. At a clifftop lookout we saw pods of dolphins below and the trip suddenly seemed overwhelming, the distances so great.

In 1616, Dirk Hartog left a plate on an island near Shark Bay inscribed with the details of his journey, the first record of a European landing on Australia. In 1699, William Dampier named the area Shark Bay, though the area is better known for dugongs, turtles and dolphins.
Now a World Heritage site, our first stop at Shark Bay, was Shell Beach, a blindingly white beach created from hundreds of millions of crushed cockle shells, thought to be up to 4000 years old, extending for 120 kilometres along the coastline.
 
Shark Bay’s most reliable year-round tourist attraction was ready to greet us on cue the morning after we arrived. In the early 1960s a pod of bottle nosed dolphins began what has become a ritual, every day swimming into the clear shallows of the bay to interact with humans. At Monkey Mia, four dolphins frolicked impatiently behind the ranger, approaching her to take a fish in turn while peering at us with one eye out of the water.
Heading further south we passed Kalbarri, New Norcia and Northhampton, with wheat and bright yellow canola fields before the landscape turned to arid scrubland once more.
The renowned Pinnacles are spiky limestone rock formations that rise up to five metres high out of a yellow, sandy desert landscape formed thousands of years ago.
Roadtrip Broome to Perth.Indian Link
As we sped along the freeway to Perth, shimmering postmodern skyscrapers rising from the flatlands came into view. Australia’s largest state of red dust, white sandy beaches and a brilliant turquoise coloured coastline is untamed, wild and vast. I grabbed my bag and walked off into the night. The journey had come to an end.
 
Fact file
Getting around
Qantas flies direct to Broome from Sydney and Melbourne during peak season and has frequent departures from Perth.
Intrepid Travel is a small group adventure travel company. The 10-day Broome to Perth trip is a great way to cover a vast and remote part of Australia. W: www.intrepidtravel.com
Enjoy a great day on the reef with Ningaloo Reef Dive and Snorkel, Coral Bay. W: www.ningalooreefdive.com
Where to stay
The Cable Beach Club Resort in Broome offers stunning views of Cable Beach in a lush tropical garden setting W: www.cablebeachclub.com
In Perth, the Ibis Hotel is functional and centrally located. W: accorhotels.com.au
The best time to view whale sharks is from March to August and for humpback whales between June and November.
More information:
Department of Parks and Wildlife W: www.dpaw.wa.gov.au
Tourism Western Australia W: www.westernaustralia.com

All for love…

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Reading Time: 5 minutes

Australian singer Rachael Leahcar sings an Ilaiyaraaja composition for Sydney film-maker Julian Karikalan’s debut film, Love and Love Only

Rachael Leahcar was only 18 when she won the hearts of music lovers across the country with her performance on the inaugural season of The Voice Australia in 2012.
Today, she is set to reach out to a whole new audience in another country, India.
Love And Only Love.Indian Link
And with an Ilaiyaraaja song, no less.
Rachael’s rendition of ‘Am I in Love’, composed by the legendary Indian musician, was released on Valentine’s Day.
It forms the theme song of Indian-Australian film Love and Love Only, the debut film of Sydney-based film-maker Julian Karikalan, set for commercial release shortly.
“When I first heard ‘Am I in Love’, it was like the clouds had opened to the heavens,” Rachael says. “It was beautiful. There was just so much emotion in the music alone.”
The Adelaide-based singer had not heard of India’s leading musician before, but now refers to him as “Ilaiyaraaja Sir”, just like everybody who has ever come in contact with the man.
Love and Love Only.Indian Link
“I want to thank Ilaiyaraaja Sir for choosing me to sing this song,” Rachael says in her characteristically gentle manner. “I wasn’t familiar with his work at all, but read up on him and got to know that he is very well regarded in India. And the more I heard his compositions, the more I fell in love with his talent. I’m so honoured to sing his first ever song in English.”
Rachael first heard of the project when Karikalan advertised for a singer about a year ago. “The ad said it was for a high profile composer, and I applied.”
A demo version was sent through, with backing tracks, lyrics and a sample voice.
“I rendered it with a few different singing styles,” Rachael tells Indian Link.
The final decision was made by Ilaiyaraaja, who has written the background score of the film.
Love and Love Only.Indian Link
“I thought the project was quite interesting,” Rachael observes. “I loved the music and the words, even though it’s quite different to what I usually do. Of course, I came to interpret the song in my own ways, and it turned out to be a lot of fun.”
Australian singer-songwriter Denny Burgess co-wrote the lyrics with Julian Karikalan. A version of the song in a male voice was also on the cards, and though there have been a few attempts, Julian admits that none have impressed.

Meanwhile, Rachael is not averse to doing more work with Indian links.
“I knew little about the music scene in India,” she admits. “I know it’s tied in with the film industry and that there’s some beautiful music being made there. I’m not familiar with the people though.”
Back in 2012, there were goosebumps in the audience as the young contestant on the music reality show began her rendition of ‘La Vie En Rose.’ She blew the judges away, and reduced one of them, Delta Goodrem, to tears when she revealed she was legally blind. Goodrem, who suffered her own medical condition as a young adult, bonded with her instantly and has gone on to mentor the young singer in a relationship that has lasted years after the show.
Love and Love Only.Indian Link
Born with retinitis pigmentosa, Rachael has only ten per cent visual function. An early love for music was carefully nurtured and developed, and she excelled at various platforms before famously ascending the stage on The Voice. (Leahcar, her performing name, is her first name spelt backwards.) There’s been no looking back since.
There have been ARIA chart-topping albums, tours around the country, even a touring cabaret show.
And boundaries are being constantly pushed.
As she speaks with Indian Link, she has just come off her debut show at the Adelaide Fringe Festival. “It was my first time ever with a live band – I usually work with a backing track. It went really well!”
Here’s hoping she continues to push the boundaries: how about a tour of India?
Julian Karikalan knew he had a goer as soon as he spoke with Rachael Leahcar.
Love and Love Only.Indian Link
“There was something about her attitude that made me think she would be a good fit with the project,” he relates. “Of course we were also impressed with the effort she put in.”
Strangely, Rachael and Ilaiyaraaja have never met, liaising only through Julian, and the wonders of modern technology.
“When I met up with Ilaiyaraaja Sir in Chennai to discuss the project, he was deeply involved with Amitabh Bachchan on the film Shamitabh,” Julian recounts. “I found it fascinating that both worked in their own cities, and never actually physically caught up! Of course, Amitabh has said he would have felt awkward to sing in front of the maestro, but I am sure the tyranny of distance played a part too.”
The experience gave him his modus operandi for his own song.
“Yes, Amitabh Bachchan was my inspiration. Ilaiyaraaja Sir spoke more than once of the passion that Amitabh had showed all along.”
Months later, they would both feel that same about Rachael Leahcar.
How did Ilaiyaraaja get involved with the project?
“I have no connections with him at all other than that I am a fan,” Julian admits. “I approached him with my film, all edited, which he saw and then agreed to do the music.”
It was as simple and straightforward as all that.
The 72-year-old legend must have been impressed with the young film-maker’s dedication.
Love and Love Only.Indian Link
Perhaps Julian knew that Ilaiyaraaja was ‘a good fit’ as well for this fusion venture. The maestro is known to pick from the best of Indian folk, Carnatik as well as western to convey mood, and is not averse to throwing in a bit of jazz or rock and roll, or even doo-wop or bossa nova.
Love and Love Only is Julian’s first feature, after a series of documentaries.  It has been a dream project that took root in 2011, in the aftermath of the Indian students’ crisis.
“My micro-budget film, which is totally self-funded, is a romantic drama based on the life of an international student from India and a young Australian girl,” reveals the Madurai lad, who himself came to Australia as an international student in 2003.
He honed his skills in scriptwriting directly from industry greats such as Robert McKee, Richard Walter and Michael Hauge, and considers Indian script writer K Bhagyaraj as a great inspiration.
Love and Love Only.Indian Link
Love and Love Only stars the Sydney Indian community’s theatre talent and is filmed around the regular haunts of the community such as Udaya Spices, Murugan Temple and Parramatta hotspots as well as Wollongong University.
Has Rachael seen the film?
“Yes I have,” she smiles. “I can’t wait for the commercial release. The music is beautiful, as is the film – it reminds me of the classic movies.”

A storyteller from Canberra

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Reading Time: 3 minutes

An Indo-Australian film on migrant life competes with the biggies for a place at the Oscars

Kai ek toh ruk kar zara bhigo de mujhe; baki jitney udhte badal tum rakh lo, Abhijit Deonath wrote some time last year.
Loosely translated, these lines read, “Just let one pause for a moment and drench my soul; you can keep the rest of the fleeting clouds.”
The words turned out to be prophetic. A month later, some of his other thoughts, this time set to tunes, went straight to the Oscars.
Salt Bridge.Indian Link
Seven songs written and composed by Deonath (pictured) for his film Salt Bridge were shortlisted for nominations in the Original Song Category for this year’s 88th Academy Awards.
The film was also shortlisted for nomination in the Best Original Score category for its background music composed by Marciano Telese.
Even though the film did not make it to the final selection, this is no mean feat given that it is Deonath’s first film!
The Canberra-based poet, film-maker and music composer does not live in the moment; he dwells in his experiences. Salt Bridge is an outcome of these lived experiences of a migrant life.

Salt Bridge.Indian Link
Abhijit Deonath

In the laboratory, ‘salt bridge’ is a term that refers to an electrochemical device – one that acts as a bridge between two chemicals that do not mix, and yet, there is electricity produced.
Deonath’s film draws from real-life experiences of life in a new country. Basant, an Indian migrant played by Rajeev Khandelwal, is haunted by his tragic past and finds solace in the arms of a married woman, much to his community’s chagrin.

“We miss our friends and people back home. This creates a vacuum and identity issues; and we seek a quick connect in our surroundings,” Deonath tells Indian Link, while describing the main premise of the film.
Casting for the film, which is in Hindi, was difficult, admits Deonath.
“Finding an actress who has no Indian roots and does not speak Hindi but still is able to react to the language subtly was quite difficult,” he reveals.
Salt Bridge.Indian Link
Luckily for him, he found Logie award-winner Chelsie Preston Crayford, who is remembered for her roles in The Code and Underbelly: The Razor. The two other protagonists of the film are played by Rajeev Khandelwal (of Aamir and Shaitan fame) and National Award Winner Usha Jadhav, remembered for her roles in Bhootnath Returns and Dhag. Brisbane-based actor Kaushik Das and Perth-based Mayur Kamble have supporting roles in the film.
Deonath, who grew up on the music and lyrics of Salil Chowdhury, Khayyam, Sahir Ludhianvi, Majrooh Sultanpuri and Gulzar, misses the music of yesteryear.
“Every song has its own metre; and the lyrics and the tune should be in perfect sync with each other.” That is what he tries to do with his songs in Salt Bridge, which are very Indian in their appeal and arrangement.
Salt Bridge.Indian Link
His film has done the rounds in three festivals, at Kochi, Jaipur and Dhaka. But Deonath shies away from any labels. Neither does he want the elitism surrounding art films or the pomp surrounding big-budget blockbusters. “I want to stay away from any pigeon-holing or stereotyping.” He merely wants to entertain and engage his audience.
“Perhaps like the cinema of Hrishikesh Mukherjee,” he finally indulges me and gives me a name.
Salt Bridge will be released in Australia this year.
Visit saltbridgemovie.com

Ashes to ashes, dust to dust

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Reading Time: 5 minutes

Indian artist Yardena Kurulkar’s visceral images portraying the elusiveness of human life wins the prestigious Blake Art Prize

Yardena Kurulkar.Indian Link
Photo: Raka Sarkhel

Mumbai artist Yardena Kurulkar has put India on the map and caught the attention of the art world here in Australia. Her work Kenosis fought its way through 594 entries and 80 finalists to win the 64th Blake Art Prize, which is highly esteemed for sparking conversations about religion and spirituality through art.
Named after the poet and visionary William Blake, the prize is committed to contemporary art practice, as well as cultural diversity and human justice. Its finalists range from leading contemporary art practitioners to emerging and self-taught artists.
In Kenosis, Kurulkar uses a terracotta replica of her own heart and, through a series of 3D prints, explores its dissolution in water, depicting the ephemerality of human life in general. In Christian theology, ‘kenosis’ is the self-emptying of one’s own will and becoming entirely receptive to God’s divine will. The importance of the heart is noted through the fact that it is the first organ to develop in a foetus. Kurulkar uses water (as seen in her earlier works) to portray the passage of time and also as an agent of purging.
Yardena Kurulkar.Indian Link
“I let the viewer see what remains of this union – a heart-shaped something, a mere lump of clay,” she tells Indian Link.
As one pauses to reflect on the visceral connection with these 3D images and the ephemerality of life portrayed through these, “the erosion, resurrection and elusiveness of human life” becomes clear.
Yardena Kurulkar.Indian Link
Mumbai artist Yardena Kurulkar

“These images are taken in specific moments in time. Water is poured. Things start to move, they begin to change, but never go back to their original form. That’s the time to consider.”
“The transience of all things that are not material” is an important and recurring motif in Kurulkar’s works, where she creates moments of confrontation between the two extremes of life and death.
Her performance piece 5 Seconds Later, sculptural installation Gap in the Void, and monochromatic drawings Death of a Marker, have all served to illustrate this.
5 Seconds Later is a performance piece in which a clay mould of the artist’s body was laid in a white box. Twelve loud gongs were sounded and at the last dong, the box slowly filled with water. In the next few days, the clay mould dissolved and lost its shape, with the process recorded through ink-jet prints.
Yardena Kurulkar.Indian Link
In Gap in the Void, Kurulkar makes us come to terms with the feelings of fear and inevitability that surround death. The work consists of an iron rack on which tanks are placed. Each tank containing ceramic casts of the artist’s head submerged in water, holding its breath, is sealed off with a layer of oil. This work portrays “various states of struggle to survive as each face is contorted in the fight to draw breath and not give into suffocation, in spite of it being a losing battle”.
The Death of a Marker is an abstract drawing made using a permanent marker across multiple sheets of paper until it dries up and can draw no more.
Yardena Kurulkar.Indian Link
Yardena Kurulkar.Indian Link
Yardena Kurulkar.Indian Link
Kurulkar concludes, “You could say my works are, in the final analysis, acts of surrender to the inevitability of an end, and are presented as part of a cycle of continuous regeneration, whereby I am discovering my own mortality and contemplating on our collective fear of death.”
A graduate from the prestigious J.J. Institute of Art in Mumbai, Kurulkar went on to do a Masters in Ceramics at the University of Wales in Cardiff, where she was the recipient of the Charles Wallace Grant. From Cardiff, she moved to Toronto in Canada for three years to do an artist’s residency at the Living Arts Center in Mississauga.
It is in Canada that her tryst with clay began. The harsh climate accelerated the evaporation of moisture from clay giving it a cracked and fractured appearance. “This unintentional, and unstoppable decay sparked comparisons in my mind with human flesh that allowed me to address a long-standing preoccupation with death,” says Kurulkar about her choice of material. The use of clay has struck a chord in the hearts of viewers as well.
The director of Casula Powerhouse Arts Centre (where the Blake Prize exhibition is on display) Kiersten Fishburn notes, “There is something primal and rich about the use of terracotta and the form of the heart. For me the work has many allusions from the Venus of Willendorf and her fecund life giving form, to our common and universal understanding that eventually, for all of us, our corporeal form decays and ends. The work is a moment of both life and death.”
Yardena Kurulkar.Indian Link
The artist’s name Yardena borrows from the Hebrew word yarden meaning ‘descend’. True to her name, she makes us descend into reality and come to terms with our own mortality by embracing it.
Her works remind one of the motifs of construction and deconstruction prevalent in Hindu rituals and festivals, in which the idols of Hindu deities are fashioned out of mud and clay and immersed in water at the end. Kurulkar’s installations are very visceral and demand exclusive attention and connectedness. Her art practice is autobiographical as she draws from her history and experiences, which makes her work more personal and immensely powerful.
Yardena Kurulkar.Indian Link
The judges for this year’s Blake Prize were Reverend Tim Costello, CEO of World Vision Australia; artist Leanne Tobin; and Professor Amanda Lawson, Executive Dean of the Faculty of Law, Humanities and Arts at the University of Wollongong. Damien Shen won the Emerging Artist Award, which is $6000 for the acquisitive prize for On the fabric of the Ngarrindjeri body, and Robert Hague won the inaugural Blake Residency program for his work This Messenger.
Kurulkar, who received $35,000 as the winner, plans to use the cash prize to fund her ambitious projects in the future.
The Blake Prize exhibition is presented free of charge and will be open to the public until 24 April, 2016 at Casula Powerhouse Arts Centre.
Photos courtesy Yardena Kurulkar

Free speech at a crossroads

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Reading Time: 3 minutes

The recent events at the JNU campus in New Delhi have spoken multitudes about the sharp religious and nationalist fundamentalist divides in certain sections of contemporary India.

On one side are those who believe that free speech is the right of every individual; on the other, far right Hindu fundamentalists who will not tolerate any dissent.
JNU protests.Indian Link
That the Indian media played a leading role in flaming the situation is indeed shameful.
What started this current saga was an on-campus rally to mark the death anniversary of convicted terrorist Muhammad Afsal, who was hanged for his links to the 2001 attack on the Indian Parliament. Whether such a rally should even have been organised is being challenged by the right wing of the BJP, ignoring the fact that BJP is in itself in coalition with the ruling People’s Democratic Party (PDP) in Kashmir which has condemned Afsal’s trial and execution.
The student rally was addressed by Kanhaiya Kumar, President of JNU’s student union. Kumar is a member of the Communist Party of India and his 24-minute speech was heavy with rhetoric on the state of inequality in India. He took the ruling BJP to task on their lack of progress in reaching out to the grassroots of society. At various times in his speech, he condemned those who work against India and terrorism in any form. For keen observers of political discourses, his speech is a wonderful piece of oration.
What was broadcast to the nation was not Kumar’s speech or even highlights, rather what has become clear as “doctored tapes”, showing protestors shouting anti-India slogans. The slogans televised on Zee TV, without verification by the channel, were attributed to Kumar.
Delhi Police arrested Kumar on grounds of sedition and for anti-national tendencies. Further evidence of the strange workings of the law and order situation, was the beating up of Kumar by three advocates in front of police as he was being brought to the courts to answer his charges. Lawyers and BJP supporters assaulted journalists and students as the police refused to intervene. Even the Delhi Police Commissioner BS Bassi was accused of letting his force “be taken over by the goondas of the BJP”.
There seems to be a blurring of lines about how ‘voicing dissent’ should be defined:  is it a vital right in a flourishing democracy, or is it “an assault on the integrity and unity of the nation”, as Home Minister Rajnath Singh has said. The Indian Supreme Court has limited the definition of sedition to speech that is “incitement to imminent lawless action”. Kumar’s speech did not incite as per this definition.
Over the past few days, citizens have turned out in their thousands to protest the heavy handedness of the government. Support for the students has come from as far as Harvard, Oxford and even over 100 academics from Australia who have released a statement condemning the government’s actions.
To quote Lindsay Hughes, Research Analyst, Indian Ocean Research Programme in Australia, “India’s greatest strength, bar none, has been its historic ability to absorb aspects of other cultures, religions and societies and to integrate those into its own while giving them a decidedly Indian flavor… While it may have been politically and militarily subjugated by the British for two hundred years, India left its own impression upon British culture, its language and thinking. It is, sadly, losing that strength due to the myopia shown by a relative few who cannot discern between India’s strength and their own insecurities. Nationalism could easily be, if allowed to get out of hand, a precursor to social collapse. If students raise “seditious” chants on a university campus, they ought to be defeated in debate and discussion. Physical might, violence and coercion will never take the place of persuasion.”
What the ruling BJP needs to do now is: 1) find who doctored the tapes aired on TV; 2) the people shouting the slogans at JNU, and 3) take to task the three lawyers and the policemen involved in the beating of the accused Kanhaiya at Delhi courts.
 

Changing the way we look at uniforms

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Reading Time: 4 minutes

New school uniforms for Sydney kids, a better way of life for India’s cotton farmers – thanks to Change Threads

Mahatma Gandhi’s enduring dictum, “Be the change you want to see in this world” has inspired and catalysed thousands of everyday people into action. One such is Blue Mountains social entrepreneur and mother of four, Anna Dohnt.
Change Threads.Indian Link
In 2012, the Indophile founded clothing company Change Threads to enable ethical consumer choices and combat the complex web of exploitative economic systems.
Free from labour malpractices, Change Threads currently offers competitively priced, sustainable alternatives in school wear, with Hazelbrook Public School becoming the first in New South Wales to stock Fairtrade uniforms. Sourced and manufactured in India from organic and Fairtrade certified cotton, their woven fabrics are blended with polyester made from recycled plastic bottles.
By making Fairtrade certified products easily accessible in Australia, what Change Threads offers is more than just a uniform, but rather a lifestyle choice that Dohnt hopes will eventually alter consumption patterns and address market inequities.
Change Threads.Indian Link
Partnering directly with Indian cotton farmers and garment producers to provide a range of uniforms and garments in accordance with the international Fairtrade standards, her aim is to provide sustainable livelihoods for marginalised producers in poor communities, while also educating, equipping and empowering Australians to make enlightened choices that help change the world.
To do so, she quite literally ‘followed the thread’ of the clothing supply chain, understanding the people who are involved and investigating the hierarchy and processes in place. Her trail took her to cotton capital of the world – India. Quite ironically, Dohnt’s unique brand of Gandhigiri started with the charkha.
Change Threads.Indian Link
Reputed for its high-grade cotton, India has played a pivotal role in the textile industry for centuries, influencing both fabric and design. While the Deccan plateau in central India is blessed with fertile soil, manufacturing hubs in neighbouring Tamil Nadu, Andhra Pradesh, Gujarat and Maharashtra have reinforced its position as the world’s largest exporter. Sadly, cut-throat competition, dwindling margins and unsustainable trade practices adopted by multinationals and middlemen have strangled many out of the market. Suicides are rampant.
“We’ve all heard of Fairtrade chocolate and coffee, but have we stopped to consider the labour practices behind the school uniforms our kids wear?” Dohnt asks the dollar-conscious consumer, candidly.
Change Threads.Indian Link
“What I discovered as I ‘followed the thread’ of the cotton supply chain is that exploitation occurs at almost every stage of clothing production,” she adds with passion. “Alarmingly, the clothing industry often involves forced labour, including child labour. To me, it is not okay that our children are wearing cotton every day that is often produced by slaves. It’s not okay that my family is part of someone else’s suffering. If you stop and think about it, it’s outrageous that children in India are unable to go to school because they’re making school uniforms for kids in Australia wear to school. I don’t think any parent would argue that this inequality is okay, so I think it makes sense for schools to be offering Fairtrade uniform options.”
Change Threads therefore strives to restore justice through certification, direct contact and visits to factories, projects and farms, offering people involved in the supply chain a living wage.
Steady, ongoing work has allowed communities to alleviate poverty and fight slavery. Through transparent and ethical business practices, choosing environmentally friendly options, including organic cotton and non-toxic dyes, which ensure the soil fertility is not compromised through the various stages of manufacture, Change Threads has already galvanised the local community.
Change Threads.Indian Link
It has teamed up with Secundrabad-based Chetna Organic, to invest Fairtrade certification funds in community development initiatives.
Besides making a range of school-wear, the company also offers Fairtrade business uniforms and business consultations for other clothing companies who want to ‘follow the thread’ of their own supply chain.
“We really went through the hard yards of understanding the garment supply chain in starting this business, so we know how difficult it can be for other businesses to get straight answers from suppliers about the ethics of production,” Dohnt says. “Now that we’ve done the hard work, we want to share our knowledge with other businesses and help grow the Fairtrade movement.”
Change Threads.Indian Link
Meanwhile here in Australia, Change Threads has also developed programs to educate school communities, enabling them to understand equitable supply and trade systems.
“What could be more powerful than Australian school kids combating exploitation of children enslaved in the cotton fields and garment factories, so they themselves can go to school? So far, we’ve been absolutely overwhelmed with interest from schools from different parts of Australia. We are therefore organising our structure to cope with all the enquiries,” an upbeat Dohnt says.

Holi Mahotsav at Darling Harbour scrapped

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Reading Time: 3 minutes

Lack of funding is cited as a major factor

In a surprise announcement, Bharatiya Vidya Bhavan Australia has said that the Holi Mahotsav it organises annually at Darling Harbour’s Tumbalong Park, will not be taking place this year.
Lack of funding was cited as the major factor for the cancellation, even after extensive arrangements were already in place for the event.

Holi Mahotsav 2015.Indian Link
Revellers at the Holi Mahotsav 2015

In this Indian ‘muck-up’ festival, held at the onset of spring season, Holi revellers smear coloured powder on each other’s faces, or throw them at each other in gay abandon. It is an ancient Hindu tradition that has been taken up all over the world now in many “fun run” events.
For the past 13 years, this fun-filled Indian tradition has enthralled visitors to Darling Harbour, many of them from the wider community. The ritual of smearing each other’s faces with coloured powder has been particularly enjoyable, as it brings people together and helps build bridges.
“The festival aims to foster and celebrate unity, harmony, peace and friendship between all communities and generations,” a BVB release noted, while lamenting that this “unique multicultural grand festival” seemed not to fall under the criteria of the government’s “discretionary funding”.
“The festival needs huge funds of over $200,000 for this free to public grand event,” the release said. “Every year we/our directors have been contributing their own funds to let this grand festival of harmony at perhaps the most prestigious venue of Darling Harbour [take place], but now are not in a position to pour in [our] own personal funds.”
A crowd-funding attempt held in recent months also did not see successful results.
Observers from within the community have noted the gradually dwindling numbers at this annual Holi celebration. Many factors have been cited for this. While the central city location helps to bring in the mainstream crowds, perhaps a noble early intention of the organisers, the Indian community had begun to keep away, citing distance as well as parking hassles, and the hesitation to take public transport back home while smeared from head to toe in gulal (coloured powder).
The over-regulated gulal opportunities at the Holi Mahotsav also came in for some lament, as did the high cost of hiring stalls.
The recent emergence of smaller Holi events in pockets in western Sydney must no doubt have also exerted an influence in this regard. Are the revellers preferring these events – where they get their fill of the traditional Holi mahaul, ie, a fun-filled masti-bhara ambience of merriment, some boisterous gulal play, non-stop dancing and cheap eats?
Holi Mahotsav.Indian Link
Gambhir Watts OAM

For Gambhir Watts OAM, president of BVB, the Holi Mahotsav was always much more, though.
“I have always intended it as a grander event where I could take my culture and heritage to mainstream Australia,” he told Indian Link. “My version of Holi is aimed at increased harmony between people. The non-Indian crowds have enjoyed our presentations not only of gulal but also our cultural performances.”
Holi, in its traditional sense, however, is intended to stay away from “culture” – it is a festival of “letting go”, where rules are lax, and breaking the rules is sanctioned (within limits). Usually ‘unacceptable’ behaviour becomes acceptable, if only for a day (e.g, drinking bhang, harmless flirting). The preferred form of entertainment is not classical, but slightly naughty; hasn’t Bollywood taken this up in umpteen famous examples? The crux of it all is: caught up in the drudgery of regimented daily lives, it is therapeutic to “let go” once in a while.
Watts claims he tried all possible avenues to salvage this year’s event.
“The effort was on till last week,” he revealed. “In the last year I have appealed to various government bodies such as India Tourism and community groups such as Hindu Council of Australia and UIA.”
He is optimistic for next year though.
“I’m talking to all the stakeholders, yes,” he revealed. “But my wish is that I continue to aim the event towards multicultural Australia, to keep it at a central location, and to keep it free of cost.”
Here’s hoping that BVB has ‘let go’ only for a year, while it regroups and comes up with a new modus operandi for 2017.

Narendra Modi: Unshackling Indian Business

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Reading Time: 5 minutes

Critics who complain that Modi has not met the expectations of Big Business may need to change their opinion as he lays the groundwork for major changes to the way India does business, writes Future Directions International’s LINDSAY HUGHES

Modi.Indian Link
Background
Indian Prime Minister Narendra Modi came to office on the back of the huge expectations of, among others, India’s business community. They had every reason to maintain their expectations; as Chief Minister of India’s western state of Gujarat Modi had carried out major reforms in how business was conducted there. If he could carry out similar reforms as India’s Prime Minister, they reasoned, they could tap into the Indian community’s innate business skills to lift India out of the quagmire of bureaucracy and colonial red tape in which it had floundered since it became independent in 1947. Over the first year of Modi’s government, however, many of these expectations fell by the wayside. The expected reforms had not come about and business seemingly continued to flounder. As we will see, this perception is myopic. Modi is preparing the groundwork for a major shake-up of the manner in which business is conducted in India.
 
Comment
A major drawback to conducting business in India has been the indecisiveness exhibited by various governments over the years, none more so than that of the previous Prime Minister, Manmohan Singh. Modi inherited a stagnant economy; in 2014, for instance, India ranked 134th out of 189 countries in the World Bank’s ease of doing business index. Several factors have played their part in this. India’s bureaucrats have made their suspicions of private enterprise eminently clear. For instance, when the Hindustan Construction Company (HCC) undertook a US$55 million project on behalf of the National Thermal Power Corporation to work on the Loharinag Pala hydropower plant in the Himalayas, environmental protests erupted, bringing that project to a halt. When HCC sought compensation from the NTPC and was awarded costs and compensation of around US$15 million, the bureaucracy refused to pay and, instead, appealed to India’s legal system which, in a country whose bureaucracy moves at snail’s pace, is seen as exceptionally slow. HCC now faced an extended period of ten years at least to obtain their compensation.
This is but one example of the suspicion in which private enterprise is held by the bureaucracy. By one estimate, around US$23 billion is held up in disputes. As Rajiv Lall, Executive Chairman of the Infrastructure Development and Finance Company stated, “Historically, the bureaucracy has never seen it as their role to nurture or help business.” The antipathy, if not downright hostility, the bureaucracy feels for private enterprise stems not only from colonial methods of governance but also from India’s education system. India’s top bureaucrats see themselves as the elite who have gone through the education mill and now deserve to be approached deferentially if they are to dispense their favours on supplicants.
Tax is another drawback to the ease of doing business in India. According to Arun Jaitley, India’s Finance Minister, around US$66 billion in taxes is being arbitrated in the legal system by private enterprises who feel they are being over-taxed and government officials who require to extract every rupee from an extremely narrow tax base.
Speaking in New Delhi in the latter half of 2014, Jim Yong Kim, then President of the World Bank, stated that if India as a whole could reach Gujarat’s efficiency in developing business, India would jump 57 places in the ease of doing business index. The equivalence is understandable. He simplified the approval process for new businesses, offered organisations cheap land to establish their factories and offices in Gujarat, provided them with low-interest loans, and gave them reliable supplies of power and water. Hardly surprising, then, that Indian and foreign organisations set up their offices and factories there – and equally unsurprising that the expectations placed on Modi as Prime Minister were huge.
Soon after being elected, Modi carried out several reforms. He has started the process to bring in an overall tax similar to Australia’s Goods and Services Tax, a reform of income tax so that tax is deducted at source (by some estimates less than 2 per cent of employees pay income tax) and has, arguably more importantly, started to change the culture of the bureaucracy. No longer do senior bureaucrats play golf on working days; their honorary golf-club memberships have been cancelled, all government employees are now required to sign in when they arrive at work and their attendance is displayed on a public website, and bureaucrats are being made more personally accountable for their departments and the projects they undertake. The primary outcomes of these reforms have been enhanced business optimism and energised foreign relations. Modi himself has undertaken several visits to foreign countries and makes it a point to ensure at least one deal is concluded per visit. Consequently, he has concluded deals with Australia for the supply of uranium, with Canada for uranium and energy products, with Russia for defence and energy products and with the US for defence products, technology transfers and energy products.

A major aspect of Modi’s revamp of Indian industry has been the “Make in India” project, whereby foreign organisations are invited to manufacture india – provided they enter into partnerships with Indian companies. Thus, in acquiring defence platforms such as fighter aircraft and ships, Modi insists that his government will purchase those products provided a significant portion of each order is manufactured in India by Indian partners. To achieve this end, bureaucratic reformation is vital.

As a consequence of these endeavours, India’s economy is said to have grown by 7 per cent in 2015 and is expected to increase by another 7.5 per cent again, if not more, in 2016. But Modi realises that more is needed. He takes very seriously the dictum that governments should not be in the business of business and has begun to selling off government holdings in public companies. He has also opening some sectors, including defence, to foreign investment, and has terminated India’s Planning Commission, a hold-over from India’s past that churned out Soviet-style five-year economic plans under successive Congress governments. He is fighting to reform India’s byzantine land-acquisition policy. While the main opposition Congress and other liberals see this as a corporate land grab, Modi says it is the only way to make it easier for businesses and government to buy land from farmers for factories, roads and other infrastructure projects.
Modi’s main battle now is to win a majority in India’s upper house of Parliament, the Rajya Sabha. If he can do this, he will have a much easier task ahead to bring about the major reforms he wishes to make. That victory, coupled with India’s talent for business, could see the country surge past the 7.5 per cent growth it is scheduled to achieve. It is up to Indian businesses, then, to recognise this fact and jump onto the Modi bandwagon. If they were to do so they would help themselves by creating a much larger market and a healthier and more competitive one at that.
 
Lindsay Hughes, Research Analyst, Indian Ocean Research programme
This post has been republished from Future Directions International Pty Ltd.
80 Birdwood Parade, Dalkeith WA 6009, Australia www.futuredirections.org.au

Breathing life into Konarak sculptures

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Reading Time: 3 minutes

Shakti presents a unique interpretation of Bharatanatyam at the Adelaide Fringe Festival

Shakti is a fascinating artiste. The first time I saw her perform, I was very impressed with the purity of her Bharatanatyam and the beauty of her bold non-Bharatanatyam. I have since seen her perform several times at the Adelaide Fringe, and have been struck by different things. But always different. I mean, Shakti is always different!
Shakti.Indian Link
Born to a Japanese mother and Indian father, Shakti grew up in Japan but with a huge Indian influence. Her mother, whose Indian name is Vasantamala, is probably Japan’s first Bharatanatyam teacher. Shakti grew up with the music in her ears and the rhythm in her feet when she began to walk. She says that when she began school at 4, she was surprised that other kids did not know the Alaripu or a simple dhi-dhi-thai!
From her father she learnt yoga and understood Indian philosophy. He was a professor of English at the Kyoto University and the founder-director of the Gandhi Institute in Kyoto. Getting the best of India in the rich cultural environment of Japan, Shakti continued learning Bharatanatyam from gurus in India too during their frequent trips to India.
While doing her M.A. in Indian Philosophy at Columbia University, New York, she also learnt modern dance with Martha Graham, Alvin Ailey and Jazz with Luigi. Returning to Japan, she developed a unique hybrid form of dance, blending an array of Eastern dance traditions and yoga with Western jazz.
However, she says, “I realised what I truly related to, was Indian classical dance. Bharatanatyam is a meditation and a celebration at the same time. The whole body, every muscle, is used to make up the whole. The stance and footwork connect to the earth with the rhythm moving to the hands and every tiny muscle in the face moving to enhance the dance – the eyes, eyebrows, nostrils, mouth, lips, cheeks… all add to those expressions and postures.”
It is clear Shakti loves Bharatanatyam, and you can see it in her dancing. Every part of her body is infused with the spirit of it and you can see the sensuousness of our temple sculptures in her modern dances as well. These are exotic, erotic and usually shocking. Not for the faint hearted!
Shakti.Indian Link
The name ‘Shakti’ means energy, and you can literally feel this energy emanating from her. However, when I meet her, I feel it as a calm energy, like that of a deep river, calmly flowing but you know the undercurrents are there. It is in her dance you see this energy, both creative and destructive, serene and chaotic. Her modern dances also lean heavily towards Bharatanatyam especially in the stance and abundance of facial expressions giving the physical theatre of Western dance a very Indian touch. She has been called the “Dancing Phoenix” and “Sculpture in Dance”.
At this year’s Fringe, Shakti is performing Visions of Konarak, showcasing the timeless beauty of these ancient sculptures.
“They are the ultimate celebration of life and love,” she says.
I expect the performance will bring these sculptures to life, and transport you to a mystical time when the gods and goddesses danced on earth.
As artistic director of Garage International, Shakti is also instrumental in helping overseas artistes to come and perform at the Fringe. From the sub-continent this year, we have Baul singers from Bangladesh and a documentary film about river erosion there. The Singhing Sisters are from Belgium doing opera meets jazz (that’s interesting!) and Devika Bilimoria is presenting “a bizarre ode to an ancient Hindu ritual” with a life-size Shiva Lingam being consecrated by layers of thick and glossy paint poured by the hands of passers-by (even more interesting!)
Shakti’s other performance at the Fringe is The Woman Who Dances With The Wolves which has been described as “a story of woman’s ascent to liberation and descent into madness.”  It is an old piece that she has performed in Edinburgh and London in the past and London Times described as “a wild dance experience not to be missed.” I have been warned this is definitely not for the faint-hearted!
Fascinating work by a fascinating artiste. The Indian performances are all on the weekend of March 5-6 at North Adelaide Community Centre.