the yin and yang of food - SCMC

ART, CULTURE & LIFESTYLE SUPPLEMENT

Simran Kulkarni is living the Millennial dream on social media

IN‘STAR’GRAM

the yin and yang of foodScience may have the answer to why Asian and Continental cuisines taste so different

THE SCMC CHRONICLEISSUE NO. 1 2019

Theatre artists are connecting with their audiences in novel ways

BREAKING GROUND

FROM THE DIRECTOR OUR INSPIRATION

2 THE SCMC CHRONICLE 3 THE SCMC CHRONICLE

VISION

• Promotinginternationalunderstandingthroughqualityeducation.

MISSION

• Toinculcatethespiritof‘VasudhaivaKutumbakam’(theworldisonefamily)

• Tocontributetowardsknowledgegenerationanddissemination

• Topromoteethicalandvalue-basedlearning

• Tofosterthespiritofnationaldevelopment

• Toinculcatecross-culturalsensitivities

• Todevelopglobalcompetenciesamongststudents

• Tonurturecreativityandencourageentrepreneurship

• Toenhanceemployabilityandcontributetohumanresourcedevelopment

• Topromotehealthandwellnessamongststudents,staff&community

• Toinstillsensitivityamongsttheyouthtowardsthecommunityandenvironment

• Toproducethought-provokingleadersforsociety

THE SCMC CHRONICLEManaging Editor: Dr.SreeramGopalkrishnan Consulting Editor: AmitabhDasgupta Executive Editor: LijiRavindran Associate Editor: Dr.BaiduryaChakrabarti Assistant Editor: JuhiRajwani Assistant Editors (Design): NishitaJain JaideepKumar Reporting: Students,SCMC

A publication of Symbiosis Centre for Media and Communication (for internal circulation only)

SymbiosisCentreforMedia&Communication SymbiosisVimanNagarCampus, Survey.No.231,offNewAirportRd, VimanNagar, Pune411014, Maharashtra,India

[email protected]

Cover Image: Fidler Jan/MorguefileDr. Sreeram Gopalkrishnan

Director, SCMC

Whenwereinventedour

studentnewsletterasa

periodical—TheSCMC

Chroniclenewsletter—

last semester, it was

intendedasanexercise

fortheBatch2019Journalismstudentsforexperience

inhands-onreporting,editingandpublishing.They

didatremendousjobofit,producing,inashortspan

oftime,eighteditionsofthenewsletterthatcouldrival

anyprofessionalpublicationintermsofcontentand

design.

Theyworkedinteams,brainstormingideas,nosing

out news in and around Pune city, interviewing

sources,photographing,designingpagesandshaping

TheSCMCChronicle into a full-scale hyperlocal

newsletter. Our Journalism Lab was a veritable

newsroomduringthisperiodandthestudentstook

uptheirresponsibilitieswiththepassionyouwould

expectoftruemediaprofessionals.

WearehopingnowtotaketheChroniclebrandto

thenextlevelwithaseriesofstudent-ownedprint

anddigitalpublications.ThisArt,Culture&Lifestyle

Supplement of The SCMC Chronicle Magazine,

whichhasbroughttogetherhigh-qualityfeaturesand

writingsbyourstudents,isthefirststeptowardsa

regularmagazinethatwilleventuallybefullyowned

andcreatedbyourstudents.Iwishthemtheverybest

forthefuture.

Prof. Dr. S. B. Mujumdar Chancellor, Symbiosis International (Deemed University)

Dr. Vidya Yeravdekar Pro Chancellor, Symbiosis International (Deemed University), & Principal Director, Symbiosis

Dr. Rajani R.Gupte Vice Chancellor, Symbiosis International (Deemed University)

4 THESCMCCHRONICLE 5 THE SCMC CHRONICLE

CONTENTS

6INSTA FASHIONISTA

SimranKulkarnionherlifeasasocialmediainfluencer

10FLAVOUR CLASH

Areyourfoodflavoursblendingalittletoowell?

15EATING IT WRONGTheperilsofalienfoodcultures

16ROCK’S ROCKTheiconicdrummerwhotransformedrockn’roll

20DOING IT MY WAYTheatreartistsbreaknewgroundwithboldexperiments

23LENS & IDENTITYAphotographyintern’sjourneythroughBombay

25METAPHORICALLYAsearchfordeepermeaningsinGulzar’spoetry

28JOKES APARTApeekintoPune’sthrivingstandupcomedyscene

30OSCAR BLUESOTTstakeonstudiogiantsinOscarsclash

33BIENNALE ARTThebestofcontemporaryartatIndia’sonlybiennale

37SALVATORE!MysteriesandintriguessurroundDaVinciartwork

37GRADUATE FILMSAlookatthefilmsofSCMC’sBatch2019graduates

THE SCMC CHRONICLE ART,CULTURE&LIFESTYLESUPPLEMENT

Image: Instagram


FASHIONISTAINSTA

SimranKulkarni’s journey frombeing ‘ThatAwkwardGirl’ toan

influentialInstagramfashionistaisperhapsoneofmanytalesof

youngaspirationalMillennialssurfingtosuccessbecausetheyknew

therightwavetocatch.

Simran isa ‘socialmedia influencer’,amarketer’sdream–

young,opinionated,stylish,artistic,savvy,andadaptable.They

seemhappytoplacetheirproductsandtheirmoneyinherhands,andhaveher

carrytheirmessagetotheyoungdemographictheyaretargeting.Instagramis

Simran’sprofessionalhomewheresheblogsaboutfood,lifestyleandfashion.

[email protected],000followers,andisgrowing.

Itispopulatedbymeticulouslycraftedpicturesoffood,places,andthings,

andofherself.Theimagesarecolourfulandveryartistic;thekindthat

manyMillennnials,judgingbytheirresponses,seemtofindexpressiveand

meaningful.Theyarealsocarefullystaged.

“Thereisalotofthoughtandcreativitythatgoesintotheshoot,”says

Simran.“Theideallighting,appropriatemakeup,andhairandthe

perfectclothesneedtobesortedsothatthepostattractsmaximum

traction.”

Shubhangi Mishra profiles a young and successful Instagram blogger

Image: Instagram

Image: Instagram

8 THE SCMC CHRONICLE 9 THESCMCCHRONICLE

didn’thappenovernight.Thereweretimeswhen

certainconceptbasedshootsthatIparticularly

loved,didn’tdosowellwithmyaudience.Soit

certainlyhasn’tbeenaneasyride!”

Shehasnowhadumpteencollaborationswith

A-listerbrandslikeDanielWellington,andwith

The PavilionMall and PhoenixMarket City,

Pune.ShehasalsostarredonthecoverofBrands

&BloggersMagazine.While it’sher job to get

maximumtractiononherposts,getasmanylikes

andcommentsaspossible,Simranalsowishesto

keepitreal.“Ialwaysmakesurethatthebrands

Icollaboratewith,understandmypersonalstyle

andcomfort.Inreallife,Iamapersonwhoputs

comfort over everythingand that’swhat I try

incorporatinginmyfashionaswell.”

Ashappeningandglamorousasablogger’s life

looksfromtheoutside,withallthefameandthe

freeproducts,itmaybethattheumpteenhoursof

shoots,brainstormingandimmensecreativityoften

goesunnoticed.

Althoughshefindsherselfagreatdealinfrontof

thecamerathesedays,Simranhasmaintainedher

passionforfoodphotographyandmanagedtofind

herownstyleandnuance.

Andsheisnotwithoutherfairshareoftrollsin

thefree-for-allcyberworld.Thereisagreatdealof

criticismandflak,humiliatingposts,peoplewho

sendunsolicitedandvulgarimages.Butthroughit

all,Simranfocusesherenergyonthosepeoplewho

trulyappreciateherwork.

Inonepicture,shewearsafetchingbluedress,a

thickmaneofcurlybrownhairframesherheart-

shapedfaceandherbrighteyeslookconfidently

intothecamera;inanothershestrikesaposelike

Bollywood’severgreendancingstarHelen.Her

photosexudealittlebitofmysteryandagreatdeal

ofself-assurance–averyappealingpersona.

Simranisjust20,shegraduatedfromcollegethis

yearwithadegreeinmasscommunicationanda

provenmarketingacumen.

Youngsters likeSimranwhogrewupintheage

ofsmartphonesandhigh-speedinternet,spenda

significantpartoftheireverydaylivesonsocial

mediaplatforms like InstagramandFacebook.

Whilemost are there to entertain themselves,

othershavebeensmartenoughtocapitaliseonthe

poweritlendstotheirvoices.

Likeanyotherprofessionthough, it takeshard

workandstrategytosucceedasan ‘influencer’.

FouryearsagoSimranwas@thatawkwardgirl

behindthecamera.

“I startedoutasaphotographer forother food

bloggers,”shesays. “Iusedtoclickpictures for

themandrepostitonmyaccount,whichwasquite

wellreceivedbyeveryone.Finally,in2015,Iput

upmyfirstpostasabloggerwhichwasrelatedto

fashion.Evenwhileshootingforotherbloggers,I

didn’thaveacameraofmyown.Iusedtoborrow

myfriend’sCanon1200Dtoshoot.Ithastakenme

aboutfouryearstogetwhereIamanditdefinitely

“I’m a person who puts comfort

over everything and that’s

what I try incorporating in

my fashion as well”

Image: Morguefile

Asian cuisine gets its distinct flavour from contrasting food pairings, scientists say

10 THESCMCCHRONICLE 11 THESCMCCHRONICLE

the yin and yang of food

Growing up

in Calcutta

m e a n t

watchingmy

grandfather

fussover

a bubblingpot of aromatics every

winter.He loved stewing over his

belovedkadhaitomakechokka—a

luxurious roast vegetable curry

temperedwith spicesandghee.As

wesippedtherichgravyfromteacups

(themanwasadamantaboutserving

size),Dadubhaiwouldleanagainst

thecounterandbegintorailagainst

‘continental’cuisine.

His work had taken him across

much ofWestern Europe, where

he’d triedsomethingor theother

fromcornersidecafesandbistros.

Nayanika Mukherjee discovers how ‘Dadubhai’ was right all along about food that pairs too well

Image: shellys.co.in

The Bengali Shukto (above) pairs mustard and milk, while continental potatoes and butter (below) have more complementary flavouring

Image: Pixabay


COMPLEX ASIAN FLAVOURS ARE THE RESULT OF ANTI-PAIRINGS

His experiments had brought

him to one conclusion: there

wasnoexcitement,no ‘bristle’

inWesterncuisine. ‘Theydon’t

tryflavoursthatcompete,’he’d

muse,‘Itallpairstoowell.’

At the time, we thought his

frustrations stemmed from

watchinghisgrandchildrenbuy

muffins and burgers from the

Monginisnext door.But little

didweknowthatDadubhaiwas

right.

Inrecentyears,the‘magic’behind

foodcombinationshascometobe

replacedbyempiricalresearch

intothescienceofflavour—and

itprovesDadubhai’stheorysolid.

‘Continental ’ cuisine—that

ofWesternEurope andNorth

America—hasbeenproventouse

complementary food pairings,

whereas Asian cuisine (and

partsofSouthernEurope, like

the Mediterranean), exhibits

contrastingfoodpairings.While

thehypothesisexistedforyears,

itwasonlyin2011thatageold

assumptionsbegantoaddup.

Harvard scientist Yong Yeol-

Ahnandhisassociatesanalysed

381 ingredients and over

1,000 flavour compounds in

them to findoutwhat flavour

‘links’—the actual molecular

compounds—theyshared.This

datawasthencomparedtoover

56,000 global recipes sourced

from international food sites,

to determine which cultures

pairedflavourcompoundsthat

‘matched’eachothermostoften.

And voila, the science was

in:Western cuisine showed a

propensitytoincludefoodswith

overlapping flavourmolecules

in a recipe, giving rise to

complementarycuisine.Think

roastbeefandcheese,butterand

potatoes,chocolateandcoffee.

Asian cuisine, on the other

hand,chosetoavoidingredients

that shared similar chemical

signatures,andpreferred‘anti-

pairings’.Thisgaverisetomore

complexity in taste.Themost

immediate example I could


EATING IT WRONG

Indians, ingeneral,

are trend surfers

not setters.We do

haveatendencyto

jumpontoanyand

every bandwagon

—inmusic,food,artorfashion

—whichisinvoguebeyondour

bordersandhastheapprovalof

peoplewhoaremost certainly

notus.

Butwhilethesetrendsareculture

appropriate, and geography-

specific;wearequitehappyto

ignorethefactinourdesireto

be coolandwith-it, thankyou

verymuch!Wearingturtlenecks

inswelteringheatforinstance,

or building glass skyscrapers

thatareexactreplicasofthose

intheWestwithoutathoughtto

howinappropriatetheyarefor

the Indianweather.Themost

detrimentalimpactofthisblind

copyingperhapshasbeeninour

lifestylesandthefoodweeat.

findforthiswasfrommyown

family—thevegetarianBengali

dishofshukto,whichcuriously

partneredmustardandmilk.

To further demonstrate this

difference in palates, a graph

showed the molecular links

between food compounds .

Itemsat themiddle and top—

like strawberries, white wine

and apples—shared the most

flavourcompoundswithother

ingredients.

Meats,wheatanddairyproducts

alsoshowedseveralmolecular

overlaps;theseareallfrequently

used items inWesterncuisine.

Thebottom-endofthechartbore

ingredientsthathadtheleastin

commonwithotherfoods.

Thesewere foods like yogurt,

sumac,gingerandshrimp,along

withahostofspicesandplant

products—all commonly used

inAsiancuisine.Naturally,this

revelationbearspromise—and

explainsmanytrends.

As people travel more, the

popularity and representation

of Asian cuisine in Western

mediahasshotupexponentially.

Afterall,it’sawholenewworld

offlavourperceptionforthose

travelling from around the

Atlantic. Secondly, given the

number of food pairings we

actually use (106), versus the

giganticnumberoffoodpairings

thatthisresearchsuggestswill

work(1015),wehaveanoceanto

chartwhenitcomestocreating

newrecipes.

Moleculargastronomyexponents

such as Heston Blumenthal

or Grant Achatz, who were

earlier lambasted for insisting

that combinations like white

chocolateandcaviarcouldwork,

mustfeelasenseofrelief.

However, this doesn’t mean

thatthemysteryandsensuality

in food has completely dried

up.Theprinciplethatmakesa

pizzamargherita timeless—its

p e r f e c t l y c omp l ementary

4-methylpentanoicacidmolecule,

foundinmarinara,mozzarella,

andparmesan—doesn’tworkfor,

say,theiconicporkvindaloo.

A more r e c en t paper by

researchers at IIT Jodhpur

showed that the ingredients

i n I nd i an f o od—be l o v ed

amongstAsiansandWesterners

alike—barelyhad anything in

common,andthat’sexactlywhat

madeitsogood.

It’sanamusingparadoxtohave

inthedigitalage,wherewehave

ananswerforeverything:agood

oldtug-of-warthatallowsusto

savourthebestofbothworlds.

Dadubhaiwouldhavebeensmug

withglee.

It’s an amusing paradox to have in

the digital age, where we have an

answer for everything: a good old

tug-of-war that allows us to savour

the best of both worlds

Iweighed105kilogramswhen

I entered college; this wasn’t

surprising given that I had

fuelledmyselfonawesterndiet

formostoftheyearbeforeit—

fast food,processed food,high

calorieintake,younameit.The

humble Indian ‘Roti-Sabzi’ or

the‘Curry-Chawal’seemedway

tooblandandoutdated.Fastwas,

afterall,thenewcool.Iwasnot

immune to theherdmentality

either.

Unhealthy, obese, perpetually

tired and bloated is how I

would describe myself in my

firstsemesterofcollege.Then,I

signedupforthemuchmaligned

collegemess.Ihadthreemeals

ofthesimple,stapleIndianfare

servedthere.Within6monthsI

hadshedalmost20kilosandby

theendofayearIweighedalmost

35kilograms less. Shedding a

thirdofmyownbodyweightwas

arebirthofsortsforme,anda

reconnectionwithmyroots.How

often have we thought about

thegoodinourowntraditions?

Ihavelostcountofthenumber

of t imes western agencies

have declared coconut oil to

be harmful to human health,

onlytoretractandclarifyitas

beneficialthenextmonth.And

thatisjustoneexample.Counsel

isgood,butpracticesandideas

whichhavestoodthetestoftime,

passeddownentiregenerations

andkeptusgoingforhundreds

of years cannot suddenly turn

‘harmfultohumanhealth’and

thenbeneficial again thevery

nextmoment.

I believe that the internet is

a force for good. It informs,

educates and fosters a closer

globalcommunity,butitdoesnot

necessarilymeanwehavetoape

everythingthatittellsusis in

vogue.Sometimes,stickingtothe

basicsisareallygoodidea.

Yash Agarwal recounts a weight loss regimen that helped him reconnect with his roots

ROCK’S ROCKViraj Gaur remembers the iconic drummer

who changed the face of rock and roll

John Henry Bonham (1948-1980)

Image: Drummerworld

Image: Drummerworld


Jo h n H e n r y

B o n h a m ’ s

l i fe was short

and explosive .

Bonzo,ashewas

a f f e c t i ona t e l y

known,diedinWindsor,England

withmorethanalitreofvodka

inhim.Hewasjust32yearsold,

andintheprimeofaphenomenal

drumming career with the

biggestband in theworld,Led

Zeppelin.

JohnwasborntoJoanandJack

Bonham in the small town of

Redditch,Worcestershireinthe

summerof1948.

Hestarteddrummingattheage

offive,makingamakeshiftkit

outof tincansandcontainers.

Whenhewas10,hismothergot

himhis first snare drum, and

justfiveyearslaterhereceived

hisfirstdrumkitfromhisfather.

Bonham never received any

professionaltraining;hegrewup

imitatinghisheroesGeneKrupa,

Buddy Rich and Max Roach,

whoseinfluencebecameevident

in theuniquestyle thatBonzo

eventuallycreated.

Hewasn’tanexceptionalstudent

butsomethinginhisnatureled

hisheadmaster toremark, ‘He

willeitherendupadustmanora

millionaire.’Afterleavingschool,

Bonzostartedworkingwithhis

Bonham (second from left) with his Led Zeppelin mates (from L.) John Paul Jones, Jimmy Page and Robert Plant

Image: Drummerworld


Despite his experiments with drumming,

Bonzo became the solid base on which

Zeppelin could truly unfurl their genius;

he was dubbed ‘the Beast’

fatherasacarpenter,whilealso

playingwith local bands. His

drummingwasfine-tunedbythe

advicehereceivedfromfellow

musiciansintheearlyyearsof

hiscareer.

In 1964 he started playing

semiprofessionally.Twoyears

later he joined a blues group

calledthe‘CrawlingKingSnakes’

wherehemetleadsingerRobert

Plant.Even though theywent

theirseparateways,theykeptin

touch.In1968guitaristJimmy

Pagefoundhimselftryingtoput

together a new band after his

earlierproject ‘TheYardbirds’

had collapsed. After much

deliberation,theunlikelygroup

ofmusicianscametogether;Page

himselfastheguitarist,Robert

Plant as the lead singer, John

Paul Jones as the bassist and

JohnBonhamasthedrummer.

LedZeppelinwasfinallyborn;

thebandthatwouldchangethe

worldofmusic.

The first track of the band’s

debut album, Led Zeppelin I,

introduced listeners to John

Bonham’s hard hitting, yet

technically sound drumming.

Despite his experimentswith

drumming, Bonzo became the

solid base onwhich Zeppelin

couldtrulyunfurltheirgenius;

he was dubbed ‘The Beast’ .

Withinafewyears,LedZeppelin

had toppled theBeatlesas the

mostpopularbandonearth.The

bandreleasedbrilliantalbums,

oneafteranother,withBonham

bindingthemtogether.

The fourth album,whichwas

releasedwithout a title, came

to be recognised as one of the

bestalbumstheworldhasever

seen.Successdidnot suithim

well.Duringhis career,Bonzo

developedanalcoholproblemas

wellasaheroinaddiction.His

behaviourwasoftenerraticand

hewas involved inoutrageous

backstage behaviour. He also

started suffering from panic

attacksbefore live shows, and

would show up drunk to the

recordingstudios.

His jolly nature gave way to

a darker attitude; he became

pronetoaggressivefitsofanger

andfistfights.IntheSeptember

of 1980, Led Zeppelin were

rehearsingforanupcomingtour

inNorthAmerica.Theyhadbeen

throughpersonaltragediesinthe

lastfewyears,butthingswere

finallylookingup.

Onthe24thofthesamemonth

they all met at Jimmy Page’s

houseandreportedlyrehearsed

forabouttwelvehoursstraight.

Johnwasalreadydrunkbefore

the rehearsal, but that didn’t

stophim.Hecontinueddrinking

throughthesession,consuming

closeto40measuresofvodka.

They found him the next

morning, lyingon the ground,

unresponsive.Hehadvomited

the alcohol in his sleep and

chokedtodeath.Rockhadlost

itsgreatestdrummer.

L ed Z epp e l i n d i s b and ed

immediately; theyhaddecided

that Bonzowas irreplaceable.

The survivingmembers later

worked on their own projects

andoccasionallyplayedtogether

in‘reunions’withJohnBonham’s

sontakinghisfather’splace.

Although he died early, his

fate as the greatest rock and

roll drummer had already

beencemented.In1995hewas

posthumouslyinductedintothe

RockandRollHallofFame.His

workbecame thebasis for the

RockandMetaldrummingthat

wastofollow,andheremainsan

inspirationtocountlessaspiring

drummersacrosstheworld.

Nirvana’sdrummerDaveGrohl

once remarked, ‘JohnBonham

playedthedrumslikesomeone

whodidn’tknowwhatwasgoing

to happen next—like he was

teeteringontheedgeofacliff.No

onehascomeclosetothatsince,

andIdon’tthinkanybodyever

will.Ithinkhewillforeverbethe

greatestdrummerofalltime.’

John Bonham’s gravestone

stands in theRushockParish

churchyard inWorcestershire,

adornedbytheflowersandthe

drumstickshisfansleavebehind.

‘Goodnightmylove,Godbless’,

theepitaphreads.

From sitting blindfolded in a dark room, to performing in the nude, experimental theatre leaves no stone unturned, finds Aroshi Handu

Groups like Border Crossings (above) and Saag Meat (below) are redifining theatre with their bold experiments

Image: bordercrossings.co.uk

Image: Deccan Chronicle


EXPERIMENTAL THEATREIS HERE TO STAY

Ev e r y o n e

defines it

differently

— f o r

some i t ’ s

natural,for

others it’s an out-of-the-world

experience.No,thisisnotabout

love; it’s about the confusing

worldofexperimentaltheatre.

Itmightbeadifficult concept

to wrap one’s head around,

andsincetheatricalnormsare

constantlyevolving,whatmight

beexperimentalforonemightbe

quitethenormforsomeoneelse.

Itallcomesdowntoonething:

togoagainstthegrainonemust

firstunderstandwhatthestatus

quois.

AlfredJarry, the19thCentury

French playwright, is often

creditedasthefatherofthegenre;

forhedabbled inwhatusedto

be considered experimental—

nudity,profanity,breakingthe

fourthwall,nonlinearstructure

and interact ing wi th the

audience.

Theatreartists,whotendtodo

experimentaltheatre,breakthe

normandrejectstraightforward

methods of producing and

writing plays to do their own

thing. It is this unpredictable

nature of theatre’s creative

process that gives it the tag

‘experimental’.Itsprimaryaim

is to shock theaudiencewhile

keepingperformanceartalive.

Some independent theatre

groups around the world and

inIndiaareseekingtodissolve

the boundaries between the

performers,andtheaudienceas

apassiveobserver.

Blast Theory, an England-

based theatre group uses

interactivemediamixedwith

digital broadcasting and live

performance.Theirmostrecent

INSPIRED BY IDENTITYAditya Sinha roams the streets of Bombay, capturing identities, and

recreating family portraits and fantasy dreamscapes

Gonsalves, a member of the little known East-Indian community

Karshni and Yusra; ‘Queer Inclusivity on Valentine’s Day’ series

One of the traditional diya makers of Dharavi, originally from Gujarat

My twin, Kajal dressed in my grandmother’s saree as a part of the story ‘Reclaiming Stretch Marks’


workChemicalWeddinghadthe

audience surrounded by huge

screens where computerized

viruses danced—which was

mirroredonthefloorbydancers

pushingtheirwaythroughthe

crowdtoloud,industrialmusic.

Theirworkquestionsideologies

especially pop culture that

envelopsusinthisdigitalworld.

DramamakersBorderCrossings

dothingsabitdifferently.They

believe that the theatre is the

opposite of awall. The group

promotesinterculturaldialogue

and creativity through their

performances.Theatreisoneof

thefewspacesleftwhereyoucan

encounterphysically,inthesame

room, people who are totally

differentfromyou;andrealise

that theyaren’t thatdifferent

afterall.

Border Crossings is founded

byMichaelWalling, whowas

inspiredbyhis experiences in

Indiawherehewas fascinated

bythewayaplayhethoughthe

knewhadbeenalteredbylooking

atitthroughadifferentcultural

lens.And it’s true; India isno

strangertoexperimentaltheatre.

Here’ssomefoodforthought:how

doesone retain theaudience’s

attention for 45 mins while

sittinginoneplaceandtalking?

KopalTheatreshowsyouhow.

‘SaagMeat’asoloperformance

pennedandperformedbySeema

Pahwaisauniqueconcept.Seema

playsthecharacterofSumitra,

amiddle-agedPunjabiwoman

whocooksSaagMeataspartof

Theatre artists, who tend to do

experimental theatre,

break the norm and reject

straightforward methods

of producing and writing plays

to do their own thing

theperformance.Andwhileshe

doesthat,Sumitrahaphazardly

pieces a story together; her

narrationpepperedwithspicy

andseeminglyinsignificantfacts

about this and that, until she

arrivesatastartlingconclusion.

As she talks, Sumitra keeps

sautéing,stirringandsprinkling.

Sometimes,audiencemembers

pipeinwithcookingtips.Atthe

end, the dish is served to the

audiencemembers.

Thebarrierbetweenperformers

andaudience iswelland truly

brokenbyhavingthemreactand

participate in the experience.

Experimentaltheatrehasbecome

an engaging experience that

provokes—but not weakens—

thesensibilityof theaudience.

Traditionally,theatreaudiences

areseenaspassiveobserversbut

experimental theatre is out to

changethatperception.

Vishab Thappa searches for deeper, unsaid truths in Gulzar’s poetry

Naseeruddin Shah and Rekha in the film Ijaazat (1987)

Image: Cinestaan


productsofthisprocessaresomeofthesimplest

andmostpowerful arrangementofwords.One

ofthetricksofbeingapoetistowritesomething

whichspeakstotheheart,andwhenitspeaks,the

mindfindsitisunabletoobject.Gulzardoesitwith

clinicalperfection.

Hum ne dekhi hai un aankhon ki mahekti

khushboo. Haath se chuuke ise, rishton ka ilzaam

na do

Youdon’thavetofeeleverythingwithyoursenses;

orneedtodescribethemwithwords,hesays.The

knowledgeofthislimitationisveryimportantfora

writer,foreveryone.

Hiswordsgiveweighttotheweightless,likethe

heartwhichgetssoakingwetintherain:

Ek akeli chatree mein jab aadhe aadhe bheeg

rahe the. Aadhe sookhe aadhe geele; sookha toh

mai le aayi thi.

Geela man shaayad bistar ke paas pada ho. Voh

bhijwa do, mera voh samaan lauta do

Sirf ehsaas hai yeh, rooh se mehsoos karo.

Pyaar ko pyaar rehne do koi naam na do

These are just emotions, feel

themwithyoursoul;letlove

be,don’tputanametoit,he

says.AndwhenGulzarsaysit,

youknowitisnotametaphor

hehasusedlightly.

‘Metaphors arenot to be trifledwith.A single

metaphorcangivebirthtolove,’MilanKundera

oncewrote.Thatisperhapswhythereissomuch

love and yearning in Gulzar’s poetry. He has

redefinedtheuseofmetaphorsandmadeitintohis

owncurrency.

Sometimeshe’sapainter,sometimeshe’sasculptor,

sometimeshe’saperfumerandsometimeshe’sjust

amanwhoisinlove.Themetaphorsarewhatmake

hissongsandpoemstimeless; theywill tell the

truthforgenerationstocome.

Gulzartouchesanemotion,touchesthefaintest

threadinthatemotionandverygentlyputswords

aroundthatthread.It’sadelicateprocessandthe

ThelinesarefromasonginthefilmIjaazat(1987),

amovieGulzarwroteanddirectedwiththesame

passionandsensitivityhereservesforhispoetry.A

powerfulfilmaboutrelationshipsandpatriarchy,

the film has a conversation between the lead

charactersplayedbyNaseerudinShahandRekha:

‘Ab bhi maachis rakhti ho?(themansays)Pehle

toh mere liye rakhti thi. Ab?’

‘Ab apney liye rakhti hoon’

‘Matlab cigarette peena shuru kar diya kya?’

‘Nahin, Aapki bhoolne ki aadat nahin gayi, meri

rakhne ki’

Thesearejustfourlinesofconversationbetween

twopeople;thatwhichisleftunsaidismonumental.

ThisisthemagicofGulzar.Heresideshappilyin

thespacesbehindwords,betweenthelines,between

theparagraphsandthestanzas.Andpayshisrent

withmetaphorsthathecullsoutofthinairfroma

placewherenothingispermanentandeverybody

isleaving.

metaphor and meaning

OFF THE BOOKSHELF


THE SILENT PATIENT byAlex Michaelides

AliciaBerenson is apainter, craftsman, andanovercomerofa

traumaticadolescencewholivestheperfectlifeuntilshemysteriously

slaughtershersignificantother.But,whatismoremysteriousis

Alicia’slackofexplanationforthemurdersheapparentlycommitted.

Ratherthanbeingjustapsychologicalthriller,thebook‘TheSilent

Patient’isanexerciseintheexplorationofthepsychesofbothawoman

convictedofmurderingherhusbandandthetherapistdetermined

totreather.Atwistedfirstpersonnarration,chillingplottwists,

dottedbyintricatedetails—thebookmakesonesitupandtakenotice

ofthisdebutnovelandwelcomeapromisingplayerintothegenre.

—ImanaBhattacharya

ELEANOR OLIPHANT IS COMPLETELY FINE byGail Honeyman

EleanorOliphant,a29-year-oldaccountingclerk,tendstosticktoher

routine;workallweek,buyasupermarketpizzaandtwobottlesof

vodkaonFriday,andspendtheweekendaloneinadrunkenstupor

waitingforMondaytoarrive.Eccentric,awkward,andjudgmental,

Eleanormightsoundliketheverydefinitionofananti-heroine,yetin

debutauthorGailHoneyman’shands,sheisrefreshinglyhonestand

utterlyrelatable.ThereisconsistencyinEleanor’svoicethroughout

thebookandit’samazinghowthoroughheroffbeatperspectivesare.

Honeymanraisesreallydifficultissuesabouthoweasyitistobelonely

thesedays.—VishabThappa

DESIRE byHaruki Murakami

HarukiMurakamiwalkshisreadersthroughdesiresofdifferentkinds

throughfiveshortstories.Hunger,infatuationandlongingareafewof

thedesiresthatgriphisprotagonists.Thesedesiresrise,thenplateau.

Theyquellonlywhenfulfilledorexpressed.Protagonists’actionsand

decisionsandtheirquandariesaredictatedbytheneedtosatiatedesire.

Theylivewithwhatcomesafterit’sgratified.Murakamiweavesadeeply

compellingnarrativeandhelpsthereaderunderstanddesiresthey

containwithinthemselves.Thisisachievedwithsharpstorytellingand

narrationwhichcutsdeep.—GuneetKaur

OUR MOON HAS BLOOD CLOTS byRahul Pandita

JournalistRahulPandita’smemoiroffleeingKashmirduringinsurgency

recountsthebrutalitiesinflictedonallthosewhosuffered.Herecounts

talesofhorrorwhere‘womenwereherdedlikecattleintrucks’and‘local

boysdistributedtheneighborhoodhousesamongthem’.However,amidst

evokingtearsandshock,Panditafailstoanswerpivotalquestionsthat

readersmighthaveexpected.Hemerelyscratchesthesurfaceexplaining

thereasonfortheexodusandthepoliticalresponsetoit.Anextremely

movingread,thisbookisamusttoknowabouttheharshrealitiesof

Kashmir.—PrakritiArya

SAPIENS: A BRIEF HISTORY OF HUMANKIND byYuval Noah Harari

OxfordhistorianDr.Harari’sbookisarevelation:thatwe,Homo sapiens,are

theonlyhumanspeciestohavesurvived.70,000yearsback,theNeanderthals

becameextinct,andSapiensemerged todominate theEarth.Thebook

traceshowwelearnedtousefire,developedspeech,gossipedtoexchange

information,createdreligion,godsandmythology,learnedagriculture,and

cooperatedtocreatesocialgroups,citiesandcivilizations.Harari’saccountis

grippinglybrilliant,hisideasprovocativeyetcompelling.Thebookchallenges

whatwethinkweknowaboutourselvesandourfuture.—AmitabhDasgupta

JOKES APART...Snigdha Jain takes a behind-the-scenes look

at Pune’s thriving standup comedy culture

Aayushi Jagad performing at Nukkad Cafe in Viman Nagar

“


I don’tmindtomatoes

though, tomatoes

a r e n i c e , ” s a y s

Aayu sh i J a g ad ,

tongue firmly in

cheek. She is not

reminiscing about adding a

vegetableshelovestoadishshe

likes. She’smusing on a very

realistic scenario featuring

thingsthatarelikelytogetflung

atherifherjokesfallflat.Itis

afearmoststandupcomedians

havetolivewith.Aayushitakes

itinherstride;she’sbeeninthe

businesstwoyearsnowandsofar

managedtonotoffendanyone.

Aayushiandotherslikeherare

takingIndianstandupcomedy

from themetros to theTier 2

cities. Pune, for instance, has

taken a shine to the standup

routineandhasaround25-30

comicswhoturnoutregularly

atall ‘openmics’.Thecityhas

somesixvenueswhereproducers

curate showswith top artists

performinginthecity.Nukkad

CafeinVimanNagarisonesuch.

Ithostsa‘LaughterRiot’which

showcasestwelvecomicartists

everyWednesday, late in the

evening.Theartistsperforma

varietyof sketches for a show

whichlastsforaboutanhourand

ahalf.

“Youneedolderroomstobuild

adedicatedaudience,whichare

recognised by good acts,” says

TarangHardikar,whoperforms

thereregularly.“Thisisthestage

thatanyartstrugglesmostwith

initially.Openmicsdon’tattract

audienceunlessat leastoneof

the performer has a video on

YouTube.Theprocessofputting

goodcomedyonlinetakestime.

It’s now been two years and

we are now finally getting a

consistentturn-out.”

Eventhoughthecomedyscene

isthriving,artistssayearnings

areyettokeeppace.Onehasto

payforaspottoperformatmost

openmics,sothey’renotreally

freeforeventheperformer.

Comediansmakinggoodmoney

are a rarity, except those that

performatcorporategigs.The

producers are usually more

absorbed in the art than its

economics. Tickets to a show

often fetch a bare minimum,

whichisspentonmarketingof

thenextmic.

Mostvenueowners lend space

only if itdoesn’thamper their

ownwork.Andalthoughthese

maynotincreasedirectsales,it

doeshelp inreceivingreferral

business.Aayushibelievesthat

inPunea gigwill takea good

threeyearsmoretotranslateinto

hardcash.Forwomenwhowant

toget into comedy,now is the

goldenopportunity,sheinsists

with a knowing laugh.When

askedabouthowsafeitistobe

offensive, she says, “Theolder

theroom,thebetteritisforthe

comic.Ifyou’redoingaspotinan

olderroom,youfeelsaferwhile

testingnewmaterial.

“Familiarity helps when you

don’tknowiftheaudiencewill

laughatyourpolitical jokeor

throw thechaironyour face.”

Interestingly, comics become

friends and form themusical

equivalentofbandstoperform

sketches together.Just like

musicians,theyjamandbounce

ideasoffeachothertorefineand

build their setmaterial.Most

performersagree that there is

stillalongwaytogoforcomedy

in India. Itwillbe fascinating

to seewhichwayandhow far

it goes, especially in today’s

politicallycorrectculture.

Familiarity helps when you don’t know

if the audience will laugh

at your political joke

or throw the chair on your face


Th e 2 0 19

O s c a r

season is

over; but

whatisfar

from over

istherunningfeudbetween

Netflixandmainstreammovie

studios.WithNetflix original

Romatakinghomethreemajor

Oscars–includingfortheBest

Director and theBestForeign

Film–andsixnominations,the

issueisfarfromsettled.

Established studios andwell-

known directors are voicing

theirconcernsaboutthefuture

ofthefilmindustrythathasbeen

losingaudiences,revenuesand

Netflix and the case of Oscars’

identity crisisImana Bhattacharya looks at how streaming

services are dismantling traditional film industry’s power structures

nowprestige to the ‘usurpers’.

TheAmericanstreamingservice

founditselfinthemiddleofthis

bitterquarrelfirstinApril2018

whenCannesdecidedtoprohibit

Netflixoriginalfilmsfrombeing

screened at the festival. The

decisionwasapartofaFrench

cultural lawthatdictateshow

muchtimeafilmhastospend

ondifferentmedialiketheatres,

video-on-demand, and cable.

SinceNetflixrefusedtheatrical

releasesforitsfilmsinFrance,

theywerebarredfromcompeting

withotherfilms.

The 2019 Academy Awards,

having already dealtmultiple

blows, from being host-less

(aftercomedianKevinHartwas

firedoverhomophobic tweets)

toremovingsomemajoraward

presentationsfromtheliveshow,

decidedtogiveNetflixoriginals

equal treatment. Unhappy at

this,legendaryfilmmakerSteven

Spielberg said he planned to

introduceneweligibilitynorms

intheAcademysothatNetflix

movieswithoutlongtheatrical

stayscouldn’tjustsaunterinto

jurynominations.

One technicality Spielberg

pointedout,andonethatisatthe

centerofthisfeud,isthatNetflix

movies resemble ‘TVmovies’;

they are made for television

andshouldonlycompeteatthe

EmmysandnottheOscars.And

Netflixdid competeandmake

amarkattheEmmyswhereits

series Black Mirror won the

awardforoutstandingtelevision

film. The other allegations,

however, are slightly flimsy.

For example, the studios are

complaining about howmuch

Netflixspendsonpromotionsand

theirlackoflong-termtheatrical

releasesandfailuretoreportto

theboxofficeonceafilmdoesget

itstheatricalrelease.

The issue here, however,may

not be merely about Netflix

disregardingthetraditionalrules

of the film fraternity; it could

stemfromthefearofindependent

Director Alfonso Cuaron’s Roma bagged three awards at the 2019 Academy Awards

LIBERATING PEOPLE AND SPACES

The 4th edition of Kochi-Muziris Biennale, India’s biggest contemporary art festival, was held in Kerala from 12 December, 2018 to 29 March, 2019. Curated by artist Anita Dube around the theme ‘Possibilities of a Non-Alienated Life’, the Biennale featured works of

135 artists from 31 countries across 10 venues in Fort Kochi. Here are some glimpses:


filmmakersfinallygettingtheir

dues and giving them serious

competition.Roma is a prime

example of a quality movie

originatingfromunconventional

sources.

Netflix, AmazonPrime,Hulu,

andsimilarplatformsaregiving

extraordinarycreativefreedom

tofilmmakers.Sacred Games,an

IndianNetflixoriginalwasnot

onlydirectedby twodirectors

butalsowasanexampleofthe

excellencethatfilmsinIndiacan

achieveiftheydidnothavetogo

throughthetreacherouscobwebs

ofcensorship.

Peoplearenolongerascharmed

bythetheatricalexperienceof

watchingamovie;entertainment

isnowevermoreaccessibleand

portable. With reduced time

and attention spansmany are

naturallychoosingtowatchfilms

ontheirpersonaldevicesrather

thanmoviehalls.So,Netflixand

other streaming services can

affordtoavoidtheatricalreleases

andstillcreatequalitycontent

thatpeoplewillwatch.Maybeit

istimeinsteadfortheAcademy

and other established film

awardstowakeuptothereality

ofthechangingfilmindustryand

remouldthemselves.

AsforNetflix,ithasalreadyroped

in master filmmaker Martin

Scorsese,alongwithlegendsAl

Pacino,RobertDeNiroandJoe

Pescifortheirneworiginalfilm,

The Irishman,eyeingthenext

bigfilmawardprobably.

Thefutureofcinemalooksalot

lessbindingandaccessible for

bothfilmmakerandfilmlovers,

ifonlythegate-keepersofarchaic

traditioncaretostepaside.

Scottish artist Nathan Coley’s text and light sculpture at the Biennale’s Aspinwall House venue in Fort Kochi

All Images Courtesy: Kochi Biennale Foundation

Are streaming services like Netflix causing the Oscars to lose their sheen or is it just industry paranoia?

French artist Tabita Rezaire’s performance art merges politics and healing

Bhikari Pradhan’s rows of window-like woodcuts at the Student’s Biennale represent connectedness and interdependency

William Kentridge’s eight-screen video installation has a cast of silhouetted figures stepping and dancing in line to the sounds of a brass band

A work by Zanele Muholi as a ‘visual activist’ for the

queer community

Artist Sue Williamson’s work One Hundred and Nineteen Deeds of Sale remembers colonial histories

Nilima Shiekh’s Salam Chechi is a tribute to Malayali nurses working overseas

Tejal Shah explores identities with ‘phytomorphic’ forms

BV Suresh’s work recreates the theatre of contemporary politics


SAVED!Srishti Patnaik explores the many mysteries surrounding

the most expensive artwork ever sold

Indonesian artist Heri Dono’s Smiling Angels from the Sky is a vision of untethered humanity Lavkant Chaudhary’s Citizen From The Land

Of Inequality-I at the Student’s Biennale

Artist Sabitha’s work at the Student’s Biennale questions technology dependence of humans

Scream, an installation by students of Aligarh Muslim University at the Students’ Biennale cries out against sexual violence

Image: Instagram


Fivehundredyearsago,while

Leonardo da Vinciwas still

workingonhistimelessMona

Lisa, he created another

portraitthatmay,atthetime,

have been an unremarkable

additiontohisbodyofreligiouspaintings.

RelativetothecomplexityofTheLastSupperor

TheVirginoftheRocks,SalvatorMundiisrather

simple—itisaportraitofatranquilJesusChrist

dressedinabluerobe,holdingasphericalglass

orb,theglobuscruciger,inhislefthandandthe

twofingersofhisrighthandcrossedinasignof

benediction.

In November 2017, Salvator Mundi went at

auctionatChristie’sinNewYorkforawhopping

450.3milliondollars,becomingthemostexpensive

artworktohaveeverbeensold.Whatmakesthe

paintingsostrikinglyextraordinary?Whyhasit

caughteveryone’sfancy?

Thesemay be difficult questions to answer as

the judgementofartworks ispurelysubjective.

However,‘SalvatorMundi’,Latinfor‘Saviourof

theWorld’,isspecialinitsownway.Thepainting

exudesserenity;itfocusesonthecalmnessandthe

lovingnatureofChrist,alwaystheretoshowerhis

blessingsuponthefaithfulandtoprotecttheworld.

That,andperhapsthefactthatthisworkhasbeen

shroudedinmysterysinceitsearlyprovenance.

Salvator Mundi is believed to have been

commissionedbytheFrenchroyalfamilyaround

1500,andafteritsinitialownership,thepainting

madeitswayacrossthechanneltoEnglandand

wentplaces—quiteliterally.In1763,itwasbought

atauctionbythesonoftheDukeofCambridge.

Thenforthenext150oddyears,itvanished,with

GRADUATE FILMS 2019

A look at the works of Batch 2019 Audio-Visual Production students


norecords,untilitwasacquiredbyFrancisCook,1st

ViscountofMonserrateintheyear1900.

In1958,Cook’sgreatgrandsonsolditatauctionat

Sotheby’sforamere£45.Thepaintinghadn’tbeen

abletostandtheravagesoftime—thewalnutpanel

onwhichithadbeenpaintedhadbeendamagedand

ithadbeenalteredthroughoverpainting.Itwasalso

surroundedbyrumoursandspeculationthatitwas

notaworkofDaVinciatallbutoneofhisfollowers

Bernadino Luini, or his pupil Giovanni Antonio

Boltraffio,whowascreditedattheSotheby’sauction.

In2005,SalvatorMundi resurfacedata regional

auctioninNewOrleans,USA.Theconsortiumthat

bought the painting believed it to be a Da Vinci

originalandentrustedDianneDwyerModestiniat

NewYorkUniversitywithitsrestoration.In2011,it

wasauthenticatedasaworkofDaVinciandunveiled

publiclyinLondon.ItsoldatChristie’sfouryearslater.

SowhoboughtSalvatorMundi after its amazing

adventurousjourney?Eventhatseemstobeunclear,

quiteinkeepingwiththeauraofmysteryaroundthe

painting.Accordingtosomenewsreports,thebidding

wasdoneviatelephoneanditwasboughtbySaudi

ArabianPrinceBadrbinAbdullah.Others said it

wasboughtatthebehestoftheSaudiCrownPrince

MohammedbinSalman.SomereportsclaimedPrince

Abdullahhadbuiltamuseumsolelyforthepurpose

ofdisplayingtheartworkandotherssaidthatitwas

tobedisplayedintheUnitedArabEmiratesatthe

LouvreAbuDhabimuseum.Itcouldbeawhilebefore

thepublic lays its eyesonSalvatorMundi,which

continuestoholdthetitleofthecostliestartwork

eversold.Soonerorlater,thisrecordwillbebroken.

ButSalvatorMundianditsincrediblejourneywill

continuetointriguegenerationsofartlovers.

LOVE, KUSH (Hindi/English, Dir. Bhavana Kankaria)

Team: Aarati Sathish, Hari Ramanathan, Siddharth Gupta, Missimi Rabha

Kushagraisan18-year-oldcinephile,whospendsallhistimewatchingmovies.Heliveswithhismother

andisatajuncturewhereheisexpectedtostart‘adulting’.Thefilmexplorestherelationshipofthemother

andson,astheycopewiththeinevitablechangesthatcomewithadulthoodthroughwhatelsebutcinema!

SOLACE (Hindi/English, Dir. Nairika Lodhi)

Team: Prachie Sahu, Anish Dev, Apoorva Singhal,

Aditya Devsharma

Solace isashort filmaboutayounggirlwhose

worldgoessuddenlyupside-downaftera tragic

event.Thestoryfollowsherjourneyasshelearns

tomoveon.Fromidentifyingdifferentemotional

crutchestocopingmechanisms,thefilmexplores

therealisationofself-loveandacceptance.

PATTA (Marathi, Dir. Armaan Dua)

Team: Bharat Madan, Panchsheel Gaikwad,

Rujuta Khanapurkar, Malvika Nowlakha

Patta, throughitscentralprotagonist,Bhonsle,

takesaclose lookat thedeteriorationofsocial

relations in anurban shantywhen facedwith

displacement.Sparse,restrained,andmasterfully

suggestive, the film is amature descendant of

Indianrealistcinema.

ALMOST TOGETHER (Hindi, Dir. Aayush Gaur)

Team: Sharwari Bawkar, Shlok Bhatt, Akansha Tiwari, Manasi Boyatkar

AlmostTogetherisaraucouscomedyaboutayouth’sfirstmeetingwithhisfiancée’sfamily,which

quicklygoessouthwhentheunderlyingtensionsbegintobringouteveryone’ssecrets.


NAYANAM MADHURAM (Telugu, Dir. Akhil Reddy)

Team: Tejas Sudha, Akashta Tilwankar, Aditya Sinha, Muhi Mydra, Milind Anand

ATHAARAM (Telugu, Dir. Swetha Pillai)

Team: Sindhuja Desai, Kritika Siroliya, Kritika

Singh Bisen, Sayali Ghatne

Athaaram is a parallel between Sita and the

patriarchalandsocietalinfluencesthatbindher

tothenormsthatanIndianhousewifeisexpected

to liveup to, andShreya,herdaughter,who is

determinedtoleadalifewhereshe’sstrongand

doesnotneedtodependonthemeninherlife.Yet,

theirlivescomplementandmirroreachotherin

unexpectedandultimatelyredeemingways.

MAITREYI (Hindi/English, Dir. Ritika Kapoor)

Team: Pranav Krishnan, Shouvik Bisai, Zubiya

Athavani, Sanil Akerkar

Maitreyi presents the essence of thedirector’s

relationshipwithheryoungersister-distancedby

ahealthyagegap,butbroughttogetherbytragedy.

AsKiara,theprotagonist,usescaustichumourto

graspatthethreadsofherrelationshipwithher

eldersister,Mira,theirrelationshipgrowsintoone

ofimperturbablewarmthandsolace.

ZEHER HAI TU (Hindi, Dir. Krittika Kannojia)

Team:Manasvi Singh Chauhan, Nidhi Jarmanwala

ZeherHaiTuisadocumentarythatoffersaclose

lookattheemergingdanceculturesofDehradun,

andtheaspirationsofthepeopleinvolvedinthem.

Itissummerholidays—GangammaJataratime

inChittoor,AndhraPradesh.Arun,alittleboy,

keepslookingattheskyeveryday,waitingforit

torain.Helovestheonionbajjishismothermakes

duringrains.ButChittoorisregularlyhauntedby

droughts.

ArunandChandini,hissister,spendmostoftheir

timelisteningtomythicaltalesfromtheirparents.

TheirfavoritestoryistheoneaboutChintamani,

awish-grantingjewelthathasbeenmentionedin

historyastravellingthroughthehandsofmany

gods,kingsandleaders.Chintamanicanfulfilany

wish,butataprice.

ThekidsareluredintotheworldofChintamani.

Together,theyembarkonanextraordinaryjourney

togetChintamanibacktotheirhometownandto

changethefateofChittoorforever.Wouldthey?At

whatcost?

ELEGANZA: A fashion photography project by SCMC students

Royal Blue Skirt with a dupatta drape

Traditional red ghagra paired with a spaghetti-top ‘choli’

Model: Pranali Padwekar

Portrait in a black & red floral pattern dress

Model: Sonam Choden

Model: Pranali Padwekar

Photography: Nishita Jain Make-up: Riddhi Gopalani

Hair: Priyal Yadav


Magazine designed and published by the students and faculty as part of the experiential learning process at SCMC

SYMBIOSIS CENTRE FOR MEDIA AND COMMUNICATION 2019

the yin and yang of food - SCMC

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