A 20 year-old love letter

As iconic Hindi play Tumhari Amrita completes two decades, director Feroz Abbas Khan explains the method behind the madness

There is something appealing about love stories. They remind us of the first time our hearts skipped a beat when we trained our sights on that special someone, indulged in never-ending conversations and shed tears after bidding goodbye. And if we have renowned actors Shabana Azmi and Farooque Shaikh chronicling the lives of two lovers, only by reading letters, then that makes it all the more memorable.

In February 1992, when director Feroz Abbas Khan thought of helming Tumhari Amrita, a Hindi play that follows the trials and tribulations of Amrita (Azmi) and Zulfikar (Shaikh), he was confident that it would not run for more than three shows. After all, it didn't have a bound script or huge sets and the actors performed without any rehearsals. However, he was wrong. This Sunday, 2012, Tumhari Amrita turns 20.

Khan was attracted to the production after his US-based friend gave him a script of American playwright's AR Gurney's Love Letters. He says, "I loved the play but could not get myself to do it in English as it was so American. I believed Indian audiences would feel alienated by its cultural context."

Khan decided to approach Javed Siddiqui to pen Tumhari Amrita for Indian audiences. He explains, "I watched an episode of Shyam Benegal's Bharat Ek Khoj, penned by Siddiqui. The language enthralled me. It was Hindustani, it had the poetry and imagery of Urdu and yet it was accessible to the uninitiated. I met Siddiqui and thus began Tumhari Amrita's journey. Drawing inspiration from India's composite culture, he etched these memorable characters travelling in time and space against the tumultuous social and political transformation that India was experiencing."

Khan decided to cast Azmi and Shaikh as "they were the ideal couple in a picture frame and a love story, where they could not live with or without each other." However, the biggest challenge for him was to helm the production without using the conventional tools of drama. He explains, "I discovered that getting the actors to communicate the spontaneous without memorising was hard."

But the team managed to get their act together and staged it at Prithvi Theatre. The overwhelming response took it across India, Europe, US and Pakistan, and the play is being performed till date. Quiz Khan about the secret of its success and he says, "The writing, simplicity of presentation, truthful performances and deep connection with the audience have drawn them to it time and again."

At: February 27, Bandra Fort, 7 pm
Entry: Complimentary invites available at the TOI office at Dr DN Road By Rinky Kumar

The unlikely hero

Kunal Kapoor outside the Prithvi Theatre in Juhu, Mumbai


The fiercely private Kunal Kapoor, newly-appointed director of Prithvi Theatre, shares his plans of organising Indian classical music concerts at the intimate venue to survive in the long run

It's a balmy Wednesday afternoon as I head to meet Kunal Kapoor, the director of Prithvi Theatre at the Prithvi Cafe. Soon he comes down from his office and gestures me towards the Prithvi House, just across the road.

The foyer of the House is replete with comfortable lounge chairs and vibrant-coloured cushions in blue, burnt orange, red and yellow. He says chirpily while fishing out a Marlboro and lighting it up, 'Let's have the interview here. This is the new adda where the Mehfil@ Prithvi was held.'

For the uninitiated, the Mehfil @ Prithvi, whose first edition was held at Prithvi on February 14, is the brainchild of Kapoor. He says, "It was a natural progression, with Urdu having a reawakening amongst the youth. It is an unstructured, informal and inspirational gathering for people who know or want to learn more Urdu.

We hope to turn it into a space where people can appreciate the language and its literature." Led by laureates Javed Siddiqui and Salim Arif and passionate Urdu novices like Arwa Mamaji and Priya Nijhara who run a blog for beginners (www.urduwallahs.wordpress.com), the first edition comprised 'open house' discussions and readings and was aimed at familiarising everyone with the language.

Kapoor says, "This is the first of many programmes in the pipeline. We want to collaborate with like-minded people who want to spread knowledge like us."

However, right now, Kapoor is focussing at the 28th Prithvi Memorial Concert Salaam: A Tribute to Ustad Sultan Khan, which will be held on February 28. The concert started off in 1985 after the demise of Jennifer Kapoor, the force behind Prithvi Theatre.

She was an ardent admirer of Ustad Zakir Hussain and wanted him to perform at Prithvi. But he couldn't do so, due to his hectic schedule. Later, Kapoor approached Hussain in 1985 for the second Prithvi Festival and the latter agreed to perform on February 28, which was Jennifer's birthday.

Since then the concert has become an annual feature, with Hussain designing the musical evenings and offering the traditional 'baithak' experience to the audience. Over the years, established as well as young aspiring musicians from various genres like classical, fusion, jazz and folk music have performed here.

This year, the concert will be a tribute to renowned Sarangi player and Padma Bhushan Ustad Sultan Khan. Kapoor says, "One of my earliest experiences of Indian Classic experience was with Ustad Sultan Khan. This year, we pay a tribute to him and thank him for sharing with us his wonderful music and singing."

Kapoor also reveals his future plans that of organising more Indian classical music concerts at Prithvi. He says, "I feel we are perfect for it as we have the right acoustics.

After watching a concert at Prithvi, I can't enjoy or sit through one anywhere else because everything is amplified, which robs the freshness of the performance. One must remember that Indian classical music was never designed to be amplified." But press him for further details and he says, "I have plans that I can't discuss until they're concrete."

As talk veers towards his new role as the director of Prithvi Theatre (earlier he was the trustee while younger sister Sanjna handled the reins), he says dismissively, "Let me tell you, I have always been around. As the wolves howled that theatre would die following the death of my mother Jennifer Kapoor, director Feroz Abbas Khan and I came together to work towards sustaining Prithvi Theatre."

"After I was active for around eight years, Sanjna started handling the nitty-gritty while the policies were handled by me. I didn't have to be around all the time. But the media likes to put a face to things. And come to think of it, don't you feel she made a prettier picture as the face of Prithvi Theatre than me?" he guffaws.

Though speculations have been rife that the brother-sister duo parted ways since they had different visions, Kapoor says that it was a conscious decision on the duo's part. "We decided that Sanjna would focus on building infrastructure across the country and taking theatre to interior parts of the country while I would handle Prithvi and work towards making it secure."

While theatre aficionados are worried that inflation will have a ripple effect on the Prithvi Theatre too, what with the National Centre for Performing Arts already hiking its rental rates, Kapoor explains matter-of-factly that it is a process waiting to happen.

"Given a choice, I wouldn't want to increase the rent or the rates of tickets. Just a few days ago, a report appeared in dailies that said that this year salaries are going to increase by 10- 12 per cent in India. Why does no one question that?

All of us are part of the same economy. The fact remains that costs are going up and we need to take measures to sustain. It's not going to burn a hole in anyone's pockets if we increase the ticket rates by Rs 10 or 20 on Tuesdays. All the theatre groups that I have spoken to are agreeable and their feedback has been supportive."

Apart from this, Kapoor is also looking at corporate funding. It might be recalled that earlier Prithvi Theatre had tied up with corporate giants like Tata Photon, Orange etc, which not only helped it to publicise the events but also provide financial assistance. Kapoor says, "Abroad, Broadway plays receive funding from corporate houses and city councils, which is not the case here.

In India, theatre is low on the list of priorities. Let's be honest. We are not self-sufficient. We want to pay salaries to the staff, we want theatre groups to make a profit and we want to cover the losses that we run annually."

However, despite all these hurdles, Kapoor sees a silver lining. He is happy that the audience flocking to Prithvi Theatre has increased over a period of time. "Last year, we had an average of 70 per cent audiences while this year it has increased to 83 per cent. Earlier the audience comprised people in the 35+ plus age group whereas now I see more 20-somethings coming in to watch plays," he explains.

He attributes it to a sudden spurt of young new actors, directors and playwrights. "Today, many actors are adopting theatre as a profession. They have accepted that they can't make a lot of money out of it but still want to pursue it because they are passionate.

They have no aspirations of becoming movie stars. In the early '80s, there were many talented actors who started off with theatre but never came back to it as they got lured by films and TV," he signs off.

Rent a text online

Sameer Tulpule, founder of Textbuk.in, now has over 900 odd students renting out books for each semester. Pic/Krunal Gosavi


Textbuk.in allows engineering students to rent books without burning a hole in their pockets and do their bit for the environment

Sameer Tulpule, founder of textbuk.in, still remembers how he had to shell out loads of money every semester to buy books while completing his graduation in electronic science.

After gaining a degree in business marketing and working in the BPO industry for seven years, he realised it was high time he did something for engineering students that would not only help them to rent books online but also save the environment. That was how he and his partner entrepreneur Vishal Sharma decided to set up textbuk.in.

The online service, launched in January last year in Pune, helps students to rent books for each semester at a nominal rent and save up to 60 per cent. All they have to do is log on to the site textbuk.in, fill up a form and place an order for the books that they need.

They have to make the payment and they receive their delivery within three days. Apart from this, there are also schemes for students of different years wherein they can make a one-time payment for a year and avail up to 50 to 80 per cent discount and rent the books for seven to eight semesters.

Moreover, whenever textbuk.in gets a new customer, Tulpule, who has tied up with Tree Public Foundation, an NGO that works for conservation of trees, plants a sapling at a plantation in Pune.

Explaining the idea behind this venture, Tulpule says, "Engineering books are expensive. Students have to buy different sets for every semester. At the same time, we wanted to promote re-usability of books so that we can fight against deforestation and save the environment."

Tulpule and Sharma worked on the idea for over four months and finally implemented it in January, 2011. They started off by dedicating the first six months to a feasibility test wherein they managed to attract 60-odd students and ensured that the books were returned on time.

The initial response motivated them and after creating awareness about their service by setting up kiosks in college campuses and distributing pamphlets at eateries and cyber cafes, today textbuk.in has around 900 odd users.

Tulpule has built an inventory of books by tying up with distributors and buying new copies of local and international publications.

Though right now, textbuk.in is catering to students of Pune University and Nasik and Ahmednagar districts, Tulpule hopes to expand the services to the western coast of Maharashtra including places like Thane, Ratnagiri, Sindhudurg, Satara and Sangli.

Art for health's sake

One of the photographs clicked by 22 year-old Rupesh Sable, an aspiring photographer and actor, which will be on display at the exhibition


Know innovative minds on campus? Learn how they could win big prizes

Ghar Pe, a ceramic wares, photographs, and embroidery designs exhibition organised by NGO Sneha, aims to create awareness about health issues while empowering artisans from Dharavi

Parvati Harjichitroda is a lady of resolve. She lived in Diu before she married and came to Kumbharwada, Dharavi. She turned to pottery as a means of livelihood when her husband was paralysed. As the mother of five children, she is famed as one of the first women in the slums who took to the wheel to make fashion pots.

She makes garbis, diyas and pots and also specialises in clay plates meant for pujas that have a little pot, a coconut and five diyas placed on them. Thanks to an exhibition organised by SNEHA (Society for Nutrition Education and Health Action), a non-government organisation, which aims to spread awareness about individual and public health, we will now get a chance to see Harjichitroda's work.

Titled Ghar Pe, this first-of-a-kind exhibition, which will be held from February 25 to March 9 at Dharavi, will feature photographs, embroidery designs and ceramic ware created by 20 participants from Dharavi and Shastri Nagar, Santacruz. The event is an outcome of the initiative Dekha Undekha that blends discussions on health awareness with a development of artistic talent. It targets locals and artisans and aims to not only empower them but also spread the message that art can be used as an important tool for health advocacy.

The exhibition is conceptualised in the form of a domestic space and none of the items on display are on sale. Each of the artefacts, while drawn from household items, is the consequence of the participants using their talent to symbolise a specific physiological or psychological health concern. For instance: One of the artefacts is a cupboard with lots of emoticon balls that symbolises how women have diverse emotions but are unable to express all of them as they are not socially acceptable.

Likewise, there is a good and bad window that is used as a metaphor to juxtapose dreams and reality. So while the good window has butterflies hovering around flowers, the bad window shows flies and mosquitoes that are the breeding ground of various diseases. One of the photos on display, which shows a woman holding a child over smoked ginger and garlic pieces after a maalish (oil massage) to ward off cold and flu, depicts the importance of homegrown remedies.

Explaining the purpose behind the exhibition, Priya Aggarwal, project manager, says, "Ghar Pe has three main objectives. Firstly, we wanted to bring together established artistes with upcoming artisans from lower income classes and ensure that the former impart skills to the latter. Secondly, we wanted to facilitate discussions on public health and ensure that the voice of women is heard. Thirdly, we wanted Mumbaikars to start discussing about public health. We decided to conduct the exhibition at Dharavi itself so that the locals could identify with the concerns of the participants as well as ensure that urbanites recognise Asia's largest slum as a space that is commercial and artistic."

Each of the participants was trained for over a year. While six of them were trained in photography by photojournalist Sudharak Olwe, eight were groomed by international costume designer Susie Vickery, while the remaining six were mentored by leading ceramic artiste Anjani Khanna.

Each of these mentors facilitated skill acquirement in their respective areas and initiated dialogues on sanitation, personal hygiene, garbage disposal, domestic violence, maternal care and superstitions among other topics.

Aggarwal elaborates that the initiative has instilled confidence in the participants. She says, "Initially, they were passive learners of various skills. As the sessions progressed, they took ownership of the artefacts and began conceptualising in terms of material and design. The photography group has developed a consciousness to spread the need for proper sanitation in Dharavi. Some of the participants who are housewives have released that they can use their skills to earn a steady income." Aggarwal is hoping to turn it into an annual event.

From: 11 am to 7 pm, February 25 to March 9
At: Shree Ganesh Vidya Mandir Primary School, Dharavi, Mumbai - 17.
Call: 9821013907

A mystical touch

Bhanwari Devi, a folk singer from Rajasthan, who has broken the glass ceiling and sings with a ghoonghat on her head and a mike in her hand will perform at this year's Kabir Festival



The second edition of Kabir Festival aims to familiarise the younger generation with the 15th century poet through a series of film screenings and music performances

Kabir, the 15th century mystic poet and Indian saint, has influenced people across the country through the Hindu religious force known as the Bhakti movement and his poems in diverse dialects. However, even today there are many people who don't know about his work. The second edition of the Kabir Festival, which is being held across various schools and colleges in Mumbai and concludes on February 19, aims to familiarise a whole new generation with the saint through folk music, films, stories and poetry presentations based on his work.

The three-day festival is a by-product of the Kabir Project, spearheaded by documentary filmmaker Shabnam Virmani. Following the Godhra riots, Virmani travelled for six years with folk singers, who have rendered the music of Kabir for generations. She shot four documentaries and conducted several recordings of musicians whose works have been influenced by the saint.

The major highlights of this year's festival are a series of performances by folk singers, who have added their own innovations to Kabir's poetry and works. Sample this: There's Padma Shri winner Prahlad Tipanya, who combines singing and explanation of Kabir's poetry in the Malwi folk style prevalent in Madhya Pradesh, Mooralala Marwada, a folk singer from Kutch, who sings the poetry of Kabir, Mira and the Sufi Sindhi poet Shah Abdul Lateef Bhitai and Bhanwari Devi from Rajasthan who epitomises women empowerment and sings Kabir's poetry in a male-dominated arena by having a 'ghoongat' on her head and a mike in her hand. Apart from this, there's also a song, story and dance presentation on Kabir titled Katha Akatha that features Jaya Madhavan, author of Kabir the weaver poet book, and revolves around three sisters who share with the audience how they have been influenced by Kabir. Screenings of movies based on the saint's life comprise the rest of the schedule.
According to Priti Turakhia, festival co-ordinator, the biggest challenge this year was to get adequate funds for the event. After they couldn't get support from corporate giants, the organisers thought of turning it into a community effort by involving common people and educating them via the Internet and through publicity drives, flyers and posters.

Turakhia says that what sets off this year's festival different from last year is the fact that they are now reaching out to more areas and trying to connect folk musicians with smaller audiences in Mumbai. The cultural event, which was conceptualised over a period of two months and has around 30 people working on it, aims to reach out to adults, youngsters and children alike. As a result, the organsiers thought of conducting the programme in schools and colleges.

At: DG Khetan International School, Malad (W); Urdu Markaz, Bhendi Bazaar; The Village, Raghuleela Mall, Vashi; Digital Academy, MIDC, Andheri (E); Prithvi House, Juhu and Carter Road Amphitheatre, Khar (W) (all events are free of charge)
Call: 9619881102/9869462833

How India beat the US

Missing, which marks the return of Hollywood A-lister Ashley
Judd to television, will premiere in India four days before the
US



- Rinky Kumar and Lhendup G Bhutia

The recent emergence of India as a lucrative market has prompted television channels and Hollywood studios to premiere their shows and movies here before the US

There is every reason for the US television industry to be excited. In the midst of a number of sitcoms and espionage dramas, the Hollywood A-lister Ashley Judd, who has starred in popular and acclaimed films like Heat and Double Jeopardy, is returning to television for a new series titled Missing. Not just that, the show's executive producers include those that have directed popular series like Dexter (Steve Shill) and Sons Of Anarchy (James Parriott). The also sounds every bit a top draw -- it's the story of a former CIA agent on the search of her son who has suddenly disappeared in Italy.

But while the US audiences will have to wait till March 15 to catch the show, it will be beamed to your television set on March 11, four days before anyone in America can even catch a glimpse of it. As far as English television content is concerned, India hardly ever figured in the scheme of things. Usually top television shows premiere here, years after they have had a successful run in the US. For instance, the money-spinner Dexter, which won acclaim for its innovative storyline of a bloodstain pattern analyst who moonlights as a serial killer, premiered in India on March 7, 2011. This was almost five years after it was first aired in the US. Currently, US audiences are watching the sixth season of the show. The premiere of Missing in India is hence a big deal for viewers in the country.

According to Saurabh Yagnik, General Manager and Senior VP, Star India Pvt. Ltd, this is indicative of a much larger trend -- that of the emergence of the Indian market. Yagnik says, "India is a huge market with a large English-speaking population. Viewers today are well aware of the new shows that launch internationally. From the studio perspective also, Disney considers India a very important market for the consumption of Hollywood content." Yagnik adds that India has an English-speaking population of 30 per cent, out of which at least five per cent now consume English content, making that a huge market base.


No idiot box phenomena
However, this trend of getting English content to India before its release in the US is not just limited to the idiot box. Journey 2: The Mysterious Island hit theatres in India on February 3, a week prior to its US release. Last year, The Three Musketeers, a relatively small film, and Tom Cruise's highly anticipated Mission Impossible: Ghost Protocol were released in India a week before they were released in the US. Likewise, Steven Spielberg's The Adventures of Tintin hit the screens in India six weeks before the US.

Kercy Daruwala, Sony Picture India's Managing Director, confirms that Skyfall, the 23rd Bond movie starring Daniel Craig and Javier Bardem helmed by Oscar winner Sam Mendes, will release on November 2 this year in India, a week before the US. Clearly, this move has worked for the studios. Mission : Impossible -- Ghost Protocol set a record for the highest-opening weekend gross for any Hollywood film in India. It collected Rs 263 million during its opening weekend while Transformers: Dark of the Moon collected Rs 195 million during its opening weekend.

Vikram Malhotra, the COO of Viacom 18 Motion Pictures, says, "2011 has been a landmark year for Hollywood films with titles like Transformers: Dark of The Moon and Mission Impossible Ghost Protocol, both Viacom18 releases, doing record business in India. This growing contribution by India to the global box office pie has prompted Hollywood filmmakers to heighten the proposition by giving Indian fans a chance to watch these films before the world does."

According to industry insiders, this trend was bound to occur as India makes a significant contribution to the revenue generated from international markets. Dinesh Rathore, Vice-president of Starcom Mediavest group, a media-planning agency, says, "US studios have now realised that Indian viewers need to be treated at par with foreign audiences. India is a lucrative market and when a Hollywood film is released here before the US, it translates into good box-office collections."

The deciding factors
In the case of The Adventures ¦, a survey conducted by Sony Pictures revealed that over 90 per cent of Indians were already aware of Tintin as they grew up reading Herge's famous comic books. Thus, the movie did not require a brand-building exercise. The film went on to become the highest-grossing animation movie in India. It did a business of Rs 25.44 crore.

However, in the case of other films, good word-of-mouth possibility or strong brand presence are not the only decisive factors to release them in India early. Viacom Motion Pictures released Mission Impossible: Ghost Protocol on December 16 in India, and not on Christmas day, like it did in the US. This was done to ensure that it didn't clash with the Shah Rukh Khan-starrer Don 2. Similarly, the independent film Three Musketeers was released in India on October 14, so that it didn't clash with Ra.One. According to Rathore, "US studios have realised that there is competition from homegrown cinema and look at releasing Hollywood movies earlier in India so that they don't clash with local films."

Rakesh Sippy, Mumbai-based distributor of Raksha entertainment, couldn't agree more. "With even Hindi films being released in 3D, studios have become more careful. Earlier 3D screens at multiplexes were limited. Now the numbers have increased. However, Indian and foreign studios are still fighting for 3D screen space, so it makes sense to release Hollywood movies earlier."

The emergence of India as a lucrative market has compelled studios to become proactive. "Initially foreign studios had limited marketing budgets. But today, they spend more on marketing. Movies are also dubbed in regional languages, that proves to be profitable for the studios," explains Sunil Punjabi, CEO of Cinemax India.
Industry insiders are confident that this trend is here to stay. Now, you can rate an international film on Facebook, way before your cousins in the US.

Rhythm divine

- Rinky Kumar

Kathak Yoga, founded by sexagenarian Pandit Chitresh Das, is the latest form of cardiovascular exercise for kids

Kathak and Yoga might sound as different as chalk and cheese. But sexagenarian Pandit Chitresh Das, a renowned dancer, has combined them to discover Kathak Yoga, which includes playing a tabla or harmonium while singing and moving one's feet according to the rhythm.

Das conducts workshops for children aged five to 11 at his studio in Chowpatty. He believes that apart from proving to be an effective cardiovascular exercise, Kathak Yoga also helps kids to improve their concentration and make them disciplined. He starts off by striking a conversation with them. Once they let their guard down, he plays the tabla or harmonium, telling them kathas (stories) like Lord Krishna's makhan chori and Draupadi's vastraharan through songs, teaching them how to move their feet on the rhythm and asks them to focus on breathing.

Das, who recently performed with Emmy award-winning tap dancer Jason Samuels Smith at Mumbai's National Centre for Performing Arts (NCPA), along with Hindustani and Carnatic percussionists, got the idea of Kathak Yoga from his childhood days. He says, "As a child, I would often visit the Kali temple near my house at Kolkata and see several mendicants immersed deep in a yogic trance.

I was surprised to see some of them controlling their breath while others contorted their bodies into seemingly impossible positions. Over the last six decades since I have been learning dance, I have strived to experiment with various forms that don't emphasise on postures but focus on coordinated breathing and mathematical concept. Known as Tihai, it is unique to Indian Classical music and involves complex footwork."

The 66-year-old has been conducting classes over the last three decades across 12 centres in India and the United States under the aegis of his Chhandam School of Kathak and has taught as many as 500 students. He says, "Kathak originally has been derived from katha (story telling) that involved an artiste dancing to the beats of tabla without any rehearsal in the courtyard. Over the years, Kathak has become more westernised with dancers undergoing rigorous rehearsals and performing in a proscenium.

Though that is now being termed as contemporary Kathak, it is more western in approach. I want to pass on the legacy of Kathak Yoga." The sexagenarian, who has also won the National Heritage Fellowship, the highest award in traditional arts in the US, is now planning to conduct these classes across schools in India. He says, "I want to collaborate with schools and ensure Kathak Yoga is part of their curriculum to help them stay focussed as well as keep this tradition alive."

At: Studio Balance, Krishna Kunj building, behind Wilson College, Chowpatty
Call: 9820499023