MUSE CREATION Charitable Trust [NGO]

(By Sahnya Mehra; 13th March 2018)

On the 13th of March, 2018, I had a day out on the town with my Mentor, and Editor, Miho S. Malhan. We spent the day in Indiranagar, a downtown shopping and commercial area of Bangalore.

The day started off as it always does, with me dealing with the gruelling task of public transport. I took an auto to Miho‟s house, and she met me warmly at the door. After a few minutes wait, we were in her car, en route to Indiranagar, which was barely 20 minutes away.

Our first stop was at WeWork, in the Embassy Golf Links Business Park. WeWork is the world‟s largest community working space. I was completely blown away by the place. With state-of-the-art working spaces, hi-tech equipment, and laid-back vibe – it spoke to me. But the most stunning feature of the place was probably the people, themselves. The place had a young, trendy vibe to it, which was absolutely buzzing with energy and creativity. A man, maybe in his early 20s, showed us around. He works as the event co-ordinator, and briefed us on the types of facilities available to their clients.

After about half an hour, we headed to Taneira. Taneira is a luxury saree shop affiliated to the Tata Company. The store exhibited beautiful handpicked saree designs, from over 30 weaving clusters, from various types of traditional Indian styles, like – Banarsi, Ikat, Kota, and even Kanjeevaram. What makes Taneira stand out is that fact that they are trying to modernize the sari, and make it a wearable, comfortable outfit for the modern, active woman.

After Miho explained the techniques and significance of a few styles to me, we realized that we were getting quite hungry, and decided to get lunch.

So, we ended up at Red Fork. The place, which eventually closed down in the 15th of March, 2018, was home to some of the most traditional Parsi food in Bangalore. The traditional food of the Parsi community usually compromises of a dish made of rice, accompanied by lentils or thick coconut – based curry. Dished of meat and potatoes are common.

Since I had never sampled Parsi cuisine before, Miho wanted to take me to one of her all – time favourite places, for one last meal. Before lunch was served, we discussed my last writing assignment, and Miho gave me valuable feedback about my writing. We ordered a chicken biryani, pea cutlets, and an exquisite dish called “Dahi mein Bheeda” – a thick gravy made of yogurt with bits of okra in it. The meal wan amazing, and for dessert, we were served a bowl of tiny meringues.

Miho then wanted to do a bit of grocery shopping, so she took me to „Happy Healthy Me‟ – an organic food store, with a tiny café attached to it. After a quick Google search, I found out that that the store is India‟s first 100% certified organic food brand, and grocery shop. I shadowed Miho while she shopped, and took notes on some of the food available, for future reference.

Finally, we stopped at Lavonne – a artisanal patisserie and academy of baking science. Over a cup of espresso, and a shared chocolate mousse, Miho and I spoke about our lives, and what was to come over the next few days or my working with her. She even sent me home with a few Danish pastries for my parents.

Overall, I had an amazing time, and was excited about the kind of exposure I got from the day. I love that I got to try new things, and as always, learnt so much from Miho.

An article on the Classical Dances of India

(By Sahnya Mehra; March 2018)

India is an incredibly diverse country, bursting with colour and culture. So it’s no surprise that there is a wide variety of classical dances, each with its own unique traits. In India, dance is regarded as an ancient and celebrated tradition, steeped in rich spiritual and religious connotations. Some forms of dances may also stem from cultural practices like harvest festivals.

With religious dances, there is a ceremony which is strictly adhered to. Most often than not, a hymn is sung, to be addressed to the gods, and the dance that accompanies it is done as a form of worship. It is regarded as one of the purest forms of devotion. The costumes usually include a thick strip of bells worn around the ankles, which make a soft chiming sound when the dancer moves their feet.

In ancient times, these dances were patronised by the rulers of the region, and were performed by the artists in a special pillared hall of a temple, usually close to the inner sanctum of the Gods.
One of the most defining features of Indian Classical dances is the complex system of hand gestures (mudras) used as a technique of expression. Each gesture has its own unique meaning. Some are single hand gestures (Asamyukta Hastaah), which are to be executed either hand, on its own, or by both the hands simultaneously (Samyukta Hastaah). Ancient scriptures dictate that there are fifty two mudras, in total. For example, one of the most widely recognised mudra is the “Alapadma” or the symbol of a lotus in full bloom.

In later years, Classical dances evolved to include common expressions and themes from social life and personal experiences, which resulted in a surge of popularity and visibility of the various dance forms.
Indians have a special God of dance – Nataraj, the lord of all dances. He is believed to be a form of the god Shiva, and is said to perform cosmic dances which delicately balance life and death – turning the universe in a harmonious cycle.

BHARATANATAYAM:

One of the most recognizable classical dances of India is Bharatanatyam. Originating in the southern state of Tamil Nadu, the dance form traces its origins back to the Natyashastra, an ancient treatise on theatre and performing arts. It was originally a temple dance solely for women, used to express mythological stories and religious devotion. Yet over the millennia, Bharatanatyam has evolved into also being a form of art, in itself.

The dance movements are characterized by bent legs at the knees, while the feet keep up a constant rhythmic pulse, along with characteristic mudras that narrate a story, or give meaning to the performance.

KATHAK:

Kathak is, occasionally, a dance of love, performed both – by men and women. The movements include a system of intricate footwork, categorised by a sharp beat of stamping the feet, and hand gestures adapted from normal body language. One of its defining features is the importance of facial expressions that accompany the dance moves.

It began to be practiced by Kathakas, performers and storytellers who used a mixture of dance, song, and drama in their art.

KUCHIPUDI:

Unlike some of the other dance forms, Kuchipudi requires talent in both dancing and singing. Originating from Andhra Pradesh, it’s a highly ritualized dance, accompanied by a formal segment of song-and-dance, sprinkling of holy water, and burning of incense. It also includes an invocation of the goddesses.

While originally being performed solely by men, today it is a dance predominantly presented by women.

FOLK DANCES:

India is a country that’s revolves around agriculture – so it’s no surprise that one of the most defining features of the country is the abundance of harvest festivals, and the folk dances that accompany them.

These folk dances rarely have any religious connotations; rather, they have a feeling of celebration and thanksgiving. Indian folk and tribal dances stem from the different socio-economic traditions, and each state adds its own unique feature to the dances. For example, Garba – which is practiced in the northwest, includes a heavy costume of a ghagra choli with mirror and beadwork on colourful patterns. Dandiya is a form of dance which incorporates wooden sticks that are clapped together to the beat of the music, accompanied by an intricate formation of dancers. The ever – popular Bhangra relies on sporadic and continued shoulder movements that lend a frivolous, yet spirited feel to the dance.

An article on the cultural exchange fest – Japan Habba

(By Sahnya Mehra; March 2018)

In the last decade or so, Bangalore has witnessed a surge in the population of the Japanese community. Many of the expats work in companies of the automobile and technology industries, along with other Japanese corporate firms. Additionally, the city attracts many Japanese business visitors each month. There is a rapidly growing Japanese influence in Bangalore, mutually benefitting both the cultures that co-exist in the city.

The two cultures share many similarities – a deep rooted sense of respect for the culture and traditions of the countries; the ancient folk costumes, dances, songs and practices; the celebration of nature and festivals of harvest – to name a few. Another element of commonality is the respect and honour given to elders and learned people. The Japanese call their masters “sensei”, while the Indian word for it is “guruji”. Additionally, both societies are considered to be conservative to the western world, especially when it comes to public displays of affection.

The Japan Habba is a cultural exchange festival that seeks to strengthen these very similarities, while simultaneously celebrating their differences. It aims at giving an insight into Japanese music, dance, arts and crafts, while promoting and consolidating Indo-Japan bi-lateral relations. Since its conception in 2004, it has compelled people – both Indian and Japanese from various parts of India to travel to Bangalore in order to be a part of the merriments.

The 14th edition of the Indo-Japanese festival was held over the first weekend of February, in 2018. The JN Tata Auditorium, a part of the Indian Institute of Science, was the epicentre of the festivities. The theme was based off the idyllic city of Aomori – the northernmost prefecture on Japan’s main island of Honshu, famous for its large-scale apple cultivation and snowy climate.

The turnout was spectacular, and visitors had the opportunity to experience innumerable aspects of Japanese culture. There were four main areas of action – the stage performances, the stalls and booths set up, the food courts, and the demonstration areas. The latter was the area where people could cosplay anime characters, take pictures while in character, and give an overall sense of the culture of costumes and anime that’s so inherently famous to Japan. Some also took part in a mock experience of a traditional Japanese Tea Ceremony.

Many Japanese organisations had set up stalls, which were of different types. Some sold bookmarks and other handmade handicraft items, where people tried their hand at Japanese calligraphy, while others played traditional Indian and Japanese games. Some stalls had viewings of various art forms like Origami, Kirgami and Ikebana, and others were purely dedicated to selling a product, like cuppa-noodles.

Some stalls functioned as foreign language centres, and one of the most startling, yet pleasing features was the presence of booths dedicated to Employment and Educational opportunities in Japan.

The food court displayed several stalls, filled with both Indian and Japanese delicacies. One could choose to sample a traditional Bento Box, or instead have a traditional Andhra biryani. Several cafes and pastry shops had set up booths to sell pastries, biscuits, or drinks.

There were several stage performances, by both Indian and Japanese communities. There was a spirited rendition of ‘Jai Ho’, a Japanese Quiz by IJCCI, and even a play in Japanese with Indian thespians!

For the last 14 years, the Japan Habba has been a platform that celebrates the similarities, and differences between the two cultures, and promotes an exchange of knowledge and lifestyle.

Takayuki Kitagawa, the Consul – General of Japan in Bangalore, states that there is now a “current atmosphere of co-operation” which makes it easier to create a “long – standing cordiality in diplomatic relationship between the two nations.”

(By Sahnya Mehra; January 2018)

In India, the word ‘Sanskaar’ is tossed around loosely. But how many of us truly know what it means to be a ‘sanskaari beta’?
When you ask the average Indian millennial what the word means, it’s most likely that they’ll immediately roll their eyes, sigh deeply, and tell you of the last time someone (usually an elderly person) went on and on at them for not being ‘sanskaari’.

The word, though of Sanskrit origin, has ambiguous meanings. Some would define it as code of conduct, while others tend to see it as more of a set of moral values. Generally, it’s a sort of way of life of Indian people – more tangible than an ideology, yet not as binding as a culture.

It’s also a sort of rite of passage into adulthood. For example, the piercing of a child’s ear, the sacred Thread Ceremony of the Brahmins, marriage, etc. can also be considered sanskaar, as they serve to move a person through the stages of childhood, adolescence, and adulthood.

It’s also something that people have diverse and compelling opinions about, and evokes equally varied reactions amongst Indians, especially the youth, who are simultaneously caught between the modern and traditional spheres of life.

Indians are considered to be some of the most conservative people, so it’s no surprise that the youth tends to follow many rules and practices set by their elders. To a lot of Indian youngsters, the concept of a conservative sense of morality is extremely important. Many say that they like the sense of righteousness and discipline that it brings about, along with the fact that they feel like the concept of sankaar is integrated into their life seamlessly, and has been for generations, especially when it comes to respect for their elders and their family. They find it important to follow certain traditions that adhere to the concept, as they feel that it reflects on their family and quality of upbringing. For example, Indians, along with many other South Asian cultures, practice the act of removing one’s footwear before entering a home. This is done for several reasons – some of which being the need for cleanliness, along with respect for the Gods, which are often represented as idols in people’s homes.

Yet, on the other hand, many say that they would willingly go against the concept of sanskaar. In the sense that, they would go against the societal concept, if it should ever infringe on their own personal core values. Also, if the ideology is causing any harm to an individual or animal in any way, they would openly and vehemently oppose it. For instance, many feel like certain concepts of sanskaar clash with feminist beliefs, like the performing of ‘Last Rites’ of a Hindu funerary ceremony. According to tradition, a woman isn’t allowed to perform any rites for a deceased person at their funeral. Only a male family member, like the brother or son, can. Similarly, in Muslim tradition, women aren’t allowed into graveyards. This is seen as a form of disrespect, as women are equal to male family members in every way, and should be allowed their own personal form of grieving and closure.

Additionally, some youngsters – while still following certain practices, say that the main purpose of sanskaar isn’t being valued, in these modern times. They feel that in the olden days, it was a spiritual concept put in place to serve some benefit. It was something that might have had immense significance in earlier times, and was seen as an essential practice in everyday life. But lately, the entire theory has become far more materialistic, which has warped the practice of it. Some state that the meanings behind many of its practices have started to become obsolete, especially in the minds of the modern – day Indian. For instance, to this day, many people of the older generations deem it fit to comment on how a young woman chooses to present herself. Many scorn the idea of wearing western clothes or getting tattooed, as it isn’t “a part of our culture”, and because it supposedly will soil their sanksaar. This notion of attributing one’s way of expressing themselves to their moral beliefs is not only backward and narrow-minded, but also extremely problematic to the psyche of a young person.

Sanskaar, as a whole, is a subject that is extremely multi-faceted. It can also be interpreted, and practiced in unique ways. The Indian Millienials of today are an enigma in themselves. We’re opinionated, multi-talented and extremely ‘woke’. So it’s no surprise that a concept like sanskaar – something we’ve grown up with listening to our entire lives – has formed a strong basis for the kind of people that we are, and will continue to be.