'Rakhi' means Love, Affection, Sweets & presents!

According to www.raksha-bandhan.com/ - “Raksha Bandhan’ or the ‘Rakhi’ festival is a sacred thread embellished with sister's love and affection for her brother. On the day of ‘Raksha Bandhan’ sisters tie a ‘Rakhi’ on their brother's wrist and express their love for him. By accepting a ‘Rakhi’ from a sister a brother gladly takes on the responsibility of protecting her sister. In Indian tradition the frail thread of Rakhi is considered stronger than iron chains as it binds brothers and sisters in an inseparable bond of love and trust. Rakhi holds immense significance in Indian cultural ethos. The custom of celebrating Rakhi started in Vedic times and even today brothers and sisters consider it must to celebrate the occasion in traditional manner. When brothers are away sisters send Rakhi to them and express their love. Accepting the Rakhi with grace brothers send Return gifts to their sister. This loving gesture goes a long way in strengthening brother sister relationship and building stronger family ties. The importance of Raksha Bandhan is same as Diwali festival in India.”



Those are the facts about ‘Rakhi’ but if you speak to regular people, each one will have a special anecdote, a special feeling and a special brother to talk about. India is a largely family oriented country and brothers are valued as much for their participation in family as they are for the sex they belong to. An Indian family is not considered complete without a son who is a brother for the daughter and an heir for the family name. Sadly this results in many socially and ethically untoward practices but this is not a forum to discuss those issues. This is a forum to talk about a lovely festival called ‘Rakhi’. For me it is especially exciting because I have a wonderful brother and 16 male first cousins. Rakhi as a day has been the same all my life, each and every ritual is carefully planned and executed, even now, when my aunts are way into their 70’s.



The festival celebrations are held in one of the home of the four sons my paternal grandfather had. We all gather there at noon and some of us meet only on these occasions. We would love to meet more often but life’s constraints don’t always make it easy. My father’s sisters abstain from eating till they have tied a ‘Rakhi’ on their brother’s wrists. The kids (us) on the other hand aren’t all that conscious, there are way too many sweets and snacks going around to keep this kind of familial discipline. Our 86 year old family cook (fondly called ‘Maharaj’) is still engaged to cook for this day. The fare is vegetarian but the variety is exceptional. Maharaj claims a cup of ‘ghee’ (clarified butter) gives him the strength to cook for over 40 people. In fact we have a dessert served every year called ‘Moong Dal Halva’. It's made of soaked and ground ‘Mung’ lentils, roasted in clarified butter and finally finished with sugar syrup. This needs to be constantly stirred for almost an hour and Maharaj can sit on his haunches and do this with 2-3 kilos of ground lentils. Thats one reason I spend a lot of time in the kitchen during such occasions; it’s the best place to learn nuances not available in cook books.



The ceremony lasts a while because we are so many of us. Beautiful, colorful threads are tied on our brother’s arms, the younger ones look adorable with their wrists full of garish sequin and paisley designs. The ‘Rakhi’ is tied, a vermillion ‘tika’ is applied to the forward with a touch of rice grains for auspicious reasons and a wide array of sweets are offered, all in return for a promise of TLC from our brothers and of course, a gift. When we were kids the gifts would range from books to shoes and gorgeous Indian salwar kameez’s picked by my aunts. Now that we are older, it’s even better, it’s cash! Fortunately for me, my brothers are successful, generous souls and the novelty in gift money is always there. Over the years I have stopped planning for this loot; it’s for me to waste. So this year I am off to malls right after lunch, I need to splurge and I believe Guess and Body Shop are on sale. Yippee!!

Back To School

Indian kids are back to school this week. I don’t really know how most of them feel about it but the few that I know are basking in their new ‘back to school’ stuff and hoping for some fabulous extra-curricular activities this year. Our days were so much simpler. Going to a new class every April meant simpler joys like fresh mangoes in the lunch Tiffin, best friend from last year as a partner, new class books and maybe a little more respect for the one year that we had grown. I went to a fairly popular convent school of Delhi, one that imbibed a deep sense of commitment to personal achievement and performance. Every year there were new academic challenges, new books to conquer, new teachers to appease and new schools to visit for the million things we participated in. I rarely hear children speak of such plainness when they talk about school. Maybe my recent exposure to school children is limited to private schools in and around Gurgaon but I really don’t see genuine joy in their faces. The quandary lies in the fact that though we have provided a multitude of opportunities in the past 15 years it seems like we have taken a lot away too. I can name and quantify all the new provisions in schools like alternative subjects, international school trips, fencing, horse riding, archery, film making, script writing etc. I can’t put my finger on what we have taken away. Whatever it is that is devoid from our children’s lives, one thing is for sure, it is taking them away from basic and necessary entertainment like reading and the outdoors!



Our children think the outdoors require peripherals, perhaps a picnic or at least a pony to ride on. Whatever happened to bug hunting (Oh shush to PETA …. Bug hunting, knee deep in soil is the core of childhood discovery plus the bugs multiply way faster than our kids can kill them!), playing ‘house’, climbing trees (there are a few left, at least in Delhi there are!), playing catch, hopscotch, throw ball (is that even a sport?). All that was fun, maybe not awe inspiring and deeply intriguing but it did leave space for human contact and conversation. What do two kids playing video games together actually ‘do’ together …. Nothing! They have digitized alter egos communicating for them. All the joy, energy, excitement and fun are actually relayed through two unfeeling illustrations. How frightening is that? Please don’t get me wrong, I am a big one for video games albeit the old fashioned arcade variety but I swear I can put a 12 year old to shame when it comes to ‘Pacman' but it’s still not something I will invite a bunch of friends over for, not now and not 20 years ago.



Since I don’t have a generalized solution for this heavy issue, I have decided to make a few changes on the home front. I am at the threshold of some serious motherhood, my daughter just turned 2 and I am beginning to see meaning in the term ‘terrible twos’. Before I begin, a small piece of advice for mommies to be – the first 6 months are not the hard part …. Everything after that is! Now that my daughter can communicate in complete sentences I plan to practice mini plays with her through the week, just ½ hour a day, then we will perform it for the family on a Sunday. I have written 3 plays with just two characters, one scene and 5 dialogues, she seems to love it so far! She can also walk and run confidently, so we will race every day, if it’s not with me then with her dad, her maid, her granddad or even one of her adorable little friends. She can now hold an object steady, so she will draw me one image a day, yesterday is was a very poor looking cow and today I received a suspicious looking snake, I think it started out as a flower! She will spend 2-3 hours outdoors provided the weather cooperates, while she is there she can play in the mud (off late the mud is contained within the hands, so this is a plausible situation), she can look for ‘safe’ bugs (what I mean is preferably imaginary), she can try to tell colors of the flowers, she learn a few of their names, she can meet everyone in the park, she can run free, the options are endless. She has never been into toys and I don’t see the value in a $50 toy that she will either destroy or hate within a week. There were times I felt buying fewer toys was a level of deprivation but now that my daughter is such a confident, highly communicative, imaginative and funny little person, I don’t think I was entirely wrong. No two kids are alike but I think the basic nurturing they need is absolutely similar. Children need time, love, security and routine above all other things and this is something I have learnt from experience.



So whether your child is 2 or 12, their needs remain as basic, the way we fulfill them becomes different that’s all. This year let them roam free, let this year be their ‘pseudo year off’, let this year be the year all activities are organic and involve either one parent. As parents we are all used to sacrifice, this is yet another manifestation of it. School was always meant to impart education, let’s not look at them for everything. We hope our choice of school provides good education and good discipline the plus on that can be motivation, inspiration, confidence, independence and courage. So if your child’s school lacks in any of those areas it is better to start providing the missing traits at home.

Goddess of the Arts - Saraswati

Saraswati, the Goddess of the Arts. A bearer of wisdom, a beacon of knowledge and an aficionado of music, she is a Goddess that has alternative blessings. Ones that don’t scream wealth and power, her blessings are subtle and unique. She is the one who protects the skilled, the talented and the gifted. She exudes confidence in every idol she is sanctified in. She is the one to turn to if you want to clear those nasty entrance examinations, she is the one who resides in the homes of accomplished musicians and artists, she is the embodiment of learning.

Saraswati is depicted as a woman with four arms. In one she carries the sacred book of Hindu principles, the ‘vedas’. In another she carries a rosary, a symbol of spirituality as a means of higher consciousness. Her two other accessories are a stringed instrument called the ‘veena’ and a pail of sacred water. The ‘veena’ she plays is the song of love, feelings and emotions. The water she carries symbolizes purity. Saraswati is a benevolent Goddess who is appeased by the worship of arts and sciences. A commitment to one’s talent is prayer enough for Saraswati is the one who has bestowed those creative gifts. By respecting and nurturing those gifts we are respecting and nurturing her.

Not many people are aware of the hidden nuances in the depiction of gods and goddesses in Hindu mythology. Whether it is an idol or a painting, there are teachings even in the surroundings of the Gods. Saraswati is often accompanied by a white swan mythology says that when a mix of water and milk was offered to the swan, it would drink only the milk from it. Symbolically, she could distinguish between the good and the bad, pure and impure. Some artwork also depicts Saraswati in the company of a peacock, a bird known for its proud and flamboyant nature. Since the peacock is depicted as Saraswati’s mount, she in one sense conquers the pride and her teachings are simple, don’t be concerned with external appearances. The soul is the keeper of all goodness.

Colors Of India

I was surprised to learn that Islam came to India long before the Muslim invasions. It was a balmy day in Kuwait and our guests were discussing the similarities between South Indians and Kuwaiti’s. Another new fact came into light; it was the trading of spices that led Arabs to the Malabar Coast in South India. Back in the 7th century it was merely an Islamic influence that could be felt; the invasions of course reinforced the faith firmly on Indian soil. This inclusion added further to India’s colorful culture and people. It was the trader families of Kerala and other parts of the Malabar Coasts that were the closest to their Arab business associates, and this closeness led to a slow conversion into Islam. In Malabar the Mappilas may have been the first community to convert to Islam.

Today, 16.4% of India is Muslim. They have contributed considerably to the fields of performing arts, crafts, politics, education and business ventures. Some of India’s leading literary giants, artists, film stars and leaders are Muslim and this alone makes Indian society a diverse and enriched structure. India’s most famous landmark the Taj Mahal is a classic example of Islamic architecture and construction prowess.

The union of so many faiths is felt most during festival season. Diwali follows Eid and Christmas follows Diwali. For almost 3 months, India is in a blanket of faith, celebration and thanksgiving. Eid is a Muslim festival that marks the end of Ramadan, the Islamic holy month of fasting. During the month of Ramadan, Muslims observe a strict fast, they do not eat from sunrise to sunset, and some don’t even have water. They donate generously, participate in charitable activities and promote a sense of peace and unity. It is a time of spiritual renewal for those who observe it. At the end of the month, Muslims throughout the world observe an exciting three day celebration called Eid ul Fitr. A common practice is for people to stay up and watch the full moon rise on the night on Eid. The day of the festival, a typical Muslim family wakes up early and does the first prayer of the day. They then attend prayers in mosques, parks, stadiums and arenas. The crowd greets and embraces each other as a gesture of love and celebration. The festivities continue at people’s homes after the congressional prayer. Special sweets and foods are prepared for friends and family. The finest clothes and jewelry are the highlights of the day. This is an occasion with great religious significance; the celebration is jubilant and hearty. It is a day of forgiveness, peace, brotherhood and unity. Muslims also mark this day with thanks to God for his guidance and blessings bestowed upon them.

Ultimately we all seek the same things from our faith – security, a sense of belonging, peace of mind, the love of God and a prevalence of brotherhood.

Diwali – A time to give!

View Diwali 2007 Stock Photos by PhotosIndia.com



Diwali, the festival of lights. Such a cliché simply because it means so much more than that. Everyone has a different take on Diwali and everyone has different expectations. It’s like the Hindu equivalent to Christmas. Gifts and giving, sweets and generosity. We don’t light up a tree, we light up the whole house, every nook, cranny and corner. The frenzy starts about a month ahead, malls are packed with anxious shoppers and everyone has long lists. Since Indian’s are bestowed with large families, there is a whole lot of shopping to do. For me the similarities are amazing, not at a religious level but at a ‘faith’ and ‘celebration’ level. Everyone eats and shares. The age old myth of ‘give and you will get’ is in full motion at this time of the year.

Businessmen get busy making their partners happy, companies get busy calculating bonuses, shop owners can see the money flowing in and the everyday shopper scans the dailies for ‘sales’ news. You can see bold advertisements claiming “0% discount” followed by a coy “on quality” … 20% discount on all goods. The shopper sits back feeling like the king of the world.

This is the time for some serious consumer wooing. Everybody spends on Diwali, it is practically a ‘have to’. 15 years ago the gifts revolved around exquisite dry fruits and heavenly Indian sweets we call ‘mithai’. The winter months kept everything fresh for weeks and Diwali seemed to extend all the way to the new year. Usually falling in the months of October or November, this season seems to go on and on. Over the years, the dry fruits got mediocre, not just in gifting but in quality as well. The ‘mithai’ eaters became nouveau ‘conscious’, about their weight, cholesterol, sugar levels and all the new age misery. I think ‘Archies’ was the first company to realize this paradigm shift, they started churning out cards by the hundreds, they sourced designer ‘diya’s’ (little oil or wax lamps that are ceremoniously lit for Diwali), they put a greeting card on every box of sweets. The change was slow to happen but once it did, the frenzy was unbelievable. Corelle launched new designs for Diwali, their crockery was always found in sets of 4 (the typical western family). Here in india they were marketing sets of 6 with little bowls we call ‘katori’s, we use them for all the gravies and curries our cuisine is famous for. China exported crates of bowls, trays, curios and the like in a variety of materials, colours and shapes, to satisfy the Indian Diwali shopping madness. Suddenly, people were gifting corporate style, beautiful things for the home, the office, the kitchen. It became okay to gift a DVD set of ‘Friends’ for Diwali if that’s what your friends were into, it had to be personal at the end of the day. Hundreds of websites sprung up, selling all things related to Diwali, you could ship from the US to India (like we need more ‘diyas’) or you could ship from India to the world (that makes more sense).

This year the craze seems to be more opulent. Singapore holidays, shopping bonanza’s and Frazer & Haws silver diya’s are all passé. People are gifting not for material pleasure but for the soul. Books on spirituality like the ‘Speaking Tree’ are supposedly a favourite. Another great campaign is by the MMTC, promoting gold in a more organic way, the World Gold Council seems to make the whole thing Uber chic and beyond the middle class. Diamonds are being marketed as a special high end gift as well, in fact there is a marked conversion in women buying diamonds instead of the customary gold during ‘dhanteras’. ‘Dhanteras’ is celebrated on the 13th day of the dark fortnight of Diwali and it falls a day or two before Diwali. It is marked as the day of eternal good fortune and people celebrate it by buying something new for their home or indulge in a new investment. I wonder if anyone is marketing investment schemes this year, sounds like a good idea to me! Anyone listening?

I'm not superstitious, but ...

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We made good friends with this one model we worked with last year. Very lovely young lady, she was nice enough to keep in touch way after she received her images shot by us. We got a call from her last month saying she has a bunch of friends in town and they were all very keen to be professionally photographed. We were already riding high on our 6,000 sq. ft. studio so we asked the whole load of them to come in for auditions. So here we were sitting around waiting for everyone’s headshots to be assessed, when Manav suggested they all make a trip and shoot that. The motley mix of post-teens started discussing every possible drivable location from Delhi. They were all foreigners and from different countries too. This discussion didn’t take long to finalize into an overnight trip to Agra. The home of the Taj, the land of love and loss, the haven of a lovesick king’s biggest accomplishment. Some had seen it with their parents on a day trip, some hadn’t at all. The excitement was electric. The final list read, an Indian girl from LA, a Persian girl from Florida, an all American girl, a Scottish boy, an Estonian boy and finally a Zimbabwean boy. What an awesome bunch they made. So many nationalities and cultures of the world in this group of six. The only thing they shared in common was the age and the generation and that was glue enough to start this trip off very well.

The story I am about to tell you only goes to reinforce my crazy obsession with Lennon’s song ‘Imagine’. In my Utopian fairyland I believe that we can live without religion, without possessions and without countries, we can live like brothers and like thinking human beings. Ultimately we are all the same. I read an article by the photographer who shot the famous portrait of ‘the Afghan girl’, Steve McCurry he said to the effect that a farmer in Afghanistan is no different from a farmer in the US. I guess he meant that as people they are the same, their environments and scenarios are different but they share the same worries, the same ambitions and the same dependency on nature. Anyway, back to the story. These guys were on the road with our Art Director (part Portuguese, part Iranian), Photographer (All from the state of Bengal), Make-up Assistant (state of Punjab) and Studio Hand (I would assume Bihar). They stopped at a harmless looking vegetarian ‘dhaba’ (typical Indian roadside diner, usually very rustic). They ordered heartily and sat back and waited. Suddenly the girls started noticing dragon flies, not one, more like one million. So one of the girls got up from the table and crouched on the floor screaming for one of the knights to save her. The lovely Scottish boy got up, swatted away the dragon flies and stepped over her head to get back to the table. She shot up and said “step back over me”! That’s all she said. One by one each person on the table said “ya, my mom says you have to step back over the person if you stepped over them once.” The tempo got louder and everyone, every different person there knew that they had all heard and participated in one of the oldest ‘old wives tales’ ever. Across the cultures and borders they all grew up hearing this one ‘superstition’. The biggest deal wasn’t that they had all been told the same tale by their Scottish, Estonian, Indian, Persian, Zimbabwean mothers, it was how they all suddenly related on another level. This highly infused gene pool of people sat there, ages 19 – 35 years and said in unison – “coz then you won’t grow tall”. Across most of the globe, covering 4 continents, all these people were told the same reason too! When I heard this story, it stirred me in many ways. Are we all essentially the same? Just people. People with stories, lives, joys, pains, fun, work, family, passions, traditions, the list goes on and it goes on for all of us.

Dance Therapy

“She is the embodiment of grace. She flows like water, she glows like fire and has the earthiness of a mortal goddess. She has flowers in her hair, jewelled hands and kohl dark eyes. Her eyes speak a language that her hands will translate, her feet move in tandem to make the story complete. She is a danseuse, she is a performer, she is almost ethereal.” – These were my thoughts when we were producing the ‘Dances of India’ images at the newly built Photosindia.com studio. Our model was unique, she wasn’t here to strut her stuff or pout and be pretty, she was here to blow our minds. I learnt ‘Bharatanatyam’ for seven years as a child but even I didn’t remember this kind of magical aura and splendour. It wasn’t the costume or the jewellery, it was the motion, the fluidity, I could go on and on.



Dance in India symbolizes more than just entertainment; it actually serves as a communication tool. Dances were mainly performed in temples as offering to the Gods, these dances relayed messages of community living, fictional plays depicting an ideal way of life and mythological tales of people and places. Most classical dance forms still remain physical manifestations of the music they are performed with. In Indian culture, song and dance are inseparable companions of classical arts. One compliments the other and neither can survive on its own. A typical example would be Bharatanatyam and Carnatic Music. Bharatanatyam is a dance form supposedly created by Bharata Muni, the sage who wrote the ‘Natya Shastra’, ancient text dealing with dance, performance and theatre. Bharatanatyam was performed by ‘Devadasis’ in ’ancient times, dancers that appeased the Gods, much like the mythical ‘Apsara’s', Hindu equivalents of angels or celestial dancers. The entire performance is actually a play, with stunning costumes and feline grace. The emphasis lies in the movement and expressiveness of the eyes, intricate hand gestures that speak volumes and most essentially an attitude that emotes confidence and beauty. ‘Karanas’ are classical postures in Bharatanatyam, these are 108 and 125 positions in the classical Indian dance. The word ‘Karanam’ means conscious and systematic action in Tamil. Another distinctive feature of Bharatanatyam is expressive hand gestures as a way of communication. Hasta Mudras refers to the varieties of hand symbols that a dancer uses to convey the story they are performing.



Bharatanatyam evolved as a dance form of the deities and went on to be performed across Tamil Nadu at festivals, in temples and in palaces. It had a mystical aura that spoke of eternal wisdom, enlightenment and purity. It I still considered a ‘fire dance’ as compared to Odissi being a ‘water dance’, the inclusion of elements adds a more metaphysical aspect to dance performances in India. All the technicalities aside what is most striking is the colors and the movements. The costume is elaborate and physically flattering to the female form, the hairdo is accented with fresh fragrant flowers, the hands and feet are adorned with a red paste and the jewelery too is loud and expressive. All these elements are essential to make the impact that this dance is all about. After all it is a story told with no words, the music is an accompaniment not the storyteller, the dancer is the only medium truly communicating with the audience.

View Bharatanatyam Stock Photos by PhotosIndia.com

The Taj - A Symbol of Devotion

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The Taj Mahal is a mausoleum located in Agra, India. The Mughal Emperor Shah Jahan commissioned it as a mausoleum for his favorite Persian wife, Mumtaz Mahal. Construction began in 1632 and was completed in approximately 1648.

Some dispute surrounds the question of who designed the Taj Mahal; it is clear a team of designers and craftsmen were responsible for the design, with Ustad Ahmad Lahauri considered the most likely candidate as the principal designer.

The Taj Mahal (sometimes called "the Taj") is generally considered the finest example of Mughal architecture, a style that combines elements of Persian, Turkish, Indian, and Islamic architectural styles. While the white domed marble mausoleum is the most familiar part of the monument, the Taj Mahal is actually an integrated complex of structures. It was listed as a UNESCO World Heritage Site in 1983 when it was described as a "universally admired masterpiece of the world's heritage.



In 1631 Shah Jahan, emperor during the Mughal's period of greatest prosperity, was grief-stricken when his second wife, Mumtaz Mahal, died during the birth of their daughter Gauhara Begum, their fourteenth child. Contemporary court chronicles concerning Shah Jahan's grief form the basis of the love story traditionally held as the inspiration for the Taj Mahal.

Construction of the Taj Mahal was begun soon after Mumtaz's death. The principal mausoleum was completed in 1648, and the surrounding buildings and garden were finished five years later.

The complex is set in and around a large charbagh (a formal Mughal garden divided into four parts). Measuring 300 meters × 300 meters, the garden uses raised pathways which divide each quarter of the garden into 16 sunken parterres or flowerbeds. A raised marble water tank at the center of the garden, halfway between the tomb and the gateway, and a linear reflecting pool on the North-South axis reflect the Taj Mahal. Elsewhere the garden is laid out with avenues of trees and fountains

The Charbagh garden was introduced to India by the first Mughal emperor Babur, a design inspired by Persian gardens. The charbagh is meant to reflect the gardens of Paradise (from the Persian paridaeza — a walled garden). In mystic Islamic texts of the Mughal period, paradise is described as an ideal garden, filled with abundance. Water plays a key role in these descriptions: In Paradise, these text say, four rivers source at a central spring or mountain, and separate the garden into north, west, south and east.

Most Mughal charbaghs are rectangular in form, with a tomb or pavilion in the center of the garden. The Taj Mahal garden is unusual in that the main element, the tomb, is located at the end rather than at the center of the garden. But the existence of the newly discovered Mahtab Bagh or "Moonlight Garden" on the other side of the Yamuna provides a different interpretation — that the Yamuna itself was incorporated into the garden's design, and was meant to be seen as one of the rivers of Paradise.

The layout of the garden, and its architectural features such as its fountains, brick and marble walkways, and geometric brick-lined flowerbeds are similar to Shalimar's, and suggest that the garden may have been designed by the same engineer, Ali Mardan.

Early accounts of the garden describe its profusion of vegetation, including roses, daffodils, and fruit trees in abundance. As the Mughal Empire declined, the tending of the garden declined as well. When the British took over management of the Taj Mahal, they changed the landscaping to resemble the formal lawns of London.

Myths about the Taj Mahal are now so old or compelling that they are often repeated as facts. A longstanding myth holds that Shah Jahan planned a duplicate mausoleum to be built in black marble across the Jumna river. The 'black taj' idea originates in the fanciful writings of Jean-Baptiste Tavernier, a European traveller who visited Agra in 1665. The story suggests that Shah Jahan was overthrown by his son Aurangzeb before the black version could be built. Ruins of blackened marble across the river, in the so-called Moonlight Garden (Mahtab Bagh) seemed to support this legend. However, excavations carried out in the 1990s found only white marble features discoloured completely to black. The garden buildings had collapsed due to repeated flooding. Others speculate that the 'black taj' may refer to the reflection of the Taj in the large pool of the moonlight garden.

Numerous stories describe — often in horrific detail — the deaths, dismemberments and mutilations which Shah Jahan inflicted on various architects and craftsmen associated with the tomb. No evidence for these claims exist.



Sometimes misinformation about the Taj has been used for political or self-serving advantage. Lord William Bentinck, governor of India in the 1830s, supposedly planned to demolish the Taj Mahal and auction off the marble. There is no contemporary evidence for this story, which may have emerged in the late nineteenth century when Bentinck was being criticised for his penny-pinching Utilitarianism, and when Lord Curzon was emphasising earlier neglect of the monument. Bentinck's biographer John Rosselli says that the story arose from Bentinck's fund-raising sale of discarded marble from Agra Fort.

My take on Indian Food

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The writer’s block I developed for this topic has been the most painful. ‘Indian food’ would ideally be my favorite topic, actually it is my favorite topic but I have no clue where to start. Should I pick a region (North, South etc.), a state (Punjab, Kerala, West Bengal …), a cuisine (Awadh, Konkan…), a religion (Jain, Parsi …)? India has foods that could cover a world on its own, and no it’s not just curry we are serving tonight! In fact curry is the last thing ‘Indian cuisine’ would like to boast of, she is a gourmet and curry is too much fusion for her pride. ‘Indian cuisine’ cannot be defined because of its vastness, it cannot be categorized for the same reason too. What can explain the delicacies of this amazing country is the experience itself. So after you read this, take a trip to the closest restaurant that serves a cuisine other than that of your region (if you are in India) and if you are abroad, go to any Indian restaurant and no two will taste alike.



Let me start with two of the broadest categories I can find – Vegetarian and Non Vegetarian. Vegetarian’s in India are a large majority and most restaurants even international ones keep well stocked menus for them. There are no ‘vegan’s’ per se but there are communities that avoid onions and garlic all together, like the Jain’s. International flights readily offer ‘Jain’ meals because they are essentially a trader caste and run some of the largest family led business conglomerates. India has always had a strong farming culture which offers fresh seasonal vegetables through the year. The interesting thing about all the foods of India is that their history lies entrenched in ‘Ayurveda’. For instance, cauliflower is a winter vegetable, scientifically it is proven to be difficult to digest, its best consumed in cold weather because the body has a slow metabolism. It is available only in the winter months. Summers produce lighter, more water based vegetables and fruits like a variety of gourds and melons. Summer and winter foods throughout India vary and science behind it is always good for digestion and essential for the elements of that season. In states like Gujarat and Rajasthan, a vegetarian spread could mean over 100 dishes and again no two will taste alike. The famed ‘thali’ is the Indian counterpart of a 10-15 course meal, except that it’s served together and replenished as often as the patron likes. A variety of pulses, wet and dry will be served, along with curried or stir fried vegetables, pickles, yoghurts infused with onions, tomatoes, cucumbers or tempered with curry leaves, fritters called ‘pakoras’ of seasonal vegetables will complete the thali.

Non vegetarian cuisine on the other hand has historical value. The innumerable invasions of India, the Mughal era that started in the 1500’s, the Portuguese in Goa and the French in Pondicherry, all left a stark impact on the dishes of those areas. Some states like Kerala and regions like the Konkan coast can share fish and seafood recipes from hundreds of years ago but by and large non vegetarian food in India has constantly evolved. I once read a fun story about the famous ‘Meen Moily’ fish curry of Kerela (‘meen’ means fish). A British lady (I am sure it was over a 100 years ago), loved the authentic Kerala fish curry except that she found it too spicy (the real black pepper spice not the god awful red chilli one), so she worked it around with naturally sweet coconut milk, a whole lot of curry leaves and just a few green chillies… her name was Molly. Try that dish and you will thank me, in fact I think I’ll cook it tonight. Fish and seafood are cooked throughout coastal India, being a peninsula there was a lot of coast to cover. West Bengal uses coconut milk too but their ‘masala’ base is mustard seeds, Goan’s on the other hand are as fond of coconut milk but their ‘masala’ is a potent combination of dry red chillis and vinegar. You would have never tasted two prawn curries so different from each other and yet from the same country. Other meats like chicken, lamb and pork are very popular too. Imagine multiplying 100 vegetables x 25 cuisines x 1 billion homes … that’s the variety we offer.

The Sensual Sari

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The ‘sari’ adds a whole new meaning to the term ‘the whole nine yards’. It is a 5000 year old traditional outfit, worn by an estimated 75% of the female populace of India. It is a one piece garment and its length ranges from five to nine and half yards. All of which is wrapped around the waist, with one end draped over the shoulder. It is worn all over India in over 15 regional styles and in every way that a 'Sari' is fashioned it adds sensuality and femininity to a woman’s body.



From the basic cotton to rich silk, sexy satin and elegant organza, the sari comes in a variety of fabrics. Sari’s can be block printed with natural dyes; they can be embroidered with intricate patterns or woven with imaginative designs. Even avid ‘sari’ collectors will say no one can have them all. Some of the popular regions for ethnic ‘sari’s are West Bengal where the wondrous ‘Baluchari’ comes from, it always has images of Indian religious epics as a pattern. The state of Tamil Nadu offers the richly brocaded ‘Kanchipuram’, they are silk saris much sought after and considered a must for every woman to own. Orissa has mastered the art of yarn dyed patterning, their Sari’s are stark and geometric. Rajasthan and Gujarat derive their inspiration from the gypsy culture of that region, their bandhini’ sari’s come in vibrant colors achieved from the process of ‘tie and dye’. The list of ethnic sari’s is endless but the ‘sari’ has evolved. As times have changed so has the ‘sari’, in order to suit the 21st century Indian women, sari’s come with more modern designs and in more manageable fabrics. Embroidery on ‘sari’s’ has been replaced by sequins and ‘Swarovski’ crystals, only to invite a whole new generation into its fold (pun intended)!

What really makes this outfit extremely versatile is that it can be worn as a trouser, as shorts or as a simple skirt, without one single stitch on it. Sari’s suit the weather of the Indian subcontinent, it is airy and light yet sensual and suggestive. A hint of the midriff is all an Indian woman will divulge but the sari hugs a woman’s curves so beautifully, that she stands out despite her whole body being covered.

The ‘sari’ is draped and tucked into a skirt like garment called the ‘petticoat’ and on the upper body a short bodice called a ‘blouse’ is worn. The midriff is bare. Every state of India has a traditional weave for the ‘sari’ as well as a traditional style of draping. North India produces fine block printed cottons and textured silks like those found in Varanasi. South India on the other hand prefers to ignore the glaring sun and produce richer and heavier silk saris with ancient motifs and patterns. Every region of India boasts of a typical ‘sari’ only found in that area.

So if you haven’t worn one yet, go ahead take the plunge. The real secret of the ‘sari’ is – it adds curves to the right places and hides curves in the wrong places. Enjoy!

About the famous ‘BINDI’

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Indian women are famed for their bright clothes and traditional jewelry. Added to this burst of color are a host of other adornments in the form body art and piercings. One strong symbol of body art is the ‘bindi’ or ‘bindiya’. It is usually a red dot worn in the center of the forehead, just between the brows.

A powder of dried turmeric and lead produces ‘kumkum’ or ‘sindoor’ used to apply the traditional red bindi. In southern India vermillion is used to apply a ‘bindi’, it is made of powdered red mercuric sulphide. Now bindi’s are available in a variety of colors and materials. Married women wear it as a norm, while younger women prefer to wear it as an accessory.

Several theories explain the tradition of this ornamental dot. Those of a scientific bent of mind say the 'bindi’ is applied on an integral nerve point. This center point is considered an integration of higher wisdom and inner strength. The ‘bindi’ is thus applied to retain energy. The traditionalists believe it brings good fortune and luck. It is auspicious and a symbol of marriage, the most sacred of all ties. Mystics have always argued that the ‘bindi’ is the third eye, the seat of all Hindu goddesses and their powers. Ultimately it is the Fashionista’s that have brought the ‘bindi’ into the limelight by wearing it simply for its stark presence and mystery.

‘Bindi’s’ are now tradition and trendy. They come in intricate patterns with gems and sequins adding to the vibrancy. They are worn with both ethnic and western clothes, making a global statement in fashion.


Not only women, but Hindu men also wear a dot on the forehead, indicating their third eye. The 'bindi’ for men can also be called a ‘Tika’ or 'Tilak', it is usually longer and applied with the thumb. The ‘Tika’ is an auspicious symbol for men too, it reminds them of their spiritual heritage. In terms of history this ‘Tika’ helps to identify a Hindu among the members of other religions. Christians wear a cross, the Jewish wear a ‘yarmulke’, the Sikhs wear a turban and so on.


Ulitmately its women that identify most with the 'bindi', it signifies female energy or ‘shakti’. This red dot has gone from a symbol of marriage into patterns that go with a woman’s moods and the occasions in her life. It is all about empowerment and femininity.