Category: Arts & Culture

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The Art of Unlearning

Too often, we attribute our professional challenges to external factors—the current workplace culture, our managers, or the industry itself. Yet, true growth requires introspection and a willingness to unlearn ingrained behaviours that no longer serve us…writes Prasad Shejale

As seasoned professionals, we often pride ourselves on our expertise and accumulated knowledge. However, what if some of that knowledge is holding us back? What if the habits we’ve developed over decades are actually hindering our progress rather than propelling us forward? My own journey in unlearning, particularly through the lens of my experience with swimming, sheds light on the importance of breaking free from ingrained habits and embracing change in our professional lives.

Allow me to share a personal anecdote that resonates deeply with the concept of unlearning. Despite my passion for swimming, I found myself struggling to improve for over four decades. It wasn’t because of a lack of effort or determination, but rather because I had learned the wrong techniques at an early age. Swimming alongside friends in a river, I absorbed habits that stuck with me throughout my life, hindering my progress despite my best intentions.

Finally acknowledging the need for change, I enrolled in a beginner’s swimming course. The process of unlearning was arduous; it required me to confront not only physical challenges but also the mental resistance to change. Watching others progress while I struggled to undo years of ingrained habits was a humbling experience. Yet, with perseverance and dedication, I began to see incremental improvements.

The parallels between my swimming journey and professional life are striking. Just as I had unknowingly absorbed detrimental habits in swimming, so too can we pick up negative behaviours in our careers. Our first job, our initial experiences with bosses and colleagues—they all shape our professional identity. Yet, over time, some of these habits can become obstacles to growth and success.

Too often, we attribute our professional challenges to external factors—the current workplace culture, our managers, or the industry itself. Yet, true growth requires introspection and a willingness to unlearn ingrained behaviours that no longer serve us. It’s about challenging the status quo, breaking free from the comfort of familiarity, and embracing the discomfort of change.

Unlearning is not a one-time event but an ongoing process—one that demands resilience, humility, and self-awareness. It requires us to confront our own limitations and biases, to question long-held assumptions, and to embrace new perspectives and ways of working. It’s about recognizing that the path to success is not always linear, and that failure is an essential part of the learning process.

In today’s rapidly evolving business landscape, the ability to unlearn and relearn is more critical than ever. The skills and knowledge that brought us success in the past may not be sufficient to navigate the challenges of tomorrow. By embracing the art of unlearning, we open ourselves up to new possibilities, innovation, and growth.

Business leaders, I urge you to reflect on your own professional journey. What habits and beliefs are holding you back? What do you need to unlearn in order to reach your full potential? Embrace the discomfort of change, for it is through unlearning that we truly evolve and thrive in an ever-changing world.

ALSO READ-Santanu and Sunita Dinda’s Artistic Ode to Indianness

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Arts & Culture Lite Blogs Music

Embracing a Timeless Legacy of Arts at SIFAS Festival of Arts 2024

Established in 1949, SIFAS has been a cornerstone of Indian cultural heritage in Singapore, fostering art and cultural appreciation through its diverse disciplines…reports Asian Lite News

As the Singapore Indian Fine Arts Society (SIFAS) commemorates its 75th year of enriching Singapore’s cultural landscape, the much-anticipated SIFAS Festival of Arts, continues to captivate audiences till May 1, 2024, in Singapore.

The celebration by SIFAS is jointly organised with SIFAS Productions Limited (SPL) and will feature enthralling performances by leading Indian classical artistes Ranjani and Gayatri (RaGa Sisters), Jayateerth Mevundi, Abhishek Raghuram and dance drama by Kalakshetra Foundation in collaboration with SIFAS.

Established in 1949, SIFAS has been a cornerstone of Indian cultural heritage in Singapore, fostering art and cultural appreciation through its diverse disciplines.

2024 marks SIFAS’ Diamond Jubilee, a significant milestone for the non-profit organisation committed to nurturing talent and promoting Indian fine arts in the region. As Singapore transitions into a global arts hub, SIFAS continues to uphold its mission of preserving and promoting Indian cultural heritage while embracing multiculturalism. 

The SIFAS Festival of Arts 2024, an iconic event in SIFAS’ cultural calendar, celebrates the institution’s legacy as the heart and hub of Indian arts in Singapore. Themed ‘Virasata: Celebrating a Timeless Legacy of Arts,’ this year’s festival also serves as a curtain-raiser to SIFAS’ 75th anniversary celebrations that will extend throughout the year.

With over 75 programmes of classical Indian music, dance, and visual arts, the festival promises a mesmerising journey through the rich tapestry of Indian arts. From traditional Kathak and Bharatanatyam performances and soul-stirring renditions of Hindustani and Carnatic vocals and instrumentals to a visual arts exhibition and arts and craft workshops, the festival showcases the depth and diversity of Indian cultural heritage.

“We are thrilled to present the SIFAS Festival of Arts as a tribute to SIFAS’ illustrious journey over the past 75 years,” said K V Rao, President, SIFAS. “This festival not only celebrates our heritage but also embraces the future of Indian arts, showcasing the talents of both emerging artists and iconic maestros.”

“The 75th Anniversary milestone is being celebrated with SIFAS collaborating with organisations as well as leaders in the arts industry, both locally and globally, especially from India,” said Menaka Gopalan, Executive Director, SIFAS. “We have also made a conscious effort with our outreach towards different communities, including the underrepresented, to promote arts and mental well-being.”

Scheduled at the SIFAS Stage and Esplanade – Theatres on the Bay, the festival promises an unforgettable experience for art enthusiasts of all ages. Through its immersive programmes and vibrant performances, the SIFAS Festival of Arts 2024 invites audiences to celebrate the enduring legacy of Indian arts and culture in Singapore. Air India is the official carrier for the SIFAS Festival of Arts, enhancing the cultural journey for attendees from around the world.

In addition to the milestone anniversary, SIFAS also celebrates 20 years of the SIFAS Festival of Arts this year. The SIFAS Festival of Arts has been an eminent platform for showcasing the best in Indian fine arts in Singapore. Evolving with each year since 2003, they have collaborated with Esplanade since 2005 to bring both internationally renowned and emerging local talent to the forefront. This year, the festival marks two decades of cultural brilliance and community engagement. Through the festival, a year-long celebration from May 19, 2024, to May 19, 2025, and a series of events and activities, SIFAS aims to underscore its enduring legacy and its vision for the future of Indian fine arts in Singapore.

ALSO READ-Santanu and Sunita Dinda’s Artistic Ode to Indianness

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Arts & Culture Lifestyle

Infusing Cultural Essence into Living Spaces

By curating and transforming traditional art forms for contemporary interiors, the brand ensures that cultural heritage not only maintains its relevance but thrives in the modern world. Each design is a masterpiece, reshaping interiors with timeless charm and grandeur, infusing them with an irresistible character that exudes luxury…reports Asian Lite News

How does one bring in the culture of a country, its scents sights and vibe into one’s living space?

As the world celebrates World Heritage Day, Life n Colors, a home design brand, reflects on its dedication to preserving and celebrating cultural heritage through its exquisite wallpaper collections.

The brand follows a simple yet profound philosophy – to bring vibrant life to spaces through designs that honour and transcend cultural boundaries. In alignment with this ethos, the brand presents two new collections – Zaina and Suneherii.

Suneherii, an ultra-luxury wallpaper line takes inspiration from India’s rich art and culture. The collection showcases traditional ways of Indian art forms and paintings of ancient and medieval India, designed first-hand by our local artisans with a modern touch to match a well-travelled audience. From patterns inspired by Mughal architecture to the vibrant hues of Rajasthani textiles, every element captures the spirit of India’s diverse cultural landscape in the Suneherii Collection. Along with this, royal grandeur takes center stage with wallpapers narrating captivating legends from the Ramayana, Krishna Leela, and our ancient dynasties thus bringing in hidden gems of Indian tradition on a wall.

“Our designs pay homage to the rich tapestry of artistry and cultural heritage across the world. Each design skillfully blends elegant details, transforming surroundings with creative sophistication,” says Apourva, Co-founder of Life n Colors.

By curating and transforming traditional art forms for contemporary interiors, the brand ensures that cultural heritage not only maintains its relevance but thrives in the modern world. Each design is a masterpiece, reshaping interiors with timeless charm and grandeur, infusing them with an irresistible character that exudes luxury.

Zaina – the European theme wallpaper collection takes you on a captivating journey through the enchanting landscapes and timeless charm of Europe. One gets to bring home picturesque vistas, architectural marvels, and iconic elements from across the continent, meticulously crafted into breathtaking wallpaper designs.

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Santanu and Sunita Dinda’s Artistic Ode to Indianness

Indianness is a conscious approach to implanting values and history that has originated, evolved, and transformed on Indian soil…reports Asian Lite News

India’s cultural consciousness is embedded with pearls of heritage carried forward through generations in the form of folk art. Stories from epics such as Mahabharata, Ramayana and Panchatantra are prominently illustrated and propagated by Patuas (Pattachitra artists) and Sutradhars. We may exist as an individual with personal ambitions, goals, and vision but together we occur within the society as an Indian.

“In Search of Indianness” is an artistic odyssey by Santanu Nandan Dinda and Sunita Dinda curated with meticulous care and passion by Hem Rana. The exhibition is scheduled to be held at the Open Palm Court Art Gallery from 24 – 28 April 2024 from 11 am – 7 pm.

Today, India is a cosmopolitan nation inhabiting people with different food habits, languages, customs, traditions, religious beliefs, and many more things. In this abstract, artists Santanu Nandan Dinda and Sunita Dinda through their paintings seek Indianness.

Indianness is a conscious approach to implanting values and history that has originated, evolved, and transformed on Indian soil.

Santanu and Sunita’s paintings are a homage to their cultural identity. Both artists have worked together in the same studio for a long time and their paintings are inspired to tell their shared perspectives and mutual stories. Canvases drenched with bold lines and folk motifs express the beauty and serenity of an earthy India.  Their creativity is rooted in the city of Jamshedpur, where they both grew up surrounded by tribal life.

India’s national personification is a woman – Bharat Mata. She is seen as a goddess that rages ferociously to protect her people and she is also seen as a mother that many Indian freedom fighters had fought for. Female deities are also deeply rooted in scriptures and holy books. Henceforth, both Sunita and Santanu have expressed their love for their nation through their paintings where a female entity takes center stage. Women are depicted as protagonists in their everyday lives.

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Must-Read Summer Releases to Keep You Hooked

The international best-selling author explores the revolutions, past and present, that define the chaotic, polarized and unstable age in which we live…reports Asian Lite News

As the summer heat creeps in, are you looking for a book you can’t put down as you spend your time indoors? Here’s a list of some of the latest releases that will keep you engrossed. 

An Abundance of Wild Roses by Feryal Ali-Gauhar

In the ‘Black Mountains of Pakistan’, the discovery of an unconscious, unknown man is the first snowball in an avalanche of chaos. The head of the village is beset with problems – including the injured stranger – and failing to find his way out. His daughter receives a love letter and incurs her father’s wrath. A lame boy foretells disaster, but nobody is listening. Trapped in terrible danger, a wolf-dog is battling ice and death to save a soldier’s life. Beaten by her addict husband for bearing him only daughters, a woman is pregnant again – but can this child save her?

All the while, the spirits of the mountains keep a baleful eye on the doings of the humans. In a land woven with myth, chained with tradition and afflicted by ongoing conflict and the march of progress, can the villagers find a way to co-exist with nature that doesn’t destroy either of them? 

Co-Intelligence: Living and Working with AI

‘Co-Intelligence is the very best book I know about the ins, outs, and ethics of generative AI. Drop everything and read it cover to cover NOW,’ says Angela Duckworth, American author and psychologist. Angela Duckworth. Consumer AI has arrived. And with it, inescapable upheaval as we grapple with what it means for our jobs, lives and the future of humanity.

Cutting through the noise of AI evangelists and AI doom-mongers, Wharton professor Ethan Mollick has become one of the most prominent and provocative explainers of AI, focusing on the practical aspects of how these new tools for thought can transform our world. In the book, he urges us to engage with AI as co-workers, co-teachers and coaches. Wide-ranging, hugely thought-provoking and optimistic, it reveals the promise and power of this new era.

The Road to Freedom: Economics and the Good Society

A major reappraisal, by the Nobel-prizewinning economist, of the relationship between capitalism and freedom.

Despite its manifest failures, the narrative of neoliberalism retains its grip on the public mind and the policies of governments all over the world. By this narrative, less regulation and more ‘animal spirits’ capitalism produces not only greater prosperity but more freedom for individuals in society – and is therefore morally better.

But, in ‘The Road to Freedom’ Stiglitz asks, whose freedom are we – should we be – thinking about? What happens when one person’s freedom comes at the expense of another’s? Should the freedoms of corporations be allowed to impinge upon those of individuals in the ways they now do?

Taking on giants of neoliberalism such as Hayek and Friedman and examining how public opinion is formed, Stiglitz reclaims the language of freedom from the right to show that far from ‘free’ – unregulated – markets promoting growth and enterprise, they in fact reduce it, lessening economic opportunities for majorities and siphoning wealth from the many to the few – both individuals and countries. He shows how neoliberal economics and its implied moral system have impacted our legal and social freedoms in surprising ways, from property and intellectual rights to education and social media.

Stiglitz’s eye, as always, is on how we might create true human flourishing which should be the great aim of our economic and social system, and offers an alternative to that prevailing today. The Road to Freedom offers a powerful re-evaluation of democracy, economics and what constitutes a good society―and provides a roadmap of how we might achieve it.

Age of Revolutions: Progress and Backlash from 1600 to the Present

The international best-selling author explores the revolutions, past and present, that define the chaotic, polarized and unstable age in which we live.

Fareed Zakaria first warned of the threat of “illiberal democracy” two decades ago. Now comes Age of Revolutions: Progress and Backlash from 1600 to the Present. A decade in the making, the book is based on deep research and conversations with world leaders from Emmanuel Macron to Lee Kuan Yew. In it Zakaria sets our era of populist chaos into the sweep of history.

Age of Revolutions tells the story of progress and backlash, of the rise of classical liberalism and of the many periods of rage and counter-revolution that followed seismic change. It begins with the upstart Dutch Republic, the first modern republic and techno-superpower where refugees and rebels flocked for individual liberty. That haven for liberalism was almost snuffed out by force – until Dutch ideas leapt across the English Channel in the so-called “Glorious Revolution.” Not all revolutions were so glorious, however. The French Revolution shows us the dangers of radical change that is imposed top-down. Lasting change comes bottom-up, like the Industrial Revolution in Britain and the United States, which fueled the rise of the world’s modern superpowers and gave birth to the political divides we know today. Even as Britain and America boomed, technology unsettled society and caused backlash from machine-smashing Luddites and others who felt threatened by this new world.

In the second half of the book, Zakaria details the revolutions that have convulsed our times: globalization in overdrive, digital transformation, the rise of identity politics, and the return of great power politics with a vengeful Russia and an ascendant China. Vladimir Putin and Xi Jinping see a world upended by liberalism – and want to turn back the clock on democracy, women’s rights, and open societies. Even more dangerous than aggression abroad is democratic decay at home. This populist and cultural backlash that has infected the West threatens the very foundations of the world that the Enlightenment built – and that we all take too easily for granted.

The book warns us that liberalism’s great strength has been freeing people from arbitrary constraints—but its great weakness has been leaving individuals isolated, to figure out for themselves what makes for a good life. This void – the hole in the heart – can all too easily be filled by tribalism, populism, and identity politics. Today’s revolutions in technology and culture can even leave people so adrift that they turn against modernity itself.

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Komal Mistri’s Art Captures Emotions Behind Closed Doors

From getting permission to shoot in the labour rooms to experiencing empathy — when she completely forgot about the project…reports Asian Lite News

There were times she would leave her camera aside, and hold the hand of the woman in labour. The project was not important at that moment in time.

Once, a woman she had photographed during labour almost begged her – “Give my son a name”. She was initially reluctant. However, ultimately, she named him ‘Kabir’, the name she had thought would belong to her son. The mother gave her Rs 11. Multimedia artist Komal Mistri still keeps that special money in a part of her purse.

Even as New Delhi’s Latitude 28 gallery gets set to present Baroda-based Mistry’s ‘Come With Your Own Light’ chronicling unheard voices reverberating behind the closed doors of the unhinged mechanised labour room (April 12 to June 15) where in the realm of the labour room consisting of spotlighted beds and surgery tools, lies the tale of embroidered bodies, bewildered whether to feel pleasure in pain or pain in pleasure, the artist has multiple takes on the process.

From getting permission to shoot in the labour rooms to experiencing empathy — when she completely forgot about the project.

Laying on the bed, contemplating her identity, a pregnant woman wonders about her dual and frustrated state of being, Mistri tells IANS that in the three months, she spent researching and photographing labour rooms across hospitals in Gujrat, one thing became crystal clear to her – “there were no happy moments in those enclosed spaces.” That childbirth was too “mechanised.”

She is all set to present how she conceived the complex emotions and difficult stances in women’s lives, documenting the labour room processes through interventionist photographic works and found objects.

Using them as the primary element of her work to manifest collective pain and deprivation — where bottles of blood, placentas, scissors, stretchers and machines serve as symbols of the mechanised nature and almost apathetic treatment of the labouring patients, she said: “Documenting the process of childbirth has been ritualised and considered throughout civilisations as sacred and a celebratory phenomenon.”

“But what about the unspoken narratives that mark the transformation of the woman’s body and psyche, a space marked by unpredictability, vulnerability, and trust?”

Mistri added: “The exhibit delves into the possibility of forming an archive of emotions surrounding the phase of childbirth. A vast majority of women are deprived of proper medical attention and forced to push the limits of their physical capacity to complete the process. The socio-economic conditions of rural India constantly thrust women into a gender-discriminatory struggle of enduring pain beyond their limits.”

Originally from Surat, Mistri, who decided to become a painter in grade four but was not allowed to venture out of the city for training, completed her Bachelor’s degree in Commerce and worked in the stock market for two years to save money.

She recalled: “The moment I earned enough for CN College of Fine Arts in Ahmedabad, where the fee was Rs 900 per annum, I quit my job and later joined MSU Baroda for a Master’s Degree in Painting.”

Talking about how the project was conceived, she remembers that during the first year of her diploma at CN College, she realised that the female figure had to be the centre of her work.

She said: “There was a certain attraction towards objects resonating the grey areas of memory, identity and space. I primarily relate to the identities of a woman in a domestic space where she constantly struggles to alter her personality according to her responsibilities, excluding her right to a personal space.”

Also a mother to a son, she admitted that it was tough to get access to labour rooms as the ethics committees of hospitals stressed that it was a very vulnerable space.

“And that is where Umrao Singh Sher-Gil Grant for Photography, 2020came in very handy, something which helped me to articulate my project extremely well which I could present to the committees of my views,” Mistri added.

Working on this project since 2021, she spent around eight months getting all the permissions. She smiled as she said: “While there was an initial urge to capture a happy moment in a woman’s life when she is bringing another being into this world, there is more to her than just to produce…”

Someone who witnessed 42 births in the labour room for her project, Mistri remembers that often women would ask her not to take pictures. “Their expressions would tell me that all they wanted was my hand to hold tight. And I offered that, after all that was the right thing to do. The camera was left orphaned,” she explained.

The artist, who comes from a blacksmith family, insists that elaborate research is an important part of her process.

Stressing that the process of research “completes” her, and the fascination towards found objects and memory are paramount in what she produces, she added: “In this exhibition, you will see burnt glass bangles, four hundred terracotta glasses that have been smashed and put together again, paintings, and objects that I have made….we all are trying to live again, we all are putting a point across, even if it is not being heard.”

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Nepal Kalinga Literary Festival Strengthens Regional Ties

Talking about the growing number of literature festivals in the country, he feels it is a positive development, as long as they remain “neutral”…reports Asian Lite News

Ranjana Niraula, Founder, Director & Curator of the Kathmandu Kalinga Literary Festival said that Nepal’s contribution to global civilisation is significant and diverse, reflecting the country’s unique cultural heritage, natural resources, and strategic location.

The Yashaswi Prangya Pratisthan, Nepal Kalinga Literary Festival (KLF) scheduled to be held on September 7 and 8 in Nepal’s capital city will host over 400 writers from Nepal, India, Bhutan, Bangladesh, and Sri Lanka. The central theme of the festival is ‘The Gateways to Asian Art, Culture and Literature’.

KLF will also hold festivals in Sri Lanka and Indonesia this year. Likewise, Cambodia is also on the cards.

Rashmi Ranjan Parida, KLF Founder and Director stressed that the civilisational connection between Kalinga and Kathmandu inspired him to start a festival in Nepal.

“Not to mention, the strong ties between the two countries. Wherever we do a festival, the stress is on writers of that region, precisely why 300 Nepalese writers will participate. There is much diversity of language and culture in Nepal. Our effort is to make the festival inclusive,” he said.

All set to start festivals in Colombo and Bali this year onwards, Parida added: “Cambodia is also on the cards. Both Sri Lanka and Indonesia boast of strong literary traditions, and I am sure the festivals there will be received very well.”

Talking about the growing number of literature festivals in the country, he feels it is a positive development, as long as they remain “neutral”.

“Of course, they bring writers and readers in the same physical space and encourage more people to read. However, it is paramount that contemporary social issues be discussed. There should be an array of diverse voices, views and ideas. The festival must remain neutral,” added Parida.

International Booker Prize-winning author Geetanjali Shree, writers including Jerry Pinto, Sandeep Bamzai, Mrinal Pandey, Paul Sukirta Kumar, Maria Goreti, Usha Uthup, Yatindra Mishra, Gurucharan Das, Uday Prakash, Ystish Kumar, Kanishk Gupta, Rahul Soni, Ila Arun, Arundhathi Subramaniam, , Richard Mohapatra, Ranjit Rae, Haldhar Nag, Devdas Chhotray, Saroj Bala, Kedar Mishra and others from India will join the festival.

While from Nepal, poet and folklore expert Prof. Abhi Subedi, Tulasi Diwasa, Dr Jagman Gurung, Ashesh Malla, S.J.B. Rana, Bishow Parajuli, CK Lal, Rohini Rana, Dhirendra Premrishi, Dr. Usha Thakur, and Prof. Dr. Beena Paudel among others will be among the 300 writers who will join the festival.

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ICCR Marks 75th Foundation Day

A cultural programme marks the 75th Foundation Day of the Indian Council for Cultural Relations in New Delhi on April 9, 2024.

ICCR’s approach to cultural diplomacy encompasses a broad spectrum of activities aimed at reviving and strengthening international cultural relations…reports Asian Lite News

The 75th Foundation Day of the Indian Council for Cultural Relations (ICCR) was celebrated on Tuesday, marking a significant milestone in its journey of enriching India’s diplomatic relations through cultural exchanges. Established on April 9, 1950, by Maulana Abdul Kalam Azad, India’s inaugural Education Minister, ICCR has played a pivotal role in fostering mutual understanding and fostering cultural bonds between India and the global community.

The foundation of ICCR was a strategic move towards establishing India’s soft power diplomacy, acknowledging the importance of cultural relations in international diplomacy. Over the years, ICCR has evolved into a global ambassador of Indian culture, operating through its extensive network of cultural centres and diplomatic missions worldwide.

Global Cultural Initiatives

ICCR’s approach to cultural diplomacy encompasses a broad spectrum of activities aimed at reviving and strengthening international cultural relations. By running 37 Cultural Centres globally, ICCR facilitates the exchange of artistic and cultural values, thereby fostering global peace and understanding. These centres serve as hubs for cultural exchange, hosting numerous events that showcase the diversity of Indian culture.

One of the Council’s notable initiatives is the organization of international webinars and festivals that highlight India’s rich textile and artistic heritage. For instance, the “Weaving Relations: Textile Traditions” webinar, held on October 3, 2020, brought together artists and artisans from various countries to share their textile traditions, promoting a global appreciation for the craftsmanship and cultural narratives embedded in their work.

Educational and Cultural Exchange Programs

ICCR’s educational exchange programs have significantly contributed to promoting international understanding. Through scholarships and cultural exchanges, the Council has facilitated educational opportunities for foreign students in India, thereby nurturing a global network of alumni who act as ambassadors of goodwill and friendship between their home countries and India.

The ICCR offers an extensive range of over 3,000 scholarships across 21 different programs, catering to international students from more than 180 countries. Six of these programmes are funded by ICCR, while the remaining are funded by the Ministry of External Affairs (MEA) and the Ministry of Ayush.

The Council’s role in India’s external cultural relations extends to the strategic implementation of cultural diplomacy initiatives. These efforts are designed not only to showcase India’s cultural richness but also to build enduring international relationships. ICCR’s cultural events abroad, such as dance performances, music concerts, and art exhibitions, play a crucial role in projecting India’s soft power and fostering diplomatic relations.

ICCR’s Regional and Global Impact

The regional offices of ICCR across India collaborate with state governments, enhancing the domestic cultural landscape while also supporting the Council’s global mission. These partnerships facilitate the representation of India’s diverse cultural heritage on the international stage, ensuring that the cultural exchanges are reflective of the country’s rich tapestry of traditions and art forms.

The ‘Northeast Japan Caravan’ in Shillong (November 9, 2023), showcasing Judo and Karate demonstrations, is an example of how ICCR promotes cultural fusion and understanding. Such events underline the importance of cultural diplomacy in strengthening bilateral relations and enhancing people-to-people ties.

The ICCR’s sponsorship of cultural groups like the Sankalp Odishi Dance Group emphasizes the Council’s commitment to promoting Indian classical dance forms globally. Their 2023 performances in countries like Guatemala, Honduras, and El Salvador, have not only showcased the elegance and depth of Indian dance but also played a pivotal role in building cultural bridges and enhancing India’s cultural ties with these nations.

As the ICCR celebrates its 75th foundation day, its achievements in promoting India’s cultural heritage globally stand remains renowned with the enduring value of cultural diplomacy. The Council’s efforts in fostering international goodwill through cultural exchange continue to contribute significantly to India’s diplomatic endeavours, promoting a world that values cultural diversity and mutual respect. ( India News Network)

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Poonam Bhatnagar’s Solo Exhibition Arrives in Delhi

A trained textile designer, she brings a peculiar style into her work using minute strokes and a delicate palette of colours…reports Asian Lite News

Subtle yet tantalising, the paintings of Shiva, Saraswati playing the veena, a glimpse of Venice, and yesteryear’s actor Madhubala with her bewitching smile — artist Poonam Bhatnagar’s solo exhibition in the national capital will encompass all that and more.

Brushed with a delicate mix of colours, Bhatnagar’s 24 paintings under the title ‘Between Dreams’ will be exhibited at the Bikaner House from April 12 to 17.

A trained textile designer, she brings a peculiar style into her work using minute strokes and a delicate palette of colours.

“I call this ‘web cast’ — inspired by a spider’s web,” says Bhatnagar.

Preferring to work on large canvases, the artist feels she has much to say and show.

“That is why most of my works are huge,” she adds.

Preparing for this exhibition for the past two years, her painting of Saraswati is a 6×4 feet canvas showing the goddess playing the veena, while ‘Shiva Shakti’, done on a 4.5×4 feet canvas, has a three-dimensional effect, as the vertical and horizontal geometric lines merge with the squares and waves.

While she has participated in several group shows before, this is her first solo wherein through the series ‘Cityscapes’, she encapsulates her experiences of the sights of London, Venice, Zurich, and Ladakh, among other places.

In ‘Vriksha’, the artist has merged her web design style with normal brush strokes.

Bhatnagar’s ‘Pensive Portrait’ series includes portraits of yesteryear’s actors — Madhubala, Meena Kumari, Suchitra Sen, and Madhabi Mukherjee, done mostly in black and white.

Talking about the web-like design style, the artist points out, “Initially, the lines used to be thicker but now they have become finer, intricate, and ‘closer’. The style has evolved.”

Bhatnagar says the painting ‘Ladakh’ is “completely covered with webcast”, with the fine lines raised, giving it a three-dimensional effect.

“You can feel it. Photos do not really do justice to my paintings,” she adds.

Talking about the artist’s unique style, curator Uma Nair says, “Not texture, but illusion would be the right word to describe her work. Looking at her paintings in the ‘Mythos’ and ‘Cityscapes’ sections from a distance, the multiple layers create a peculiar visual experience.”

The exhibition presented by Masha Art will be inaugurated by noted filmmaker Muzaffar Ali.

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Lost New York Exhibition: A Tribute to the City’s Lost Architectural Marvels

The exhibition is on view from April 19 – September 29, 2024. To welcome the new exhibition, pay-as-you-wish Friday evenings will expand from 5–8 pm and include live vintage music and speciality “lost” cocktails during the spring and summer months…reports Asian Lite News

This spring, the New York Historical Society debuts Lost New York, a new exhibition exploring the places that once defined New York City. The exhibition invites visitors to experience the city’s lost landmarks, such as the original Penn Station, Croton Reservoir, Chinese Theater, and river bathhouses.

Throughout the exhibition, community voices bring these lost sites to life: a woman recalls attending the Old Met Opera House in 1939, a Broadway carpenter reminisces about a photograph of his father in front of the Hippodrome Theatre, and a choir director reflects upon the demolished Harlem Renaissance monument Lift Every Voice and Sing.

Curated by Wendy Nālani E. Ikemoto, vice president and chief curator of New York Historical, Lost New York showcases treasures from the Museum and Patricia D. Klingenstein Library collections and captures both the dynamism of an ever-changing city and the importance of preserving pieces of our otherwise vanishing past.

The exhibition is on view from April 19 – September 29, 2024. To welcome the new exhibition, pay-as-you-wish Friday evenings will expand from 5–8 pm and include live vintage music and speciality “lost” cocktails during the spring and summer months.

“Lost New York invites visitors to wander through the echoes of a city unfamiliar to what they know now,” said Dr. Louise Mirrer, president and CEO of New York Historical. “We’re excited to welcome visitors throughout the run of the exhibition and especially on Friday nights when the galleries will be filled with vibrant music, nostalgia, and good cheer.”

“Lost New York delves into the many and deep layers of this city. I hope visitors will delight in discovering the landmarks that once defined the places they know but also consider the serious issues, like gentrification and environmental devastation, that drove their loss and reflect upon the importance of preserving our past,” said Dr. Wendy Nālani E. Ikemoto. “It has been an honor to connect with members of our community and learn about their experiences with these lost places. Their voices enliven and personalize the exhibition and sustain the memory and meaning of these sites.”

Exhibition Highlights

Comprising more than 90 paintings, photographs, objects, and lithographs, the exhibition offers captivating glimpses into the city’s rich architectural heritage and vibrant past. Featured is Jules Crow’s vivid depiction of the Pennsylvania Station Interior in 1906, a masterful watercolour capturing the grandeur of the original Beaux-Arts masterpiece designed by McKim, Mead, and White. Opened in 1910, the building stood for only 54 years. Its demolition spurred the creation of the New York City Landmarks Preservation Commission two years later.

François Courtin’s lithograph is capturing another bygone structure displaying the grandeur of New York’s Crystal Palace during the 1853 Exhibition of the Industry of All Nations. Rising majestically in what is now Bryant Park, this architectural marvel once hosted technological wonders from across the globe, offering a glimpse into an era of innovation and boundless imagination. Steps away was the original Croton Reservoir, built to increase the city’s water supply, as depicted in an 1850 lithograph by Charles Autenrieth. Its massive Egyptian-style walls became a popular promenade spot for New Yorkers. Parts of the original stone structure can still be seen on the lower level of the New York Public Library on 42nd Street, which rose in its place.

While sign painter De La Prelette Wriley shows off his own business in the 1837 oil on wood panel, No. 7 1/2 Bowery, the painting features another antiquated hallmark of early New York—a pig roaming the streets. A low-maintenance and high-protein food staple, pigs wandered freely through the city until 1859, serving as New York’s first garbage management system by eating scraps off the streets. Showcasing another common animal of the city’s early streets, William Seaman’s 1850 oil painting Knickerbocker Stage Line Omnibus depicts New York’s first form of mass transit: large horse-drawn stagecoaches that carried about a dozen people at a time and ran along designated routes.

Complementing many of the works on display are observations from various New Yorkers sharing their memories of the places depicted. These community voices include an artist who, as an LGBTQ+ youth and aspiring artist, purchased a t-shirt from Keith Haring’s Pop Shop; a woman from a self-described multigenerational family Yankee “fandom” who remembers watching David Wells and David Cone pitch perfect games at the old Yankee Stadium; and a cultural worker who imagines the cross-cultural conversation that led Samuel Northcote to mistitle New York City’s first Chinese-language theater in his 1899 painting of it.  

Programming
Starting on May 3 and continuing every Friday through early summer, pay-as-you-wish Friday nights expand, beginning at 5 pm and lasting until 8 pm. Visitors can enjoy a live band playing classic jazz and American standards and a bar featuring classic and forgotten NYC cocktails.

On May 20, New York Times writer Brent Staples reveals the extraordinary story of Elizabeth Gloucester, who was born into slavery; as a free woman became a well-connected champion of the anti-slavery movement in the city; and owned property in Seneca Village, the Black community (featured in Lost New York) whose land New York City seized to make way for Central Park. Tickets for Elizabeth Gloucester: The Lost Story of New York’s Most Powerful Black Woman are available online. Private group tours can also be arranged throughout the exhibition.

Exhibition-themed story times will also take place on weekends for young visitors. On April 28, families can learn more about Seneca Village, the day-to-day lives of landowning Black New Yorkers, and the diverse group of people they rent to. For additional details, visit the family programs calendar.

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