A new fashion label emerges with the thought that the beauty of this world lies in the symphony of juxtaposed elements — calm and chaos; light and darkness; black and white. Allowing these elements to co-exist without putting them into boxes of convenience is where the brand ‘No Grey Area’ aims to create a sense of wonder.
It tries to create a world that embodies and mirrors a society which looks to the future with positivity, transforming the grey into the known. The brand aims to create an authentic narrative, by fusing Western aesthetics and the traditional pillars from the East to create a modernised Indian design aesthetic, where contemporary luxury comes together with the street.
Men, there’s a new fashion label on the block.
Founded by Arnav Malhotra, a 25-year-old Business graduate from the University of Exeter, whose playground and training in the business of fashion has been at his family-run multi-designer concept store, Evoluzione. The main inspiration behind the brand came is New York City’s counter-culture, rule-bending fashion trends that emerged at a grassroots level which was unabashedly based on individualism, rather than focusing solely on current fashion trends.
Speaking about the launch of his label, Malhotra says, “We wanted to create a brand that explored the grey’ and spurred conversations about real points of interest. One that transcends materialistic clothing and tell stories that start conversations we are not here to preach and tell people what to think. The brand name is meant to be ironic. It is an oxymoron of itself. We want everyone to enter the grey, for there to be ‘NO GREY AREA’.
Men, there’s a new fashion label on the block.
The collection retails starting at Rs. 4,500/- onwards and includes t-shirts, resort shirts, long shirts, polos, dhoti pants, joggers, resort pants, bundis and band-galas and bomber jackets.
Nutrition Month: Leading change in India's hinterland
Nutrition Month: Leading change in India’s hinterland
When Bihar’s Kurmaha village-based Lalmati Devi, a rural labourer from an impoverished background, attended sessions on health and nutrition through a self-help group she’s associated with, what followed was the planting of a nutri-garden — a key provision of the nutrition month (‘Poshan Mah’) to promote better nutrition — leading her to feed homegrown nutritious food to both her family and community. ‘Poshan didi’, as she came to be known, became an icon of good health achieved through nutrition, at the very grassroots level where talks of community-led health initiatives are a far cry…writes Siddhi Jain.
Leading positive nutritional change in the country’s hinterland is Jeevika, the Bihar Rural Livelihoods Promotion Society. As part of the national nutrition mission or Poshan Abhiyan that has malnutrition-free India as one of its key aims, the grassroots organisation mobilises the local villagers in different regions, to educate them, among other things, about the importance of what has come to be called ‘Poshan Ke Paanch Sutra’ that are important for maternal and child health – breastfeeding, nutritious complete meals, nutritious and diverse food for women, nutri-gardens and hygiene practices.
Often a major focus group for the government’s development communication efforts, communities in villages can help make the national nutrition mission a people’s movement, thereby accelerating India’s march towards meeting its nutrition goals and developing our human capital to its fullest potential. For a country still battling acute malnutrition in its rural parts, people-led – and more so women-led – social and behavioral change cannot be stressed enough. This positive change is only exacerbated by active contributions of Panchayati Raj Institutions in promoting better nutrition for their village health, and moving local health indicators in a positive change.
Nutrition Month: Leading change in India’s hinterland
With the convergence of people, local bodies, development organisations and government departments, a people’s movement bestows deeper responsibility and deeper-seated impact than efforts implemented in silos.
“Through Jeevika, we are trying to conduct activities both at the household and group level during. Our workers closely work with the beneficiary groups including young mothers, midwives and pregnant women, talking to them about the five sutras of nutrition. During home visits, the local workers explain to pregnant women and their families about the importance of nutritious food and what makes for a balanced meal,” Soumya, Program Manager for Health, Sanitation and Nutrition, Jeevika, Bihar, told.
Sunaina, another Bihar resident, could not feed her firstborn breast milk immediately after birth, nor could she give the child nutritious food after breastfeeding for six months. As a result, her child got malnourished. According to Jeevika, following her presence at meetings and sessions at self-help groups organised by the Society, she was much more aware during her second pregnancy.
Nutrition Month: Leading change in India’s hinterland
Along with bringing diversity in food consumption and planting a nutri-garden where she grows different foods, using her home’s toilet and getting necessary vaccination during her gestational period, ensured a healthy second child and her own well-being.
These examples show how through organised community efforts, rural India is slowly coming at par with the health and living norms that are fast becoming the standard in urban areas. For if the nation is to enter the ‘developed’ league, we must leave no one behind.
In Mumbai eatery chain, humble 'Khichdi' is haute-cuisine.
Chef Prabhakar Nagaraj
Owing to the pandemic, food consumption has become a cautious habit and people are highly conscious of what they are eating and where it is coming from.
“It has given us an opportunity to explore ways to keep food simple, nutritious and how it can be transported safely from one place to the other with limited human handling,” says Chef Prabhakar Nagaraj, Managing Partner, Elior India.
We spoke to the veteran to know about the changes being seen in kitchens in terms of safety measures, ingredients, collaborative dishes and waste management.
Excerpts:
Food safety measures taken by chefs in the kitchen
How Indian kitchens are changing. (Photo: Pixabay)
This pandemic has taken away the exoticism of food from the menu. The masses have switched to basic meals, keeping away from complexity in its preparation and the ingredients used. Food consumption has become a cautious habit and people are highly conscious of what they are eating and where it is coming from. To serve this need, we have switched to pre-packed meals with limited variety as compared to the lavish buffet spreads during the pre-Covid times. We assume that this is going to be short lived. Although this step has restricted the inclusion of the number of dishes served during every meal, safety measures are in place as this step reduces the number of human touch-points.
Food is safe when it is handled by as few people as possible and cooked close to the hour of consumption. The pandemic has given us an opportunity to explore ways to keep food simple, nutritious and how it can be transported safely from one place to the other with limited human handling. We can also use flash-cooking methods. Flash cooking involves cooking ingredients on a very high flame so that the outer surface of the ingredient gets sealed, eliminating any loss of internal juices and thus sustaining the nutritive aspects of the ingredients.
Growing importance of Indian spices in the kitchen in the times of pandemic
We are creating menus that are primarily based on local produce rather than being sourced from other states or the country at large. In the near future, we will witness many international dishes being given an Indian twist and vice versa. Our chefs are handpicked from the best hotels and we are able to translate global food trends to our cafe food with ease.
The food which is delivered is as per the requirement of the clients; even though they may all be from the same geography; they still have completely different requirements from each other. For example, consider Vegetable Au Gratin, a famous western dish where you mix vegetables with cream sauce, grate cheese and bake it in the oven. Here we have substituted cream sauce with Makhani sauce which is typically creamy and slightly sweet. You mix it to the right consistency, add grated cheese and paneer on top and gratinate it. This dish acts as Au Gratin but it actually is Veg Makhani. However, the presentation becomes completely different.
In Mumbai eatery chain, humble ‘Khichdi’ is haute-cuisine.
As Indians, we like to bite into food that tastes Indian but looks very Western. For example, if you bite into an apple pie, it may not just have apple inside; instead it may have Anjeer Badam Halwa. These are some of the innovations that can be brought into corporate cafe especially when there is a growing importance to match the taste buds of consumers in India.
The cooking process stays the same, but you need to start mapping ingredients accordingly. Once you use Anjeer Badam Halwa as a substitute ingredient for a pie filling, it should have good consistency, so that the dough doesn’t become soggy. Otherwise, the whole purpose of using different ingredients gets defeated. From an outsider’s perspective, it is just a pie until you bite into it to relish the Anjeer halwa. Indian foods can be very nutritive, though it all depends on the way you cook it.
Increase in collaborative cuisine to dish out magic on plates
Regarding collaborative cuisines, the type of clients that we cater to need us to be at our innovative best. Their profiles create an opportunity to explore the possibility to innovate, which is what differentiates us from our competitors.
The financial luxury of these clients gives us an advantage to continuously innovate and be ahead of our time when we talk about mundane menus with typical components that we hardly ever think of changing. Our chef-led model acts as an enhancer to explore any opportunity to satisfy hungry tummies.
At the same time, when we stand as a premium catering provider, we look forward to bringing a change rather than the usual food. For example, a regular Aloo Mutter Samosa can be changed into a chicken Fajita Samosa. Basically, you are using chicken which is mixed with Fajita seasoning and flavor the dough with cumin giving a Mexican twist to the Indian cuisine.
You can have a samosa of this nature, but instead of using mint chutney or Tamarind chutney, you can substitute it with Salsa. This is something which we have innovated and is the differentiating factor that we bring to the platter when it comes to cafeteria services. It is a requirement at this point in time because when you present your menu to a corporate crowd who are well travelled, they don’t want to have the same rice, dal and chapati. They look for something different and wish to explore new cuisines.
Restaurants may need to adapt to the ‘new normal’ in dining
Waste management in kitchens
This process is being mapped with our ERP (Enterprise resource planning). Whatever the food requirement for any client-site is, it comes to the ERP. Based on this, the production process is initiated, and the dispensation takes place. This is then tracked basis the sales on the site and if there is a huge difference in expected versus delivered outcomes, the on-site head is responsible for it.
A Repertoire of Culinary Experiences
By doing this, we have witnessed a tremendous reduction in food-wastage and this is something we follow as a process where ensuring minimal food wastage is concerned. This drives complete information about the quantity of production that should take place and the raw materials that need to be used in order to fulfill production. Then, requisition happens based on the raw materials where the purchase happens accordingly. So the complete end-to-end process is tightened.
Nawazuddin Siddiqui to star in Umesh Shukla’s next production
Nawazuddin Siddiqui has been roped in as the lead actor of an undisclosed project, to be backed by filmmaker Umesh Shukla.
The untitled film will be directed by Sejal Shah and penned by Bhavesh Mandalia, who has been associated with earlier projects as Shukla’s “OMG: Oh My God!”, Sudhir Mishra’s OTT release “Serious Men” and Homi Adajania’s “Angrezi Medium”.
“I am always searching for roles that are challenging and quirky, and stories which are exciting and have something to say. With this interesting group of people coming together you can expect the unexpected from us,” Nawazuddin said.
Shukla, who is known for directing films like “Oh My God” and “102 Not Out”, promised a thrilling story.
“Heroes are amongst us, we simply choose not to see them. (They are) Ordinary people who achieved the extraordinary, and who else but Nawaz to bring a story alive and make us care. This movie is heartfelt, thrilling and most importantly it will entertain you. Be prepared for a mad ride,” Shukla said.
Actor Nawazuddin Siddiqui. (File Photo: IANS)
Sejal Shah is an award-winning journalist who has directed documentaries which have won several international awards.
Talking about the upcoming project, Sejal said: “Nawaz is a director’s dream. I am absolutely thrilled and excited that he is part of my movie. He just makes everything look better and everything you want possible.”
The film is being touted as “an incredible story which you won’t believe is true”.
Kangana Ranaut completes latest schedule of 'Thalaivi'.
Kangana Ranaut completes latest schedule of ‘Thalaivi’.
Actress Kangana Ranaut has completed the latest schedule of her upcoming film Thalaivi.
Kangana took to Twitter, where she shared a new look from the film. In the monochrome picture, the actress is seen sporting a sari and her hair is tied back into a bun.
Kangana Ranaut completes latest schedule of ‘Thalaivi’.
“With the blessings of Jaya Ma we completed one more schedule of Thalaivi — the revolutionary leader. After corona many things are different but between action and before cut nothing changes. Thank you team,” she wrote.
“Thalaivi” is a biopic of late Tamil Nadu Chief Minister J. Jayalalithaa. The film will be released in Tamil, Telugu and Hindi.
Kangana Ranaut completes latest schedule of ‘Thalaivi’.
Kangana gained almost 20 kilos for her role in the film. During lockdown, she took help of her personal trainer to shed the extra kilos.
Kalyani Priyadarshan opens up on shooting sans ‘comfort crew’.
South star Kalyani Priyadarshan says she found it liberating to work on her upcoming Tamil film amidst pandemic without her comfort crew.
Recalling her experience of working in “Putham Pudhu Kaalai, an anthology of five short films, Kalyani told IANS: “The most interesting thing about it was that it was shot during the pandemic, during the lockdown when full on shoots were not happening.”
The unit followed safety measures and ensured not too many people crowded the room, said Kalyani, daughter of renowned filmmaker Priyadarshan.
“As actors, it was an interesting experience. We didn’t have hair and make-up teams or assistants and staff who are part of our comfort crew,” she said.
“A lot of times you are hesitant about stepping into a new film, and not having these people around you. The set is new and people are new. They (comfort crew) just bring the comfort blanket along with them,” she added.
But she had to let go of them due to Covid-19 concerns.
“It was very liberating. You had to take care of yourself. It was interesting to know that all of this was possible, so it was liberating for an actor. But for someone who was part of a crew, I felt it was such a crazy experience because it felt like we were in college making a short film,” said Kalyani.
In fact, shooting for the film over three days were best ones for the actress during lockdown.
“For an actor who has been working like crazy during normal period, this (lockdown) was one of the toughest things I had to go through. In fact, the three days that I shot for this film, were probably my best three days. Otherwise, I was incredibly bored. I am not used to that. I am either travelling or shooting,” she said.
Kalyani added that she enjoyed spending time with family during lockdown though missed “shoot pretty much every single day”.
“Putham Pudhu Kaalai” will premiere on Amazon Prime Video on October 16.
“OTT platforms give accessibility to a lot of people. That gives you more opportunity to show your work to more people and makes you excited about that. Right now, I don’t know who will go to a theatre to watch a film. I would, but that’s only because I am crazy about cinema. A Friday without going to a theatre didn’t exist before. But to most people, I am sure this is a much more accessible platform for films, especially for regional content,” said Kalyani.
Jewellery, an investment in sentiment. (Zoya Source: Instagram)
It has always bothered me when women refer to their costume or high fashion jewellery pieces as “junk”…writes Sujata Assomull
Style icon Jacqueline Kennedy Onassis’s three-strand faux pearl necklace purchased for around US $500 dollars was sold for over US $200,000 by Sotheby’s at an auction. While much of its perceived value came from provenance- the woman who wore it; women of style and substance such as Diane Vreeland, Audrey Hepburn and Coco Chanel knew that costume jewellery is far from junk, it’s a style statement. Investing in a beautifully made fashion accessory is like buying a good handbag – it can last you a lifetime.
Even though I am the proud granddaughter of a Mumbai based fine jeweller, I have always mixed my fine pieces with fashion jewellery, it just looks more effortless. At my own wedding, my diamond bangles were combined with metal bangles.
It’s bling not junk!. (Photo: Pixabay)
So when “India-Proud” fashion jewellery brands, Isharaya asked me to moderate a webinar with art historian, author and jewellery expert, Dr Usha Balakrishnan, one of my first questions to her was about India’s cultural heritage with costume jewellery. I wanted to know why so many Indian women refer to costume jewellery as junk’.
“If you go back in history, jewellery in ancient times was in fact made from items we may refer to as junk such as steel, beads and feather,” she said. It seems junk and not precious materials was the basis for jewellery, perhaps this explains where the term “junk jewellery stems from. Dr Usha added, “Costume is precious, Junk is important.”
That is so true, yes of course fine jewellery is an investment buy-and why it was given to women at marriage times was for its economic value; it was their safety net. But in contemporary dressing, jewellery is about more than just cost, it is also about how it makes you feel. I still own the first Chanel faux pearl strand bought with money saved up from a part-time job. My first boyfriend bought me a pair of Butler & Wilson faux pearl button earrings-something I kept for years and wore with as much pride as my diamond solitaires.
There is more to jewellery than adornment, status and cost-it really is about your connection to the piece, the story it tells and its craftsmanship. I have always found it very pretentious when a woman declares, “I am allergic to fake jewellery”. Of course, many people are allergic to certain metals and it is best for them to avoid fashion jewellery. By the way, if you have a nickel allergy then even keys will give you a reaction (And how come no ever says I am allergic to keys?).
Good quality costume jewellery should be made in brass, and then it will last a lifetime. Isharya uses hypoallergenic nickel-free brass which is then plated with high micron gold. Steel is another great option (a material handcrafted jewellery brand En Inde uses often), for silver, there are so many options in India (Tribe by Amrapali is my go) and Deepa Gurnani uses handcrafted textile techniques for their pieces. So there are many options for those who do have allergies.
And honestly, there is nothing like a piece of beautiful bling to add a touch of glamour into your life. Something we all need now-so even if it’s not made of precious materials let us never call our jewellery pieces “junk”.
A trained engineer who went to IIM Calcutta, and after a decade long corporate career decided to pause and gift herself some “me time”, not to mention a Creative Writing course in the US later — author Manreet Sodhi Someshwar, whose latest “Girls and the City”, published by HarperCollins India recently hit the stands, has vivid memories of that break during which she wrote her first book…writes Sukant Deepak.
“My husband and I were in Singapore that time, and I couldn’t help but think of my home in Ferozepur. Memories flooded back in. To make sense of them, I started asking questions. My research took me back in time and it was the national library, not any salon that became my haunt. Seven years later, I had a book, my first: ‘The Long Walk Home’,” says the author who now has six books to her credit, including the Mehrunisa series and “The Radiance of a Thousand Suns”.
Talking about her latest, “Girls and the City”, set in Bengaluru, which is tale of female friendships centered on a murder mystery, a whodunit that is more of a ‘who-was-it-done-to, Someshwar reveals that she started writing it amid the #metoo movement, wanting to explore the dynamics between sex and power.
“We are somehow still reluctant to discuss sexual assault and harassment. I saw the book as a way to reignite that conversation. It explores how women navigate everyday misogyny using wit, grit and tenacity.”
Adding that women’s concerns are different from those of their male counterparts, she says, “Men write about themselves whilst women write the world.”
Recalling that when she switched gears, her writing experience was limited to powerpoint presentations, the writer says that she is a self-taught one and quite happy with the fact. “This gives me the freedom to tell the stories that I really want to. I went back to school to gift myself a like-minded community. Whilst I love my friends (class- and work-mates from my previous avatars) I do get tired of hearing: ‘So, when’s the next book coming out?’
Manreet Sodhi Someshwar.
“Now, books don’t come off factory floors… Sometimes it is such a relief to be with other folks who tussle with writing daily. That’s where being part of a Creative Writing program helps.”
For someone who started writing when she moved out of India, the distance from home gave her the perspective she needed to write. “Additionally, that provides me with a sharp prism through which to refract my experiences. Living outside of India, I have gained insights into the Indian diaspora and its varied challenges.
“I write books that I want to read which are not out there yet. It’s liberating to be in a mix of people where each one is trying to tell stories that are important to them. That has been enriching because I have learned that while every story is particular in its concerns and set, every well-told one is also universal in its theme.”
Considering she writes across genres, it is important that she reads widely, indiscriminately and regularly. “I follow every big book with a more contemporary one. The latest one was born amidst the raging #metoo campaign of 2018 and I rode that tide because there was so much that was relevant and urgent. I begin only when the compulsion to write it is stronger than not writing it,” says the author who is presently working on a Partition trilogy.
“This is an exciting time. I know it’s also a very trying time as well because a pandemic is upon us. But the pandemic is also throwing up a lot of options which perhaps nobody would have tried earlier…writes Puja Gupta.
To do a complete fashion presentation virtually is something nobody thought of in the past. To actually have the entire world as your audience and everybody has a front-row seat, I don’t think anything can get better than that,” says veteran designer JJ Valaya.
The designer launched his latest couture collection at the first-ever digital India Couture Week (ICW) and reveals, “This is a time when we need to share the joy and positive energy, to celebrate everything that is beautiful. We may not have a buoyant market, but this too shall pass, things never remain constant, life is full of ups and downs and we should celebrate the ups and learn from the lows. ‘Bursa’ is the royal nomad on a journey through time from the 13th to 17th century Ottoman empire. The opulence, the grandeur, the detail and it’s culture are part of the design story.”
JJ Valaya’s first virtual fashion show.
Valaya, who started his journey three decades ago, says “there’s no way you can replace the adrenaline rush of a show, the spectacle, the interaction between clothes and people, but adversity gives rise to opportunity. We are living in a digital era and one cannot ignore technology, the brand has to evolve with times and if the current generation is focused on screen time then that’s the new normal.”
“Being a three decade old brand has been one big adventure. Starting at a time when the industry was pretty much non existent, to a time when fashion was a buzzword and everybody is very aware of what’s happening. I think I couldn’t have wished or hoped for a better journey. From crawling to walking to stumbling to getting up, we had had many milestones, just doing everything on our own, learning from our own mistakes and growing beautifully, we’ve had a long journey of many firsts,” says the designer in the video-clip that launched his collection.
JJ Valaya’s first virtual fashion show.
He added: “What I’m really excited about today is that this is the first ever time a virtual India couture week is happening. The first time I’m showing my collection virtually. We are showing a 100 percent new collection, unlike some designers in the market. The focus is strictly on the bride and the groom, as weddings have become smaller, we are showing bridal lehengas, sarees for women and sherwani for men.”
Valaya showcased his latest line-up of wedding ensembles, inspired by the culture and arts of Turkey, “I tend to name my collection after one medieval city or the region where I’ve been inspired for. And this year’s collection is all about the magnificence of the Ottoman Empire,” he reveals.
JJ Valaya’s first virtual fashion show.
He has used burnished metallics and golds to give an antique aesthetic to the 48 pieces of lehengas, sherwanis, jackets and sarees that are embellished with Swarovski crystals, silk threads, beads, pearls and zardozi work on fabrics like silks and velvets.
Enlightening and Engaging Interview with Amish Tripathi, Director of Nehru Centre and the award-winning author of 8 books including the Shiva Trilogy, conducted by Ani Kaprekar
On 19th September, Manchester based VOICE (Vedic Organisation for Indian Culture and Education) organised an online interview with Amish Tripathi, the newly appointed director of Nehru Centre and a well-known author of several books including the Shiva Trilogy. This interview was watched live by people across many countries – UK, Europe, USA, Canada and of course India. The subject of the interview was ‘Mythology or Ancient History’ and was meant to mark the start of 10th anniversary of VOICE promoting Indian culture in the UK.
The honorary secretary, Dr Poonam Kakkar welcomed Amish Tripathi and thanked him for bringing the long-forgotten stories back to the forefront of Indian culture. The whole event was anchored by Ani Kaprekar who introduced Amish Tripathi as India’s literally pop star and India’s Tolkein, and opened the conversation with a direct question, “What is Amish Tripathi’s mission as an author? Demystifying myths, unravelling Legends or re-visiting Indian History?” Amish Tripathi explained that there was no tradition of history in ancient India as the focus was always on discovery of the Truth not on writing of history.
He reminded the audience that the Hindu civilization is the longest surviving civilization because our ancestors did not surrender. He opined that we lost more of our history in the last 70 years where we seem to have forgotten our own philosophy. When questioned about his own journey he revealed that writing of the ‘Immortals of Melluah’ brought him back to faith. He gave credit to Lord Shiva who pulled him back to faith.
In response to the question “When did Sita change from Janaki to a Warrior Princess?” raised by Dr Archna Gund, who is a medical doctor but an ardent promoter of Indian culture, the author revealed that his own research showed that ancient India was very liberal and equal society where women were not treated as weaker sex. He explained that there was no ‘lakshman rekha’ in the original Ramayan written by Valmiki it was included in later versions. In fact, there was no distinction made between male Gods and female Goddesses – they were equal.
A question was taken from the audience where it was asked why we use the term Lord to address Hindu Gods like Lord Shiva or Lord Ganesha. Amish Tripathi replied that it is the limitation of English language. Lord is often taken to mean Prabhu or Bhagwan. Professor Prinja raised a question about the gap between science and spirituality which is being created by the Indian education system where there is a distance created between science and Sanskrit, the language of our scriptures. As a result, many people do not realise that whatever has been discovered by the modern science does not contradict the teachings of the Upanishads. Amish Tripathi agreed that there remains a gap.
In the West, science emerged as a rebellion against church and religion but in the Vedic tradition science and spirituality merge. This is because the Vedic thought assumes presence of consciousness and explains relationship between matter and consciousness. There are still several questions about creation which remain unanswered by the modern science as there is no theory for everything, but it is possible in the Vedic tradition to seek that answer. We must use our own roots to discover the truth.
Abhilasha Kakkar, a trained psychologist, asked about being an Indian whilst living in the UK. Amish Tripathi’s view was that Indians are comfortable with multiple identities because they are liberal and flexible. They do not impose a straitjacket of culture. He encouraged young Indians not to be anti-UK but be a full-fledged responsible citizen of the UK. He was asked by a young viewer, Soham Bhansali if there is going to be a book on Mahabharata. Amish Tripathi said that he left many hints that there could be a series of books on Mahabharata.
On closer questioning, he revealed that writing these books have had major positive impact on his character. He has become much calmer person. His aim remains to write about ‘itihasa’ which literally translated means ‘as it happened’. We look forward to many more books from him. The event ended by the chairman of VOICE, Dr Hardik Bhansali thanking him and agreeing that voice will work with the Nehru centre to conduct activities in order to promote Indian culture to the wider audience in the UK. The event included a lucky dip for 3 listeners who won a copy of Amish Tripathis’s latest book ‘Suhaldev’.
