The IIC Experience: A Festival of the Arts November 2015

which incorporated the names of the Sufis who are usually Mystical Evenings included in the popular list of twenty-two identified QAWWALI: Baees Khwaja ki Chaukhat: Celebrating Khwajas the Sufi Heritage of Delhi with Delhi. I enjoyed this Qawwali the most, as there was an Ustad Chand Afzal and his group element of innovation while including the names, something I 30 October. had not heard earlier. This rendition in classical style added to the magic of the evening. During the 13th and 14th centuries, Delhi became an important centre of Sufism on the world stage. After the Mongol invasions of Central Asia, a large number of Sufis, poets and scholars settled in and around Delhi. Since then, the term ‘Baees Khwaja ki Chaukhat’, threshold of Twenty Sufi Masters, has been attributed to Delhi, signifying its spiritual heritage.

The present form of Qawwali, is attributed to Hazrat Amir Khusrau, the beloved poet-disciple of Hazrat Nizamuddin Auliya. He innovated new melodies, fusing Indian, Turkish and Persian music traditions, in order to create novelty in the sama, musical assemblies, of his spiritual mentor. The Chishti Sufis remained committed to using music as a means of inducing states of spiritual ecstasy.

On the inaugural evening of the IIC experience, Qawwalis Qawwali by Ustad Chand Afzal celebrated Delhi’s rich Sufi legacy. The evening set outdoors amidst the cool evening breeze drew The second Qawwali was Hazrat Amir Khusrau’sChaap tilak a packed house. The troupe began by a soulful rendition, sab cheen li mose naina mila ke….. Probably the most popular of Baees Khwajaon ki mehfil saji hai, Dilli dulhan bani hai… Qawwali numbers, it always gets an appreciative applause from the audience. The third QawwaliYeh jo halka halka suroor hai, has been immortalised by the late Ustad Nusrat Fateh Ali Khan and is genuinely difficult for any Qawwali group to match. The fourth Qawwali Dam a Dam Mast Qalandar, is another all- time favourite. The fifth and the last Qawwali,Rang , is always the last rendition in any Sufiana mehfil, for it includes the names of some Sufis, particularly that of Hazrat Nizamuddin Auliya, to invoke their blessings.

Ustad Chand Afzal belongs to the Dilli Gharana, and has trained under its current head, Ustad Iqbal Khan. It was the first time I heard Ustad Chand Afzal, and do look forward to hearing him again. I also hope IIC offers us more such mystical evenings.

SADIA DEHLVI Qawwali 1 iic experience diary

Unseen Treasures from the Sarasvati Mahal Library EXHIBITION and TALK: India’s Best Kept Secret: Sarasvati Mahal Library, Tanjore Curator: Pradeep Chakravarthy Inauguration by Dr. Kapila Vatsyayan Collaboration: Sarasvati Mahal Library, Thanjavur 30 October-4 November Treasures of Sarasvati Mahal Library Illustrated lecture by Pradeep Chakravarthy 31 October.

A recent photographic exhibition at the IIC titled ‘India’s Best Kept Secret: Sarasvati Mahal Library, Thanjavur’ curated by Sarasvati Mahal Exhibition text on a black background. Also highly entertaining was his Pradeep Chakravarthy was an eye opening glimpse into this detailing of the list of food cooked for royal banquets (the little known collection of rare manuscripts. It was under the recipe books were part of the exhibition as well). Amongst rule of Serfoji II (1798-1833), who was an avid bibliophile, the manuscripts are delightful discoveries such as the very rare that the bulk of this collection of manuscripts was created and , which initially aroused Chakravarthy’s interest in amassed. Katharayi the collection, in which the same narrates an incident Along with the exhibition, Pradeep Chakravarthy gave an sloka from the as well as the ; insightful illustrated lecture (‘Treasures of the Sarasvati Ramayana, Mahabharata Bhagavatha and the Shabdartha Chintamani, in which reading the stanza from left to right, we read the Ramayana and from right to left, we read the story of Krishna! The Library contains more than 69,000 printed books; 49,000 manuscripts (25,000 in palm leaves) and the rest in paper; 1200 Modi documents (relating to legal and administrative documents). These have been classified according to language – Tamil, Sanskrit, European languages and Telugu. The photographs in the exhibition (shot by Satyajit and Vikram Sathyanathan) were a selection of these rare documents. There were Nayak paintings from the 16th century – a vivid and brightly coloured Hanuman with

Sarasvati Mahal Exhibition gold appliqué, paintings in the Mysore style as well as rare manuscripts from the Nayak period depicting Mahal’), filled with anecdotes not only about how he came costumes, designs and jewellery. There were Thanjavur style about the collection, but stories about each and every genre paintings done on glass as well as illustrations of Serfoji II’s contained within the Library. Starting with the Kuruvanji – an visit to Varanasi in 1820. What stood out in all these images is ancient genre in Tamil Nadu that went on to become a popular the brightness of colours, still vibrant after all these years. The form of entertainment from the 17th to 20th century – as exhibition also showcases the , well as a brief history of the rulers from that time, he detailed Chitra Ramayana Bala Kanda three painted sheets of three from the , which the other kinds of books in the collection, including those on kandas Ramayana are amongst the finest miniature paintings in the Library. Astronomy and Astrology (Shakuna Shastra); books on dance, The exhibition and lecture were but a glimpse into the rich drama and music comprising the largest collection in the collection and heritage at the Sarasvati Mahal, one which has Library; Rajamriganam, or books on medicine; illustrations of surely enthused many of its viewers to go and see the collection plants and birds and the Purush Sukta, a sacred hymn depicting for themselves. the creation of the cosmos – a rare printed book with white  NANDITA JAISHANKAR

2 diary iic experience

juxtaposing physical strength and desire, questioning the Two Diverse Exhibitions notion of the feminine. EXHIBITIONS: Portraits of Childhood by Christine Margotin Inauguration by Dr. Kapila Vatsyayan Tobick Geecke’s arresting series on street kids astonished me Collaboration: Seher by close-range shots where he depicts the violence and betrayal Young German Photographers these kids experienced due to self-neglect and by directing Curated from the Ostkreuz School of Photography, Berlin the violence against themselves. Aras Gotkens’ images had a Collaboration: Goethe Institut/ Max Mueller Bhavan distance from their subject: they were clearly in urban settings 31 October-4 November but had an underlying tone connecting them not so much with the space but our deep The Young German Photographers’ show was one of the most innermost feelings. They led striking photography shows in the city overflowing with images me organically to the dream- from the Delhi Photo Festival. Despite different subjects like works by Katharina chosen, I felt that the photographers united in an immediate Allenburg which attempted to intensity and honesty of approach. The group comprised five represent memories and were graduates of the Ostkreuz School of photography and the diffused in soft focus, like a film we had seen which ran in our heads subconsciously but could not be captured as a still.

This arts festival also had a high-spirited lively show of children’s sculptures, fabricated in fibreglass by Christine Margotin who Portraits of Childhood decided to depict the most carefree phase in our lives. Placing these life-size sculptures at the Gandhi King Plaza was spot Young German Photographers on, ingeniously converting the space into an entrancing playground. We saw laughing girls with flying ponytails, youngest, Yana Wernicke drew me in to her images with a skipping ropes and playing hopscotch or eating ice cream, as Vermeer-like lighting and mysterious portraits of women who if enjoying an afternoon in the park with their friends, as we reminded me of the Amish settlers in Pennsylvania. They walked around them relaxed and comfortable. looked like they were not quite in synchrony with today but had unflinchingly strong roots in myth and tradition. As it Margotin is a French chemical engineer living in Delhi and turned out, these were Sorb settlers in Germany creating a she has been working as a sculptor on themes like childhood, dialogue on national identity. Enmeshed with these portraits waterside, Indian roads and spirituality. Her sculptures are were Katarzyna Mazur’s powerful images of women from a realistic but their forte lies in their spontaneity and lack of fighting club, which had a seductive duality to them, deftly restraint. The moulding of one such sculpture called ‘ the little street acrobat’ is unusually fluid, making the material seem softer, more like rubber than fibreglass and there is no paint or colour on it to distract the eye from its flowing contours.

There were mostly happy action-based sculptures, children splashing in puddles or blowing soap bubbles but some reminded you of the more stressful aspects of childhood. My favourite was that of a boy throwing a tantrum with his little head bent all the way back, arms stretched tight and mouth wide open in a churlish holler, reminding us that we can all, given half the chance be quite uncharitable and have a blow- out in a fit of not so childish pique!  SABA HASAN Young German Photographers 3 iic experience diary

from Delhi, Baroda and Santiniketan, while Anand Moy Paradox and Strength Banerji acknowledged the absence of ace printmaker Jyoti EXHIBITION: Print making and Anupam Sud Bhatt, and Sud’s students Shukla Sawant and Subba Rao. Curated by Dolly Narang and Ananda Moy Banerji Inauguration by Air Marshal Naresh Verma 31 October to 8 November With the overpowering presence of bodies, female and male, it would be simplistic to call Sud a feminist artist. She looks Here is a show, more a tribute to the printmaking community’s at the human condition in the round witnessing the dark self-affirmation than the placing in context of one of its most realities of society, the power of hierarchy; frank lust, but also eminent practitioners. To the extent that curator Dolly Narang’s companionship, and master craftsman and portraitist that she wish that printmaking - Art’s stepchild - step up and demand to is, captures it all. Sud made it a point to describe on the day be loved and counted, the show succeeds. It also ensures with a of the opening , one of her celebrated Dialogue series where video loop and a display of stages of etching; we never think of two women clothed as it were merely in their bodies, sit in an printmaking without the backbreaking work with metals and interior space, ‘ there was this woman who was going through health-consuming chemicals that is traditionally involved. a very difficult time and she used to just come and sit in my studio, silently and felt she received a lot by just doing that.’ She cheerfully offers ‘Maybe I am a freak’, making the difference between sensuousness and sexuality. Quoting a critic who

Anupam Sud Exhibition From a reproduction of Anupam Sud’s 1962 linocuts through her well-known You, Apparition to her signature works that are odes to sensuous, energetic bodies in Dialogue, Draupadi’s Anupam Sud Exhibition vow, Aqua Pura, and Voyage II, Sud ’s presence is towering and asked her if her human figures were nude or naked she said that individualised and unique. From the community, there are big for her these were bodies. Could one add ‘our way of being in and bigger names including the late Surinder Chadha of Group the world’? 8 of which Sud was the youngest, Rajan Fulari, Dattatreya Apte Between the shock of her first ‘life study’ and the Slade and Kavita Nayar, Vijay Bagodi, Krishan Ahuja and Ajit Seal. School of Fine Art, Sud formed a lifelong commitment to The show closes with the fanfare of the greats: the utter beauty the Renaissance rediscovery of the beauty of the body which of P. D. Dhumal; Sanat Kar’s nimble touch; the complex instead of being relegated to preparatory work for other forms surfaces of Jagmohan Chopra, Sud’s teacher and moving force is highlighted and located in ‘an instinctive modernism’ as of Group 8, Gayatri Sinha calls it. Somnath Hore’s lyrical If Sud creates the dramatic Draupadi’s Vow taut body and a mass Mithuna and of hair, in The First Call a man stands with his palms against the Lalu Prasad glass panes of a narrow vertical window that separates us from Shaw. In all, him, indistinct carvings above his head - we wonder whether the work are we in a room or is he ? In the strokes over his right is a hint of over 25 of wings, is he a messenger? Or a prophet? Is he calling to us printmakers or is he being called? This is the paradox and the strength of was drawn Anupam Sud. Anupam Sud Exhibition  PUNAM ZUTSHI

4 diary iic experience

in Chintamani, was composed and sung triumphantly by A Taste of Thanjavur that vaggeyakara in a musical duel with Bobbili Keshavayya. PERFORMANCE: From Thanjavur, with Music Carnatic Vocal presented by Sikkil C. Gurucharan, The medium tempo rendition was not as majestic as K.V. grandson of Sikkil Kunjumani, disciple of Naranaswamy’s and M.S.Subbulakshmi’s slow ones, and a Shri S. Gnanaskandan few pathantara differences were evident, though Gurucharan Accompanists: V Sanjeev on violin; and Mannarkoil J. Balaji otherwise reminds this reviewer a lot of Naranaswamy for his on Mridangam melodiousness, classicism, restraint and balance, with a little November 1 added shariram thrown in.

Gurucharan’s pleasingly dulcet voice was always reminiscent He provided fascinating glimpses of the Thanjavur kings’ of his grandmother’s flute, but his maturing as an artist is musical prowess, with Shahaji Maharaja’s rare Madhyamavati deeply satisfying. His articulate introductions and mellifluous padam being next. His intervening remarks partly vindicated Ariyakudi Ramanuja Iyengar’s concert format, now being criticised by some, and amid questioning of the relevance of sahitya in compositions, Gurucharan interestingly chose to translate the meaning of some pieces. Dikshitar’s Abhayamba in Kalyani was introduced with references to Goddess Abhayambika of Mayiladudurai, highlighting the role of sacred geography in Dikshitar’s kritis, which are descriptive rather than being plaints or supplications. Interestingly, this is one of his vibhakti kritis, pieces composed in Sanskrit’s seven declensional cases. The rendition showcased Gurucharan’s vocal stamina and flowingalapanai style. Balaji’s mridangam taniavartanam too was a good one. Vedanayagam Sastriyar’s lilting Bethlehem Karnataka Vocal Kuravanji, which followed, was a lovely illustration music conveyed Thanjavur’s musical history and a Carnatic of Carnatic music’s religious and cultural diversity, with its concert’s structural complexity well. Thanjavur courtChristian composer as well as King Serfoji learning Western musician Pacchimiriam Adiyappaiyer’s pioneering Bhairavi music from the missionary Christian Frederick Schwarz. The is a popular opener and Gurucharan ata tala varnam Viriboni Maratha rulers also brought the abhang to the South, which in rendered the complex proficiently. Annai –Ayya’s varnam Ni turn led to the rise of bhajana sabhas; Tukaram’s varkari abhang in , one of the earliest Kinta Parakaa Mayamalavagaula kritis Baare Panduranga in Maand was thus appropriately followed composed, gave glimpses of his in the manodharma neraval by Thyagaraja’sbhajana Pahi Kalyanarama. Drawing from line kanna tandri talli. We learnt that neravals, improvisational Pradeep Chakravarty’s Sarasvati Mahal manuscript research, lines within set pieces, dated from shortly before the Thanjavur he then sang a rare tevaram in Ahiri. Santatam Pahimam, kings, and that the next piece, Syama Sastri’s Devi Brova inspired by Dikshitar’s listening to British bands playing God Save the King, and the Gatanakutuhalam English Note Swaram after it were pleasant continuations of the compositional diversity. The latter saw Gurucharan execute a nice littlebhriga . Thanjavur Chinnayya’sthillana brought in references to the Thanjavur Quartet’s influence on Bharatanatyam. The Vellai Pillaiyar piece after this was another rare offering, as was the unusual Surati Mangalam Vijayaraghava Swami Menmelum Va h i , segueing into Bharatiyar’s Vazhiya Sentamil and closing with his Vande Mataram. Altogether a rich experience in the IIC Experience.  MAHADEVAN RAMASWAMY

Karnataka Vocal 5 iic experience diary

Fountain Lawn with an open-air stage clothed in complete Kathakali Alive black and a well-lit brass lamp that illuminated the dark night, PERFORMANCE: Duryodhana Vadham a perfect ambience for a Kathakali presentation. Presented by Guru Sadanam Balakrishnan and artists from the International Centre for Kathakali, New Delhi Collaboration: Sangeet Natak Akademi Kathakali, the unique classical dance-drama of Kerala evolved 1 November from Krishnattam and Ramanattam, and had been greatly influenced by other art forms of Kerala like theKoodiyattam, Kathakali, in the past, was always staged within the precincts Mudiyettu (2nd cent C.E.) and Kalari Payettu (the martial of the Kerala Temples. The performance which began at night art of Kerala). The present form of Kathakali emerged continued until dawn the next day. A huge lamp lit the ground from Ramanattam (17th C.E.) which included plays from which was the performing stage with darkness as its backdrop. Ramayana composed by the Raja of Kottarakara. Following The actors with golden headgear and elaborate make up and this pioneering contribution, the Raja of Kottayam wrote four costumes appeared like supernatural beings through the plays based on episodes from the Mahabharata. darkness, performed in the space illuminated by the lamp and disappeared once again into the darkness. ‘Duryodhana Vadham’ composed by Vyasakara Aryan Narayanan Moosad, is one of the most popular Kathakali plays enjoyed equally by the initiated as well as the lay audience. The reason for this extraordinary popularity are the several dramatic situations encompassing all types of characters, Paccha (Pandavas, Krishna), Kathi (Duryodhana), Thadi (Dussasana), Minnukku (Draupadi, Brahmin) and the emotive sentiments that went with each character and situation.

The Kathakali presentation of the episode was a glimpse into the whole story of the Mahabharata, which began with the game of dice between the Pandavas and the Kathakali Karuravas, the former losing their A similar ambience was provided by the IIC with a beautiful kingdom and becoming slaves; the humiliation of Draupadi; floral decoration of a Kathakali mask at the entrance to the the exile of the Pandavas for thirteen years; Draupadi’s lament to Krishna; Krishna seeking the return of the kingdom to the Pandavas, and finally the slaying of Dussasana by Raudra Bhima .The episode which generally takes a minimum of three to four hours, shortened to the given time slot of ninety minutes, was a challenging task for Guru Balakrishnan who edited the scenes with great sensitivity. The veteran actors, in spite of the given constraints of time, enacted with great aplomb. The vocal and percussion accompaniment provided adequate support in heightening the dramatic performance of each actor. On the whole, the evening was a fulfilling experience which left all fully satisfied.  DEEPTI OMCHERRY BHALLA

Kathakali 6 diary iic experience

Remembering Don Quixote are his family members. Once, he helps to liberate convicts THEATRE: Don Quixote and His Epoch: Waiting for Quixote from custody and in return gets mercilessly beaten by them. Presented by Yellowcat Theatre Invariably, in every encounter he is beaten, humiliated and Director: Sukesh Arora insulted. Sancho also meets the same fate. Collaboration: Cervantes Institute, New Delhi 2 November

Written by Cervantes, Don Quixote is a Spanish novel published in 1605 which is considered one of the four greatest novels ever written. The protagonist in the novel is Don Quixote who reads fictional works about chivalry most of the time. Completely divorced from the real world, Don Quixote assumes the role of a knight-errant to fight against forces responsible for injustice in the world. Losing his rationality, he sets out in the wide world with a sword and a horse, combating those he thought to be the oppressors. Don Quixote and His Epoch: Waiting For Quixote is an effort to capture his adventures that made him the butt of ridicule. Don Quixote The two-member skilled cast offered the audience delightful Indeed, to adapt Don Quixote to the theatre for the modern moments, irresistibly drawing its attention to the action on audience is a most creative challenge. Over four centuries, the the stage. novel continues to fascinate readers. During the fight of the revolutionary bourgeoisie against feudalism and aristocracy, they used the character of Don Quixote as an object of ridicule, illustrating that the days of chivalry were over. The character also stresses the historical lesson that the world cannot be changed by naïve idealism and romanticism-this is the message for the modern audience. Arora’s production does not explore the political and philosophical layers of a celebrated classic.

Don Quixote Adapted and directed by Sukesh Arora, the play opens on a bare stage with minimal properties. We watch a performer on the stage with a bare chest. He appears to be charged with a strong motive to change the world. Another performer playing the role of a simple ‘family man’ joins him. A mock ceremony is performed and the first performer is declared knight-errant who offers the simple ‘family man’ governorship of an island. They both march to change the Don Quixote world and punish the wicked. As Don Quixote is under a Piyush Kumar as Sancho Panza and Gandharv Dewan delusion, real objects appear before him as dreaded enemies as Don Quixote gave creditable performances, bringing of the people and he starts fighting with them. Once when naivety and romantic idealism to the fore. Sancho Panza, his companion, offers him meat to eat and after eating the meat, he is told by Sancho that the meat he ate  DIWAN SINGH BAJELI was that of a horse, he becomes furious and says that horses 7 iic experience diary

of the Sergio Mendes favourite Mas que nada and Beatles An Eclectic Repertoire evergreens such as Yesterday and Money Can’t Buy Me Love. JAZZ CONCERT: Presented by the Chrystal Farrell Ensemble from Goa 31 October

Jazz has been a part of the IIC Experience for almost each year of the Festival’s existence, and 2015 was no exception. This time, we were treated to the music of the Chrystal Farrell Ensemble from Goa, with Chrystal herself leading the vocals; Sancho Menezes on keyboard; Joe Ferrao (bass guitar); Joaquim D’Souza (saxophone); and Bosco D’Souza (percussion). Veteran musicians all; and, as the programme promised, it was an eclectic repertoire that they performed, with ‘a few jazz standards, new age swing and post-modern jazz grooves, with a dash of funk-laden originals.’ Jazz Concert But perhaps it was the change to a faster beat that dictated In fact, Chrystal’s smoky voice is ideally suited to jazz and she the tempo for the Gershwin classic Summertime, a song sung gave us some great moments of scat singing. And – though by every singer of note such as Dorothy Dandridge, Sarah comparisons are odious – her spirited rendition of Fever had Vaughn, Ella Fitzgerald and so on. Alas, what should have been the same seductive vigour of Peggy Lee’s rendition. The jazz an aria to the sultry languor of the season in the deep South standard, Lullaby of Birdland, is so rarely performed that became just another bouncy song where nuance gave way to listening to it was sheer pleasure, as was an instrumental interlude tempo. A pity, because the qualities of Chrystal’s voice seem which gave especially Joe and Joaquim the chance to do their to be tailor-made for this very song. But that said, it was an thing on bass guitar and saxophone respectively. The repertoire enjoyable concert overall. was quite heavy on the pop component as well, with renditions  ASHARANI MATHUR

Playful not Baroque that the former can also be plucked by the thumb of the left PERFORMANCE: Concert of Baroque Music hand. Presented by the Haydn Baryton Trio, Budapest Collaboration: Hungarian Information and Cultural Centre That this long-extinct instrument has been revived in the 3 November 20th century is almost entirely due to the fact that one great composer, Joseph Haydn, was ordered to write hundreds of The Haydn Barytontrio of Budapest made a very welcome works for it by his employer, Prince Nikolaus Esterhazy, an reappearance during the IIC Experience in a charming al fresco accomplished performer on this esoteric instrument. concert held in the Fountain Lawns. All three musicians – Jozsef Spengler on the viola, Andras Kaszanytzky on the cello The concert opened and closed with works by Haydn. In and the leader and moving spirit behind the ensemble, Balazs between, there were short works by musicians from the Kakuk on the baryton – were in fine form, despite the slight Esterhazy circle: Anton Neumann, Luigi Tomasini and hint of dew in the evening air, which can play havoc with Andreas Lidl. Arrangements of a movement from a Mozart stringed instruments. Divertimento originally written for three basset horns and a scherzo from a String Trio by Beethoven provided some The baryton is a musical contrast. A curiosity was an arrangement of three short vocal curiosity. It is essentially movements written by Prince Nikolaus’ ancestor, Prince Paul I a six or seven-stringed Esterhazy. bowed string instrument, but with an additional set The music was light and easy upon the ears, as it was intended of resonating strings set to be by the composers. The performances were executed with beneath the main strings, appropriate period spirit and charm. This was not baroque the unique aspect being music, as labelled, but playful music of the classical period, Concert of Baroque Music which delighted all who were present.  SUNIT TANDON 8 diary iic experience

Mahabharata- A Look Back DANCE DRAMA: Ateetki Parchhaiyan Director: Dr. Shama Bhate 4 November

Ateet Ki Parchaiyan a look back on the Mahabharata war by its main players, conceived and put together by Pune’s Kathak artiste Shama Bhate under her school Nad-roop, had each character cast in a different dance style. The impressive crew of well-established dancers, well-chosen, in individual scenes went through powerfully emotive enactments to music, traditionally linked with each form. Simultaneity of time sometimes saw the reflection combined with a shadow-like enactment of the scene Ateetki Parchhaiyan , behind a net curtain. Karna’s birth, and the tragic aftermath of being relegated to being the Suta putra were most powerful, accompanied Rakesh Saibabu with his Chhau group was a revelation, by sensitive music. The subtleabhinaya tones of the Kunti/ making a powerful Duryodhana dancing to special drums Gandhari scene played by Vyjayanti Kashi (Kuchipudi) and and piped music. As Karna, Vaibhav Arekar’s designing of Gopika Varma (Mohiniattam) was another winner. In the his group and solo Bharatanatyam sequences, reflecting on Kathakali medium, Bheeshma’s role by Dr. Kannan provided a striking contrast to the Odissi softness of the agonising Yudhisthira played by Ramli Ibrahim. In the role of Draupadi was Shama’s own disciple Ameena Patankar.

Shama’s overall direction deserves kudos for the well-designed costumes – suggestive without being needlessly ornate, and for integrating so many established artists without ego hassles. To make an uninterrupted flowing narrative sans constant curtain closures, and abrupt transitions through so many forms of music that the choreographer used as symbolic curtains, twinkling Kathak twirls of her disciples traversing one end of the stage to the other in electric flashes of energy after Ateetki Parchhaiyan each scene; though the nondescript music for this link, with some kind of declamatory piped sounds, seemed overloud and jarringly strident. And also an hour and forty minutes of non-stop action required editing some scenes-like the second appearance of Kunti and then Gandhari, which did not add anything to the action. So also the déjà vu of the opening Dice scene could be cut. The too long-drawn finale lost impact. Lower decibel levels and editing would make the commentary more unobtrusive.  Ateetki Parchhaiyan LEELA VENKATARAMAN

9 iic experience diary

handsomely for it. A touching film which normally should not Kaleidoscope of Comedy qualify for inclusion in a selection for When Comedy is King. FILM FESTIVAL: When Comedy is King or more appropriately as titled in the original 31 October to 4 November Daydreaming Italian version as Dreaming of Glory (Sogni di gloria) is set in ‘When Comedy is King ‘, a part of the IIC Experience 2015, Italy, portraying the parallel lives of two youngsters, one Italian revived several well-known comedies produced over the and one Chinese, both in great uncertainty about their future. last 80 years in different parts of the world. It began with Their paths converge at the end at a graveyard. the inimitable Laurel and Hardy in Sons of the Desert as two Coming back to comic films,Buck Privates, a war film made in neighbours trying to outwit their wives and ending up being 1941, comes off as a light-hearted look at men in uniform. It outwitted themselves. Soul Kitchen, a German film on a more gave the United States a reason to laugh as it was still coming sombre note, centres on Zinos, a disorganised restauranteur and out of the Depression. French Minister or Quai d’Orsay, a comedy of political protocol and manners, seen through the eyes of Arthur, a young script writer for the minister’s speeches, reminds one of the British Yes Minister. Go for Zucker is probably the first German-Jewish comedy made in Germany before World War II. Samuel, an Orthodox Jew, unlike his brother Zucker who isn’t in the least religious, and his family arrive at Zucker’s home for a week of mourning. The brothers, diametrically opposed in their views and not even on talking terms for quite a while,

Daydreaming end up overcoming their owner of Soul Kitchen. Initially depressed over the departure religious differences, though it does take a relative’s will to of his girlfriend, Nadine, for Shanghai, Zinos decides to hand make it happen. over the restaurant to his outlawed brother and join her. But he changes his mind, hires a good new chef, acquires culinary The cinematic part of the IIC Experience ends withThe Party, skills from him and has a fun time with him and the clients, a boisterous film where an Indian, Hrundi Bakshi, played by who, initially opposed to health food, soon start savouring it. Peter Sellers, is initially depicted as very gauche, unable to The addition of aphrodisiac in the meals by the two chefs add mingle with the European guests at a bourgeois Hollywood to the hilarity. party. Banned for a while in India for being racist, this film actually provokes contempt not for Bakshi, but for the hosts The JapaneseAdrift in Tokyo is a long walk by two men, one of the party who view Indians like him with superciliousness. a debt-ridden young student and the other a middle-aged Bakshi is befriended by a French woman Michèle Monet and gangster, across the city of Tokyo. Fukuhara, the gangster, together they make a strong argument for the liberating joys of has accidentally killed his wife and before giving himself up to disorder. To enhance the effect, the film brings some hippies the police at the other end of town, has a nostalgic feeling and and a baby elephant right into the very snooty bourgeois party. wants to revisit the places he had frequented with his wife. He asks Fumiya, a student for company and even offers to pay him  SWATI DASGUPTA

10

iic experience diary Reg. No. 28936/77

Dr. Kiran Bhushi, a specialist on the coastal food of Andhra, prepared An Array of Dishes dishes from the west coast of India, namely Malabar and Mangalore CUISINE: Food Festival as a fitting end to the drama of a Kathakali performance. 30 October to 4 November

As is the tradition, each evening of the IIC Experience closes with a special dinner. The cuisine served, as usual, complemented the performance.

This year the opening night of BaeesKhwaja ke Chaukhat - Celebrating the Sufi Heritage of Delhi and the closing show, Ateet ki Parchayen, based on the Mahabharata presented a challenge to all those who plan menus. Luckily, two courageous chefs/food writers- Babso Kanwar and Pushpesh Pant created unique menus that drew upon the specialities of a variety of Sufi shrines from India and abroad Food Festival for the first programme and for the other, dishes associated with the The performance of Spain’s well-loved classic,Don Quixote, was characters and regions of the Mahabharata. The result, a daring and complemented by Chef Nuria Rodriguez Parra’s Spain on a Plate. A eclectic mix. fine array of classic Spanish dishes were prepared by Nuria, the owner of two very successful Spanish restaurants in Delhi. The concert by With the Chrystal Farrell’s Jazz Concert, we had a fine selection of the Haydn Baryton Trio of Budapest was followed by A Taste of dishes from France, prepared by the IIC’s chef, Vijay Thukral. The Hungary, prepared by the Ambassador of Hungary’s chef, Jai Kumar. kitchen, under his supervision, was also in charge of Thanjavur on a The food festival was extremely popular -- the kitchen although Plate - Recipes from Serfoji II’s kitchen. This 19th century manuscript overworked by the demand, can now bask in the afterglow of well- from the Sarasvati Mahal Library belonged to Serfoji II and the deserved accolades. cuisine that evolved was a Maratha rendition of Mughlai cuisine with  PREMOLA GHOSE a strong overlay of Tamil spices and flavours.

The Experience of Zubin Mehta Israel Philharmonic Orchestra. BOOK DISCUSSION: The Score of My Life by Zubin Mehta It was a rare occasion to hear him speak, for a change, when Guest of Honour: Shri Soli J. Sorabjee Barkha Dutt in conversation with the maestro the India International Centre organised his conversation with Collaboration: IIC and Roli Books Barkha Dutt during the IIC Experience in collaboration with 31 October Roli Books that had brought out a paperback edition of his biography Zubin Mehta: The Score Of My Life. Mehta spoke The IIC Experience, this year, offered the unique opportunity about his early years in Bombay and his awareness of what to meet Zubin Mehta, one of the most celebrated conductors is going around from an early age. He also talked about how in the world. Born in Bombay in 1936, he joined the Music important the Kashmir concert was for him because it got him Academy in Vienna in 1954 and studied music under illustrious some solace from the nagging feeling that he had done nothing teachers like Hans Swarowsky. He conducted the Berlin and in his own country. When asked whether the conductor is a Vienna Philharmonic Orchestras and became the Director dictator, he replied ‘in a way, but a benevolent one.’ Mehta also of the Montreal Symphony Orchestra at the age of twenty- spoke about many relevant issues and most candidly. five. He has worked with top-class international orchestras and with excellent instrumentalists and opera stars of the past There was a long line of his fans for him to sign the book after several decades. He was the Music Director of the National the conversations concluded and he obliged each and every Theatre, Munich for eight years and is the Chief Conductor of one.  the Maggio Musicale in Florence and the Music Director of the MANJARI SINHA

The issue of the Diary has been assembled and edited by Omita Goyal, Chief Editor; Ritu Singh, Deputy Editor; Rachna Joshi, Senior Asstt. Editor. Published by Ravinder Datta, for the India International Centre, 40, Max Mueller Marg, Lodhi Estate, New Delhi - 110 003, Ph.: 24619431. Designed and printed by Lustra Print Process Pvt. Ltd., A84/2 Naraina Industrial Area, Phase-I New Delhi.

12