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sitanshi talati-parikh

sitanshi talati-parikh

Tag Archives: vervemagazine

Captured Memories

27 Monday Sep 2010

Posted by sitanshi talati-parikh in Art, Literature & Culture, Publication: Verve Magazine

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Marriage, Photography, vervemagazine

Published: Verve Magazine, Nerve, September 2010

The most ignored aspect of a wedding is the one you would ideally want to do right for posterity – the pictures! Verve looks at various options for the album

 

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Ehsaan Faridafsar’s photograph on the adjoining page has been taken from a photo essay in Verve’s iconic black-and-white issue – there is something blissfully happy and memorable about the imagery. Having a photographer willing to render the moments of the most important day in your life in a unique fashion apparently is not something everyone hankers towards. It is surprising, considering how much money is bled into the most spectacular invitations, back presents, sets, jewellery, clothes…and yet wedding photography remains the unfortunate step-child.

Mumbai-based artist, curator and gallerist, Bose Krishnamachari traces the evolution of marriage in India to the extravaganza popularised by the maharajas of yore – and in those times, posed portraiture was the norm. As canvases evolved to bulky and expensive camera film and to the digital varieties of date, the traditional form of posed imagery still remains a part of the wedding legacy. It is only rarely – and more abroad than in India – that the photojournalistic style of wedding photography is popularised, where candid shots are taken and irreverent moments captured to add a sense of realism to the wedding album.

Matthieu Foss, photography curator and gallerist (Mumbai) feels that weddings have been restricted to a more conventional and conservative form of photography when creating the family wedding album. From the point of the photographer, Foss points out, they are using this form to merely make a living, not as a creative act. While it would be interesting for a photographer to capture moments from a poignant and radically important time in someone’s life, it appears that the subject’s lack of interest in something different would naturally stem the photographer’s creativity, making it a space that is a mere commercial stepping-stone to more absorbing pastures. And if the photographer were doing something different, it may well be in the space of satire and kitsch. Foss gives the example of French artist Jean-Christian Bourcart, whose first job as a wedding photographer led to him being ‘fascinated by those moments of joy in a crude or absurd reality,’ which later defined his other distinct photo projects.

It is not unnatural to take wedding photography a step further and explore moments in the nature of fashion photography: styled shoots inspired by high-fashion glossies; think a more involved and personal version of Carrie Bradshaw in Sex and the City: The Movie snapped before her disastrous wedding in bridal fashion, documenting her pre-wedding preparations for an international fashion magazine. Many an aspiring socialite or fashionista would create a wedding album that looks like something out of the pages of a fashion magazine – to feel like the ultimate diva. Of course, this involves a good amount of post-processing of the images and possibly a touch up here and there!

At the other end of the glamour spectrum, with digital cameras and phone-cams, every other person considers himself/herself an amateur photographer, and impromptu and often unfortunately-candid shots of the wedding-in-process have been documented – much to the embarrassment of the couple-to-be. Loosely termed ‘contemporary wedding photography’, the professional version o f this irreverent clicking serves to capture the imagery of the wedding from the beginning to the end, without predetermined poses but with strong visual appeal.

While tradition is great when saying your vows or taking a turn around the fire, capturing eternal moments is an art and should be considered as such. With couples willing to give enough importance to the form, it may evolve into a universally appreciated aesthetic medium.

Pop-culture Candy

27 Monday Sep 2010

Posted by sitanshi talati-parikh in Art, Literature & Culture, Interviews (All), Interviews: The Arts, Publication: Verve Magazine

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Art and Design, Graphic Novel, Literature, Popular Culture, vervemagazine

Published: Verve Magazine, Nerve, September 2010

When Pixar animator and storyboard artist, Sanjay Patel, takes a break, he sketches Hindu deities. Check out his pop-culture illustrations of traditional Hindu marriages

 

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You see The Little Book of Hindu Deities and inevitably think kitsch, mired in the nostalgia of tradition and…cute. Flipping through it, you find yourself amused by artwork that is fresh, appealing and inoffensive; and fascinated by the information that you are, in all likelihood, quite unaware of. And of course, the illustrator’s repertoire is impressive – he is a supervising animator and storyboard artist for Pixar Animation Studios, where he has worked for the last 14 years on features that include Monsters, Inc., A Bugs Life, Toy Story 2, Ratatouille, WALL-E, The Incredibles, Toy Story 3 and CARS. He has worked on The Simpsons for Fox and also with legendary cartoonist John K. California-based Sanjay Patel sends us an illustrative self-portrait, while replying to our questions via email:

 

What brings about the interest in Hindu deities?
For a very long time I had zero interest in anything Indian. Growing up in LA with devout Hindu parents, I desperately just wanted to fit in. It was only until I felt comfortable being myself, did I begin to explore Hindu iconography.

 

Why do you illustrate deities in an irreverent pop-culture format?
To show people a contemporary view of Hindu iconography and their legends. By that I mean, a view from the perspective of someone born between two cultures – the US and India; through the lens of modernism, graphic design, and animation. And from a voice that is rooted in the pop culture of the US and is acutely aware of the relevance of Hinduism and its devotees. This is just a means of communicating with people in my age group, who are culturally disconnected, who love design and animation, who are curious about Hinduism and spirituality, and who just can’t resist something cute.

 

Do you feel nostalgia about tradition creeping in?
I can’t speak to the sense of nostalgia. For me, having an Indian name, background and face, and yet not ever having set foot on Indian soil, can lead to different longings: to have all the things that make me up coexist in creative space. So it’s been incredibly gratifying to finally bring together my passion for Disney animation with the roots of my parents’ traditions and to forge a new cultural symbol in the form of my books.

 

Is pop culture the way of life today, or is it a way to subconsciously subvert culture and tradition?
I’ve definitely used the tropes of pop culture to get a message across that culture is changing: that a person that looks Indian could be American, or that a book that looks like cartoon could actually be a visual temple. The Hindu Deities book looks like pure pop-culture candy, but will hopefully enlighten you without giving you a cavity.

 

What’s your verdict on India’s animation scene?
There is lots of animation work being done in India these days. Most of it is derivative and lacking in its inspiration. But as artists gain confidence, they will undoubtedly begin to create content that is unique. My hope is just as the animation master Hayao Miyazaki manages to tell stories that feel uniquely Japanese, maybe one day there will be Indian animators that will tell tales that feel uniquely rooted to their soil.

Of Age and Time

27 Friday Aug 2010

Posted by sitanshi talati-parikh in Art, Literature & Culture, Publication: Verve Magazine

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Alyque Padamsee, Reviews, Sabira Merchant, Theatre, vervemagazine

Published: Verve Magazine, Nerve, August 2010

It evolved from a Caucasian play to Parsi characterisation – making it appealingly familiar in the Indian context. Sitanshi Talati-Parikh goes behind the scenes, previewing The Game, an endearing two-person tragicomedy

 

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Alyque Padamsee, Sabira Merchant, Bachi Karkaria, Raell Padamsee, Sam Kerawala. Stalwarts all, come together in The Game – Bachi’s adaptation of DL Colburn’s The Gin Game and her own earlier adaptation The Rummy Game – which brings Shireen Bamboat and Fali Pastakia, two elderly inhabitants of Pallonjee Nursing Home, together for the odd game of rummy, cracking through the carefully-maintained facades of each other’s lives.

There is humour tinged with despondency, pulling you irrevocably into their lives with a sincerity that can stem merely from a convincing performance. Alyque gets reluctantly back into acting after a hiatus of 15 years, last seen in a major role playing Mohammad Ali Jinnah in Gandhi, and accepts that while “film acting is a bore, stage gives me a huge high”. When daughter Raell chose to revive The Rummy Game in the memory of the late Hosi Vasunia, he accepted the chance to play Fali, an irascible, lonely man who masks his soft nature under a cloak of crabbiness. Sabira, who along with Hosi was a part of the earlier adaptation, is a natural as the prim and petulant Shireen. Watching the preview in Alyque’s charming living room, against the backdrop of a library of books, I find their interactions unaffected and instinctive despite being in early rehearsal mode, both adept at getting into the skin of their characters.

Sabira fell in love with the award-winning DL Colburn original theatrical almost a decade ago on Broadway. “It’s so hard to find a role for an older person. There’s nothing meaty and hands-on. This is a play you can play forever. You can age with it.” That is exactly what the play’s theme is about, a very simple conversation about aging: how children grow further from their parents and how the latter deals with that change. Fali is the prime example of transferred aggression – the physical pain of growing old and the emotional angst of being alone gets transferred into his testy temperament. In between scene breaks, over bhajjias and tea, Alyque, admits that it was an easily identifiable role, “I can feel the pain in my back, I notice myself getting more short-tempered as I go along. Patience is not about the other person, it is about you. As soon as you are physically disabled, the first thing you have to overcome is impatience.” He pauses, and with an indulgent smile continues, “And for the other point, Raell, for instance, is a busy girl – I need to take an appointment to meet her.”

Sabira chimes in with feeling, “Everything that children have to do – life in general – absorbs them so much that to meet them you have to plan in advance! It’s a fact of life.” And this very issue remains her character, Shireen’s, main concern. She is a more complex character – she isn’t quite as transparent as Fali, and as the layers of her personality peel away, you realise how vulnerably human she is. And in the metaphorical interactions and altercations between Shireen and Fali, we find a hugely touching and irrevocably moving play that remains timeless and universal in its appeal.

The Game goes on stage at St. Andrews Auditorium, Bandra, Mumbai on August 21 at 7:30 pm and at NCPA, Nariman Point, Mumbai on August 22 at 6:30 pm.

Quick Bites on Theatre

Alyque: “Theatre acting is really stimulating – you get a chance to rehearse, which you don’t in films; and once you are on stage, you have a live audience – there is a kind of an electric current passing back and forth. In a comedy you can hear the laughter, but even in a serious play, you can feel the audience intensely.”

Sabira: “We weep on stage because we feel the power in the belly – not because of movie-style glycerine. There is no lying. The adrenalin is pumping and you’re not yourself – you are playing somebody else, you’re under somebody else’s skin. It’s a wonderful catharsis – I am never exhausted after a play. For me it’s like a holiday. And there’s no baggage.”

Sculpted Vision – Bharti Kher

27 Friday Aug 2010

Posted by sitanshi talati-parikh in Art, Literature & Culture, Interviews (All), Interviews: The Arts, Publication: Verve Magazine

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Art and Design, Bharti Kher, Indian Art, Interview, vervemagazine

Published: Verve Magazine, Nerve, August 2010

Bharti Kher is now considered ‘India’s top woman artist’. We catch up with the 3-time Verve Power Lister post the astounding sale of her sculpture at a recent Sotheby’s auction

 

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Her elephant sculpture, The Skin Speaks a Language Not Its Own, reportedly sold for a hefty $1.5 million, giving UK-born, India-residing Bharti Kher a permanent residence in the top echelons of artistic stardom. In a quick Q&A:

 

Artists stray from using traditional symbols of India, but you are popularising them (elephants, bindi etc) as elements with great depth.
It’s not particular to India as such, what I’m interested in is the ready-made and its transformation, and then the cliché and how it sits in our consciousness. When you use something so obvious there has to be subversion.

 

Every artist strives to have their voice heard and influence public opinion. Do you believe you’ve managed to do that?
I don’t think artists have very powerful voices, we whisper for a long time, perhaps! Maybe people will look at Indian art more, but they have been looking for a long time: this generation has had a lot of exposure already.

 

Does it bother you that Indians are not the ones purchasing the works; it is a foreign gallery/ foreign collectors?
Yes it would if it was true. Indians do buy my work but less than those from abroad…some major works left when they could have stayed.

 

Where do you believe Indian artists fall short in terms of gaining international recognition and acceptance?
Indian artists don’t fall short at all, it’s just that the world is a bit slow and needs time to catch up to them!

 

How does it feel to be one part of a successful couple in the same profession – being married to Subodh Gupta?
We are both working hard right now…we talk, we fight, nothing is easy and we are still sailing.

 

What attracts you to life-size sculpture?
It creates a relationship with the self. Scale is something I enjoy – whether I want the works to envelope you or seem fragile, so that you (the viewer) feel like a giant or an elf.

 

Since you work on each piece for a long duration – a few months at a time – do you ever feel that the idea stops mattering to you or changes?
I usually work on many works simultaneously, so none of them ever reach the same level of completion at the same time – therefore the energy is always different at each stage of a work. I have to keep my sanity!

 

Hypothetically, what do you think your career graph would look like had you remained in the UK and established yourself as an artist from there?
I can’t talk about the things that never were. Maybe I would have been a writer or a mental patient! It’s fun to think about the ‘what ifs’ and go on strange journeys with yourself.

Off With The Shirt!

17 Tuesday Aug 2010

Posted by sitanshi talati-parikh in Art, Literature & Culture, Publication: Verve Magazine

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Ayananka Bose, Bollywood, cinematography, hrithikroshan, I Hate Luv Storys, imrankhan, indiancinema, Kites, vervemagazine

Verve Magazine, Nerve, July 2010

The camera is taking a different turn – it’s moving towards the male body as an object of adulation, aspiration and desire

They are splashing half-naked men all over to tantalise the homely Indian woman.

If it wasn’t enough that Hrithik Roshan was brutally declothed and exposed to a rather heavily-breathing female audience in his latest debacle Kites, what was far more revealing was the way the camera panned his body – from the tightly-packed muscled abs and the pumping veins in his neck, to the finely chiselled face and the flaring nostrils, to the slight tensing in the taut abdomen right above where his well-fitting Calvin Klein briefs began and imagination slid downward. The camera stayed put. Our minds didn’t. It’s fun, you admit, until it becomes adulatory. Men are lovely, especially lovely men, but in all the right doses. Cameras making love to men’s bodies and the bodies responding in kind is soft porn in the making, when actually you just want a healthy dose of flashing progesterone. Sometimes, less is tantalisingly more.

Then the shy young gentleman, who we politely thought would make for interesting eye candy were he to shed his cute tees, gamely went ahead and did just that. Workouts, unpalatable food and some dedication later…catch any of the promos for his new rom-com I Hate Luv Storys? We couldn’t – we were too busy checking out gleeful aunties, pushing the prince-nez further up their haughty noses running amock, delighted with this new potential cradle-snatch, and tweens and teens knocking themselves out in a frenzy. Imran Khan, who is seen lying wantonly on a black leather sofa in nothing but slithery track pants, may have just ranked himself from ‘chocolate boy’ to ‘sexy young thing’. So despite having the very good-looking Sonam Kapoor and the sultry Bruna Abdullah in the movie, producer Karan Johar chooses to flash the body of the male factor in the promos!

Shahid Kapoor, meanwhile, tried very hard to garner some attention in Badmaash Company, as he appears more self-obsessed, but he couldn’t quite steal the attention from pretty Anushka Sharma’s new barely-clothed avatar. Women still rule the roost, but the men are out to give them some thrust for their bodies aplenty. We, the audience, just sit back and enjoy the competitive foreplay.

CARESSED BY THE CAMERA

Cinematographer Ayananka Bose, 30, director of photography (DoP) for the recently-released Kites and the upcoming I Hate Luv Storys, says:
“Male actors have never been this image conscious but then again physical appearances have never been this important in establishing a brand. Their bodies are their brand ambassadors. It not only portrays the actor with greater sex appeal but it also inspires the audience to think of their personal physique and fitness, establishing a deeper connection with the audience…often leading to adulation.

The camera is an integral extension of the DoP’s vision that is guided by the director’s requirement. You strive to make the visual look stylish, beautiful and most importantly flow within the theme of the story. This rule applies across the entire spectrum from animate and inanimate to things male and female!

If there is a perfect understanding between the director and the DoP we most often end up with an edited version that is good for both – seeing that we always shoot more than what might be needed. In my opinion, the union of a director and a DoP is much like the union of a husband and a wife.”

Laughter Club

17 Tuesday Aug 2010

Posted by sitanshi talati-parikh in Art, Literature & Culture, Interviews (All), Interviews: The Arts, Publication: Verve Magazine

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Stand-up Comedy, The Comedy Store, vervemagazine, Vir Das

Verve Magazine, Nerve, July 2010

Stand-up comedians are coming of age in a country that loves stage tamasha (real and reel), with international comedians trying their brand of humour here as well

I think I’d never really, really laughed, like laughed-until-I-nearly-peed-in-my-pants until I laughed at a hole-in-the-wall, I-look-ghetto-but-I’m-really-cool place in Greenwich Village, Manhattan. The Comedy Cellar had three hilarious men (why is it mainly men who have the balls to say horribly rude things? Is that an obvious answer, anatomically speaking?) who got away with saying incredibly offensive things to some very decent people. And some other very decent people had a major, side-splitting laugh at those other decent people. And not to forget nervous laughter, wondering if you’d be the next target.

There’s something absolutely liberating about going to watch a stand-up comic. It’s also particularly pleasing because here’s a person who’s really putting himself out there. Any other performance artiste may get polite claps, but a stand-up comic rarely ever benefits from anything polite. In the split second after he’s said his line, the laughter should come rolling in, and if it doesn’t, it’s not even a pregnant pause, it’s deeply embarrassing. To then keep going, have the courage to move right onto the next joke, to often poke fun at oneself, is something that makes the comic endearing; and if he’s one of those witty, vicious, mean ones who are just out to tear you apart (for all the times they’ve never been laughed at) it makes him someone to be feared.

Stand-up comics in India in the English language are few, but growing more every day as we discover actual comedy clubs that offer a permanent podium for the travelling comics, international comics and local ones. It is no longer about renting a space at a hotel, holding stage in an auditorium; it’s about having an identity of your own. After touring India last year, The Comedy Store has arrived at Palladium, Phoenix Mills, Mumbai, where Jo Caulfied, a female comic is performing this month, from July 8 to 11.

STAND-UP TONIC

31-year-old Vir Das has been on the comedy circuit for five years, done about 2000 acts, written his own, hosted TV shows, acted in Hindi cinema (most recently seen in Badmaash Company), started India’s first comedy rock band, Alien Chutney, and his company Wierdass Comedy has started India’s first ever open mic for amateur comedians. Early next year he will be seen in Aamir Khan Productions’ Delhi Belly.

So facing the people of the West and India…
I think the Indian audience requires a little more homework. You have to work a little harder to warm them up in the first five minutes, but once you do, they are a louder and better audience than any.

It takes a lot of courage to put yourself out there….
I am nervous before each show. You never really know how it’s going to go. My jokes are like throwing darts at a board, some of them stick and some of them end up biting you in the ass.

The three things you find really funny:
Women, women and women!

How much is improv?
Performing comedy is like cooking live. It’s hard to tell where it’s going to go; you are constantly adjusting to audiences’ laughter levels and room energies. There is a heavy amount of improvisation in my shows.

What’s the scene with international comedians coming to India?
Indians are a very seasoned comedy audience. I also think they know that every foreign comedian is not a good comedian. Therefore, when you claim to be an English comedian in India, given that everyone has mainly seen a Seinfeld, Cosby, Carlin or Murphy, the bar is bloody high.

And you wanted to be a comedian because?
Circumstance. There is a certain humour that comes with having nothing to lose. The toughest situations in my life have been the funniest. All I did was write them down.

“Books don’t end fantasies – real life does!” Interview with Rupa Gulab

26 Monday Jul 2010

Posted by sitanshi talati-parikh in Art, Literature & Culture, Interviews (All), Interviews: The Arts, Publication: Verve Magazine

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Indian Fiction, Interview, Literature, Rupa Gulab, vervemagazine

Published: Verve Magazine, Features, July 2010

Irrepressible fiction writer Rupa Gulab is back with another tale to tell, the story of 40-something Mantra who quits her job and battles everything that can possibly go wrong at that time in her life, exploring the vicissitudes of midlife crises. Sitanshi Talati Parikh in a freewheeling chat with the author

What’s fun? Writing the book or planning the book?
Planning a book is great fun. You just scribble notes while you’re lazing in bed eating chocolates and feel like you’ve accomplished a big deal! Writing a book, however, is hard work. My characters rarely act according to my plans – they’re stubborn, annoying, and insist on doing their own thing. It’s a huge struggle making them toe the line – very often, I have this overpowering urge to get them brutally murdered. Maybe I should start writing crime novels instead!

As you grow older, do your characters age with you?
That’s not strictly true. My next book after Girl Alone was for a younger target audience (Chip of the Old Blockhead) – a thirteen-year-old coming to terms with the fact that her divorced parents are falling in love with each other again – and experiencing her first crush as well. I don’t necessarily write for my own age group – I like to believe that I write for women of all ages.

Situations are not really funny when they are happening are they? But in retrospect….
Oh, I absolutely agree – everything looks better in retrospect. I always make it a point to look back with laughter. When you continue to be bitter and resentful, you need to consume gallons of antacids – and I hate, hate, hate antacids – they taste like chalk!

Do you think it really helps an average woman to read about another and find solace?
Yes it does help – particularly if you identify with the character’s problems. Why do you think chick lit always sells? Most single women enjoy reading about the trials and tribulations of other single women. You don’t feel so alone then. It’s a great comfort read. A Girl Alone fan once told me that she re-reads my book on those date-less Friday nights.

So it’s the end of fantasy for women?
Books don’t end fantasies – real life does!

Is there a greater social comment about a woman like Mantra, who feels a loss of control over her life?
I wouldn’t say that it’s a social comment. It’s just something that happens to most of us when we hit the big four-oh. That’s when you realise that almost half your life is over and the other half is not remotely attractive or promising at all: wrinkles, failing eyesight, depression and the desperate, irrational feeling that this is your very last chance to achieve what you really, really want; whether it’s your love life, career, whatever.

Mantra is placed in a higher social bracket. But a woman doesn’t become secure without basic financial trouble does she?
Money can’t buy happiness. We all learn that – sometimes the hard way.

Do you ever find the man in your stories insecure, or is it just the woman?
In my first book, Girl Alone, only the female characters were insecure. That’s because they were in their late twenties/early thirties: single, psycho and looking for love. The male characters were, as men that age usually are, rabid commitment-phobes. In The Great Depression of the 40s, all the characters are insecure about different things – including the three male characters. Vir is worried about losing his job – his stress levels are extremely high. While Karan doesn’t dissuade his wife from meeting her ex-boyfriend, he’s not exactly comfortable with it – the wily fox needs to see them interact every now and then to get a feel of the situation. And the college-going Rohan is miserable and mopey when his cool girlfriend insists on a no strings attached relationship. In the real world, everyone is insecure!

It sounds like you pretty much put into words what you are thinking….
I write exactly as I think. And the reason why I mainly do satire is because I can see through most people and situations. I have to confess that I have the most horrible, terrible nicknames for people in my head – but you can’t blame me for it because I got this from my mum. What can I say – I have lousy genes!

What do you turn, to read?
I’m a fairly eclectic reader, but I stick to fiction. Mainly humour, with a little bit of intensity every now and then. I have way too many favourite authors to list, but I must say that P.G. Wodehouse continues to be a hot favourite. He’s a great pick-me-up when I’m down. He dries tears better than Kleenex tissues.

So you’ve knocked out the 30s, 40s and the teens. What’s next?
I have two strong plots in mind – one for young adults and the other for the chick lit brigade, but I have no idea right now which one I’ll go with eventually. I just want to flake out for a bit – the characters in The Great Depression of the 40s have left me emotionally drained. I really should have killed a few of them!

THE GREAT DEPRESSION OF THE 40s
Rupa Gulab
Penguin India

Gulab’s sardonic wit hasn’t dissipated over time, in fact it has become more reined in with it’s well-crafted barbs. While you warm to the characters, and envision their lives in a midlife crisis, it helps you understand relationships and people as they change with time. The insecurities are all the same, the circumstances and decisions to deal with those insecurities vary. Gulab’s self-referencing – with her lead character attempting to write a novel and towards the end of the story reaching the idea of The Great Depression of the 40s – serves the purpose of reminding the readers that they are like one of the characters in some way, either pining for a bygone time, or harping for something out of their reach. If Gulab were to concentrate less on structured witticism, more on the depth of her characters, especially the male ones, the book would be eminently heart-warming, but would lack the punch that makes it inherently her own style. ‘Marriage ruthlessly strips away all pretences of common interests,’ is what Gulab has her protagonist thinking, and goes on to prove how fragile and yet how solid marriages can actually be. After all, as her characters prove, it is what we make of it.

Purrfect Relations

17 Saturday Jul 2010

Posted by sitanshi talati-parikh in Features & Trends, Publication: Verve Magazine, Social Chronicles

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comment, PR, priyankachopra, Trend, vervemagazine

Published in: Verve Magazine, Musings, June 2010

The woman behind or rather in front of the powerful Somebody, is a true gatekeeper: she can smile and grant you permission to interface with Somebody, or unleash the claws as you scramble to find cheese for your daily bread and butter. In the Tom & Jerry-esque melee, Sitanshi Talati-Parikh circumspectly lets a few cats out of the bag

You’d think you would be up against brawny armed guards that patrol the corridors of their high-profile clients, but you’d be surprised to discover that it takes but a wee woman to muscle her way into the upper echelons of high profile relations and become what we fondly call the ‘gateway’ to the terribly famous. These women can vary in designation from PR, personal assistants, secretaries, girl Fridays, media managers, simply managers…you name it and you will find that they exist. What’s interesting is the relationship quotient that exists between these people (gatekeepers or GKs and the Famous Person or FP), with whom the latter spend a good amount of their time – liaisoning, tantrum-throwing, exhibiting their inner idiosyncrasies and unflappable spirit. One of the biggest GKs of the movie industry is possibly Farzana, Rekha’s personal assistant of many years, without whose approval no one can get remotely near the reclusive actress.

You would imagine that the main idea of having this sort of a liaison officer is to make the FP look good – to steer FP’s eccentricities and indiscretions away from the public eye, and to keep them ‘clean’ and ‘lusted after’ as particularly perfect role models. While some GKs manage to do so quite effectively, ensuring that through major string-pulling certain delicious facts are never unearthed and exposed, others in fact, choose to use their shield to create an aura of star presence.

A glittering mirage is not always the aim, though. Actress Priyanka Chopra doesn’t come across as a diva or a star, but rather (in part due to her own personality) as a friendly, hard-working girl-next-door. Natasha Pal, chief operating officer, Vitcom Consulting, is responsible for creating a well-rounded strong brand identity for Chopra which extends to the Internet as well.

But if we go back to those with star presence, what exactly are we talking about? Busy, tut-tut, of course they are. Calendars are never free, they are always either on shoot or constantly travelling or ‘busy’ with other alarmingly important activities. Benefit of doubt given, until you read a gossip rag talking about how they are vacationing and turning down offers because they are ‘waiting for the right opportunity’. This is the lot of the GK of an FP who may not be a public favourite at the moment, but must be made to appear to be!

Entourage? Check. I mean no self-respecting FP will travel without his/her motley crew of spot boy, bodyguard, bag holder, dog walker, coffee maker, hairdresser, make-up artist, mobile-holder, companion, GK/manager(s), chauffeur and ego-panderer. But often we discover that it may not be the FP who believes in crowd-sourcing as accruement of power but actually their GKs who encourage the general view that (a) It’s best to squeeze out the favours one can (b) By throwing one’s weight about one’s star presence increases even more, in fact it solidifies it (c) What’s the point of being an FP if you don’t act like it? The others all do!

At one time, FP’s mummy would say ‘baby ke liye lassi laao’, now the GK informs you ahead of time that FP will require such-and-such items, and that the young and hearty FP cannot under any circumstances climb a flight of stairs for a shoot, or walk ten seconds under the sun (despite the FP being a person known for her athletic prowess) – therefore the most expensive and convenient locations and rooms must be chosen or she will not turn up.

Not to forget that the staff – such as a chauffeur or spot boy – will often have their own letterheads with which they invoice the third party, because if an FP is expected to come to a shoot or interview, her staff must be paid for. So very often, the FP comes for about half an hour, and her staff is paid by the third party an approximate month’s salary. With an FP going regularly on shoots and interviews (supply and demand being such), it makes you wonder if the FP takes a cut from the staff’s earnings! Of course, the GKs, hairdressers and make-up artists when travelling with the FP will want to travel with the FP – i.e. business or first class. The tab, once again, is picked up by the third party. Pal feels that not all clients have insane demands. “This is actually more an archaic myth than a present-day reality. The evaluation of a client’s requirement is subjective really – what is a necessity could be seen as an undue demand.”

While the relationship between an FP and a GK is mutually beneficial, you can never be certain who the real diva is in the relationship. Is it the FP who believes in throwing his/her weight around, or is it the GK who insists on doing it this way? Maybe the FP – getting filtered information through the GK – is quite unaware of what the GK is up to and how he/she is being represented. And maybe, the GK is the innocent victim of the FPs demands, often feeling foolish having to represent these to the outside world as diplomatically as possible.

Archana Sadanand, proprietor of Imagesmiths, who ably handles high-profile clients like Aishwarya Rai Bachchan, Akshay Kumar, Imran Khan and top production houses, admits that it is not always an easy road for a PR person: juggling the time constraints of an FP as well as the requirements of the media. “At times it can get sticky: a failed film or a bogie in an interview that needs firefighting. At other times a journo rubs a maker or a star up the wrong way. We have to find ways to mend the situation; some of these moments can be hilarious. It’s like being in cage with a tiger and hoping he won’t have you for dinner, but that’s the fun of it!”

GKs are often way busier than the FP – many who are affiliated to a professional organisation are not dedicated to one FP alone, often manage multiple FPs in one shot. Try calling a GK…actually rephrase that to try ever getting in touch with a GK. It is practically impossible, unless they believe you are someone worth talking to, or have something valuable to offer them in return. And at any point of time, if you have taken the effort to massage their ego, or made their FP happy, you may find yourself welcome with open arms (hyperbole). And lo and behold! If you ever make the mistake of having a personal equation with their FP – and manage to make inroads in the future without the GK as an intermediary, you will soon discover the strange truth in the wise words ‘…a woman scorned….’ You may never get through the GK again, you may find the GK publicly and unabashedly admonishing their FP for ever allowing a friendship to develop, and you may find that GK’s entire remaining client list banned from your access.

Don’t for a moment imagine that the FP controls the strings of this equation. There is no one stronger than the aide of a FP, as you will soon reluctantly come to realise. FPs who are afraid of being alone on travels, have begun to use their GK or their hair/make-up artist as the chaperone that Mummy once used to be, and you will find them even going to the extent of sharing a room with the person for companionship, as evidenced by a minor actress and her hair-dresser. Where at one point of time, you couldn’t get past a top businessman’s secretary until she wanted to let you through, or when the way into an FP’s heart was through that of her Mummy’s (Luck By Chance ably proved that), you find more and more that now you have to break through the tough shield of a GK.

Natasha Pal has often been considered Chopra’s girl Friday – she’s developed a strong personal equation with the actress. “In most situations, friendships do develop. But, there is always a line that we draw between the job that we have to do and the friendship that has developed. In order for us to be fully effective we also have to be brutally honest and in all professional situations the friendship is relegated to after working hours.”

Amitabh Bachchan’s long-time secretary, Rosie is the model of efficiency. Once a request has been received by her, you don’t need to go through the torturous chase of follow-ups. A legit query will always be handled and she will respond promptly.

However, there are those – Who Cannot Be Named – who have taken their role as a gatekeeper much too seriously. Possibly the power has gone to their head a bit, leading to the detriment of their own standing and that of their FP. Unfortunately for all, the demand for FPs far outweighs the supply, so we are forced to continue to play the cat-and-mouse game as long as divas are around and people remain interested in reading about them.

The Present Past

27 Sunday Jun 2010

Posted by sitanshi talati-parikh in Art, Literature & Culture, Interviews (All), Interviews: The Arts, Publication: Verve Magazine

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Art and Design, Pakistani Arts & Literature, vervemagazine

Published: Verve Magazine, Nerve, June 2010

Risham Syed is an artist who understands the influence of history in contemporary life, and expresses it through her often ironic and provoking tableaux. Sitanshi Talati-Parikh explores her intent and thought

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Lahore-based Risham Syed stages provocative set pieces by juxtaposing the power of the past with symbols of contemporary Pakistani society. She paints art, historical images or even photographic images in acrylic, which is essentially plastic. Paintings are turned into objects and ‘conceptual pieces’. There is a very strong influence of power play in the mise-en-scene of installation art and the placement of objects. Domestic objects are used to talk about her experience of living in a society “which imposes certain roles on (men and) women who in turn assume these roles most of the time without challenging/questioning them. This is a take on that, but then these objects engage in a dialogue with the larger social/political picture.” She chooses objects that carry a particular historical/cultural context. For example, the white marble mantelpiece is very Victorian with Indian elements. Along with representing the family unit or the institution of it, it represents a certain class. The wall lamp pretends to be ‘Victorian’ but is a very cheap Chinese version of it. The vestiges of cultural inheritance are observed to suggest an origin and it’s very perceived authenticity.

 

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In conversation with the artist:

What inspires your works?
I collect photographs from newspapers, magazines, life around in general on a daily basis. I also collect old photographs that inherently carry a particular context with them. I am interested in history and how it connects itself with the present moment.

What draws you towards historical power play?
I connect history with the present. It is also a way of looking within and outside and I like this recurring dialogue. The way I construct this connection, I feel it remains open and every time a new narrative can appear, depending on the sequence of the connection.

Are you using space as a metaphor?
The most apparent thing is a domestic space that comes through from these constructions. It’s a metaphor for roles, personas, pretences, power play, control, etc. Domesticity is a tool that I use to connect various issues with the larger picture. You see a quiet wall lamp with a small painting under it but on close inspection the painting is of disturbance or violence. In this way within the quiet, apparently pretty domestic spaces, there is another space within the painted surface which again is a metaphor for the space outside of us which is alien yet it’s the space within us.

What does power mean to you?
The idea of power or ego is within us and it manifests itself in various dislocated channels resulting in destruction. There is power play from within the basic family unit structure of the society to the larger global picture. It’s the base of the economic structure and that becomes the driving force. It is connected with identities, images, personas, relationships and attitudes.

Influencing artists Zahoor-ul Akhlaq, Salima Hashmi, Quddus Mirza (her teachers at National College of Arts, Lahore). Indian artists like Amrita Sher Gill, Arpita Singh, Bhupen Khakar, the Warhli tribes.

Love looking at: Rembrandt, Leonardo, Vermeer, Gauguin, Van Gough, Magaritte, Joseph Cornell, Frida Kahlo, Chagall, Rothko, Rauschenburg, Richter, Peter Blake, Hockney, O’Keefe, Cartier Bresson….

Not a Word More, Not a Word Less – Jeffrey Archer

26 Saturday Jun 2010

Posted by sitanshi talati-parikh in Art, Literature & Culture, Interviews (All), Interviews: The Arts, Publication: Verve Magazine

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International Fiction, Interview, Jeffrey Archer, Literature, vervemagazine

Published: Verve Magazine, International Edge, June 2010

British novelist, ex-politician and former jailbird, Lord Jeffrey Archer is an absorbing conversationalist. He’s confident, patient, petulant and raring with sure-fire ambition. In Mumbai for the launch of his latest collection of short stories, And Thereby Hangs a Tale, Sitanshi Talati-Parikh comes away from the tête-à-tête duly charmed

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Jeffrey Archer explains the act of creation of dialogue, demonstrating how real-life conversation can’t be imitated exactly in fiction. “While talking you may say, ‘Can I have a cup of coffee, please?’ but you can’t put that in a book.” The ever-gracious Taj hospitality team appears bearing silverware and coffee, not knowing that Archer was merely demonstrating a point. “Is that my special?” he asks – having quite missed the force of his spoken word. They look confused. “Is that coffee?” They nod bewildered. “No, thank you, I have my special. I thought they told you all about it. No they didn’t? God bless them,” he mutters. A few minutes later, the somewhat-‘special’ turns up. They couldn’t garnish it with chocolate sauce, they murmur desperately. He takes a sip. “It’s not like Barista’s! They all try to make it like Barista, but they can’t. And who introduced me to Barista? ‘Raoool’ Dravid introduced me to it. I don’t like coffee. I like Barista’s. I don’t get it in England. I love it.” He gives it back, with an unhappy, “Thank you, very much.”

He is surprisingly energetic, he’s refreshingly ebullient and he holds the instinctive ability to inspire. At 70 years of age, he moves with the efficiency – and his voice carries the power of a 35-year-old. He speaks without platitudes and any hint of patronisation. And if you question his creative choices, he responds with effusive mock indignation.

Excerpts from a rollicking, sometimes serious conversation with the author:
(All exclamation marks and text repetitions are entirely based on the interviewee’s tone. Capitals denote elevated volume only.)

Why do you not have more female protagonists in your books – besides The Prodigal Daughter and False Impression?
The Prodigal Daughter is totally about the first woman president of the United States. Who wrote the first story about the first woman president of the United States? ME! Long before Hillary Clinton! You weren’t even born then! I’m married to a woman who runs the biggest, greatest hospital in Britain, Cambridge University. So, don’t you give me that protagonist stuff. In this one (points to his latest book) all the women are wicked. They’re nice in a lot of them, aren’t they? I’m not a women’s writer. I don’t write to please you, I write to please everyone!

And everyone is pleased by men?
Well, no. NO! The Prodigal Daughter is the story of a woman. False Impression, you’re quite right, is about a woman from beginning to end. You selfish thing, isn’t that enough for you? (Laughs uproariously.) God, women’s rights for India! Women to run India!

What happens if you don’t have a story to tell? Do you ever get stuck?
Never. NEVER! No writer’s block! Never. I know my next six stories. The next thing I’m writing is the biggest challenge in my life. I’m writing five books in a row, the story of which starts in 1920 and ends in 2020. They are called The Clifton Chronicles. The first book is dominated by a MAN called Harry Clifton. The second book is dominated by a woman called Emma. Yes!

Is there a sense of completion when your protagonists achieve that position of power – after all, that’s where the books end? What happens if they were to continue?
What you’ve said is going to happen in the next series. One will lead into another. They will all be separate books. I’m a believer in hard work and ambition and achievement – for men or women. (I can sense the aside.) I work for Margaret Thatcher – makes no difference to me. The achievement is in reaching the goal, not afterwards! You don’t want to think about retirement do you?

Do you believe that with great power comes great responsibility – for the storyteller and for the story itself?
No I don’t. I think that’s not realistic. I am a storyteller. I want you to enjoy the story. I want you to turn the page. I don’t want to leave you with any philosophical…well you can, but that’s not what I aim to do. I aim to entertain you.

Is that the difference between popular culture and literature?
NO! That’s insulting. (I’m just saying.) I know you are, but it’s insulting. That is to say you can’t be a great storyteller and write well. The literary failures of this world always try that line, because they are jealous. It was one of your great critics who told me, ‘Jeffrey, don’t worry with the sacred cows of India – read RK Narayan.’ I agree with her. Narayan is both – marvellous combination of great writer and great storyteller. There are very few Vikram Seths around. (He approves of Seth.)

So, your new collection of short stories….
(Answers with practised ease.) Fifteen short stories, nine of them true, the most exciting one for me is set in India, called Caste-off. It’s the story of two people I met in Mumbai three years ago (Nisha Jamvwal and Kanwar Rameshwar Singh Jamvwal). I think it will make a Bollywood film – it’s so romantic. I couldn’t believe it when I heard the story; it’s so remarkable that you can’t make it up.

Do you pull from real life or employ fiction?
It’s half and half. Human beings are giving stories all the time. Why bother to invent someone when I can just write you? It’s so easy. I look at people and I remember details very well. If I get a good story, I write one line that reminds me of it. I always keep notes. Normally everything is all up there. (Referring to his deeply lined forehead.) If you are working the whole time – and I’m always working – memory gets constantly tested. Your memory only gets lazy if you’re lazy.

What does power mean to you?
Power?! Power. (Makes it sound like ‘paar’.) It has many meanings. But sometimes, a writer has power without realising it because people will write to me and say, ‘Your book has changed my life,’ or ‘something you wrote has changed me as a person’. Which one hopes is power for good – for instance young Indians learning to believe in hard work to achieve what they want.

Your stories give people the drive to keep going, to succeed….
Nowadays, people want it tomorrow…not 20 years down the line. A girl came up to me at a restaurant and said, ‘I want to be famous.’ I asked her if she played the violin, sang a song or wrote a book…and she shook her head. She said, ‘You don’t understand me, I want to be famous.’ She didn’t want to do the work. You have to do the work. Now I’m more demanding all the time, on myself.

Does success increase the pressure to deliver?
I always had a story so I never felt pressure. The problem was making sure I worked hard enough. I’m working harder now than ever. People ask me silly questions like ‘Do you write all your books?’ But you would know straight away, wouldn’t you? You’d say, ‘Jeffrey! You didn’t write that!’ I always say to people, my readers would know – they know my tricks. Which makes it harder for me, because my fans are sitting there and saying, ‘Where’s the twist, Jeffrey? What’re you gonna do, Jeffrey? I’ve got my eye on you!’ It’s still a challenge to fool you, to get you to the last line and make you go ‘Aaeee!’ That’s the trick.

Few writers can handle short stories and sagas with equal aplomb….
The thing about short stories is that they are stories. A lot of people who write short stories are actually writing ‘looks at life’ or incidents. I tell stories. They have a beginning, middle and an end. I don’t want to write about the ‘movement in the room, made one feel luminous, as the girl walked toward me, I realised….’ Oh balls. Give me a STORY!

So you’re going strong.
Eh? FOREVER!

Love the spirit. Word.

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