But today technology has created opportunities to remind us with such films the greatness of our artists and also our Indian culture. Her this particular performance is etched in my memory. Herself was a voracious reader and also a writer and a poet. It is an exceptionally outstanding film which I have been screening within India and abroad during my travels, before young generation of dancers and students, making them aware of dancers of exceptional gifts and values. It was 30th January, the day when Gandhij was shot dead. The prince explains them why they have to move freely, break those barriers.In another production of social message she conveyed through enactment of people committing violence that Lord forgive them for their not knowing what they are committing, BUT do not forgive them because they know what they are doing. Deeply interested in handicrafts, like Rukmini Devi and Kamala Devi she took measures to revive handicrafts of Gujarat.

When in Shantiniketan she had imbibed the spirit of Gurudev Tagore’s opposition against any ‘ism’. Such productions have been created with social consciousness. In Tasher Desh he demonstrated through symbolic manner of a prince coming to a country where everyone had to follow rules and regulations they had no freedom to move freely. She wrote the libretto and Darpana dancers performed in various villages and cities in Kerala, driving attention of public to the disaster brought upon them by cutting trees. Public memory is short. The legendary puppeteer Mehrben Contractor and Mrinalini established puppet section revived the leather puppets of Andhra Pradesh.She has when challenged by a scientist to choreograph scientific formula in dance, choreographed geometry, and mathematics, Pythagoras theorem in a group dance.

Contemporising the situation and unrest in Gujarat, she through suggestion conveyed the present plight and begged of Mohan/Gandhi to come again and save people from madness.The entire audience understood and gave her a standing ovation.During the Golden Jubilee of Cenrtal Sangeet Natak Akademi in Delhi at Siri Fort auditorium along with legendary traditional gurus and exponents like Kelucharan Mahapatra in Odissi and Vedantam Satyanarayan Sharma in Kuchipudi were invited to perform, she took up theme of her marriage in Gujarat with Vikram Sarabhai, and addressed Krishna as Mohan, asking him to come to succor of Gujarat, where riots were taking place. Her son Revanta has received training from Mrinalini and Mallika and he performs with Mallika with synergy which amazes one. Mallika’s daughter Anahita has studied Bharatanatyam bus is interested in sports and education. Mrinalini had taken her choreographic work during a tour of China and the Chinese authorities did not like the subtle protest against communism. Mrinalini while dancing sang O Mohan when would you come again to save Gujarat from riots? Mohan meant Gandhiji.Darpana today stands as a beacon light in Ahmedabad, where Mrin-alini’s daughter Mallika has been carrying on her legacy, expanding artistic horizons.Mrinalini passed away two years ago. She established Society of Friends of Trees.When she saw the violence committed upon women, dalits, she rebelled showing why it was unjust. Her novel this alone is true, poems on Krishna as Kahn, book on her dance choreographies Creations, book on Bharatanatyam, books for children China Polyester Shower curtain and her own autobiography form part of literature.

Fortunately Yadavan Chandran,a young filmmaker, son of the renowned Malayali film director Chandran, looking after Darapana’s documentary film section and a creative director along with Mallika has made a film on Life and Art of Mrinalini Sarabhai produced by PSBT. It captures the spirit of this legendary artist, with recreation of choreographic works of Mrinalini by Mallika, filmed in unusual manner in a studio, with exquisite lighting, camera work, in cinematic language. Krishna’s other name is Mohan. She sent message through dance for women to wake up and stand against violence. There was no limit to her creativity. The writer is a well-known critic and dance historian.Gurudev was against divisions created by caste, creed, religion.She met many people and explained why trees need not be cut or destroyed. Darpana’s students are a legion. When she saw traditional guru C R Acharyalu performing rare traditional numbers in Kuchipudi, she invited him to Darpana Academy and started training young dancers in Kuchipudi. Brilliant Bharatanatyam Kuchipudi and contemporary dancer, performer, she is an activist, feminist, actor, choreographer, curator of festivals.She opened a section for plays and revived traditional Gujarati plays know as Bhavai. Violence, symbol of Christ, a dancer standing like Jesus Christ with two arms spread, and showing his being killed, sitting on the floor and spinning wheel to produce khadi, women rising themselves to fight against people who attack. But audience understood what Tasher Desh stood for!Mrinalini was a multi-disciplinary artist. They are spread all over the world carrying on legacy of Mrinalini. Staged plays of renowned theatre directors and playwrights

The history of fashion is the history of longing. Nobody is born stylish, everybody wants to be a little memorable and some would like to be somebody else or more like the self they see in the better part of their minds. It’s about one hundred years since fashion took its place alongside literature, painting and music as a way to look for the social essence of an era Indian designer Manish Arora’s quick-witted way of conversing touches upon all the aforementioned theories as we sit down to congratulate him on being conferred with France’s highest civilian honour — Chevalier de la Legion d’Honneur. Arora launched his label in 1997 in India, debuted at London Fashion Week in September 2005 and started showing at Paris Fashion Week in 2007. His celebrity clientele includes Rihanna, Lady Gaga, Katy Perry and Nicki Minaj. Ask him about his love affair with France and he quickly replies, "When I first went to France, I was hoping they would love me, but I never expected that they would embrace me.

"He carries on, "I never expected that they would give me so much love, honour and affection. It’s only been nine years since I have been showcasing there and yet to be conferred with such a huge award and felicitation, makes everything overwhelming. Only 26 people have gotten this award till date China Towel racks and I am probably the youngest and the only Indian (from the fashion industry) to receive it." After several years of achievement at home as well as internationally, he appears more like a grand film director than a designer. He has a director’s eye for detail, for story and allure, which makes him stand out as our premier idea of what a brilliant fashion designer can be. He gives credit for his eye for detailing to France: "France has taught me to take fashion seriously. It has taught me the difference between frivolous and niche, the principle of proportions, about getting the right length of a dress, the right depth of the neck, the right angle of the sleeve, the right placement for embroidery and beyond. France has helped me finesse my art and love for fashion." Also, for Arora, it was not in couture that he made his name but rather as an irreplaceable styliste, king of Indian ready-to-wear long before it was the mainstay of the big fashion houses. He cultivated his mind and made his own prestige, becoming a personality in Paris fashion where he worked towards exchanging an interesting fashion dialogue with carefully engineered Indian yet international clothes. He was a lightning rod of the 2000s sensibility, imbuing his designs with an essential sparkle and Pop Art accessibility. The ultimate cultural magpie, Arora grew in fame and has remained in orbit as a freelance personality with a strong conception of himself that exists beyond the labels he represents. "I am essentially Indian when it comes to designing.

I take pride in taking my Indianness wherever I go because if I didn’t, I would be lost in the crowd. I’ll be very stupid to not take my country wherever I go. The West always looks towards the East and I’d love to be in the middle and grab the best of both worlds," he affirms. So, are there any Arora rules of reinvention "It’s no hidden secret: The more you evolve (as an individual), the more you create. Whether it’s coming up with ideas, outlook towards life, shaping up one’s personality .evolution should be constant." Adding further he shares that travelling has helped him a lot in this evolutionary process. "Travel is a big part of who I am and my passport is bigger than any book that I have read. Surprisingly, my happiest moments are when someone has put me on an aircraft. The longer the journey, the merrier I become," he shares. Lastly, does he think India can ever be like Paris, the fashion capital "India is evolving a lot but it really needs to grow more and faster — in terms of technology, technique, finishing, ideas and also most importantly embracing and applying the concept of ‘being original’. But to be honest, India cannot be the next Paris. It’s not our fault, we just started late and they are ahead in time."

Offering a breathtaking view from over the cliff, the Ganpatipule beach is a traveller’s treat especially on a rain-soaked dayThe gear drops into its slot with a deafening clanky protest, the bus seems to pause and then lurches forward, the engine screams like a beast and the entire body frame shudders. For a moment it appears the bus will be pulverised into oblivion. The metallic grinding of the gears, the ear-shredding screams of the engine and the clattering of Shower Curtain Manufacturers the window panes — it seems you are caught in a Transformers movie. Remember this is Western Ghats and here in Ratnagiri, everything comes with a surprise. It seems the entire city of Ratnagiri sits precariously with its edges falling off the vertical cliffs straight into the sea. You see the waves lashing at the foot of the cliffs at Thibaw Palace and then again at Ratnadurg. And then you grab the seat rails as the driver throws the bus into another hairpin bend. And then the view blows you away. You may never had imagined India had roads that snaked high over cliffs with roaring waves below.On a rain swept day, the screaming bus ride high up on the hills by the sea is purely exhilarating. While the first half at Thibaw Palace filled us with all pervading sadness, few hours later, the thrilling ride to Ganpatipule has filled us with joy.

There is more to come.The bus on the short route from Ratnagiri to Malgund, two kilometres away, drops you at the Ganpatipule checkpost. Ganpatipule is a village famous for its Swayambhu or self-originated Ganesh temple. The deity is considered the Paschim Dvardevta or Western Sentinel, one of the Ashta Dwar Devatas or Eight Welcoming Deities. Legend has it that Lord Ganpati, angered by the remark made by a local woman, moved to Pule or a sand dune from his original abode in Gule a few kilometres away. And so the place got its name Ganpatipule.Today, one is more interested in the beach that provides front row seats to the incredible display of lights and shadows over the Arabian Sea.The sky is dark with another impending rain dance performance as you walk towards the beach. The same greenery and moss-covered walls guide you towards the beach, which on both sides is fringed with hills.

Coconut palms, mangroves and cashew trees provide a green canopy. The hills above, the water beyond and the clean and golden beach all seem to be enveloped in this mist.Shacks are boarded up; the MTDC resort on the hill looks vacant. You walk into the distance through the lapping waves. Some rocks still survive on the sands even after the lashing by the waves all these years. Sitting on the sand with your back against a rock will be your front row seat to the promised show in the sky.And then things start to happen rapidly. It is sunset time. The rain stops all of a sudden, and the mist begins to lift over the hills. The seemingly stone like impenetrable grey skies break up to give shapes to the clouds that start to float revealing an opening. As if on cue, the sun appears through this opening in the sky almost as if God has lifted the curtain off the heavens especially for you. You have bought all the seats in the theatre.

For the next fifteen minutes, you are treated to a celestial spectacle as the sun and the clouds and the water come together to put up a soul-stirring performance that has been ethereally choreographed. The clouds move back in. Now this particular cloud seems to hang over the waters. God has brought down the curtains after the spellbinding performance. You don’t remember ever seeing such a play of light and shadow from a beach and you have seen plenty of sunsets on the sea. It is quite possible that together with the cliff-hanging drive to the beach, this light-shadow play phenomenon is unique to Ganpatipule Beach.Getting there:Ganpatipule is 25 km north of Ratnagiri, Maharashtra. For spectacular views of the sea and surf, take the Aare Ware road, which is different from the NH-17 Mumbai-Goa highway.Ratnagiri lies on the south west coast of Maharashtra on the Mumbai-Goa highway and is well connected by trains from Mumbai. Ratnagiri is about about 350 km from Mumbai and 300 km from Pune. In Ratnagiri you can hire auto rickshaws to take you around the town and to the fort. The Jijamata Garden will offer you spectacular views of Arabian Sea and Bhatye Beach. Other attractions are Ratnadurg with its Lighthouse and Thibaw Palace, now turned into a museum.Travel trip: On the way to Ganpatipule from Ratnagiri, if taking public transport, sit on the left of the bus to see the amazing views as you soar high above the cliffs with sea stretching into the horizon and waves crashing below your feet.

Katharina Kakar explores gender issues through works made of spices, condoms, wax, ash...Pepper and chillies, cloves and coconuts, wax and ash, perfume and paint — German artist Katharina Kakar redefines and transforms these spices and attempts at exploring their intrinsic nature and cultural significance at an ongoing exhibition titled Crossing the Lakshmana Rekha: Shakti, Sensuality, Sexuality. The artist employs these everyday items to address awareness against grave gender issues of rape, female foeticide, domestic abuse and sexuality through her artworks. "These spices are symbols of feminine power," she says.

Chillies make for a very powerful and communicative tool in a work titled Desire — a wall hanging made of chillies, copper, horsehair, cloves and acrylic paint. Explaining her choice of ingredients, Katharina asserts, "Red chillies are a potent metaphor for inner heat, desire and passion and is symbolic of female fertility, sexuality as well as rage and makes for an ideal tool to express my thoughts."Talking about some of her most cherished works, she says, "December 26, 2012 is a floor installation of wooden items made from a traditional metal workshop and copper rod. This work refers to the December 16 Delhi rape case that triggered protests across the continent and led to a heightened awareness of gender issues in India."Her environment gives her ideas for her artworks and constantly inspires her. She explains, "At times, I walk on the beach, and thought processes start, at times I read or see something that inspires me and gives me ideas.

I usually note down those ideas and it can take a year or longer, till they find their way into my art. I am constantly inspired by my environment and things around me. Since my environment shapes me as much as I shape it, I am interested in the intrinsic nature of materials around me, I like to play and find ways of transforming objects into something else, playing with the meanings attached to certain materials. It stimulates my curiosity. I also draw, which is my evening meditation." Katharina was born in Europe but chose to settle in Goa in 2003 with her husband, veteran psychoanalyst Sudhir Kakar. She calls herself a "cultural bridge builder" as living in Germany and India has given her an outsider and insider’s view of both cultures. "My husband loves my work and is very supportive," she says.As art history and psychoanalysis are interdisciplinary subjects that rely on imagery for their very existence, does that lead to interesting dinner table conversations at home She quips, "Oh yes! Since I come from a different background, having studied anthropology and comparative religion, we always have debates about issues that matter to us. Visual arts, dreaming, transforming one’s imagination in new bodies of art is another cross-pollination where psychoanalytic thinking is a means that flows into my conceptional work." For Katharina, ‘design’ focuses more on decoration, while ‘art’, the way she relates to it, pushes boundaries and demands debate. "Art, unlike design, has been and always will be an advance guard. It often mirrors processes that are taking place in a given time and space," she says.Artists who inspire her are too many to name, she says, adding, "However, a few artists whose work encouraged me to start exploring visual Shower Curtain Rods Suppliers arts as a medium of tackling my own inner landscape include Richard Serra’s ‘participatory’ approach; Marina Abramovic’s confronting and drawing the visitor into the artist’s issues of trust, endurance, catharsis and departure; William Kentridge’s ambiguous storytelling and uncertain endings; Christian Boltanski’s raw exposure of loss. There are, of course, also a range of contemporary Indian artists, whose works engage me, such as Anish Kapoor, Anindita Dutta or Riyas Komu’s body of work."