Author Lavina Melwani

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“What I find remarkable is that miniature painting is so intrinsic to Indian art history but it seems as though Indian artists and Indian art schools have decided to be just colonized by the West and Western art traditions instead,” says Olivia Fraser.
” All the most important Western-born twentieth century art movements: cubism, abstractionism, modernism, post-modernism have been successfully encouraged and developed here but miniature painting has been relegated to the dusty shelf of ‘craft’ – something that is stuck in the aspic of tradition and has no developmental, political or aesthetic possibility of change.”

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India, Pakistan, Bangladesh…migrants from towns and villages, leaving everything behind to create something new, something of their own in America.

It’s all about journeys, about the lives you leave behind and the new ones you make. We’ve all got into a plane, left a place and arrived somewhere else. The baggage we’ve carried is physical things – loved old photographs and mementos, homemade garam masala – but it’s also about memories, lost homes and loved ones who are no longer with us.

The way artists deal with this excess baggage and physical and mental borders is through paint and canvas, creating a new reality which did not exist before. For the past ten years, IAAC’s ‘Erasing Borders: has been giving this space to artists to share their creations and their innermost thoughts, and this year too artists participated in this long lasting celebration of home and the world, as more and more artists take on the global trek.

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It was a power-packed evening with over 580 people from the worlds of business, arts and philanthropy. AIF, whose honorary chair is President Bill Clinton, has impacted the lives of more than 1.7 million of India’s poor. This evening raised big bucks – $ 1. 5 million – for AIF’s Market Aligned Skills Training (MAST) Program which provides underprivileged youths skill training in India.

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“One day you are uprooted and told that this is not your home any more. Not only that – this is a different country altogether!

Then follows an insane bloodshed which scars the lives of friends and neighbors for years to come. I cannot understand this absurdity. I find it very stupid, drawing lines on paper and fighting over land. The worst is we continue to thrive on hatred, the seeds of which were sown in 1947.”
– Nitin Kakkar, director of ‘Filmistan’ which has won the 2013 National Award for best Hindi film.

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‘Raanjhanaa’ – we don’t see men like that anymore – men who are willing to annihilate themselves, subsume themselves for the woman they love, bringing almost a noble, heroic luster to unrequited, unconditional love. ‘Ranjhanaa’ is a Grecian tragedy set in Varanasi, on the ghats and alleys of the holy city and you won’t forget it easily.
I have to admit the film became somewhat of an obsession with me when I saw the pre-release Youtube videos of some of AR Rahman’s songs. They totally blew me away, especially the song ‘Tum Tak’ – so rich in its Sufi textures, so overwhelmingly about a higher love that it had me totally obsessed. I found myself watching the videos again and again, trying to piece together the story from dialogues.

When the movie came out, I was there right in the front char anna class, like a genuine filmi fan, drinking it all in.

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‘Wordsmith’ – I like the feel of the word, its heft. It has echoes of blacksmith, silversmith, goldsmith – someone hardy and dedicated, working with raw material over fire, shaping it and transforming it into something which didn’t exist before.

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Home and exile are two of the most evocative words in the English language, and they are seared into the work of Zarina Hashmi, noted printmaker and sculptor, who was born in Aligarh in India. Zarina, who goes by only her first name, has been a nomad, a transient who has taken many journeys, crossed many borders. The floor plans of past homes, the many stories of dislocation and the sweet lost language of Urdu are embedded in her prints.

Having worked in relative anonymity for 35 years from her small loft in Manhattan, NY, Zarina, 75, is now suddenly on the international art world’s radar. The prestigious Guggenheim Museum is showcasing “Zarina: Paper Like Skin”, the first retrospective ever of an Indian woman artist, featuring 60 works dating from 1961 to the present.

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This year Mira Nair celebrates the 25th anniversary of her first feature film, the Oscar-nominated ‘Salaam Bombay’ and also the birth of her new film, ‘The Reluctant Fundamentalist’.
On the eve of the release of ‘Salaam Bombay!’ in New York back in 1988, I had taken a subway downtown to interview the new, not-so-famous filmmaker in her tiny apartment.
The world had not yet discovered ‘Salaam Bombay’ but she was exuberant, excited, animated.
Twenty-five years later, she seems exactly the same – exuberant, excited, animated. There have been critically acclaimed films from ‘Mississippi Masala’ to ‘Monsoon Wedding’ to ‘The Namesake’. The awards and accolades have been coming thick and fast.’The Reluctant Fundamentalist’ screened at The Venice International Film Festival and the Tribeca Film Festival, among others. Nair calls it her labor of love, five years in the making.

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‘Midnight’s Children’ – a major film collaboration born out of an epic book – and film-goers are waiting in excited anticipation, popcorn and soda ready.
At a preview screening at the Metropolitan Museum of Art, author Salman Rushdie and director Deepa Mehta were in a fun mood, completing each other’s sentences, putting a light-hearted spin on things, and what came through clearly is the rapport they share.

I think I’ll entertain you all meanwhile with the goings on of that evening.

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