Like many writers, Jeet Thayil is a bit of an outsider. And, if his track record is anything to go by, he has been happy to keep it that way.
Admirable as it was of the London Philharmonic Orchestra to launch its concerts in 2020 with a performance celebrating the Ravi Shankar centenary, the hard fact remains that this lively spectacle might have worked better without two-thirds of its players.
In 2010, my best friend and I made a whimsical decision to go backpacking in India over the Easter break. I had developed an interest in Eastern philosophy through exposure to the teachings of the ancient Vedas, and through the practice of Transcendental Meditation, so I jumped on the opportunity to experience the culture that gave birth to so much wisdom and ancient knowledge.
Like recent films about the Anders Breivik terror attacks in Norway, Hotel Mumbai unavoidably raises questions of taste. Do audiences really need to be subjected to harrowing recreations of real-life suffering, when the events themselves are still fresh? However it does offer one very moving justification, which is to honour the courage that invariably surfaces during such carnage.
This episode of Peter Culshaw's occasional global music radio update features guest interview Viveick Rajagopalan, one of the hits of this summers WOMAD Festival. He talks (from 40 minutes in) about how he mixes South Indian rhythms and contemporary Mumbai rap in a very cool and innovative manner. The rest of the show is almost entirely subcontinental, featuring film musicians from Lahore, groovy 1960s Bombay hipsters, and sufistic music from the likes of the great Nusrat Fateh Ali Khan, among other delights.
Newly arrived from a much-lauded stint at the Sherman Theatre, Cardiff, Rachel O'Riordan has undertaken to make "work of scale by women" during her time as artistic director of the Lyric. What better place to start than with Ibsen's once-shocking heroine, her story reimagined by prolific playwright Tanika Gupta?
Serious historians don’t much care for counter-factual speculations. Readers, however, often enjoy them. So here’s mine. In 1780, the seemingly invincible forces of the East India Company had suffered a crushing defeat at Pollilur, west of Madras. It was inflicted by the well-drilled Mysore armies of Haidar Ali and his legendary warrior son, Tipu Sultan. Backed by French arms and expertise, the Mysore forces had allied with the rulers of Bengal and Avadh (roughly, today’s Uttar Pradesh) to resist the merchants-turned-conquerors from London.
“Movies are all the same,” says one character in Photograph, the latest film from India independent director, Ritesh Batra. It’s true, the plot feels familiar, but if stories are all the same, it’s how you play with the form that makes a film a success or not. Batra once again shows he knows how to craft a good story.
This was a year of superb musical standards, smooth organisation and a real sense of celebration. In the last couple of years, WOMAD being more liberal and internationalist than nearly anywhere else, there was a sense in the air of a collective political shock - maybe the future wasn’t with our tribe of happy cultural globalists after all. This year, even with the new PM, there was a more defiant sense that the WOMAD spirit will prevail after the current nationalist neurosis blows off some steam.
It has become routine to accuse Brexiteers of wanting to bring back the British Empire (though obviously it's OK to run an empire from Brussels), but the charge might more accurately be levelled at ITV.