HT City Delhi Junction: Catch It Live on 8 May 2025
May 07, 2025 08:30 PM IST #ArtAttack
What: Process to Path Catch It Live on Thursday, 8 May 2025. (Photo: Henna Rakheja/HT)
Where: Ojas Art, 1AQ (Near Qutub Minar), Mehrauli
When: May 2 to June 21
Timing: 11am to 7pm
Entry: Free
Nearest Metro Station: Qutab Minar (Yellow Line) #LitTalk
What: Medusa and Other Poems by Sangeeta Gupta
Where: Conference Room I, India International Centre, Lodhi Road
When: May 8
Timing: 5.30pm
Entry: Free
Nearest Metro Station: Jor Bagh (Yellow Line) #TuneIn
What: Mangalotsav – Vidushi Sunanda Sharma & Pt Rupak Kulkarni (Banaras Gharana; Jugalbandi); Pt Sajan Mishra (Hindustani Classical Vocal recital)
Where: The Stein Auditorium, India Habitat Centre, Lodhi Road
When: May 8
Timing: 7pm
Entry: Free
Nearest Metro Station: JLN Stadium (Violet Line) #JustForLaughs
What: Under Construction ft Sumit & Chirag
Where: Lightroom, 12A, Deer Park, Hauz Khas
When: May 8
Timing: 8.30pm
Entry: www.bookmyshow.com
Nearest Metro Station: Hauz Khas (Yellow & Magenta Lines) For more, follow HT City Delhi Junction
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
New Indian Express
10 hours ago
- New Indian Express
Krisha Kurup on playing Dinanath's Anu in 'Ronth' and her acting journey
You remember that viral song "En Pondate Nee, Pondate Nee…' from Goli Soda 2, then you'll surely recall the expressive, curly-haired Madhi who stole hearts on screen. That young girl, Krisha Kurup, is no longer just a face from a Tamil hit she's now making waves in Malayalam cinema with her recent performance in Ronth. But behind that confident on-screen presence lies a story stitched together with dreams, detours, and quiet determination. A Mumbai Girl with Kerala roots Though she speaks fluent Malayalam today, Krisha was born and raised in Chembur, Mumbai. 'We're a Malayali joint family, but our entire life was in Mumbai. My parents too were raised there,' she says. Her childhood was modest and grounded in middle-class values, with school days spent juggling textbooks, dance classes, and Hindustani music lessons. 'I took up classical dance and Hindustani music so I wouldn't lose touch with my roots,' she shares. Her grandmother played a pivotal role in teaching her Malayalam, a language she picked up at home, rather than from any formal school curriculum. Krisha's first brush with performance came when she was in Class 8, through a unique opportunity a voice test for the BBC-owned CBeebies channel. Her father's friend had suggested her name for dubbing the cartoon, 3rd and Bird from English to Hindi. 'That was my first creative breakthrough,' she recalls. Not only did she land the dubbing role, but she was soon writing Hindi translations for TLC shows all before she turned 15. Soon, she found herself performing classical dance at Rotary Club and Lions Club events, slowly stepping into public view. That's when a call came for a short film audition and changed everything.
Deccan Herald
a day ago
- Deccan Herald
Sanjay Divecha's new album features a collection of guitar solos
Noted jazz guitarist Sanjay Divecha released his latest album on June 1. Titled 'Leela', it is a collection of songs from Divecha's solo guitar repertoire. The album has been in the making for about five months. .Divecha has been a jazz guitarist and composer for 35 years. Though he initially trained to play the sitar and learned Hindustani classical music, he picked up the guitar at age 15 and never looked back. 'I grew up listening to everything from Hindustani classical to Western classical, which my dad would play at home,' shares the 63-year-old. He would listen to music played on the radio, as well as music from films, and genres such as rock and folk music from Europe and America. .In 1987, Divecha moved to Los Angeles to learn jazz. He spent 15 years in the USA. During this time he played a variety of styles of music, from Afro-Cuban to Brazilian. When he returned to India in 2003, he learned Hindustani and Karnatik music all over again. 'My music involves and incorporates many sounds and different styles from all over, not just India, but also the world,' he says..A confluence of music and leads three diverse ensembles — Sanjay Divecha & Secret, MERKABA, and the Sanjay Divecha Trio. Sanjay Divecha & Secret uses the classical and folk traditions of India and various Indian languages, mixed with global sounds. The ensemble's albums represent Divecha's cultural identity. MERKABA's music is all rock, soul and blues based, with some jazz influences. However, he is most known in India for his jazz ensemble, The Sanjay Divecha compositions are generally about people and musicians who have left a mark on him or places that have inspired him. This is visible in 'Leela' as well. The opening song of the album 'When mountains meet the sky', was inspired by his trips to the Himalayas, and 'For Tom' is a tribute to Brazilian musician Antonio Carlos Jobim, fondly known as Tom. Recording the music of 'Leela' has been one of the most fulfilling experiences for him, shares the Mumbai-based Divecha does spend a lot of his time on stage and in rehearsals, he also finds time to give private lessons and hold guitar workshops. He believes that the best way to nurture talent is to have enough platforms for musicians to express themselves, especially for a genre like jazz that is niche and comparatively less popular in India.
Hindustan Times
a day ago
- Hindustan Times
Reel life in the dark room of Emergency
It didn't take even three decades for the sovereign democratic Republic of India to face a nation-wide internal Emergency (June 25, 1975–March 21, 1977), which in practice meant democratic despotism and electoral autocracy. Both paradoxical and contradictory-in-terms, when film producers, directors and artistes saw how their freedom was clipped while the censorial scissors became extra-constitutionally sharper in the hands of an elected despot. After the Emergency got over, the newly elected Janata Party government at the Centre published a White Paper on Misuse of Mass Media During the Internal Emergency in August 1977, that listed all branches of mass media (including cinema) and examined how their rights were violated through the reckless abuse of power. Playback singer Kishore Kumar was another artiste who fell out with the authorities during the Emergency. (HT Photo) My story begins with two instances from Southern India that the White Paper did not mention. Incidentally, on the very day of the clamping of the draconian Emergency, i.e. June 25, 1975, a Kannada film was winding up its shooting while a Malayalam film project was being launched in Bengaluru; the Malayalam film crew was in the Karnataka capital because at that time the State government was offering a subsidy of ₹ 50,000 to producers who made films in that state. The Malayalam film was Kabani Nadi Chuvannappol (When the Kabani River Turned Red, 1975). The director of the film, PA Backer, and its producer, Pavithran, are no more, but I spoke with TV Chandran, who debuted as an actor in Kabani (Chandran is better known as a screenwriter and director in Kerala today). Chandran recalled how they were harassed during the shoot because the film dealt with the theme of student revolt against the establishment. Later, the censors asked the producer to chop off nearly 1,000 feet of the footage. Parts of the film were reshot and was resubmitted to two central representatives. The film was screened for the two men at the massive Kalaivanar Arangam theatre in Madras (Chennai), who did not find anything objectionable in it. However, Kabani Nadi Chuvannappol was withdrawn from a cinema hall in Thiruvananthapuram a couple of weeks after its release under government instruction. This time, the police ordered further cuts. The second story is about the Kannada film, Chanda Maruta (Rogue Winds, 1975) starring Snehalatha Reddy and directed by her husband Pattabhi Rama Reddy. The film, inspired by P Lankesh's play Kranthi Bantu Kranthi had, in fact, prophesied the Emergency. The censors banned the film. On June 25, 1975, Snehalata Reddy, who was one part of the lead pair (along with Girish Karnad) in Samskara (1970), Pattabhi Rama Reddy's adaptation of UR Ananthamurthy's celebrated novel, was imprisoned on false charges. She was tortured in Bangalore Central Prison and passed away while on parole on January 20, 1977. She was only 45. Eminent Malayalam writer-director MT Vasudevan Nair had planned to make a film about her, which, unfortunately, didn't happen. However, Uma Chakravarti's documentary Prison Diaries (2019) provides us an invaluable document about the imprisonment of a number of women who resisted the Emergency through the life of Snehalatha Reddy. Anand Patwardhan's 1978 film Prisoners of Conscience is a chronicle of how, under the Emergency, dissenters were detained and tortured in prisons. Among the films the White Paper mentions is Aandhi (Storm, 1975) directed by Gulzar and starring Sanjiv Kumar and Suchitra Sen. The film's heroine was to be modelled on Indira Gandhi but that idea was dropped. Permission was granted only after the producer revised the film. Kissa Kursi Ka, directed by Amrit Nahata in 1975, fared worse. The film was a satire on the politics of that time. It was first banned and later, its prints were confiscated. The film as well as its negative were destroyed. Andolan, directed by Lekh Tandon (1975) dealt with the 1942 movement. It could not be released because the producer was ordered to cut all the portions dealing with underground activities that were contextualised around the story. Even the blockbuster Sholay wasn't spared. The censors asked the producer to change the end scenes. Playback singer Kishore Kumar was another artiste who fell out with the authorities during the Emergency. As a result, his songs were banned from the radio and television, both controlled by the government, and the sale of gramophone records with his songs was made unlawful! Such bullying and arm-twisting by the central government were commonplace during the 21 months of the Emergency. Like Snehalatha Reddy and Kishore Kumar, not everyone meekly surrendered. Actor Dev Anand opposed the Emergency publicly and described it as a 'dark night, a nightmare, an insult to the people'. He even formed a political party – the National Party of India – which had to be disbanded when he failed to find suitable candidates to fight elections after the Emergency was lifted in 1977. As the nation commemorates the 50th anniversary of the Emergency, these instances of pushback should be remembered. Amrit Gangar is a Mumbai-based author, curator and historian. The views expressed are personal.
