Photographer and graphic designer Anusha Yadav started the Indian Memory Project, an online, visual, narrative-based archive in 2010, to trace the history of the subcontinent via photographs and letters. Pic/Ashish Raje

EarLier this week, artist and oral historian Aanchal Malhotra, 28, travelled nearly 240 km to Chandigarh from Delhi, to meet a nonagenarian, who had lived through the Partition of 1947. As she speaks about it now, there's a lump in her throat. "I couldn't sleep that entire night," Malhotra confesses. "Even 70 years on, the woman is so afraid to talk about it. It had everything, from gun fire, to fleeing from her home in Pakistan, to her brother and mother being taken as prisoners, and to giving birth in a forest on her way to India. When she first delivered the baby, her immediate response was to throw it away. You can imagine what trauma she was experiencing." What surprised Malhotra most was when the 90-year-old asked her what she would do with her story. "I said that I wanted to publish it. The woman's immediate response was, 'who will read this?'. They really think that nobody cares. But, this is the story that has shaped the future of contemporary India."

The jewellery Aanchal Malhotra is wearing, was made in the North-West Frontier Province and was given to her great-grandmother, Lajvanti Gulyani, by her in-laws on her wedding to Hari Chand Gulyani in the year 1919. But it could have been in the Gulyani family before that as well. Since she became a widow quite young and was a single mother at the time of Partition, it was carried by her to India in 1947 because she thought she would be able to sell it and earn money to put her children through school. She then gave it to Malhotra’s grandmother, who has now given it to her. Pic/Nishad Alam

Malhotra is the author of Remnants of Separation (HarperCollins India), a book that revisited the Partition through objects carried across the border, and the co-founder — along with Navdha Malhotra — of The Museum of Material Memory, a digital repository of material culture of the Indian subcontinent, tracing family histories and ethnography through heirlooms and objects of antiquity. Since the launch of the archive last year, the founders have put together over 35 heartwarming object stories. Closer home, photographer and graphic designer Anusha Yadav's Indian Memory Project — an online, visual, narrative-based archive, founded in 2010, which traces the history of the subcontinent via photographs and letters — has helped us see history in another light. There is also Paris-based perfumer Jahnvi Lakhota Nandan, whose recently-published book, Pukka Indian: 100 objects that Define India (Roli Books), documents the most coveted symbols and designs representing our culture, by tracing its origin and significance in our lives. All three projects while different in essence and form, have one common intent — to record untold stories from our history and preserve them for posterity. But, as Malhotra's subject asked her, why should anyone be curious?

The chakla and belan originated in 7,500 – 6,000 BCE in Punjab. At the time, this region was cultivating wheat and barley extensively. Rather than using the flatness of the chakla and the pressure of the belan to what we might expect to be used around the country to make flatbread, whatever the ingredient might be, it is only in this region of north India that the chakla and belan were used simply because wheat and barley lend themselves to kneading. What must have been perceived as a high-technology kitchen tool then, the chakla and belan soon spread to other parts of the country. Text courtesy/Pukka India by Jahnvi Lakhota Nanda, Roli books; Pic/Shivani Gupta

Celebrating the mundane
Nandan, an alumnus of the School of Art and Design at Tsukuba University, Japan, admits that her project stemmed out of her curiosity to find out about the designs that define us an Indian. "Design is a mirror of our attitudes and habits. Through the course of writing this book on Indian design, I found that uniquely Indian gestures like churning, combing and calculating were reflected in it," she writes in the book. From the dabba, agarbatti, and kulhad, to Babuline gripe water, most of the objects Nandan chose for the book, have "either been made or originated in India, or have an element that is very Indian, or are being used in a very Indian context".

This picture is of Purvi Sanghvi’s grandfather Dwarkadas Jivanlal Sanghvi (extreme right in a black coat) and his brother Vallabhdas Jivanlal Sanghvi with their business partners at a Pen Exhibition in Bombay around 1951. The family ran Wilson Pens that quickly rose to huge fame and became a preferred choice of pens across the country. All government offices, law court, used the Wilson pens. The Wilson Pen Family made the orange, thick-nibbed pen that wrote the most fundamental document that defines the state of India: The Constitution of India written by Dr Babasaheb Ambedkar. Pic, Text Courtesy/Indian Memory Project/Contributed by Purvi Sanghvi, Mumbai

It's while working on the book that Nandan realised how "our own homes are a repository of history". Here, she relays an incident when Shivani Gupta, the photographer for Pukka Indian, had been anxious about finding a mandira — a butter churner — that Nandan had mentioned in the book. "She went home, and realised that she had five of them in her kitchen. She didn't even know she was sitting on so much wealth." Nandan adds, "We don't tend to celebrate the mundane. What we celebrate are things that have obvious value, like jewellery, the beautification of the body or the exotic."

Paris-based perfumer Jahnvi Lakhota Nandan's recent book, Pukka Indian, documents the most coveted symbols and designs representing Indian culture, by tracing its origin and significance in the lives of its users. Pic/Suresh Karkera

Object as a catalyst
Malhotra's interest in people's histories began while working on Remnants of Separation, which was an extension of her Master of Fine Arts thesis project for Concordia University, Canada. Malhotra's research began after she came across a gaz (a measuring device) and ghara (a pot), which belonged to her nana's family, and had crossed the border. "Sometimes the Partition is too traumatic to speak about. When I started my research, I didn't know where to begin or what I could ask, without sounding frivolous. The object became a catalyst to enter into that conversation. So, rather than me saying 'Oh! You lived through the Partition, that must be awful,' I was now asking relevant questions, like 'why did you choose to take this gold bangle with you?'. The object then, didn't become something that recessed into the background, but something around which the entire background was arranged."

That's when she and Navdha decided to start The Museum of Material Memory. The duo encourages everyone to contribute, provided the object is from or before the 1970s. The archive comprises everything from a 5-inch-long, mottled sewing needle to a chaddar with traditional baagh and phulkari embroidery and a former Class II Income-Tax officer's diary filled up with the repeated words 'Sri Rama Jayam', meaning Jai Sri Ram. Each post is accompanied with the story behind the object. "Material ethnography is so vastly explored in the West, especially when it comes to events of trauma and crisis. What we are recording here, will never be found in any textbook. We need active memoralisation, not just of traumatic events, but of our tradition and culture, which is primarily oral."

Not just for nostalgia's sake
The indianmemoryproject.com, says Yadav, started off as a book idea, where she wanted to collect old, wedding photographs. "I wanted to document the idea of weddings in different cultures, and explore the entire phenomena behind the crew that makes it possible," she says. "While the book didn't happen, the pictures stayed with me." That's how, her archive, a first-of-its-kind in India, took off. "If you are fascinated with history, you will know that India really is a melting pot. Every civilisation has passed through it. And so we have all kinds of DNA in us. And considering photography was discovered two centuries ago, we did have a lot of content to discuss," says Yadav.

She admits that it wasn't as easy to get people to share their photographs or talk about their stories. "But, there needs to be integrity, transparency and you need to earn the trust of your subject. When you have these value systems in place, people are more open. I always thought of the archive as an institution." Funding for the project has been tough, says the archivist. "When I began, I was very clear that I didn't want to become a trust. Unfortunately, that's the channel through which most of the money comes from. But, there's a server and maintenance cost and the site constantly needs to be upgraded. Now, I have started putting in requests for honorariums. The only way I will get money is through a private funder, who is fascinated with the idea, and wants to back it as well. Sometimes, when a good sum comes from my own work as a photographer, part of the profits go to it. At the end of the day, it is an unofficial record of history, and I'm doing my best to sustain it."

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A still from Some Stories Around Witches

In the tribal villages of Odisha, a teenage girl kills an elderly relative believing that she is a witch and the cause of her father’s death. Overnight, a village turns into a mob to kill three people — a man and two women — who were identified as witches by a witch doctor. Meanwhile, a family is threatened and ostracised, for it is believed they bring ill fate, after they cook meat.

Lipika Singh Darai

The audience is engaged with three real life incidents in the 53-minute documentary, Some Stories Around Witches. Directed by Bhubaneswar-based FTII alumnus Lipika Singh Darai and produced by the Public Service Broadcasting Trust (PSBT), the film explores the politics of witch hunting and the humanitarian crisis surrounding it. It will be screened tomorrow as part of the 22nd edition of Dr Bhau Daji Lad Mumbai City Museum’s monthly screening programme, Movies At The Museum.

“There is a mystery surrounding tradition and myths about witchcraft but we should also see it in the light of socio economics and politics to understand the complexity of the events. The cases are very sensitive and my priority was to make the camera’s presence insignificant,” says Darai, who will be present for a Q&A session post the screening, which marks its premiere in Mumbai.

At the event, also catch the screening of another PSBT production, There Is Something In The Air. Directed by Delhi-based filmmaker Iram Ghufran, the Hindi-Urdu documentary is a series of dream narratives, and accounts of spiritual possession as experienced by women ‘petitioners’ at the shrine of a Sufi saint in north India.

Sanjay Sharma with his daughters Aayushi (left) and Shriya, both of whom enjoy skating. Pic/Satej Shinde

"When you get divorced, the people you used to hang out with disappear. Suddenly, you have no friends, and neither does your child," begins Hemant Amrute, 43, who has been raising his 12-year-old son as a single parent since 2010. Similarly, Goregaon resident Sanjay Sharma has had full custody of his daughters since 2013, when his older child was not yet five, and the younger two-and-a-half years old.

Hemant Amrute with his son Aryan before a parasailing trip in Goa last December

Taking on the role of both parents hasn't been easy for either of these single dads, but that hasn't stopped them from providing their little ones with an upbringing that isn't lacking.

Striking a work-life balance
Recently, actor Tusshar Kapoor and director Karan Johar made news when they became single fathers to children born via surrogacy. But while these men, who come from privileged backgrounds, presumably have help, this is not the case with most single dads who have to juggle work and kids.

A normal day in the life of the Sharma family is hectic. "Luckily for me, I run my own business, so I do all my work when the kids are at school. My job is to pick them up and later in the evening, drop them off for skating or swimming lessons. My older daughter has also been learning Kathak for two years, while my younger one takes singing lessons," shares 35-year-old Sharma, adding that his mother helps him out on the home front.

Amrute, meanwhile, is also a busy entrepreneur, but now feels confident enough to leave his son home by himself whenever required, as he's a little older. His challenge, however, lies in the kitchen. "I never learned to cook," laughs the Thane resident, adding, "We've had a string of cooks come and go, because both of us invariably end up not liking the food."

Not to mention that being a single parent still has stigma attached to it, which is multiplied when the single parent in question is the father. "In the beginning, people would say, 'Yeh nahin kar paayega (he won't be able to do it)'. Now, they've seen it for themselves," says Sharma. Echoing the sentiment, Amrute adds that once a couple gets divorced, people tend to look down on them, and your social circle shrinks to prevent the awkwardness.

Creating a lasting bond
Sharma's daughters and Amrute's son love being outdoors. Sharma takes his kids to the beach, park, as well as for kiddie events across the city. "We love going on holidays, too, even if they're to nearby places like Mahabaleshwar or Daman."

Amrute and his son Aryan spend weekends at their farmhouse in Yeoor Hills, and head to the cinema or the mall on other days. "We also spent Christmas in Goa last year, which was a lot of fun. A few years ago, I took him with me on a work trip to the US, and we visited a lot of places when I had some downtime," he shares.

Both men recently discovered and joined iSingleParent, a Facebook community that organises meet-ups and holidays for single mums and dads and their kids.

Amrute says that when not at school, his son would end up spending time playing with a smartphone. "We live in a standalone house, so there aren't any kids around for him to play with. But he loves technology, and scored full marks in Robotics. He also enjoys beatboxing and recently started trying out parkour. And now, thanks to the group, he looks forward to bonding with the other kids who come for the meet-ups," he says.

Once the lockdown that was imposed worldwide owning to the Coronavirus pandemic ends, a lot of people would change the way they look at life and themselves. People who are stuck alone and have no company would become a lot more responsible and those who were always dependent on others may stop taking things for granted. The one actress who has been taking care of herself all through this lockdown is Ratan Raajputh.

The Agle Janam Mohe Bitiya Hi Kijo actress is stuck in a village in Bihar due to the lockdown and has been sharing her lockdown story on Instagram almost every day. You should watch all the videos to know how she has been surviving. From cooking food to dealing with electricity problems to even cleansing the cows, she has been doing it all.

In her latest Instagram video, she showed us how she was cooking watered rice. It's a long video but we recommend you watch it from start to finish. What if you also end up learning how to cook them!

Have a look right here:

 

 

 

View this post on Instagram

God morning!😀 . पंता भात (Leftover watered Rice) . . P.S.- Aur haan! ..🍋 nimboo(lemon) Mil gaya 😀 . . #pantabhaat #newdish #foodlovers #lockdown3 #lockdown2020 #stayhome #jaibharat #रामभरोसे✨😇

A post shared by Ratan Raajputh (@ratanraajputh) onMay 6, 2020 at 6:43pm PDT

In another video, she could be seen cooking Chana Masala but asked us to google for the recipe. Well, don't miss this video either:

 

 

 

View this post on Instagram

नाकों चने चबाने के बाद अब बारी है खाने की..😜😋 . आज का मेन्यू- ‘चना मसाला (घुगनी) और चावल’ . . P.S.- Recipe के लिए गूगल करें😬 . . #chanamasla #ghugni #foodlovers #eathealthy #desikhana #stayhome #jaibharat #जयभारत #रामभरोसे✨😇

A post shared by Ratan Raajputh (@ratanraajputh) onMay 5, 2020 at 5:46pm PDT

There's a whole collection of such videos, as we stated above, which she has described as her lockdown stories. This is truly respectful that a star like her is living all by herself and making no bones about it.

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The virtual war between WAGs Rebekah Vardy, 38, and Coleen Rooney, 34, is far from over. It is learnt that Rebekah, wife of Leicester City footballer Jamie Vardy, wants a public apology from Coleen, the wife of former England captain Wayne Rooney, for accusing her in October of leaking fake stories to the press via social media.

While both ladies are currently locked in a legal battle, it is learnt that they will have an arbitration meeting on Zoom this week in a bid to avoid a costly court case, reported British tabloid, The Sun.

"Becky [Rebekah] is adamant she's done nothing wrong and has told her team she wants a public apology," an insider told the newspaper. "She was hurt that Coleen went straight on social media to lay the blame at her door, rather than speaking to her privately. She has maintained her innocence throughout and doesn't want this to be brushed under the carpet without Coleen publicly apologising," added the source.

The two used to be good friends before Coleen claimed in October that Rebekah's Instagram account had been leaking false stories to the press. Subsequently, Rebekah endured a lot of abuse on social media.

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Pic Courtesy/Saffron and Pearls, Harpercollins India

As a 20-year-old, when Sarina Kamini first learnt that her Australian mother was suffering from Parkinson's, a part of her own Indianness, which her mother had so devotedly brought to the kitchen table at their home in Torquay, died. In a new book, titled Spirits in a Spice Jar (Westland Books, Amazon), Kamini says, it's possibly then that she had "stopped eating Indian food". It's ironic that while she attributes her Indian heritage to her father — he was Kashmiri — it was through her mum that she learnt the traditional family recipes, who in turn learnt how to cook Indian food from her mother-in-law, fondly known as ammi. Cooking these recipes would eventually be a way to heal, helping her make sense of the resentment she felt towards her mother's condition.

If Spirits in a Spice Jar traces the arc of a woman, coming to terms with the illness, another book, Saffron and Pearls: A Memoir of Family, Friendship and Heirloom (HarperCollins India) by Delhi-based Doreen Hassan, recounts how the author, who belonged to a Goan Catholic family, warmed up to her Hyderabadi husband's family and his rich food legacy. Last year, US-based Pakistani writer Bisma Tirmizi revisited her favourite dishes from the subcontinent through a journey of self-discovery of a young, obese girl, in the novel, Feast: With A Taste of Amir Khusro (Rupa Publications).

Doreen Hassan. Pic Courtesy/Saffron and Pearls, Harpercollins India

More writers are now exploring narratives around food, while showing how recipes too, are important to great storytelling. "I set out to tell the story of me, because I was so confused about who I was. I quickly realised that I couldn't understand mum unless I understood her connection to India. From my point of view, the connection was a mix of the material and the mystic [she loves the fashion as much as she appreciates the stories of faith], and food within our family is a real representation of that. Food ties my family to Hinduism through offerings and stories. So I had to write about Kashmiri food. Spices, for me, became the axis point where I could draw all of these thoughts together," says Australia-based Kamini.

Doreen says she started writing the book, with the intention of sharing heirloom recipes she had inherited after marrying her husband, Peter Toghrille Hassan, who is honorary Counsel General for the Russian Federation in Hyderabad. But, as she started work on the book, she "thought it might be interesting for people to know where the recipes came from". "That's how it turned into a memoir along the way," she says. Doreen believes that Hassan family's history is deeply influenced by food, and hence, it was crucial to the memoir too. "When people marry into a family, they often bring their own food traditions with them. It's fascinating to understand it," she says.

Sarina Kamini. Pic Courtesy/Kristy Jane Hoghton

In the book, she writes about the time she struggled with learning to cook, after she and her husband moved to Delhi from Hyderabad, with their two children. She, eventually went back to Hyderabad, and "met Peter's aunt, Zehra Alambardar, whom we called Phuppu Jani, and said, 'Please teach me how to make a few dishes.' She told me that she cooked by andaaz, or instinct. 'Beta, you have to watch and learn. I will make the dishes in front of you, and you write them down.'" That was how Hassan was indoctrinated into cooking.

She remembers the time when her husband invited the famous Pakistani singer Mehdi Hasan, to their home for dinner. "He was to sing at our home, and there would be 100 guests in attendance. I decided to make a Salim bakra, which is an entire goat, stuffed with eggs," she writes. Kamini says her fondest food memory is associated with paneer. "I'd always make sure I was close by when mum or dad began chopping the fresh paneer into pieces; I became adept at stealing bites," she says. Adding, "When I began cooking it for my own two boys, I, too, would have to shoo them away from the chopping block as they made attempts to sneak away with it. This kind of emotional continuity around food is what cements recipes into our hearts."

The Salim Bakra stuffed with chicken and eggs, and served with rice, which Doreen prepared for ghazal singer Mehdi Hasan

Catch up on all the latest Mumbai news, crime news, current affairs, and also a complete guide on Mumbai from food to things to do and events across the city here. Also download the new mid-day Android and iOS apps to get latest updates

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[Basingstoke] : Palgrave Pivot, 2015.

Cham : Palgrave Macmillan, 2019.