One of Mumbai’s leading art historians, Pheroza J Godrej, updates Ornella D’Souza about her commitments as editor, collector, curator and member on various cultural boards

Article by by Ornella D’Souza, dnaindia.com

Your stint as chairperson of the National Gallery of Modern Art (NGMA), Mumbai. ended in October 2015. Did you manage to get enough done?

I’m glad my advisory committee and I put a list of exhibitions in the pipeline, so the new advisory committee actually has it easy. But there’s never enough. We wanted no entry fee for exhibitions at the dome, as people have to climb up four floors because the rest of the NGMA is out of bounds if other shows being installed or dismantled here. On such occasions, at least six times a year, footfalls just cease. Then, a special shop at the entrance with souvenirs of ongoing exhibitions, upgrading the 30-year-old infrastructure – air-conditioning, lift and auditorium facilities, a cafeteria and toilet blocks on every floor. Because now visitors have to return to the ground floor when they need to use one. These are doable, but at times it takes forever!

You also head the committee for the Godrej Archives, which houses business and family manuscripts and memorabilia. Any latest development?

We’ll soon be out with a book on the Godrej typewriter. Before typewriters disappear like the people who sit with them outside railway stations and post offices, for those who can’t read or write. The book has photographs by Chirodeep Chaudhari, who has been documenting our typewriters for a while. Siddharth Bhatia is the editor. Contributors have written on typewriter print, history of typewriters, typewriters as props in movies or when storylines were typed on them. We had our first artist-in-residence programme last year. American artist Jeremy Mayer used few of the last Godrej typewriters to make a lotus that blooms at 9am and closes at 6pm, and two mandalas. This year, an artist from Mumbai will use Godrej almirahs as artist in residence.

And about your boutique India Weaves?

This year, we are gifting clients a day-book on India Weaves fabrics. It has my writings on India as the fable land of warp and weft and images of India Weaves fabrics, with blank spaces for jotting notes. After acquiring the International Standard Book Number (ISBN), we will gift all the copies to the Chhatrapati Shivaji Maharaj Vastu Sangrahayala’s (CSMVS) museum shop.

You served two terms as vice-president of the Bombay Natural History Society (BNHS).

I was with the Bombay Natural History Society when it needed an injection of Rs one crore. The art market was good. So with (curator) Niyati Shinde in 2007, we had an art auction at the Taj Mahal Hotel. We got Godrej, DSP Merrill Lynch, HSBC, ICICI and CitiBank, the Taj Group of Hotels and the Tatas onboard. I invited auctioneer Mallika Advani to conduct the auctions. Most artists let us have two-thirds of the sale and some, like Ram Kumar, gave an outright donation. Between the auction and the BNHS shop, we met the target. Even for the second fund-raiser in 2008, we hit the Rs65 lakh target.

I’m also part of the National Association of Friends of Trees. I love trees! I find it glamorous to associate with the tiger, the elephant, the lion, the rhino. But they need a home – the forest and its catchment areas, which, if you keep chopping down, there won’t be any wildlife left in India. I want to bring in a younger lot of environment enthusiasts – the heads of the zoology and botany departments in colleges – on board.

Was there a page limit to the weighty 726-page A Zoroastrian Tapestry you co-edited with Firoza Punthakey Mistree in 2013?

No, not even a budget limit. It took us years of research, working from 9.30 to 5.30pm, except Sundays. Writing to museums for permissions to reproduce images, inviting contributors to give original research – this alone took three years – Then reading texts, knowing where to place images, and waiting, for instance, for someone to become a navar and have his first turban tied on.We started in 1992 and managed to publish it in 2002. The book prompted Dr Sarah Stewart in 2013 to exhibit 400 manuscripts, artefacts and paintings at the Brunei Gallery, School of Oriental and African Studies (SOAS), London, where she teaches Zoroastrian studies.

Any other exhibition that prompted a memorable overseas display?

When the exhibition Across Oceans and Flowing Silks from Canton to Bombay 18th-20th Centuries and No Parsi is an Island ended at NGMA Mumbai, Dr Michael Schuster from the East-West Center Gallery, Honolulu, Hawai’i, visited me. He wanted Mistree and me to co-curate an exhibition in Honolulu! We sent 69 items, and Schuster added period trade items of chairs, porcelain vases and a silver rosewater sprinkler. It finally opened in October 2015 and ran through January. It was well-exhibited with weekly outreach activities. We found 16 Parsis in Honululu! Everyday they gave us fresh Hawaiian lei (garlands) to wear with our garas (Parsi saris). These little interludes between major projects are a delight.

What made you open Cymroza?

In the 1960s, Bombay had only Jehangir Art Gallery and two private galleries. The Taj Art Gallery would only show artists such as NS Bendre, AA Raiba and well-known society ladies. As an artist, I never got a chance. So, I opened Cymroza in 1971. When it began to expand, especially after Akbar Padamsee’s show, Kekoo Gandhy (of Chemould Prescott gallery) told my parents, “Had I given Pheroza an exhibition at Chemould, she would have never started Cymroza.” And that’s true.

Art galleries have opened and closed, but Cymroza cruises on.

Cymroza has found its level because we don’t overstretch or underplay ourselves. We don’t just do show after show, or rent out. We display from our collection through the year, so we help our artists and make ends meet. I never say no to an artist. Only if the art is amateur, I say ‘Sorry no space, booked for many years’ (laughs).

Do you have any favourites among artists?

I cannot choose! I love Rekha Rodwittiya, but also Thakur & Tagral and Satish Gujral. I have a soft spot for the contemporary. I like both, the classical period and the figurative Progressive Movement. Over the years, I’ve tended to like many abstract painters. Laxman Shrestha has been a favourite since four decades. We have a small collection of Shrestha because everyone – Jamshyd, Navroze, Raika and I, love his work.

Can you talk about your art collection with husband Jamshyd?

Had I focused on just one period and selected its best artists, like what young collectors are doing today, my collection would have been stronger. Though Mortimer Chatterjee (C&L gallery owner), who is cataloguing the collection, feels it documents a huge band of contemporary art that exists but doesn’t show on the art scene.

But I’ve come to a stage where I really need to edit our collection. I’ll never forget the Gandhian Usha Mehta of Mani Bhavan. She only had three saris. One that she wore when she died, a spare one in her cupboard and the third being washed for the following day. I would love to go that way. No encumbrances for anyone. That’s why I gifted 100 prints to the CSMVS museum for the new prints gallery. (whispers) I’ve got many more…another 300 works on paper. When I find lacunas in my exhibitions, I take from my collection.

Are we Indians good at documentation?

We are really poor documenters. I think the people who ruled us, the colonialists, would write, draw, paint and photograph copiously. Either on waking up or if they visited the dafter, or led a regiment, then under petromax at night. They were constantly documenting India. We Indians have the awareness, but not the discipline to document. The legendary Ebrahim Alkazi instilled this in me.

Do you get overwhelmed at times, handling all these responsibilities?

Not really. I see the bigger picture, separate the roles, focus on one task, give it a framework and then move on.

So you have turned down opportunities?

(Laughs) Trouble is I haven’t said no. I always say, ‘Yes, I can manage’.

You and your husband do things very quietly.

Yes, we just get ahead with what’s in hand.

Initially, did the surname Godrej make you nervous?

It still does. Even now I say, ‘I’m Pheroza’ and leave it at that.

The post Pheroza Godrej: Mumbai’s art queen appeared on Parsi Khabar.

When the beloved Café Samovar shut shop in the March of 2015, the city’s cognoscenti mourned.

The Jehangir Art Gallery’s (JAG) chairperson Adi Jehangir, however, was determined to make something better out of “a cafe that bloomed beyond everyone’s imagination“. In fact, in an interview with the Mumbai Mirror last year, Jehangir pointed out, “Wouldn’t it be financially feasible to give all of the six licensee’s spaces out to a posh restaurant or private gallery, and charge them South Mumbai rentals, while keeping only three auditoriums for India’s young artists? But that’s not the objective with which my grandfather established the gallery.“

Article by Alka Dhupkar & Reema Gehi | Jehangir Art Gallery

Jehangir was referring to Sir Cowasji Jehangir, who funded the public art institution for emerging artists that opened in 1952. JAG receives 2,500 applications annually, of which only 450 can be accommodated at a nominal rent of Rs 3,500 per day (exhibition hall). An artist has to wait for a minimum of five years before heshe can exhibit his work here.

On Thursday, Jehangir confirmed to the paper that plans to make an art gallery at the place of Cafe Samovar was unanimously passed by Mumbai Heritage Conservation Committee (MHCC) in meetings during March and April. “The Heritage Committee has informed us that the proposal has been passed. But due to some red tape, the heritage committee has not provided a written letter yet. So without that important document, we cannot go to the BMC to get further approvals,“ he said.

According to Jehangir, “Although we had originally planned it as a sculpture gallery, we may change it to a gallery for paintings. The gallery will be standing in front of the current Jehangir Art Gallery, so we are planning to build see-through glass walls. We are not sure how much time we need to get all the permissions. But once the permissions are obtained, the new gallery can start operating within a couple of months. Apart from the glass, small changes will be made to the roof, and the flooring will also be altered with lighting arrangements.“

JAG is also set to have one more gallery of around 1,200 sq feet area that will be built underground. “At present, we have openings only in 2021 at JAG. This is not fair for the artists. But we are helpless as bookings are full. So there is a waiting list of five years. If we start the underground art gallery and a new gallery where Samovar was located, it will reduce 30 per cent pressure of the current bookings. For this gallery, we will just wait till the monsoons get over. We have finished water-proofing and will do renovation in July. Civil work will be done after we get confirmation that there is no leakage.“

Members of the art fraternity have welcomed the plan. Abhinit Khanna, a creative arts manager based in the city, said, “I feel any additional cultural space adds value to our city. We have plenty of cafes that open in Bombay every day but we don’t have enough cultural spaces that exhibit provocative work.With this move, not only emerging artists will get space to exhibit their work, but we can also see various emerging mediums of art such as sound, performance, folk and craft. I see it turning into a hybrid space. Nonetheless, Samovar will still be remembered as a place where one could bump into their favourite artists and thinkers.“

The post Jehangir Art Gallery set to gift more room to artists appeared on Parsi Khabar.

He is the man of the moment, having scripted the turnaround of Rediffusion Y&R. The agency did well at Cannes Lions this year. BestMediaInfo caught up with Dhunji S Wadia, President, Rediffusion Y&R and Everest Brand Solutions, to find out how he pulled all this off and a lot more

Article by Akansha Mihir Mota and Archit Ambekar bestmediainfo.com

Two Cannes Lions, 11 new clients in 2016, growing better than last year and spearheading two ships at the same time. Dhunji S Wadia, President of two leading advertising agencies, is the man of the moment. He says that if not in advertising, he would have been playing the guitar in restaurants or lounges. But this ad veteran has spent a quarter century in advertising and has been heading two agencies since December 2014. And he still plays the guitar in his spare time at home.

BestMediaInfo caught up with Wadia, President, Rediffusion Y&R and Everest Brand Solutions, to find out how he scripted the impressive turnaround of Rediffusion Y&R, the rumours, his views on the advertising industry, and a lot more. Excerpts:

Two Cannes Lions, five Cannes shortlists. How do you rate this performance in terms of the agency’s immediate future?

From an industry perspective, the metal count that India won is double from last year, and that is heartening. We have won in newer categories like healthcare. But of course as an industry we can do better. I would like to see India winning in cyber Lions and that is where most of the cutting edge work is happening today. We are particularly pleased with Rediffusion Y&R picking up two Lions for work on the Tata Motors campaign, ‘use dipper at night.’ Besides that, our work for Amway and Moods was also shortlisted.

Did you expect such a response when the team began work on the Tata Motors’ campaign?

The work was never created for winning an award. There has been a series of projects that we’ve worked on for Tata Motors. As leaders, Tata Motors wanted to find out newer ways to communicate with truckers and the community. There are many projects and one of them was dipper. So you start off with wanting to do something which can make a difference to their lives and having done it; we are proud to have won the Cannes awards. But the work was not created with that perspective.

Post 2010 when you joined the Rediffusion Group as President of sister agency Everest, things did not look good at Rediffusion Y&R. The agency had lost two big clients – Airtel and Colgate. A few seniors left the agency in quick succession – N Padmakumar, D Rajappa, Amitava Sinha, Komal Bedi Sohal. Sam Ahmed was para-dropped from Y&R Dubai but he left even before he could unpack his bags! You stepped in as Captain of an unsteady ship in December 2014. What went through your mind when you took up the assignment?

I’ve always believed that the work will get us there. If you concentrate on the work (creative work) everything else will fall in place. Throughout my career I’ve believed that what is most important is only work. The creative output excites me and once that is in place, everything else falls in place automatically. I have also ensured that the agencies infused new blood across offices, across functions and designations. We have a new leadership team in place. And all of us are sharing the passion of constantly bettering out work. Our agency credo is to resist the usual and that’s what we are trying our best to do.

It has been six years since then. Would you say the turnaround has happened? What was your strategy?

I spent the first five years with Everest. It is the second most experienced agency in the country and we wanted to carry the good word forward. And it’s a matter of pride that this year will be the finest year ever in the history of Everest.

Coming to Rediffusion, obviously you want to make sure if you have put the components in one place and then get the mechanisms to take it forward. I think today we have a robust system in place. So, new businesses account for 20 per cent, almost one fifth of the agency. We added half an agency in terms of bottom line.

Tell us how you rebuilt the team at Rediffusion?

The biggest rule is to have no rule. You need to get people with matching wave lengths and that is important. The first thing was to make sure that heads of offices had enough experience and expertise. So we got in Uttio Majumdar to head operations in Mumbai, Suman Verma to head our operations in Delhi and we got Suparna Mucadam to head our operations in Kolkata. All of them have a great amount of experience and that is what helps with what they bring to the table. We also have a new Chief of Strategy, Navonil Chatterjee. He would be rated as one of the top 10 planners in Asia Pacific. That’s good credentials to have. We’ve worked together and we understand our style of working and of course Rahul Jauhari continues to be my creative partner. And we’ve done pretty well together.

Business-wise, has the agency been able to overcome the loss of Airtel and Colgate?

Rediffusion Y&R is proud to have handled the Airtel brand from inception. Right from designing the logo and creating the signature tune, we’ve done various campaigns for them. We grew with the brand. We left Airtel as India’s largest telecom brand and we take pride in that. There is a similar and more emotional story with Colgate and Rediffusion Y&R.

We passed the financial loss years ago; it’s the emotional loss that we have learnt to live with. We are seeking new business growth and are able to reach a point, and I am sure going forward it will be more fulfilling.

What is next goal for Rediffusion Y&R?

We are all working hard to make it very bright. Rediffusion has been built on the confluence of strategic input and creative output and that is the backbone on which we would want to continue working going forward. We have got the right people in the right places, trying to establish a culture of creative excellence. So the only good news is on client acquisition, creative work, awards and most importantly our reputation as an agency. We hope to write a buzzing chapter in the history of Rediffusion.

In January 2016, you joined hands with The Social Street. How has the venture benefited?

We hope to be the third or fourth largest media house in the country by next year and we just got from strength to strength. Along with the association, we have increased our go to market offer. We have not only traditional media but a whole host of others like social media and out-of-home. Together we are a formidable force.

Around last year, there were reports that WPP’s Y&R took a large stake in Rediffusion. Has there been any development on that front?

Y&R and Rediffusion have a relation from 1984. As of now there is no news on that front.

There has been periodic speculation in the market that Arun Nanda, who has had a long and glorious run in the industry, would like to sell out and get out. Any truth in that? There can be no smoke without fire, as they say.

We have a 30-plus year relation with Y&R and if and when there is any news then we’ll let you know.

Now that you are wearing two ‘Presidential’ hats – Rediffusion and Everest – how do you handle the focus issue and also the loyalty issue? It’s like having two wives.

It will be more like two children or like offspring. The health of each is equally important. Their growth, imagery and performance are equally important for me. There’s no question of playing favourites. Each gives a unique brand of work. So, if you were to give the same brief to both the agencies, you’ll find a different set of recommendations coming.

It is a roller coaster ride and I am happy to be the captain of it. It is challenging and I enjoy it thoroughly.

When it comes to pitches, how do you decide which of your two agencies will go for the pitch?

There are clients’ requirements and that will determine this. If I had it my way then both the agencies will go for it. On more than one occasion both the agencies have participated and there have been wins and setbacks.

Given that you are a veteran of 25 plus years in advertising, 18 of them with JWT, what has been the most difficult challenge that you faced in your career and how did you overcome it?

Building teams has been something I have put maximum importance in my life. I don’t write the campaign or do the strategy; it’s always the team that puts together things. I am happy to be the captain of the team. The most challenging for me has been to create the most conducive environment for good work. At every stage the job profile and challenges keep changing and the business itself is evolving and we hope to keep up with that.

Just last week BestMediaInfo raked up the issue of pitch fee – and the article was hugely read and commented upon. What is your view on pitch fee? Can that ever come about?

Pitch fee is something that the industry has been talking about but there has been no breakthrough. Significant amount of resources and time go for these pitches and we end up with no decision at all. In other words, if there is no output, there has to be some way of compensating the agencies. The most challenging part is to get all agencies together. I hope someday that happens and we have a common ground of addressing.

You have seen and breathed advertising for a quarter century. What are the main changes that you have seen?

I think it’s becoming less philosophical and more practical, or less poetic and more realistic. The entire process of communication used to be a carpet bombing, while today the consumer is talking among themselves and you have to be a part of that conversation. Content and context is important. You’ve to make sure that your brands are being spoken about.

Do you think the single-agency format – Creative and Media – can ever come back?

I think it helps in putting together the entire basket of offering. That’s what we’re doing here in Rediffusion. If it is worthwhile and beneficial, then I’m sure it’ll work towards coming back together.

Who is the one person in advertising you have always idolised?

It is difficult to name one, there are quite a few. Three have already reached Angel status. Shashi Dethe with whom I started by career, Anil Bhatia who was the head of JWT in Mumbai, and Sudhir Devkar who was the Chief Creative Officer at JWT. These three people had an important role in shaping my career. Add to that Sattar Khan and Arun Nanda. Even today when I call Arun Nanda for a query, he always has an answer.

You are very active on social media. Is it something personal or does that help you professionally?

It’s a personal thing. I like to build a community where there is cheer and information is shared. It’s very difficult to draw a line. Since I am a part of the industry, some of the tweets and updates will be about the good work done.

Name the most memorable campaign you have ever been part of?

Although I haven’t written any campaign, I have captained teams to glory. I would have a role to play in the history of Indian advertising.

Some campaigns through the years include Clinic Plus – Chhalke Dumke Dumke; VIP Luggage – Kal Bhi, Aaj Bhi, Kal Bhi….; Kingfisher – The King of Good Times – Ooh Laa, Laa; The Nike ‘Gutsy Cricket’ campaign –  where ordinary cricket-loving fans play on top of vehicles in a traffic jam – this launched Nike in India with their Point of View on Cricket; Levi’s Low rise Jeans – Dangerously Low; DeBeers – A Diamond is Forever; Parle-G – Wohi Pehle Waali Baat; Monaco – India’s first, specially created five second campaign; Times of India – Lead India and Teach India; Birla SunLife – Yuvraj Singh/ Sehwag – Jab Tak Balla Chalta Hai, Thhaat Hai.  Verna….; Sab TV – Asli Mazaa Sab Ke Saath Aata Hai; Resurgent Rajasthan – Rajasthan Hai Taiyar; Make in India Maharashtra – Invest in Magnetic Maharashtra and Tata Motors – use dipper at night campaign.

Is digital killing the art of copywriting?

Actually it’s a process of evolution. This is what we are moving towards and at any point of time and at any change, there might always be resistance. So, there are things like reducing attention spans, the limit of 140 characters. Whatever can get the message across, I think that is important than the medium.

You have introduced the ‘Wallpaper’, a digital newsletter. Tell us why.

There is so much that has happened in Rediffusion in the last year and half and I felt there should be some way of putting it across and telling our friends, well-wishers, clients and the media. So, we felt that is one way of sharing all things that are happening.

What’s your typical day like? How do you balance work and home?

I’ve never had a problem in balancing my work and home. I never carry my work home. But there is a lot of anticipation and preparation that I do before coming to work. By the time I reach my office I already know what I am going to be addressing. Apart from new things that come up, I try and accomplish all the things that are there.

Besides being a movie buff, what else preoccupies you outside of office?

Movies, music and theatre; all these three have been my passion. I don’t sing but I play the guitar. So thank God to advertising, otherwise I would have been playing the guitar in one of the restaurants or lounges. Maybe someday after retirement, I would choose to pursue it.

The post Dhunji S Wadia: Write a buzzing chapter in the history of Rediffusion appeared on Parsi Khabar.

KARACHI: Two young Parsi artists, Farshad Engineer and Naomi Haveliwala, showcased their talent for community members at the Karachi Parsi Institute on Saturday.

Engineer, 21, has been painting traditional art pieces since he was 15 years old. Most of these traditional works consisted of  art paintings, drawings and sketches that mainly portrayed figure painting, landscape, still-life, abstract and contemporary designs.

As he grew older, Engineer discovered new mediums. Now he invests his talent in the work of digital paintings, something he learned only four months ago.

Engineer, a student of Interactive Design at Canada’s Sheraton College, said he finds inspiration in the work of his uncle Jimmy Engineer, a famous artist and social worker. “I am very inspired by his work,” he said. “I am aiming to reach that scale but let’s see if that happens in three to four years.”

For the younger Engineer, art means everything. “It’s what my life is going to be. My job and career, likewise,” he said.

The collection that Engineer exhibited on Saturday is an all-girls series. He has digitally painted five girls – the Egyptian Cleopatra, Indian Oddissi Dancer, Japanese Sakura, The Numa and Gogeyi – using only his imagination.

The young artist plans to paint more of these women. “It’s kind of a tribute,” he said. “I plan to continue to do this with more girls and different regions.”

Engineer, who has been away from Pakistan for the last 10 years as his parents decided to migrate to Canada, admitted that he misses the city. “I miss Karachi a lot. There were some good times I spent here with cousins and friends,” he said. “However, my parents decided to have a better future for us and we decided to settle in Canada.”

Through the lens

Quite different from Engineer’s works was Haveliwala’s collection, which comprised photographs of daily life. The 18-year-old photographer has shot surreal images of the city – from a flying crow to the sunset, to a cobbler fixing shoes and the eye of a car headlight.

Unlike Engineer, Haveliwala is based in Karachi and has just completed her A’ Levels from Beaconhouse Defence Campus. Her main inspiration is her teacher Rehmatullah Khan who, according to the teenager, “taught her how to hold a camera”. She also admires the kind of photography done by Ali Khurshid and Tapu Javeri. “Their images are unique,” she said. “Some are nicely done shots whereas others are candid ones that I find inspiration in.”

Pointing to her works, she explained this collection comprises images based on Karachi.

“These seven images right here show Karachi as I have seen it through my camera lens,” she said. “However, I am heading to Hunza next week and I plan to take more images there.”

Haveliwala termed her collection “a learning process” as she has been capturing Karachi through her lens as early as two years ago.

The post Young Pakistani Parsi artists showcase their talent appeared on Parsi Khabar.

The artist on how discarded tailoring patterns, a lost garden of his boyhood in India and his new British citizenship inspired a very personal new exhibition

When I was a boy, I used to visit a beautiful community garden in my hometown of Pune, India. I thought of this garden during the EU referendum. I was starting a new art project – a series of 12 works destined to span the top floor of the Royal Festival Hall, in London.

Article by Hormazd Narielwalla, theguardian.com

Hormazd Narielwalla: ‘After my naturalisation ceremony, I went for a big English breakfast.’ Photograph: Marco Pereira

The garden, which was a couple of acres, was one of the few traces of British colonial history left in Pune. It housed beautiful rose beds, and was maintained as a cooperative. People from the community visited, socialised, caught up on local gossip and bought roses. It was a splendid treat that everyone was free to enjoy.

One day, we went to visitto the garden and were shocked to find it completely flattened and the rose beds gone. The land had been sold to a property developer and a modern building swiftly rose in its place. It was a sad, empty, uprooted feeling. The garden represented years of caring and longing, taken away from us.

When I woke up to the result of the referendum on 24 June, that overwhelming feeling of loss came back to me. Overnight, my new artworks had become a warning of what might be lost here in Britain. On a personal level, they also made me revisit my 13-year journey to UK citizenship.

I have always worked in collage, using unwanted tailoring and sewing patterns as raw materials. I was already interested in it when I arrived in the UK in 2003 to embark on a degree in fashion design at the University of Wales in Newport. In the 1980s and 90s, India was still very closed. I used to visit secondhand book markets to buy British Vogues from the 60s and 70s. They became my visual references and fuelled my desire to work in fashion.

The art of losing: Lost Gardens, currently on exhibit at Southbank Centre, London. Photograph: Hormazd Narielwalla

It was on my master’s course at the University of Westminster that I met the director of a prominent Savile Row tailor, who told me the firm ceremoniously shredded the bespoke patterns of customers when they died. As the body no longer existed, he explained, it was pointless to archive the patterns.

This left a profound impression on me, and I begged him to give me the patterns. He finally gave me a selection after removing all traces of the customers’ identities. Tailoring patterns have been around since the late 1500s. As technical drafts, they are used to create structured clothing. But freed from function, these patterns are abstract drawings in their own right, outlines containing and defining the human body and culture. I made them into an artist book, Dead Man’s Patterns.

The British Library and the V&A’s National Art Library bought copies, as did 25 other public collections across Europe and the US. Paul Smith sponsored my first solo show, and I was awarded a scholarship to do a PhD at London College of Fashion, researching British army uniforms in the archives of the National Army Museums in London and at Sandhurst. My final project – five sculptures made from military patterns – were exhibited at the Saatchi Gallery in 2013.

In February 2016, I became an official subject of Her Majesty the Queen, just as the leave campaign began riding on – and stirring up – a wave of anti-immigration sentiment. My naturalisation ceremony was a proud moment. My new identity had dawned, and I was full of optimism and strength. The country that had given me so much had, in turn, recognised my contributions to art and academia – as well as my taxes.

God Save the Queen, a Savile Row-inspired work Narielwalla made to celebrate his UK citizenship. Photograph: Hormazd Narielwalla

After the ceremony, my partner and best friend took me out for a big English breakfast. I also celebrated by releasing a large-scale artwork of the Queen, depicted in abstract form on small squares resembling stamps. It was my thank you for all the opportunities and privileges I had received as an immigrant.

By this time, immigration was already at the centre of the referendum debate. Politicians and personalities were defending the contributions made by generations of immigrants, and while the rhetoric from some of the leave campaigners was quite threatening, I was certain British people would stand in solidarity and not succumb to alienating themselves from their neighbours. The speech Sheila Hancock made on the final television debate was poignant and honest and came from such a warm place. That’s the person I was looking to as a voice of hope.

Then the vote was for Brexit, and the leave side seemed to take back control. I fear what this means for us all. Of course, not everyone who voted leave is racist – many had different reasons for wanting out of the EU – but I can’t help feeling that half of Britain doesn’t want me here. Like the lost rose garden, my contributions and successes have disappeared into oblivion.

My new series of work is made on sewing patterns from the 1950s. Paper was a luxury and companies would print the entire pattern of the garment on a single sheet. I have inserted block colour into the intersections, and the finished works are meant to communicate both the body in cubist form and the cultural landscape we all share.

At the time of making, the series didn’t have a title. It has now become Lost Gardens and is exhibited against a backdrop ranging from the Houses of Parliament to the west through the City of London and over to the East End. It is a promenade experience that is meant to trigger thoughts from the personal to the political. And for me it is also a reminder that things can all too easily be lost.

• Lost Gardens is at Southbank Centre, London, until 21 October.

As part of Namaste France festival, contemporary dance icon Astad Deboo will collaborate with Manipuri drummers at France’s Opéra Bastille

He turns 70 next year, but there’s no stopping Astad Deboo. A pioneer in the field of Indian contemporary dance, he has been invited to perform at the Namaste France festival in Paris. The 75 day festival kicked off on September 15, and Deboo’s 14 member troupe will perform on October 3. Deboo is known for his masterful technique of blending folk, traditional and contemporary styles with theatre.

Article by Shraddha Uchil | Mid Day

The excitement evident in his voice, he says, “This is the first time ever that a contemporary dance troupe from India has been invited to represent the country on such a large stage. It is a dream to be performing at the Opéra Bastille, which is one of the most prestigious opera houses in the world.”

Deboo will be collaborating with the acclaimed Pung Cholom drummers of Shree Shree Govindajee Nat Sankirtan, Manipur, to perform a piece titled Rhythm Divine II: River Runs Deep. The dance exponent has a long-standing association with the group, having worked with them for over 10 years.

“We received the invitation only six weeks ago, and didn’t have the time to choreograph a new piece. This is why we’re going with Rhythm Divine II, which is a tried-and-tested routine. However, this is the first time it is being presented outside India,” adds Deboo, who will be returning to France after 20 years.

The 85 minute performance gathers tempo slowly, ending in a flying crescendo and, in Deboo’s words, is almost spiritual. After the Paris performance, the troupe will perform in Lisbon, Portugal, and then move on to Belgrade, before returning to India. Although he has been awarded the Sangeet Natak Akademi Award (1996) and the Padma Shri (2007), Deboo feels that the Indian classical dance community has sidelined him.

“Earlier, big venues such as these would invite only classical dancers, not contemporary folk. But now, the atmosphere is right internationally. After <? years of dancing professionally, this feels good. My persistence has paid off. I’ve found success,” he ends.

Feathers in his cap

• Astad Deboo has performed at the Great Wall of China, with Pink Floyd in London, and at the 50th anniversary of the American Dance Festival.
• Pierre Cardin commissioned him to choreograph a dance for Maia Plissetskaia, prima ballerina of the Bolshoi Ballet.
• Deboo has performed before the royal families of Japan, Sweden, Bhutan and Thailand. £ He has also been a part of prestigious dance festivals Interpreting Tagore, a previous production in France.

City physician and history aficionado Dr. Farokh Udwadia recalls the power and glory of the Achaemenid Empire

For more than one hundred summers, the Cama Institute has been the go-to venue for aficionados of the religion, culture and history of the East, offering a blend of lectures, classes and seminars from a range of Indian and international academics.

Article by Meher Mirza | The Hindu

This week’s star was Dr. Farokh Udwadia, a distinguished physician with a yen for history. His lecture yesterday addressed the rise and fall of the Achaemenid Empire, a subject that is endlessly fascinating to Parsis.

The Persian Empire was one of the largest and most magnificent of the Classical Age, spanning Egypt and Central Asia, going all the way to the Indus region.

The mightiest among these was the Achaemenid Empire; Parsi boys are still named after the three powerful kings of the time: Cyrus, Darius and Xerxes. The Achaemenid Empire ruled for 200 years, crushing all opposition. It was a time of relative peace and prosperity; trade was extensive and the court was rich. Most remarkable of all, the kings united the ancient warring kingdoms of the Nile, Mesopotamia and Indus with the Iranian Plateau and Anatolia under the same peaceful, political system.

“Indeed, it was a great empire,” says Dr. Udwadia, “Very well organised. One is particularly impressed with the Achaemenid kings, especially Cyrus and Darius.”

Darius the Great is considered by many to be the founder of the system that is the basis of state administration in the world, even today. He perfected the provincial system, reformed taxation and overhauled the military.

Of particular relevance to the world today is the fact that the Achaemenid rulers have long been held to have practised a policy of religious tolerance, whether for idyllic religious conviction or political expediency. According to Dr Udwadia, “The Zoroastrian religion had not really crystallised at that time. The Achaemenid kings considered Ahura Mazda as their main God, but allowed their subjects to follow any other belief.”

Alexander’s long, hard fight to destroy the Persians was testament to the empire’s extraordinary solidarity and its greatness. And it left echoes all through history. Naturally, they have a special meaning for the Parsis, who claim descent from the Persians.

At his talk on Wedneday, Dr. Udwadia also released the book Firdawsii Millennium Indicum: Proceedings Of The Shahnama, edited by Sunil Sharma and Burzine Waghmar. Sharma is Professor of Persian and Indian Literatures of Boston University’s Department of Modern Languages and Comparative Literature, while Waghmar is Senior Library Assistant and member of the Centre for Iranian Studies, South Asia Institute and London Middle East Institute at SOAS (School of Oriental and African Studies), London.

The author is a freelance writer

The winners of the 2016 Print Awards, part of the 4th International Print Biennale currently taking place across the North East of England, have been announced. Six artists have received awards including residencies, exhibition opportunities and a cash prize.

The prizewinners are: Nif Hodgson, Lisa Andrén, Hormazd Narielwalla, Tom Hammick, Manami Ito and Sun Ju Lee. Their work is being exhibited at Newcastle venues Northern Print, Gallery North and Vane. Another 22 venues are presenting exhibitions as part of the biennale, which celebrates artists from across the globe currently working in printmaking.

American artist Nif Hodgson creates multiple-plate etchings, screen-printed using charcoal powder. Currently artist-in-residence at Kala Art Institute in Berkeley, he will receive a £4,000 cash prize.

London-based artist Hormazd Narielwalla creates collage and prints utilising tailoring patterns. He has been offered the opportunity to work with Paupers Press in London to create a new work which will be launched during The London Original Print Fair at the Royal Academy in 2017.

Continue reading….

Renowned Pakistani artist and social worker Jimmy Engineer was awarded “The Peace Ambassador’s Medal” in Beijing.

According to a message received here Wednesday, “The Peace Ambassador’s Medal” was bestowed upon Jimmy Engineer by Mr. Li Ruo Hong, the Chairman China World Peace Foundation in a simple but impressive ceremony. The ceremony was held at the Peace Garden Museum in Beijing, the message said.

Jimmy, as readers of Parsi Khabar know, paints a variety of themes, and has done landscapes, still life paintings, cultural paintings, religious paintings seascapes, calligraphy, philosophy of colors, miniatures, abstracts, historical paintings and self-portraits. His recent exhibitions feature art from his architecture, civilization and abstract series. 

Jimmy was born in a Parsi family. However his family could not have known that he would grow up to break all barriers of caste and creed and define multi-ethnicity through his art and altruism. He is a peace activist and is known for his crusades on behalf of the oppressed, disabled, mentally 

handicapped and the impoverished. He has also had a march for peace in Pakistan and walked 

with both the India and Pakistan flag on his chest, at great risk to personal safety. He has met with President Bill Clinton and with Mother Teresa on his altruistic missions. Thus his significance has gone beyond the art and his art work to become expressions of truth and peace.

An exhibition of his art work is scheduled on March 23, 2017, on the occasion of Pakistan Day.

The above was reported to us by our regular reader and friend Dara Acidwalla, with inputs from Fali Engineer, father of Jimmy.

Eighteen-year-old Zara Heeramaneck has been passionate about art conservation since childhood. Her home at Kemps Corner also boasts of artefacts from across the world. ic/Suresh Karkera

Article by Aparna Shukla | Mid Day

Zara Heeramaneck was in her early teens when she first visited the 62-year-old Framji Dadabhoy Alpaiwalla Museum in Grant Road. Enamoured by its prized collection, which offers a rare glimpse into the Parsi community, Zara recalls how she was fuelled by the desire to do something about its antiques — some of which were already witnessing severe wear and tear. That was five years ago. But, the young Parsi girl never forgot the promise she made to herself.

Giving wings to her dream, Zara (18), a student of BD Somani International School, recently launched the ‘Adopt an Antique’ initiative in order to preserve the city’s only Parsi museum. She has already managed to collect over R4 lakh for the same. As part of the initiative, donors can adopt an artefact from the museum and donate a sum, towards its restoration.

Keeping a legacy alive

Located at Khareghat Parsi Colony, Grant Road, the museum is home to the private collection of famed Parsi collector Framji Dadabhoy Alpaiwalla. With 600 porcelain antiques, over 300 glass artefacts, Parsi gara saris, several wood and stone pieces, and other textiles, the collection is both, diverse and unique. However, over 50 antiques from the museum are in need of immediate restoration, Zara informs.

Sitting in the living room of her Kemps Corner home, amidst artefacts from all over the world, Zara, who is passionate about art conservation, said, “Someone’s personal collection narrates a story of its own, and I find that fascinating. All these artefacts came from Alpaiwalla’s home and it’s amazing to know that he left it for people to see. Being the only Parsi museum in the city, it’s extremely important that we put our best foot forward to restore it.”

“The museum is in poor condition. Restoring it will keep the story of the founder alive,” added Zara. With the help of her family friends Phiroza Godrej and Firoza Punthakey Mistree, Zara reached out to the museum’s trustee, Bombay Parsi Panchayat, and made tiny brochures urging donors to donate anywhere between Rs 5,000 to Rs 30,000.

Proud parents
“We’re pleased that she’s trying to keep the face of the community alive,” said Zara’s mother Harsha. “To see my daughter do all this on her own makes me feel very proud,” her father Mehernosh said, adding, “An initiative like this will not only make Parsis more aware about their hertiage, but will also encourage them to donate from their own collection, so that this museum flourishes.”

The teenager’s efforts have already helped restore a 19th century porcelain umbrella stand, also called the Chinese export ware. The antique was restored at a cost of Rs 40,000 by conservationist Edul Fannibunda. “Young Parsis should at least acknowledge the fact that our community is being ignored. They need to co-me forward and change things arou-nd,” the 18-year-old said.

Long history

After Framji Dadabhai Alpaiwalla’s death in the early 1950s, his private collection was handed over to the Bombay Parsi Panchayat. The BPP started the Parsi Panc-hayat Museum in 1954 at the Khar-eghat Memorial building, which was later renamed after Alpaiwalla.

Background about Persiart7:

Persiart7 is an initiative undertaken to create awareness amongst community members and others about various important and interesting aspects of our history and religion. As we dig deep, we come to realize that there are abundant stories and personalities which can inspire today’s generation. 

Our first creation was a Desk Calendar, 2016, which highlighted the glorious history of ancient Iran shortly followed by a customized diary adorned with images of Persepolis and explanations of each image within the diary.

We also have a Facebook page named Persiart7 where we share interesting short stories about Ancient Iran.

Current Project: Miracles and Legends in Zoroastrianism – Desk Calendar 2017

Persiart7 undertook a project in which the key miracles and legends of Zoroastrianism have been brought to the community in the form of short illustrated stories. This desk calendar contains the miracles and legends right from the prehistoric times: discovery of fire by ancient Iranians to the present day Zoroastrian rituals. This project has been dedicated to our respected and beloved Late Dasturji Dr. Peshotan Dastur Hormazdyar Mirza.

The objective of this calendar is to reinforce the belief and devotion in Ahura Mazda and emphasise that through complete faith miracles are possible!

With valuable insights and guidance provided by eminent scholars like Er. Dr. Rooyintan Peer, Er. Dr. Ramiyar Karanjia and Er. Dr. Parvez Bajan, team Persiart7 arrived at twelve episodes.

The mission of giving life to each of the stories was accomplished by our very own digital artist Yohan Mody who burnt the midnight oil to ensure that the project was completed on time.

A few of the well known stories covered are, Zarathustra explaining the religion to King Vistasp, Dastur Meherji Rana in the court of King Akbar, saintly Homaji the emblem of truth and innocence, Dastur Kukadaru’s life and parsi taro thabario.

The other lesser known but interesting stories covered are Kae Khusraw and the divine Adar Gushnasp fire, the ordeal of Sasanian High Priest Adarbad Mahrespand, the journey of High Priest Ardaviraf’s soul to heaven and hell, divine help to princess Nikbanu from the pursuing Arab attackers and of course more.

These stories have been narrated in simple language, to ensure understanding across age groups. Additionally, the calendar contains a monthly planner where the user can maintain brief notes.

About The Team

Yazad Karkaria and Nauzad Irani formed Persiart7 and Meher Karkaria subsequently joined the team. 

Yazad Karkaria is a market research professional having worked with one of India’s leading Market Research Companies and a leading private sector bank.

Also, a part time practicing priest and passionate about Iranian History. 

Nauzad Irani holds a diploma in 3D animation and is currently working with a multinational bank. Nauzad is passionate about any form of creativity. 

Meher Karkaria is a graduate from University of Auckland and a certified yoga instructor. She is passionate about learning and education.

Priced at Rs. 350/- plus additional courier charges if applicable.

Orders:

Mobile – +91 9819392939

WhatsApp – +91 9819001422

Email: Persiart7@gmail.com

Facebook: Persiart7

Pickup points

1) Kala Ghoda – Jame Jamshed Office, Oricon House, 5^th Floor, Near Rhythm House.

Timing: 11am – 7pm

2) Byculla

a) Jer Baug, Nazneen: 9619953003.

b) Mevawala Agiary

3) Dadar Athornan Institute, 651-52, Firdausi Road, Mancherji Joshi Parsi Colony. Timing: 10am-1pm and 4pm to 7pm

4) Marine Lines – Ahura Enterprises, May Building, Ground Floor, 1 C 299 Princess Street. Mob – 9821289142. Timing: 12 noon to 6pm. (Stocks will be available 12^th December onwards)

5) Bandra West – Tata Blocks, Mrs. Karkaria: 022 26451110

6) Jogeshwari – Malcolm Baug, Roomi: 9821110240 / Bakhtu: 9819625978

7) Navsari – I-7, Avan Baug, Mr. Jokhi: +91 2637235657

The exhibition, which opens in Mumbai on Friday, consists of photographs taken decades ago with analogue film cameras.

by Aarohi Narain, thewire.in

Sooni Taraporevala’s film credits are well known – she wrote Salaam Bombay and The Namesake – but she is also a well known photograph, using her camera to catch moments all over the world and most of all in her beloved Mumbai.

Roshan Seth plays with Mickey on the set of Such A Long Journey, Bombay 1999. Photograph©1999 Sooni Taraporevala

Taraporevala has also authored and published a book of photos entitled ‘Parsis: The Zoroastrians of India; A Photographic Journey’, photographs from which were included in Tate Modern’s 2001 exhibition ‘Century City: Art and Culture in the Modern Metropolis’, amongst others. Her work is part of the permanent collections at the National Gallery of Modern Art, New Delhi, and the Metropolitan Museum of Modern Art, New York.

Taraporewala has been photographing for four decades and her latest exhibition, opening in Mumbai on Friday (March 10), is called, ‘My Analogue World’.

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Fashioned as an homage to the faded era of analogue, both medium and message play with notions of memory and nostalgia, reflecting a trend towards archive as a framing device in contemporary art and photography today. ‘My Analogue World’, then, produces a visual account that infuses personal history with the genealogy of a medium. Impassive commuters in a Tokyo train are in stark contrast to the ‘cool’ youngsters in the Ironbound, the working class community in Essex, New Jersey.

In her artist’s statement, Taraporevala writes:

“I wanted to simulate a darkroom as my happiest hours were spent staying up all night printing in a neighbour’s spare bedroom, with wooden boards covering the windows keeping out all light, as well as air, deep breathing the fumes of chemicals while bopping to music and finally at dawn carrying the prints upstairs to my home where I’d wash them in the bathroom and hang them up to dry with clothespins.”

Mitter Bedi Studio in Colaba loaned the enlarger that is displayed as part of the exhibition. Recognised as “the last hold-out of the analogue world”, they stopped processing film last year, Taraporevala mentions, marking the demise of a medium that was once every photographer’s bread and butter.

‘My Analogue World’, however, is not merely an elegy for analogue. Instead, Taraporevala’s show rediscovers the majesty of the un-digital era, coalescing elements such as art, technology and autobiography into a visual narrative. “I turned to digital in 2004 and never looked back to film, nostalgically or otherwise. It is only now, 13 years later that I find myself remembering and missing the days of stinky chemicals, and long dark nights.”

Sooni Taraporewala’s exhibition of analogue photographs opens at the MMB Gallery, Mumbai on March 10.

Our good friend Delzin Choksey informs us about a beautiful art print she has recently introduced. And just in time for Navroze, it is on sale on ETSY in the United States. To purchase in India see details below

Delzin writes

I run a small illustration business, Crispy Doodles in California and we are getting ready to welcome spring with a wonderful new poster to celebrate Zarathushtras teachings!

I rarely if ever, come across a fun way to teach my 2 year old about our religion, I thought of creating this poster for her and for Zarathushti children around the world to learn and get engaged in understanding our faith. It’s a bright and happy print and will make a great addition to a kids room or living room.

It is up for sale on Etsy:

https://www.etsy.com/listing/454041328/zarathushtra-zoroaster-poster-the-parsi?ref=shop_home_active_1

I would really appreciate if you could share this with Zoroastrians organisations or individuals who would be interested in buying this print for their children or for gifting. I am shipping worldwide!

Please feel free to share this COUPON CODE for a 20% off on Etsy! NAVROZE17

For deliveries in Mumbai, send SMS “NAVROZE17” to  +91 87794 52227

The legendary Indian contemporary dancer and choreographer Astad Deboo returns to New York for two performances this month.

Astad Deboo | Eternal Embrace

May 25, 2017 – May 26, 2017

La Mama Theatre| 66 E 4th Street, New York, NY

Thursday & Friday at 8PM

Choreographed and Performed by Astad Deboo

Music Composed and Performed by Yukio Tsuji

Eternal Embrace is inspired by the poem Maati, written by Sufi poet Hazrat Bulleh Shah. Embodying the poem’s central themes, the piece explores the tensions between annihilation and infinity, the ephemeral and the material worlds. 

BUY TICKETS 

About the Artist

Astad Deboo’s name is synonymous with Contemporary Indian Dance. He pioneered an innovative style of Indian Dance in the late 70’s. Diverse influences have given Astad Deboo a rich vocabulary as a successful soloists. It has also given him the resources to engage in creative collaborations with musicians, puppeteers, theatre directors, visual artists and dancers. His significant legacy offers innovative models for younger Indian artists whom he exhorts with characteristic clarity: “to be Contemporary Indian Dancers we must be Indian Contemporary, not simply imitate the west.” Astad’s dynamic career has lasted over 48 years with performances in more then 70 countries.

Queen Anne, Empire, Elizabethan, Louis XVI… these are familiar terms for aficionados who are passionate about antique furniture. Rare and often priceless pieces of furniture from these styles – ranging from the early 18th to 20th century CE are coveted across the world. But did you know that Bombay was home to its own style of furniture – the ‘Bombay Blackwood’ that was so in vogue, that US millionaires and Middle Eastern Sultans used to collect it.

Around the 1700s, as the islands of Bombay attracted European traders and settlers, there also emerged a demand for custom made furniture by the British, French and Dutch who sailed in. Portuguese arrived in India much earlier and were out of Bombay by the mid of 17th century. Many of them, who had bases here, commissioned the Indians carpenters to make furniture inspired by what they used back home. This amalgamation of European sensibilities and Indian craftsmanship proved to be a good coming together as it created a new style, which was quite unique.

ntricate Indian carving was matched with ornate and solid European designs. To that was added a dark luscious wood, native to the forests of Malabar – blackwood, to create a new style, the famed ‘Bombay Blackwood’ furniture. Blackwood (also known as rosewood) was a commercial term for several dark coloured timbers. The timber is from a particular species of trees known as the dalbergia latifolia of the Malabar Coast, where it grows to an immense size.

While the designs for the Bombay Blackwood were British, the craftsmen who made them were predominantly Gujarati and Parsi immigrants from Surat and Ahmedabad. As many of them were experienced in shipbuilding, a major industry in Surat, they were also skilled carpenters. Gradually the designs acquired local flourishes. Artisans began adding Indian touches such as motifs of elephants in their carving, moving away from the predominantly floral motifs of European furniture. The Bombay Blackwood was carved in charming open filigree to the last fraction of an inch. The table-tops and flat plain surfaces were sometimes upheld by storks with their long bent necks, the chair backs and other upright surfaces were a mass of intricate filigree. The result was a style rich and opulent.

A room full of Bombay Blackwood furniture| Louiza Rodrigues

While the designs for the Bombay Blackwood were British, the craftsmen who made them were Gujarati and Parsi immigrants

The legacy of Bombay Blackwood is intricately woven with that of the Parsi community. The furniture trade was a natural extension for this mercantile community, which had by then pioneered the ship-building trade in the Bombay Harbour. Most craftsmen, carpenters and furniture store-owners dealing in Bombay Blackwood were therefore members of the Parsi community. “Of the seven shops in Bombay selling this furniture in the mid-19th century, one, Jaffer Sulliman, was owned by a Muslim while the rest were Parsi-owned,” informs Dr Louiza Rodrigues, who traced the history of Bombay Blackwood furniture for three years as part of the Avabhai fellowship awarded to her by the KR Cama Oriental Institute. Workshops producing such furniture were located in the quarter in and around Meadow Street in Bombay, The area around Meadow Street was known locally as the ‘Ingrez Bazaar’ due to the English shops nearby.

The Parsis in Bombay not only drove the trade of this furniture, but also patronised it. This was partly because the Parsis, and other well-to-do communities, such as the Pathare Prabhus, were the ones who lived in large, spacious homes essential to house Bombay Blackwood furniture, which was heavy, bulky and ornate. Peep into a Parsi family home even today, and you are likely to be come across these treasures from an era long gone by.

Grand International Exhibition of 1851 in London, which made Bombay Blackwood famous|Wikimedia Commons

Two international exhibitions, one in London and another in Paris in the years 1851 and 1855 respectively, put Bombay Blackwood on the global map, according to Dr Rodrigues. “The exhibitions would go on for months, but the Bombay Blackwood furniture would sell out within a week,” she says. “The demand was huge.” And among those who filled the orders were people like James Procter Watson, proprietor of Watson & Co of Bombay. A thorough businessman, Watson had established dealers and agents across the country and by 1882 had a workshop from where he would supply Bombay Blackwood furniture across Europe.

Two international exhibitions put Bombay Blackwood on the global map

But more than Watson, it was Lockwood de Forest, an American painter and designer, who single-handedly introduced the American elite, including industrialist and philanthropist Andrew Carnegie, to this style of furniture. After his marriage in 1879, de Forest and his wife, Meta Kemble, spent two years honeymooning in India, collecting furniture, textiles and jewelry. It was during this sojourn that de Forest struck up an alliance with philanthropist and art connoisseur Magganbhai Hutheesing, and together they formed the Ahmedabad Wood Carving Company in 1881. Their furniture found buyers across America, and some of these pieces are today a part of the collection of the leading museums and auction houses in the US.

Andrew Carnegie |Wikimedia Commons

Such was the appeal of these intricately carved pieces that everyone from Thomas Monroe, the Governor of Madras, to a Sultan of Zanzibar and American industrialist Andrew Carnegie owned what the then newspapers described as “handsome Bombay Blackwood” furniture.

However, in the twentieth century, the furniture industry “began to decline because it got commercialised and led to high deforestation” said Rodrigues, “The aesthetics fell, and craftsmen did not pay attention to precision. Also, tastes began to change.”

A dalbergia sissoo tree|Wikimedia Commons

As of now, under the Indian Forest Act, 1927, the exportation of lumber products from wild harvested dalbergia latifolia is illegal. Although there is a high demand of timber in international markets because of its excellent qualities, rosewood is slow growing and its plantation cannot be expanded. Many once popular uses of D. latifolia wood have now been replaced with dalbergia sissoo wood and engineered rosewood for economic purposes.

Vanishing fast and hard to fit in in the changing landscape of urban Mumbai, with its condos and matchbox sized apartments, the Bombay Blackwood is now a collectors’ piece, reminiscent of a bygone era.

Today, Roda Mehta will be presented the Lifetime Achievement Award by the Advertising Agencies Association of India (AAAI). Roda is an integral part of Ogilvy India’s history and one of the architects of the success and reputation we enjoy today Each of you should know her story and join us in congratulating an Ogilvy legend as the industry celebrates her.

RODA MEHTA

Post an MBA from Jamnalal Bajaj Institute in 1971, Roda worked first for ICICI and then for HTA before moving to Ogilvy, Benson and Mather in 1975. She then had a successful 23-year stint with Ogilvy. During this period, Roda changed the face of media, both as a discipline for clients and as an industry, by bringing scientific thinking and professionalism into media planning and buying.

She is an Ogilvy Icon.

She was the youngest Board Member of Ogilvy, Benson and Mather in the early 80s. She brought media planning central to brand strategy and development. And evangelized it to give it the attention it deserved. She brought a business focus to media to make it more valuable and meaningful to clients and for it to be an Ogilvy differentiator. Media was not just about circulation and rates but connected back to sales. She was more than a media person, she was a strategic planner, and partnered many brand launches and campaigns through the 70s and the 80s, including the launch of Titan and the ‘Sometimes Cadbury’s can say it better than words’ campaign.

She is a Media Icon.

She drove professionalism into the media business and brought the science of ‘frequency and reach’ into the art of media strategies. She made it data driven. She envisioned the emergence and growth of Outdoor and Rural as specialist offerings and introduced them as units within the media department. She identified the importance of buying and, early in the 90s, developed it as a specialised skill. She drove media buying beyond just circulation and got print publications to re-tailor sizes for creative messaging and impact.

She is an Industry Icon.

She was on several industry committees including the Expert Committee on TV Marketing for Doordarshan & AIR, Advisory Board – Ministry of Information & Broadcasting (Govt, of India) and AAAI’s Media Disputes Committee and Economic Times Advisory Panel. She was Founder Member of the Market Research Society of India (MRSI) and Founder Member and Chairperson, Technical Committee, of the Media Research Users Council (MRUC). She chaired MRUC from 1994-96. She championed the cause of research as an essential tool for media. In the 80s, she partnered research agencies to develop and grow Readership Surveys.

In the 90s, this evolved to cover Television ratings as well, as the medium grew. These syndicated researches benefitted everyone in the industry. In the early 90s, she along with others in the industry convinced the Government of India and the Department of Education that the National Literacy Mission campaign should be created by a professional agency. And then alongside others in Ogilvy, including Piyush, created the ‘Chalo Padhayen, Kuch Kar Dikhayen’ campaign. It was perhaps a precursor to Government working with agencies for social change campaigns.

Finally, she inspired many women to come into the industry in the 70s and 80s and trained many people who went on to become leaders in advertising in the 90s and the new millennium.

Today, she works extensively with NGOs, including specific initiatives on educating the girl child. Her contribution to Ogilvy, Media and the Industry is undisputable. As Ranjan Kapur, Country Manager, WPP India puts it, “She was the Mother of Modern Media”.

May you all learn from her life and celebrate our history.

“Travelling with Roda on the National Literacy Mission campaign, I saw the sensitive side of the no nonsense person she is. Behind her tough and disciplined approach to work, is a soft and sensitive human being.’

Piyush Pandey, Executive Chairman and Creative Director, Ogilvy South Asia

“Roda changed the face of Media Planning and Buying in India. She drove professionalism into the media business and brought the science of ‘reach and frequency’ into the art of buying. She made media a data driven business in an era that was technology deficient and most work had to be done manually. It was back breaking work but she never let up. She championed the cause of research as an essential tool for media and personally saw to it that media research became the backbone of media decisions in the entire industry. Roda also envisioned the importance of Outdoor and Rural and introduced them as separate units of the media department at Ogilvy in the early 90s at a time when its competitors were still playing catch up. Her contributions are endless and Ogilvy owes her a debt of immense gratitude. We were tiny players then, facing huge media companies, but she made us feel like giants. She can truly claim the title of being the Mother of Modern Media.”

Ranjan Kapur, Country Manager, WPP India

“Roda was one of India’s first media professionals. An articulatc and clear thinking lady who made media a science and gave the media function legitimacy. Thanks to individuals like her, media became critical in the Indian advertising industry. However, her contribution went much beyond media she was a great Strategic Planner (much before the term was invented for Advertising) as well as a great business partner. She was honest, forthright, ethical and one always learnt when interacting with her.”

Bharat Puri, MD, Pidilite Industries Limited

‘Roda Mehta… whose one guest lecture was enough to convince me to spend nearly five years at the start of my career under her wing at Ogilvy, Benson and Mather. A pioneer with the guts and gumption to dominate several boardrooms of men, she laid the ground for professional media planning based on data in this country, and introduced many women to the profession.”

Lynn D’Souza, Founder, Social Access

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World renowned Pakistani artist, social crusader and peace activist Jimmy Engineer has reiterated that he is genuinely proud of having painted different aspects of Pakistan Movement showing on huge canvasses in colours the sufferings and sacrifices of millions of Muslim men, women and children and their migration to the newly created Motherland amidst hopes and expectations for starting their life afresh in the land of the pious Pakistan.

In a statement issued on the eve of the70th Independence Day being celebrated enthusiastically on August 14, he reiterated that he regarded these huge paintings of Pakistan Movement as his major artistic achievement as these had given him great recognition, appreciation, fame as well as reputation not only in Pakistan but also the world over as a creative artist.

He said that he had created these series of huge Pakistan Movement paintings, which are still very much relevant in the prevailing circumstances, through sheer imagination and innovative thoughts though he himself was born seven years after Pakistan had come into existence in August 1954 to a Parsi family in Loralai, Balochistan.

Giving some details about creation of these huge paintings ,Jimmy said that few years after he had started working as a creative artist, he suddenly started having bad dreams about bloodshed and violence continuously.

He mentioned this to some religious scholars including Sufi Barkat Ali of Darul Ehsaan Risalewala near Faisalabad who advised him to start transforming these dreams on the canvass. Accordingly, he started painting these dreams of bloodshed and violence on huge canvasses and the result was number of huge Pakistan Movement paintings. He said when he was doing another big painting, bad dreams stopped, as suddenly as these had started coming, and he had left that painting incomplete there and then.

Continuing, he said over the years he has been donating the prints of his famous huge Pakistan Movement paintings to different institutions and organisations throughout the country for public display.

He said that these back-lighted transparencies of the Pakistan Movement paintings were on display at several places in Lahore, Islamabad and elsewhere in the country. Jimmy said that he was still ready for making more donations of the prints of his paintings as the younger generations in particular needed to be apprised, informed and educated about struggle, sufferings and sacrifices of their fore-fathers for the creation of Pakistan and reminded of their onerous duty and obligation to preserve, safeguard and strengthen the national unity, solidarity, security and integrity no matter how much cost they have to pay for this.

Jimmy Engineer has underlined the dire need for revival of Pakistan Movement spirit in the prevailing circumstances while Pakistan is passing through most critical juncture of its history for safeguarding, preserving and strengthening the national security, solidarity and integrity of the Motherland which is facing host of internal and external challenges and threats. 

‘Impossible’ is a word that does not feature in his dictionary.

Perseverance, dedication and focused approach are among the best attributes of Jazeel Mistry, a young man from Howick in East Auckland (now based in Australia), who is on a mission to realise his dreams in Hollywood as an actor, producer and director.

Jazeel is getting ready for his visit to Los Angeles in November to meet the movers and shakers in Hollywood to seek funds for his latest home production.

Article by Venkat Raman | Indian Newslink

Three-in-One Film

Titled, ‘The Golden Try,’ the film, in English, is a romantic comedy and sports adventure rolled into one.

The story of an immigrant- an orphan (adopted by a New Zealand journalist) with an endless passion for Rugby – the film will portray Jazeel in a new light. His role as a struggler in life with the lofty ambition of becoming an international Rugby star and boost the image of his adopted country’s national game will hopefully make the movie a blockbuster and lift the profile of Jazeel on the international scene.

“’The Golden Try’ is an honest piece of work and story-telling in its purest form. My objective of making this film is not to seek fame, awards or even money but to create a film that will remain as a memorable masterpiece. I wish to share this emotional journey, the story of a young man who has crossed seven seas to make something of himself. I hope it works. It is ‘The Golden Try’,” he said.

The film will be shown at the Annual American Film Convention in Los Angeles in November in the presence of some of the largest financiers and owners of studios.

His counterparts in Hollywood believe that if the film matches the exacting standards of quality of production and cast, it would create box-office records and make Jazeel’s dreams come true.

The Showbusiness Man

Jazeel moved to Sydney about five years ago but has maintained contacts with his peers, people in the Parsi community to which he proudly belongs and the entertainment scene.

Every major entertainment programme that features Hindi film stars, be it Shah Rukh Khan or Salman Khan, will see his presence in Australia and New Zealand.

Showbusiness has always held his major interest.

He began his career on stage as a Master of Ceremony. His humour, presence of mind and unique style of presentation have all endeared him to organisers of local and international shows on both sides of the Tasman.

His ability to work with organisers of corporate events, beauty pageants such as Miss Universe and Miss World and Concerts featuring international artistes has endeared him to people, earning him popularity as ‘Mistry MC of stage.’

The Movie World

His interest in acting involved him in three films produced in New Zealand. His role as Harry Singh in the 2008 film ‘Love has No Language’ was impressive. The film featured Celina Jaitley (a popular film actor of that decade), Ben Mitchell (of Shortland Street fame) and Colin Mathura-Jeffree, New Zealand’s well-known icon of fashion, brand ambassador and actor.

Directed by Ken Khan, it received rave reviews and was a box-office success.

He appeared in a cameo role in ‘Curry Munchers,’ now known as ‘Vindaloo Empire.’ This film won the ‘Best Global Film Award’ at the ‘Festival of Globe Movie 2017’ held in California last month.

He was also featured in ‘Sione’s Wedding,’ a 2006 film directed by Chris Graham.

Jazeel was trained and mentored by British actress Sally Spencer Harris and is ready for bigger things in life and career. His latest work as producer, coupled by his acting talent, will hopefully make the rich and famous in Hollywood to take notice of him.

Pristine New Zealand

“Although I live and work in Australia now, my heart is still in New Zealand. This will always be my home. ‘The Golden Try’ is my humble contribution to this beautiful country and the film enables me to express myself,” he told Indian Newslink.

A Flashback

During his years as a University student, he was a regular visitor to the offices of Indian Newslink to share his experiences. The following report, under the title, ‘Auckland readies for debonair show’ appeared in our May 1, 2004 issue:

The sophisticated charm of the community youth would be put to test at a show scheduled to be held in Auckland next month.

‘Mr India New Zealand 2004,’ claimed to be the first of its type on both sides of the Tasman, will get under way at the Logan Campbell Theatre on May 22, with about 18 contestants putting on their irrepressible smile and agility to win the top honour.

And 20-year old Jazeel Mistry is one of them.

The India-born lad, raised with formative education in Dubai, is hoping to go places.

His modelling assignments have thus far remained within the community, including the ‘Bridal Show’ held as a part of the Diwali festivities in 2002 and 2003 and a few others and the young man is brimming with enthusiasm.

As well as pursuing a degree in Applied Communication at the Manukau Institute of Technology, Jazeel wears dancing shoes and has appeared in shows to give vent to his prowess.

“The forthcoming contest will be exciting and will follow the Bollywood style,” he says.

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Pictures of Jazeel Mistry were supplied.

Anahita Cowasji’s Quiltessence is a house of individually designed and crafted home textiles, woven and block printed, hand embroidered and textured into pieces of intrinsic value and beauty.

Born into a Parsi family in a sleepy cantonment town, she started her workshop under a tamarind tree in the back cottage of her parent’s compound, where it has remained ever since. Mhow is fortuitously located not far from the handloom weaving town of Maheshwar, the block print village of Bagh and the textile city of Indore. The convent here was, till recently, run by French nuns who meticulously imparted their craft of needlework to the local girls. The old almirahs in their hauntingly beautiful colonial home were repositories for gara saris and borders. From these traditions come the incandescent weaves, prints and embroideries that form a leitmotif through her collection and body of work.

An education in the liberal arts and Fashion, and her experience in garment factories of the day, positioned her to design and manufacture for several well known and well loved labels and stores. Egged on by her children and her husband, she has finally decided on an online presence in the form of a retail store under her own name, Anahita Cowasji.

Vintage Rusi is a short film made for the 2005 kala Ghoda arts and street festival in Mumbai. With Mahabanoo Mody Kotwal , Bapu Malcolm and Beezan Charna in leading roles. It was directed by Ashok Salian, noted photographer and film maker.