Tag Archives: culture

Musician, Raja Kumari (Image provided by Raja Kumari)

‘I Was Told to Tone Down My Ethnicity to be Successful in America’ Notes Raja Kumari

Indian-American rapper, songwriter, and singer Raja Kumari is a force of nature. Hailing from Claremont, California, she is best known for her collaboration with notable artists including Gwen Stefani, Fifth Harmony, Knife Party, and Fall Out Boy. A fearless, charismatic personality and natural-born storyteller, her mission is to create art that blends her Indian roots with her American upbringing.

In this exclusive interview, she talks among other things about the challenges she had to face as an American of Indian origin, her latest tracks ‘I Am A Rebel’ and ‘Hello World’ which released on Women’s Day, and philanthropic activities that she participates in through her music.

Musician, Raja Kumari (Image provided by Raja Kumari)
Musician, Raja Kumari (Image provided by Raja Kumari)

Being of Indian American origin, tell us more about the challenges you had to face and the uniqueness you bring to your music. 

RK: One of the main issues I faced trying to get started in America was racism. I was always told to tone down my ethnicity, that I was “too Indian” to be successful in America. I struggled to find someone to look up to as a South Asian kid in America. I remember, on weekends I would travel for classical dancing and wouldn’t necessarily share that with my friends. I would come to school with the Alta (painting the palms and feet with a red dye) fading on my hands and they’d ask me, “What is that? Do you have a hand disease?” 

Things are evolving in the US now. I like to call it the ‘brown renaissance’ Indians are more relevant in so many fields, especially entertainment. On the other hand, some people in India called me a ‘culture vulture’. How can I be a ‘culture vulture’ in my own culture just because I’m born in America? I’m not just another South Asian. I still have put in my time to be Indian enough to talk about India without being an appropriator of culture. My family did a really great job of preserving the culture for us. We don’t fake it. We wear sarees for pujas, my mom does Vijayadashami and Navratri, I have studied Indian music and dance. As a result, my style is just a balance between the East and the West. 

I think learning to navigate both worlds with authenticity has helped me become the artist I am today. I have carved a place for myself in the male-dominated music circuit by staying authentic and rooted in my culture. I think there a lot of women in the industry who say a lot of things from the female perspective about relationships, broken hearts, love lost, pain, sadness, happiness, or sexiness; there are so many of those voices. I felt like we were missing my perspective. Of course, I could sing soft and beautiful songs but there are many people to do that.

You are also a trained dancer in Kuchipudi, Odissi, and Bharatanatyam. Tell us more about this passion of yours. 

RK: My passion for Indian dance started at a very young age. My mother had always wanted to be a classical dancer and it wasn’t feasible for her to pursue it growing up, so it was always in her heart to have a daughter who was a dancer so I came out dancing. My attachment to classical Indian dancing really gave me so much of my personality, so much the way I dress and the way I perceive the world, and also the stories that I relate to. Some kids grew up to Batman, Superman and I was really obsessed with the Mahabharata and the Ramayana and the stories of Hanuman. Those were my superheroes, and so I think classical dance really made that a part of my life. 

Tell us more about philanthropic activities you have participated in in the past through your performances. 

RK: I always believed art should be used for the greater good. Since I was a child, my parents always involved me in a lot of charity work and I was able to help build the meditational hall in Hyderabad and donate a wing for a hospital in Bengaluru. I consistently performed for so many temples to raise funds for building certain temples in Southern California. I think now I definitely use my art to open doors for others to create an opportunity to inspire. There are many philanthropic activities I am a part of but I mostly like to support the charities that support the girl child because I believe in India, we need more attention and more support to encourage young girls to be in art and not just sciences or leaving school as we usher in an era of more creative artists. I think we have enough of everything else and I would hate to lose our artistry as a culture with the idea of modernizing ourselves and lose everything we are, so anything that will help support the art, I am there.

Who are some of your inspirations? 

RK: Madhuri Dixit, Lauryn Hill, Kamala Harris, Missy Elliot, and Beyonce.

Tell our readers more about your latest tracks ‘I Am A Rebel’ (featuring Kiara Advani and Bani J in lead roles) as well as ‘Hello World’ (with Hollywood actor Rita Wilson and Brazilian singer Claudia Leitte), both of which released on Women’s Day. 

RK: Both these tracks were created from the inkling to motivate and inspire young girls. Teaming up with Rita Wilson and Claudia Leitte on ‘Hello World’ was amazing, as these are two women I have so much respect for and it was really cool to see how our styles complemented one another. When boAt approached me to write ‘I Am A Rebel’, I was so excited to collaborate with my longtime friend DJ SA on the music. I’ve always considered myself a rebel in my music choice, my career, and my unapologetic nature! I loved crafting the lyrics to depict that energy and I’m so happy to have been joined by so many strong women like Bani J and Kiara on the campaign.

Neha Kirpal is a freelance writer based in Delhi. She is the author of Wanderlust for the Soul, an e-book collection of short stories based on travel in different parts of the world. 

 

Indian Women Revolt: The Problem Lies in Your Genes and Not Our Jeans

A recent comment over women wearing ripped jeans by an Indian politician has once more thrown open the misogynist mentality prevalent in our culture.

On March 18, my journalist friend Sid Shukla wrote a post on Facebook which read: The problem lies in your genes, not in my jeans. RIP #Ripped_Genes. This was right after a storm broke out across the country over the ripped jeans comment made by Uttarakhand chief minister Tirath Singh Rawat, who wondered what values women wearing ripped jeans would pass on to their children. Following his insensitive comment, several women posted pictures of themselves wearing ripped jeans on Twitter and other social media platforms. Female politicians like Jaya Bachchan and Mahua Moitra also condemned the chief minister’s comments heavily.

Such careless and thoughtless remarks by politicians are not new in India where women are often blamed for inviting rape by their choice of dressing, conveniently forgetting the fact that children fall prey to pedophiles in this country. 

Delhi Pradesh Mahila Congress members take part in a protest against Uttarakhand CM remarks over ripped jeans | Parveen Negi (Image from New India Express)

Jeans have always been the bone of contention and in many homes, women are not allowed to wear them.

Early on in my life during high school, I have fought for the two Js in my life, jeans and journalism. My mother wanted to restrict my choice of clothing. She was dead against my wearing jeans, citing her conservative family members and their value systems. Seriously, I have never come across such bizarre logic in my entire life, the very fact that relatives can dictate the choice of a woman’s dress. 

Author, Deepanwita Nyogi in ripped jeans.

I was adamant and the day I first owned two pairs of jeans, I knew I had scored a point. Later during my college days, whenever I bought jeans, my mother made her sentiments clear.

Back in college, friend Devi Banerjee (name changed) admitted that wearing jeans was a big issue in her house, but her mother was supportive of her choice. Devi told me that some of her relatives nurtured the idea that only bad women wear jeans. Another college friend was never allowed to wear jeans, always arriving to classes in salwar kameez. While salwar kameez is never an issue, debarring a girl from wearing jeans because hips and thighs become pronounced is the most baseless argument I have ever heard. However, while Devi was content in Indian wear and I rebelled against my mum.

College days are long past. But to imagine that someone in 2021 can remark on how women in jeans can fail to impart the right sanskaar (value system) to children can take India back to the medieval ages and nullify all the achievements it has made till now. 

With globalization, many things have become a part and parcel of the Indian culture or that of South Asia as a whole and jeans are one among many. To criticize women for wearing jeans or ripped jeans while letting go of men attired in the same outfit is shameful and deeply disturbing. It points to the fact that society always wants women to be the torchbearer of tradition even if these are regressive.

Jeans, which originated in America in the late 1800s, are often associated with western culture and value systems. It has a certain sex appeal and an association with rebellion. Hence, those indulging in moral policing think it should be shunned by women in conservative cultures. But ironically in our society, people feel proud of their sons settled in the US and it becomes a point of discussion. Even in the US, the culture pervades the thoughts of the Indian community. India Currents very own, Srishti Prabha spoke to me about her experience. She said, “When I first wore ripped jeans in middle school (my mom was pretty progressive and let me wear them), the parents of my Indian friends would comment on how I looked like a beggar or trying too hard…”

In the Bollywood movie, Lipstick Under My Burkha, one of the female characters out of the four portrayed in the film wears jeans under her burkha because of restrictions at home. While it may appear to be a trivial issue for many, for Rehana Abidi’s character, it is the first step towards independence. 

I love wearing jeans and often remember how hard I fought to have them in my wardrobe. If jeans have to be indeed shunned, avoid it because it uses a lot of water to be manufactured and not due to stupid morality issues advanced by regressive minds… 

Deepanwita Gita Niyogi is a freelance journalist based in Delhi.

 

An Imperfect Street: The Delhi Airport Race

When I step off the plane which I have been on for the past sixteen hours, I am immediately hit with the biting cold that is Delhi winter. The smell of pollution and smog drifts into my nose. For most people, freezing and polluted air is the opposite of a comforting experience, but the air is refreshing and the smell is what I associate with my favorite place in the world. I drag my carry-on off the sky bridge, and my shoes are met with the familiarity of the faded orange carpet decorated with geometric patterns. After sleeping for the majority of the flight, my sister and I are energetically skipping with excitement to see our loved ones, oblivious to the fact that it is three in the morning, local time. We speed walk through the quiet airport, chatting about what we are looking forward to; I think about the way my grandma’s chicken curry tastes or the afternoons I spend chatting hours away with my other grandma. 

As I exit the sky bridge, I am reminded of what it feels like to be home. The feeling of warmth and comfort that consumes me is something that I only feel when I am in Delhi. Exiting the plane in San Francisco gives me a sense of relief of being literally home after a long vacation, but often feelings of sadness emerge knowing that my vacation is over. Walking into Indira Gandhi International Airport only brings excitement, comfort, and genuine happiness to my soul. 

Though the airport is quiet, as we approach immigration you can feel the bustling excitement of children anxious to see their cousins and grandparents, and college students itching to eat home-cooked meals again. I stand at the top of the escalator at immigration, staring at the four hands above the cubicles; the giant rose gold hands are representative of different poses that are done during the traditional Bharatanatyam dance. These hands feel like a warm hug. Those hands mean that I am just one door away from hugging some of my favorite people in the world. We make it through immigration, continuing to speed walk through the maze that is Duty-Free, a new series of strong scents from perfume and alcohol hitting us. Once we reach baggage claim, we anxiously await our numerous large suitcases which are filled with our clothes for our month-long trip as well as gifts for our family. With smiles on our faces, winter jackets on, and a full trolley of suitcases in hand, we head outside to the meeting area. 

Ayanna’s grandparents at the airport in Delhi.

My sister exits the doors first, and though I can’t see her face, I see those of my grandparents, uncle, and cousins, lighting up. My grandpa walks towards us, and my sister and I abandon our bags in the middle of the walkway so that he can wrap us both in a bear hug. My grandpa is always the first to hug us, but certainly not the last. We make our rounds, embracing whoever has braved the cold, early morning to welcome us, getting smiles from strangers who are also about to see their loved ones. 

After a quick tussle with my grandfather, who insists on dragging the heaviest suitcases, we make our way to the car. There is a broken sidewalk which we must overcome before we can get the luggage into the car. Every time a trolley full of bags goes over it, we hold our breath to see if a suitcase is going to fall and lie in the middle of the road until my dad can come to pick it up. Though it is the most stressful experience trying to get eight heavy suitcases across a busy street with a broken sidewalk, it makes us all laugh and despite the chaos, I would not trade that moment for the world. My sister and I pile into the car with our grandma and she pulls out our favorite biscuits which she knows we crave and miss. The whole way home to my paternal grandparents’ house, we crack jokes, catch up, and eat our snacks as the sun rises. Our annual trip to my favorite place in the world has commenced. 

I didn’t grow up in India, nor was I born there, but this annual pilgrimage has not only made it feel like my second home but my happy place as well. However, it has not always felt this way. This same airport routine takes place every year and the sensory experiences I can describe in my sleep have always existed, however, a few years ago I was too focused on the negative aspects of this experience to value the comforting ones. All my life, I have spoken and understood Hindi fluently and well.

However, as an American, a local can pick my accent out of a crowd. My cousins, parents, grandparents, and babysitters would lightheartedly tease me about certain pronunciations, and I used to take that so seriously that I wouldn’t even try to speak the language. Even the immigration officer would see my Overseas Citizen of India (OCI) card and American passport and ask me if it was my first time in India. People would think of me as spoiled or privileged and ungrateful because I am from America and still calling myself Indian. It was wrong on their part, but that is just how nuances in identity work. While these were small events, as an impressionable young child, I would start to question my belonging and negate the extreme happiness I felt in India with the small jokes about my dual identity. 

Ayanna with her younger sister at the Delhi airport.

I still have difficulties with my identity, but the difference is that now I have learned how to embrace both parts of my identity. Being Indian and spending so much time in Delhi has taught me that identity is not uniform and legal documents don’t define me.

Now, when people ask me about America and how “my country’s government is so crazy,” instead of getting annoyed or feeling mocked, I embrace it. I recognize that I have the privilege of living in an extremely different country and people are genuinely interested, so I happily answer them. In fact, sometimes I like to make it known that I’m from America; I will deliberately talk in English or wear a Bay Area sports jersey because I have learned to have pride. In fact, it has even made me friends even in India. I have struck up conversations with multiple tourists who have heard my accent or seen my jersey and we have connected on one part of my identity. 

Adding on, due to COVID-19, I have not been able to visit India in almost two years. The absence of these feelings of comfort and happiness has made me better appreciate and understand how much those experiences and that place mean to me. It’s unfortunate that the absence of a feeling, and not the presence of it made me grateful for Delhi, but nevertheless, I no longer take that sense of true happiness for granted. 

India is “my place” and not only because of the comfort it gives me but also because of the challenges it has thrown at me. Challenges that have taught me to be resilient, and have also helped me find myself and better understand my identity. I hold India near and dear to my heart because of the people and experiences it holds. No one can take that feeling away from me. A passport determines citizenship, but emotional attachment and love are what dictate identity. It is also what keeps pulling me back to my favorite place in the world – Delhi.

Ayanna Gandhi is an 11th grader at Castilleja School in Palo Alto, California. She has a deep interest in writing and reading but also enjoys politics, singing, and sports of all kinds. 

 

Dharmic Environmentalism

This article is part of the opinion column – Beyond Occident – where we explore a native perspective on the Indian diaspora.

The environment is a universal concern.

Universal environmentalism, however, is myopic, monopolistic, and hegemonic. It overlooks native and Indigenous solutions and, as such, is a recipe for disaster. 

We all relate to our surroundings differently. Present-day environmentalism, however, is based on the Western anthropocentric approach. According to the Encyclopedia Britannica, anthropocentrism as a religious and philosophical doctrine holds that “human life has intrinsic value while other entities (including animals, plants, mineral resources, and so on) are resources that may justifiably be exploited for the benefit of humankind.”

The destruction of ancient paganism was a turning point in environmentalism. Before the advent of Christianity, both as a religion and as a political power, there was no distinction between nature and the divine in the widespread pagan societies. Pagans believed in God’s transcendence in the elements of nature. The notion of the ‘sacred grove,’ however, is an alien concept in the West. Moreover, Marxism, Liberalism, neoliberalism, etc., too are an extension of the same anthropocentric ideology. They regard humankind as central and the most important in the world. 

What is considered modern and scientific in our day-to-day lives today, is based primarily on Christian theology. Implicit faith in perpetual progress dominates our lifestyle, our habits of action, and our planning for the future. Man’s destiny, within this paradigm, is to be hopeful of a future affected by science, technology, a promise of more progress, and doomsday prophecies. 

Modern technology too ends up being a means to an end. As the attitude and the will to exert dominion over nature becomes all the more urgent, the more technology threatens to slip from human control. We end up empowering our political class as they promise to make things better with newer progressive technologies as well as with catchy phrases and slogans.

Such thinking was unknown either to the pagan Greco-Roman antiquity or to the indigenous civilizations of what came to be known as the Orient. Indigenous care for nature goes much beyond the shrill of environmentalism. Such care is deeply rooted in culture, “religion,” and spiritualism. Native cultures, such as Hinduism, have a long history of living in harmony with their surroundings. They are mindful of ecological limits, constraints, and boundaries of nature and do not take from nature more than what is needed. There is an element of reverence towards the earth and other elements of nature that guides them. Native cultures have developed a complex system of using and preserving the ecology. Native American communities’ use of low-intensity controlled burns, regenerative harvesting, etc are examples of native environmentalism. 

Bishnoi Woman (Image from Permaculture News)

As for Hindus, much before any modern-day environmental protocol was ever signed, it is the Bhoomisuktam (hymn of the Mother Earth) of the Atharva Veda that provides a framework for environmentalism. Composed more than 3,000 years ago, Bhoomisuktam is considered the oldest environmental protocol. The Sukta is composed of 63 verses. These verses provide a framework of understanding as well as respecting Mother Earth and her environment. The Sukta recognizes the Earth for all her gifts such as plants and herbs; rivers and cultivable land for food; and animals for milk, honey, etc. But going a step further, the invoker of the verses declares that despite availing all those boons, he does not intend to hurt Mother Earth in any manner whatsoever. The Sukta gives to Mother Earth an assurance of rational utilization of her resources. 

Much of our interaction with the elements of nature, according to Hinduism, is guided by Dharma: the rules of ethical behavior. Such behaviors are guided not by rights, but by obligations. Pankaj Jain in his book Dharma and Ecology of Hindu Communities describes three communities in India that have actively and consciously worked to preserve and protect the environment as part of their cultural and religious ideology. Those communities include the Swadhyayis, Bishnois, and Bhils.

The Swadhyayis disavow environmentalism. Their mission is “to generate and spread reverence for humans, animals, trees, earth, nature, and the entire universe in general.”

Similarly, the Bishnoi community was founded by a 15th century Guru Jambheshwara who spread the teachings of conservation and living in harmony with nature. Bhils, on the other hand, have protected their sacred groves for generations. 

According to Indic environmentalist and the author of the book Good News India, DV Sridharan, “one doesn’t restore nature, one just keeps a vigil against interruption of Nature’s relentless act of creating the fair and rightful balance.” Hindus believe that when the imbalance reaches a critical point and equilibrium is broken beyond redemption, an avatār ‘unburdens’ the Earth.

Unless the ecological concerns do not empower individuals and communities worldwide to find their indigenous solutions at a more local level, the answer to such concerns will always evade us.

Avatans Kumar is a columnist, public speaker, and activist. He frequently writes on the topics of language & linguistics, culture, religion, Indic knowledge, and current affairs in several media outlets.

Mosaic Silicon Valley’s ‘Femina’: Find the Divine in India, Cambodia, & China

Making The Mosaic – A column that dips into the disparate, diverse palette of our communities to paint inclusively on the vast canvas of the Bay Area by utilizing Heritage Arts. 

Nine different (sub) cultural histories and traditions from around the world were co-presented by Mosaic Silicon Valley and Guru Shradha, in a program called Femina. It was a call for the world to step out of their cultural silos and experience the vibrancy of the Bay Area, the dynamism of the feminine, and the unifying power of the Arts to build a gender-balanced world.

As the program director, it was fascinating for me to delve into the compositions and choreographies and see the astounding common threads emerge, golden and self-evident. We’ll explore these findings through the first act of the program called Divine | Awaken featuring Indian, Cambodian, and Chinese art forms. Femina’s Divine | Awaken was an ode to the celestial and mythological – It was a call for all of us to find our divine and enlightened selves.

Guru Shradha’s Niharika Mohanty urged us to make room for, submit, and surrender to the divine feminine energies of Durga. Along with her Odissi students, Mohanty beautifully re-incarnated the superb sculptures from Indian temples, the forms manifesting god-like in the blue-light of the stage. One journeyed back in time – and saw the sculptors drawing upon their spiritual energies to carve the goddesses in stone. Art is a journey, one realizes, to an inner destination – familiar or invented, real, unreal, or fantastical. One cannot connect to the outside world without having connected within and art accelerates these connections.

Cambodian Classical Dancer, Charya Burt, emulates Cambodian Gods.

The Goddess was visited again by master choreographer and dancer, Charya Burt in the Cambodian Robam Chun Por or The Wishing Dance. It is typically in an opening ceremony, Devada Srey, that is used to convey blessings to the audience through flower petals. I was fascinated by the obvious Indian influences – Deva in Sanskrit is God, for starters. The Cambodian temple, Angkor Wat, is dedicated to the Hindu God Vishnu; indeed, there exists a version of Ramayana in Cambodia. Contrastingly though, while Indian classical dance uses movement, percussion, and melody to impress the divine upon us on Earth, Cambodian dance is designed to transport us to the heavens; the movements are soft and un-creature-like – Burt seemed to glide, buffeted by centuries of mysticism.

A dancer of the Hai Yan Jackson Compnay recreates art from the Dunhuang Caves.

The Chinese arts reclaimed history, thus solidifying the connection between the Divine and the Human. The Hai Yan Jackson Company presented “Flying Apsaras from Dunhuang.” This dance and its costumes were inspired by the discoveries at Dunhuang Caves which were believed to have been walled up in the 11th century and contain some of the finest examples of Buddhist art. Dunhuang was established as a frontier garrison outpost by the Han Dynasty and became an important gateway to the West, a center of commerce along the Silk Road, as well as a meeting place of various people and religions such as Buddhism. My “Indian” radar picked up on the Silk Route and Buddhism. I could feel the palimpsest of time and geography reveal itself in layers. The age-old apsaras appeared before us and the choreography was faithful to the celestial aura.

In Femina, the Mosaic team was able to create a feminine continuum between realms, time, spaces, cultures, and generations, through beautiful art. Happy Women’s History Month to all of you, dear readers! 

The wonderful thing about programming for Mosaic is that it blurs the lines. The narrative may begin as Art imitating Life but then one quickly discovers that it is Life imitating Art. Stories of life – its past, current, and future – are presented on the canvas of culture of, by, for the people in a specific place. Join us and learn more about the Mosaic movement as we catalyze Inclusion and cultivate Belonging in America! 

Priya Das is a writer, dancer, and co-founder of Mosaic Silicon Valley. She is fascinated by the intersections between history, culture, convention, traditions, and time.

6 Tips For a First Time Trip From India to San Jose

When traveling abroad, there are many important steps to ensuring that the trip goes perfectly. A trip between two countries so culturally diverse and far apart requires a lot of planning and research. If you are a cultural native of India, there will be many customs and attributes to American culture which will be surprising and take some getting used to. The below six simple steps will allow you to plan and enjoy a successful and beautiful trip to the United States. 

1: Visa Process – The dreaded United States Visa application is one of the most difficult and important processes when planning a trip to America. You will most likely need to acquire a business and/or personal visa (labeled B1/B2) which is valid for 10 years. Unlike most other countries, the visa application process for the states requires the attendance of an in-person interview. You will need to fill out an online application on the US government website to get started first, then pay the initial visa fees, and apply for an interview date. You will then need to attend your interview date with the correct and required documents. I would also suggest bringing some cash, but nothing else is allowed into the interview. Once this process is completed, payment must be made for the visa to be delivered, and it usually will arrive within a week after it has been approved. 

2: Travel & Health Insurance – One major difference between healthcare in India and the United States is that the whole system is very procedural. Though the privatization of the whole system has made healthcare expensive in the US, it is necessary to have the correct documents and insurance in case of emergency. You cannot simply walk into a pharmacy and ask to be treated; you must have the correct paperwork, and without insurance; an emergency could leave you with a very deep hole in your pocket. 

3: Pick your Priorities – The United States is an exceptionally large country, and even state by state there is simply too much to see and do! However, it is important to pick your priorities. Figure out a certain number of things that are ‘must-dos’ for you and write them out into an itinerary of sorts. I would recommend not booking more than one ‘big’ thing in a day, and not to simply stay one night in each hotel before moving on. If you do this, you might see everything; but you will be too exhausted to genuinely enjoy it! 

4: Space out your Trip – Similarly to the aforementioned ‘picking your priorities’, spacing out your trip is equally as important. As travel writer Asana Thala at Australia2Write and Write My X said, “Ensure that your trip is well-spaced out and that you are not rushing between your ‘big’ priorities, and actually enjoying them.  It is better to do less, well.”

5: Be Aware of American Customs: American customs are vastly different from Indian customs, and the cultural norms are remarkably diverse.  Lifestyle Blogger from Britstudent and NextCoursework, Harriet Amy noted, “One major difference is the tipping culture. Waiters at restaurants, doormen at hotels; basically, everyone who ever does anything for you will expect to be tipped.” Another divergence is fashion, you will be shocked initially at some of the clothes that people wear; it will take some getting used to. 

6: Enjoy! – The last step is simple! Just enjoy. Take all your research and planning, all the prep work that you have done, and just enjoy. Take in all the sights and try not to stress about anything too much. 

As long as you make sure that you plan ahead and organize all visa, travel, and medical pieces before you leave, and have researched your travel plans and written out a draft itinerary; the basic structure is there. There will be a transition period for you to get used to American customs, and find your ‘feet’ in the USA, but hopefully, these six simple steps will be stepping-stones to you enjoying your trip to America!

Michael DeHoyos is a lifestyle and travel blogger and editor at the Thesis writing service and Write my case study. He often helps companies in their advertising action plans and sales strategies and enjoys contributing his talents to numerous sites and publications. He is also an author for Origin Writings.

BURNED

I wrote this piece of fiction in honor of victims of acid attacks — especially in India. It was developed at EnActe Arts as part of the WEFT (“women enacting for themselves”) program. It is a humble and probably inadequate attempt to depict the victims’ plight, written with deep humility for unless we walk in their shoes we cannot know the unimaginable pain they bear. I offer it with empathy for their suffering, and admiration for their courage in the face of such heinous crimes. India Today Data Intelligence Unit (DIU) has found that between 2014 and 2018, there have been 1,483 victims of acid attacks in the country, according to data released by the National Crime Records Bureau. Many more go unreported or unrecorded. 

In my dreams I am whole, with my easy laughs, ready quips, fleeting annoyances, steady love of ice cream. I am walking, happy. But I shiver. I walk towards the sun. I don’t see the gaping pit ahead. I wake up shaking, sweating, hot and cold. Then my hands are on my face, and… I feel the scars, the craters, the hardness — Your gift.

Your gift erased so much of me, my face, my one window to the world. They say we are nothing without memories. We are also nothing without a face. This visage, this countenance, this mirror where the world sees itself reflected and knows its place. How do I tell the world who I am? I look in the mirror and my one watery eye sees a stranger, a horror story with no end. This thing that used to be a face, a recognition, a mirror is now a dark hole where all light ends and nothing reflects. Where there used to be me, my signature smile, my left cheek’s dimple – it’s all gone. I remain a nameless, faceless ghost visible only in my misfortune. Your branding iron left a seething script. 

When it first happened, they wanted me to utter your name. I wouldn’t defile my mouth. The neighbors, the relatives, even the police came asking. They came to condole, to comfort my father, my mother, my brother who seethes in daily rage. But I know they just came to see me – the remains of me. Curiosity beats empathy but sometimes that’s the only vehicle to my door. I wrote your name down only once and gave it to the police. My mother took a photo of that piece of paper with my brother’s phone. When did she learn to take photos with a phone? She knew I wouldn’t utter it again, so she kept the “evidence” she said. But I know she keeps this paper to rekindle vengeful fires in her heart. My gentle, god-fearing Kali, who quietly tolerated harsh words from her mother and mother-in-law, is ready to kill for me today.

My father does not look at me. I miss how he used to cup my face, kiss my forehead every morning. Proud Papa. Now he won’t touch my face, just puts a hand on my head looking away. Sometimes I hear him crying when he thinks I can’t hear. My mother hardly cries. Instead she asks him harshly, “What’s the point of crying now?! Have you called the lawyer?” She is hard. So hard I fear her brittleness will break her. She only softens when she brings me food. Patiently lets me eat, gently wiping the drool from my mouth. My lips’ bare remains, mere lines relearn how to contain food. Grateful I can still taste, I tell her how much I love it. She won’t even acknowledge this joy. She keeps her vengeance alive.

I can’t recall the particulars, only the horrific pain of your carnage. Or why? Later they said it was because “you could not bear an unrequited love”. “Love”? Yes Love! Love? I want to laugh! I have forgotten that sordid history. Somehow the acid erased that too; clean, flat, blank like the contours of my face. Perhaps best this way or I may join those that blame me. “She could have said yes…”, “She could have married him…”, “Girls these days think they are better than anyone…”. Your signature devastation demands justice and there will be none. Blaming me helps the onlookers feel better. Perhaps safer. Some relief for their miserable, beaten souls. 

When I came home after the first 23 surgeries, I heard them in my stupor from all the painkillers. I hated them then. All of them who said, who still say I could have alleviated your hate, who think I should now be traded off to someone even lesser, to “free” my parents. Perhaps free them of any hint of guilt. They know they are who made you possible. They supplied the fodder for the kind of anger you thrive in. When I first heard them I would scream but no sound emerged. Only violent, bruising tears. But then my mother – my gentle Kali – took care of them and their solicitousness. That makes me smile – only on the inside. The skin on my face borrowed from my thighs, my stomach stretches too thin to bridge a smile. I’ve tried it in the mirror – a contortion for a smile. I cringe with my eyes without eyelashes, even as I marvel at my perfect painted eyebrows. I often marvel at how well I saw all the flaws in my reflection before this annihilation of me. Maybe now I will learn to accept what I see. Maybe that is how I win.

It’s been over two years since I came home. I must have nightmares because my mother shakes me awake, often caressing my forehead, trying to calm me. But all I remember are dreams where I am whole. At first I prayed for a merciful death. But now I don’t want to die. I listen for the birds singing in the morning. My good eye loves the sun. I still marvel at how well my mother sings. I cook with her, I learn to sew with her, little things. Soon my hands will be steady. I put my head on my father’s knee when he comes home every evening. His blessing stalls the night.

This week I step out for the first time. I shake so hard that my Kali grips my hand tight as I accompany her to the market. I cover the side of my face. I want to keep my old face. I don’t let go of her hand. Soon I know I will bare my whole face and let them all see — and let you see. Maybe when I see you in court. I will look and point at you – steady, unselfconscious, straight. Maybe you can relish what you wrought. Your hatred manifesto. I will let you flinch at my ugly erasure. And when you flinch I will laugh. You gave me unutterable pain, you scarred me for life, almost erased me. Almost. The me that your acid cannot erase, is here. Still here. I win because I will make YOU look away. 

Reena Kapoor is a writer and photographer. Her poems take the reader on journeys through a multitude of places, time periods, and emotions. ‘Arrivals & Departures‘ is her debut poetry collection. 

Vasudhaiva Kutumbakam: From Trinidad to America

Being newly retired, memories of my childhood bubbled up, as I finally had time to daydream. My father’s grandmother, Gangee Maharaj, arrived in Trinidad from Raipur, India in 1900. Many Indians came to Trinidad as indentured laborers eventually earning plots of land from the British. Thus, my great-grandparents received their own land, passing it on to my grandparents, on whose farm I grew up. I remember vividly our two beloved cows, Rani and Raja. We were often blessed with fresh and nutritious milk.

To become an eligible bride, one requirement was to be able to skillfully puff a paratha! Achieving the perfect architecture and weight of the delicious and well-known flatbread takes practice. Only then could you have your handprint painted on Grandma’s kitchen wall. This meant that you were allowed to enter her kitchen and prepare a meal under her supervision. My first painting had to be of this kitchen!

I also remembered the wonderful folklore of Trinidad infused by the many African immigrants. We heard many stories of mythical creatures. Moko Jumbie was invoked to protect the people during the long and arduous slave boat journeys from Africa. The Soucouyant is a vampire, popular in many Caribbean countries. I remember being very scared hearing some of these stories as a young girl!

My paintings are of memories from my childhood, which was steeped with traditional Hindu ceremonies, African folklore, the natural beauty of the islands, and the array of cultures of the diverse population.

The world is a family 

One is a relative, the other stranger, 

say the small minded. 

The entire world is a family, 

live the magnanimous. 

Be detached, 

be magnanimous, 

lift up your mind, enjoy 

the fruit of Brahmanic freedom. 

—Maha Upanishad 6.71–75 

The Yamas and Niyamas of Healing Patterns and Colors is the title of my newest painting collection.

Imagine that these ethical principles, the yamas and niyamas of the ancient Upanishads are embedded in all my paintings. The sage, Patanjali expounds on them in his Yoga Sutras. Sutra means “thread” in Sanskrit, which you can see represented by the many-colored line segments in this painting collection. 

Indra Persad-Milowe’s Art Piece, The Yamas and Niyamas of Healing Patterns and Colors.

YAMAS: Patanjali’s Yoga Sutras lists five yamas, or moral restraints, which apply specifically to how you behave outwardly toward other beings.

1) Ahimsa – Non-violence in thought, word and deed 

2) Satya – Truthfulness 

3) Asteya – Non-Stealing

4) Brahmacharya – putting the “path to the Divine” first and foremost in life 

5) Aparigraha – Non-hoarding, freedom from grasping 

NIYAMAS: Patanjali’s Yoga Sutra lists five niyamas, or observances, which apply specifically to how you conduct yourself on a more personal level. 

1) Saucha – Cleanliness 

2) Santosha – Contentment 

3) Tapas – Self Discipline 

4) Svadhyaya – Self Study 

5) Isvara-pranidhana – Surrender: offering yourself completely as a vehicle of the Divine will 

My ten-piece paintings capture religious and cultural life in so many patterns and colors, just like our world is full of varieties of patterns and colors. They reflect many disciplines and ideals of life: faith, fortitude, sacrifice, respect, and love. Love and respect for all patterns (ways of life) and colors (global cultures) are a very important Hindu worldview – “VASUDHAIVA KUTUMBAKAM” (The world is a family).

Indra Persad Milowe is a visual artist living and working in Salem, Massachusetts. She is currently working on an extensive series of paintings, drawing upon childhood memories of growing up in Trinidad during the 1950s.

Mountaineering With a Poetic Interlude

Poetry as Sanctuary – A column where we explore poetry as a means of expression for voices of the South Asian Diaspora.

(Featured Image: Lalit Kumar skydiving)

I am fascinated with adventure sports and I happen to like poetry. While adventure sports push us out of our comfort zone to experience the euphoria that lies beyond fear, poetry helps us to explore the world in a more vivid way.

Adventure sports provide personal growth and renewal through physical energy.

Poetry is a mental work-out, rejuvenating the soul to provide an enhanced capacity to experience all the beauty in this world.    

The famous mountaineer, Edmund Hillary said, “It’s not the mountain we conquer but ourselves.”

This rings true. When exerting oneself for any endurance sports like mountaineering or long-distance running, the first battle one fights is in his or her own mind. Despite the pain or fatigue, if one decides to press on, the physical challenges of distances or mountains are not impossible to be conquered. I feel that mental courage and fortitude can be easily cultivated by reading and writing positive/affirmative poetry that gives wings to your dreams, power to your vision, and courage to your mission. 

Reading and writing poetry has provided me with numerous hours of pure joy and the right ambience for self-contemplation. A poem can capture the most complex emotions and distill them down to few words that are pleasing to the auditory senses, apart from being appealing to the ‘thinking’ brain. I have been scribbling verses in English from my high school days. After spending more than a decade in the Bay Area and outside India, I find myself equally drawn to the inexorable charm of my mother tongue, Hindi.

During this ‘lockdown’ period, I found myself gorging upon the books and the writings of Hindi stalwarts. In the process, stumbled upon the beauty of Urdu ghazals and sensibilities (‘janib’). I was drawn towards the natural imagery and auditory pleasure of Urdu words, especially when reading or hearing ghazal and shayari. It seems that the Urdu language is meant for writing and reciting poetry. As an Indian / South Asian immigrant, perhaps I have found my sanctuary in reading, writing, and hearing Hindi/Urdu poetry after losing touch for almost a decade. English comes naturally to me, but I realized that poetry in other Indian languages leaves an equally profound impression on my mind. And this feeling snowballed into a love…

In a moment of creative burst, I find myself unwittingly scribbling in Hindi, like:

आरज़ू थी, ज़िंदगानी रहे 

जीएं तो शौक से। 

ज़िंदादिली मिली , हम बदले

अब जीएं तो बेखौफ्फ़ से। 

       – ललित

(Translated in English)

I used to wish, to live a life of luxury

I met my passion and I changed, 

Now I wish to live a life of fearlessness.

Perhaps, it has a tinge of my new-found passion for adventure sports, who can tell!

This love for both poetry and adventure found its outlet in a creative verse that I penned a couple of months back, called, ‘The Second Mountain.’ We all want to be successful and happen to get into the career rat race with the hope of reaching some mythic destination and we start climbing that mountain – probably for most of us, our first mountain. But when we get there, we don’t find happiness and fulfillment to the extent that we dreamed about. So we look for the second mountain, which is symbolic of climbing the mountain of a ‘Cause’ that is larger than the self, the irony is that until we get to the top of the first mountain, we usually don’t realize that.

Metaphorically speaking, while climbing the mountain was a calling for my ‘adventure seeking’ soul, penning down this idea in relation to finding my ‘Cause’ was a calling for my ‘poetry loving’ soul.

Image taken by Lalit Kumar

The Second Mountain

Driven, ambitious and passionate

He had ascended the mountain peak

Striving relentlessly, with a singular obsession

To climb, to strive and to reach to the top.

 

The panorama was striking from his vantage point

He felt like the conqueror who defeated all

The wave of happiness swept like the breeze,

Invincible he felt, superior he thought in his mind.

 

As the breeze calmed down, he felt an eerie silence

Loneliness gnawed at his heart, the emptiness echoed in his viscera.

What was the point of it all? He thought to himself

His singular achievement meant so little to others.

 

Contemplating to himself, he narrowed his gaze

And saw the second mountain across the valley.

And lo and behold, it was teeming with people all around

He hurriedly climbed down and trekked across the valley.

 

As he approached nearer, he saw people helping each other ascend the mountain

Together they climbed and took the tumble together, negotiating the sharp bents on the way

He soon realized, it’s not what you achieve individually

But joy is in how you give away your energy in the pursuit of affecting a positive change.

 

Joy is in helping, in giving, in supporting

The Cause that deeply moves you

And making it larger than

Just your individual self.

 

So climb the first mountain, if you must

To check your fitness on the way …

But remember, it’s the second mountain

Where your impact will pave the others’ way.

The language of poetry can touch one’s soul and spark a sense of creativity. I advocate for everyone to read and write poetry. You are invited to join the group called Poetry of Diaspora in Silicon Valley, which hosts a weekly poetry reading.

Lalit Kumar works in the Technology sector but retains an artist’s heart. He likes to read and write poetry, apart from indulging in adventure sports from time to time. Recently, he started curating famous works of poetry (and occasionally his own).

The Cowboy and the Yogi: Ever-changing Traditions

“India, like America, feeds and nourishes creative individuality. Just as Americans have been inspired by the archetype of the Cowboy, who wanders the open spaces in search of a dream, so Indians are inspired by the Yogi, who wanders inner spaces in search of realization,” claims The Cowboy and The Yogi, by Teed Rockwell. For those of you who don’t know, Rockwell wrote the India Current music column for decades and I carried on for a few years after him. Thus, it was an absolute honor and delight when we had a delightful conversation about his journey into India and Indianness.  

The Cowboy and The Yogi is a glimpse into the Indian music scene over a span of roughly two decades, largely in the US, as documented by Rockwell. It is an intelligently curated collection of his own research, study, writings for his India Currents music columns, and blogs. Thus, it is a passionate, loving, intimate, insider view into Indian music combined with a sense of adventure. Sprinkled with anecdotal tidbits such as “first article commissioned by India Currents,” the book traces a path between classical music and its many representations, note-worthy performances, as well as its practitioners. Thus, the book, as Rockwell himself describes, talks about Indians and non-Indians performing Indian music, along with Indians performing non-Indian music. Chapter 9, “Indians Doing Cool Stuff” is about Roc Zonte, Gautam Tejas Ganeshan, Nitin Sawhney, Vijay Iyer, and Tony Kanal, who was one of the first people of Indian ancestry to become a Western rock star and to let the world know it.” 

Rockwell is a musician himself (enjoy his fascinating introduction to his jugalbandi-friendly “Touchstyle Veena” here) and therefore it is all the more believable when he claims that “In the area of rhythm, Indian music is totally without peer.” The Cowboy and The Yogi acts as a guide to how to listen and appreciate Indian music, deliberately, through chapters such as “Listening to Indian music,” and also through his own discoveries. Such as “In Memoriam” where he rues the fact that he got to know much about the Masters and their genius when he was asked to write their obituaries. “Yogis all, but with more than a little cowboy in each of them,” he states, of Vilayat Khan, Bhimsen Joshi, and Bismillah Khan. 

The book is also a portrait of the gurukul that existed within the campus of the AACM (Ali Akbar College of Music). Rockwell writes, “Classes included people from Germany, Argentina, …as well as Bengalis, Punjabis,…I remember a blond two-year-old who regularly came to class with her mother, and whose baby talk combined so many different languages…There was an atmosphere very like an Ashram…spiritually devoted to profound and enigmatic music.” 

Rockwell, a Buddhist now, then does a CowBoy-Yogi-combined on you, as he dons his scholar lens and delves into Islam. This is poignant since many of the Masters of Indian music are of the Muslim faith. “I read the entire Koran in different translations, studied histories of both Muhammad’s life and the Islamic political empires, and read commentaries on the Koran and Hadith [the sayings attributed to Mohammed]. As a result of these studies, I have concluded that although many horrible things have been done in the name of Islam, a careful reading of Islamic sacred texts reveals that these behaviors are contrary to the teachings of Muhammad and to the most intelligent people who follow his spiritual path.” 

The book is a must-read for those who seek soul-food, an intellectual-nudge, a musical historical journey, and an emotion-drenched read.  

Here is an excerpt from our interview, the video can be found below:

IC: Tell us about how you got started with India and Indian music. 

TR: In the West, there is a lot of interest in Orientalism. I grew up as a hippie in the sixties interested in an alternative to Christianity, western culture in general. But what I began to find out is that any generalization that includes both Punjabis and Koreans isn’t going to be worth much…There are tremendous differences between South Asians and East Asians, for example, and I spent a lot more time with South Asians…The thing that really got me interested in Indian Music, rather than feeling that it was some sort of meditation tool, was the band, Shakti – (John McLaughlin (guitar), L. Shankar (violin), percussionists Zakir Hussain (tabla) and T. H. “Vikku” Vinayakram (Ghatam) – live at Kennedy Center Washington D.C. I went out and bought my first set of tablas. Then I got the feeling, I got to study this! 

IC: America is “free”, but you’ve said that Indians are also free to follow their own intuition… 

TR: When I wrote my articles, people always said, oh you know the traditions never change, and people would say that’s the problem with India, that they need to be able to change their traditions. But every time I actually studied somebody who supposedly was preserving the tradition, they were always changing it! There was nobody who was just doing it the same way. You do go through this kind of training but then you always have to go through a period of throwing it off. I interviewed and did research on dozens maybe hundreds of artists when I was with India Currents; there was never anybody who wasn’t changing the tradition. They would preserve it but they would change it at the same time! Trying to operate without rules, I think it’s a real problem but having rules, recognizing that sometimes rules can be broken is a really important characteristic. Letting your intuition be more important than rules – I see that in Indians time and time again.  

Priya Das is a writer, dancer, and co-founder of Mosaic Silicon Valley. She is fascinated by the intersections between history, culture, convention, traditions, and time.

Love: A Many Splendored Thing

(Featured Image: Debotri Dhar and her book, Love Is Not A Word)

“In literature, culture, history, metaphysics, politics, and their interstices, ideas about love abound,” writes Debotri Dhar who teaches Women’s Studies at the University of Michigan. The idea led her to thread together a book — Love Is Not a Word: The Culture and Politics of Desire — a unique collection consisting of twelve well-written essays by scholars, critics, storytellers, and journalists. The idea for the book first occurred to Dhar as a graduate student at Oxford University, and then again while teaching at Rutgers University in the US. It was while she was teaching at the University of Michigan that pieces of the book started finally falling in place. 

The anthology consists of serious yet engaging essays on love, its many definitions, moods, themes, and interpretations. Each chapter is a detailed account of a different aspect of love—tracing both its historical background and contemporary relevance—making it a deeply researched and truly comprehensive read.

In ancient epics, through the practice of the Swayamvara, women such as Sita and Draupadi would review a number of suitors and select one as her husband. And yet, India is known for its arranged marriages and patriarchal attitudes towards matrimony. Marriage is a kind of business in India — thus, giving rise to a lucrative industry of matchmakers, astrologers, horoscope readers, matrimonial advertising, and wedding planners. What’s interesting is that in the same country, Bollywood dreams of romance and love marriages also thrive. In such a context, the living mythology of the Ramayana and the Mahabharata influences modern lives as much as mobile phones and Netflix, writes Malashri Lal, a retired professor at the Department of English at the University of Delhi.

In contrast to the chaste Ram-Sita and Shiva-Parvati pairings in Indian mythology, there is the secret love couple, Radha and Krishna. Then there is Amrapali, the legendary dancer—the most seductive and powerful courtesan in Pataliputra. While writing in Amrapali’s first-person, academic and museum curator Alka Pande traces the history of the Kamasutra, considered the mother of all erotic writing in India. The essay is enlightening as it debunks the myth of this sexual-yogic manual, giving it a much higher status—that of a handbook to help live life to its fullest.

The city has time and again become the backdrop for many a love story. For instance, in Shakespeare’s Romeo and Juliet, much of the tale is influenced by Verona’s streets, piazzas, balconies, and dance halls. Professor Emeritus of Comparative Literature at Bordeaux-Montaigne University, Didier Coste writes a literary, cultural, and global exploration of love and the city through space and time. “Only the stereotypes of light romantic comedy can perpetuate indefinitely the wonders of bumping into each other on Times Square or the Champs Elysees, or fighting for a cab and ending up in bed together for the weekend,” he writes. 

The ghazal has always associated with love, and ideas of the beloved thrive in the ancient poetry of Urdu poetry’s famous exponent Mirza Ghalib. It is ironic then that in the present-day ideas of love, Jihad have negatively colored and taken over daily realities of interreligious love. Delhi-based print, television, and news media journalist, Nilanjan Mukhopadhyay traces the politics of love in the aftermath of various historical movements, such as the Partition, the Babri Masjid demolition, and the 9/11 attacks. “Love and Jihad per se are incompatible words,” he writes. 

While the tone of the in-depth essays in the book is mostly academic and scholarly, some are also personal. Through the larger debate around Section 377 of the Indian Penal Code, Delhi-based author, Parvati Sharma writes about her personal experiences of being a young gay person in India. “When you love without the trappings that turn private ecstasy into social routine — marriage, family, children — when you insist on ‘living in’ or being flagrantly lesbian, when you harbor the kind of love that depends upon itself to survive, you do, of course, unsettle the world; and that is no bad thing at all,” writes Sharma.

Further, Christina Dhanaraj, a Christian Dalit woman, talks about her peculiar experiences in love as a Dalit woman. She argues that modern-day apps like Tinder only create an illusion of breaking barriers when it comes to caste and that it plays a huge role in one’s romantic relationship. It brings out the idea that love is, after all, a choice that one makes based on who we are and where we come from. “Loving and being loved, in all its glorified beauty, is a matter of privilege,” writes Dhanaraj. 

Overall, the book provides some insightful perspectives on various dimensions of love. We can’t wait for Volume 2! 

Neha Kirpal is a freelance writer and editor based in New Delhi. She is the author of ‘Wanderlust for the Soul’ and ‘Bombay Memory Box’.

The Learning and Unlearning of Lebanese Cuisine

Dig-In Meals – A column highlighting Indian spices in recipes that take traditional Indian food and add a western twist!

Today I was perusing my cookbook, an old notebook. In it, I have recipes that follow the arc of my life. Handwritten recipes by my Mom and me — of foods that I love — newspaper or magazine clippings of recipes that caught my fancy at some moment in time. And post-it marked pages of recipes that I make again and again. 

One such recipe is Falafel and Hummus by Yotam Ottolenghi. My dad loved his deli in Notting Hill known for its inventive dishes, characterized by the foregrounding of vegetables and unorthodox flavor combinations, he was and still remains the driving force behind the vegetarian Middle Eastern cuisine trend. 

After every visit to London, Papa would ask my mom to re-create hummus and falafel at home, which she did, and her “Indianized” version of falafel bhajias and “sauce” is a flavor that I still crave and create. However, the authentic taste is what I was after. So, I took a master class with chef Yotam Ottolenghi and here I share the joys of the perfect mezze of hummus, falafel, and pita.

Sahtein! (Enjoy the meal).

Hummus

INGREDIENTS

  • 1 1/2 cups/250 g dried chickpeas
  • 1 teaspoon baking soda
  • 6 1/2 cups 
  • 1 cup tahini paste
  • 4 tablespoons freshly squeezed lemon juice
  • 4 cloves crushed garlic
  • 100 ml ice-cold water 

PREPARATION

Chickpea Prep

  1. Soak the chickpeas overnight in a large bowl with enough water to cover by several inches. Note: they will double in size so use a large bowl and lots of water
  2. Drain and rinse, then add to a large pot with enough water to cover by 2 to 3 inches with 1 teaspoon of baking soda and salt to taste. (You can use the Instant Pot or a pressure cooker which is what I do)
  3. Bring to a boil over medium-high heat, then lower the heat to medium, cover with a lid, and cook for 45 to 60 minutes, until the chickpeas are soft enough to crush between two fingers. Pressure cooker: 4 whistles. Instant Pot: Pressure Cook setiing:12 mins
  4.  Drain and set aside until ready to use.

Preparing the Hummus:

  • Place the chickpeas in a food processor and process until you get a stiff paste. Then, with the machine still running, add the tahini paste, lemon juice, garlic, and 11/2 teaspoons of salt. Finally, slowly drizzle in the iced water and allow it to mix for about 5 minutes, until you get a very smooth and creamy paste.
  • Plain hummus can be made ahead of time and refrigerated, but cover it with plastic and gently press down on the surface to prevent a skin from forming. Best served at room temperature.

My mom’s “Sauce” recipe

  • 4 cloves garlic 
  • 1 cucumber 
  • 1 red bell pepper 
  • Green chili 
  • Cilantro 
  • ½ cup of sesame seeds 
  • ¾ tablespoons of yogurt  

Salt and pepper to taste

Put everything in a blender and whir till combined. 

Air-Fried Falafel 

INGREDIENTS

  • 1 ¼ cup (225 g) dried chickpeas *soak for 24 hrs. 
  • 1 cup onion, diced 
  • ⅔ cup mint, roughly chopped 
  • 1 cup cilantro, roughly chopped 
  • 1 cup curly or flat parsley, roughly chopped 
  • ⅓ cup scallions, roughly chopped 
  • 3 garlic cloves, minced 
  • 1 1/2 tsp ground cumin 
  • 1 1/4 tsp ground coriander
  • 1 1/2 tsp salt, plus more for seasoning 
  • 1/2 tsp black pepper 
  • 1/2 tsp baking soda 
  • 1 tbsp lemon juice 
  • 3 tbsp chickpea flour 

PREPARATION

  1. Soak the chickpeas in water for 24 hours so they soften up. When the chickpeas are soaked, drain the water, rinse the chickpeas thoroughly. Do not cook the chickpeas. 
  2. Place all the ingredients into a food processor and pulse until the chickpeas are finely minced. Do not over-pulse – the mixture should be coarse, not smooth or paste like
  3. Using a cookie scoop (for even balls), shape the falafel mixture into small balls. Arrange in a single layer in your air fryer basket and air-fry for about 15 minutes at 370-380°F. Rotate till all the falafel are golden brown and crisp.

My mom’s Indianized version

INGREDIENTS

  • ¾ cup black-eyed peas 
  • ½ cup split green peas 
  • 3 tsp sesame seeds 
  • Cilantro (one handful)
  • 1 tsp ginger 
  • 1 tsp garlic 
  • ¾ green chili 
  • 1 tsp lemon juice 
  • Salt to taste

PREPARATION

  1. Place all the ingredients into a food processor or blender and pulse until everything is ground into a smooth paste. Deep fry by scooping balls with a spoon and dropping them in hot oil.

Homemade Pita Bread

Servings: 8 pitas

INGREDIENTS 

  • 2 1/2 tsp active dry yeast 
  • 1 3/4 cups warm water about 95 degrees F 
  • 1 tsp granulated sugar 
  • 1 1/4 tsp salt 
  • 3 1/2 cups unbleached all-purpose flour 

STEPS 

  1. In the bowl or a stand mixer, combine the warm water, yeast, and sugar. Use a small whisk to thoroughly combine. Let the yeast proof for about 5 minutes, until the mixture is foamy and bubble. If using Instant dry yeast add yeast, sugar, and warm water to the flour directly.
  2. Add the kosher salt to the bowl, and 1 cup of the flour. Mix on low or by hand, while slowly adding the rest of the flour, until it is fully incorporated. Knead the mixture for about 5 minutes. The dough should look sticky, and should just form a loose ball. 
  3. Cover the bowl with plastic wrap and let rise at room temperature for about an hour and a half until the dough has doubled in size. 
  4. Place a pizza stone or a perforated pizza pan into the oven. Preheat the oven to 500 degrees F. 
  5. Flour your work surface and slowly pour out the dough onto your work surface. Flour your hands and gather the dough into a ball, tucking the edges under. Use a bench scraper or sharp knife to cut the dough into 8 equal pieces. 
  6. Roll each piece into a smooth ball with your hands, and place it on the floured board to rest for 5-10 minutes. Dust some flour on the top of each ball, and cover loosely with a piece of plastic wrap. 
  7. Roll out one ball at a time into a flat 6-inch circle, making sure the dough doesn’t stick to the rolling pin or work surface. Quickly place 2 pitas on the hot pizza stone at a time. 
  8. Make sure that they’re totally flat. Bake for 4-5 minutes, until the pita bread puffs into pillow-y pocket. 
  9. Cool on a rack. Once all of the pitas are baked, place them into a plastic bag. The little bit of steam actually keeps the pita bread soft and moist. 

Mona Shah is a multi-platform storyteller with expertise in digital communications, social media strategy, and content curation for Twitter and LinkedIn for C-suite executives. A journalist and editor, her experience spans television, cable news, and magazines. An avid traveler and foodie, she loves artisan food and finding hidden gems: restaurants, recipes, destinations. She can be reached at mona@indiacurrents.com.