‘The real ‘me’ has got lost somewhere’



After working 15-hours a day for more than two decades, Shah Rukh Khan says, his original persona has lost somewhere 
in the middle...

RAHUL, Raj, G-One or Mohan Bhargav - which character resembles most with the personality of Shah Rukh Khan as a human being? - a profound question from a college-going girl turned King Khan quite philosophical and the candid SRK confessed that he faces personality conflict these days.



“I am working tirelessly for last 23 years. Everyday, I wake up in the morning and start working. I don't stop for 15 to 18 hours. With shooting, promotional events, television programmes, awards functions and dance tours, I feel like the real Shah Rukh has got lost somewhere. I don't understand when I start acting in real life as I don't stop acting on reel,” confessed Shah Rukh.



This thoughtful confession from a Mega Star was also a reflection of the mood with which he began his day on Wednesday. His ‘tweet’ early in the day said - ‘Been a long time since I spent some time with myself. Enroute to Nagpur...the tour begins for the DON 2.’



In Nagpur, SRK addressed a press conference at Cinemax Theatre, and then came for a ‘Coffee With Shah Rukh’ event organised by Lokmat Media Group at Hotel Centre Point, Ramdaspeth. Here, he interacted with members of Lokmat ‘YuvaNext’, ‘Sakhi Manch’ and a large number of school students (most of them his die-hard fans) who gathered to see him. As Lokmat group works for several social causes, issues like ‘Save Girl Child’, and ‘Education’ and ‘Sports’ were elaborately mentioned during the event and SRK's views of these issues made the event very engaging for all.

“I have a special attachment and respect for women. I lost my father at a very tender age and my mother looked after me. After her, my elder sister, then my wife and now my daughter - all these women have made my life very beautiful,” he said, before he signed a ‘Save Girl Child’ placard for Lokmat Sakhi Manch.



Being a sports person at heart, it was quite obvious for Shah Rukh to speak about sports activity, especially, football, as Nagpur recently hosted second season of NPL football tournament. “I am glad to know that football is being promoted by corpote houses of Nagpur, in this part of the country. I used to play football during my college days. I dream of a day when India will qualify for FIFA World Cup. Star players will emerge from such League tournaments,” Shah Rukh said with a promise that he will come to Nagpur for NPL’s next season.

SRK answered many questions that he frequently faces (how did he feel playing negative role in DON series). He also spoke about his heroines and attributed 60 percent of his success to them. “Right from Juhi and Madhuri to Kajol and Rani, to Deepika and Priyanka, everyone is special for me. And Gauri is the ‘specialest’,” he said receiving an enthusiastic applause from his listeners.

Shah Rukh amply demonstrated why was he such a heartthrob as he danced with a school kid on DON 2 title song. Before he left the event, he advised students to study hard ‘as education is the only way to make country a super power.’ Earlier, Jyotsna Darda, President of Sakhi Manch, welcomed Shah Rukh.



Cutting of the same article appeared in The Hitavada on December 15, 2011



King of a different throne



While accepting his devoted fan following right from villages to cities as ‘Maai ka Ashish’ (mother’s blessings); icon of ‘Jas’ singing Lakhbir Singh ‘Lakha’ says, he sings on ‘Maai Ka Adesh’ (mother’s order)



(Lakhbir Sing Lakha (in safron turban) with Nagpur based Jas singers)



HIS voice has a magical depth and ‘Khanak’ that gives an experience of spiritual connectivity to his listeners. When he starts singing, they start singing along, and when he raises ‘Jai Mata Di’ call, they respond in louder and louder voice.
Such is the impact of Lakhbir Singh Lakha’s Jas singing that devotees sway to the tunes of devotional songs sung by him.

“It’s all because of the grace of ‘Matarani’,” when he says, one realises that he is absolutely right. Otherwise, for a kid born in a middle class Sikh family at Jamshedpur, it is a distant dream to become an icon in this different style of singing.

Jas singing is immensely popular all over India, especially amongst the devotees of Goddess Durga. Overnight Jagarans and hours and hours of Jas singing is common scene in North India. Nowadays, this tradition is gaining popularity in Maharashtra and adjacent region, too. Lakhbir Singh Lakha is one of the biggest crowd pullers in India. Even his Wednesday’s concert in Pardi Bhavani temple was attended by more than ten thousand devotees.

“I used to sing prayers in schools, then started singing devotional songs in temples. In college, Iwas interested in music, but, my family’s instant need was some income from me. Hence, I joined Tata Steel Company’s Security and Intelligence Department,” he said. Lakha continued to sing as ‘Kavadiya’ (devotee of Lord Shiva) and Jas singer during his leisure time in various temples for 19 years, until he was noticed by Founder of Super Cassette Industries Gulshan Kumar.

“He was real ‘Johari’, who always searched excellent voices. Gulshanji invited me to join T-Series, and everything was changed,” says Lakha who now resides in Mumbai and enjoys the status amongst India’s top five Jas Jagaran singers. Not only His style directly catches the attraction of common devotees.
“Being faithful is very important for singing devotional songs,” he mentions.

“I am always in search of good words, and if I like some Bhajan, I request its writer for the permission to sing it,” says a singer-composer Lakha has a special connection with Nagpur. “I have many fans and budding Jas Singers who follow my style in Nagpur. I have some very good writers, too. I sing their bhajans in many of my concerts,” he smiles. 

Speaking for Vivekananda

Shekhar Sen has invented a new style in the field of entertainment. A talented singer, composer, lyricist and actor; today, he is an internationally acclaimed name in the field of performing arts with his mono-act plays. He was in Nagpur to present his well-known mono-act play ‘Vivekanand’ when I asked him about his journey, struggle, and why he has preferred to maintain a low profile...

Q: Your journey from a trained classical vocalist to an internationally acclaimed theatre personality involves many destinations and turning points. Tell us about these transformations.
A: I was born in a musical family at Raipur. My parents Dr Arun Kumar Sen and Dr Aneeta Sen (Gwalior Gharana) were classical singers and musicologists. With our house located in the music college campus, I was fortunate to learn vocal classical from tender age. My mother was very ambitious, so she forced me to learn Sitar, Violin and Kathak also. She used to paint, and encouraged me to indulge in all fields of Fine Arts.

Q: Was it the failure in film industry that made you take to the path less travelled?
A: In 1979, I came to Mumbai to give music to films. I signed three films, and recorded many songs but ‘fortunately’ they all got shelved. If you’re a failure in the beginning of your career, you are left with two options -- either you start compromising and degrading yourself, or you become analytical and wait for the right opportunities. I opted for the second one. The tag of ‘an unsuccessful music director’ doesn’t fetch you bread and butter, so I started singing to survive. I also used to teach music to earn.

Q: And this failure lead you towards spirituality?
A: No. As a young boy, in Raipur, I always used to visit Ramkrishna Mission, and was greatly influenced by Swami Atmanandji. Well, reading spiritual books gave me strength. I started giving devotional music concerts, released more than 200 CDs as composer-singer-lyricist, and things started shaping up well. This helped me compose music in spiritual TV serials like Shiv Mahapuran, Geeta Rahasya. This was the time when I gave my voice for epic series, ‘Ramayana’.


Q: You have a special interest in medieval poetry. What do you think about Hindi literature?
A: On September 1, 1984, at Bhaidas Hall Mumbai, I gave my first singing concert on Hindi Ghazals of Dushyant Kumar. The programme was very successful, but monetarily it was a disaster. Still it introduced me to literary laureates of Hindi and Urdu literature like Pt Narendra Sharmaji, Dr Dharmveer Bhartiji, Kamleshwarji and many more. Yes, I love Hindi literature. For me, Hindi stands for Indian literature. I can speak 12 languages.


Q: After re-creating Goswami Tulsidas on stage through your first mono-act play, you did mono-acts on Sant Kabir and Vivekananda. Do you find any common thread in your three creations?
A: In 1997, I wrote the script for my first musical mono-act ‘Goswami Tulsidas.’ It took one year to memorise the script, synchronize it with live music, and add theatrical intricacies. In 1998, I presented it in Mumbai. It was a great risk. It gave me a new direction, a new recognition; but at the box-office, it was a disaster. I was almost on the verge of bankruptcy. In 1999, I started my second play, ‘Kabeer’, and it was the beginning of a new chapter of success. In 2004, I started ‘Vivekanand.’

Q: What made you select these three personalities?
A: I am often asked why I chose these characters. The true answer is, I didn’t choose them; they chose me. I wanted to bring on the stage the best representatives of Indian culture.

Q: Music, acting, painting or at lot more – which pleases you more?
A: Creation is important, and ‘form’ does not matter. It can be singing, acting, painting, writing, composing or even cooking, your ‘creation’ should make the world better.
Kala Ka Uddeshya Hai Aadmi Ko Insaan Banana (Purpose of art is to convert man into a humanbeing).

Q: Why do you keep yourself away from publicity?
A: Yes, I am a low profile artist and love that. I love to spend time with my family and friends, it’s fun. That is the reason I have refused all film and acting proposals.


Q: Do you still train youngsters? A: I am not training students now. My daily routine of 7-8 hours of ‘Abhyaas’ does not spare me any time. Travel, reading and research take up most of my time.


Q: And, about Nagpur...
A: I have wonderful memories of Nagpur. As a kid, I used to come here often with my parents. They were radio artists, and Raipur didn’t have radio station then. So overnight journey to Nagpur used to be a regular feature. As a teenager, I saw a Test Cricket match here. Gavaskar, Solkar, Mohinder Amarnath; I still have their autographs (laughs). I always feel Nagpur has great potential, and Nagpurians are simple people. They look ordinary like oranges, but once you peal them with love, the rich juices inside overwhelm you.

Q: What is your message to budding artists?
A: I follow one philosophy as an artist and can share it with all. ‘If you are looking for a short cut, you will be cut short’.

With a magic wand, the bronze plate sings!

Tribal artists from Trimbakeshwar (Nashik) fill the atmosphere with mystical tunes created on an auto-phonic instrument made up of a bronze plate and a tiny branch of forest plant

Since times immemorial, music has been integral part of tribal lifestyle in Maharashtra. Traditional Bhil Adivasi artists from Harsul village of Trimbakeshwar, on the banks of River Godavari are in the city these days to perform in Orange City Craft Mela and Folk Dance Festival at SCZCC.


Masters of their ancestral art, these artists create mystical tunes from a wonderful instrument named as ‘Thali Vadya’. ‘Thali’ is a bronze plate played by a straight stick. The main instrumentalist moves the stick on the surface of the plate in order to create an auto-phonic sound. With perfect combination of pressure, speed and pauses; the plate starts creating traditional tunes. The singer supports the main instrumentalist by singing some couplets during the pauses.

“It is traditionally believed that someone suffering from stress and pressure could be cured with this traditional musical instrument,” said Laxman Raoji Bhangre, who runs an NGO that supports tribal art. Bhangare coordinates with tribal artists and the institutions like SCZCC those invite these artists for the performances. “Melody that flows from it not just has destressing qualities but can also help cure mental illness,” he added. Traditionally, it is played in tribal parts when someone dies and the whole clan mourns.
“In old times, people used to fear the dead body. Hence, they used to call the instrumentalists to play the ‘Thali’ and sing to distress them. Hence, our couplets are generally in praise of the dead person. We try to elaborate the dead one’s life and times,” explained eighty-year-old Chandardevji Nimbarte, the main artist in the group. Nimbarte remembered that he used to play the instrument non-stop for whole night many a times during his young age.


Art is an ancestral gift for him and he is happy to be the national ambassador of this art. “We have decided to bring this art out of Trimbakeshwar Forests,” the man who speaks fluent Nagari Marathi, said. With the help of NGOs, Nimbarte’s group travels all over India to perform. Sadly, this unique musical instrument is on the edge of extinction. But, Nimbarte is still hopeful as he has over 15 young students in his group learning the art from him.


“The main problem with the tribal artists is addiction to liquor. Many of them are reluctant to come out of their village, just because they don’t perform without liquor,” he said. However, Nimbarte’s group is different. They are devotees of Lord Vitthal of Pandharpur. “We wear ‘Tulsi Mala’ and liquor intake is prohibited for us,” he said.

Kudos to Punjabi Kudis !

These graceful Giddha performers at SCZCC’s Folk Dance Festival are in fact pursuing Post Graduation in various streams right from Linguistics to Computer Science...

WITH their colourful and beautiful appearance, these 11 girls from Ludhiana are making the SCZCC’s Folk Dance Festival a little more happening this year. Photographers’ favourite; these girls in their mid-twenties, present traditional ‘Giddha’ dance of Punjab creatively displaying the feminine grace, elegance and elasticity.

“We are here in Nagpur for the first time. Its wonderful city with cultured and learned audience,” said Lovepreet Kaur. She told that all the 11 girls are pursuing post graduation studies in various fields from Ludhiana’s best-known Satish Chandra Dhavan (SCD) Government College. Many of them are studying Computers, Management, History and English literature.

All of them speak fluent English and otherwise feel comfortable in jeans and T-shirts. But, at the time of the performance, they all glow in traditional ‘Salwar Kameez’ or ‘Khagra’ in bright and rich colours, Chudis, bindiyas, and all make-up.

Being modern in attitude, these girls are very much connected to traditional dance forms of their land, thanks to the awareness by their educational institutions.
“The Giddha is in our blood and we enjoy performing it as our co-curricular activity,” said Mandeep Kaur. There are college-level, university-level and state-level competitions for the Bhangda, Giddha and other group dances in Punjab. Groups selected from these tough competitions get opportunities to perform nation-wide. As part of the same project, the group is in Nagpur to perform Giddha.

“It’s in fact a learning experience for all of us sharing the stage with performers from various states of India. The stalls in the exhibition and traditional huts here are mesmerising,” said Pardeep Kaur, taking a pause from an elite photo session by SCZCC’s Director Ravinder Kumar Singal, an amateur photographer.

The girls are getting overwhelming response in Nagpur. The audience join them as soon as all of them start clapping and singing small couplets in Punjabi. “Basically humorous, these Boliyan (two-line couplets) cover themes such as the excesses committed by husbands and mothers-in-law,” said Jyoti Rama Jyot, one of the mentors of the girls.


All the girls are enjoying every moment of their stay in Nagpur. They are already a centre of
attraction of the Folk Dance Festival and they are happy to get the celebrity status.
“People appreciate our dance, songs, looks and drapery. Everything is encouraging for us. After all we are Punjabis. We create such sensation wherever we go,” expressed Sondeep Kaur.
'Punjabian Di Shaan Vakhri', exclaim all her friends in one voice as they get ready for another sensational Giddha performance.

Cutting of the same article published in The Hitavada on October 12. 2011

Yavatmal maintains its unique tradition of Navaratri celebration

Most sought-after for its colourful and lavish celebrations of the Navaratri festival, the Cotton City is all set to maintain its name as ‘Maharashtra’s Kolkota’ with Mandals ready with huge pendals and sculptures giving final touches to the Durga idols…

With thousands of volunteers across the city working days and nights to make hundreds of huge Durga Pooja pendals ready for the nine-day festivity of Navaratri; Yavatmal, known as ‘Maharashtra’s Kolkota’, is all set to welcome mesmerizing idols of the Goddess to be adorned in these pandals. The ambience of the city is also very religious and sanctified these days.

“Coming out of the grief of famers’ suicides, Yavatmal is celebrating the Navaratri Festival with the old-time enthusiasm this year, thanks to the good rainfall and promising condition of crops,” said Pawan Mainde of Mainde Chowk Durga Utsav Mandal. Many Mandals are making replicas of famous temples, mostly from South India and Bengal. “We have invited experts from Mumbai and Kolkota for the task,” informs Abhishek Ingle.

One of the most popular Mandals, ‘Gandhi Chowk Durga Utsav Mandal’ is completing fifty years this year. Similarly, the oldest Mandal in Aathawadi Bazar (Where they have constructed a permanent temple now) is celebrating 89^th year. Many Mandals like the one in Datta Chowk, established by late Babbi Pahelwan, and the one in Jaihind Chowk are very much near to complete fifty years. The Goddess is worshipped by more than 450 mandals in Yavatmal. This number is very large for the town with population around ten lakh. The number of registering Mandals increases every year. However, applications for temporary electric meters are highest this year.

The most colourful locality during the Navaratri is the Main Line area. Here, Durga Pooja pandal can be found in almost every square. Being a businessmen’s area, the lavishness reflects through the huge lightings and decorations. “Each and every street of Main Line gets illuminated during Navaratri. Festivity begins with Gandhi Chowk Mandal installing the idol and Ghata, before all other Mandals, around 6 am,” informs Snehal Wankar, member of Wankar family, who creates idol for this Mandal since its establishment.

Presently, third generation of the Wankars, fondly called as ‘Wankar Painters’ is working in Yavatmal. Their forefathers gave a face to Yavatmal’s Durga festival. “We are fortunate to be considered as Yavatmal’s prime sculptures. It is our traditional profession, but, the new generation is also getting formal training in it,” adds Snehal. His workshop is full of idols, and he has several new boys working with him, too. “We always need enthusiastic youngsters who wanted to learn this art,” says Snehal, who badly misses his brother Sachin who passed away earlier this year. “We had to cut short the number of idols due to his absence. Otherwise, we used to supply idols all over the Vidarbha, including Nagpur,” he recalls. 

Similar to the Wankars, one more sculpture family in Yavatmal, the Manekars also supply Durga idols all over Central India. “Idols from Yavatmal have special demand as they are made with special touch,” says Sunil Manekar in whose workshop, more than thirty idols are being given final touches. “Five of these are to be sent to Nagpur,” he adds. The Manekar family is in the artists’ profession since three generations. The youngsters are learning this art under the experienced elders in this workshop. “Inflation has its effect on our business, too,” accepts Manekar adding that there is around 30 per cent hike this year in the prices of idols.

“But, in Yavatmal, the enthusiasm is priceless! We work hard to make the people happy. This is not mere a profession for us, but we consider it as a service to the almighty,” when Sunil Manekar says, he speaks out the sentiment of every Yavatmalkar, who is getting engaged in the city’s most beloved celebration of Navaratri.

From ‘Bori Arab’ to Jehangir Art Gallery



The speaking wall: A paper boat stays afloat in a puddle in front of the bright green and yellow facade of a house with a poster of blockbuster ‘Titanic’. Kishor Ingale names this as ‘Bada Ho Kar Titanic Banunga’.



The illustrious Jehangir Art Gallery, Mumbai will host ‘Walls That Speak,’ an exhibition of paintings by Kishor Ingale, from August 23. Working as faculty at Chitrakala Mahavidyalaya, Kishor, who hails from a small village near Yavatmal, believes that life is a study of contrasts

There is only one school, one bank, and a small post office in his village, but there is a river, too. Market place here, turns crowded only once in a week, but fields stay lush green most of the time of a year. His village is familiar with long hours of daily power-cuts, but also with the traditional earthen oil lamps lit in a temple every evening.

Kishor Ingale hails from Bori Arab, a small village, near Yavatmal, popular for the production of quality earthen pots. Presently, he teaches fine arts at Chitrakala Mahavidyalaya, Nagpur. Naturally, his art is an outcome of a comparative study of two lifestyles -- of a village, and of the metro city.



Going global: Kishor Ingle



“Life is a study in contrast, and this contrast adds various dimensions and depths to our existence,” says Kishor. “My paintings, mostly done in abstract form of ‘Graffiti Art’, are narrations of what a village boy feels when he tries to adapt with city life, and dreams to achieve something big,” explains Kishor, winner of countless awards and appreciations along with a scholarship by Central Government’s Ministry of Culture.
No doubt, the natural beauty with which he brought up in Bori Arab, gives a touch of tranquillity to his paintings while the experience of life in metro during his college days in Nagpur, and internship in Aurangabad brings sophistication.

According to Art Historian Dr Manisha Patil, Kishor’s strength lies in manner in which the strong and impudent images are de-constructed and assembled in a way to give then a new context. His works will be on display at Hirji Jehangir Art Gallery Mumbai, from August 23 -- a dream destination for every artist in India. It’s rare for a painter to hold a solo exhibition at Jehangir Art Gallery, even before turning thirty. Kishor achieved it so early because his paintings have not one, but many stories to tell -- tales of aspiration and rejection, failure and success, wealth and want, rural and urban.

His father Digambar Ingale, a retired ZP employee; mother Devayani; siblings Pawan and Yogesh, teachers from Bori Arab, Digras, and Nagpur, and students of Chitrakala Mahavidyalaya, Nagpur, are looking after this moment as a milestone in his career.

Cutting of the same article appeared in TheHitavada on August 23, 2011

By dance, for dance

She had to quit a dance contest following rib injury, but city girl Preeti Chafale impressed superstar Hrithik Roshan in such a way that he signed a cheque of Rs 3 lakh for her, to establish a dance school in Nagpur.

Her confidence and talent, even if being a small town girl, made Preeti Chafale ‘special contestant’ for dancing superstar Hrithik Roshan. When she had to quit reality show ‘Just Dance’, following her rib injury, Hrithik presented her Rs 3 lakh as a personal gift. Everyone of us have seen this gesture from the superstar, and the girl, for whom, Hrithik did this, was in Nagpur on Wednesday -- overwhelmed and excited!

“Every contestant shares a special bond with heartthrob of millions - Hrithik,” says Preeti Chafale, who hails from Umrer. Earlier in the show when Preeti’s mother was not so comfortable to come on stage because of her less knowledge of Hindi, Hrithik went to speak to her in Marathi and made her feel comfortable by telling her how wonderful her daughter is. Preeti remembers every moment during her three-month-long association with the reality show.

“I learned a lot during the training sessions, off-screen and on-screen; and finally, I am all set to attain the ultimate aim of my life -- dance for ever!,” says a girl who has already signed coveted contract with Star Plus under which she will be performing for the channel for coming three years.
“Reality shows provide good start to talented dancers. Rest depends on the way one carries self,” says a girl, who used to travel from Umrer to Nagpur daily during her school days to for dance lessons from Vinod Samseria of Vinod Perfect Dance Studio.

Preeti’s passion for dance began when she saw a dance contest on TV. She says, dance makes her feel free and uninhibited. As per her parents’ wish, she completed Masters Degree in Computer Management (MCM) besides learning dance. Her father Suresh, a WCL Umrer staffer, encouraged her to go for her dream while her family supported her, too. “But, no one from my three siblings is interested in dance,” she says sadly.

According to Preeti, only passion is not enough to emerge winner in a reality show. “The level of competition is high. One has to keep updated about all dance forms, current events, and great dancers’ profiles. A reality show is not only a dance contest, but a general knowledge test, personality development contest, memory challenge, and aptitude test as well,” says Preeti, who was selected amongst hundreds of contestants from all over the world for Top 13 of the ‘Just Dance’. “As a dancer, you cannot be a master of all forms, but I suggest to learn basics of western dance to enhances one’s personality,” - her success Mantra.

New Marathi face for Bollywood

Dashing Adinath Kothare, son of renowned actor-director Mahesh Kothare, is all set to make waves in Hindi Film Industry with his debut film Standby. He speaks on his jouney from ‘Maza Chhakula’

Marathi audience still remember him as a nine-year-old brave innocent and naughty kid, doing ‘adventures’ at Essel World to escape himself from a ‘mafia’ in super-hit ‘Maza Chhakula’, his debut film.
Adinath Kothare, has now grown up to a handsome young guy, and all set to make another debut, this time in Hindi films, with Sanjay Surkar’s ‘Stand By’.

“I am very excited!”, he expresses, and one can feel the same through his glittering eyes, very much resembling to his father. Adinath, even if being a ‘born star’ of Marathi industry, calls himself a newcomer, a struggler, -- showing another quality of Marathi actor -- Humbleness. “I feel very lucky that I got a chance to work with a director like Sanjay Surkar. He gave me a lot of space in my work,” says a Science Graduate from Ruiya College, who later completed MBA from MET College, Mumbai.

“Being a science graduate was not enough to understand marketing and promotion strategy for films. So, I opt for MBA,” he says. Adinath, initially joined his father as assistant in several Marathi movies, and later worked for many production houses including Pritish Nandy Communications, and Walkwater Media.
Presently, he owns a production house ‘Kothare & Kothare Vision’ that produces three television serials including the super-hit ‘Man Udhan Varyache’. Like his father, Adinath also aspires to enjoy a special position in Hindi and Marathi industry.

“To some extent, it’s easy for me to be in industry, because people know me as Mahesh Kothare’s son. But ultimately, it all depends on my work, my acting because of which I will get films,” he says.
Presently a couple of Marathi films, including ‘Dubhang’ in which Adinath is working opposite his fiancee Urmila Kanetkar, are ready for release. Many projects in Hindi are also in pipeline.

Cutting of the same article published in The Hitavada on August 17

‘Musical theatre is self-assessment tool’

After devoting much of the past four decades of his life to acting on stage, television and films, Ramesh Bhatkar turns tuneful with his debut on musical stage in Marathi play ‘Yayati Ani Devayani’



Ramesh Bhatkar


Best known for his roles of strikingly handsome, classically heroic, strong-minded and intrinsically intelligent supercop in TV series like ‘Commander’ and ‘Hello Inspector’, Ramesh Bhatkar is probably the first and only ‘angry young man’ of the Marathi industry. After spending nearly four eventful decades as an accomplished actor, he is now in mood to relish the contentment he derived from his widespread successful career.
Accepting new challenges is in his instinct, so, it wasn’t surprising when Ramesh Bhatkar made his debut in Sangeet Natak last year with ‘Yayati Ani Devayani’. The Vidarbha tour of this play has already begun and the team is in Nagpur nowadays to stage shows.

“I was excited to be a part of the greatest tradition of Marathi theatre – the musical plays!” says Ramesh, who terms himself as a good listener of music, but a bad singer. “I am not singing in this play. My character is of King Yayati, and I have only prose dialogues.”

However, rendering classic and poetic dialogues was real challenge. “It tests your language skills, and knowledge. I term musical theatre as self-assessment tool for an artist,” he says.
Bhatkar, notably, is the first actor from Mumbai mainstream who joined Jhadipatti theatre movement. “I did Jhadipatti for almost three years. It was enriching experience. People here are wonderful, and audience is well-mannered and cultured. I discontinued when I got engaged with music theatre,” he explains.

With a career that includes about 30 television serials and numerous Marathi, Hindi movies, Ramesh Bhatkar finds no suitable offer these days. “The ‘Marathiness’ is no more with Marathi television now. We see lavish bungalows, rich families, and storylines copied from Hindi. I don’t want to work in this atmosphere just for the sake of money,” he says firmly.
“However, I like to keep myself fit and fine for any role,” when he says, one realises how his looks belie his age.
While speaking on Nagpur, he recalls his frequent visits to the city during ‘Ashrunchi Zali Fule’ days. “No commercial Marathi drama completes without its show in Nagpur,” he says. As his play is scheduled in the evening, Ramesh Bhatkar enjoys roaming around the city, and visiting some popular places. “I am planning to go for a movie, suggest me a good theatre,” he quickly asks, followed by his trademark smile.


Cutting of the same article appeared in The Hitavada
(All photographs by Satish Raut)



Theatre is a mission for them

Not entertainment but enlightenment is what team Bahujan Rangbhoomi aims for while performing. The term ‘experimental’ means ‘experience-based’ for these creative rebels and ‘success’ means social awareness instead of mementoes and award certificates


Passion with persistance: Young team of Bahujan Rangbhoomi group with its
Founder President Virendra Ganvir (centre).  


LOOKING back at the two-decade long journey of ‘Bahujan Rangbhoomi’, established formally in 1990, makes Virendra Ganvir emotional. His boys and girls come from financially, intellectually, and educationally backward homes, with a desire to do something creative. Virendra welcomes them in the world of theatre and with his creative ability; changes them into confident, independent and respectable youths.

Today, with over 250 kids and youths attached to it, Bahujan Rangbhoomi is probably the biggest children’s drama group in Vidarbha. They are consistently doing children’s theatre since 1990. Award winning children’s play, ‘Naga Ra Baba Shala’, ‘Footpath’ and mega drama ‘Chale Hum Prabuddha Bharat Ki Aur’ are just a few names from hundreds of plays staged by the group. They are also known for producing plays based on the principles of Ambedkarite Buddhism, highlighting the native Buddhist culture of India.
“For us, theatre is a social mission. It is a self-realization exercise,” Virendra speaks out the point which sets his group apart from others.

“Our mission aims at a strong, comprehensive and thought-provoking theatre which will spread awareness among the downtrodden and bring them into mainstream,” he elaborates. Indeed, Virendra started with mainstream theatre. Here, most of the people made an issue of his faulty pronunciation but no one came forward to teach him the right thing. Observation then became his sole companion. Today, boys groomed under him speak flawless Marathi confidently.

“I have no regrets for them because twenty years ago, circumstances were different. Even today, our (backward class) kids really lack in proper dialect, language skills, and pronunciation, but, they are improving rapidly,” he says. Education and career are the two aspects on which his group emphasizes a lot. They highlight these issues through their plays, and also through the free camps they conduct for kids.
Boys like Trushant Ingle and Suhas Khandare who emerged from Bahujan Rangbhoomi are working in the television and film industry. Many others who were introduced to theatre by the group have pursued the same field and are learning at National School of Drama. Fine Arts graduate Surendra Wankhede has developed as a writer-director while Atul Somkuwar, Shruti Lokhande, Darshan Damodar and Rahul Meshram are known faces of the city’s theatre scene.

“With acting, Virendra asks us to observe every aspect of the drama – script-writing, direction, lights, sound, costume and set designing. This helps a lot in understanding theatre,” says Surendra, while Atul says, theatre has given him a sense of social responsibility.

They may have missed the opportunity, but members of Bahujan Rangbhoomi want upcoming talent to take up formal education in theatre. For this, they have a dream to establish a drama school where experts will come and impart training to kids. Their commitment to their mission will surely turn this dream into reality very soon.

Cutting of the same article published in The Hitavada on July 13

An institution within…

With most of its members post graduate in various streams including theatre and fine arts; Bodhi Foundation – true to its name -- is enlightening young artists and shaping new wings to Nagpur’s theatre

Young team of Bodhi Foundation Group (Pic by Satish Raut)

THEY used to wander around the Nagpur, working with different teams before the ‘conventional’ city artists forced Salim Sheikh and his friends to form their own group to bring alive their innovative concepts. Six years ago, theatre wing of Bodhi Foundation (noted cultural and social organization) was constituted. Since then, the group is leading the cultural scene in the city with methodically, technically and aesthetically rich presentation of novel themes on current social issues. At present, large number of young artists is attached with the group.

"For us, theatre is not occasional, seasonal, or year-long, but a life-long event," expresses Salim Sheikh (now, Prof Salim Sheikh, as he teaches theatre at Nagpur University). Truly, many from ‘Bodhi’ are building careers in this field. Pooja Pimpalkar, Manjushree Bhagat and Prashant Likhar are popular names in Jhadipatti theatre. They get jam-packed open theatres, enthusiastic crowd and good money in Jhadipatti. "The experimental theatre we do here rejuvenates us," Pooja says, explaining the reason why she takes out time from her profession for group activities.
"We meet frequently, discuss numerous themes for months, write scripts together, decide the direction points, technical innovations, and then start the rehearsals. However, anything and everything decided is subject to change during rehearsals," laughs Salim, the director and writer, guide and leader for the youngsters. "Right from actors, technicians, to the one who is handling back stage -- everyone has the freedom to ask questions and share ideas. I welcome it," he adds. Probably this is why they named their open theatre as ‘Muktangan’ (Free Space).

‘Muktangan’ was developed in the front yard of Rajaram Sitaram Dixit Library at Gokulpeth by its Secretary Bapu Chanakhekar, a guiding force for Bodhi members. "Bapu had a dream of having a rendezvous for artists. We are free to use the hall for practice and open theatre for shows. He is a motivator, who has solved the primary problem of practice hall," mentions Salim. Dr Lalit Khobragade is playing a permanent role of producer and is the driving force for the group, he adds.

The Bodhi Foundation team has Mithun Mitra, son of noted theatre activist Sapan Mitra, as their lightman while Fine Arts graduate Manoj Rangari designs sets. "Here I am free to look for new concepts in lighting. I get the freedom to think which is most precious for any creative artist," says Mithun, winner of a number of certificates and awards for his outstanding light effects. "I am not against the faith factor, but wasting important time before the presentation in praying and worshipping is unwise," he says, while explaining that theatre itself is a form of the Almighty and a flawless show is the best prayer.

True to this word, Bodhi Foundation team is offering the prayer of flawless presentations since the last six years. Maybe these prayers will help them to secure a membership of Akhil Bharatiya Marathi Natya Parishad, which has been their single-minded focus for the last few years.



(Cutting of the same article that was published in The Hitavada on July 11, 2011)



Joining hands for theatre...

They win hundreds of prizes and countless appreciation certificates, but ‘Rashtrabhasha Parivar’ theatre group concentrates on introducing the young breed to new day theatre.

Yahoo! Youngsters enjoy their stay with Rashtrabhasha Team (Picture by Anil Futane)

THE atmosphere at the Rashtrabhasha Parivar building at North Ambazari Road, Nagpur is lively with the enthusiasm emanating from youngsters busy in rehearsing for their upcoming theatrical performance. Three teams, around 50 girls and boys and all engaged in some or the other work. Dialogues, claps, shouts and songs create an exceptional blend of sound packing the hall with action.

"This is our practice hall," says Rupesh Pawar, a handsome young man in his mid-twenties. Presently, he leads the activity of Rashtrabhasha Parivar. Around a hundred youngsters from the city work together presenting a number of full length dramas and one act plays as part of their year-long activity. The group is known for its unconventional way of presenting novel subjects. Award-winning one act, ‘Taai’ and much-appreciated ‘Tirichha’ are popular names and speak about the taste of the group.

Rashtrabhasha Hall is like their headquarters. It is a rehearsal hall, restroom, theatre -- almost like a second home. "Nowadays, we are busy in preparations for ‘First Bell on Stage’ in which seven to eight plays will be performed on the same platform. We are converting the hall into a small auditorium," Rupesh points out.

"Here we give freedom and platform. One can try hand at writing, directing, acting or on the technical side, whatever one prefers," says Rupesh -- ‘Dada’ for all youngsters.

Along with him, Nasir Sheikh, Amit Shende, Dhananjay Mandavkar, Amit Umak, Aasawari Ramekar, Mithun Hatwar and many others are well-known names in experimental and amateur theatre these days. All have emerged from Rashtrabhasha Parivar.

Secretary of Rashtrabhasha Parivar, Sureshbabu Agrawal is their supporter and patron. "I support these youngsters because they are full of enthusiasm and intelligence. I have not done much, just allotted the hall for practice," Agrawal says humbly. However, for the team, he is a friend, philosopher and guide who always inspires them to do good work.

It is not that these people do not have worries. They have studies and careers too. But what pains them is that a career in the field they love the most -- theatre - is tough. "There are drawing teachers, dance teachers in schools, but drama teacher is always missing," laments Dhananjay Mandavkar. "It is not possible for everyone to go to Mumbai and struggle."

For Rupesh, the lack of formal training for youngsters is a point of worry. "Since last four years, not even a single theatre workshop has been organised in Nagpur. Earlier, we attended workshops and seminars here and learnt a lot from experts. But the next generation is missing all this," he says. Well, not exactly ‘all this’, as Rupesh and his friends are training youngsters. "We are not trainers, we work together," he makes it clear, while expressing confidence on the creative ability of his team. "We face difficulties and overcome them. We do not get sponsors so we contibute money on our own. We may have differences, but we join hands for theatre," Rupesh says with a smile -- which promises a bright future for the city’s theatre movement.

Cutting of the same article that appeared in The Hitavada

Down memory lane...




Yogesh Thaker with his Hawaiiyan Guitar (Pic by Tushar Naidu)

 

The Orange City re-experienced the iconic orchestration of Yogesh Thaker on Saturday, June 4, 2011, after a gap of more than a decade. The Master of Singing Strings once again created magic with his trademark Hawaiian guitar. He was also presented Lifetime Achievement Award on the occasion. A day prior to accepting this Award, the man who ruled Central India’s entertainment scenario for more than thirty years, walked down memory lane...

“I dont have a guitar now.” When Yogesh Thaker says this, one feels as if the Sun is saying that it has no light or the spring refuses to bloom. The man, who enjoyed an absolute monopoly in the field of music for more than thirty years; the musician who created an indelible impact on the minds of thousands of music-lovers; and the guitarist whose tunes still hypnotize generations just on a recall; has been away from his identity — his guitar for more than a decade. But how long can the artist keep himself away from his art? And how long will his fans allow him to remaim isolated?

“It was a surprise, rather a pleasant one, when they (organisers of the felicitation function) requested me to receive a Lifetime Achievement Award,” says Thaker who believes that whatever he achieved is just a small contribution to the vast field of music. Performing nearly 3500-odd jam-packed musical shows across the Central India, UP, and West Bengal for more than 30 years; and being the rare exponent of the comparatively complicated Hawaiian Guitar, is a ‘small’ contribution for him.

“They insisted on a performance on the day, and I picked up the guitar for one more time,” says Thaker, who is practising for the event. “I am not sure how it (the performance) will be. I am apprenehsive, rather somewhat nervous. Things have changed now,” he says, commenting on the current musical scene.

“I find sound everywehere, but not music. Everyone is a ‘self-proclaimed expert’ these days and youngsters are least interested in practise sessions,” he laments, recalling how his team used to rehearse for eight to ten hours to set a single song. “This is why, music is losing its soul. Commercialisation is everywhere. But, how can you commercialise art?,” he wonders!

The reason behind the short-lived compositions, and easy-to-forget songs, according to him, is lack of sincearity in musicians. “Sab Ek Sath Bajaoge to Woh Bandbaja hai, Orchestra Nahi,” he remarks. Orchastra, for him, is symphony.

“I used to attend concerts all over India and share the stage with legends like Manna Dey and Naushad. The sincerity and serenity I experienced those days is nowhere now,” recalls the man who was never interested in leaving Nagpur and joining the ‘Mumbai Industry’ for commercial success. “My art is for my art,” he asserts firmly.

However, everything is not the same for the musician who enjoys listening to Rahat Fateh Ali Khan and Vishal Shekhar. “Music is for lifetime. It is not a temporary job. Hence, when I did music, I did only music, and when I started looking after my family business, I quit music,” he says.

After quitting the orchestra scene, people then saw him at rare appearances, mostly for charity shows. More than a decade passed, but no one forgot the magic he used to create.

So, when Yogesh Thaker says, “I don’t have a guitar now,” it means, his guitar is still playing in thousands of hearts. How could it be with him now ?

Or, perhaps, does he need a reminder -- that he may quit playing it, but the guitar would not leave him! 

(Cutting of the same article published in The Hitavada on June 4, 2011)

Tum Jo Mil Gaye Ho...

Swapnil Bandodkar performs at
 Dr Vasantrao Deshpande Hall, Nagpur,
on May 22. (Pic by Satish Raut)

When nostalgic Swapnil Bandodkar sings the Mohammad Rafi classic in the honour of  Nagpur's organ-player Pankaj Singh...

TODAY’S ‘rockstar’ Swapnil Bandodkar used to be a budding singer those days when city musician Pankaj Singh fascinated him with his excellent accompaniment on the synthesiser. Finding him on the stage after long years made Swapnil nostalgic on Sunday evening.

“I still remember the sensational performance of Pankaj ji on that evening. It was a Rafi memorial night and his fingers were literally dancing on the key board. It was his accompaniment which won a huge applause that night for me -- a dream moment for a newcomer singer,” Swapnil accepted while calling for an applause for Pankaj Singh.
Changing the pre-decided schedule, Swapnil requested Pankaj to play the same song once again. “Tum Jo Mil Gaye Ho, To Ye Lagta Hai, Ke Jahan Mil Gaya...” with these soothing lines, the audience in Dr Vasantrao Deshpande Hall started feeling the ‘pleasant’ change which later on turned the ‘Bedhund’ concert a memorable event for them. Swapnil Bandodkar presented his trademark songs ‘Radha Hi Bawari’, and ‘Galawar Khali’, along with a some new compositions from Marathi films, and also a medley of title songs of Marathi television serials.
Organised by Navrang Creations, a cultural group mostly comprised of medical practitioners and their family members, the musical night was full of eye-catchy light effects. Local singers and musicians accompanied youth sensation Swapnil Bandodkar while Radio Jockey Milind Patil was the star anchor for the programme. A frequent visitor to Nagpur these days, Swapnil was excited to perform at Dr Deshpande Hall after many years. Entering after three opening songs from local singers Sonali and Shashi, Swapnil presented a series of popular songs. The programme ended with Ajay-Atul composition ‘Moraya Moraya’. The auditorium was packed to its capacity and had a word of praise for spectacular event.

(Cutting of the same news that appeared in The Hitavada on May 23) 

Rahman magic comes alive!

(Legendary Lata Mangeshkar appeared on an electric board to sing ‘Lupa Chhupi Bohot Hui’ song from ‘Rangg De Basanti’ during A R Rahman’s concert in Nagpur. This is a special video which is the unique attraction of Rahman’s show. He said, when Lata Didi blessed him with this special video, he felt the show has turned divine.)

Electrifying!! No, no! Captivating!! No! Charismatic! No adjective has enough power to describe the atmosphere music maestro A R Rahman created in the Orange City on Sunday (May 15, 2011) evening. When Rahman plays live, it is the closest that several people can get to witnessing a Bollywood concert, a Sufi concert, a Carnatic recital, a fusion music concert, a rock concert, or a rap concert and much more!


Sunday’s concert, the opener of his latest ‘Back to Home’ series, and his first in India after winning the Oscars and the Grammy, was the one that encapsulated the musical horizon where A R Rahman’s music carried the soul.
It was for sure, Nagpur’s biggest outing in recent times, as a little under half-a-lakh people - cutting across age and cultural tastes - drove out at least 6 kilometres from the city, to the concert venue. Though the tickets were priced from Rs 1,000 to Rs 25,000 (prices were slashed a few days prior to the show), that didn’t deter the thousands, many of whom were students, to turn up.

The concert itself started a little more than one hour after the official time of 6.30 pm (in typical Indian Standard Time fashion). By 8.15 pm, the house full crowd had become very restless and had begun shouting in unison for the show to begin. The great Indian struggle for chairs was also visible and organisers (Bodhi Foundation) had to appeal several times for ‘co-operation’.

Just a flash came on massive stage and all chaos settled down. The stage was impressively put together, with the musicians standing around in the backdrop. At the center of the stage was an open space, leading to a stairwell and a raised catwalk. Slightly off the center was a raised platform. Most impressive was a seven to ten feet tall and fourty feet wide electric board at the back of the stage, which would display an animated graphics show for each song during the concert.

The immortal ‘Aalap’ from the movie Roja (originally sung by Chitra) began the show and within a minute, Rahman appeared on stage wearing crimson Sherwani on black trousers. “Jai Maharashtra!”, he said, and asked “Kasa Aahe?” (How are you?). Fascinated audience replied “Majjet!” (fine).

Rahman Enters...

Ho Ja Rangeela Rey..

Rahman began with a song ‘Tere Bina’ from ‘Guru’, a film made by his mentor - Mani Rathnam. Later, a medley from his earlier Bollywood hits ‘Rangeela’ followed in which young Neeti Mohan showcased her extraordinary singing and dancing skills with ‘Yai Re’. Shweta Pandit entered with ‘Tanha Tanha’ while Remo made his entry special with the theme song of movie ‘Daud’. Harshadeep Kaur joined the show with ‘Ni Mai Samaz Gai’ from ‘Taal’. Rahman took the medley to peak by singing ‘Dil Se!’ from yet another Mani Rathnam movie.

Dil se Re.....

Dance with Genda Phool...

 Recent works of Rahman dominated the rest of the concert, much like the ensemble of singers, who were mostly contemporary. Some of his long-time regulars were there, though - including Sivamani on drums, Keith Peters on guitar, and Naveen on flute.
There was a lot of ‘Delhi-6’ (Masakkali, Rehana Tu, and Genda Phool), ‘Rang De Basanti’ (title song), and ‘Ghajini’ (Gujarish). But what sent the crowd into raptures was Koncham Nilavu (A rocking Tamil song).
Neeti Mohan, Shweta Pandit, Remo and and Benny Dayal let their hair down in their performer avatars. The team on stage cavorted with some fusion music as well, with the flute, the guitar, the piano (played by the maestro himself) and the sitar. And the all time great Sivamani’s range of percussion instruments made his presence a phenomenon.

(Kisi Na Kisi Se Koi Kuchh Keh Raha Hai, Tu Dil Ki Baat Keh De Kehne Mein Kya Hai!)

Turning classical

Rahman presented memorable song ‘Chanda Suraj Lakho Taren’ from ‘Gurus Of Peace’ (originally sung with Nusarat Fateh Ali Khan) with Javed Ali. He also rendered ‘Yeh Jo Des Hai Tera’ from ‘Swades’, which added classicism to the concert.
The classic touch continued with Harshdeep singing a ‘Thumri’ from Jodha Akbar and Shweta Pandit singing ‘Muskura Jahhan Bhi Hai Tu Muskura’ by Alka Yagnik and Javed Ali from ‘Yuvvraj’. Rahman presented a song ‘Jaa Re Ud Jaa Re’ from ‘Raavan’ which is not in the soundtrack of the movie.

(Guru of peace) 

Living legend appears

All were waiting for the moment when legendary Lata Mangeshkar would appear on stage. Rahman announced that he was blessed to get an opportunity to be involved in a long time association with the divine voice of Nightingale of India. “She blessed me with the special video of a song that we sung recently for Rang De Basanti. I hope you will understand the importance (of this moment),” he said, and the track began. The bright screen turned brighter as Lata Didi appeared on it followed by the voice that directly comes from divinity. ‘Luka Chhupi Bahut Huyi Saamne Aa Ja Naa...’ the song began. Rahman closed his eyes. He joined with the lines ‘Kya Batau Maa Kahan Hu Mai...” and the song built up the real mother-child interaction between the legend and the icon.

(Marammat Mukaddar Ki Kar De Maula...)

And the spiritual conclusion

After living legend, it was time for a prayer for which Rahman is well-known. With Javed Ali, he presented ‘Maula Maula’ from ‘Delhi-6’ and later marked the end with ‘Khwaja Mere Khwaja’ from ‘Jodha Akbar’. Both the songs enhanced the spiritual quality of the atmosphere and people left the venue preserving eternal peace that had filled their hearts.

Rahman is a musical wizard who must be credited with several accomplishments. He redefined the concept of sound in film music and infused grace and passion into an otherwise stodgy concept called patriotism. ‘Jai Ho...’ (which he deliberately skipped) has become his signature now, but there was a time when Rahman was busy being pure Rahman - satisfying both masses and purists. Sunday’s concert was the celebration of this pure Rahman.

The team of singers who regaled the audience during the concert.

Spirituality speaks

A R Rahman after interaction
with media in Nagpur 

Enter A R Rahman. And enter tranquillity. A small man surrounded by tall and strong security guards, he walks to the dais with a contented smile. As Lalit Khobragade makes the introductory speech, Rahman goes through the information leaflet in which it is mentioned that on May 15, Nagpur, the centre of India, will witness Rahman’s first ever live concert in India, after winning the most prestigious Oscars and Grammys.
“In the last two years, I visited as many as 24 nations and coming back home is a great feeling. Great energy, enthusiasm I can feel here. This is something I was missing all this time.”

He weaves small sentences with simple words, and fills the pauses with his signature smile. For most of the questions, he has quick one word answers. For instance, when somebody asks, “After two Academy Awards, two Grammy Awards, a BAFTA Award, a Golden Globe, and four National Film Awards, what is next? ,” Rahman quips, “Nagpur!”.

Such quick and interesting answers by the maestro, popularly known as ‘Rahmaniyat’ these days, make the press conference more lively. This is the same attitude which made this man reassert the trademark ‘Mere paas maa Hai’ A dialogue from Deewar while receiving the Oscar, and this is the same coolness with which he moved ahead of the ‘Oscar impact’ so early and started composing  yet another record. “Many ambitious Hollywood projects are in hand with a number of Bollywood flicks, too. After the grand Enthiran, I am working for some Tamil and Malyalam movies,” says the composer for whose music, language has never been a barrier. It is because Rahman considers music as a universal phenomenon. For him, it is beyond the language, religion and nation. Just like God!

“Music and spirituality are not different things. Every music, on its highest note, becomes spiritual and every spirituality, at its zenith, turns musical,” Rahman, one of the greatest exponents of Sufiana singing style, speaks out the philosophy in the simplest words. This simplicity makes him great.
When someone asks him about his dream, he quickly says, “I work all through the night, so no time for dreams.” Ask him about increasing number and decreasing quality of reality shows, and he says, “I would prefer to see singers performing happily on television, instead of watching news of war and calamities.” And ask him why he is not joining any reality show as mentor or judge, pat comes the reply, “Because I have lots of work to do!” Each answer gives a glimpse of the reclusive ‘Rahman wit.’

(All Photographs by Anil Futane)

Soft spoken and short in words, Rahman  turns expressive when he speaks about music and faith. A philanthropist, he owns a Foundation which runs a music school where more than 200 students are getting an experience of the world of music with experts. “Out of these, many are from slums and some from poor families. They are getting free education,” he mentions proudly. “Our family believes that music is not just for earning money, but it is a spiritual cause. Teaching it to youngsters is the best way to say thanks to the Almighty who selected us for this holy work,” says Rahman who is happy to perform in Nagpur for the special cause of Bodhi Foundation’s women empowerment project.

“All I know about Nagpur is that this city is just a flight away from Mumbai,” he laughs, a rare spontaneous gesture from the maestro. “Recently, my mother had asked me to take her to Nagpur to visit Tajbagh. I promised her that we will visit this place after my world tour. And fortunately, as soon as my world tour completed, the first ever concert call I received was from Nagpur. This was like Baba Taj is calling,” says Rahman, who directly went to Tajbagh from the City Airport to seek blessings.“We are preparing hard for this concert, as this is going to be the beginning of our ‘back  to home’ series. We are working on several new concepts, and also thinking to include some local talent in the concert,”

Rahman leaves with a positive note for the city's singers.

Cutting of the same news published in The Hitavada on April 29, 2011