From Tehran to Delhi: Sina Fakhroddin on war, belonging, and the music that survives
Trained in Iranian classical music, Fakhroddin, also the founder of the city-based instrumental ensemble World Ethnic Music Ensemble (WEME), has a doctorate in Hindustani music. Though primarily a percussionist, Fakhroddin is also a sitarist and often composes on it. What began as a personal experiment composing melodies on his sitar became a collaborative project as he brought in fellow musician friends. 'One composition became two, then three,' he recalls, and soon, the ensemble, formed in 2009, began to take shape with an unconventional lineup including the harp, cello, and mandolin. Now set to perform at Delhi's OddBird Theatre on July 11, WEME's five-piece ensemble weaves together the textures of both Western and traditional instruments like sitar and harp; its sound sits at the intersection of Persian and Indian musical traditions, drawing from ragas, scales, and centuries-old textures, all anchored in Fakhroddin's original compositions.
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Business Standard
36 minutes ago
- Business Standard
Paradyse Perfumes: India's Cultural Awakening in the Fragrance World
VMPL New Delhi [India], August 1: In a market long shaped by Western influence, India's perfume industry has lived through a quiet identity crisis. For years, Indian fragrance brands have packaged their creations in French-sounding names, styled them with generic international flair, and followed foreign trends to win validation abandoning their own olfactory heritage in the process. The result? An industry built in the land of attars, perfumes and ancient rituals became a mirror of someone else's story. Paradyse Perfumes is here to change that. A Cultural Revolution in a Bottle Paradyse Perfumes is not just a perfume house it's a cultural intervention. Positioned as India's first culture-based luxury perfume brand, Paradyse perfumes crafts fragrances not from imported inspiration, but from India's own stories, memories, rituals, and timeless emotions. Every collection speaks from a different corner of India's collective consciousness: The God Collection - Fragrances inspired by divine mythology and spiritual authority Asura Collection - Scents born from dark power, rebellion, and primal charisma Madira Collection - Aged, intoxicating blends rooted in indulgence and ritual Kaamvasna Collection - Fragrances that celebrate desire with elegance and depth Here, perfume isn't just about how you smell. It's about who you are becoming. To experience it for yourself, visit the official website: The Paradyse Experience: Storytelling That Lives on Your Skin Where most perfume brands offer fragrance, Paradyse offers identity. The name, the design, the story every element is intentional. Products like Mafia Oud, Indra: The Rule, and Black Tantra are not just perfumes they are emotional triggers. The packaging feels like an ancient manuscript. The names spark curiosity. And the scents leave behind a trail of memory and power. "People today are not just buying perfume they're buying a feeling. They want meaning. They want pride. And they deserve a scent that reflects them not someone else's culture." Paradyse delivers that experience proudly, unapologetically Indian. Proof of Concept: From Launch to ₹1 Crore/Month In just 6-7 months, Paradyse Perfumes has already crossed ₹1 crore in monthly gross revenue without celebrity tie-ins, paid influencer gimmicks, or foreign clout. The growth is fueled by loyal customers, emotional connection, and a team of warriors who believe in one mission: To end the brand identity crisis in Indian perfumery. Forever. The obsession is real. Customers are not just buying they're collecting, reviewing, flaunting. Mafia Oud in particular has become a cult hit, praised for its dominant personality and luxurious depth. Indra: The Rule and Black Tantra have also struck chords across demographics. This isn't just commerce-it's cultural demand. The Road Ahead: ₹100 Crore in Three Years Paradyse now has its sights set on the next frontier: building a ₹100 crore fragrance empire by 2028. But it's not just about scale it's about solidifying India's rightful place in global luxury perfumery. Key growth pillars include: * Launching 30+ brand-owned retail outlets across India * Expanding omnichannel presence (D2C, marketplaces, flagship experiences) * Entering UAE, UK, and Southeast Asia as a global cultural export * Introducing immersive scent experiences and limited-edition cultural series Paradyse is not just selling perfumes. It is reclaiming narrative, identity, and pride-one bottle at a time. The Fragrance of Pride, Power, and Paradyse At its core, Paradyse isn't here to compete with foreign brands. It's here to remind India of its own greatness, bottled in its own language. In a world that rewards originality and identity, Paradyse Perfumes is rising not as a trend, but as a legacy in the making. To experience it for yourself, visit the official website:
NDTV
8 hours ago
- NDTV
Shilpa Shetty Brings "Big Jhumka Energy" To Her Latest Indo-Western Outfit
Shilpa Shetty makes a fashion statement whenever she steps out. Of late, the diva has been rocking some desi looks, and her latest look is nothing short of impeccable. Shilpa Shetty recently took to her Instagram to share some incredible pictures of herself wearing an Indo-western fit that seamlessly blends tradition and modernity. She wore a vibrant printed jacket with intricate motifs, inspired by traditional embroidery. However, the silhouette of the jacket is modern. Its tailored fit and peplum flare at the waist give it an edge. She paired the structured jacket with neutral bottoms that allow the jacket's colourful patterns to shine. View this post on Instagram A post shared by Shilpa Shetty Kundra (@theshilpashetty) The highlight of the ensemble is undoubtedly oversized statement jhumkas, which add a bold, dramatic flair to the entire outfit. Serving as the focal accessory, the large jhumkas draw attention to the face, which exudes confidence and glamour. Bringing the grandeur of traditional Indian jewelry to the fit, Shilpa Shetty's earring has an ornate design that feels fresh and modern. She has worn the earrings as earcuffs, which complement the outfit's muted tone and exude "big jhumka energy". Her hair and makeup are simple and minimal, which puts the focus on the jewellery and the outfit. The neat bun goes well with the fit and highlights the jhumkas, giving the outfit an understated yet luxurious look. Overall, the look is a hit for its minimal styling and the oversized jhumkas, which bring vibrancy to the look along with the jacket.
Time of India
8 hours ago
- Time of India
23 years in production, this Bollywood movie saw three deaths; was released 12 years after its director died
Series of Tragic Setbacks Film Completed In Fragments In the early 1960s, acclaimed filmmaker K Asif—best known for Mughal-e-Azam—embarked on a new cinematic journey. Titled Love and God, the film was a grand retelling of the timeless Persian-Arabic romance of Laila and Majnu. Asif, already established as a master of epic storytelling, envisioned this project as another feather in his cap. But instead, it became one of Bollywood's most ill-fated film's journey began in 1963 with Guru Dutt and Nimmi cast in the lead roles. However, tragedy struck when Guru Dutt died by suicide in 1964, bringing the project to a standstill. Several years later, Asif attempted to revive the film by casting Sanjeev Kumar as Majnu and restarting production in in yet another cruel twist of fate, K Asif passed away in 1971 before the film could be completed. This was not the first time Asif's filmmaking dreams were disrupted. Even during the making of Mughal-e-Azam, the 1947 Partition had halted progress when one of the original financers moved to Pakistan, and the lead actor Chandramohan died in 1949. Still, Asif had managed to complete Mughal-e-Azam, but Love and God proved to be a much tougher Asif's death, the project was shelved for over a decade. It was eventually revived by his wife, Akhtar Asif, who was also the sister of actor Dilip Kumar. With help from producer KC Bokadia, she decided to salvage the existing footage. Unfortunately, before the film could be finalised, Sanjeev Kumar too passed away in 1985. Despite the incomplete state of the project, Akhtar and Bokadia pieced together the film from scattered footage and editing across multiple and God was finally released on 27 May 1986—23 years after it had first gone into production. But the final product failed to impress audiences or critics. The film was both a commercial and critical only two completed films—Phool (1945) and the iconic Mughal-e-Azam (1960)—K Asif's career spanned over two decades. Love and God became his third and final directorial attempt, which remained unfinished in his lifetime. Tragically, all three central figures in the project—Guru Dutt, Sanjeev Kumar, and K Asif—died before reaching the age of 50.
