Latest news with #JaipurLiteratureFestival
India Today
26-05-2025
- Politics
- India Today
Fact Check: Old video of Tharoor bashing Trump goes viral as his delegation visits US
Congress MP Shashi Tharoor is leading an all-party Parliamentary delegation to five countries to brief the world on India's response to the April 22 Pahalgam terror attack and its broader fight against terrorism. The delegation has visited the United States and Guyana, and will travel to Panama, Brazil, and Colombia soon.A video now going viral purports to show Tharoor taking a dig at US President Donald Trump during an event in New York. Congress Rajya Sabha MP Digvijaya Singh shared this clip, writing: 'A wise person once said- A diplomat is a person who tells you to go to hell in such a way, that you actually start looking forward to the trip. That's the class of Shashi Tharoor. He can sit in the US and take POTUS to the cleaners with a smile.'advertisement In the video, Tharoor says that while he 'shouldn't be commenting on political leaders in foreign countries on their soil', his personal manner struck him as 'not entirely as agreeable or pleasant as one would like to see in a distinguished American political figure'. He says that he had met four or five US presidents — from both parties there — who had a certain 'political heft, statesman-like gravitas, and intellectual quality that I find woefully lacking in this gentleman'. India Today Fact Check found that while Tharoor was indeed talking about Trump, this video is from September 2024, when the MP was speaking at the Jaipur Literature Festival in New ProbeReverse-searching frames from the video led us to an Instagram post dated September 24, 2024. This makes it clear that this video long predates the all-party delegation visiting the Americas right now. advertisement View this post on Instagram A post shared by Asia Society Museum (@asiasociety)We then found the full talk on the YouTube channel of the Asia Society, an American organisation that focusses on educating the world about Asia. The video's description noted that this talk was from September 10, 2024, at the Jaipur Literature Festival in New was also shared on the Asia Society's official website. At the event, India Today Group Chairman and Editor-in-Chief Aroon Purie spoke to Tharoor on various issues regarding Indian and American politics. The viral clip can be seen around the 12-minute-40-second mark, when Aroon Purie asks Shashi Tharoor, 'What do you think about Trump?' The day after the event, on September 11, 2024, the official accounts of the Jaipur Literature Festival, Asia Society, and Shashi Tharoor shared various photos from the talk on Instagram. View this post on Instagram A post shared by JLF International (@jlfinternational)It's noteworthy that at the time, the president of the US was Joe did Tharoor say in the US now?On Saturday, May 24, Tharoor spoke at an interaction hosted by the Consulate General of India in New York for a select group of prominent members of the Indian-American community. There, he said that the time had come to set a "new bottom line" in India's dealings with have tried everything — international dossiers, complaints, everything has been tried," he said, adding that Pakistan had remained in denial, with "no convictions, no serious criminal prosecutions, and no genuine attempt to dismantle" its terror full address can be seen below: Thus, it's clear that the viral clip of Shashi Tharoor taking a dig at Donald Trump is not recent and was made when Joe Biden was the US Watch Want to send us something for verification? Please share it on our at 73 7000 7000 You can also send us an email at factcheck@
Economic Times
24-05-2025
- Entertainment
- Economic Times
Move over SoBo, Lutyens...Jaipur's where they really Royalty cosplay
JI HUZOOR, NAHIN HUZOOR, THREE BAGS FULL HUZOOR Yes, parties still happen in Mumbai and Delhi. But where does Dua Lipa perform on NYE? Where do film stars go when they want privacy? Jaipur. The Pink City has nurtured a distinct party culture that isn't a spillover from Delhi or Bollywood but something its own. Jaipur has long had its high-society ecosystem, rooted in royalty, polo, and heritage venues, drawing elite celebs, both Indian and global. Grand palace hotels offer a kind of luxury that Mumbai and Delhi, for all their opulence, struggle to replicate. But Jaipur has also evolved. A newer creative class - designers, artists, hoteliers - has deepened the city's cultural capital. Edgy new labels blend modern minimalism with craft heritage. Design schools thrive alongside block printers. Art residencies and pop-ups share space with durbars. Vivienne Westwood may still launch in Mumbai. But Rahul Mishra takes Rajasthan to Paris Couture Week. Jaipur Literature Festival (JLF) began at the historic Diggi Palace. Even as it now unfolds across larger venues like Hotel Clarks Amer, its spirit remains royal boho. A writer's ball at The Leela Palace, a poetry reading under frescoed ceilings... the result is a literary scene with enough glitter to keep the global gaze returning. The polo circuit is key. Padmanabh Singh, 'maharaja' of Jaipur, is often dubbed the 'new polo prince'. Many of the city's exclusive parties orbit around the sport, bringing together aristocrats, industrialists, and an international crowd. These gatherings double as soft diplomacy and old-money networking, wrapped in candlelight and designers once came to Jaipur to 'source', Ralph Lauren recently sponsored a gala dinner to raise funds for the Princess Diya Kumari Foundation. Diljit Dosanjh has performed here. International Indian Film Academy Awards (IIFA) chose Jaipur for its silver jubilee least one princess of yore now serves as a luxury brand ambassador. Gayatri Devi, 'brand ambassador of Rajasthan', never exchanged her name for official endorsement. She was a real princess -- until India abolished titles in an active - even public - palace life contribute to Jaipur's contemporary relevance? There's a connection between private palace parties shared on social media, and Jaipur's climb on global 'best party cities' lists. If Gaj Singh - who made Jodhpur a post-liberalisation destination by turning one part of his palace into a heritage hotel and hosting elite New Year parties - then descendants of Jaipur's royalty have carried that spirit forward by carving a niche for a certain kind of party, ticking all the right boxes of local heritage and global polish. Socially exclusive, but not as performative as Delhi. Culturally insidious in its way. If you're not inside the palace rubbing shoulders with modern courtiers, you're at the hotel next door, close enough to feel the aura. There's a sense of authenticity to the 'heritage'. A 2019 Daily Mail story asked, 'Would you go and stay with the world's most eligible royal?' It continued, 'Maharajah of Jaipur, 21, who's just listed his palace on Airbnb, boasts a £500 mn fortune, has modelled for D&G, and counts A-listers as friends.'It's about old-money ease, and quiet cultural prestige - the kind of soft spectacle where the powerful flex their might be it via an untagged post, or a centuries-old motif reinterpreted on a linen napkin. Just ask Priyanka Chopra Jonas. Or David Jaipur's cultural success also raises an unresolved question: should we still be backing a 'princess' brand in a land where royal titles were abolished by law? India was meant to break from feudalism, not repackage it for global consumption. Yet, the appetite for soft power royalty remains, just as Britain clings to the Windsors, or binges on 'The Crown'. Now, we too have 'Royals', a fictional version on a streaming platform. The difference? Brits still have a real crown. For us, as one 'royal' insider put it, 'It's a shortcut. The dazzle isn't built on substance. That makes it an unstable model.'Still, the illusion holds - by filtered Instagram stories, curated guest lists, and a heritage that never fades. The crowns may be gone, but in Jaipur, performative royalty plays on: globally admired, digitally staged, and always just out of reach. (Disclaimer: The opinions expressed in this column are that of the writer. The facts and opinions expressed here do not reflect the views of Elevate your knowledge and leadership skills at a cost cheaper than your daily tea. 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India.com
19-05-2025
- India.com
Jaipur's Royal Legacy: Contributions of the City's Regal Dynasties
The capital city of Rajasthan in India known as Jaipur stands out because of its splendid structure together with its active cultural essence along with extensive historical records. The royal families who controlled the region for many centuries established the core character of the 'Pink City' which we understand as Jaipur today. Through the powerful presence of the Maharaja Sawai Jai Singh II's descendants together with the Kachwaha Rajputs the city of Jaipur acquired its definitive character which continues to shape its cultural and economic and social framework until today. This article delves into the contributions of these royal families through seven key aspects. 1. Founding of Jaipur: A Visionary Legacy In 1727, Maharaja Sawai Jai Singh II founded Jaipur when he established its inception. The Kachwaha dynasty maintained their rule over Amber (Amer) fortress town before the establishment of Jaipur. Amid the increasing population numbers and scarce water supply in Amer the ruler Sawai Jai Singh II conceived Jaipur as a composite political and commercial center. Jaipur received its blueprint through Vedic education as Sawai Jai Singh II worked with architects Vidyadhar Bhattacharya to create designs according to Vastu Shastra and Shilpa Shastras. A historic urban design element emerged from this effort to become India's pioneer planned city and UNESCO designated it as a World Heritage site in 2019. 2. Architectural Marvels and Iconic Landmarks Kingdom families of Jaipur supported artists in creating numerous architectural masterpieces that continue to define the identity of the town. Among them are: The five-story Hawa Mahal received royal commission from Maharaja Sawai Pratap Singh in 1799 to provide royal ladies with a hidden view of street festivities. City Palace was built by Sawai Jai Singh II during his rule through integration of Mughal Rajput and European architectural elements which now displays museums about royal possessions. Jantar Mantar serves as an astronomical site due to Sawai Jai Singh II's support which UNESCO selected for its precise instruments studying historic sites in Jaipur showcase both royal architectural preferences together with their scientific forward-thinking spirit. 3. Promotion of Arts and Culture Over the years the royal families of Jaipur have maintained their role as traditional arts and crafts guardians. The royals dedicated their efforts to maintaining local artistic skills like block printing along with blue pottery production and gemstone jewelry craftsmanship through active support of weavers and craftsmen. The defining annual Jaipur Literature Festival began as an offspring of royal cultural customs throughout history. The Albert Hall Museum exemplifies British colonial heritage by remaining open since its founding under royal patronage to display Rajasthan's cultural artifacts. 4. Educational Initiatives and Modernization The royal dynasty of Jaipur emphasized education as their fundamental value since its foundation. The modern educational systems that Maharaja Ram Singh II implemented during British rule allowed all members of society to enroll in new educational institutions. The educational reform initiatives under Maharaja Man Singh II included supporting technical as well as vocational training programs. Through the establishment of the Maharaja Sawai Man Singh Vidyalaya these royal institutions maintain their mission to develop students and prepare future leaders. 5. Philanthropy and Social Welfare Through persistent charitable acts Jaipur's royal families continuously work to enhance the living conditions of underprivileged social groups. The royal family implemented healthcare services and funded hospitals and medical initiatives and provided drought relief through their welfare efforts to help disadvantaged communities. The Sawai Man Singh Hospital remains operational following its namesake Maharaja Sawai Man Singh II to deliver affordable healthcare services to an annual number of thousands of patients. Their dedication to social welfare extended their commitment to the public good even beyond their administrative duties. 6. Diplomatic Relations and Political Influence During previous periods Jaipur guarded political agreements with Mughals as well as the British Empire and neighboring states through advantageous diplomatic connections. Due to his administrative genius along with his strategic policies Sawai Jai Singh II established a stable and flourishing kingdom. Following the abolition of privy purses after Indian independence the royal family members adjusted to modern times by entering public service or political activities. Gayatri Devi who was married to Maharaja Sawai Man Singh II successfully transitioned into parliamentary office while advocating for women's rights. 7. Preservation of Heritage Tourism Heritage tourism as well as its preservation and promotion has experienced significant support from the contemporary royal families of Jaipur. The conversion of Rambagh Palace along with Nahargarh Fort and Samode Haveli into luxurious hotels lets visitors experience royal living while providing professional positions to the local population. Their strategic partnerships with global hotel corporations and restoration investments help establish Jaipur as a world-class travel destination for tourists. The traditional ceremonies of the former royal period persist due to the annual Jaipur Polo Season and Royal Processions. Conclusion All elements throughout the Pink City of Jaipur show traces of impact left behind by its former royal families. Through their establishment of Jaipur as an orderly city and their support for arts alongside educational establishments and community welfare programs these royal families have created a modern traditional city that remains active today. These dynasties effectively sustain their lasting heritage because their kingdom years are in the past. Once Jaipur develops further its royal heritage guides the city's development by demonstrating how vision alongside resilience alongside community stewardship help build sustainable progress.
Hindustan Times
09-05-2025
- General
- Hindustan Times
Katy Hessel: 'Everyone has to own their identity'
An art fair where you couldn't find a single work by women artists inspired you to create an Instagram page to showcase artworks by women and also enabled you to write The Story of Art Without Men. This erasure persists. At an all-male retrospective exhibition in January, I asked the curator about the erasure of women artists. Please contextualise why this remains the case. How good that you noticed and were able to call that out. I think that's what it's about. We've to constantly remind ourselves about representation, and not in a pity sense at all. It has to be a good, interesting work with a unique perspective. Textile can be a great work. So can be a piece of lace. A quilt can tell an incredible story as can a marble sculpture. Greatness can come in so many different ways. Where I live, in London, you think about what is great art built on. It's the Royal Academy, which was opened in the 18th century, and that very much established hierarchies in art. But who had access to all that? Men! It was almost built to kind of keep the women out. So, these hierarchies that have been built on what's great, they're so boring because if you're not seeing art by a wide range of people, then you're not seeing society as a whole. And you're just missing out on great art. At the Jaipur Literature Festival, someone asked a question about labels. Though it's crucial, in a way, to do away with labels, we still do not have a level playing field. There is a history of sanitising the artworks of those who are not men. Then, there are the scholarships and grants based on an individual's identity from the margins. So, labels present a unique conundrum here. How do you reconcile with that? It's like, would I want to be seen as a woman writer? Or would I want to be seen as a writer? I don't mind. But when I say 'a woman writer', to me, it doesn't mean anything derogatory or negative. Whereas in history, it was a derogatory thing. We're seeing this debate because of what we've witnessed. I talk about this, especially in the abstract expressionism chapter of the book that these women would abhor the idea of me putting them in this book because they were told that being a woman was a bad thing. It's not anything less. Everyone has to own their identity. I own, for one, being a woman writer, but I also own being a writer. I don't want to be a token of sorts. What I mean by doing away with labels is that we shouldn't reduce this to a trend. We have to own all our identities but we must also disrupt, which is why I wrote this book. We need more works to spotlight works by women, nonbinary, and trans artists because they've not been given the space. The statistics prove that. For example, in London, only 1% of the National Gallery is by women artists, so there's a lot of work to be done. You also say that this book is not the definitive history of art. What's left to be uncovered besides the bit about identity that we discussed? I've never been to Japan. Or China. Or even a few places in the African continent. Also: I want to go back to a few places, for example, Brazil. That doesn't mean I'm not writing about them. I'm writing about tons of Japanese artists, but it'd have been great to see them for their context. I was in Delhi in January and I met so many artists of my age. I met older, established artists, so it was great to see their work in person and talk to them. It was exciting. I've a little column in the Guardian, and I've written about Ayesha Singh's work. There's always more to be exhumed. During the consolidation of the works by women, what were the challenges you faced? Oh, so many. Think about how many books there are on Michelangelo alone or Leonardo da Vinci but how many books there are about 16th and 17th-century women artists from Bologna or Italy or some other place? Hardly any. I was very lucky to stand on the shoulders of a lot of scholars who have come before me and whose works I have championed with my podcast and also with this book. It's very much a sort of collaboration in a way. Sometimes I'd learn that a work has been recently attributed to a woman artist, that sort of a thing one always discovers. We're starved of that knowledge. What are the new ways of looking and critiquing in the world of art that you are witnessing today? It's not like these artists [who're being exhumed] never existed. They've always existed. But I think it's about who gets to write art history, who gets to curate the shows, who gets to collect the art, who gets to support the artists. I think that's changing. And that's important because the more people we have talking behind the scenes, the more that it's going to change because the artist's job is to make art. I'm not the artist. I'm there to facilitate. What was the one discovery you made during your research that blew your mind. My favourite is the Metropolitan Museum of Art story. In 1917, the Met in New York bought a painting for $200,000 when it was under the impression that it was by the neoclassical artist, Jacques-Louis David (1748–1825). And then decades later, they found out it was actually by a woman, Marie-Denise Villers. Would they have paid the same price tag? I don't know. But it definitely makes one curious about it. If we're talking about the valuation of art, what immediately comes to mind is the $120,000 Art Basel Banana, titled Comedian. There's a group that says it was not about a banana and duct tape, but the concept; then, there's the other faction that says that it's bizarre. I mean, I see both sides of [Maurizio] Cattelan's work. I think he's making a critique of the world that we live in and what the art market has become. In a way, what is art if not holding up a mirror to the world that you live in? That's one thing. I think it's clever to do that, this artwork. But I also think that it's complicated. You spend that much money and for what purpose? For what status? Is it for the purpose of art history? Or for the purpose of something else? I don't know. The value of art is a very complex, unregulated thing. I think maybe people's intentions aren't always something that is actually going to be exciting or progressive. If anything, it's actually just a bit boring. Saurabh Sharma is a Delhi-based writer and freelance journalist. They can be found on Instagram/X: @writerly_life.
Scroll.in
03-05-2025
- Entertainment
- Scroll.in
‘Hot Water': Bhavika Govil's debut novel movingly constructs a child's fragile yet resilient world
I was introduced to Bhavika Govil's fiction in 2022 through the short story 'Eggs Keep Falling from the Fourth Floor' in A Case of Indian Marvels: Dazzling Stories from the Country's Finest New Writers (published by Aleph Book Company). Back then, I had called it a ' marvellous portrait of a deeply disturbed brain that forces the reader to confront the stigmas attached to mental health in our society.' It indeed was. I was thoroughly impressed by what I had read and Govil's sensitive treatment of her protagonist, who is of unsound mind and often misunderstood. A year later, I met Govil at the Jaipur Literature Festival, where at a party, she told me about her debut novel. Her manuscript had been accepted by the publisher and she already had a title for the book: Hot Water. It would be out in two years, and Govil was already excited about it. I promised to read…and write about it. I'm glad I kept my promise. A world of three There are moments in Hot Water when the air feels too stuffy to breathe. Your skin feels sticky, and the saltiness of sweat fills your mouth. It feels like a painful, oppressive summer – not good news to those of us who live in India. Govil tackles this kind of summer in her novel. The children, Mira and Ashu, jump in and out of a swimming pool for coolness and play, but there is little relief. The coach and Ma seem suspiciously playful with each other and the underwater games that the siblings have devised are at a great risk of backfiring any day. And one day it sure does, and pool adventures come to an end. Small and compact, in this world of three, women outnumber men. Ashu suspects his mother is more affectionate towards his sister than she towards him. For eight-year-old Mira, her world revolves around her 14-year-old brother. He's going through 'Pew Burty' and is mean to her sometimes, but she knows he loves her – she has never once doubted it. Ma works at the admin department at an office. She doesn't have much of a social life and seems to be estranged from most of her family. Her closest friend and confidante is her colleague Mrs Shome, in whose care the children find themselves when Ma disappears for a few hours every now and then. Ma doesn't usually behave like a typical mother. Mira thinks of her as a friend, Ashu observes how she's not much of a disciplinarian. The children sometimes tire of her eccentric ways. However, she keeps them clothed, fed, and alive – and that counts for something. It is at the very beginning that the author suggests something is off between the mother and son. He's like a demon baby, too heavy to be lifted by a mother's able arms. She can't seem to generate enough strength for him; he almost feels like a thing that's draining her of health. The difficult labour with him, as opposed to the 'buttery smooth' exit of the daughter, will result in lifelong grudges and hostility that started much before the son entered the world. Meanwhile, growing up without a father is a free ticket to being ostracised at school. The oddness of their family is fully comprehensible to their schoolmates. There's rumours of Ma being a 'whore', or at least some sort of nutjob. Ashu saves himself from being picked on by befriending Rahul, the popular boy in class. Mira is not so lucky – if anything, her friendless status makes things all the more difficult as she's left all alone to prove that her mother is normal like everyone else's. The world of three experiences an intense change when Avni, their aunt's daughter, comes to stay with them during the summer vacation. Newly dazzled by the workings of a woman's body (and mind), she wreaks emotional havoc by inciting Ashu to give in to the callings of his hormone-addled brain and preparing Mira for what's to come. She has a secret boyfriend – Mira equally disbelieves and is intrigued by this claim. A game of truth and dare sets off a chain of events in Ashu's life that culminate in a painful coming-of-age. Mira, who has thus far been loved and protected by the women around her, will realise that the world outside is dangerous and not to be trusted. The many voices Govil chooses first-person narrative voices for Mira and Ma, and third-person for Ashu. Among the three, Mira is the newest to living – her childish curiosity and humour infuse their lives, and diffuse unpleasant situations. This is the strongest voice in the novel. It is so alive and energetic that it is almost as though Mira is babbling into your ears. The child isn't very wise, but she's perceptive and much of her preoccupation has to do with soothing Ashu and Ma's moods. There is a sweet earnestness in trying to take care of those around her. It's the greatest marker of innocence – to believe that one has the power to make things better. Ashu's third-person voice signals the dissociation that the boy feels from his younger self as he metamorphoses into a man. He is not oblivious to his mother's contempt for him but it is the fallout with his best friend that turns out to be the harshest blow. Ashu's narrative lacks the boisterousness of Mira's, but it is so tender that the reader's heart aches for the young boy as he makes sense of his emotions and changing body all by himself. And yet, the novel is weakest in its treatment of Ma. The first-person voice, though the most natural choice, doesn't do much. Her secrets hover like dark clouds over the family, and when they part, do not reveal anything substantial. A revelation need not always be shocking, but it needs to be convincing. A careful reader will see it coming from a distance. While some details are unexpected, they also feel a bit contrived. Some of her decisions provoke questions in the reader's mind, but they aren't answered satisfactorily. Govil's strengths lie in world-building and empathising with children. She has a remarkable ability to map their emotions – you instantly feel protective of Ashu and Mira. She is sensitive to how quickly the tides of puberty and adolescence change a child, and how fiercely they try to hold on to the remnants of innocence. Mira's voice reminded me of nine-year-old Swiv in Miriam Toew's remarkable novel Fight Night. I was tempted to imagine their conversation were they to bump into each other! The final chapter is especially moving and I had a lump in my throat when I read the final lines. I selfishly wanted the entire novel to be in Mira's voice. But I did not want to miss out on Ashu's, though I didn't care much for Ma. The child's universe is as resilient as it is fragile, as beautiful as it is rickety – and Hot Water gets that right. My introduction to Govil was through the short story medium; she has an indisputable talent for it – is there a collection of short stories in the making? I do hope so.
