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Indian Express
14-05-2025
- Entertainment
- Indian Express
This Saturday, Pune to host a workshop on fundamentals of erotic writing
From the pages of the Kama Sutra to the sculptures of Khajuraho, India has an elaborate history of celebrating erotic experiences. Over time, however, art in the country began to shy away from erotica until, today, it is a rare performance or piece of literature that explores it publicly. When Bhushan Korgaonkar, a theatre director, writer and translator from Mumbai, decided to revisit erotica through workshops on the fundamentals of writing it in stories or songs, among others, he found that the seats filled fast. On May 17, Korgaonkar will bring the session, 'Writing Erotica', to Pune for the first time. Korgaonkar is the director of Lavani ke Rang, based on Maharashtra's popular erotic dance form. The play had won the prestigious Mahindra Excellence in Theatre Award for the lead dancer, Shakuntalabai Nagarkar, in 2023. Another play, Love and Lavani, highlights the complexities of man-woman relationships in the art form. 'I was at the Karnavati University near Ahmedabad for a lecture-demonstration on Lavani when I mentioned that I also write erotica for a platform called Storytel. It was suggested that I conduct a workshop that will enable participants to explore erotica and get some writing tools and tips on the subject,' he says. Korgaonkar devised a module for university students, but before that, he thought of conducting a trial at his studio in Vile Parle in Mumbai. 'We announced it on a Monday and, in the next two or three days, all the slots were full,' he says. Many filmmakers and writers were part of the workshop. Filmmaker Gauri Shinde of English Vinglish fame has called the workshop 'insightful and quite an eyeopener'. Word spread and, soon, Korgaonkar was repeating the module multiple times. The workshop opens with Korgaonkar establishing that it was a safe space to talk about the subject, conducting writing exercises, sharing and discussions, among others. He also touches upon various ancient literary works that talk about erotica very openly, such as Gatha Saptasati, written in the ancient language of Maharashtri Prakrit. Korgaonkar 'does not have an answer to why we do not talk about erotica more openly' but points to the Western idea of sex being a sin that arrived in India with colonialism. So far, he has found that some groups openly share ideas while others are 'initially hesitant as this was their first such workshop'. 'There is a fine line between erotica and vulgarity. The line is different for everyone, every society, community and individual. We try to find this line in the workshop through a collective process,' he adds. Dipanita Nath is interested in the climate crisis and sustainability. She has written extensively on social trends, heritage, theatre and startups. She has worked with major news organizations such as Hindustan Times, The Times of India and Mint. ... Read More
Mint
07-05-2025
- Business
- Mint
Godrej Consumer Products bullish on demand revival amid easing inflation, tax cuts
New Delhi: Godrej Consumer Products Ltd (GCPL) is betting on easing food inflation, tax cuts, and upcoming pay commission hikes to revive consumer demand over the next 12 to 18 months, CEO Sudhir Sitapati said on Wednesday. Despite lingering headwinds in its core soaps business due to a surge in palm oil prices, the company expects demand to pick up as inflation stabilizes and the impact of government welfare schemes kicks in. For the March quarter, GCPL reported a 6% rise in consolidated volumes and a 6.2% increase in revenue to ₹ 3,597.95 crore. But the company's broader strategy hinges on a pivot to emerging categories like pet care, liquid detergents, and deodorants, where it sees higher growth potential even as its soaps segment remains under pressure. Sitapati expressed confidence in the outlook for FMCG demand, citing factors like reduced food inflation and the government's income tax cuts and welfare schemes. 'We are bullish about consumer demand over the next 12 months for a variety of reasons. The El Nino effect basically took up food prices in India last year. Food price inflation has an immediate impact on FMCG consumption. Now that El Nino has reversed, food price inflation has come down in the January to March period,' he said. 'We should see some kind of demand coming back,' he added. GCPL's performance in the March quarter reflects this cautious optimism. Its consolidated revenue from operations grew 6.2% to ₹ 3,597.95 crore, with a profit of ₹ 411.90 crore, compared to a ₹ 1,893.21 crore loss a year ago. For FY24, the company saw a 2% rise in revenue from operations, totaling ₹ 14,364.29 crore. However, the company acknowledged the persistent challenges posed by inflationary pressures, particularly the sharp rise in palm oil prices, which have affected its Ebitda margins. Sitapati referred to the inflationary spike as a "short-term blip" and defended the company's decision to limit price hikes, passing on only 15–16% of the palm oil price increase to consumers rather than shocking the market with higher prices. Looking ahead, GCPL is shifting focus toward high-growth, under-penetrated categories, even as the soaps business continues to feel the impact of rising input costs. The company sees significant growth opportunities in body wash, liquid detergents, deodorants, air fresheners, pet care, and sexual wellness. In 2023, GCPL acquired the fast-moving consumer goods business of Raymond Consumer Care Ltd (RCCL), adding brands like Park Avenue deodorants and KamaSutra sexual wellness products to its portfolio. In April 2024, the company launched its pet care brand, 'Godrej Ninja,' in Tamil Nadu, leveraging the group's marketing and manufacturing strengths. Additionally, GCPL made a strong move in liquid detergents with the launch of Fab Liquid, priced at ₹ 99, which achieved an annualized revenue run rate of ₹ 250 crore within 12 months. The company is also introducing more affordable products in its deodorant range, including a ₹ 99 antiperspirant, Block, and a reduced-price KamaSutra deodorant. Another segment poised for growth is household insecticides. GCPL's brands, Goodknight and Hit, saw double-digit growth in the March quarter. The company is also expanding in the category with innovations like a patented molecule (RMF) in its electric and incense formats, aiming to disrupt the market for illegal incense sticks and drive product and consumer awareness. GCPL anticipates mid-to-high single-digit volume growth in FY26, with high-single-digit revenue growth and double-digit Ebitda growth for FY25. The company expects a recovery in profits once palm oil prices stabilize, which should help support margin expansion in the coming quarters. Sitapati remains optimistic that GCPL's focus on the "categories of tomorrow" will help the company weather short-term challenges and position it for long-term success.
CNN
18-02-2025
- Entertainment
- CNN
The artist giving centuries-old scroll painting a feminist twist
At first glance, you would be forgiven for thinking that the work of contemporary Indonesian artist Citra Sasmita was made hundreds of years ago. From afar, her embroideries and paintings could easily be mistaken for ancient scrolls depicting a vibrant and fantastical myth or legend. But look more closely, and you will see that Sasmita's art embraces a violent display of femininity that is unmistakably, and fiercely, modern. On large-scale traditional tapestries and Kamasan scrolls, Sasmita depicts an array of stories that defy inherited myths and tradition, instead imagining a post-patriarchal world populated entirely by women. In these images, the serene severed heads of female warriors sometimes sprout with the new life of trees, or take flight by transforming into birds, whilst others meditate, engulfed by red hot flames. Women's rebellion, transformation and rebirth are the themes that run through Sasmita's work, which turns traditional Balinese iconography on its head. Her new exhibition, 'Into Eternal Land,' is on display at London's Barbican. Split into a prologue, three acts, and an epilogue, it makes clever use of the art center's Curve gallery — a 90-meter-long (295-foot) space where her epic painted scrolls stretch into the distance, taking guests on a journey that manages to both embrace and defy tradition. 'I was really interested in exploring the root of patriarchal culture in Bali,' Sasmita told CNN of her Indonesian island home, during the exhibition opening. 'Much of our inherited literature, in our old manuscripts and the epics, portray women as only having a sexual function — especially in the Kama Sutra story and Panji Tales.' By rewriting these myths and replacing every man with a woman, Sasmita is 'rethinking the stories that are being told,' the exhibition's curator, Lotte Johnson, told CNN. 'They are not stories of domination. They are women having these incredibly visceral experiences in communion with each other.' In the fantastical images, modern ideas are brought to life through the cultural symbols that characterized Sasmita's upbringing in Bali. She explores the topics of ritual, heaven and hell, creating a new cast of characters for her own version of canonical legends and myths — now filled with representations of women's experiences. Much of Sasmita's practice can be characterised as a modern reimaging of traditional Balinese Kamasan paintings. Like shadow puppetry, Kamasan painting used the ancient epics and mythological stories as inspiration. Heralding from a village of the same name in east Bali, this painting style has been practiced since the 15th century. Traditionally, men chose which stories were illustrated and how they were painted, with women being consulted only on the choice and use of color in the final stages. Dr Siobhan Campbell, a scholar of Indonesian art and textiles, told CNN via email that like many cooperative art practices throughout Indonesia, 'there has traditionally been a division of labor based on gender.' Through her work in the Kamasan community, Campbell found that women's roles in the painting process has historically been downplayed. 'The most recognized artists in the past have been male and people have assumed that only men paint Kamasan scrolls,' Campbell explained. Speaking about her own use of traditional Balinese artistic practices, Sasmita said: 'I really like to make a dialogue between antique objects and the current material world. It becomes a certain language to bridge people from this modern context to the historical context.' Sasmita trained under the Hindu priestess and artist Mangku Muriati, one of the only women famous for inscribing her own stories onto Kamasan scrolls. From here, Sasmita committed to creating her own iconography of womanhood, one glaringly absent from traditional work. 'Bringing women into the main narrative of this artwork, making them the hero of my own story, this is my personal statement as a feminist,' she said. Her work also serves to reclaim Balinese art history. Sasmita sees the violent Dutch occupation of Bali in 1908 as altering the trajectory of Balinese art — transforming traditional practices into a commodity that could be sold to tourists. 'It changed the mindset from art as devotion, art made by the community for devotion, into something individualistic,' she said. 'When my generation was learning about art, we only learnt how to glorify Western artists,' Sasmita added. 'As a result, I didn't have a chance to find a book and learn about traditional Balinese artists, or about who the Balinese masters were.' Although this is her first UK solo exhibition, Sasmita's eyes are firmly set on the continuation of artistic culture back home, where she works closely with a traditional artistic community. 'I want our government to pay attention to the crafter and traditional artists. The way we inherit and maintain the knowledge is very strong,' she said. 'It is a national asset, and one that is very, very beautiful.'
CNN
18-02-2025
- Entertainment
- CNN
The artist giving centuries-old scroll painting a feminist twist
At first glance, you would be forgiven for thinking that the work of contemporary Indonesian artist Citra Sasmita was made hundreds of years ago. From afar, her embroideries and paintings could easily be mistaken for ancient scrolls depicting a vibrant and fantastical myth or legend. But look more closely, and you will see that Sasmita's art embraces a violent display of femininity that is unmistakably, and fiercely, modern. On large-scale traditional tapestries and Kamasan scrolls, Sasmita depicts an array of stories that defy inherited myths and tradition, instead imagining a post-patriarchal world populated entirely by women. In these images, the serene severed heads of female warriors sometimes sprout with the new life of trees, or take flight by transforming into birds, whilst others meditate, engulfed by red hot flames. Women's rebellion, transformation and rebirth are the themes that run through Sasmita's work, which turns traditional Balinese iconography on its head. Her new exhibition, 'Into Eternal Land,' is on display at London's Barbican. Split into a prologue, three acts, and an epilogue, it makes clever use of the art center's Curve gallery — a 90-meter-long (295-foot) space where her epic painted scrolls stretch into the distance, taking guests on a journey that manages to both embrace and defy tradition. 'I was really interested in exploring the root of patriarchal culture in Bali,' Sasmita told CNN of her Indonesian island home, during the exhibition opening. 'Much of our inherited literature, in our old manuscripts and the epics, portray women as only having a sexual function — especially in the Kama Sutra story and Panji Tales.' By rewriting these myths and replacing every man with a woman, Sasmita is 'rethinking the stories that are being told,' the exhibition's curator, Lotte Johnson, told CNN. 'They are not stories of domination. They are women having these incredibly visceral experiences in communion with each other.' In the fantastical images, modern ideas are brought to life through the cultural symbols that characterized Sasmita's upbringing in Bali. She explores the topics of ritual, heaven and hell, creating a new cast of characters for her own version of canonical legends and myths — now filled with representations of women's experiences. Much of Sasmita's practice can be characterised as a modern reimaging of traditional Balinese Kamasan paintings. Like shadow puppetry, Kamasan painting used the ancient epics and mythological stories as inspiration. Heralding from a village of the same name in east Bali, this painting style has been practiced since the 15th century. Traditionally, men chose which stories were illustrated and how they were painted, with women being consulted only on the choice and use of color in the final stages. Dr Siobhan Campbell, a scholar of Indonesian art and textiles, told CNN via email that like many cooperative art practices throughout Indonesia, 'there has traditionally been a division of labor based on gender.' Through her work in the Kamasan community, Campbell found that women's roles in the painting process has historically been downplayed. 'The most recognized artists in the past have been male and people have assumed that only men paint Kamasan scrolls,' Campbell explained. Speaking about her own use of traditional Balinese artistic practices, Sasmita said: 'I really like to make a dialogue between antique objects and the current material world. It becomes a certain language to bridge people from this modern context to the historical context.' Sasmita trained under the Hindu priestess and artist Mangku Muriati, one of the only women famous for inscribing her own stories onto Kamasan scrolls. From here, Sasmita committed to creating her own iconography of womanhood, one glaringly absent from traditional work. 'Bringing women into the main narrative of this artwork, making them the hero of my own story, this is my personal statement as a feminist,' she said. Her work also serves to reclaim Balinese art history. Sasmita sees the violent Dutch occupation of Bali in 1908 as altering the trajectory of Balinese art — transforming traditional practices into a commodity that could be sold to tourists. 'It changed the mindset from art as devotion, art made by the community for devotion, into something individualistic,' she said. 'When my generation was learning about art, we only learnt how to glorify Western artists,' Sasmita added. 'As a result, I didn't have a chance to find a book and learn about traditional Balinese artists, or about who the Balinese masters were.' Although this is her first UK solo exhibition, Sasmita's eyes are firmly set on the continuation of artistic culture back home, where she works closely with a traditional artistic community. 'I want our government to pay attention to the crafter and traditional artists. The way we inherit and maintain the knowledge is very strong,' she said. 'It is a national asset, and one that is very, very beautiful.'
CNN
18-02-2025
- Entertainment
- CNN
The artist giving centuries-old scroll painting a feminist twist
At first glance, you would be forgiven for thinking that the work of contemporary Indonesian artist Citra Sasmita was made hundreds of years ago. From afar, her embroideries and paintings could easily be mistaken for ancient scrolls depicting a vibrant and fantastical myth or legend. But look more closely, and you will see that Sasmita's art embraces a violent display of femininity that is unmistakably, and fiercely, modern. On large-scale traditional tapestries and Kamasan scrolls, Sasmita depicts an array of stories that defy inherited myths and tradition, instead imagining a post-patriarchal world populated entirely by women. In these images, the serene severed heads of female warriors sometimes sprout with the new life of trees, or take flight by transforming into birds, whilst others meditate, engulfed by red hot flames. Women's rebellion, transformation and rebirth are the themes that run through Sasmita's work, which turns traditional Balinese iconography on its head. Her new exhibition, 'Into Eternal Land,' is on display at London's Barbican. Split into a prologue, three acts, and an epilogue, it makes clever use of the art center's Curve gallery — a 90-meter-long (295-foot) space where her epic painted scrolls stretch into the distance, taking guests on a journey that manages to both embrace and defy tradition. 'I was really interested in exploring the root of patriarchal culture in Bali,' Sasmita told CNN of her Indonesian island home, during the exhibition opening. 'Much of our inherited literature, in our old manuscripts and the epics, portray women as only having a sexual function — especially in the Kama Sutra story and Panji Tales.' By rewriting these myths and replacing every man with a woman, Sasmita is 'rethinking the stories that are being told,' the exhibition's curator, Lotte Johnson, told CNN. 'They are not stories of domination. They are women having these incredibly visceral experiences in communion with each other.' In the fantastical images, modern ideas are brought to life through the cultural symbols that characterized Sasmita's upbringing in Bali. She explores the topics of ritual, heaven and hell, creating a new cast of characters for her own version of canonical legends and myths — now filled with representations of women's experiences. Much of Sasmita's practice can be characterised as a modern reimaging of traditional Balinese Kamasan paintings. Like shadow puppetry, Kamasan painting used the ancient epics and mythological stories as inspiration. Heralding from a village of the same name in east Bali, this painting style has been practiced since the 15th century. Traditionally, men chose which stories were illustrated and how they were painted, with women being consulted only on the choice and use of color in the final stages. Dr Siobhan Campbell, a scholar of Indonesian art and textiles, told CNN via email that like many cooperative art practices throughout Indonesia, 'there has traditionally been a division of labor based on gender.' Through her work in the Kamasan community, Campbell found that women's roles in the painting process has historically been downplayed. 'The most recognized artists in the past have been male and people have assumed that only men paint Kamasan scrolls,' Campbell explained. Speaking about her own use of traditional Balinese artistic practices, Sasmita said: 'I really like to make a dialogue between antique objects and the current material world. It becomes a certain language to bridge people from this modern context to the historical context.' Sasmita trained under the Hindu priestess and artist Mangku Muriati, one of the only women famous for inscribing her own stories onto Kamasan scrolls. From here, Sasmita committed to creating her own iconography of womanhood, one glaringly absent from traditional work. 'Bringing women into the main narrative of this artwork, making them the hero of my own story, this is my personal statement as a feminist,' she said. Her work also serves to reclaim Balinese art history. Sasmita sees the violent Dutch occupation of Bali in 1908 as altering the trajectory of Balinese art — transforming traditional practices into a commodity that could be sold to tourists. 'It changed the mindset from art as devotion, art made by the community for devotion, into something individualistic,' she said. 'When my generation was learning about art, we only learnt how to glorify Western artists,' Sasmita added. 'As a result, I didn't have a chance to find a book and learn about traditional Balinese artists, or about who the Balinese masters were.' Although this is her first UK solo exhibition, Sasmita's eyes are firmly set on the continuation of artistic culture back home, where she works closely with a traditional artistic community. 'I want our government to pay attention to the crafter and traditional artists. The way we inherit and maintain the knowledge is very strong,' she said. 'It is a national asset, and one that is very, very beautiful.'
