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Hindustan Times
3 days ago
- Hindustan Times
Bengaluru's flower power and festive vibes
Barkha Ritu or Varsha Ritu is here, which means rain. For most of us, this time of year involves a visit to the Lalbagh Flower Show from August 7 to 17, glorifying Rani Chennamma and Sangoli Rayanna. I knew the former, thanks to the Rani Chennamma express that I have taken, connecting Bengaluru and Sangli. But I had to read up about Sangoli Rayanna. Preparations underway for the 218th Independence Day Flower Show at Lalbagh Botanical Garden in Bengaluru (PTI) It is also the season of Raksha Bandhan so all the shops in my area are lined with Rakhi bracelets alternating with Indian flags thanks to the demand for them as lapel pins on Independence Day. I love this time of year in Bangalore. The air is cool, the skies cloudy, rain sprinkles on rose bushes at all times of day and night. The best way to see all this is to ride the Bangalore Metro which is sprouting new lines, and from which you can see the mandatory march-past practices that happen in schools and army grounds. August 15 is also a time when new things linked to India's history and heritage take shape. To my delight, lots of textile events are happening. Want to learn about Banaras weaves? Head to the Bangalore International Centre where textile revivalist, Chandra Jain is curating an exhibition of Banaras brocades. Running from August 14-20, the exhibit has guided walks to showcase this intricate weave that is born in the pit looms of Kashi. Chandra Jain is one of the textile doyennes of Bangalore, speaking with knowledge and intuition about how to use and enjoy our weaves. Another recent exhibit that was path-breaking was put together by The Registry of Sarees on the Risha, an upper garment worn and woven in Tripura. Founder Ahalya Mathan organised talks and walk-throughs for people like me who didn't even know that such a garment existed. I saw it and longed for it. It makes more sense than the tight blouses that we all nowadays wear with sarees, a Colonial hangover that ought to be forgotten. Bappaditya Biswas, founder of the beloved textile brand, Bailou was in conversation with dance-choreographer Madhu Natraj (on whose board I serve) about Weftscapes, an exhibition sponsored by Ambara, a lovely store in Bangalore, walking distance from where I live. The exhibit showcased indigo-dyed jamdani kimonos. I walked in wearing my Neelambari jamdani saree and was engrossed for an hour of conversation between two maestros about movement in dance and textiles. Movement was the focus of an exhibition of stone sculptures held at Panchavati, Sir CV Raman's red-oxide tiled home in Malleshwaram with its extensive beautiful grounds. Thankfully, its inheritors have not decided to tear down the house and make it a high-rise, unlike the nearby Villa Pottipatti, which used to be a lovely bungalow until its owners tore it down. Here at Panchavati, you can still walk the grounds. This week, there was an exhibition of stone sculptures commissioned by Stonex, a Delhi-based brand. If you are using art to promote your company's name, more power to you. The exhibition is lovely and it has moved across different cities. It has more male artists than female, which is really my problem with it. Wouldn't it be amazing to have an all-women cast of female sculptors work with this ancient medium? That requires getting out of our gender and cultural hangovers. One particular hangover that Bengaluru seems to have shed is the fascination with European chefs. There used to be a time when all the food pop-ups that happened in five-star hotels were by French and Italian chefs. Today, that same space has been taken over by local chefs and restaurants. Recently, Nara Thai of Mumbai did a pop-up in Idyll, a stand-alone restaurant in the buzzy 12th Main Road, Indiranagar. JW Marriott invited Goa's Fireback Thai restaurant for two days. Bengalureans apparently love Thai food, more than pizza or Italian. Part of it is because it is lighter and spicier on the palate when compared to European food. The other part is that it affords a more reasonably priced experience than importing a European chef. I think part of the reason is that Thai food goes well with Bengaluru rains. Alcohol brands have all the money so every week, there are several bar takeovers. Most begin late so I don't go, but recently, Stephano Bussi of The Aubrey in Hong Kong (named number 10 in the World's top 50 bars) was here, brought for a pop-up at Loya restaurant at the Taj West End. Cocktail making is about showmanship and Bussi didn't disappoint, although I have seen much more whirling and throwing among our young and ambitious Indian bartenders. Which brings us back to the monsoon. I think of Mira Nair's movie, Monsoon Wedding and its song, 'Rabba Rabba Meh Varsa' and its poetic depiction of the monsoon. I wonder if Mira's son, Zohran Mamdani, currently New York's Mayoral candidate, has experienced the Indian monsoon. If not, he should come to Bengaluru. (Shoba Narayan is Bengaluru-based award-winning author. She is also a freelance contributor who writes about art, food, fashion and travel for a number of publications.)
Mint
03-07-2025
- Entertainment
- Mint
An exhibition to celebrate ‘risha' a breast cloth that tells stories of Tripura's tribal women
At the panel discussion held as part of the ongoing textile exhibition, Revisiting The Risha: The Identity of Self and Community, hosted by The Registry of Sarees (TRS) in Bengaluru, designer Aratrik Dev Varman had a packed house listening to him in rapt attention. Dev Varman, the founder of Ahmedabad-based fashion label Tilla, was narrating a mythical story on the origins of the risha, a narrow, unstitched textile worn traditionally as a breast cloth, by women from Tripura's indigenous tribes. The story, featuring a king and a divine snake as its main characteristics may not have had a customarily happy ending, but it served as a memorable introduction to the audience who were, in all likelihood, seeing these textiles for the first time. Curated by TRS' Aayushi Jain, the ongoing exhibition features 24 cotton rishas from Dev Varman's personal collection, and is an offshoot of a six-year-long study done by him and designer and collaborator Jisha Unnikrishnan, titled The Risha: History In A Narrow Weave. The rishas on display are over 50 years old and woven in cotton yarn, a rarity today. Look closely at each piece and you'll observe variations in their width—some are broader, some narrower, with different colours and motifs. Each tribe, as Dev Varman shared during the discussion, had their own weaving techniques. As yet another brilliant example of India's tradition of unstitched draped weaves, what perhaps makes a risha (a word derived from the native Kokborok language) unique is that it was traditionally woven by women, on backstrap looms, for their own use. And both the royals and commoners practised it. 'Backstrap weaving is a very strenuous activity," Unnikrishnan says, adding that today, rishas are woven using acrylic or lurex yarn on frame looms for commercial purposes, and vary vastly in terms of their quality, colours and texture. And unlike the past, where they were worn by the women daily along with a longer, wraparound drape called the rignai, today, the function of the risha itself has changed. 'It's used to felicitate someone, men wear it as a turban and women wear it, during ceremonial occasions, over their T-shirts or blouses," explains Unnikrishnan. Ask him what got them started on this extensive study that spanned from 2018 to 2024 with a brief pause during the pandemic, and Dev Varman attributes it to the chance discovery of two sets of photo albums seven years ago. 'One set documented village life in Tripura from 1970 to 1980. The other was a collection of royal photographs taken between 1862 and 1896 by Raja Bir Chandra Manikya. The photos showed us that the risha used to be woven by the women who wore it," says Dev Varman. The discovery compelled Dev Varman and Unnikrishnan, who were busy with a British Council project at the time, to look for answers as to why the traditional risha had quietly disappeared from popular culture from the 1980s onwards. 'The photos led us to research the social history of Tripura via this narrow piece of cloth," says Dev Varman, adding that while historical events are diligently recorded, very rarely does the disappearance of a garment garner similar attention. But probing that disappearance, he says, 'is another way to explore a region's history." Studying the risha, he says, 'became another way for us to understand contexts like the conflict between Tripura's tribes and Bengalis or the influence of Rabindranath Tagore on the royal court." The study received editorial and research guidance from the team of Indian art magazine Marg, which also published it last year. But that's not the end of this story. Tilla now works with a small team of women weavers from the villages of Gamchakobra and Lefunga in west Tripura. There are now plans to make new designs out of the woven fabric. 'For this year's winter collection, we've already started ordering fabrics which will be stitched together to make jackets," says Dev Varman. Revisiting The Risha: The Identity of Self and Community is on at The Registry of Sarees, Krishna Reddy Layout, Domlur, Bengaluru, till 13 July, 10.30am to 5.30pm (closed on Mondays).
