Allow me to preempt everything by saying that my appreciation of “Choker Bali” as a body of work is non-existent, not because I have anything against it. Rather, my brush with it has been limited until now.
I know of, and have reverence for, Rabindranath Tagore and his contributions to Indian literature and music. However, I have neither read “Choker Bali” in any of its translations and interpretations nor have I watched its adaptations on the big screen.
I say all this to explain that my approach was virginal when watching Hypokrit Theatre Company‘s “re-imagined” take on the classic. I had nothing to compare it to and so, I was not re-imagining so much as I was meeting its acquaintance for the first time.
Tagore’s legendary novel was adapted into a play by Dr. Partho Chatterjee, and Hypokrit Theatre Company presented it as a work that “presents this tale about female desire in the domestic sphere adapted as a Greek tragedy.”
This description of “Choker Bali,” offered in the theater company’s promotional materials, is what made me want to go see the play! Finally, a piece of art that explores the nuances of female desire with an Indian subtext in a Greek tragedy context—pretty creative!
I won’t lie, along with the captivating promotions for the play, another compelling reason to see the productions was Gerrard Lobo; rather, not just Lobo but a shirtless Lobo.
What I quickly learned within the first moments of the play was Lobo would not be the only feast for the eyes. The entire production took on a look which was quite engaging and transported me to another time and place.
The back walls of the stage were cast with different scenery projected onto them, setting the mood and tone. The cast donned clothing that signaled Indian traditionalism and conservatism—and yet, the actual dialogue between characters was anything but conservatism, mainly in that much of dialogue teemed in sexual innuendo.
“Choker Bali” hits every high of the characteristics of a Greek tragedy: the tragic hero/heroine, the tragic flaw, and the chorus. I particularly enjoyed the chorus in this adaptation. In fact, it was the chorus’ comments and observations on the action which really infused this play with the commentary on social norms, classism, and sexism I was hoping to see.
Along with the astute observations about Indian culture woven seamlessly into the recanting of the story à la Greek tragedy style, the plot was also moved along by integrating a series of songs from different genres. And though the musical score was a mixture of everything from classical Bengali to R&B, the eclecticism worked here.
Kritika Dey, Morgan DeTogne, and Shubhra Prakash’s voices, in particular, lent a passion to the play singing everything from classical melodies to covers of such popular American songs like Lauryn Hill’s “Can’t Take My Eyes Off of You.”
The brilliant showcasing of musical chops and integration is what I found most entertaining and why I would encourage people to see the play despite not having any previous experience with the works of Tagore.
“Choker Bali” plays the following regular schedule through November 20th, 2016:
In an age where algorithms dictate viewership, Nancy Jay uses her love of dance to propel herself onto TikTok’s “for you” pages. Jay is an Indo Guyanese, Bronx native who began dancing at the age of three. As an influencer and content creator, she amassed a social media following of more than 500,000. Versed in many styles of dancing including Caribbean, Bollywood, urban and Latin, Jay can be spotted in soca music videos such as Linky First’s “Rock and Come in” and “Jeune Femme,” Adrian Dutchin’s “Roll” and by soca king Machel Montano’s “Mami Lo Tiene.”
Many content creators are typecast into the niche but Jay has defied this norm and proclaims she is more than just a dancer.
“I dance, travel, post lifestyle and beauty content. I’m an Indo Caribbean woman who enjoys being myself and promoting my culture. I like showing viewers it is okay to be who they are and embrace what they look like, despite what they see on social media. I did not plan on being a TikToker. As I started posting videos, the love and support I received from viewers was amazing. I have never experienced anything like that before on Instagram, where I started my content journey,” Jay said.
In conversation with Jay, the following answers have been condensed for concision and clarity.
Why is it important for you to create content related to your Indo Caribbean roots?
Growing up, I never felt represented as an Indo Caribbean on television, in movies, social media or anywhere else. My goal as a content creator is to promote the Indo Caribbean culture through my content and be the representation the Indo Caribbean community needs.
Are there unspoken rules about being a content creator or an Indo Caribbean woman on the platform?
Being an Indo Caribbean woman on TikTok can be challenging when you are trying to find your identity and do not feel represented.
Jay explains her frustration with the lack of Caribbean representation and acknowledgment from platforms, as well as her goals as a content creator in this video.
Do you ever experience a block, similar to writer’s block, when it comes to creating content? How do you overcome that?
I have yet to experience a block. However, I do have days where I want to take a break and just relax instead of filming. As a content creator, it is important to take breaks and schedule days to just relax because being a full-time content creator is a 24/7 business. It can be draining and you may lose your sense of reality when you have the mindset that everything is content. I enjoy taking a day or half a day to cook, watch TV or go shopping with my partner without the worry of filming any of it.
How has your social media presence changed your daily life?
When I am in public, supporters approach me to express their love for my content and sometimes ask for a selfie. When I find people staring at me in public now, it’s most likely because they recognize me from social media and not because I look funny.
In May of 2021, I used my platform to reach out to brands and ask for their support in a project I named ‘Nancy Jay Gives Back.’ I put together care packages, using products donated by brands, and drove around the Bronx sharing them with people experiencing homelessness or those in need. Seeing the happiness on their faces upon receiving these bags was priceless. Additionally, I spread some extra joy through dance. I remember one lady telling me she’d never been to a club or party so I told her I’ve brought the party to her and we danced to her favorite genre of music right there on the street.
Jay plans on continuing this project as her social media presence has grown.
How has your family reacted to your social presence?
My family has always been supportive of my talents and the path I have chosen. My first public dance performance was at the age of 12. I performed a fusion of Bollywood and chutney music at middle school events. When I got to high school, I participated in our talent show to a fusion of Bollywood, chutney, soca and top 40. I won the talent show three or four times. I also performed for fundraisers organized by mandirs in Queens, the Bronx, weddings, sweet sixteens and other social events.
My family always came out to support me. They love seeing my content and always encourage me to film and create. My mom in particular tells everyone about my TikTok videos.
While enrolled at John Jay College, Jay founded the first West Indian student organization called “West Indies Massive.” She captained the dance team, taught dance classes and won the talent show multiple times while pursuing her Bachelor of Science degree in criminal justice with a minor in law and police studies.
Any advice for creators who may not have the support of family?
Do not let this discourage you. If content creation is something you truly want to do, stay consistent and eventually your family will support you for doing what you love. Social media is still new to some and the idea of it being someone’s career or business is new as well. I say be patient. Also, talk to them about your social media goals, as perhaps they do not understand the full picture.
What is your dream partnership and why?
My dream partnership would involve acting. I’ve always wanted to be an actress, preferably a Bollywood actress because I know I would kill those dance numbers (haha!). Also, I would love to partner with Sandals Resorts and bring that Caribbean flavor they should be promoting.
Jay has collaborated with major brands like Samsung Mobile, Norwegian Cruise Line, AC Hotels, Disney Music Group, and Dunkin which is paramount for the Indo Caribbean community.
“I am the first Indo Caribbean woman to work with Norwegian Cruise Line as a content creator. Cruise travel is a huge part of my content journey. I love cruising and creating unique experiences and content. While cruising, I connected with the crew while most people typically do not. I treat everyone with respect,” Jay said
“I started a fun series called ‘Cruise Dances with the Crew’ back in August of 2021. There’s a playlist on TikTok with all of the fun dances. Prior to my first video, I had not seen anyone dancing on cruise ships with the crew. I guess you could say I started that trend.”
Nancy intertwined this partnership with her content and further put herself on the map.
Another pivotal partnership for Jay occurred in March 2021 when Dunkin chose her as one of 10 from a nationwide competition to feature her signature drink on the local menu.
How has content creation changed in the past two years?
Within the past two years, my content and style has grown tremendously. My gear list has also grown tremendously. I’ve been a content creator full time for a little over a year now. I have had more time to focus on the presentation and editing of my content.
What else do you want your viewers to not know about you or your work?
I stay true to who I am. Supporters who I’ve met in person can attest that I am the same, in-person and online. I like to keep things relatable, fun and authentic. I am working with a lot of big brands. I try to incorporate dance in all my content to capture my passion, diversity and culture.
I started teaching Caribbean Dance Fitness classes and private dance lessons officially in 2016. Since Covid, I moved everything online. Not only have I helped many learn how to dance but I have also helped build their confidence through dance and expression.
Lastly, I love traveling and encouraging others to live their best life.
Jay is more than a dancer; she is unapologetically herself. She maximizes opportunities and is building a brand that highlights her Indo Caribbean roots – a culture often not highlighted in mainstream media.
Indian-American commercial real estate and land consultant Anita Verma-Lallian launched Camelback Productions at an event held in Paradise Valley, Arizona, Jan. 7. Billed as the state’s first women-and South Asian-owned film production and entertainment company, it will focus on South Asian representation and storytelling, according to a press statement issued by Verma-Lallian. The announcement follows “Arizona Governor Doug Ducey’s $125 million film tax credit for film and TV production that was introduced in July 2022, “ the statement added.
The Jan. 7 private launch party and meet and greet introduced investors and supporters to what’s ahead for Camelback Productions.
Noting the “major push to see minority groups represented in the media over the past few years,” Verma-Lallian said she wants to see more South Asians represented. “I want my children to see themselves when they watch TV. I want my daughter’s dream to become an actress to become a reality. Skin color shouldn’t be a barrier to that.”
The event opened with remarks from Phoenix Mayor Kate Gallego, who has served as the city’s 62nd mayor since 2019. She welcomes the company to “the greater Phoenix community.” She expressed confidence that “the team will attract some of the country’s top talent to the Valley.”
Guests at the event included actor and comedian Lilly Singh, actor Nik Dodani, Aparna of Netflix’s “Indian Matchmaking,” Bali Chainani and Anisha Ramakrishna of Bravo’s “Family Karma” fame, and Paramount+ executive P. Sean Gupta, to name a few.
The company is Verma-Lallian’s first venture into the film industry. She is known for providing full concierge services for land seekers and developers of all types of sites and assists investors in discovering viable properties in the Phoenix area through her company, Arizona Land Consulting, the statement added.
Named in honor of the iconic Camelback Mountain in the Valley, Verma-Lallian says she wants her production company to have the same indestructible foundation. Camelback Productions plans to begin its first project later this summer.
“Naatu Naatu” is one of the most memorable sequences from S.S. Rajamouli’s epic action-drama “RRR,” and has assisted the Telugu-language blockbuster in becoming one of the highest-grossing films at the worldwide box office. With music by M.M. Keeravani and lyrics by Chandrabose, “Naatu Naatu” is a celebration of regional music, dance, national identity, and male friendship.
But long before the song began collecting its accolades, its infectious tune and fast-step dance, performed vigorously by N.T. Rama Rao Jr. and Ram Charan, became a viral sensation outside of the film. It’s now the first song in a movie from India to be nominated for an Oscar and also to have won a Golden Globe.
When asked about the song’s ripple effect across the world, Keervani remarked,
For us — the musicians and artists — social media is very powerful, because of the internet and reachability. Nowadays, globally, anything that is different by nature, anything that is innovative, a little innovative, will catch instant attention.
It all started with a TikTok dance challenge where thousands of fans mimicked the dizzying hook step, choreographed by Prem Rakshith, garnering hundreds of millions of views, and making the song a bonafide global phenomenon. Today, the official YouTube video has well over 123 million views.
While the science behind why certain songs have a higher virality is widely debated, Keeravani attributes a large part to the song’s instant connection with the masses to its unusual 6/8 time signature, taken from carnatic music — which he believes is “inherently encoded in the human body.”
For non musicians, he vocally percusses the rhythm, “thik-i-tha tha-ka-tha, thik-i-tha tha-ka-tha, thik-i-tha tha-ka-tha, thik-i-tha tha-ka-tha.”
[This beat] will give you instant energy. Like suppose, you’re going low on sugar. So there are things like instant energy boosters; like you consume some aerated drink or a cup of coffee with sugar. And instantly your energy is boosted. So six, eight will give you an instant feeling to get up, create some steps and dance. There is a swing in the beat. So you will react to that beat — involuntarily you will react.
Before Keeravani wrote the music for “Naatu Naatu,” Chandrabose was given the challenging task to pen the lyrics to this rhythm. Continuing a long-standing collaboration that began 29 years ago, Chandrabose has co-written over 400 songs with Keeravani, including this iconic title track — his only co-write on “RRR.”
Regionality played a significant role in the composition.
Ram comes from Andhra and Bheem comes from Telangana. Both dialects are different; the slang is different. So, there is a challenge to write both slangs in one song. Everybody should understand those words. That is the challenge.
Chandrabose explained how he needed to appropriately incorporate the various dialects from the regions the primary characters were from, and reflect colloquialisms from 100 years ago, when the film’s story takes place, that is also recognizable to present-day listeners.
In [the lyric] ‘Yerrajonna rottelona mirapathokku kalipinattu’ (which translates roughly to “like eating a jowar roti with a chili” in English), ‘thokku’ means pickly, like mango pickle. In Andhra, it is known as ‘pachadi’ and in Telangana, it is known as ‘thokku.’ So, everyone can relate and connect [to] that word. And since ‘thokku’ belongs to Telangana, that line is sung by Bheem.
The original Telugu version of “Naatu Naatu” was also dubbed and released across a variety regional Indian languages, including, “Naacho Naacho” in Hindi, “Naattu Koothu” in Tamil, “Halli Naatu” in Kannada, and “Karinthol” in Malayalam, and has collectively been streamed over 92 million times on Spotify.
Chandrabose remarks that he envisioned the lyrics to 90 percent of the song in half a day, but it took about 19 more months to finalize the song in its entirety. This was in great part due to the time spent on researching the dialects and finalizing each word to the overall ethos of the song. Rajamouli had given strict direction that the song should authentically be about one’s nature, their culture and countryside, and be universally respectful.
When asked about how they scaled this process across the other five language releases, Keeravani recalled that they had to prioritize lip sync.
Since it’s a dance number, there is a combination of close shots and long shots. So the long shots are spared, but in the close shots, they need to be as close to the Telugu lyric, I mean, lip wise.
He added that the writing team had to make some concessions,
There will be a certain amount of compromise in the meaning of the lyric. But that is inevitable. As long as the song is conveying its main essence, it has no problem.
Culturally, India has a rich history of celebrating songwriters, composers, and music directors in cinema. However, this recognition does not always translate to credit and compensation. For example, “Naatu Naatu” was extraordinarily successful on TikTok, but TikTok isn’t available in India, creating complex monetization adversities. It’s especially important to understand that India’s non-bollywood and independent music market has a nascent publishing infrastructure and is traditionally known to have a work-for-hire payment model where song contributors are not offered royalties.
Speaking optimistically to changing times, Chandrabose shared,
I’m getting royalty from past 12 years (from performing rights societies IPRS in India and PRS in the U.K.).
He explained that, especially with viral songs, some songwriters and composers have only limited careers in the “limelight,” but “after 10 to 15 years, they cannot get more work and they cannot get money.” He speaks to songwriting royalties as a key to retirement for the next generation of song makers.
So, at that time they will receive these IPRS royalties as their pension to meet their needs. They will get these amounts in their old age that will help them a lot.
Upon concluding our chat with Chandrabose and Keeravani, we marveled at the amount of progress that has happened for independent and non-hindi language music communities around the world. The virality of “Naatu Naatu” is a testament to the musical prowess out of South Asia, but also challenges the Western notion that Indian music is narrowly defined by belonging in the catchall ‘world music’ category, or the sounds of the sitar and tabla, or a lightbulb-twisting Bhangra club-hit wonder, or, if nothing else, then Bollywood — all in large part exclusively North Indian. Unfortunately, this distinctly important nuance still plagues Western media and major music institutions.
Recently during a Songwriters Hall of Fame conversation with Oscar-nominated songwriters, Paul Williams incorrectly introduced “Naatu Naatu,” as “the first Hindi-language song ever nominated for an Oscar,” which is spliced with not one, but two errors — not only misidentifying the language but ignoring A.R. Rahman’s “Jai Ho!,” a Hindi song which was nominated and won in 2009 for the same category. As South Asian artists around the world begin to traverse into global markets, we hope to see more Western entities taking the time to research, hire South Asian contributors, and execute due diligence to minimize inaccuracies and cultural erasure.
“RRR” is streaming on Netflix and Zee5. On March 3 it will be re-released in over 200 US theaters as part of ‘The RRR Fan CelebRRRation’. Check your local cinema guides for one-off theatrical screenings.