Of the 10 major forms of Indian classical dance, bharatnatyam, kathak and kuchipudi, forms endure as the most popular in terms of mainstream visibility. Each of these forms is rooted in centuries’ old Hindu tradition, with kathak and kuchipudi traceable to the ancient Hindu text of Natya Shastra, a treatise on dramatic arts. Despite the well-established Hindu origins of these dance forms, Muslims have long been heavily involved in the Hindu dancing arts—especially in kathak and kuchipudi.
For generations, Muslims have graced famed stages to tell spirited and ancient stories for the pleasure of attentive gods that exist outside of their scope of religious observance. One of the earliest widely recognized Muslim classical dancers was a kathak performer: a Lahori woman named Tara Chaudhri. She received her kathak training under Pandit Pyare Lal of the Punjab Gharana and later continued her training under Ustad Aashiq Hussain Khan.
In 1943, Chaudhri traveled to South India to complete her training and eventually opened a bharatnatyam school upon her return to Lahore.
Chaudhri, who passed away in September 2013 in Karachi, Pakistan, was a celebrated and highly venerated performer. Although her name has largely gone unnoticed, she was highly praised by other renowned kathak performers for her skill, beauty and grace. In one 1949 article published by The Straits Times titled, “Pavlova of Punjab”—likening Chaudhri to Russian ballerina Anna Pavlova—she was praised for her mastery of multiple dance forms and was proclaimed to be “in a class by herself.”
[Rare photograph of Tara Chaudhri in performance/Pinterest]
Chaudhri was not the first, and certainly not the last notable Muslim to participate in Hindu dance forms. Today, Pakistani-born Pernia Qureshi—a successful fashion designer and talented kuchipudi performer—is famed for her achievements in these classical performing arts. She was formally trained in both kuchipudi and kathak styles under gurus Raja Reddy and Kumudini Lakhia.
Reddy and his wife received both the Padma Shri and the Padma Bhushan awards from the Government of India for their services to the field of the arts; Lakhia is credited with innovating the kathak form by transitioning from solo spectacles to group coordination. The expertise and skill of these gurus have certainly translated in Pernia’s training and consequent successful dance career.
Her most recent high-profile show in February 2016, “Chandni Raatein,” garnered a wealth of critical praise and was attended by many of her Bollywood friends at the Mumbai performance. Her dancing has also been powerfully exhibited in Muzaffar Ali’s 2015 film “Jaanisaar,” in which she plays the role of the elegant and sophisticated courtesan Noor.
[Pernia Qureshi performing at a promotional event for her debut film, “Jaanisaar”/Pinterest]
Qureshi is joined by many other talented Muslims in the practice of Hindu arts today, including Guru Syed Sallauddin Pasha from Karnataka and KM Abu from Kerala. The former is a famed bharatnatyam and kathak performer while the latter holds a PhD in Mohinyattam—a sensual dance form that derives from Kerala. In Pakistan, Nahid Siddiqui Nahid performs at perpetually sold out shows in Islamabad, recognized as one of the most spellbinding kathak performers in the country. Muslim representation in these varied forms, however, goes beyondthe terrain of famous and publicly visible dancers. Many South Asian Muslims continue to receive classical training for recreational enjoyment, despite the widely held belief that these forms solely constitute Hindu participants.
[Nahid Siddiqui Nahid performing in Islamabad/Pinterest]
Of all the dance forms discussed, it is noteworthy that kathak, specifically,is recognized as the unifying link between Muslims and Hindus in South Asia. Despite the form’s Natya Shastra origins, over centuries of practice, kathak, as it has existed in recent history and continues to exist today, is a form that draws heavily from Islamic influences, with many kathak performances even incorporating the recitation of Sufi poetry. It thus bridges the two communities and serves as an art that harmonizes their separate worlds.
As a result, kathak has earned the reputation of, paradoxically, being a form that is both flexible in its ability to absorb the influences around it, while remaining rigid in its preservation of the elegance and veracity of the first North Indian kathakars.
While there are a number of Muslim classical dance forms, including but not limited to oppana, mappila pattu and kolkali, most of these forms have South Indian origins tying them to either Karnataka or Kerala. Accordingly, it was likely that as these forms emerged they flourished in the South among communities of Muslims therein, the vast Muslim populations of North India were nonetheless drawn to the practice of the Hindu dance forms prevalent in the North—especially kathak—rather than the southern forms that were largely inaccessible for them in terms of consumption and training.
Muslim footprints are bountiful in the history of Hindu classical dance. This is a testament to the unique ability of the arts to facilitate cultural interconnectedness between seemingly separate communities, even in hotbeds of political strife. The names highlighted above do not even begin to illuminate the breadth of Muslim dancers’ contributions to various classical traditions, but they do, however, exemplify the transcendence of religion in circles of creative expression.
Elizabeth Jaikaran is a freelance writer based in New York. She graduated from The City College of New York with her B.A. in 2012, and from New York University School of Law in 2016. She is interested in theories of gender politics and enjoys exploring the intersection of international law and social consciousness. When she’s not writing, she enjoys celebrating small joys with her friends and binge watching juicy serial dramas with her husband. Her first book, “Trauma,” will be published by Shanti Arts in 2017.
January 3, 2023January 10, 2023 3min readBy Subrina Singh
Curried Chicken with Roti Parata or Roti, popular Middle Eastern/Indian cuisine
It is officially that time of year—the holiday season. There’s nothing like Christmas and New Year’s in the West Indies. Between the pepperpot in Guyana and the palm trees decorated in lights in Trinidad, the home food, warm weather and laid-back ambiance makes us wish we could escape the cold and head back to the Caribbean. Most of us, however, cannot “take holiday” and find ourselves hungry for fresh dhal puri and doubles. But, thanks to these Indo-Caribbean food bloggers, we can bring the motherland to our kitchens.
From Diwali mithai specialties to curry chicken, Matthew is creating a name for himself as a young Guyanese food blogger. He makes a great effort to incorporate Hindu holidays and traditions on his Instagram account, in conjunction with the customary foods and sweets associated with these religious events. However, his expertise does not end there, with new and alternative recipes for classic dishes such as curry chicken and bhara, Matthew takes center stage sharing both traditional Guyanese dishes as well as specific religious dishes made for festivals. His most popular YouTube video, with 1.4 million views, features his grandmother and focuses on the best tips to make the softest Guyanese paratha roti. In addition, his YouTube account is home to many videos offering guidance to Indo Caribbean cooking. Find recipes at @mattews.guyanese.cooking
Natasha Laggan of Trini Cooking with Natasha is wildly popular throughout the Caribbean and the U.S. With humble beginnings, Natasha credits her love of food to her family’s business. She speaks of the nostalgia home food provides her as she reminisces memories of her grandmother’s cooking and helping her mother make sandwiches early in the morning. Featured by Forbes, Natasha grew her Facebook following quickly throughout the pandemic by posting old YouTube videos. Today, she has more than 1 million followers on Facebook and over 200K followers on YouTube. She uses her passion for cooking and Trinidadian culture to bring easy-to-follow recipes to viewers. Her following has now reached the West Indian diaspora globally as she has also become a brand ambassador to two well-known food companies. Follow the food expert @trinicookingwithnatasha.
With over 100K followers on YouTube, Ria is quite the expert when it comes to making roti. Her dhal puri, sada roti and paratha roti tutorials have over 1M views! However, her expertise does not stop there. Of the 180 YouTube tutorials, her recipes vary from curry to other Trinidadian favorites like macaroni pie and pigtail soup. Just scrolling through her YouTube page makes your mouth water. From doubles to classic Trinidad bakes like pound cake and sweet bread, she provides precision and anecdotal commentary while guiding you through the familiarity of home food. Check out Ria’s page at @cookingwithria.
Known as Chef Devan, Devan Rajkumar embraces his Guyanese Canadian heritage by creating recipes combining flavors of both the East and West Indies. His love of food has allowed him to expand his role to judge in a popular Canadian cooking show: Food Network Canada’s Fire Masters. His cooking often blends the flavors of multiple cultures but also creates the classic recipes of his motherland. With a multitude of interests, Chef Dev uses his social media platform to connect with followers by sharing various aspects of his life that go beyond cooking. His most recent YouTube video provides a trailer for an upcoming video “Tastes Guyana” which shows him exploring Guyana from the inside, specifically deep parts of the inner country. To learn more about Chef Devan follow @chefdevan.
Reshmi is the chef behind the growing blog, Taste of Trinbago. A Trinidadian native who now resides in Texas, she uses her love of food and Trinidadian culture to share hacks, tips and easy recipes with West Indians throughout the globe. She finds a way to simplify traditional West Indian meals, that we once watched our elders make with curiosity. From holiday specialties like black cake to Diwali delicacies, Reshmi has brought vegetarian and non-veg recipes to followers in an extremely accessible way. She even posts recipe cards on her IG highlights for followers who may need written instructions. Her IG profile is a mix of various West Indian foods while also sharing bits of her life and even her secrets to baby food. Follow her @tasteoftrinbago.
These are just five Indo Caribbean food bloggers sharing their secrets to easy cooking. The once very daunting recipes and food instructions our parents gave have been simplified by most of these bloggers through video, voice over and modernized recipes. We no longer have to estimate a “dash, pinch or tuk” of any masala. We are just days away from Christmas and this is the perfect time to find the best-suited recipe to make that paratha for Santa.
February 7, 2023February 7, 2023 4min readBy Sneha Challa
Photo credit: @golibtolibov
In July 2022, Sania Khan’s life was ruthlessly taken from her by her ex-husband. Sania was a young, vibrant South Asian woman – a creator and photographer who had the courage to step out of an abusive marriage, even in the face of community norms that discourage women from speaking out. While this tragedy seemed to stir a consciousness in the South Asian diaspora that we can no longer justify the status quo, it is far from the only such incident. Just months later in December of 2022, Harpreet Kaur Gill was stabbed to death by her husband in Vancouver. While the most extreme cases like those of Sania Khan and Harpreet Kaur Gill are highlighted by mainstream media, a small body of research provides evidence that intimate partner violence experiences are equally, if not more, prevalent in South Asian communities than the general population in the US or Canada. That’s why we need to do more as a community and throw light South Asians and intimate partner violence.
Despite the identification and investigation of these norms in South Asia, there’s so much we still don’t know about diaspora communities, especially in relation to South Asians and intimate partner violence. In the US, South Asians have become one of the fastest-growing populations, but we remain unaware of how the stresses of raising a family in a different culture, and the weight of growing up between two worlds, affect these norms, expectations, and experiences among South Asian immigrants, the second generation and beyond.
In this article, we’ll take a deeper look at how these norms are enacted to influence intimate relationship dynamics, discuss the recent rise in intimate partner violence, and explore the work that researchers, policymakers, and program implementers can do to address violence in South Asian diaspora communities.
Social Norms and Violence in South Asian Diaspora Communities
Why does it take catastrophic events to serve as a call to action? For one, the “model minority myth” continues to portray South Asians in America (who originate from Bangladesh, Bhutan, India, the Maldives, Nepal, Pakistan, and Sri Lanka) as a healthy and wealthy group. As a child of Indian immigrants, I always thought this was just a frustrating trope that lived rent-free in my head next to the eternal question, “Log kya kahenge?” (What will people say?) However, I have realized that this constant worry is not just an innocent preoccupation. It’s the result of a dangerous spiral beginning with the portrayal of South Asians as a model minority and the need to maintain that well-to-do image. This only reinforces the traditional gender norms that overlook men’s perpetration of violence and encourage women’s silence, crippling any efforts to understand the scope of the problem and draw attention and resources to address it.
The Impacts of COVID-19 on Intimate Partner Violence
Prior to the start of the COVID-19 pandemic, the frequently-uttered phrase among researchers, practitioners, and advocates alike was “one in three” — one in three women ages 15-49 experiences physical and/or sexual violence inflicted by an intimate partner in their lifetime. Under the cover of the COVID-19 pandemic however, rates of violence against women rose dramatically, prompting UN Women to call for recognition of this “Shadow Pandemic.” During the height of the pandemic, the social isolation that came with lockdowns and quarantine procedures to curb the spread of disease made home a more dangerous place for an increasing number of women. As communities seek to rebuild, the inequities in access to and use of potentially lifesaving services have deepened. Now more than ever, it is critical that we shine a light on the many intersections of our society to prevent South Asian women’s experiences of intimate partner violence from being pushed even further into the shadows.
First and foremost, to better understand South Asians and intimate partner violence, we need better data disaggregated by racial/ethnic group. Since the 1980 Census, only those of Indian origin have had a fill-in bubble.All other South Asian groups have to write something in, decreasing their participation. South Asian communities in the US are not a monolith and they are certainly not all of Indian origin. This perception, fed by our lack of data, likely privileges the Indian community in America and limits the visibility of other South Asian communities.
More accurate information will help us better understand where the need is greatest. We can make a stronger case for more equitable resource allocation, improve South Asian language materials for survivors, and enhance provider training programs, accounting for the specific cultural implications of disclosing and seeking treatment for violence in South Asian communities. Public health researchers should increase efforts to understand the prevalence of experiences of violence, the environmental factors that make South Asian women in America vulnerable to experiences of intimate partner violence, and how it impacts their health.
While outstanding organizations such as Narika in California and Sakhi in New York are leading the charge in raising awareness, running active helplines, and providing support, they cannot be the sole safe space for survivors. While the system’s failure to protect Sania is not an isolated incident, it has served as a wake-up call.
All South Asian women in America should be able to be healthy and safe and lead lives free from violence, coercion, or abandonment. To achieve this, we need better data, more research, culturally-tailored resources, and appropriate legislative action that will allow for prevention, screening, and treatment efforts to finally take root.
August 29, 2023August 29, 2023 3min readBy Amita R. Shah
Culture, in the broadest sense, is a shared set of norms, values and beliefs. We pass down our culture to our children based on our own lived experiences, and what we believe in. The decisions we make for our families reflect the values that we want to prioritize. We also hope that our children will want to pass them down to their own children.
As parents, it’s important to reflect on our cultural values: Where did they come from? Why do we believe in them today? Also, what values seem outdated or irrelevant in modern times and for our own children? By reflecting on these, parents will consciously be aware of the values that they believe are relevant, meaningful, and important to articulate to their children before they leave the nest and fly off into the world.
Our South Asian-American culture is constantly shifting and adapting to reflect changes of the modern times. Today, we are continuing to hold on to the celebrations that bring us the most joy and meaning in our lives. For example, I am attending a family wedding, this October, where the bride is Gujarati and the groom is Tamilian. They have decided to have a Sangeet which is traditionally a Punjabi custom, but they wanted to celebrate both cultures in this new way with their families because they both love music and dancing to Bollywood songs. They are also honoring their individual cultures during the ceremony by having a mangalsutra (the most important piece of the Tamilian ceremony) and the sindoor (the most important part of the Gujarati ceremony).
As we approach Rakhi this year, I think back to how I used to celebrate Bhai Phota, which is a Bengali version of Rakhi celebrated during Diwali. Today, I have chosen to celebrate Rakhi with my brother and with my Bengali-Gujrati family as a separate celebration, that takes place in August, because this way we can spend more quality time celebrating this sibling bond.
Post-colonial theorist Homi Bhabha puts forth how when cultures mix together, we often open up a hybrid, third space, which forms new ways of being and living in the world. This idea of hybridity acknowledges the space in-between cultures which is filled with contradictions and indeterminate spaces. By negotiating between these differences, we are able to create new forms of culture and identity.
“hybridity… is the ‘third space’ which enables other positions to emerge.” – Homi Bhabha
Today, South Asian American children are forming new ways of connecting to their cultural identities. This summer, I launched my new children’s book, Shanti and The Knot of Protection: A Rakhi Story, to provide more context to children about the historical origins of Rakhi, while also capturing the new and unique ways Rakhi is being celebrated in contemporary times. In contemporary times, we don’t just celebrate with our immediate siblings, but also with our network of family and friends that we have created in our communities.
We celebrate individuals in our lives (boys or girls) who provide us with a sense of protection and security. This could mean siblings that are both girls, siblings that are both boys, only children, or children who identify as LGBTQIA+ and don’t identify with traditional gender norms. I wanted this story to highlight images of inclusivity and to represent and validate the experiences of all children who are celebrating this festival in the modern day and age. Through this story, children learn the importance of creating a community and feeling secure with not just their siblings but with their friends and other caring adults.
Shanti and the Knot of Protection also helps parents open up the conversation about what values they want their children to prioritize in our post-pandemic world and how to live a balanced life. In this story, Shanti’s parents die and she decides to rule her queendom based on the four values that her parents taught her: strength, curiosity, community, and security. In addition to highlighting the importance of relationships, this book also highlights the importance of balancing one’s life with the four domains of well-being: physical domain (strength), cognitive domain (curiosity), social domain (community), and emotional domain (security). These domains are all connected to one another and influence our overall well-being and happiness in life.
As parents, we want to be the North Star for our children and provide them with an inner compass to know what values are important and why. We also want them to know how to be resilient during difficult times. As Ann Landers states, “It’s not what you do for your children, but what you have taught them to do for themselves that will make them successful human beings.” Through this story, I hope parents can have important conversations with their children about prioritizing values that will contribute to their overall well-being, happiness, and resilience in their lives.
[Illustration of a kathak performance/Pinterest]
[Rare photograph of Tara Chaudhri in performance/Pinterest]
[Pernia Qureshi performing at a promotional event for her debut film, “Jaanisaar”/Pinterest]
[Nahid Siddiqui Nahid performing in Islamabad/Pinterest]
Elizabeth Jaikaran is a freelance writer based in New York. She graduated from The City College of New York with her B.A. in 2012, and from New York University School of Law in 2016. She is interested in theories of gender politics and enjoys exploring the intersection of international law and social consciousness. When she’s not writing, she enjoys celebrating small joys with her friends and binge watching juicy serial dramas with her husband. Her first book, “Trauma,” will be published by Shanti Arts in 2017.
