The following post was originally published on our partner website, India.com.
Wedding Season is around the corner—and if you’re South Asian—you probably have an average of 10 weddings to attend this spring/summer, right? That means 10 potential mehndi nights, sangeets, wedding ceremonies, and receptions, for a grand total of forty looks just for YOU! We explore what to wear for these occasions, how to be innovative with your existing wedding-guest wardrobe, and what to expect at the next big fat South Asian wedding!
1. Bare Those Shoulders
Taking inspiration from Spring-Summer 2016 Fashion Week runways around the world, jump on the exposed shoulder bandwagon this wedding season. Whether you opt for an off-shoulder, cut-outs, or a one-shoulder, you can’t go wrong with this look. Take a peek at how couturier, Manish Malhotra brings this look to life.
[Manish Malhotra’s off the shoulder lehenga from his Blue Runway Collection at Lakme Fashion Week Summer/Resort 2015| Photo Source: Pinterest]
Take note of how the off-shoulder element elegantly transitions the look from a traditional lehenga to mimic the silhouette of a fusion gown. If you choose this two-piece look, keep it simple with the off-shoulder top, either in a solid—or if printed—with minimal to no embroidery. Let the voluminous or heavily embroidered lehenga-skirt stand on its own. The blouse nor the lehenga will compete with one another, instead, both pieces will compliment each other flawlessly.
Shown below is the designer Anushree Reddy’s fun, feminine, and flirty take on the exposed shoulder look and she has just enough modesty to keep the aunties from gossiping. In this look, the blouse is kept simplistic, but the detailed shrug has shoulder cut-outs in the most delicate of ways:
This trend really began to hit street style last year and hasn’t set sail just yet. Enjoy this ultra-feminine meets bohemian look this season before it’s time for a change. When the floral trend first shifted from runway to “real way,” the common theme was a floral lehenga skirt in pale pastels with pops of color, gotta border and more of a basic blouse. We suggest having fun with this look by pairing two floral patterns together in an unexpected, complimentary manner. Another head-turning option is to pair a floral print with a bold wide stripe print, balancing the girly-ness of the flowers with the chic, clean lines of the stripes. Here are a few free-spirited twists on florals we know you will lust over.
[(Left) Sunaina Puri’s floral lehenga with floral bodice from her winter 2014-2015 Armaan Collection | Photo Source: Pinterest, (Right) Sabyasachi Mukherjee’s floral lehenga with striped bodice | Photo Source: Pinterest]
If prints are not your cup of “style” tea and you prefer texture instead, go for a lehenga with floral embroidery instead. Try a look like Designer Fahad Hussayn’s bridal lehenga from his 2015 Nautanki Rani Collection.
[Fahad Hussayn’s intricate Bridal lehenga from the 2015 Nautanki Rani Collection |Photo Source: (Background) Pinterest, (Center) Pinterest]
3. Crop Top Chic
The crop top frenzy really began in the 1980’s with Western street style fashion, and it has come back in a BIG way—now crossing waters to South Asian style. Sure, a sari blouse or choli could be considered a crop top, but what we are referring to takes influence from the West with clean lines and a bit of edge. The best part is this look is easy to replicate with some mixing and matching with your existing wardrobe!
First, try a lehenga you already have and pair it with a more modern crop top you also probably have. If you don’t have a crop you love, not to worry as it’s an easy find. Try mainstream retailers like Zara, Nastygal, or Top Shop. Now, let your styling creativity run wild! Essentially, you want your overall look to mimic something like this:
If you’re not a crop top lover, choose a longer top that still defines your waistline. It is 100 percent OK to choose something that is free-flowing and somewhat casual. Designer Siddhartha Tytler showed this easy-breezy styling trick at Amazon India’s Spring/Summer 2016 runway show.
We get it, you’re going to your best friend’s wedding and you want to dance the night away, hands-free and more importantly, fuss-free! One of the biggest wedding trends is wearing a gown in lieu of a traditional lehenga or sari! Now, we understand this is something we South Asians aren’t so used to wearing to a wedding, however, select a gown that ties to our roots in some way and problem solved! Check out how designer Siddhartha Tytler does gowns with just the right amount of tradition infused within:
[Siddhartha Tytler’s gowns from his Amazon India’s Fashion Week Spring/Summer 2016 Collection | Photo Source: Cosmopolitan India]
Shantanu and Nikhil’s gown’s are also to die for! They are mystical and whimsical, meshing east with west in the most effortless way. Our favorite collection is actually the Spring/Summer 2015 Collection: Advent of Dawn. The collection, as the label is known for, is feminine and soft mixed with raw rocker-girl vibes.
Along the same “hands-free” tone, is wearing—wait for it—PANTS! Not everyone is a gown gal, and actually, pants can easily take you from day-to-night so you don’t have to change between the wedding and reception you’re attending.
We hope you’ve enjoyed our wedding guest style mash-up. Moral of the story is, try something fresh and new. Choose silhouettes and colors that are unexpected, while keeping true to the occasion. We guarantee other guests will have major style envy!
After completing her MBA in 2006, Amy Devan went on to work in marketing and business development among various industries. Though grateful for every professional path crossed, she had always been a creative spirit and ultimately decided to follow her childhood dream of design. One day, feeling overwhelmed by this unshakable passion, she left all things known to her, packed up her belongings and booked an exotic trip, half-way across the world to India – all to study the craftsmanship of her roots. Upon returning, and feeling more inspired than ever before, she moved to New York City to attend Parsons – The New School for Design. From that point, Naveda™ was born and the rest is history!
BGM literary editor Nimarta Narang is honored to publish this short story by the brilliant writer Ria Mazumdar. This story delves into very deeply important and timely themes of assimilation, family, mental health, and familial obligations.
Trigger warning: Self-harm and suicide.
America just didn’t have the right supply of spices, Neel thought as he scanned the towering aisles of the grocery store for the third time. White fluorescent overhead lights illuminated the vast shelves, which contained over three different brands of ground black pepper. While cardamom, let alone coriander powder, was nowhere to be found. On a daring day, Americans would venture to purchase paprika, which was about as seasoned as their cuisine would get. Although he had spent years in this country, the aroma of his home — an exquisite blend of turmeric, cumin, and freshly monsoon-drenched earth — still haunted Neel’s memory as he sighed into the dry, stale, air-conditioned atmosphere of the American supermarket. The same land that was supposed to grant him more constitutional rights had also robbed him of his sensory joys.
Resigned, he loaded up the metal shopping cart with ground pepper and paprika, wheeling it toward the cash register. A foreboding premonition rose to the front of his mind: without the right spices, his cooking just wouldn’t turn out right, and his wife Rana would break into tears, launching into her routine tirade. Paprika was one of many triggers of homesickness. She would rage against the frigid winters of Massachusetts and lament the absence of her family, telling him how much she regretted ever meeting him. Neel mentally prepared himself for this reaction as he braced himself to exit the store, walking headfirst into the harsh New England chill.
The pristine plains outside the supermarket stretched endlessly, as silent flakes cascaded down like sunbeams in the moonlight. As he clenched the thin plastic bags with his gloved hands, Neel proceeded toward his used Toyota Camry. The wind snarled mercilessly, tearing through the night like a whip, bearing no consideration for Neel’s circumstances. It did not recognize that he was a foreigner who had not seen snow until the age of 30, when he was tossed headlong into this abrasive climate, greeted by raging frost on a frigid December dusk. Though the walk was short, Neel trembled to the bone, pulling the diaphanous fabric of his navy blue Big Lots jacket closer to his skin. He was well aware that the flimsy, six-dollar garment was completely inadequate protection, but every penny he earned had to go toward a soft, down jacket for his small daughter.
The thought of his daughter gave him the adrenaline he needed to prevail against the hissing wind. One foot in front of another, he trudged cautiously along the snowy path, seeing nothing but a flat expanse of white before him. In the distance, a streetlamp cast a bluish glow. Finally, he reached the car and opened the door hastily, leaping inside to preserve every drop of heat. Arranging the groceries carefully on the seat beside him, he put the key in the ignition, immediately turning on the cassette player.
Barely any cars had cassette players these days, but Neel had gone out of his way to install one specifically so that he could listen to his old tapes from home. Familiar melodies were his only company on these long, solitary drives, providing stolen moments of tranquility. He emptied his mind, following the undulating roads from muscle memory, erasing any obligations to the outside world. The lyrics of his mother tongue washed over him like lukewarm water.
Sinking into a familiar tune lined with the rising drone of a harmonium, Neel came to a stoplight, drifting in this rare state of mental peace. Suddenly, two loud knocks rammed on the car’s rear window. Neel rolled down the window, seeing two men in the shadows. They were pale-skinned, dressed in extra-large gray hoodies and baggy black sweatpants, rapping at the car rambunctiously — the vapor of their breath emerging in wispy, smoke-like clouds. “Hey, sand n****r!” one yelled. “We don’t need another 9/11, go back to where you came from!”
The light turned green, as though it wanted to let Neel escape, and he stepped firmly on the gas, leaving the men’s laughter trailing in the distance. A small American flag ruffled halfheartedly on the dashboard, just above Neel’s brand new U.S. passport stowed in between the seats.
Neel drove on, feeling more resignation than anger. Such incidents were nothing short of expected for someone coming into this great country, where life, liberty, and the pursuit of happiness were granted to all, as long as they read the fine print. Racism and liberty — it was a package deal. Neel internalized each of these encounters as an exam, an opportunity to prove his stoic nature. He had adapted to his new life. Anyway, with whom could he share such experiences? The last real conversation he had with Rana occurred even before their wedding when he still lived under the euphoric illusion that his parents had discovered the right girl for him. Now, he dreaded seeing his daughter if he knew Rana would be around as well. Maybe someday the little girl could help shoulder some of this burden. Until then, he kept his chin up and moved along, expressionless.
He pulled into the garage, grabbed the groceries and steadied himself before stepping into the doorway. Old photos of his parents greeted him; the only fixtures on the white walls. His daughter, darting through the simply-furnished living room, ran up to hug his calf. He smiled and picked her up, twirling her around a couple of times.
“Want to help me unpack the groceries?” he asked. She nodded and skipped into the kitchen, her fluffy pink slippers thudding solidly with each landing.
As Neel followed her into the kitchen, he caught sight of Rana watching television, slouched on a couch, wearing her stained purple bathrobe as though she hadn’t moved since the morning.
“Ey,” she called out by way of greeting, her eyes still transfixed on the screen. “Did you bring the fish?”
Neel scanned the items laid out on the kitchen table. “No,” he said with a sigh. “Just chicken — I thought fish was for you to buy next week.”
“I wrote it on your list,” she retorted, her eyes still unmoving. “Why do you never listen to me?” Neel remained silent. As Rana’s tone grew icy, the daughter continued to prance around in the kitchen, unperturbed. Not oblivious, merely accustomed.
Neel poured the paprika onto a plate with some salt and prepared to turn on the stove. Suddenly, Rana got up from the couch and ambled into the kitchen.
“I want to take her to India next month,” she said, gesturing at her daughter. “We haven’t been back in over two years, it’s time.”
“We barely have enough saved up to get her a proper jacket,” Neel said, continuing to prepare his cooking.
“If she had been brought up in India, she wouldn’t need this ‘down jacket.’”
Ignoring this counterfactual, Neel smiled dejectedly. “Well, maybe you could bring back some cumin. God knows this house is missing some.” He regretted these words as soon as they left his mouth. His half-hearted jokes these days simply hung suspended in the air, dissipating and leaving quiet trails of resentment lingering in their wake.
“So, you’re saying we can go? You need cumin. I need my family.”
“No,” Neel said firmly. “We have to wait some more.”
His words seemed to flip a switch in Rana’s eyes. Previously drooping and groggy, her pupils alighted with sparkling embers.
“I always wait for you!” she shouted. “I don’t want to live in this godforsaken place. We don’t even have a proper store nearby. We can’t even eat proper food. You dragged me here!”
His ensuing silence only served as an additional provocation. Rana raised both hands to her head, grabbing her hair in tufts. “I HATE you!” she screamed, yanking out hair in chunks while wincing at the pain she was inflicting upon herself. Neel, all too familiar with this show, silently continued to chop tomatoes. Right down the seam in the middle, a clean slice, taking great care not to let them burst and lose juice to the cutting board. He clicked his tongue in exasperation as one lone seed came away from the whole, breaking the fruit’s pristine symmetry.
Neel’s lack of attention infuriated Rana further, while the daughter continued to sit serenely near her father’s calf. Glancing around the kitchen, Rana seized a small white ceramic plate from the Corelle set her parents had given them for their wedding. Scrunching up her face, she hurled it at the wall in a sudden burst of energy.
“I wish I were dead!” she yelled, her voice breaking and her breathing quickening, growing shallow. Neel kept his gaze on the tomato before him. He mustn’t lose any more seeds. Dice the half down the center, turn and dice again. Rana turned, running out of the kitchen, while her daughter stared confusedly at the shattered ceramic.
Indian cooking is a methodical process. In some cuisines, people throw everything in a pot and let their concoctions simmer. Not so here. One must first sauté the onions, and then gently lower the heat. Only then can the spices be added, coating the onions in a thin layer. After hitting a certain level of fragrance, the remaining ingredients are added, one by one. These steps are like a formula, nothing short of mathematical. Neel approached the stove, following these motions, seeking solace in his own muscle memory as he did during those peaceful, solo drives. The daughter skipped happily out of the kitchen.
Once everything had been added to the pot, Neel bent down to pick up the shards of ceramic Rana had left on the floor, sweeping them as far away from his daughter as he could. He felt a distinct lack of loss looking down at the broken pieces, remembering the day her father had presented them with the Corelle set and a pack of gleaming silverware. He really did like his father-in-law. He recalled smiling and laughing, putting his arm around Rana and envisioning the setup of the Americanhome they would call their very own. Although he could replay these memories in sharp focus, he now felt a strange emptiness in his chest. The knifelike pangs of the past seemed to have left him, just as his fury abandoned him when those two men tapped on his rear window. Part of him wished he could muster up that rage. Rage at the men, rage at himself for allowing the societal taboo of divorce to keep him trapped in his crumbling marriage. But instead, numbness enveloped his heart like a thin sheen of ice, simultaneously sheltering him from the polarity of emotion and inhibiting him from release.
Suddenly, he heard a loud thud outside the kitchen. Alarmed, he stepped out, running to the bathroom. The long glass mirror, stained with the debris of the past few weeks, interrupted his reflection as he stood at the door. Three glass dolls that were also once wedding gifts guarded the basin, once pearly white, now discolored in splotchy, uneven patches, grime lining their foreheads in faded streaks. Inside the basin lay twenty sleeping pills, clumped together, just fallen from reach. The open pill bottle lay sideways by the faucet. On top of the toilet lay a razor stained with fresh blood, the scarlet liquid slowly trickling onto the porcelain. Rana lay weeping on the floor, a lone pill in her hand and three long gashes tearing open her shin. The daughter watched.
“I couldn’t do it,” Rana sobbed. “I have to live, for her.”
Rana knew, but could only admit in her own mind, that she did not want to die. She did not believe in a life after death, only in blankness. But what she wanted was the opposite of blankness. She wanted a release from life as an immigrant. No fresh start can numb the pain of a tree that becomes uprooted from the place it has always stood. Suddenly, it is commanded, not merely to adapt, but assimilate. To shed old leaves and camouflage amid a new, foreign forest. To survive in sub-zero temperatures after being kissed by humid tropics its whole life. To withstand a snowstorm with nothing but a six-dollar Big Lots jacket.
So Rana did not want death. She wanted her hometown, the vibrant island of joy that lay on the opposite end of the planet. She wanted the fragrant monsoon rains that pelted the soil with scent, the same soil from which her own roots sprouted for years before being cut. She wanted a place where English was subservient to her mother tongue, the latter emblazoned everywhere from street signs to soap bottles. She wanted the spices, those long-lost aromas that the “ethnic” food aisle could only dream of capturing. Her body ached to take a dip in the Ganga River. What some, to this day, call the “Third World,” was always her first and only. This place she had landed in was not home. Regardless of what animal inhabited the cover of her passport, it would never be her home. While her body had crossed the circumference of a planet, her heart had stayed back. She knew that her family was a casualty of her pain. Yet it consumed her in clutches so tight, she felt like a puppet of her own longing. Her actions were no longer her own, driven by an unquenchable thirst, the desire for return. So she lay helplessly on the bathroom floor, rocking silently to the rhythm of her sadness.
The daughter looked on, hips akimbo, her head slightly tilted to one side. She was ignorant of her future as a sacrificial hybrid tree, one that grows uncertainly, unsure of its own existence between two lives, two anthems, two tongues, two allegiances, and even two parents.
As the daughter observed the scene — the glaze of innocence veiling her sight — Neel watched her with a dull sense of regret. He approached the bathroom sink without looking down at Rana, who remained curled up at his feet. He reached in with those hands, worn beyond their years, and picked up the pills one by one. This was one routine he hoped he would never have to teach his daughter.
Taking the little girl by the hand, Neel guided her to his own room, handing her some toys and turning on the DVD player.
“Just wait for me to finish making dinner, okay?”
She plopped down on the bed, already distracted.
Rana stayed on the floor, bearing the distance of an ocean in her empty chest. The daughter, playing with a Barbie doll in the other room while watching a Bengali cartoon, was already bearing the duality of a world she could not yet understand. And Neel, impassive, carried the weight of a thousand retorts buried deep within his heart. He and Rana had crossed a sea together but failed to cross the impasse that lay impenetrably between them. Neel stood at one end, unwavering, while Rana lay at the other end, drifting amid her own salty tears.
Neel finished cleaning the sink and set the pill bottle back inside the medicine cabinet. He returned to the kitchen, as though the entire incident had been just another task on his to-do list. As he sprinkled more paprika onto the food and resumed his work at the cutting board, his vision clouded. Onions had always made his eyes water.
When you grow up seeing blood stains on your shampoo bottles, your sense of normalcy shifts as mine did. You don’t cry when you trip and fall on the playground, because you had just seen blood the night before when your mother took a clothespin to her forearms. You watched the blood leak slowly down her clothes and onto the floor, where it left a dark brown shadow for you to see the next day too. You are unfazed when your classmates roughhouse and toss pencils across the room because a pressure cooker was hurled right past your head on your fourth birthday. You rip out pieces of your hair when you get stuck on a math problem because you are following the example of the biological role model that the world assigned to you. You hate this biologyfor making you what you are: a living reminder of your parent’s suffering, of the hurting of immigrants worldwide. You have escaped that pain simply because of the soil you were born on. And so the burden on your shoulders is inexplicable, as you carry the weight of a parent’s mental health, her suicide threats, the weight of her entire life, day in, day out. Your heart slowly starts to contort inward, its once fiery heat chilling over time like that cold Massachusetts night, for the only love you have ever known is wrapped in tears, sleeping pills, and razor blades.
Passion is something many claim to have, but few truly possess. Whether it’s hobbies, professions or romances, it’s the secret ingredient we all crave but is quite difficult to come by. But on meeting Chef Devan Rajkumar — aka Chef Dev — it takes just a few moments to understand true passion. For the Indo Guyanese chef from Toronto, passion has always been food and its power to connect, nourish, excite and represent.
Whatever the outlet, Rajkumar feeds his mission to bean ambassador for modern, West and East Indian cuisine. I recently sat down with him to talk about this and the experience of bringing Indo Caribbean flavors to South Asia and beyond.
Feeding a passion for food
“The sights, the sounds, the aromatics. The excitement of the kitchen has just always appealed to me,” he began. “Food moves me in a certain way. I want to nurture and nourish. I’ve just always wanted to do for others.”
As he sat back in a ‘Guyana vs. the world’ tank top, Rajkumar’s energy was palpable.
“I’ve always lived and breathed food, all day, all night. Like I’m talking about food right now. I’m constantly talking about food.”
To Rajkumar, food is education — one of the best (and most enjoyable) ways to learn, teach and explore the world — and he credits his older brother Jai for inspiring this mindset. Jai was the first to introduce him to different cuisines, teach him to be curious about the world and show him how to challenge the norms of a “typical brown kid.”
Despite this encouragement, however, a culinary career wasn’t Rajkumar’s first instinct. The son of a businessman, he initially jumped around universities and career paths. He also struggled with substance abuse and grief after Jai’s passing. Through all the challenges, food remained a constant, and the sense of community it created was a powerful draw.
“At a very young age, I recognized how food made me feel if I was in a bad mood and how it made others feel,” he shared.
He’s always looked forward to sitting around a table with friends and family, enjoying a nice meal, and how everybody could share their stories or just forget their troubles.
“Food is a very powerful vehicle for transporting someone.”
In 2009, Rajkumar finally followed his passion and joined a culinary school. He realized he had a knack for creating this experience for others.
“I realized I had the power and the gift to nourish and nurture someone else in this way,” and it became irresistible.
A cook with no boundaries, Rajkumar didn’t want to limit the number of people he reached to just those in Canada.
For many, success in the culinary world is having a thriving restaurant, but after spending six months opening one with The Food Dudes in 2015, Rajkumar realized this route wasn’t for him.
“I wanted more culture,” he explained. “I wanted to learn and not so much get my ass kicked, but to be a sponge. I knew I needed to travel to broaden my horizons.”
So he did. Rajkumar spent months cooking in India, London, Peru and Dubai. He shared his experiences on social media and people back home took note.
“When I returned to Toronto,” he continued, “that trip had established me as a cook who had no boundaries. As someone who wasn’t afraid to explore and get out of their comfort zone.”
And get out of his comfort zone he did.
“From catering to a pop-up abroad to filming ‘Cityline’ and speaking engagements, every day is different,” he explained. “I’ve had my bouts with imposter syndrome, but ultimately, I’ve gotten to make more of an impact than just opening a restaurant.”
That impact has especially been prominent in South Asia.
Rajkumar embraces not only his Caribbean culture, but his South Asian roots as well.
The temple he grew up in was a blend of Guyanese and East Indians, so he knew foods from a typical Guyanese household like alu curry and saijan but also East Indian favorites like dhokla and malai kofta.
“Ultimately, we came from India,” he declared. “I embrace the culture and I am very comfortable leaning back and forth into it. It’s in me. It’s who I am.”
In fact, Rajkumar noted his career became much more defined and successful when he really began to identify as not just a chef, but as an Indo Guyanese Canadian chef.
Hearing this, it was no surprise that Guyana, India and Pakistan stand out as some of his favorite destinations.
“Guyana is hugely impactful for me,” he shared, having visited his parents’ homeland frequently. “As soon as that door opens [at the airport], you smell Guyana. You smell the sugarcane burning from rum factories. I have all these wonderful sights, sounds, smells and flavors from those trips.”
His sentiments for India are similar.
“Incredible India is incredible India,” he referred to the country’s tourism slogan. “Every 100-200 kilometers, the menus can change completely. I can live in India for the rest of my life and never see it all.”
Rajkumar’s first trip in 2020 was only nine days long, but its impact stayed with him.
He couldn’t have been more excited to return for a month, earlier this year, and host what his friends there dubbed the “Mad Love Pop-Up,” after one of his signature sayings.
He filled the menu for the 18-day event with global dishes like ceviche and scotch eggs but infused them with West and East Indian flavors like masala, jerk and cassareep — a rich extract of the bitter cassava native to Guyana. Before he left, he even prepared Guyana’s national dish of pepper pot, a hearty meat stew, for the staff meal.
“My whole thought process was ‘let me give these people — my family there — an experience they’ve never had before,” he detailed. “Any time I give someone pepper pot or cassareep, they’re just so shocked. It’s so unique.”
Rajkumar is always excited to share the flavors and culture of Guyana with new people, but with his roots in South Asia, bringing them to Pakistan was that much more profound.
“In India, maybe it’s different, but in Lahore, most people don’t know about Guyana or where it is. That’s another reason why I did this. That’s why I do all the things I do. That’s why I’m wearing this tank top — to raise awareness about my culture and how beautiful it is,” he said.
Time in South Asia has also helped Rajkumar gain a deeper appreciation for the origins of many Indo Caribbean dishes and reinforced his love for them.
“Guyanese cuisine doesn’t just have Indian influence, but so many dishes in some way, shape, or form come from there. Like when I’m eating sada roti, I can tie it back to which type of flatbread it came from in India. I feel like a better-equipped chef at the end of the day. I’m more connected to my Guyanese roots and to the culture overall.”
Rajkumar wants to foster a deeper understanding and relationship between both heritages. He wants his food to build connections, not disparity.
Bringing the world back home
Rajkumar has visited over 20 countries, but Pakistan remains one place he’ll cherish his entire life. He is grateful not only for the opportunities he’s had there, but also for the chance to offer a fresh, alternative view of the country from what is often shown by the media.
“When people saw me posting content from Lahore, they were like, ‘Oh my God, this is Pakistan?’ This is not what we expected. This is not what we thought we’d see.’ They were shocked at how beautiful, kind, and welcoming everyone was.”
Reactions like these are Rajkumar’s ultimate goal.
A cookbook is due next year. He has aspirations of launching merchandise and cookware, traveling to South East Asia, and continuing his pop-ups, but ultimately, he concludes,
“I just want to stand for something. I want to continue to learn, remain humble, represent my Western and Eastern cultures and spread mad love. I want to be an ambassador to that world and be someone who’s dedicated to his craft, bettering himself and those around him.”
“I just want to continue to grow as a person,” he added with sincerity as he touched on his sobriety and what it’s taught him about achieving your goals.
“That might sound cliche, but it’s new to me. I’ve spent the last two years learning about myself and being vulnerable about how I feel, my healing journey and what I’m going through. If I excel and continue to invest time and discipline in that arena, everything else around me will flourish. I believe that goes for anyone.”
Rajkumar is going far literally and figuratively, but no matter where he lands, you can be sure he’ll bring something back for his supporters, whether it be a new view of the world or a concoction like a ceviche pani puri on one of his menus.
“That’s my travels to India, Pakistan and Peru all in one bite!” he exclaimed.
Chef Dev’s journey has not always been an easy one, but it’s a powerful example of the success one can taste with hard work, embracing authenticity and following true passion.
Bharatanatyam is a traditional Indian dance form and the oldest classical dance tradition in India. Bharatanatyam, originally a dance performed by women in temples of Tamil Nadu, is often used to convey Hindu religious tales and devotions. It is taught by a teacher known as a guru. The dance costume resembles that of a South Indian bride and the dancer wears anklets, called ghungroos, to keep the rhythm while dancing to the music. While Bharatanatyam is still taught all over the world in the traditional way, the styles of teaching have changed over the years. For the last six years, my sister and I have been taught modernized styles of Bharatnatyam in the USA.
An Arangetram lasts approximately three hours and has nine, or in our case 10, dances in total. It begins with an introduction dance called a Mallari or Pushpanjali following the guru’s nattuvangam (rhythm kept using symbols). In the middle of the program is a Varnam — a centerpiece dance that lasts about 30 to 40 minutes. This dance tests the dancer’s endurance as well as their storytelling ability. The performance is concluded with a Thillana which is seen as the last glimpse into the dancer’s full capacity. The Thillana is followed by a Mangalam, the closing dance of the Arangetram.
My sister and I began learning Bharatanatyam in 2016 when we were nine years old. Despite our instant attachment to the art form, we were always daunted by the idea of having an Arangetram of our own. It would be challenging, mainly because we are twins, and our performance would have to be suitable for two people to perform side by side. We began preparing for this event in the summer of 2021. Our guru would make us run for the first half hour of class to build our stamina — much-needed for a three-hour repertoire. We would spend the next two and a half hours learning our repertoire. The first dance we learned together during this time was our Varnam. Learning this dance took a month and we spent a lot of time memorizing it. Our Varnam was dedicated to Lord Krishna, one of the many Hindu gods, known for his charm, wit, and being a master Guru whose philosophies were immortalized through the Gita — the Hindu Holy scripture.
An Arangetram is the on-stage debut of a traditional Bharatanatyam dancer following years of training and discipline under the able guidance of a guru. This is a milestone for young artists as it opens up the opportunity for solo performances, choreographing individual pieces, and instructing other dancers.
By January, we had learned our entire repertoire and were starting to memorize it while adding expressions, poses, and building up our stamina, making them look effortless. Some dances were more difficult to memorize than others, particularly dances that were story-based. Because most Bharatanatyam dance music is in either Sanskrit or Tamil so we couldn’t understand the lyrics right away. Our guru helped us interpret the stories before teaching us the choreography making them easier to commit to memory. We also had help from our mother who listened to all our songs and gave us keywords that corresponded with our dance moves. Listening to dance music on the way to school, dance, or while getting ready for bed, became a part of our daily routine as it helped us internalize the rhythms.
Although a year seems like a long time to prepare for an event, the day of the Arangetram came before we knew it. The morning started off with family and friends coming to our house to help us transport decorations and essentials we would need backstage. We arrived at our venue — the Balaji temple in Bridgewater, New Jersey — and made our way to the green rooms. Our makeup artists assisted us with hair and makeup, which lasted four hours. During this time we were going through the dances in our heads and mentally preparing for the performance to come. Once we were dressed in costume, we headed for the stage pooja, a prayer session on the Arangetram stage with close friends and family, to invoke a successful performance. This was also the time when jitters started kicking in. It had just occurred to us that the performance we’d been preparing for our entire dance careers was about to happen and this was the only chance we had to show the audience our very best.
A person can only have one Arangetram in their lifetime, and this huge milestone comes with pressure given how special the performance is.
As the masters of ceremony were introducing our first number all I could do was stare at my sister standing in the other wing, and I knew we had the same thoughts going through our minds.
As we began dancing I felt almost a sense of relief because of how well we knew the dance. Every single dance was so ingrained in our muscle memory that it felt like second nature even in front of such a large audience. During the repertoire, we had two costume changes, with three costumes in total. Each costume change took 15 minutes while the audience was learning about SAMHAJ or listening to speeches from our friends and family. Backstage, our makeup artists and backstage moms were busy helping us change our costumes and jewelry, adjusting them to make sure nothing would move while dancing. We also had some of our fellow dance girls backstage giving us water and fruit as well as tightening our ghungroos so they wouldn’t fall off on stage.
Our Varnam was a huge success, resulting in a standing ovation from the audience. After the Varnam, we performed a slower dance called Ramabajanam, telling all the stories about Lord Ram, another Hindu god known for his chivalry and virtue. We decided to dedicate this dance to our parents since it was always their favorite to watch and listen to. My mom was heavily involved in helping us memorize this dance by telling us the stories so we wouldn’t forget the choreography. Right before the last dance, we acknowledged all of the people who helped us backstage and were presented with our graduation certificates. In order to give the audience a peek at the effort that went into the performance they were watching, we shared our experience with the audience as well as our guru’s message during this time. Our last dance surprised the audience, as our mother joined us on stage and danced with us. She always dreamt of being a dancer as a child but was never able to learn. Sharing one dance meant a lot to us, and watching it was very entertaining for the audience as well. After all the dances were over, all our guests proceeded to the banquet hall for dinner where we were able to greet all our guests and thank them for coming. When the night ended we were exhausted but still full of adrenaline.
Even though the tension that had built-up in my head over the last few months had now subsided, I was somewhat disappointed that the process had come to an end. I wouldn’t exactly call my Arangetram journey perfect or effortless, but I grew so much this past year as a dancer and as well as a person. The lessons I learned from dance about hard work and resilience will carry on with me for the rest of my life and for that I am forever grateful. The event itself brought so many people together such as my aunt and cousin, who came all the way from India to attend, as well as so many relatives that we hadn’t seen in years. Grandparents, as well as young children all gathered in the audience to watch a display of their culture, or for some audience members, learn a new one. Not only did we spread awareness for this beautiful art form, but we also raised awareness on mental health amongst South Asians — an issue we’re passionate about.
Along with our guru, we decided to leverage this event to create awareness for mental health amongst South Asians in the United States. We decided to advocate for SAMHAJ, a charity that provides education and support for South Asians affected by serious mental illnesses. In order to educate people about mental health, SAMHAJ offers workshops to social service organizations, schools, and mental health professionals as well as provides culturally competent mental health services by creating bilingual support groups. You can donate to SAMHAJ via this link.
Overall, this process has been immensely gratifying and I simply cannot wait to see what the future has in store for me with Bharatanatyam.