August 2025 India Independence Day Special Edition

AUGUST

2025

“Keeping you connected”

The NSW Government wishes you a happy 79th Independence Day

The Hon Chris Minns Premier of NSW

Brisbane Festival 2025: A Dazzling Citywide Celebration of Culture, Community, and Creativity

Punjabi and Hindi in ACT Schools: A Step Towards Cultural Inclusion and Educational Equity

Sagar Wali Qawwali Live in Australia: Sagar Bhatia Set to Ignite Sydney and Melbourne This October 16 Review: Smoke and Mirrors : – A Stunning Showcase of Local Talent and Theatrical Excellence

Adelaide Film Festival Announces Fisrt Six Films For 2025

Oh Pehli Mohabbat: A Timeless Exploration of Punjabi Poetic Devotion

“All aboard”- A call out to older adults

A Tapestry of Stories, Success and Soul: Reflections on the 10th South Asian Theatre Mela

The Happy Kids Are Back Highly Successful Children’s Festival Returns next month

Divya Deshmukh Creates History as First Indian Woman to Win FIDE Women’s World Cup

Desi Media Group (Desi Australia Pty Ltd)

Editor-in-chief

Arti Banga

NSW Editor:

Harmohan Walia

Sales and Marketing:

Dimple Deez

Victoria Editor:

Daljeet Bakshi

Queensland Editor:

Rajni Ghai Malhotra

ACT Editor:

Rajni Ghai Malhotra

Western Australia Editor:

Ankita Tandon

South Australia Editor:

Daljeet Bakshi

Designer Ravi Mathur

Hello Everyone,

As we celebrate India’s 79th Independence Day, we come together to honour a legacy of courage, resilience, and unity. Across the nation and the diaspora, celebrations will include flag-hoisting ceremonies, inspiring speeches, and vibrant cultural festivities — each a reminder of the rich heritage we proudly share. Look out for our comprehensive coverage of these celebrations in our upcoming edition.

In this issue, we bring you a curated selection of highlights from July’s events and festivals, uplifting community stories, updates on upcoming gatherings, the latest in sports, and much more. Our aim is to not only inform, but also inspire and connect our readers with the diverse experiences that make our community so unique.

If you have a talent to showcase,

Arti Banga Editor-in-Chief

to share, we would be delighted to feature your voice. Write to us at info@DesiAustralia. com and be part of our growing community narrative.

Enjoy this edition, celebrate responsibly, and let the spirit of Independence inspire us all

Stay safe and stay healthy.

DesiAustralia.com

They were not merely an announcement; they were a promise, a dream realised through the courage, sacrifice, and unyielding determination of countless men and women.

The freedom they fought for was not just the absence of foreign rule. It was the reclaiming of identity, dignity, and self-determination. Mahatma Gandhi’s vision of non-violence, Sardar Vallabhbhai Patel’s political unity, Netaji Subhas Chandra Bose’s fiery defiance, and Sarojini Naidu’s powerful advocacy each

together the complex fabric of India’s independence movement. Theirs was a battle for the right to decide their own future, a right we inherit today — not as a static gift, but as a living responsibility.

The Meaning of Freedom in 2025

In 1947, independence meant political sovereignty. In 2025, it is something far broader — and far more personal. For young Indians, both in India and across the diaspora, freedom now includes the ability to think without fear, to question injustice, to innovate without constraint, and to embrace one’s cultural heritage while

the freedom to breathe clean air, to receive quality education, to be treated equally regardless of gender or background, and to connect instantly with others across continents.

Yet, freedom in this modern sense is not guaranteed. Just as our forebears guarded their hard-won liberty, today’s generation must guard against new threats — the spread of misinformation, the erosion of democratic values, and the growing environmental crisis. These challenges may not be fought on battlefields, but they demand the same

The Diaspora’s Role in Keeping the Flame Alive

In Australia, the Indian community celebrates Independence Day not only to honour history, but also to reaffirm identity. From Harris Park in Sydney to

Federation Square in Melbourne, and from Brisbane’s community centres to Perth’s cultural halls, the day comes alive with flag-hoisting ceremonies, parades, dance performances, and feasts that mix tradition with modern

flair. These events are not just for those who remember India’s independence as a distant historical event — they are designed for young Australians of Indian heritage, offering a connection to their roots in a way that feels vibrant and relevant.

For the second and third generation, these celebrations are a reminder that they are part of a story much larger than themselves. It is a story of resilience and adaptability, of a culture that has not only survived but thrived in every corner of the globe. Celebrating Independence Day abroad keeps the connection alive — not in a nostalgic way, but in a forward-looking spirit that asks: How can we shape the next chapter?

India’s Transformation: 79 Years in Motion

In less than eight decades, India has grown from a newly freed nation with

Please join City of Ryde for a flag raising service to commemorate the 78th Indian Independence Day, followed by light refreshments.

When: Friday 15 August 2025

Time: 2.45pm for a 3.00pm start

Where: Kissing Point Wharf, Putney

Independence Day Trenton Brown

Clr Shweta Deshpande

limited resources into one of the most dynamic players on the global stage. The journey has been marked by milestones that have reshaped its identity — the establishment of the world’s largest democracy in 1951, the green and white revolutions that secured food independence, the triumph of the 1983 Cricket World Cup that united a nation in joy, and the technological leap that made India a leader in IT services.

More recently, India’s space programme has captured the world’s imagination, with missions like Chandrayaan-3 landing near the Moon’s south pole — a feat achieved by only a handful of nations. This transformation has not been without its struggles, but each challenge has revealed a determination that mirrors the resolve of 1947.

Stories Beyond the Textbooks

When we speak of India’s freedom struggle, names like Gandhi, Nehru, and Bose dominate the narrative — and rightly so. Yet, thousands of lesserknown heroes gave their lives for independence, often without recognition. Figures like Matangini Hazra, who led

protests at the age of 73 and was shot while carrying the national flag; Peer Ali Khan, one of the earliest rebels of the 1857 uprising; and Kanaklata Barua, the teenage martyr from Assam

Happy Indian Independence Day

As the Mayor of Blacktown City, I extend my warmest greetings to all members of our City’s Indian community as you celebrate Indian Independence Day.

On behalf of Blacktown City, I acknowledge the rich cultural contributions of the Indian community to our city and wish you a joyful celebration of this important national occasion.

May this day bring pride, unity, and happiness to you and your loved ones.

Councillor Brad Bunting Mayor of Blacktown City

who refused to let the flag fall even in death, are reminders that history is not written by leaders alone, but by countless ordinary people who showed extraordinary courage.

For young readers, learning these stories is not about memorising dates and names, but about recognising that change is possible for anyone who chooses to act.

Freedom for the Next 79 Years

If the first 79 years of India’s independence were about rebuilding and asserting identity, the next 79 must be about inclusion, innovation, and sustainability. It means

ensuring that every child — whether in a bustling Indian city, a remote rural village, or a multicultural suburb in Australia — has access to opportunity. It means that progress must be measured not only in GDP, but in quality of life, equality, and environmental stewardship.

The youth of today hold the pen that will write the next chapters of this story. They have the tools — technology, education, and global networks — to create change at a pace unimaginable to those who marched in the streets in 1947. What they need is the same fire in their hearts that burned in those who believed freedom was worth everything.

A Celebration That Inspires Action

This 15 August, when the Indian flag is raised and the national anthem plays, let it be more than a ritual. Let it be a moment to reflect on how far we have come, and how much further we can go. Let it inspire us to not only cherish the freedoms we have, but to extend them — across communities, across borders, and across generations.

Independence is not just a chapter in history. It is a living, breathing commitment to fairness, unity, and hope. Seventy-nine years on, the story of India’s freedom is still being written — and every one of us has a line to add.

A Cup for A Cure

By Ravinder Kaur Bali

This year, 2025, is the fourth year that the Saree Club has participated in Australia’s Biggest Morning Tea, a national fundraising drive in support of those impacted by cancer. While a cup for a cure sounds unrealistic in the face of one of the most fatal conditions to afflict humankind, the analogy stems from a single stark statistic: one Australian is diagnosed with cancer approximately every five minutes, the length of an average tea break. It made sense, therefore, to harness a mundane everyday activity for a higher purpose. This is what Australians have been doing since 1994, when a small group of people first gathered to raise funds for cancer. Spear-headed by the Cancer Council, the event has since grown into a country wide effort. Fund-raising remains its prime prerogative, while community, camaraderie, care, courage and cooperation take centre stage in the drive to defeat the only negative C.

The Saree Club joined the movement with Poornima Menon hosting the first tea in 2022. Since then, other members, namely Dipika Gandhi and Meghna Gandhi have opened their homes and hearts to host this new entrant in the Club calendar. Of necessity, the number of attendees is capped by the hostess’s capacity for guests; however, all Club members are encouraged to donate gener-

ously. And while tea is an absolute must, the Saree Club event is more of a lunch sandwiched between teas. Like previous years, it was a beautiful sunny June day when we turned up at the home of Sujata Patel, the Saree Club hostess for 2025. The banner of Australia’s Biggest Morning Tea fluttered proudly at the entrance. As the forty-odd guests handed over their culinary offerings to the hostess, we were invited to help ourselves to snacks and the piping hot masala chai before

we mingled, sat down or posed for the obligatory pictures.

The formalities got under way, with Poornima according a warm welcome to all the guests. This was followed by an introduction of the guest speaker, Ms Nitu Sarin, Senior Application and Database Support Lead at the Cancer Institute, NSW. Nitu took the mike and straightaway endeared herself by saying that though she did not often have

an opportunity to drape a saree, sarees remained her choice apparel, and she was especially excited to join the saree attired women gathered for a purpose. Her work focus, Nitu said, was the NSW Cancer Registry, a repository of crucial cancer data maintained at the institute where her team worked diligently, and mostly behind the scenes, to improve patient care and cancer outcomes. Nitu under-

scored the role of understanding cancer in reducing cancer risk, handling a cancer diagnosis, and in supporting loved ones who lived with cancer. It was sobering to learn that there were more than a hundred different types of cancers that could arise anywhere in the body. Also, that cancer affected different people differently, a fact borne out by the Saree Club members who took the brave step of recounting their cancer journeys to those present.

There was Kala, devastated by the cancer diagnosis of her mother while the latter was on a visit to Australia. Nivedita faced the same trial with her son, diagnosed with childhood leukaemia, while Jaswinder, with a growing family, found herself the primary carer of her husband, and then, a single parent after he passed away. Next to speak was Sanjyot, whose brush with cancer came through the diagnosis of a very close friend. Sujatha, the hostess, recounted how her family reeled under the cancer diagnosis of her mother-in-law within months of Sujata’s

wedding. Anjalee’s account added to the growing learning of havoc unleashed by a body turned rogue. The one common denominator in all these journeys was the moment of cancer diagnosis: a point in time, a punctuation mark. Yet, what that point in time, and the accompanying diagnosis, had failed to spell out was the overwhelming fall-out: the logistics, the what-now and the how-to that hung over whatever was left of the future, if there still was a future. As each of the women narrated their experiences, through pauses, sobs, and the respectful stillness of a deeply moved audience, what shone through each of them was stubborn resistance. A savage diagnosis had morphed their language to one of resolve tempered with resilience, where giving up did not deserve a toehold. Irrespective of the outcome in each case, these women had all fought the good fight in their own intuitive inspiring way, finding resources within and without, and tapping into reserves they scarcely knew they had

.This panoply of emotions, lived by the speakers on their cancer journeys was mirrored in the poem Charu recited. The poem was comforting as much by its lyrical beauty as to learn that a beloved garment, its fluidity, its grace, could all be allies in the fight against an invasive growth.

The Day I Draped the Storm - by Charu Kotera

The morning brewed in gentle light, A breeze, a bird, the kettle’s bite. The world, half-dressed in dawn’s soft glow,

Moved slow, as mornings often go.

I buttered toast. The tea went cold.

I checked my phone, the headlines scrolled.

A day like any quiet, plain

No hint of what would split my frame. The silence fell between two words, The kind no one prepares to hear.

The doctor’s tone a pause, then blade

A name I knew, but never claimed. My fingers froze, my breath withdrew, The air grew still, the daylight too.

One word so clean, so clinical

Yet rang like grief I’d not known before. The world stood still, a breathless hush, My heart a flood, a crimson rush. No script prepares a mind to hear The very word that turns your blood to fear.

I reached for silk, for something old, A saree dyed in marigold. It shimmered like the sun I craved, A quiet strength the fabric gave. I held it close, And in that moment, A voice arose, my saree spoke not loud, but clear Its whisper found my hidden fear.

“Wrap me slow,” it gently sighed, “Let each fold hold the tears you hide. You’ve worn me once in joy, in grace Now wear me strong, and find your place.”

I looked at it, half-broken, torn, A woman shattered, spirit worn. “Do you not see? I’m not the same. I carry now a different name.”

The saree rustled soft reply: “You’re still the same flame, though winds run high. Strength doesn’t roar it breathes, it bends.

Let me remind you how it mends.” Each pleat I folded held a prayer, A trembling hope, a silent dare. I draped it tight around my waist, And felt my panic lose its pace.

“I am not an armor,” it confessed, “But I have held hearts through each test. Let me hold yours. Walk, don’t kneel We both are threads. But you you feel.” As the border kissed my shoulder’s line, A spine emerged I thought wasn’t mine. No longer cloth, no longer thread It wore me, too, from where I had bled. In that small mirror, I stood tall, Though part of me still feared the fall.

A woman dressed in grief and gold, But one who’d found a hand to hold. I turned and whispered back, half-proud: “You’ve wrapped the storm. I’ll wear it loud.

Let them come the days ahead

I am not lost, I’m draped instead.”

The saree smiled within its seams, “You wear belief now, not just dreams.

Go, my warrior, with quiet grace You’ve now met your soul, and seen its face.”

Charu’s calming word-imagery of saree susurrations inspired yours truly to recite my own poem, written as tribute to a young man, the son of a childhood friend, whose diagnosis of aggressive brain cancer came together with his betrothal. Sadly, the smartphone holding my poem was not similarly inspired, so the recitation had to be from memory.

a meat-free meal. That said, there was enough food for those present, and more. The tea-urn was kept bubbling as guests reached for the second and third cups to stave off the winter chill.

A surprise item at afternoon tea was a luscious cake brought by Sneha Jaganiya who had recently launched a baking sidehustle. Like the previous year, there were the Saree Club cookies baked by Sandra Sarvotham at Poornima’s request. There were, of course, pictures, pictures, and more pictures.

Interspersed with the sobering, albeit inspiring stories were the fun things, the main item being the auction of a gorgeous saree. Poornima, the auctioneer, started high, with several bidders outbidding others in their desire to own a beautiful garment while adding to the funds collected. The saree finally went to joint ownership between Sonali and Kala. While it is not clear how joint ownership works in the case of garments, it is hoped that the relationship is as harmonious as the garment at the centre of it. In all, the Saree club were able to raise nearly $4000, a meaningful amount towards a worthy health imperative.

An inevitable highlight of the day was lunch where each attendee had offered to bring a pot or platter. In deference to the hostess, all had agreed to

As the afternoon ended, the hostess pressed a dainty package into each hand, in appreciation of attendance and contribution to the fund. We each took our leave, inspired, sobered, and committed to a cause that touched us all, directly or through those we hold dear.

REVIEW: SMOKE AND MIRRORS

– A Stunning Showcase of Local Talent and Theatrical Excellence

n a crisp evening at the Science Theatre, UNSW, the stage came alive with Smoke and Mirrors, a Hindi play that left the audience both spellbound and emotionally moved. Directed by the immensely talented Vipul Vyas and adapted with sensitivity and depth by Rekha Rajvanshi, this production was a heartfelt exploration of the intricacies of a husband-wife relationship — and a true testament to the power of storytelling through theatre.

OAt its core, Smoke and Mirrors portrayed the journey of a married couple as they navigated emotional disconnect, vulnerability, and rediscovery. Vipul Vyas and Jyotsna Sharma brought these characters to life with breathtaking realism. Their performances were mature, layered, and beautifully restrained — drawing the audience into their world and evoking everything from laughter to tears. There were moments when the entire theatre sat in silence, collectively holding its breath, and others when spontaneous applause erupted — a sure sign of how deeply the story had touched everyone present. Supporting the leads were Rupal Shah and Hemal Joshi, whose seamless performances ensured the story never lost its rhythm. Their timing, expressions, and presence added layers of meaning and energy to the play, making it a fully engaging experience from start to finish. Brinda Pandya and Jwalant Patel also made a lasting impression in their supporting roles. Each actor, whether in the spotlight or in a subtle supporting moment, contributed meaningfully to the production’s emotional resonance.

The play was a true masterclass in local theatre — not only in performance but in professionalism. Every element of the production reflected attention to detail and a commitment to quality rarely seen outside of professional companies. The

transitions were seamless, the pacing flawless, and the emotional beats expertly timed.

The visual and technical aspects of the play further elevated its impact. The stage setup, crafted by a dedicated team — Tushar Shah, Jwalant Patel, Mayank Mevada, Jimmy Patel, Markand Dave, and Chintan Joshi — provided a versatile and realistic setting that adapted fluidly with the story. The lighting, designed by Sagar Agashe, was subtle and powerful, shifting moods effortlessly and adding emotional depth to every scene. The musical score, a beautiful collaboration between Avijit Sarkar and Tushar Bose, enhanced key moments and carried the emotional tone without overwhelming the dialogue.

Backstage, the hard work of Kamini Pandya, Sandhya Bose, Rajsi Vyas, and Moksha Joshi ensured that every scene change and cue was executed with precision, a backbone of the smooth performance the audience experienced. Special credit also goes to Kashmira Shah for the visually striking and artistic promotional posters that captured the essence of the play and helped create a strong buzz in the community.

What stood out most was the heartfelt response from the audience. Many were visibly moved during the more emotional scenes, while others shared knowing smiles during the lighter moments. There was a sense of shared experience in the theatre — a collective appreciation for not just the story, but the skill and commitment of the local artists who brought it to life.

Smoke and Mirrors was more than a performance — it was a powerful reminder of the strength and talent within our local theatre community. A resounding success, it left a lasting impression on all who attended. Bravo to the entire team for delivering such a memorable and moving experience.

Threads of Time:

How the Saree Wove Past, Present, and Purpose

By: Shirley Jacob

The saree is more than a garment, it is a living archive. On 6th July, it became the centrepiece of our 7th Annual Saree Enthusiasts Meet, a group started by Preeti Gupta and me, Shirley Jacob. Six to nine yards of fabric carry centuries of tradition, artistry, and personal expression. This year’s theme stepped into the world of Raja Ravi Varma, the legendary painter whose brush immortalised both the grace of Indian womanhood and the diversity of regional attire.

The hall shimmered as guests arrived, vibrant silks from Banaras and Kanjeevaram, delicate chiffons from Kolkata, Ikkats from Gujarat, each telling its own story. The air buzzed with laughter, the rustle of fabric, and the scent of fresh jasmine wound into hair.

The afternoon opened with a spellbinding Mohiniattam performance by Anitha Gopi of Mayookham Dance School. Her movements, steeped in Kerala’s classical tradition, felt like an invocation, a prayer set to rhythm and grace.

From there, the space transformed into

a gallery in motion. On one side, tableaux vivants brought Varma’s muses to life, women frozen in moments of devotion, love, and contemplation, draped in regional styles faithful to his vision. On the other side, the ramp became a bridge between eras. Eleven women of all ages and body shapes walked with quiet pride in the white-and-gold set mundu of Kerala’s Nair women. Some were seasoned saree wearers, others had never tried this style before, but all carried it with the same dignity.

For me, it was impossible not to think of my own early memories, watching my mother in a saree at armed forces gatherings, her poise

making even the simplest drape regal. The inspiration for the Nair ladies ramp walk came from her. Just after she married, she took part in a fashion show called The Nine Brides of India, where she was dressed as a Nair bride- a moment covered by The Times of India and Femina. This year’s procession carried that same spirit: tradition not as a static relic, but as something we inherit, reinterpret, and pass on.

Beyond the beauty, the evening carried a deeper purpose. Once again, our chosen charity was the Rotary Club of Organ Donation & the Gift of Life Adventure program’s LIFT UP project, supporting underprivileged women and children in India to receive life-saving organ

transplants. Like the passing of a saree from mother to daughter, organ donation passes on life itself, a legacy woven not in silk, but in second chances. One guest told me, “It’s rare to attend an event where you leave thinking not just about what you saw, but about what you can give.”

Around the hall, a marketplace buzzed

touched. The air was thick with the smell of the tandoori dishes and the tang of street-style chaat from the counter. Watching friends, Indian and non-Indian alike, lean over plates of pani puris, laughing as the shells burst with spice and sweetness, reminded me that culture is best experienced through all senses. Generosity was everywhere. Donations

and the 360 degree video booth by Joseph of “Themoneyshotweddings” captured every turn of fabric, every burst of laughter. Parravilla’s chefs laid out a feast that had people going back for seconds.

The afternoon wasn’t just a programme, it was a rhythm. Stillness in the tableaux, then movement on the ramp. Quiet moments in conversation, then eruptions of applause. Every shift felt like the turning of a page in a story Preeti and I have been writing together for seven years. I was struck by how far this event has travelled, both literally and figuratively. Some guests came from across Australia, others from overseas. Many wore sarees inherited from mothers or

grandmothers and some wore sarees bought last week. None of that mattered. Each drape carried its own history, and together they told a larger one, that the saree is as much about the person who wears it as the threads it’s made from.

As the day closed, a first-time attendee told me: “I didn’t just see a saree show tonight. I saw women walking with the weight and pride of their culture, and it made me want to know my own story better.”

That is what this gathering has always been about. Not just fabric, performance, or charity, but the weaving together of past and present into something we can carry forward. Each year, we wrap ourselves in colour, in memory, in connection. Each year, the pattern grows richer.

Acknowledgements

Our heartfelt thanks to:

4Photography & 360 degree video booth –Joseph (themoneyshotweddings)

4Dance & DJ – Anitha Gopi (Mohiniattam), DJ Dimple (music), Shubhashri (singing)

4Stallholders – Gaby (Punjaban Diva), Lima (Lakshana), Monalisa (Naksha), Madhu (House of Krishati), Saima (XENO), Mansi (Luxe Ethics), Indriya, Mrinalini (M-Handmade), Tanuja (Dagina)

4Volunteers – Nita Vaarwerk (raffles) and all the ladies helping out at the entrance

4Venue – Parravilla Function Lounge

4Cake – Nirup of Spice Bazaar restaurant

4Sponsors – Parul Mehta (Indian Matrimonial), Punjaban Diva, Dipika Gandhi, Malabar Indian Restaurant, Jacob Chacko (Royal India Catering), Australian Cruise Group, Beenu Gupta (360 booth), Kamini Sahni, Isha Bose, Sujatha Kullur, Dr Chawla

4Donations – Lakshmi Pillai, Arjun Parmar, Baisakhi, Suhas Mahajan, Ryan Jacob, Jose K, Colleen Clarke, Dr Sadhana Pande, Cherry Werner, Nitin Kumar, Shishir Verma

4Tableaux and Ramp Walk – Padmaja, Baisakhi, Medha, Hema Setty, Deepali, Jeeva, Rattandeep, Abhilasha, Punita, Chandni, Shan, Sonali, Tanya, Uravashi, Usha, Bhavana, Razia and Soni

To everyone who attended, donated, and walked the stage, you made this year’s saree not just a garment, but a gift of heritage, community, and life itself.

Sydney Concert Celebrates Yash

By Kumud Merani

Remembering the Yash Chopra concert Kabhi Kabhi Mere Dil Mein organised by SCREAN Australia’s Manju Mittal was a truly resounding success. As the skies slowly darkened and a cold evening blanketed the city, there was a joyful hustle and bustle at the Pacific Hills Christian School with gentlemen in

their warm winter clothes and the ladies clad in fine chiffon saris, a la Yash Chopra style.

The event began on time with the baritone of popular MC Kartik Mohandas. The lamp was lit, the audience lights were dimmed and the very talented and jovial band was introduced. Latecomers were

Yash Chopra’s Musical Legacy

still strolling in, guided by the very dedicated volunteer team. They settled in and Rucha Lange’s mellifluous voice rose with the poetic lyrics of Kabhi Kabhi Mere Dil Mein, which expresses deep emotions of love and longing, making it a

cherished melody for music lovers. This was followed by a duet by Vikas Kolar a well trained singer with a captivating voice, and young Roohani, who sang the romantic and melodious Khuda Jaane, Roohani stirred the auditorium with her

tremendous energy and the audience was floored!

Then came Heena Sachdev one of the favourites of Sydney, along with Dilip Bhave, the singer with a powerful voice and fleet of feet at dance moves, they sang

Dil Tou Pagal Hai….. By now the crowds were going pagal with the quality of singing and choice of songs. Dilip Bhave then sang one of my absolutely favourite lyric by , yes, my favourite shayar/ lyricist Sahir Ludhianvi. You guessed it- Mein Pal Do Pal Ka Shayar hoon. I surreptitiously wiped a tear or two.

Sadiq Rehmani, a doctor by profession but best loved as a guitarist and vocalist charmed the crowds with his shayari, jocular manner and his song Mere Dil Mein Aaj Kya Hai. Unke dil mein na jaane kya tha but crowds ke dil mein pyar ubhar aaya. The evening moved on as Sydney siders swooned, sighed and quietly cried with nostalgia.

The two new to the Sydney stage singers, Pravesh Babhoota and Prashasti Jolly, were delightful, surprise packages. Their singing was most appreciated. Young Prashasti’s energy and confidence were riveting, as she belted out Jag Ghoomeya + Ghungru Toot Gaye. Pravesh faultlessly sang, Main Yahan Hoon, to great applause.

Vikas Kolur’s parody Hum Hain Rahee Pyarke was a show stopper. In the end, with Heena’s Sharara Sharara, Dilip’s Ole Ole, and the power-packed Roohani’s Dhoom Machale + Crazy kiya Re they succeeded in their endeavour to create dhoom and turned the crowd crazy.

I cannot end without a big salute to the wonderful musicians, the relevant imagery of visuals by Aman Vijan, and the masterful Master of Ceremonies Kartik Mohandas. Each performer was honoured with a shawl as a token of gratitude. This was another great success story by SCREAN Australia and Manju Mittal’s never-say-die passion for promoting the Arts.

The Adelaide Film Festival (AFF) has announced the first six films to screen at the 2025 Festival, with five of them directed by Australian women.

ADELAIDE FILM FESTIVAL ANNOUNCES FIRST SIX FILMS FOR 2025

Women directors at the helm of five of the first six films announced

TBy Daljeet Bakshi

hese must-see films include the outstanding documentaries Journey Home, David Gulpilil, by directors Maggie Miles and Trisha Morton-Thomas, andhaving their World Premieres in Adelaide - The Colleano Heart from director Pauline Clague and visionary filmmaker Lynette Wallworth’s Edge of Life.

Penny Lane Is Dead, from debut feature writer/director Mia’Kate Russell, continues Australia’s horror genre revival, led by South Australian filmmakers, with the support of AFFIF.

Also announced today is Fwends, the charming first-time feature that has become an indie darling at film festivals around the world, including at Berlin,

ANNOUNCES 2025

where it won the Caligari Film Prize, awarded annually to a film screening in the Berlinale Forum section which focuses on innovative and challenging cinema.

Joining these titles is the Cannes Film Festival Palme d’Or winner It Was Just An Accident, by acclaimed Iranian director Jafar Panahi.

The Colleano Heart, Edge of Life and Penny Lane is Dead were each supported into production by the Adelaide Film Festival Investment Fund (AFFIF). Since 2003, AFFIF has premiered and seeded over 150 projects, including some of the most significant Australian films of the 21st Century. Major AFFIF titles include Talk To Me (Danny and Michael Philippou, 2022), Hotel Mumbai (Anthony Maras, 2018), 52 Tuesdays (Sophie Hyde, 2013), Tracks (John Curran, 2013), Snowtown (Justin Kurzel, 2011), Samson and Delilah (Warwick Thornton, 2009), Ten Canoes (Rolf de Heer and Peter Djiggirr, 2005) and many more acclaimed films and moving image works.

Colleano circus family. Through the wisdom of their Aboriginal matriarch, the family outmanoeuvred 1900’s oppression and racism to rise to the highest echelons of international circus stardom. Generations later, flamboyant, American-born, octogenarian Molly O’Donnell meets Deb Hescott, an Australian family historian with a DNA connection to Molly’s Colleano line. They build a bridge across the oceans on a quest to reclaim identity, connect to ancestors and unearth family secrets. In doing so, Molly breaks the cycle of the Hidden Generation and reignites The Colleano Heart.

The electrifying cast of young Australians who star in Penny Lane Is Dead includes Sophia Wright-Mendelsohn, Bailey Spalding, Alex Jensen, Tahlee Fereday and Ben O’Toole alongside Steve Le Marquand and Fletcher Humphrys.

Penny Lane Is Dead features a rocking 80s soundtrack and is the first project from Sanctuary Pictures, produced alongside Buffalo Media and in association with Cyan Films. Julie Ryan, Ari Harrison, Andre Lima and Carly Maple are producers.

The film is set in 1986, during a scorching Aussie summer, where three best friends’ celebration at a beach house turns into a blood-soaked fight for survival when a prank goes horribly wrong.

The Colleano Heart by First Nations director Pauline Clague and producer Kate Pappas tells of the story of the famous

Edge of Life is written and directed by Lynette Wallworth, with writer Chief Tashka Yawanawa and producer: Jo-anne McGowan. Filmed in Australia and in the Brazilian Amazon, the film is a remarkable exploration of the last great frontier in a human life - the doorway to death. We know intellectually our time will end and yet in the Western world at least, we often act as if death is a mirage, disappearing the closer we move towards it. Two doctors in Melbourne are using psilocybin to help ease the anguish of patients at end of life, and the results they have seen are remarkable. But this visioning tool, like other plant medicines, is not new, it comes from ancient traditions that are now being funnelled into Western medicine. It is possible the world’s oldest cultures have something important to teach us, not just about traditional medicines but about one of the most essential aspects of human life, its end. If we are humble, and they are willing, we have much to learn.

Journey Home, David Gulpilil is directed by Maggie Miles and Trisha Morton-Thomas and produced by Rachel Clements, Jida Gulpilil, Lloyd Garrawurra, Trisha Morton-Thomas and Maggie Miles. When Australia’s most renowned Indigenous actor David Dhalatnghu Gulpilil passes away far from his Homeland, his family struggle against huge logistical challenges to fulfill his final wish, to bury him on his Homeland, over four and a half thousand kilometres away.

It Was Just An Accident is the latest film from celebrated Iranian director Jafar Panahi. Winner of the 2025 Palm d’Or prize at the Cannes International Film Festival. One of the foremost filmmakers of his generation, Panahi has previously won the Caméra d’Or, the Un Certain Regard Jury Prize, the Venice Golden Leopard and Special Jury prizes, the Silver Bear at Berlin, amongst many other accolades.

In 2010, Panahi was sentenced to a 20-year ban from directing films, writing screenplays, giving interviews to the press, or leaving Iran, under threat of a six-year prison sentence. The verdict was upheld on appeal in the fall of 2011. He continued to make films however and was arrested in July 2022 and would not be released until February 2023, after a hunger strike.

In It Was Just An Accident, what begins

describes the film as “another very impressive serio-comic film from one of the most distinctive and courageous figures in world cinema”.

In the delightful Fwends, directed by Sophie Somerville and produced by Sarah Hegge-Taylor, Sophie Somerville and Carter Looker, old friends Em and Jessie

where we can commune and contemplate the world and we can’t wait to welcome audiences at AFF in October.”

Minister for the Arts, Andrea Michaels, said: “It’s very exciting to be announcing the first six films that will feature at this year’s Adelaide Film Festival. Adelaide Film Festival is renowned for the ex-

Happy India Independence Day

Oh Pehli Mohabbat: A Timeless Exploration of Punjabi Poetic Devotion

WESTERN SYDNEY RECENTLY WITNESSED AN ARTISTIC LANDMARK THAT WENT FAR BEYOND PERFORMANCES.

By Daljeet Bakshi

Oh Pehli Mohabbat, the latest poetic anthology by esteemed Punjabi poet Shammi Jalandhari, is not merely a collection of verses — it is an evocative odyssey through time, emotion, and the sacred dimensions of love and devotion. Published in 2025 by Café World Publications with special patronage from Lucky Singh, this work elevates mohabbat (love) into ibadat (worship), offering readers a transcendental engagement with the soul of Punjabi literature. Crafted in classical Punjabi, the collection revives a rich linguistic tradition once echoed in the alleys of Lahore, the courtyards of Punjab’s shrines, and the mystic verses of Sufi saints. Jalandhari’s poetry embodies both spiritual depth and literary finesse — a rare confluence in the contemporary poetic canon.

Shammi Jalandhari: A Cross-Border Literary Voice

Renowned for works such as Pehli Barish and Ishq Mera Sultan, Shammi Jalandhari has established himself as a poet and lyricist whose artistry transcends geographical and cultural

boundaries. His writing resonates across South Asia, finding expression in books, music albums, and film soundtracks. His lyrics have been brought to life by celebrated artists including the Nooran Sisters, Hargun Kaur, Sunil Singh Dogra, Yakoob, and Zohaib Naeem Babar. International collaborations, such as with British composer Mukhtar Sahota, further underscore the global relevance of his poetic voice.

From Verse to Voice: Oh Pehli Mohabbat in Music and Performance

The poetic resonance of Oh Pehli Mohabbat has already begun to inspire adaptations in the world of music and performance. Acclaimed Punjabi vocalist Gurlez Akhtar is set to release a musical interpretation of selections from the book, with composition by Sunraj Singh — a synthesis of lyrical depth and melodic richness. In a special tribute, classical maestro Ustad Mohammad Ali will present select verses from the collection in live performance, creating a rare convergence of literary heritage and classical music that honors the cultural legacy of Punjabi poetic expression.

Selected Verses from Oh Pehli Mohabbat “Hamd khudai ishq de sajde,

These lines evoke a deeply spiritual sensibility, interweaving Sufi motifs through sacred language such as Hamd, Noor, and Alif, forming a prayer-like invocation.

“Je koi kafir dushman de vī mallham-pattī banne, Fark nahi painda, phir oh Rabb nu manne ja na manne.”

Here, compassion transcends creed — the highest form of faith manifests in kindness, even toward one’s adversary.

“Na sooraj sitaare chiraagaan da chanan, Liaqat de mangia kitaaban da chanan”

Without the illumination of wisdom, even the light of sun, stars, and lanterns is rendered meaningless.

A Message of Spiritual Humanism for the Contemporary Era

Oh Pehli Mohabbat stands as a rare literary offering that harmonizes classical poetic form with spiritual insight and emotional authenticity. It conveys that genuine spirituality is rooted in humanity, and that empathy is the truest expression of faith.

In an age where much of modern poetry diverges from its cultural and metaphysical roots, Shammi Jalandhari’s work emerges as a revivalist force — reestablishing a living dialogue between the past and present. With Oh Pehli Mohabbat, Jalandhari not only honors the dignity of the Punjabi language but also extends a lasting gift to future generations.

Now Available Worldwide

Oh Pehli Mohabbat is available internationally, including through Kitabvala.com. au in Australia.

Noor ilaahi dullhya sir te Itraan de naal bhariyaan akhaan, Alaf da akhar parhde parhde”

THINK MORTGAGE CELEBRATES CONNECTIONS AT CUSTOMER APPRECIATION

By Daljeet Bakshi

Think Mortgage hosted a memorable Customer Appreciation Evening at the Sebel Playford, drawing around 250 guests, including customers, referral partners, and supporters. The event was a heartfelt celebration of the relationships Think Mortgage has built within the community and showcased their commitment to exceptional service.

The evening was graced by esteemed VIP signatories Hon Jing Lee and Vincent Tarzia, whose attendance highlighted the significance of Think Mortgage in the local financial sector. Their presence added a touch of honor and recognition to the event. Also in attendance were William Lockett and Ann Maree Lockett from the Specialist Finance Group, further underlining the collaborative spirit within the industry.

CELEBRATES COMMUNITY APPRECIATION EVENING

One of the highlights of the evening was a comprehensive market update presented by Kevin Brogan from Herron Todd White. His insights provided guests with valuable information about current market trends, helping them navigate the financial landscape with confidence.

The event’s energy was amplified by the dynamic emcees, Sunaina and Niraj, who brought a lively spark to the proceedings, keeping the audience engaged and entertained throughout the evening.

Guests were treated to an array of stunning performances, including love singing, an elegant Chinese ballet dance, and a high-energy Bollywood dance that had everyone tapping their feet. These cultural showcases added a vibrant flavor to the night, celebrating the diversity and talent within the community.

Kapil Virmani, the owner of Think Mortgage, delivered an inspiring speech that resonated with attendees. He expressed his gratitude for the support of customers and partners, emphasizing the company’s mission to provide tailored financial solutions. In a moving gesture, he invited his dedicated team on stage, recognizing their hard work and contributions to the company’s success.

As the evening came to a close, guests left with a renewed sense of

connection and appreciation for Think Mortgage. For those seeking assistance with home loans, business loans, or car loans, Think Mortgage stands ready to provide expert guidance and support.

In a world where relationships matter, Think Mortgage continues to lead the way in building lasting partnerships within the community.

FROM HER MAJESTY ’S THEATRE TO ADELAIDE BOTANIC GARDENS –

OzAsia Festival announces extended program across Adelaide

The Adelaide Film Festival (AFF) has announced the first six films to screen at the 2025 Festival, with five of them directed by Australian women.

OzAsia Festival, Australia’s leading contemporary arts festival engaging with Asia, has launched its longest program yet – spanning four weekends this Spring. From Friday October 17 –Sunday November 9, OzAsia Festival will expand across the city, with events at Adelaide Town Hall, Her Majesty’s Theatre, Odeon Theatre, Adelaide Bo-

tanic Gardens, and more. Tickets on sale now.

Audiences can expect transformative performances, delicious food and engaging conversations from this year’s program which includes six world premieres, four Australian premieres and eight Adelaide premieres.

Showcasing the best of Asian and Asian Australian art and culture and featuring more than 200 local, national and international artists from 14 countries, OzAsia Festival is curated by Festival Director Joon-Yee Kwok: “This year OzAsia Festival spans four weeks, giving our audiences more chances to celebrate culture, creativity, community and con-

Daljeet Bakshi

lar events. From theatres and galleries to the riverbank, parks, and city streets, we’re looking forward to bringing people together with some fantastic Asian and Asian Australian artists.”

At Adelaide Town Hall, GRAMMY award-winning pianist Hiromi will join forces with multi-GRAMMY-nominated string quartet PUBLIQuartet to present a breathtaking blend of jazz and classical composition in The Piano Quintet for one night only on Tuesday 28 October, as part of her anticipated national tour.

Celebrating his 80th birthday, pioneering artist William Yang will reflect on his extraordinary life in Milestone at Adelaide Town Hall on Friday 31 October, exploring themes of family, sexuality, and culture with his signature humour and candour. Weaving together documentary photographs with personal stories, Milestone is a joyous tribute to an Australian icon set against an exquisite score composed and performed by Elena Kats-Chernin with Ensemble Lumen.

Adelaide Festival Centre CEO Kate Gould: “This year, OzAsia Festival offers audiences new and diverse ways to experience the festival, by expanding into even more venues and public

spaces across the city. I look forward to welcoming audiences, old and new, to Adelaide’s cherished OzAsia Festival this Spring.”

At Her Majesty’s Theatre, The Special Comedy Comedy Special: Greatest Debate will be a hilarious night featuring Michael Hing, AJ Lamarque, Alex Lee, Lawrence Leung, Sashi Perera and Kushi Venkatesh debating “the new Australian dream is never moving out.” A night of real estate, rice cookers and repressed emotions, moderated by ABC Radio Adelaide’s Jason Chong.

At The Odeon Theatre Monica Lim and Mindy Meng Wang reimagine the connection between life and death in immersive, multi-artform performance, Opera for the Dead, a contemporary Chinese cyber-opera for those who find beauty in darkness and humour in the macabre. Also at the Odeon, Australian Dance Theatre continue to break new ground in their 60th anniversary year, with Two Blood – an OzAsia Festival commission created by visionary artists S. Shakthidharan, Daniel Riley and Jasmin Sheppard.

At Festival Plaza, Singapore’s The Human Expression (T.H.E) Dance Company return to OzAsia Festival with Searching Blue, an outdoor per

nection at intimate shows and spectacu-

formance tracing shifting relationships between people, places and passers-by, guided by Malaysian sound artist Kent Lee’s live music.

At Vitalstatistix, Ryuichi Fujimura’s trilogy of solo contemporary dance works will be performed together for the first time. A witty and moving depiction of a life in dance, the HERE NOW Trilogy (comprised of solo works How Did I Get Here?, How I Practice My Religion, and Fall! Falter!! Dance!!!), charts the passing of time and Ryuichi’s shifting capabilities during his 25-year journey as a contemporary dancer.

At The Lab at ILA, Elsewhere in India: Return to Technopia is an immersive nightclub experience featuring electro-classical Indian music and surreal visuals, by transmedia artists Murthovic and Thiruda. Exploring cultural heritage, digital technology, and speculative futures, Elsewhere in India will feature collaborations with some of Adelaide’s most exciting South Asian artists.

At Nexus Arts Venue, SpanishIranian duo Mohammad Miraghazadeh and Michel Gasco breathe new life into the ancient music of a vast cultural region that spans the borders of Iran and Afghanistan in Badieh: Music from Greater Khorasan; live cello, electronics and sounds of the Bornean forest meet storytelling and hip hop in

seafaring epic The Offering (A Plastic Ocean Oratorio) by Omar Musa and Mariel Roberts Musa, exploring family, ecological collapse, and Southeast Asian colonial history.

After a sold-out season at OzAsia Festival 2024, South Australian hip-hop artist Kultar Ahluwalia’s The Mixed-Race Tape is back at Nexus by popular demand. This autobiographical, multidisciplinary performance blends hip-hop with old recordings, family interviews, and spoken word to delve into Kultar’s Punjabi heritage and upbringing.

Another show at Nexus Arts turning family history into an immersive solo performance is Embarking on a Drift to the Unknown. In 1957, a woman crossed the sea and vanished into an

arranged marriage. Decades later, her granddaughter retells the story in an audio-immersive work delivered to audiences via wireless headphones — merging soundscapes, fragmented memory, and archival media to explore migration, colonial legacies, and resistance.

In a poignant yet playful cabaret brimming with song and laughter, Rick Lau and Anna Lo celebrate their ancestral roots and honour the many lives and memories that make up Hong Kong in LauZone, with a euphony of dialects including Cantonese, Putonghua, Chiuchow and Shanghainese.

The Honourable Andrea Michaels MP, Minister for Arts: “OzAsia Festival is an exciting celebration of Australian and Asian culture right here in Adelaide and is not to be missed. This year, audiences have even more opportunities to experience this wonderful festival, as it extends for an extra weekend throughout the city.”

OzAsia Festival favourite, Lucky Dumpling Market, returns to Elder Park from October 17, serving up a delicious range of cuisine from the best local vendors accompanied by free live entertainment on the OzAsia Festival stage, kicking off with a free Opening Night Party featuring live music by multiple ARIA-nominated artist and songwriter Mo’Ju. Don’t miss Sunset Sounds on

the OzAsia Festival stage – an exciting line-up of musical guests from across Australia, and internationally from Vietnam, Indonesia and Thailand.

Follow the spectacular 40 metre long Hong Kong Dragon lantern across the Riverbank Footbridge and see more than a dozen giant lanterns light up Tarntanya Wama/Pinky Flat for the beloved Moon Lantern Trail. A free, family friendly event featuring roving performances, giant puppets and delectable food from Thursday 23 to Sunday 26 October, this year, families can look forward to the new Moon Garden program with performances and workshops for all ages by local artists and communities, including lantern-making, origami, calligraphy,

storytelling and more.

Celebrate Japanese pop culture at AnimeGO! on Sunday 26 October, with anime, manga, karaoke and more to explore at Dom Polski Centre, and on Saturday 1 November, indulge in authentic Korean street food, K-pop performances and traditional games at Hongdae in Adelaide, a must for K-culture fans and foodies alike, at 12 Eliza St, Adelaide.

On the final weekend, audiences can enjoy thought-provoking panels and inspiring conversations at OzAsia Festival’s Weekend of Words, Australia’s largest gathering of Asian and Asian Australian writers and thinkers. Curated by multi-award-winning writer

and comedian Sami Shah, this year’s program of exciting free events for OzAsia Festival’s Weekend of Words will be announced in September, featuring international guests from Singapore, Indonesia and South Korea.

A vast array of visual arts will be on display throughout the festival, including solo exhibition UNITY by OzAsia Festival 2025 brochure cover image artist Victoria Garcia. Explore love and devotion in Asian art in Touching the Divine accompanied by Rakini Devi’s interactive performance The Female Pope at the Art Gallery of South Australia. At Adelaide Botanic Garden, take a journey across the land, water and skies of Singapore and the Malay Peninsula via 200-year old watercolours in exhibition Tails from the Coasts and accompanying multisensory, inclusive adventure Hu an inspired by some of the works in the exhibition.

With plenty of free workshops, masterclasses, and talks also on offer, stay up to date on program details at www. ozasiafestival.com.au

OzAsia Festival 2025 runs from October 17 to November 9.

“All aboard”- A call out to older adults to get social

Anew initiative from Scalabrini Communities, “Live Easy Social” is providing exceptional outcomes in connecting and enhancing the social lives of our older adult community in Sydney’s South West. And with the focus on interesting and engaging activities, next month all are invited to jump on board the Riverboat Postman Cruise at Hawksbury River.

Live Easy Social is designed to help older adults engage with their community, build meaningful friendships, and enjoy life to the fullest. Created with connection, wellbeing, and fun at its heart, Live Easy Social offers a range of engaging programmes and activities tailored to the interests and needs of older adults. From group outings and exercise classes to creative workshops and casual get-togethers at the Live Easy Hub in Mt Pritchard, it provides countless opportunities for older adults to stay active, connected, and supported.

Live Easy Social have a dedicated liaison team to facilitate and host the events including Italian, Indian, Hispanic and Filipino staff to ensure all culturally diverse

individuals feel comfortable and welcome.

Since launching in September 2024 with an outing to Sydney Botanic Gardens, over 165 older adults have participated in 14 gatherings and excursions which have also provided the catalyst for many new friendships and regular connections.

Additional to weekly outings, Live Easy Social has established a regular hub every Wednesday at The Our Lady of Mt Carmel Church Hall in Mt Pritchard offering changing weekly activities such as bingo, cards, trivia, dance, craft, gentle exercise and tech classes together with a home cooked Italian lunch, all for $15.

The excursions which have largely been in response to popular demand within the community thus far have included a ferry trip to Watsons Bay and bus trips to Windsor, the Blue Mountains, Central Coast and Wollongong.

Live Easy’s Social Manager, Anna Wilson says, “The programme is a direct response to community needs. They asked and we listened. We were hearing from able older adults who wanted to enjoy outings with their friends but did not have the means to

organise and manage the logistics. So, we do everything, and all they need to do is RSVP and turn up.”

She adds, “To ensure it is in the reach of everybody, Live Easy Social does not seek reimbursement to cover all costs and subsidises staffing etc. All we aim to recoup are expenses such as bus hire and catering”.

“Live Easy Social really is the way Scalabrini Communities is giving back and supporting the older adult multicultural communities stay connected”.

The next Live Easy Social event is a Riverboat Postman Cruise on the Hawksbury on Wednesday 13th August it is all inclusive of bus transfers, 3 hour cruise, morning tea and lunch for just $79 and older adults keen to jump on board simply have to call | 02 8729 2865 or email | melissa.vela@scalabrini.com. au (Meeting point: 8am / St Elias Speleota’s Catholic Church, Ashcroft)

Live Easy Social Hub –every Wednesday from 9am Venue: Our Lady of Mt Carmel, 230 Humphries Road, Bonnyrigg To find out more call | 0419 042 907 or email: anna.wilson@scalabrini.com.au

Launch of Understanding Australia’s Indian Communities: A Statistical Snapshot report

By:

The Department of Foreign Affairs and Trade (DFAT) and the University of Queensland (UQ) hosted a launch event for “Understanding Australia’s Indian Communities: A Statistical Snapshot report” on Friday 25 July 2025 at Customs House, Brisbane.

Mr Peter N. Varghese AO, Chancellor of University of Queensland, Hon Time Watts MP,

Rajni Ghai Malhotra

Special Envoy for Indian Ocean Affairs and Mr Brett Lovegrove

Pro Vice- Chancellor shared their thoughts on the importance of strategic

partnership between Australia and India and the role of the diaspora in strengthening ties between the two countries. Amongst the invitees, Dr

Santosh Jetrana, Ms Neetu Bhagotia Consul General of India, Brisbane, Dr Susan Gasson were also in attendance at the event. The talks were followed by morning tea.

The report, produced by the University of Queensland, offers valuable insights into the rich contributions, perspectives, and experiences of the community, and how these shape and enrich contemporary Australian life. Recognising the contributions and evolving roles of this community is essential for understanding its impact on Australian society and the broader relationship between Australia and India.

As India and Australia continue to strengthen ties in an increasingly dynamic Indo-Pacific, this report offers timely and valuable insights into shared opportunities and global challenges ahead.

Brisbane Festival 2025: A Dazzling Culture, Community,

Brisbane will once again transform into a living, breathing stage this September as the 2025 Brisbane Festival delivers its most ambitious and inclusive program to date. Running from 5–27 September, this year’s festival marks the final curation by visionary Artistic Director Louise Bezzina, and she departs with a celebration that pulses with world premieres, international collaborations, deeply personal storytelling, and a vibrant spirit of community.

Spanning 23 days, the festival features 106 productions, 1,069 performances, and showcases 2,260 artists — with over 43% of the program free to the public.

From riverside performances to immersive installations and heartfelt neighbourhood events, Brisbane Festival 2025 invites everyone to take part in an extraordinary citywide experience.

Global Artists Arrive in Brisbane From North America to Europe, and across Asia and the Pacific, performers are flying into Brisbane Airport to take part in the festival’s largest program yet. The 2025 lineup includes world-class dance, cutting-edge music, large-scale public art,

and intimate culinary theatre — all set against the city’s streets, parks, and iconic venues.

Returning home are Craig & Karl, the Brisbane-born duo now known worldwide for their bold, pop-art visuals. Their

Dazzling Citywide Celebration of Community, and Creativity

project Walk This Way will transform the Neville Bonner, Goodwill, and Kangaroo Point bridges into monumental public art, while Double Vision at Griffith University Art Museum offers a personal look at their global journey.

South Asian Stories Take Centre Stage Indo Warehouse: Kahani & Kunal Merchant

Leading a new era in electronic music, Kahani and Kunal Merchant bring their genre-defining Indo House sound to Brisbane Festival. As co-founders of Indo

Back to Bilo

From acclaimed Queensland theatre company Belloo Creative comes Back to Bilo, a poignant new play based on the true story of Sri Lankan refugees Priya and Nades Nadesalingam and their daughters. After building a peaceful life in regional Queensland, the family was removed in a dawn raid — sparking a national campaign led by the women of Biloela that captured hearts across Australia.

This powerful stage work is a testament to resilience, justice, and the strength of community. Told with emotional depth and courage, Back to Bilo is one of this year’s most affecting and relevant Australian stories.

A Place in the Sultan’s Kitchen

In a beautifully intimate performance, theatre-maker Joshua Hinton invites audiences into a personal culinary ritual. As he prepares his grandmother’s chicken curry live on stage, he shares stories of family, migration, and memory. A Place in the Sultan’s Kitchen is a tender, multisensory experience that blends aroma, music and storytelling — an offering of love through food.

Warehouse, the New York-based duo are revolutionising dance floors with a sound that fuses South Asian percussion, vocals, and melodies with deep house and global club aesthetics.

Their meteoric rise has seen them headline major venues and festivals worldwide, bridging tradition and modernity in thrilling back-to-back sets. Their Brisbane debut promises an unforgettable blend of cultural rhythm, electronic innovation, and high-energy performance.

Moorooka Feast

For an even more immersive experience, the festival invites food lovers to Moorooka Feast — a warm, inclusive celebration of South Asian cuisine and community.

Bring your appetite, bring a friend, and leave with a full heart (and a full belly).

Savour a mouth-watering Indian buffet of aromatic curries, savoury samosas, fluffy basmati rice, freshly baked naan and more — all crafted with love by the

team at The Sultan’s Kitchen. This is more than a meal; it’s a celebration of flavour, hospitality, and the joy of gathering around a shared table.

A City Alive with Performance and Participation

Large-scale installations and deeply moving works define the festival’s scope:

4Baleen Moondjan, by celebrated First Nations artist Stephen Page, will take place on a floating barge along the Brisbane River, featuring towering whale bone sculptures and ceremonial storytelling.

4Gems, a world premiere dance trilogy, brings together international talents including Benjamin Millepied, Barbara Kruger, and Philip Glass.

4Skylore, a drone-powered spectacle, lights up the night sky with First Nations stories.

Community, Dance, and Belonging

Inclusivity pulses through this year’s program. Bring A Plate Dance Company, a leader in inclusive movement, continues to challenge perceptions of who can dance and where. Since 2017, they have been creating safe, joyful spaces that celebrate all bodies, all experiences, and all expressions of dance.

Likewise, Common People Dance Eisteddfod returns, welcoming Brisbanites into a wildly fun, sequin-studded suburban dance battle that radiates joy and self-expression. Meanwhile, 100 Guitars unites musicians from all skill levels in a powerful mass performance that celebrates connection through sound.

Music Beneath the Stars

The Night at the Parkland concert series brings major acts to Roma Street Parkland, including:

4ICEHOUSE

4Amy Shark

4 Xavier Rudd

4Lime Cordiale with Jack River

4Grinspoon

4Cut Copy with KLP

4And Indo Warehouse, bringing global rhythm to the local stage

The Brisbane Serenades series continues to bring neighbourhoods together with events like Pasifika Made, Manly Serenades, Moorooka Block Party, and St Lucia Serenades — each reflecting the unique cultural identity of its community.

A Legacy of Leadership

“My final festival is a celebration

of everything Brisbane Festival has become: a world-class event with a fiercely local heart,” said Louise Bezzina.

“Brisbane Festival is more than an arts event — it’s a celebration of our identity as Australia’s lifestyle capital,” said Lord Mayor Adrian Schrinner.

Minister for Arts John-Paul Langbroek noted the program’s focus on cultural storytelling, accessibility and global connection, affirming the Festival’s growing significance ahead of the Brisbane 2032 Olympic and Paralympic Games.

Event Details

Dates: 5 – 27 September 2025

Program: 106 productions, 1,069 performances, 21 world premieres Tickets and program info: brisbanefestival.com.au

Brisbane Festival 2025 is more than a cultural calendar highlight — it’s a statement of identity, inclusion, and imagination. Whether you’re dancing in the street, watching a story unfold on stage, or sharing a meal with neighbours, this year’s festival invites you to be part of something unforgettable.

“A

celebration of not fame, but of faith Manukhta Di Sewa

In Melbourne — lovingly known as the City of Festivals, where multiple events unfold each day — something truly meaningful and heart-stirring took place. Breaking away from the usual celebrity-focused gatherings, the city witnessed an event rooted in compassion and selfless service:

“Manukhta Di Sewa, Sab Ton Waddi Sewa” — Serving Humanity is the Greatest Service.

This impactful occasion marked the first-ever Melbourne visit of Gurpreet Singh Mintu Malwa, the founder of a

powerful humanitarian mission devoted to uplifting those in need — from rescuing the homeless to supporting individuals battling mental health issues.

The credit for bringing this noble event to life goes to a dedicated team of community leaders:

4Shukrana from Shukrana Events

4Micky Makkar from Mstarr Group

4Gurpreet Shokar from Miri Piri Sports & Cultural Club Melbourne

At a time when most organisers focus on stars and entertainment, this team chose to spotlight real heroes like Gurpreet Singh

Daljeet Bakshi and Satinder Chawla

faith in humanity” Sewa

Mintu Ji, whose daily work is a beacon of hope and humanity.

The event was hosted at the elegant Pearl Venue, with heartfelt appreciation to Harman Singh and Guri for providing the space and support for such a meaningful cause.

A special acknowledgment to Preetinder Singh, who graciously served as the event host, guiding the evening with warmth,

poise, and sincerity — truly embodying the spirit of sewa.

Mayor Pardeep Tiwari, Avtar Singh and community leaders and members of community attended in large numbers .

4This gathering was more than just another event —

4It was a pearl among festivals — rare, radiant, and deeply significant.

4A celebration of not fame, but of faith in humanity.

4th Adabi & Kala Utsav

4TH ADABI & KALA UTSAV 2025 WAS ORGANISED BY BIKKAR BAI PHUL & MELBOURNE” HONOURING PUNJABI TALENT ACROSS BORDERS

By Daljeet Bakshi

Sahitak Sath Melbourne extends an open invitation to all to attend the 4th Annual Literary and Arts Festival, a celebration of Punjabi literature, culture, and creativity. This year’s festival promises a rich tapestry of performances, exhibitions, and recognition of outstanding contributions across diverse fields. The event will uphold its cherished tradition — “Mehfil-e-Sukhan”, where

Melbourne & interstate poets presented their literary creations, continuing the city’s vibrant poetic legacy.

One of the key highlights of the festival will be the “Punjab Gaurav Awards”, which recognize exceptional contributions in literature, arts, media, and education. This year’s honourees include:

4Preetinder Singh Grewal – for excellence in media and stage performance.

4Sarmuhabbat Singh – for significant contributions in research and Punjabi education.

4Satinder Chawla – for distinguished work in theatre.

4Sukhjinder Singh Laadi – a renowned folk artist, for his dedication to preserving and promoting Punjabi folk music and instruments.

The Chief Guest for the event will be Dr. Parmit Kaur from Punjabi University, Patiala. Renowned poet Sukhwinder Amrit graced

Utsav 2025, Melbourne

& TEAM “SAHITAK SATH BORDERS

the occasion as the Special Guest of Honour, alongside respected literary and academic personalities Dr. Hardeep Kaur Shahi and

writer-journalist Dharvinder Aulakh.

The event was hosted by popular Harman radio presenter Amardeep Kaur.

Cultural contributor Rama Sekhon once again lead the much-loved poetry segment “Mehfil-e-Sukhan,”

The festival will also feature captivating exhibitions:

4Sukhjinder Singh Laadi will presented traditional Punjabi folk instruments.

4Simranjeet Singh Sadiora and Monica Gill presented a visual art exhibition.

4Balihar Singh will organise a special

Punjabi book exhibition.

Adding to the vibrancy, acclaimed Punjabi folk singer Harpal Wadali from India, performed live. The festival also mark the launch of Manjeet Boparai’s much-anticipated book “Kaafir Hi Pavittar Manukh”, traveling specially from Brisbane for the occasion.

Almost 300 people were there in the venue “Brothers Banquet” Springvale Melbourne & was well organised event. Congratulations Bikker Bai phul,Harman Gill,Kanwal Sandhu,Kuldeep kaur,Sandeep Sandy,Jagdeep Singh,Jasprit Kaur & team.

Teeyan celebrations

The 15th anniversary of Tiyan West was celebrated in Melbourne’s western suburbs with traditional enthusiasm and a grand, successful event. Honoring Punjabi customs and culture, the major celebration of “Tiyan West Diyaan 2025” was held with great energy, spirit, and community feeling at the Encore Events Centre.

Daljeet Bakshi and Satinder Chawla

celebrations in Melbourne

A large number of women participated in this event, presenting Giddha, Bhangra, Luddi, Kathak, a special dance by women aged 60+, and other traditional performances, delighting the audience. For the first time, 235 performances were presented on a single stage, making the event even more vibrant. The celebrations were further enhanced by the presence of Federal MP Joanne Ryan, who praised the event. Adding to the charm, live performances were given by local Punjabi singers from Balle Starz, which were greatly appreciated by the audience.

People also loved the seven raffle prizes, especially the 22-carat gold Jugi necklace. The large community participation clearly showed that Punjabis living overseas still have a deep connection and pride in their heritage and traditions.

The organizing team – Suman Bhangu, Dolly Rai, Ruby Kalsi, and Navneet Kaur – expressed gratitude to all media partners, sponsors, and supporting teams who contributed to the success of the event.

Punjabi and Hindi in ACT Schools: Inclusion and Educational

The Indian-Australian community came out in force to enjoy an incredible performance by Indian musical superhero Arijit Singh in a sold out Qudos Bank Arena at Sydney Olympic Park on Saturday July 13.

A significant shift is underway in the ACT’s public education landscape. The ACT Government has announced a new initiative exploring the introduction of Punjabi and Hindi into the public school curriculum — a milestone that reflects the growing voice and needs of Canberra’s Indian diaspora.

This progress comes after sustained community advocacy, with Ravinder Singh

Sahni, ACT Labor Candidate for Yerrabi, leading the charge through a formal petition. His efforts helped elevate the issue to the policy level, culminating in a commitment by the ACT Labor Government to explore language education in partnership with the Punjabi-speaking community.

Why It Matters

Canberra’s Indian community has become the largest multicultural group in the Territory, with around 17,000 residents, nearly 10,000 of whom speak Punjabi or Hindi at home. Yet, despite these numbers, students who speak these languages have had little access to formal learning opportunities in the public school system.

Data from the August 2024 ACT public school census shows:

4Over 600 students identify Punjabi as their primary language

4More than 800 students identify Hindi as their primary language

This new initiative aims to close that gap by providing students with a way to formally engage with their heritage language — not only enhancing educational outcomes, but also strengthening their cultural identity.

Educational Benefits Beyond Language

Languages are one of the eight core learning areas in the Australian Curriculum. Beyond the obvious linguistic advantages, learning another

Schools: A Step Towards Cultural Educational Equity

language promotes stronger communication skills, intercultural understanding, and cognitive development — including critical thinking and problem solving.

For many children who speak Punjabi or Hindi at home, being able to study these languages at school offers both academic enrichment and personal empowerment.

Community Survey Now Open

The ACT Government has launched a community survey to assess interest and feasibility in delivering Punjabi and Hindi in public schools. Families, educators, and community members are encouraged to share their views on whether and how these languages should be introduced.

Have Your Say: https://yoursayconversations.act.gov.au/punjabiand-hindi-languages

Responses will help shape the program and determine which schools may be best suited to offer these language options in the future. The ACT already supports eight priority languages in schools, backed by strong connections to embassies, universities, and community networks. This addition would mark a crucial step in making the curriculum more inclusive and reflective of the Territory’s diversity.

A Community-Driven Victory

This milestone is not just a policy win — it’s

a community win. It’s the result of countless voices advocating for cultural recognition and equal opportunities for their children.

As the ACT evolves into an increasingly multicultural society, it’s essential that education policy evolves with it. Introducing Punjabi and Hindi into public schools is not just about language — it’s about belonging, inclusion, and ensuring every child sees themselves represented in the system that helps shape their future.

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Sagar Wali Qawwali Live in Australia: Sydney and Melbourne

The magic of Qawwali is making its way to Australian shores this October as acclaimed vocalist and composer Sagar Bhatia, popularly known as Sagar Wali Qawwali, brings his powerful and soul-stirring performance to Sydney and Melbourne. Known for reinventing traditional Qawwali for modern audiences, Bhatia’s tour promises a spiritual celebration of music, faith, and culture—perfectly timed with the festive season of Diwali.

Event Details

In Sydney, the event will be held on Saturday, 4 October 2025 at Sir John Clancy Auditorium, Kensington, starting at 7:00 PM. The Melbourne concert will take place the very next evening, on Sunday, 5 October 2025, at the Melbourne Pavilion, also beginning at 7:00 PM.

Tickets for both shows are now available through popular ticketing platforms, with categories ranging from general admission to VVIP and exclusive meet-and-greet packages.

Bringing Qawwali to the Global Stage Sagar Bhatia has been widely credited with breathing new life into Qawwali music by blending its devotional roots with a modern aesthetic that appeals to audiences across

Australia: Sagar Bhatia Set to Ignite Melbourne This October

age groups and cultures. Whether through reinterpretations of age-old compositions or original songs steeped in Sufi philosophy, Bhatia’s performances are emotionally rich and musically captivating.

Having performed across the United States, United Kingdom, United Arab Emirates, and India, Bhatia’s shows have become synonymous with spiritual connection and musical excellence. His concerts often run for over two hours, featuring a full live band including tabla, dholak, harmonium, and backing vocalists—delivering a complete and immersive Qawwali experience.

The Artist Behind the Movement

Born and raised in Delhi, Sagar Bhatia began his musical journey as a guitarist at the age of seventeen, touring with devotional music legend Narendra Chanchal. After gaining performance experience internationally in Malaysia and Dubai, he returned to India in 2010 and soon shifted focus to singing.

His national breakthrough came in 2014 when he became one of the top finalists in the popular Indian music reality show India’s Raw Star. That recognition led to the establishment of his own musical initiative, Right Note, under which he began producing his unique Qawwali sound.

Unlike many artists who chase shortform content and digital trends, Bhatia has remained committed to long-form, emotionally grounded performances. In a recent interview, he shared, “I do not want to work in the reel format; I want to work in the real format.” This philosophy has earned him admiration for maintaining authenticity while evolving the genre for global audiences.

Signature Songs and Style

Sagar Bhatia’s catalogue includes both classic and original works. Among his most notable performances are renditions of Kiven Mukhre Ton, Tere Jeya Hor Disda, and Je Tu Akhiyaan. His original tracks, such as Mera Ishq, Sajda, and Khudaya (featured in the film Sarfira), have also received widespread acclaim.

What sets Bhatia apart is his ability to maintain the spiritual integrity of Qawwali while infusing it with contemporary instrumentation, poetic storytelling, and an intimate connection with his audience.

A Diwali Celebration Like No Other With both concerts scheduled just ahead of Diwali, these events promise to be more than just musical nights—they will be a celebration of light, love, and soulful connection. As communities gather to celebrate the festival of lights, Sagar Wali Qawwali will offer a rare chance to experience devotion through the universal language of music.

Whether you are a lifelong fan of Qawwali or new to the genre, Sagar Bhatia’s Australian tour offers a compelling invitation to connect with something deeper. This is not just a performance—it is a moment of spiritual elevation wrapped in music and meaning.

Returning to Paniniyam: A Journey of Grammar, Growth, and Community

Five Years In: Returning to Camp

For those of us who’ve been attending Sanskrit classes every week, the Pāṇinīyam Grammar Camp is something we look forward to all year. This year marked the 10th Pāṇinīyam camp, and for many of us in Dwiteeya and Trutheeya it marked our third or fourth time participating. While we are used to learning in our regular weekly classes, the camp offers a very different environment, one that is immersive, intensive, and energising in a way that classroom learning can’t always replicate.

Personally, coming back for the fifth time brought a sense of familiarity. We knew the venue, the routine, the teachers, and shared many inside jokes. But each year, the content deepens, the discussions become more nuanced, and our understanding of Sanskrit grammar

continues to grow. Rather than feeling repetitive, the return to camp feels like a natural continuation of everything we’ve built during our regular weekly sessions — just intensified over a few packed days.

A Typical Day at Sanskrit Camp

Each day at the Pāṇinīyam camp begins early. Very early. Many of us are up by 5:30 AM to shower, get dressed, and prepare for the day ahead. For some, this quiet time is also when we perform Sandhyāvandanam, bringing a reflective, disciplined start to the morning. It sets the tone for what is always a structured and focused day.

We start off the mornings with engaging Yoga sessions led by Narasimha Ji, never knowing whether the day will bring intense repetitions of the Surya Namaskaram, a much awaited session

of Yoga Nidra, or an exploration into various asanas and other aspects of Yoga such as Pranayama and Ayurveda. It is followed by a nutritious breakfast each day. After breakfast, the first session kicks off around 9 AM, from there, we’re immersed in topics like Samāsa, Kṛdanta, or Bhūta Saṅkhyā, depending on the day’s schedule. Morning tea offered a short, much-needed break, before we headed into a second block of learning that carries us to lunchtime.

Following lunch, the afternoon sessions often involve worksheet work, group problem-solving, or deeper exploration of the concepts introduced earlier. Afternoon tea gives us a final boost before wrapping up formal classes for the day.

In the evening, after dinner, we gather again but this time not for more grammar,

but for bhajans. This is a connected space where anyone can lead a song, join in or simply listen. It’s a valuable way to unwind, reconnect with our shared culture, and close the day with something lighthearted and devotional. Despite the packed schedule, everything flows smoothly thanks to the scheduling and excellent organisation. Somehow, despite all the tiring work throughout the day and the early morning start, we still manage to stay up past midnight finishing up worksheets, activities and homework.

Deepening Our Grammatical Understanding

This year’s camp covered a wide range of topics, each chosen to extend our grasp of classical Sanskrit grammar in both breadth and depth. We explored Nirukta and Nighaṇṭu, gaining insight into the ancient tradition of etymology and how

early scholars organised and interpreted Sanskrit vocabulary. Kāraka Vibhakti was another core focus; a topic many of us had seen before, but revisited now with greater clarity and attention to nuance.

One of the more memorable sessions was on Bhāsa Kāvya Nāṭaka Viśeṣaguṇāḥ. We examined how Bhāsa, one of Sanskrit’s great playwrights, boldly defied the structural rules followed by other kāvyas and nāṭakas. Rather than sticking to convention, he pioneered concepts that were emotionally driven and dramatically innovative, challenging what was thought to be “correct” — all while staying rooted in rich poetic language.

We also explored a variety of highly technical and thought-provoking grammatical areas, each building on what we’d already studied throughout the year.

In Bhūta Saṅkhyā, we decoded the system of number symbolism used in classical Sanskrit, where common words represent numbers in poetic or encoded ways. Understanding these allowed us to interpret shlokas and texts with far more precision, particularly those in traditional jyotiṣa or philosophical commentaries.

In Chandas, the study of Sanskrit metre, we moved beyond simply recognising the names of metres and began understanding their inner structure. We learned how metres are built using patterns of short (laghu) and long (guru) syllables, and how these are grouped into gaṇas which are specific combinations of syllables.

At first, memorising gaṇas and applying them to verses felt mechanical, but with practice, the patterns became intuitive. We started to identify not just what metre a verse followed, but how its rhythm contributed to its tone, pacing, and poetic impact. It also gave us a new appreciation for the technical brilliance of Sanskrit poets, how much precision, creativity and work went into even a single line of verse.

In Samāsa, we broke down the rules of compound formation, this time, not just identifying the types (Tatpuruṣa, Bahuvrīhi, etc.), but understanding why and how Sanskrit compresses complex

ideas into compact words. It was one of the most technical sessions but also one of the most rewarding.

Kṛdanta grammar was equally challenging, dealing with verbal derivatives and participles formed from roots using specific suffixes. While we’ve encountered kṛdantas

in shlokas before, this time we were building and deconstructing them ourselves — analysing the rules behind formations like kartā, bhavitavyam, or paṭitavyaḥ.

For every topic, worksheets were designed with both repetition and progression in mind, starting with guided examples and gradually moving into independent problem-solving. These weren’t just review exercises; they were carefully constructed to stretch our understanding and link older knowledge with new insights. Working through them was often slow and intense, especially late at night, but they gave us something the regular school environment rarely offers: time to wrestle with something difficult until it becomes clear.

Conversations Beyond the Classroom

While the formal sessions form the

backbone of the Pāṇinīyam experience, much of the learning — and bonding — happens outside the classroom. Whether during meal breaks, evening walks, or midnight worksheet marathons, conversations flowed constantly. Often, they circled back to the day’s topics: someone trying to recall a sūtra, another debating a samāsa classification, or someone else questioning how bhūta saṅkhyā might hide itself in a riddle. These academic discussions were rarely limited to a whiteboard, rather they lived in our casual exchanges, even when the setting was far from formal.

That said, not everything was so

scholarly. We somehow found a way to connect nearly every grammatical concept to either real-life situations or completely absurd scenarios like imagining chandas patterns in our snacking habits, or using vibhakti to describe the relationship between a student and a samosa. It kept things alive, and it made the material memorable in ways that only a group of over-caffeinated teenagers could manage.

Inside jokes developed quickly — some of them years in the making — involving students, staff, and even past camps. Teachers became characters in our commentary (affectionately), and no one was truly spared, including ourselves. What made this dynamic unique was the way both boys and girls engaged equally in these exchanges. There was a strong sense of mutual respect, but also a lot of light teasing and laughter, which made the environment feel balanced, open, and natural.

Despite all the joking, these interactions had depth. They built confidence, encouraged peer learning, and showed how comfort and humour can co-exist with academic seriousness. In many ways, these informal conversations acted as a bridge, taking classical concepts out of the textbook and into everyday thinking, even if that thinking occasionally involved improbable metaphors and far-fetched analogies.

Traditions That Shape the Experience

Over the years, the Pāṇinīyam Grammar Camp has developed its own quiet traditions, not officially written down or formally introduced, but felt strongly by everyone who takes part. For returning students, these familiar patterns bring a sense of comfort and continuity. For first-time participants, they offer an immediate sense of belonging, a gentle invitation into a space where learning, discipline, and shared experience come together.

Some traditions are simple but meaningful, like the unofficial sweet brought in by a member of the community. This year, it was kalākand, homemade, shared freely, and eagerly welcomed by all. Gathered in the dining hall after a full day of classes, sharing something small and special, we are reminded that this camp is more than a timetable — it’s a community built on generosity and care.

Other traditions are woven into the daily rhythm: waking early and moving quietly through the dorms, the informal group work late at night, the calm structure of meals and study blocks, and the natural balance between concentration and quiet humour. These patterns form over time, but they never exclude. New students quickly find their place, picking up on the flow, joining in bhajans, or asking for help with a worksheet and finding that someone is always willing to give it.

Whether you’re here for the first time or the fifth, the culture of Pāṇinīyam is something you grow into. It’s not loud or flashy, but steady, built from small, consistent acts of learning, respect, and support.

Why We Keep Coming Back

After attending five camps in a row, the question we often get asked is: why keep going back? For many of us, the answer is simple — because each year, we learn more than we thought possible.

Our weekly classes are valuable. Over two hours every week, we build a strong foundation, progress through grammar systematically, and have time to reflect and ask questions. But the camp offers something different. It compresses weeks of content into just a few days of total immersion where everything else fades into the background, and Sanskrit becomes the main focus from morning to night.

In this environment, ideas settle more deeply. We’re surrounded by people who are thinking about the same material, asking questions at lunch, testing each other in the halls, and helping one another work through doubts. With hours of uninterrupted time, we can explore complex concepts in a way that weekly classes simply don’t allow and not because they’re lacking, but because they serve a different purpose.

And then, of course, there’s the fun, the games, the late-night jokes, the unspoken challenge of who can finish their worksheet first (without making a single mistake).

These things make the learning feel less like pressure and more like purpose. They keep the mood light, even when the material is heavy.

Ultimately, we return because we leave each year knowing more, understanding more, and feeling more confident in the

language. It’s the kind of growth that keeps you wanting to push further and it’s something we’re genuinely grateful for.

Advice for Younger Students

If you’re attending Pāṇinīyam for the first time, it’s completely normal to feel a little nervous, especially when you hear that sessions run all day and that some people stay up until midnight doing homework. But here’s the truth: it’s one of the most supportive and encouraging environments you’ll ever study in.

Everyone at camp, from the teachers to the returning students, genuinely wants you to learn and succeed. If you don’t understand something in class, someone will always explain it to you (often more than once). If you’re struggling with a worksheet, someone else is probably working through the same problem right next to you. And if you need a break, the schedule gives you space to pause and recharge.

You’re not expected to know everything. What matters more is your willingness to participate, to ask questions, and to stay curious. Even the most experienced students at camp started out wondering what a samāsa was or how chandas worked, and they got here by asking for help and putting in the time.

Camp isn’t about competition. It’s about shared learning, growth, and building friendships with people who care about the same things you do.

YouGo with Rajni – Let’s Be Exploring Yamas On and SATYA – Truthfulness in thought,

By: Rajni Ghai Malhotra

Satya, the second of the five Yamas in Patanjali’s Yoga Sutras means truthfulness. It is more than just speaking the truth—it is about living with integrity with honesty, and authenticity in thought, word, and action.

Satya on the Mat

Practicing Satya in yoga means being honest and compassionate towards your body, mind,

and breath, accepting your pace. Some key reflections:

4Am I truly listening to my body? Am I moving with awareness, or am I pushing through discomfort to meet an expectation?

4Am I honouring my current energy, strength, and flexibility - or am I forcing myself into poses that don’t serve me today?

4Is my practice led by acceptance or by ego?

4Am I willing to modify or pause when needed?

4Am I mindful of my emotional state on the mat, observing and letting go of emotions?

4Is my practice helping me cultivate balance, calm, and awareness or has it become another task?

Satya off the Mat

In daily life, Satya takes many forms:

Satya in relationships

Practicing Satya in relationships means bringing authenticity, honesty, and integrity to our interactions, from a place of kindness, compassion, and timing. It’s not just about saying what’s true — it’s about how, when and why we speak our truth.

4Am I being honest about what I feel and need?

4Am I being authentic in how I show up – the real me or a pretend version?

4Do I speak truth with kindness?

4Am I clear about my boundaries, respectfully and consistently?

4Am I listening openly to others – allowing others to express their reality without judgment or defensiveness?

4Am I honest even when it’s uncomfortable?

4Saying “no” when you need to, with grace

4Giving feedback with empathy, not blame

Be Mindful Series and Off the Mat thought, word and action

4Allowing space for your partner/friend/family to share their truth, too

Satya at work

Practicing Satya in the workplace is not just about honesty — it’s about being authentic, ethical, mindful, and compassionate in your communication, decisions, and actions.

Some key reflections:

4Am I being honest in my communication – is my communication clear and respectful?

4Am I expressing myself authentically – not hiding behind roles, masks, or fear?

4Am I acting with integrity, even when no one is watching - do my actions align with my

values and the greater good of the team or organization?

4Am I avoiding gossip, exaggeration, or withholding important information?

4Am I accepting feedback truthfully and constructively – listn with openness instead of defensiveness?

4Am I setting clear and honest boundaries - do I speak up when something is unfair, unethical, or beyond my limits?

4Am I contributing to a culture of transparency and trust?

4Am I truthful without being harmful, balancing honesty with empathy — choosing words that are true and kind?

Satya with yourself

Honest self-inquiry helps you stay grounded in truth, compassion, and conscious living. Regularly reflect on your actions and thoughts. Ask yourself:

4Am I reacting impulsively, or responding mindfully?

4Am I living in alignment with my values and inner harmony?

4Am I caring for myself — physically, emotionally, and mentally?

4Am I striving to be the best version of myself?

4Am I taking meaningful steps to support my wellbeing, without causing harm to others?

There YouGo! Living in Satya means taking responsibility of our thoughts, words and actions to be aligned and coming from a place of kindness, compassion, patience and gentleness towards yourself and others. Ultimately, practicing Satya leads to clarity, deeper relationships and spiritual growth. In a world often filled with fears and pretences, living in truth enables a powerful and liberating lifestyle.

Yours in yoga, Rajni Follow Rajni on Facebook @YogaWithRajni

A Tapestry of Stories, Success and Soul: Reflections on the 10th South Asian Theatre Mela

Western Sydney recently witnessed an artistic landmark that went far beyond performances.

While The Sydney Morning Herald reported the launch of the Western Sydney Plan for Arts, Culture and Creative Industries — 25 years after Bob Carr introduced Labor’s first western Sydney cultural strategy — something equally historic was happening in Parramatta. Now the proposal for $250 million dollars upgrade with 1,500 capacity Broadway-style lyric theatre to be designed for the Riverside Theatre, Parramatta.

In the same Riverside Theatres, Parramatta, 10th South Asian Theatre Mela, curated and directed by Neel Banerjee of Nautanki Theatre, unfolded over four spectacular days. Supported by the City of Parramatta Council, Multicultural NSW and Create NSW, the festival was a vibrant showcase of South Asian creative expression — featuring theatre, dance, storytelling, literature, and more. With performances by both local and international artists from Bangladesh — it was a true celebration of shared culture, language, and identity.

Indranil Halder

Theatre that Confronts:

One of the most unforgettable moments for me was attending the powerful play Kameeni, written and directed by Abida Malik. I watched it with my wife, Jane Wilkins, and we were both profoundly moved. Kameeni told the truth about South Asian migrant experiences such as Domestic violence, Forced young marriages and Sexualised abuses. The eternal question, “What will people say?” was exposed with great sensitivity on stage to highlight the challenges of immigration life.

This wasn’t just theatre. A mirror held up to society. Amongst the performances were Cyra Nashiwan , Madiha Khan, Maanav, Sheni Iqbal Sohail Shanker, Mariah H-Ibn , Sadia Jamil, Khurram Qaisar, Sabina Saleem and Sara Mirza. It gave me shivers to watch the raw, reflective and riveting play.

The Magic of Storytelling:

Another standout was the performance of Khowaj Khizr Er Sinduk, written by the talented Faijul Islam. It was a beautiful blend of visual art and heartfelt storytelling. The script, brought to life with creativity and passion, left a lasting impression on the audience. Sydneysider Basab Roy had enjoyed the play throughly which he updated in his social media update.

And then came SafetyPin — now in its 11th edition — a powerful open mic that centred community healing through personal stories. It was nothing short of sacred. Brave voices took to the mic with honesty and vulnerability. Thank you to every storyteller who made the space what it was

— a place of connection, catharsis, and care.

Voices of Women and the Power of Light: The Inara Ensemble brought forth Tilottoma (Tumi Shunte Paccho?) — a searing tribute to women who endure pain in silence, brushed off as “just another case.” Priya Chakrabarty who danced, choreographed and was the co-play

writer, is a powerhouse of all things creative in Sydney. In a world that still expects women to apologize for their way of life, Priya Chakraborty is the resounding refusal. She is the woman who lives out of defying convention. She felt the pain when in 2024, the lifeless body of a junior doctor was found in the seminar room of the very hospital she worked, brutally assaulted, gang-raped

and murdered in Kolkata, India.

The emotional weight of the performance was perfectly amplified by Ajayangshu Banerjee’s lighting design and Sandipan Chaudhuri’s stunning visuals.

Words, Wit, and Literary Warmth:

This year also introduced audiences to BOOKTALK -Saman & Shiny by Batayan, a Bengali literary magazine featuring writers from around the world. The team — Balarka Banerjee, Sydney and Anusri Banerjee from Perth — did a phenomenal job curating and presenting this segment. Balarka’s introductions of the writers were thoughtful, personal, and engaging as authors signed books for the readers.

The festival also served up a fabulous comedy featuring three South Asian queer besties navigating life in their 30s, 40s, or maybe 50s — written and performed by Kashif Harrison, Sheila Dickshit, and Kaizad Panthaki. Their

chemistry, humour, and boldness made this performance an instant crowd favourite. South Asian acceptance of queer culture is becoming more visible in Sydney.

A Community Reunited Through Art:

As Naziha Minto beautifully summed up: “Neel Banerjee, a big congratulations and heartfelt thanks for organising such a wonderful theatre festival! I had the pleasure of attending two shows, and both were absolutely amazing. A true testament to the talent, dedication, and hard work that went into every detail.” I couldn’t agree more. Kudos to Neel Banerjee, Taufeeq Ahmed Sheikh, and every volunteer, artist, and storyteller who made this festival possible. The event also included Double Bill (dance/drama), Unscripted by Uzma Gillani, Dance of India, Voice of Tomorrow ( Kids Band) and folk songs by Jakir Hossain.

You gave us more than entertainment — you gave us connection, truth, and joy.

At the event, I had the joy of meeting Meena, who was attending with her husband. Her life — born in Chittagong, Bangladesh, married to a Pakistani, and tied by family to Madhya Pradesh, India — reflects the multicultural blend that defines South Asia. As she spoke in fluent Bengali language to me, she shared love for Bengali sweets like chamcham and rosogolla made me feel at home. In many ways, she embodied the spirit of the festival — multiple cultures, one heart. And attendees like my wife Jane Wilkins from the Anglo Australian society loved the fact that Parramatta has become a true melting pot of cultures.

The 10th South Asian Theatre Mela was not just an event — it was a successful celebration of who we are. I walked away feeling deeply seen, inspired, and proud to be part of a community that speaks, sings, and tells its stories with such soul.

Indian-Origin Tech Leader Nikhil Ravishankar Named CEO of Air New Zealand

AIR NEW ZEALAND USHERS IN A NEW ERA OF LEADERSHIP WITH A STRONG DIGITAL FOCUS AS INDIAN-ORIGIN EXECUTIVE NIKHIL RAVISHANKAR IS SET TO TAKE THE HELM THIS OCTOBER.

Air New Zealand has announced the appointment of Nikhil Ravishankar as its next Chief Executive Officer, effective 20 October 2025. Currently serving as the airline’s Chief Digital Officer, Ravishankar’s promotion marks a strategic pivot toward innovation, customer-centricity, and futureproofing amid growing global competition in the aviation sector.

Born in India and raised in New Zealand, Ravishankar brings a wealth of experience in digital transformation, having held senior roles at Vector, Accenture, and Telecom New Zealand (now Spark). Since joining Air New Zealand nearly five years ago, he has spearheaded a sweeping overhaul of the airline’s technology systems, loyalty programmes, and customer experience platforms—laying a strong digital foundation for the airline’s next chapter.

“I’m both thrilled and humbled to be given this opportunity to lead Air New Zealand,” Ravishankar said in a statement. “This airline is an institution with a deep legacy but also a fantastic future. At the end of the day, we are a people business –purposeful, ambitious, and deeply rooted in Aotearoa New Zealand. I’m excited to help shape what this next stage of Air New Zealand looks like.”

His appointment follows an international search and comes as outgoing CEO Greg Foran prepares to step down after nearly six years, having guided the airline through the

COVID-19 pandemic and subsequent supply chain challenges. Foran’s tenure included initiating a fleet overhaul and enhancing the premium business class product.

Chair of Air New Zealand Dame Therese Walsh said Ravishankar represents “a new generation of leadership.” She added, “We have always been bold and not afraid to adapt and lead. Nikhil brings the mindset and contemporary leadership we need to build on our strong foundations and focus on the future.”

Air New Zealand is currently navigating fierce competition in the Pacific from carriers like Qantas and major North American airlines. Under Ravishankar’s leadership, the airline has already introduced top-tier AirPoints membership options, enhanced customer-facing technologies, and revamped

its digital backbone.

In a symbolic regional crossover, Ravishankar’s appointment mirrors a growing India-New Zealand aviation partnership. Earlier this year, Air New Zealand and Air India signed a Memorandum of Understanding (MoU) to boost air connectivity between the two countries. Plans include exploring direct flights by 2028 and launching a codeshare arrangement connecting key cities in India, Singapore, Australia, and New Zealand.

As the aviation sector continues to rebound post-pandemic, Ravishankar’s elevation signals Air New Zealand’s clear intent: to become a more connected, tech-forward, and customer-driven airline ready to meet the demands of the future.

The Happy Kids Are Highly Successful Children’s Festival

The Children’s Festival hailed by the New South Wales Premier, Chris Minns as “a brilliant day out and a proud reflection of who we are” is coming back to Playford Park, Padstow on Sunday September 21st.

Last year he told the festival crowd in Padstow: “This is an amazing festival. It’s such a privilege to be here to see kids coming together off their devices, off their mobile phones and playing in the community.”

In a written message of support for the festival this week, Mr Minns said: “For more than 25 years, this festival has brought families and communities together to celebrate everything that makes our multicultural community special”.

His praise was echoed in a message from

Tony Burke MP, Minister for Home Affairs, Minister for Immigration and Citizenship and Minister for Cyber Security who

said: “We gather today to recognise the contribution our children, their parents and friends have made to create an inclusive

The Premier with Festival performers Multicultural

Balinese children perform a classical dance

Are Back Festival Returns next month

and cohesive society, a society that is culturally diverse and representative of our community”.

The Founding President of the Children’s Festival Organisation, Thuat Nguyen AM, invited the whole community to join in what he called “this free, lively and entertaining festival that will run all day in Playford Park on Sunday 21st September.

parade of hundreds of children wearing their uniforms and national costumes who march past the assembly of VIPS who this year include:

4The Hon. Jason Clare MP, Federal Minister for Education

4The Hon Jihad Dib MP, Minister for Customer Service and Digital Government, Minister for Emergency Services, and Minister for Youth Justice, representing the Premier of NSW

4The Hon. Sophie Cotsis MP, Minister for Industrial Relations, and Minister for Work Health and Safety

4The Hon Mark Coure MP, Shadow Minister for Multiculturalism, Shadow Minister for Jobs, Industry, Innovation, Science and Technology, and Shadow Minister for South-Western Sydney (TBC)

“This is a day that each member of the family can enjoy with exciting song and dance performances, music and martial arts demonstrations on-stage as well as games for the kids, wonderful food, market stalls and interesting displays including the entries for the Poster Design and Writing Competitions.

“We look forward to welcoming you at any time throughout the day on Sunday the 21st of September”, he said.

A highlight of the day is the annual

4Ms Kylie Wilkinson MP, State Member for East Hills

4Mr. Joseph La Posta, CEO, Multicultural NSW

4The Mayor of Canterbury-Bankstown and other dignitaries from Federal, NSW State, Canterbury-Bankstown City Council, Community Leaders, Media Representatives, and Sponsors for the official proceedings.

Playford Park, Padstow is situated between Gibson Avenue and Cahors Road, close to Padstow Railway Station.

The festival crowd with VIPS and the children

Children’s parade

Punjabi kids perform

Coming this Diwali, the Australian Indian orchestra a musical odyssey through

Experience the genius of A.R. Rahman like never before, performed live by an 80-piece symphony orchestra in a unique, narrated concert experience. SYDNEY, Australia, 28 July 2025 – The Australian Indian Orchestra (AIO), Australia’s only symphony orchestra dedicated to Indian music, is thrilled to announce its upcoming spectacle, “A.R. Rahman in Symphony.” This highly anticipated event will take place on **Saturday, October 18, 2025, from 5:00 PM to 8:00 PM at the prestig-

ious Verbrugghen Hall, Sydney Conservatorium of Music.**

Building on its successful prior performances, the AIO continues to champion the vibrant fusion of Australian and Indian musical traditions. “A.R. Rahman in Symphony” offers a distinct and immersive concert format, providing audiences with an unprecedented journey through the illustrious career of the “Mozart of Madras.”

The evening will see the musical magic of

A.R. Rahman brought to life by a magnificent 80-piece symphony orchestra, comprising some of Sydney’s finest Western and Indian classical musicians. Unlike previous AIO concerts, this unique program is a purely instrumental exploration of Rahman’s compositions, allowing the intricate layers and melodies of his work to shine through the grandeur of a full orchestra.

Guiding this musical odyssey is the AIO’s Artistic Director and Conductor, Suraj Nagaraj. At just 22 years old, Suraj has meticulously arranged the entire orchestral program and will narrate Rahman’s musical journey – from his early commercial jingles to his most iconic blockbuster film scores. This narrative approach promises to offer insightful context and a deeper appreciation for Rahman’s groundbreaking contributions to global music.

“Bringing A.R. Rahman’s vast and diverse repertoire to a full symphonic scale has been a monumental, yet incredibly rewarding mission,” says Suraj Nagaraj. “This concert

orchestra presents “A.R. RAHMAN in symphony”:

through the legend’s soundscapes

is designed to immerse the audience in the brilliance of his compositions, and take them on a journey through his transformation as a composer.

The AIO, co-founded by brothers Suraj and Concertmaster Sagar Nagaraj, continues its mission to foster cultural connection through music. Sagar, an accomplished violinist who has performed with the Australian World Orchestra, emphasizes the significance of this unique offering: “This is a new chapter for the AIO, showcasing the versatility and richness of Indian music within a grand orchestral setting. To dedicate an entire concert to the instrumental genius of A.R. Rahman, performed by an 80-piece orchestra, is truly a landmark event.”

The concert will feature orchestral renditions of beloved pieces from Rahman’s celebrated Tamil and Hindi films, including selections from blockbusters like Dil Se, Lagaan, Ponniyin Selvan, and more. “A.R. Rahman in Symphony” is an essential experience for music lovers, offering a profound appreciation for

one of the world’s most influential composers.

Tickets are on sale now at AIO.ORG.AU

About the Australian Indian Orchestra:

The AIO is Australia’s first and only Symphony Orchestra dedicated to performing Indian music. Formed in 2023 by brothers Sagar and Suraj Nagaraj, the AIO brings Australian and Indian musicians together to create truly unique musical experiences. Celebrating the

diversity and versatility of Australia’s cultural fabric, the AIO aims to be a cultural gem and an inspiration for future generations of musicians in Australia and globally.

Media Contact:

Sagar Nagaraj, Co-founder Australian Indian Orchestra ausindorchestra@gmail.com

+61434204870

DEPINDER CHHIBBER

Sukruti Narayanan

In an emotional episode that aired Monday night (August 4), beloved cook Depinder Chhibber was eliminated from MasterChef Australia: Back to Win, narrowly missing out on a spot in the Top 3.

The episode marked a bittersweet end to what has been a deeply inspiring journey for the New South Wales-based pharmacist, mother of two, and proud representative of the Australian South Asian community.

Depinder reached the Top 4— an extraordinary achievement in a season packed with returning stars and intense culinary challenges. But in the high-stakes all-in elimination episode, one small misstep proved costly. She served a beautifully spiced Indianinspired savoury dish featuring cinnamon, apple chutney, and a bold chilli gravy, crowned with a scotch egg. Unfortunately, the undercooked egg white in the scotch egg led to her elimination, despite the judges praising her expert use of cinnamon and exceptional

flavour work.

Depinder’s journey on MasterChef Australia has always been about more than just food. Known for her deep connection to her Indian roots and bold use of spices, she cooked with warmth, emotion, and integrity throughout the competition. From technical desserts to vibrant savoury dishes, she showcased the depth and diversity of Indian cuisine with elegance and authenticity. In her final cook, she demonstrated exactly what she brought to this season—a

fearless spirit. “That’s the cook I’ve become in this kitchen,” she said during the episode, aware of the high risk she was taking with her dish. Her gamble reflected not just determination, but the growth she’s experienced since her original appearance in Season 13.

After the elimination, Depinder shared a heartfelt message on social media: “Although it might look like my MasterChef Australia journey has come to an end, this is just the start. It’s surreal to think I made it all the way to the

Top 4. This experience has been more than a cooking competition; it’s been a life-changing lesson in resilience, creativity, and friendship.” She went on to thank the judges—Poh Ling Yeow, Sofia Levin, Andy Allen, and JeanChristophe Novelli—as well as her fellow contestants who had become like family. “My passion for food has only grown stronger, and I can’t wait to see what the future holds,” she added.

For many viewers—especially those from South Asian backgrounds—Depinder’s presence on MasterChef Australia was profoundly meaningful. She proudly represented a new generation of Australian cooks who are deeply rooted in heritage yet unafraid to innovate. With each challenge, she brought flavours, techniques, and stories that echoed kitchens across

India, Pakistan, Bangladesh, and beyond.

The MasterChef Australia media kit notes Depinder’s personal evolution: from a parttime pharmacist and mother of two to a culinary personality running her own supper club, Ghar, where she celebrates homestyle Indian thalis. Her rise has inspired many to dream big, chase passion over comfort, and blend culture with creativity.

While her run on MasterChef Australia: Back to Win has come to an end, Depinder’s food journey is only just beginning. With plans to write a cookbook and expand her supper club offerings, her future is as vibrant as her plating. Her fans, judges, and fellow contestants all agree—this isn’t goodbye, but the start of something greater.

YOUNG DRIVERS GET A REALITY CHECK

M at Australia’s Largest Road Safety Event

ore than 28,000 high school students from across New South Wales are receiving a powerful lesson in responsibility behind the wheel at this year’s BStreetSmart, Australia’s largest youth road safety event. Held from 5–7 August at Sydney Olympic Park, the event marks its 21st year of educating the next generation of drivers through immersive, eye-opening experiences. With a national road toll at a 15-year high, the program couldn’t be more timely—or more necessary.

A Hard-Hitting Message for Youth

BStreetSmart offers 16 to 18-year-olds a unique opportunity to witness the devastating consequences of poor driving choices, including distracted driving, drink driving, and inexperience. The event features real-life crash re-enactments, testimonials from trauma survivors, and interactive learning zones designed to influence young people before they adopt dangerous habits. Since its launch in 2004 by Westmead Hospital trauma nurses Julie Seggie and Stephanie Wilson, the initiative has reached nearly 300,000 students from over 221 schools. In 2024, young drivers aged 17–25 made up only 13% of all licence holders— but accounted for 20% of drivers and riders in fatal crashes. Programs like BStreetSmart aim to change that.

Industry Participation: Onroad Driving Education

Among the participants this year is Onroad Driving Education, whose CEO Ronak Shah has voiced strong support for the initiative. “Too many young lives are being lost in crashes that never should have happened. This isn’t just a spike in numbers—it’s a national road safety crisis,” Shah said.

At their stall, Onroad is offering hands-on safety activities, including:

4Beer Goggle Challenge – showing the impact of alcohol on coordination and decision-making

4Spinning Wheel Trivia – combining road safety knowledge with fun and prizes

4Driver Resource Handouts – providing practical tips for safer driving and professional training options

Their key message to youth: put your phone away, stay sober, and always prioritise safety behind the wheel.

Government and Health Sector Support

The event has garnered strong support from NSW government leaders. Minister for Health, Ryan Park called the program “a one-of-a-kind road safety initiative” with the potential to reduce the overrepresentation of young drivers in traumatic crashes.

Minister for Roads, Jenny Aitchison, added, “Learning to drive is an exciting milestone, but it comes with responsibilities that can have devastating consequences.”

Donna Davis, Member for Parramatta, echoed the importance of educating young people early: “With road crashes being a leading cause of death and serious injury among young people, BStreetSmart empowers them to make safer choices.”

Support also comes from emergency services, including NSW Ambulance, whose CEO Dr Dominic Morgan highlighted the emotional and physical toll his teams witness daily due to preventable crashes.

A dramatic end to an exciting series

By Sanjay Khanna

On the last day of the series, a low full toss from Siraj uprooted the off-stump of Gus Atkinson, ending a gutsy knock under pressure and resulting in a dramatic win for India and the closest margin of victory in tests. One hit over the fence and the outcome would have been different – both for the fifth test as well as for the series.

The pulsating game was a fitting finale to a well fought series where fortunes swung like a pendulum from one team to the other. Both teams showed great character, perseverance and skill with instances over the eight-week long series where both sides vulnerabilities were also exposed. In the end, a 2-2 series outcome was most appropriate as there was little to separate both sides in batting or bowling.

The series in summary

The opening match of the series at

Headingly set the tone with a high-scoring thriller that went right down to the wire. India posted a huge 471 in their first innings, thanks to centuries from Jaiswal, skipper Gill and vice-captain Pant. Inspite of Bumrah’s fifer, England responded well with a strong 465 – only six runs behind. In the second innings, Indian middle order looked set to pose a target of 400+. But after Rahul’s departure on 333/5, a dramatic collapse ensued and India were bundled out for just 364. England had just over a day and they successfully navigated the chase of 371 runs in true Bazball fashion with Duckett playing an exceptional innings of 149 in just 170 balls.

India needed to find an immediate answer to this Bazball challenge thrown early at them in the series and they did so by bouncing back strongly in Edgbaston to level the series. Shubman Gill led from the front and scored a brilliant 269 to give India a commanding 170 run lead. In the second innings it was again a Shubman show as India set a mammoth target of 608. Under pressure, England fell to debutant Akashdeep’s swing and accurate length for a heavy 336-run defeat. This would prove to be the only test in the five-match series that was one-sided.

However, fortunes swung back quickly in England’s favour at Lord’s in a thriller. The first innings saw both teams post exactly 387 runs. Root dug in and scored a hundred for England and Rahul did the same for India. Washington Sundar’s four-wicket haul helped India restrict England in the second innings to a measly 192. However, after a splendid show in Test 2, India’s top and middle order collapsed – Archer and Stokes doing most of the damage. Inspite of Jadeja’s inspired fightback with the tail, India fell short by 22 runs. When the ball rolled onto Siraj’s stump after defiance for 13 overs, it was heart break for millions of viewers back home who had tuned in expecting to see India go up 2-1.

In the penultimate game at Manchester, the hosts took a hefty first innings lead of 311 runs. They had a firm grip on the proceedings when India went two wickets down in the second innings, with only a single run on the board at lunch on day 4. Staring at a potential innings defeat, Indian batsmen showed outstanding grit and passion as not many teams in this situation would believe they could bat five sessions to salvage a draw. It was an epic survival act that we have not seen for a long time. The determined defence from Rahul and

Gill on day four was followed by the rugged resistance from Jadeja and Sundar for most of the final day to secure a very memorable draw.

In the last test at the Oval on a green top wicket, the first innings was a low scoring affair with England managing to scrape a slender lead of 23 runs. The pace at which the game was moving meant the match would finish early unlike the preceding four matches that had all gone the distance. But the Indian batsmen had other ideas and carried some of the momentum from the last

test. Jaiswal’s classy century, a cameo of 66 runs from night-watchman Akashdeep, and Jadeja and Sundar’s stubborn fifties set England a challenging 374 on a tricky Oval surface. This time though England had the luxury of more than five sessions to accomplish this target, unlike the first test when they eclipsed a similar total in just a little over three sessions. The Indian bowlers were wayward and looked clueless on day four on a pitch that offered assistance. Brook and Root dished out a masterclass and almost won the match and series for their team. However, on an action-packed

last hour of the day and the first hour on day five, Siraj gathered all the belief he could and smartly used the pitch and overcast conditions to swing the ball both ways. Krishna played a supporting role from the other end and for the last time in the series, the pendulum swung in India’s favour. This six-run victory would be regarded as one of the most memorable wins for India much like the Gabba heist in 2021.

Key talking points of the series

On the other hand, everyone applauded the indomitable spirit of Pant (fractured ankle)

and Woakes (dislocated shoulder) who courageously came out to bat to navigate their teams out of trouble Shubman Gill’s great start as a captain, although probably he has a long way to go and may need to iron out strategic decision making e.g. there was no plausible reason why Sundar was only called onto bowl after 70 overs in the fourth test.

India’s young batting unit fought hard and to their potential although they also ended up paying a huge price for a few needless run-outs

already proven that India could win without their stalwarts. This series further established that a young inspired team could still do the same as they did without Bumrah in two matches and without Pant in the last test

England prepared mostly flat pitches and both teams’ bowling units had to toil hard for several sessions at a stretch. This contributed to a record-breaking number of centuries and runs aggregated in this series

and Australia was once again exposed

The ‘spirit-of-cricket’ debate reared its head especially in fourth test heading towards a draw, with the mentally and physically drained English team wanting to walk off while the Indian batsmen expressed their desire to play on and achieve their welldeserved milestones

Looking ahead

India’s next test outing is in October against a relatively less challenging opponent – West Indies, and this gives the Indian selectors some time to rethink and hone the team a bit –possibly bringing in Shreyas Iyer and playing specialist spinner Kuldeep Yadav in a couple of games depending on the pitch and conditions. Karun Nair and Sai Sudarshan’s fate remains uncertain as both performed well below expectations.

Washington Sundar is nicely shadowing Jadeja in the all-rounder role and is likely to be retained which suggests Axar Patels’ return is less likely. Siraj seems to be enjoying leading the bowling unit in Bumrah’s absence but there are still concerns regarding the depth and performance of India’s pace unit. England are looking ahead at a tough Ashes tour commencing in November. The Australian pace quartet of Starc, Hazlewood, Cummins and Boland are likely to trouble their batsmen a lot more than the relatively inexperienced Indian attack and Australia are renowned to be the most formidable opponents, especially

Revival of test cricket

While most pundits got the final series outcome completely wrong by writing off the young Team India – in the end, everyone including the spectators (and hopefully the readers as well) would agree that this series was one of the most entertaining series we have seen in the last few years. This foretells a somewhat secure future for Test cricket and it has already seen a revival of sorts over the last few years with more and more matches resulting in an outcome. Although we have also seen quite a few one-sided games ending in 3 days or less.

We need this exciting format to continue to pull not only more eye-balls and therefore more sponsors, but also attract record crowds to stadiums to witness such great spectacles as we have seen over the last 8 weeks!

Divya Deshmukh Creates History Woman to Win FIDE Women’s

AT JUST 19, SHE ALSO BECOMES INDIA’S 88TH GRANDMASTER IN AN ALL-INDIAN

Indian chess has entered a golden era, and 19-year-old Divya Deshmukh just etched her name into its most celebrated chapter yet. In a groundbreaking triumph, Divya became the first Indian woman to win the FIDE Women’s World Cup, defeating compatriot and chess legend Koneru Humpy in a historic all-Indian final.

Her 2.5–1.5 victory over Humpy, achieved in a gripping rapid tie-break after two tense classical draws, not only secured her the championship but also earned her the final Grandmaster norm, making her India’s 88th Grandmaster and only the fourth Indian woman to achieve the title.

A Final for the Ages Held in Baku, the final brought together two of India’s finest players. The classical rounds on Saturday and Sunday saw both players push each other to the limit, with Divya missing a winning opportunity in the first game and surviving a scare in the second. But it was the tie-

breaks—often regarded as Humpy’s strength, given her title as the reigning Women’s World Rapid Champion—where Divya flipped the script.

After a drawn first rapid game, Divya showcased nerves of steel in the second, playing with Black and capitalising on critical blunders by Humpy under time pressure. With this, the teenager scripted what many are calling a fairytale ending to the 2025 World Cup.

Tears, Triumph, and a Moment for Indian Chess

The final moments were emotional: Divya embraced her mother with tears streaming down her face, a powerful symbol of the years of hard work, sacrifice, and dedication behind her meteoric rise. Her victory not only places her among the elite in global chess but also reinforces India’s growing dominance in the sport—especially in women’s chess.

Both Divya and Humpy had defeated top Chinese contenders to reach the final—Divya ousting former world champion Tan Zhongyi and Humpy eliminating top seed Lei Tingjie—

History as First Indian Women’s World Cup

ALL-INDIAN FINAL SHOWDOWN WITH KONERU HUMPY.

highlighting India’s ascendance on the international stage.

Nation Celebrates “A Historic Final”

The win has drawn praise from across the country.

President Droupadi Murmu echoed the sentiment, calling it a moment that underlines the

depth of talent in Indian women’s chess.

Legendary Grandmaster Viswanathan Anand, who won the Men’s World Cup twice and sparked India’s chess revolution, congratulated Divya and hailed the final as “a great celebration of Indian chess, particularly women’s chess.” Anand also pointed out that Divya has now secured a place in the Candi-

dates Tournament, a crucial step toward the Women’s World Championship Final.

Young Grandmaster Nihal Sarin joined the chorus of congratulations, sharing a childhood photo with Divya and posting:

India Now Rules the Chess World Divya’s triumph adds another jewel to India’s chess crown. With Dommaraju Gukesh winning the Open World Championship last year by defeating Ding Liren, and now Divya Deshmukh clinching the Women’s title, India currently holds both the Open and Women’s World Cup crowns.

This moment, experts say, is not just about individual achievement—it marks a generational shift in global chess. And at its heart is a young woman from Nagpur who dared to dream big, played fearless chess, and made history.

Australia Set to Host Spectacular AFC Women’s Asian Cup

Awave of excitement has swept across Australia as the match schedule for the AFC Women’s Asian Cup Australia 2026™ is officially revealed, promising a month of thrilling football action, cultural celebration, and community connection. The tournament will kick off on March 1 with a highly anticipated clash between the host nation, Australia, and the Philippines at Perth Stadium, setting the stage for what’s expected to be a historic opener witnessed by a capacity crowd of 60,000.

The draw, unveiled in a spectacular ceremony at Sydney Town Hall on July 29, laid out the path to glory for all 12 participating teams. Matches will take place across three

vibrant cities—Perth, Sydney, and the Gold Coast—each showcasing the best of Asian women’s football on five world-class pitches. Returning to Australia for the first time since 2006, the 21st edition of the tournament marks two decades since the nation last played host and signals its growing stature in the world of women’s sport.

Among the most anticipated group-stage matchups is the encounter between China PR and Bangladesh on March 3 at Western Sydney Stadium. Bangladesh, the only debutant team in this year’s tournament and the lowestranked among the twelve, has defied expectations to earn their place. Their opening test against the reigning champions and nine-time titleholders, China PR, promises a compelling

narrative of underdog determination versus established dominance. Bangladesh’s qualification is seen as a landmark achievement for the country’s growing women’s football program and a proud moment for South Asia.

Later the same day, DPR Korea and Uzbekistan will reignite their tournament journeys with a showdown in Parramatta. For DPR Korea, this marks their return to the AFC Women’s Asian Cup after a 15-year absence, bringing a new generation of talent fresh off youth World Cup victories. Uzbekistan’s road to the tournament included a nail-biting penalty shootout victory over Nepal and recent strong performances in regional championships, signaling a determined resurgence.

Spectacular Cup 2026

Another exciting storyline unfolds in Group C, where India will clash with heavyweights Japan, Vietnam, and Chinese Taipei. Scheduled to play their opening match on March 3 in Sydney, India’s return to the continental stage offers a platform to showcase the talent and tenacity of its women footballers. With growing investment in grassroots development and increased visibility for the women’s game at home, India enters the tournament eager to challenge more established sides and script a new chapter in its footballing journey.

Across the three cities, each stadium brings a unique flavour to the tournament. Perth Rectangular Stadium will open its campaign on March 4 with Japan taking on Chinese Taipei and will also host five group matches

and two crucial quarter-finals. The Gold Coast Stadium will make its tournament debut with Korea Republic versus IR Iran on March 2 and will continue to host six pivotal fixtures, including FIFA Women’s World Cup 2027 playoff matches. Sydney’s iconic Stadium Australia, the largest venue of the tournament, will host multiple knockout matches and take centre stage on International Women’s Day, March 8, as the Matildas face Korea Republic in their final group match—an encounter already buzzing with anticipation.

The tournament groups are now locked in:

4Group A: Australia, Korea Republic, IR Iran, Philippines

4Group B: DPR Korea, China PR, Bangladesh, Uzbekistan

4Group C: Japan, Vietnam, India, Chinese Taipei

Federal Minister for Sport, Anika Wells, reflected on the draw as a landmark moment, noting that the Australian Government’s $15 million investment underscores its commitment to women’s sport. “The 2023 FIFA Women’s World Cup was a game-changer for football in Australia,” she said, “and this tournament will build on that legacy.”

Sarah Walsh, COO of the Local Organising Committee, described the draw as the beginning of a new chapter. “These match-ups are more than just games—they’re an invitation for communities to come together, share pride in their heritage, and embrace the unifying spirit of the tournament. This is where ‘Dream Fearless’ comes to life—on the pitch, in the stands, and in the hearts of fans everywhere.”

Tourism ministers and city officials across Perth, Sydney, and the Gold Coast echoed the excitement, each highlighting how hosting will boost both local pride and international visibility. In particular, the participation of countries like India and Bangladesh is expected to engage Australia’s vibrant South Asian diaspora, turning the tournament into not just a sporting event, but a multicultural celebration.

As Australia prepares to host the AFC Women’s Asian Cup in 2026, the excitement is palpable. With legacy, pride, and sporting excellence at its core, this tournament is poised to capture imaginations, inspire generations, and once again place women’s football firmly in the global spotlight.