Exit 11, Issue 03

Page 144

The Paratha, Abu Dhabi and Migration A B HY U DAYA TYA GI

In the middle of Hamdan Street, I finally remembered that I had a paratha in my hand. It was still piping hot, so I took my first bite carefully. Suddenly, the road became dead silent. Cars stopped whizzing past me. Thursday night shoppers disappeared. For a brief moment, Abu Dhabi’s frantic urban life was reduced to me and my paratha. Over the next few days, I would have the pleasure of tasting several other delicious parathas in Abu Dhabi. Whether it was the simplicity of Al Saif’s plain parotta, the quirkiness of Paratha King’s Aloo Cheese Paratha or the chewy goodness offered by Tea Point Cafeteria, almost every variant of the “Abu Dhabi” paratha delighted me in its own particular way. But none of them evoked the same nostalgia as the humble aloo paratha offered by Come and Eat Cafeteria. The softness of the aloo and the pungency of the masala struck me. More importantly, the paratha looked, smelled and tasted like home. According to Mohan Bhatt, the owner of Come and Eat, their paratha was supposed to be reminiscent of Delhi’s famous “Paranthe wale Gali”- the narrow Old Delhi street known for its parathas (Bhatt). However, for me, the paratha took me back to another claustrophobic yet special lane: my mother’s kitchen. Behind each paratha and parotta I enjoyed is a similar story, stories of partition, discrimination, identity, migration, and most importantly, stories of people. For the paratha in Abu Dhabi has become representative of the migrant experience, in its invocation of nostalgia and familiarity, its role in identity formation and its inherent ambiguity, sparking discussions surrounding authenticity and class. At its most uncontroversial, the paratha is a form of South Asian unleavened flatbread. The vagueness and generality of this definition is necessary, considering the diversity of the dish and what it has to come to embody throughout the subcontinent. With regards to its origins, the common belief as articulated by Pakistani writer Bisma Tirmizi is that the flatbread “definitely originated in the northern part of the subcontinent” (Tirmizi).

142

EXIT 11


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Articles inside

Creativity within Silence – Cameron Wehr PHOTOGRAPH: The City’s Life – Am Silruk

16min
pages 155-166

The Paratha, Abu Dhabi and Migration – Abhyudaya Tyagi

17min
pages 144-154

Performing Family – a Utopian Vision – Nuraishah Shafiq

14min
pages 136-143

PHOTOGRAPH: The Arabian Dream Mareya Khouri Smelly Sounds – Phonetic Symbolism in Scent – Lachlan Pham

13min
pages 127-135

How do we maintain our sense of cultural identity in new environments? Meg Nakagawa

16min
pages 115-126

The Air is Delicate” (Macbeth 1.6.10): The Role of Olfactory Design in Punchdrunk’s Sleep No More – Rayna Li

17min
pages 104-114

You’re Not One of Us: Britain’s Problem with Returning Foreign Terrorist – Omar Hussein

12min
pages 96-103

The Virtual Circus: A Comparison of Appropriation of The Black Body in 19th & 20th Century Freak Shows and Contemporary Instagram Trends – Tatyana Brown

23min
pages 81-95

Kosovo: Convenient Humanitarian War? – Maja Wilbrink

23min
pages 64-80

Praying to Progressive Gods: The Liberating Role of Violence – Luis Rodríguez

9min
pages 59-63

No Simple Code: Google and the Exploitation of Altruism – Mary Collins

11min
pages 44-49

Representations of the Maasai: Jimmy Nelson’s fantasy – Mareya A. Khouri

15min
pages 50-58

Ancestors: Our Blood-Related Strangers – Amy Kang PHOTOGRAPH: Before They Sail Away Usman Ali

9min
pages 34-43

Mumbai in Slumdog Millionaire Ethnicized or Globalized? – Sana Elgamal

8min
pages 25-29

Absence and Uncertainty: A New Form of Terror – Runyao Fan

6min
pages 30-33

How to Build a Fire- The Power of Poetry in “This Big Fake World” – Mary Collins

8min
pages 20-24

PHOTOGRAPH: Mina Fish Market Sebastian Kalos Introduction – Marion Wrenn PHOTOGRAPH: Timbers of the Gulf Sara Almarzooqi

5min
pages 13-19
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