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Albanese: Beyond the giant slayer moment
TBY PAWAN LUTHRA
he 2025 election platforms from both Labor and Liberal Party were underwhelming and lacked long-term vision.
Familiar talking points were repeated on housing, healthcare, and cost-ofliving pressures. Labor focused on social programs and the environment; Liberals backed tax cuts and infrastructure. Both however lacked real vision for Australia’s future. Their plans felt safe and shortterm, not bold and forward-thinking.
With major global challenges looming, neither party showed the leadership to drive long-term change in Australia. At election time, perhaps the best strategy is to make yourself a small target.
With pressing long-term challenges ahead, this may be the moment for Labor and Anthony Albanese to adopt a broader strategic vision - addressing foundational issues that impact all Australians and positioning the nation for sustained success over the next two to three decades.
The ALP is on track to secure 93 of
the 151 contested seats. With support from the Greens, Labor is also set to control the Upper House. These numbers have earned Anthony Albanese the title of 'giant killer' - having unseated key opponents including Peter Dutton of the Liberal Party and Adam Bandt of the Greens.
Albanese has the opportunity now to push through significant changes.
Prime Ministers Hawke and Keating accomplished this by freeing up the financial systems and placing Australia in the new world economic order. Prime Minister Howard, punching above his weight, pushed through gun reforms and brought in the GST which holds up our tax system.
Years of vote-chasing policies and short-sighted strategies have fuelled a housing crisis. Young Australians and new migrants alike continue to struggle with the dream of home ownership.
Tax sweeteners - like capital gains concessions, interest deductibility of investment loans, and SMSF property purchases - need urgent review. With an annual shortfall of 70,000 homes, we risk being 300,000 short by decade’s end. Blaming students or migration won’t fix this: bold, structural reform will.
Now could also be the time to review
our 10% GST – sure, everyone loves tax cuts and hates tax increases, but our needs are changing with an aging population and slowing population growth, and we need to be nimble.
The energy crisis must be handled head on, even at the risk of international reputational fallout. It's hard to reconcile how Australia - one of the world’s largest gas exporters - sells gas more cheaply in Tokyo than in Sydney.
And there are opportunities for meaningful change in areas such as climate change and environment degradation; the distribution of GST amongst Australian states; economic diversification and investment in Australian tech, and of course, First Nations reconciliation.
The Coalition will finish this election at about 42 seats. With 76 needed to form government, it is safe to say that winning 35 more at the next elections in 2028 will be impossible. And Labor needs to take advantage of their strong position by floating big ideas to take to the next election. They may lose a few seats, but will have a mandate to implement real reform.
Albanese can then be a giant of Australian leadership, rather than just a giant slayer.
YOUR SAY
“WE WILL NOT DISTINGUISH BETWEEN TERRORISTS AND THEIR SUPPORTERS”
The High Commissioner of India to Australia GOPAL BAGLAY spoke with PAWAN LUTHRA to explain India's position in the ongoing conflict with Pakistan.
Bruce Adams wrote: Replying with blood for blood is not even close to the required result.
Padmini Sunderaj wrote: It is a good interview. But we all have heard Modi's grand address to the nation a few days ago that sums up all this and much more. How this can be communicated in Australian media remains a challenge. You just need to listen to ABC news, SBS, Channel 9 or 7 to see the anti-India biased reporting. Hope more is done to educate them.
Anu Shivaram replied: Padmini Sunderaj, totally agree! The western narrative about India has to change.
Dinsha Palkhiwala wrote: Excellent interview. Helps clarify many aspects. Hats off to you for keeping us better informed of the facts when any other media sources have made it more of an entertainment show. Please keep your good work going. We need this quality of journalism.
Anu Shivaram replied: So true. The overflow of info on social media has made a mockery of the war situation and loss of life. Hard to trust any news these days.
Dryden English/IELTS Coaching &Tutoring wrote: War is never a solution. It must be avoided at all costs. War destabilizes economies, kills innocent civilians and soldiers, and leaves behind a legacy of disease, poverty, and destruction. Lives are lost, families shattered, and survivors often suffer lifelong injuries. Crops are destroyed, and entire communities face ruin. While global powers may fuel conflicts for their own interests, it is the people in the countries involved who ultimately bear the pain. May wisdom prevail, and may peace, harmony, and prosperity reign across the world.
Raghbir Singh wrote: Say no to war. We don’t want war. Yudh mein aam nagrik ko nuksaan hota hai. Zara socho samjho. (It’s the common man who loses the most in war. Think before you act). I hope everyone will be safe.
THIS OR THAT?
You’re still loving our new snap poll in our weekly e-newsletter! Here’s how the votes stacked up in the last three editions:
• In Met Gala week: Getting your look approved by Vogue vs Getting it past every aunty at the wedding. 75% picked aunties (at least Vogue doesn’t ask about your job, your weight, and your rishtas - in one breath).
• What’s the bigger crime: Pineapple on pizza vs. Ketchup in Maggi? Maggi with ketchup got 67% of you screaming “enough.” (Pineapple on pizza? Still hanging on by a cheese string).
• You get one chance to skip around the timeline. Would you revisit the good old days? Or skip forward to see if your future self finally figured it out? Take me back, I was thriving vs Spoil the plot, I can’t wait. With a whopping 66.7%, “Take me back” stole the show.
TREKKING KILIMANJARO
In a first person account, climber RAJ SESHA reflected on the lessons learned after his gruelling trek to the ‘roof of Africa.’
Raj Sesha wrote: Thrilled to see my article on the Kilimanjaro trek in Indian Link. Thank you for sharing my story. This trek was not just a physical challenge but also a journey of immense self-learning and discovery. I'm grateful for the opportunity to share a piece of this incredible experience with a wider audience. If you're curious about the adventure, the preparation, or the personal growth that came along with it, do check out the article.
Phil Tusing wrote: OK this is impressive. Inspired to try.
Sumathi Krishnan wrote: What an exciting story - thank you Sesha. If you are planning a trip for trekkers as inexperienced as me and a group of my friends, we would love to have you come and speak to us and give us all the low down.
Trish Scally wrote: What an amazing adventure. I’m in awe.
BREAKDOWN OF THE INDIA-PAK “COLD PEACE”
PAWAN LUTHRA joined ABC Local Radio Sydney’s KATHRYN ROBINSON to discuss military tensions in the subcontinent
Sumathi Krishnan wrote: A succinct and most balanced reporting of what is happening now in the India-Pak space. Let’s hope both countries contain themselves and try to reach a cold solution… cold peace as you call it, Pawan. Thank you.
Anu Shivaram wrote: An objective and realistic summary of the situation, thanks Pawan. Let sense and sensitivity prevail and let both countries live in peace.
Omkar Palav wrote: Proud of you Indian Link.
Raja Gopalan wrote: Good one, Pawan.
Krish Neelamraju FCA wrote: Absolutely agree. Spreading propaganda is bad enough - inciting nuclear conflict for ratings is reckless beyond measure. In South Asia, misinformation is mainstream; facts are now the fringe.
Bruce Adams wrote: Pawan Luthra, both countries are at fault. Give an inch and take a mile. Personally, I’m concerned about the people in Punjab, Rajasthan and the border states.
Raja Gopalan replied: Bruce Adams, kind of like saying that both Ukraine and Russia are at fault.
104 WOMEN KILLED IN 2024 AND 22 ALREADY IN 2025: WHY IS THIS NOT A PRESSING
ISSUE?
Ten days out from the Federal election, KHUSHEE GUPTA called on young women to “wake up” and vote with intention — to take a stand for women’s safety.
Women’s issues advocate Kittu Randhawa wrote: Is it because of the simple fact that the government doesn’t value the lives of women? Or is it the fact that the Government’s got it wrong in their alleged plan - and we are now paying for that as a community? It’s become glaringly clear that the tokenism in providing adequate support has had consequences. Lost lives consequences, and many, many more lives destroyed. Don’t expect anyone to step up and take responsibility. If anything, they’ll fund yet more research to get a paper to tell them what we already know. Notwithstanding the obvious flaw was asking people who are not on the frontlines what should be in the plans in the first place. Thing is, theory only goes so far - practice and experience know best. And they still don’t heed anything we say. It is wrong to say Government hasn’t funded #DFV - just a crying shame it’s had as much value as p*****g it up a wall. #justsaying
Mala Mehta OAM wrote: Very well articulated Khushee Gupta. Julian Leeser, Michelle Rowland … hope this crucial issue is addressed in the election promises by action.
Vanessa Murray wrote: Great piece.
WHERE IN INDIA
At first glance, this church might remind you of churches in Europe - but this beautifully preserved chapel is in India. Its walls and ceilings were painted over a century ago by a single Italian Jesuit, using natural paints. Where is this quiet treasure located? (Hint: It’s tucked away in a coastal town.)
15-YEAR-OLD SIMRAN SUNIL’S HOMAGE TO DANCE
SYDNEY SRINIVAS was in the audience as Simran presented her Bharathanatyam arangetram.
Pushpa Jagadish wrote: Beautifully written. Felt like I revisited Simran’s arangetram.
Simran’s Guru Nikhila Kiran wrote: Very beautiful review of Simran’s Bhartathanatyam arangetram. Thanks Srinivas also for your blessings.
Magie Sebastain wrote: A mind blowing performance.
Suresh Varadarajan: Very eloquently written. I was also enthralled by the performance on the day.
Chitra Nagaraj wrote: Wonderful article by Srinivas Karkenahalli, on an absolutely mesmerising Bharathanatyam performance. Simran is without doubt a true dancer – she put her heart and soul into her dance. Can’t wait to see more of her performances in future.
Rithika Ayyar wrote: Congratulations Simran!
WHERE IN OZ
Tucked away in the city, this garden was built to honour the women who helped shape South Australia. It’s home to the city's first modernist public sculpture and a quiet spot that says a lot without needing to. (Seemed like the right pick for Mother’s Day.) Which Australian city?
Many guessed the location incorrectly as Goa, naming the famous St Francis Xavier Church. One reader, Vimala D’Souza got the right answer: St Aloysius Chapel, Mangaluru.
Again, a lone reader got the right answer: Omkar Palav. This sculpture by Ola Cohn is located in the Pioneer Women’s Memorial Garden in Adelaide.
"India will not tolerate nuclear blackmail"
India’s High Commissioner to Australia GOPAL BAGLAY sits down with PAWAN LUTHRA to discuss the ongoing conflict with Pakistan and outline India’s position.
High Commissioner, what was your initial response upon hearing about the terrorist attack in Pahalgam?
It is a very reprehensible and barbaric killing. Since I have had, in my previous capacities, some association with our relationship with our western neighbour, my mind went back to a number of those terrorist attacks which have unfortunately been mounted on India from across the border - namely, the Pakistansponsored Parliament attack in 2001, the horrific attacks in Kashmir, and the 2008 terrorist attack in Mumbai in which more than 160 people, including Australians, lost their lives.
I also thought of the Bali bombings in 2002 and 2005, because the nature is very similar – the 88 Australians who were unfortunately killed were there for enjoying
at a tourist place. Similarly, Pahalgam was also a tourist place; 23 million people have visited Kashmir for tourism in the last year alone. The only difference here as compared to Bali was that the victims were singled out based on their religion, and shot point blank in front of their families - even children were not spared - and the families were then exhorted to take back the message. The Pahalgam terrorist attack was clearly aimed at driving a communal divide and pulling down the booming tourism economy of the Union Territory of Jammu and Kashmir.
What makes India confident that these terrorists were directed from Pakistan? Is there any evidence India can share to support this claim?
Even before we claimed anything, on 22
April, an outfit called The Resistance Front (TRF) had claimed responsibility for this gruesome terrorist attack. Perhaps not satisfied with claiming it once, they claimed it a second time on 23 April.
By that time, perhaps the ramifications of the scale of this attack, the anguish it had provoked in India, and the condemnation it had evoked the world over, was evident to the handlers of these terrorist attacks and the terrorists who carried it out, so TRF retracted the claim.
I don't know if you have followed it, Pawan, but the claims related to TRF and Pahalgam terrorist attack were also amplified by the social media handles, for example, of the Lashkar e Taiba, of which TRF is a front organisation.
Lashkar e Taiba, as you know, is a terrorist
organisation banned by the United Nations. This is not the first time we’ve heard of this resistance front. In our submission to the United Nations Committee which monitors these organisations and the sanctions on them - called the 1267 Committee - the Government of India had said that there is this entity called the TRF, which is a front for the LaT, and they are involved in terrorist attacks on India. So this is the first set - these people claiming it, but then retracting the claim, something like a mea culpa, Chor ki dadi me tinka, as we say in Hindi.
But we also knew about this resistance front from before, all related to the attack itself. We of course have understanding about the communication notes of the terrorists with their handlers and supporters back in territory under Pakistan's control.
Our intelligence agencies have worked out how this attack shaped up. Related to all this is the track record of Pakistan, as the global hub of terrorism, not only directed against India. Unfortunately, we have borne the brunt of it, but also many other countries in the world, and an untold number of people have suffered from the terrorism emanating out of Pakistan.
But High Commissioner, while India calls it out as terrorism coming from Pakistan, do you think the rest of the world also calls it out as such - or do they need to do so louder and clearer, after seeing what happened less than a month ago in India?
Two things – one, within 24 hours of the terrorist attack, certainly on the very next calendar date 23 April, the Prime Minister of Australia Anthony Albanese, who was in intense election campaign at that time, called Prime Minister Modi, taking out time from his election campaign, and condemned the terrorist attack. There was no ambiguity there.
So also Foreign Minister Penny Wong, and a number of global leaders, countries friendly to us, close to us geographically.
There was general condemnation of the terrorist attack, the manner in which it was conducted, and the message it wanted to send.
At the same time, the second aspect is, that in many places, and I'm sorry to say in some segments of the media and discussions, we have seen a hesitation to call them out as terrorist attacks - not only with regard to the Pahalgam terrorist attack, but other terrorist attacks which took place in India in the past.
And this is what the people of India sometimes don't understand - why some attacks are called terrorist attacks, and sometimes these are called ‘incidents’ and [their perpetrators] ‘militants’ or ‘gunmen’.
The broader point here, is that if we do not call out all terrorism in all its forms and manifestations, then what happens is that it effectively leads to a weakening in some way of the global fight against terrorism.
Why do foreign governments and media apply a different standard when it comes to terrorism in India? Do you think India's closest friends, especially in the QUAD, should be clearer about calling it out and where it is coming from? Well, this is a question you have to ask them who use those terms. In my understanding, I think at the government level and not only in the public statements, the conversations we had, I had personally, during the period from 22 April, right up till yesterday, we have had very clear support from the Government of Australia, but yes, I do see that there are certain segments in many places in the world which use these double standards.
In response to this senseless act, India launched Operation Sindoor. What were the strategic objectives, and have they been achieved?
Absolutely achieved 100%. Soon after the barbaric attack the Prime Minister said that we will be bringing down the terrorist infrastructure which has supported the background terrorist attack. So Operation Sindoor was launched with the objective to destroy the terrorist infrastructure in Pakistan which has over four decades supported this and similar terrorist attacks
in the past. Nine targets were very carefully chosen. Our response to the terrorist attack in Pahalgam was very measured, focused, calibrated and non-escalatory in nature. And despite claims in some places in the world, in social media, by certain other people in positions of authority in other places, everyone in the world now who follows these things in some serious manner, knows that those places which we chose to target have been destroyed.
Can you comment on the losses we sustained - in terms of both manpower and machinery?
The biggest loss is the 26 lives which were taken away in the barbaric Pahalgam terrorist attack, and those of our citizens killed in Pakistan’s discriminate shelling and targeting of schools, religious sites and civilians.
Our Armed Forces and the Ministry of Defence have carried out detailed briefings on operational aspects. Pakistan’s nefarious attacks on our military facilities could not score any significant hit. On the contrary, India’s response overwhelmed Pakistan’s air defence and damaged extensively key air bases - Noor Khan and Rahim Yaar Khan among them, with surgical precision.
We are proud of our Armed Forces and countrymen who stood in solidarity against Pakistan-sponsored cross-border terrorism and its unprovoked military aggression against our civilians and military facilities. We salute our brave for defending their Motherland and compatriots with their skills, sweat and blood.
High Commissioner, ceasefire is in place now, but is it truly time to breathe easy? What I can tell you, is that terrorists and their supporters cannot breathe easy. After Operation Sindoor, they know that a terrorist who is working against India or intends to work against India and is preparing for it, is not safe anywhere in Pakistan. Their supporters know this, and they know that if there is any cross-border terrorist attack on us, we will retaliate, we will go after the terrorists and their supporters. You would have perhaps seen the Prime Minister’s address to the nation on the 12 May, he has made it absolutely clear that there will be no tolerance to terrorism; we will not distinguish between the terrorists and their supporters and we will also not be cowed down by the nuclear blackmail in responding to the cross-border terrorism, because Pakistan conducts these cross-border terrorist attacks under a nuclear cover - thinking that because it has nuclear weapons, India would not hit. But since Uri 2016, it would have realised that its escalating terrorist attacks have invited a more intense response from India.
I do want to point out that the Prime Minister’s speech particularly sent a message about aggression rather than peace. Is it proof that India has had enough?
The Prime Minister’s speech - and he mentioned this in his address - was incidentally on 12 May, which was also Buddha Jayanti or Buddha Purnima, the day on which Gautam Buddha was born, attained enlightenment and also attained Mahaparinirvana. So the Prime Minister said, the path to peace is through strength: Shanti ka rasta shakti se ho kar jata hai. I think his message is absolutely very clear.
President Donald Trump first announced the ceasefire on social media, followed by official statements from India and then Pakistan. He has claimed credit for the ceasefire multiple times, even suggesting that he would mediate a settlement between the two countries. Does this shift the dynamics between India, Pakistan and the Kashmir issue?
Well, there are three aspects to the questions you asked, Pawan. The first is how the ceasefire came about. As the Prime Minister had made it amply clear in his address, this was the result of a direct conversation between the Directors General of Military Operations of India and Pakistan. I can also mention to you, that our authorities were approached on the morning of 10 May from the Pakistan side, for a conversation between their DGMO and our DGMO, the Director General of military operations. Now you and your readers would recall, that it was the night of 9 and 10 May, in which Pakistan tried to launch some ballistic missiles, but which were intercepted. In retaliation we had hit about a dozen of their air bases and facilities, with devastating effect. And so obviously some of that had compelled the Pakistanis perhaps to reach out to us. And finally, the conversation between the Directors General of Military Operation of India and Pakistan, at the initiative of the Pakistan side took place, in the afternoon, I think around 3:30 or 3:55 Indian Standard Time on the 10 May. And when the DGM of Pakistan offered a ceasefire, we agreed because as you know, we have only responded to the initial escalation, which was in the form of the terrorist attack and then Pakistan’s military action after that, when they launched artillery fire and drones and then escalated to it. So that's how the ceasefire at 5:00 PM IST on 10 May came about.
This is the first aspect.
The second aspect is about dialogue between India and Pakistan.
Look, it's not [just] today - in 2016, when the Pathankot attack took place, we had made it very clear that talk and terrorism cannot go together. And we had also said that blood and water do not, cannot, flow together. You heard the Prime Minister reiterate these principles on 12 May in his address to the nation.
The third aspect is Kashmir.
Well, I think there is a fundamental misunderstanding in many places in the world about Kashmir being the cause of conflict between India and Pakistan.
I do not think that is correct, either historically or conceptually or geopolitically. There are many reasons why Pakistan has had an obsession with India and to take on India militarily. Ever since its inception in
1947, it has tried to take Kashmir by force. And Kashmir, as you know, had acceeded to the Union of India perfectly legally, and it was Pakistan which launched an attack - with its soldiers disguised as tribals. We reached Srinagar Valley and beyond, and our forces discovered that those were not tribals in any way, they were Pakistan soldiers.
Cut to 1999. Kargil. Pakistan’s soldiers occupied the territory. They fought the Indian forces, ultimately having to walk away from this misadventure. But you know what? They even refused to accept the bodies of their soldiers. There is enough information about this in the public domain that we had to bury the bodies of their soldiers. So here is a country, which has nefarious designs on the territory of another country, its neighbour, and has not made one, but at least four attempts, by force, by violence, by military means, to take the territory to control the territory, but has failed each time. And does not have even the courage to accept that it is its soldiers which have died in the battle with Indians. So the only thing we need to discuss with Pakistan on Kashmir, is about Pakistanoccupied Jammu and Kashmir, which has been in its illegal possession since 1948.
The media’s heightened coverage of the military engagement significantly intensified public sentiment, fostering expectations of a full-scale war. With the announcement of a ceasefire, public frustration shifted towards government spokespersons who had delivered daily briefings. How is the government managing public emotions while pursuing national security priorities? While I don’t wish to comment on media coverage of the rapid developments, clearly a frenzy was built up by false propaganda in Pakistan, led from senior levels of its civilian and military establishments. Pakistan reached out to the Government of India on 10 May through bilateral official channels seeking ceasefire, to which we agreed. It has by and large held after initial violation by Pakistan late on 10 May itself, which compelled our Armed Forces to respond.
India’s democratic traditions not only allow, but encourage freedom of expression and of opinion, including against senior government functionaries. The unwarranted and shameful comments in social media by a minuscule minority of netizens however, don’t deserve to be glorified with any attention, much less any comment.
Thank you, High Commissioner, for your time. All the best to you, and salutes to our servicemen and women guarding our borders.
Thank you very much, Pawan.
“The ceasefire was the result of a direct conversation between the
Directors General
of
Military Operations
of
India and Pakistan.
I can also
mention to you, that our authorities were approached on the morning of 10 May from the Pakistan side, for a conversation between their Director General of Military operations, and ours.”
Proudly honoured with 31 media awards, including four-time recognition as Best Publication.
Three decades of all things Indian. In Australia.
IBY COL. MAYANK CHAUBEY
n an era defined by digital innovation and geopolitical rivalry, rare earth elements (REEs) have emerged as linchpins of global power. From smartphones and solar panels to advanced weaponry and electric vehicles, these minerals underpin critical technologiesplacing them at the centre of an intensifying contest between global powers.
China's strategic leverage
In late 2024, China tightened export controls on gallium, germanium, and antimony - key materials used in semiconductors and green technologies. By requiring export licenses, Beijing signalled its readiness to wield resource dominance as geopolitical leverage.
China further escalated tensions by restricting the export of rare earth processing technologies, exacerbating supply vulnerabilities for countries dependent on Chinese refineries. With nearly 60% of global REE production and over 85% of global processing capacity, China enjoys near-monopoly status. This has allowed Beijing to deploy its rare earth dominance as a powerful bargaining chip in disputes over trade, Taiwan, and the South China Sea.
China's actions serve a dual purpose: consolidating its industrial competitiveness while weaponising economic interdependence. By controlling the tap of critical minerals, China can subtly shape global supply chains and foreign policy alignments, especially in regions where rare earth-dependent manufacturing is central to economic strategy.
America’s supply chain reset
Despite possessing rare earth reserves, the US imports nearly 80% of its supply, mostly from China. This dependency has triggered a wave of domestic and international responses to secure alternative sources. America recognises that national security, green transition, and technological innovation hinge on reliable access to critical minerals.
Key US measures include:
• Expanding MP Materials’ operations at Mountain Pass, California, the only active rare earth mine in the US
• Launching the Round Top Project in Texas, focusing on heavy rare earths essential for magnets, defense systems, and EVs
• Utilising the Defense Production Act, along with tax credits and subsidies, to attract private investment.
• Forging partnerships with Australia and Canada, which boast significant REE deposits and political alignment with Washington
• Investing in recycling and circular economy initiatives, to reduce future dependence on virgin mining.
The Pentagon has also categorised rare earths as "essential for national defense," underscoring their role in missiles, stealth fighters, radar systems, and night-vision equipment. In this light, rare earths are not
Rare earths and realpolitik
How minerals are shaping global power struggles
just economic commodities, but strategic imperatives.
The Indo-Pacific theatre: Beyond China and the US
While the spotlight often rests on SinoAmerican dynamics, the Indo-Pacific region - and South Asia in particular - is emerging as a potential theatre in the rare earth saga. Nations such as India, Vietnam, and Malaysia are ramping up exploration and refining capacities, often supported by Western financing.
India, with its deposits in Andhra Pradesh and Odisha, has partnered with Australia and Japan to scale up REE extraction and build domestic refining capability. New Delhi's aim is twofold: reduce import dependency and offer the world an alternative supply chain resilient to geopolitical coercion.
Gilgit-Baltistan: A quiet contender Nestled in the northern reaches of Pakistan, the Gilgit-Baltistan region hosts REE-bearing minerals such as bastnäsite and monazite. Found in areas like Skardu, Astore, and Gilgit, these deposits are promising but vastly underexplored. A mix of rugged terrain, high-altitude logistics, and outdated geological mapping has delayed systematic mineral exploitation.
Strategically, Gilgit-Baltistan holds potential to:
• Reduce global dependence on dominant suppliers like China
• Offer Pakistan a rare chance to diversify its exports beyond textiles and rice
• Contribute to the global clean-tech ecosystem by supplying critical inputs. However, these opportunities are
financing for projects like Reko Diq, managed by Barrick Gold, and smaller exploratory ventures in Gilgit-Baltistan and Balochistan.
This outreach is not altruistic. It is a calibrated move to:
• Secure alternate sources of rare earths and battery minerals
• Counter Chinese investments under CPEC
• Recalibrate America’s strategic footprint in South Asia after the Afghanistan withdrawal.
IMF Loan and strategic tensions
In May 2025, the IMF approved a $1 billion loan for Pakistan, with an additional $1.4 billion allocated for climate resilience. Officially aimed at economic stabilization, the loan reportedly came with discreet diplomatic riders - including a ceasefire with India and curbs on cross-border militant activity.
India abstained from the IMF vote, citing concerns that such funding, if unmonitored, could be diverted to support state-backed militancy or defense spending. This abstention, symbolic yet pointed, highlighted the risk of global financial tools being co-opted into regional power games.
Why Pakistan's stability matters
For Washington, a stable Pakistan ensures:
• Nuclear security and control over fissile material
• Counterterrorism coordination, especially against Al-Qaeda remnants and regional offshoots
tempered by political and security constraints. The region's disputed status between India and Pakistan, environmental fragility, and local discontent over governance limit the scope for foreign investment and large-scale mining.
Balochistan: Potential amid volatility Balochistan’s mineral wealth is no secret. Districts like Muslim Bagh and Khuzdar are known for chromite, but recent studies have indicated the presence of heavy REEs such as dysprosium and terbium — crucial for wind turbines, lasers, and missile systems. Yet, mining in Balochistan is marred by insurgency, lack of infrastructure, and deeprooted mistrust between local communities and federal authorities. Any meaningful extraction will require:
• Security guarantees and political reconciliation
• Transparent revenue-sharing agreements with local stakeholders
• Modern geological surveys and environmentally sensitive mining practices.
If handled judiciously, Balochistan could evolve into a globally significant REE and critical mineral hub. But failure to address local grievances risks igniting further instability, undermining both economic and strategic ambitions.
US eyes Pakistani resources
In April 2025, a senior US delegation visited Pakistan to explore investment opportunities in its underutilised mineral sector, with a focus on lithium and rare earths. The Export-Import Bank of the United States is reportedly assessing
• A buffer against Chinese monopoly, especially in the mineral and energy domain.
For Beijing, Pakistan’s internal coherence protects:
• The integrity and flow of CPEC
• Access to Gwadar Port, offering China maritime flexibility
• The Xinjiang security perimeter, where separatism could be inflamed by regional instability.
Thus, Pakistan becomes more than just a bilateral partner - it is a strategic hinge in the broader balance of global mineral politics.
Conclusion: Resources and rivalries
Rare earths have become modern strategic assets, as crucial as oil once was. As the US and China entrench their mineral diplomacy through domestic initiatives, foreign investment, and covert manoeuvring, the contours of global alliances are being reshaped.
For Pakistan, especially Gilgit-Baltistan and Balochistan, this represents both a rare opportunity and a complex test: can it walk the tightrope of external engagement, internal security, and environmental sustainability to emerge as a responsible player in the global rare earth supply chain? Only time - and policy - will tell. But one thing is clear: in the new world order, whoever controls the minerals will influence the machines, the markets, and the might of nations.
Col. Mayank Chaubey (Retd) is a Materials Management professional, and currently a defence expert with Zee News TV and India News TV
MBY KHUSHEE GUPTA
ay is Neurofibromatosis (NF) awareness month, a time to reflect on the challenges faced by individuals living with this genetic condition and to raise awareness about its impact. Janu Dhayanathan, a passionate advocate and NF warrior, is using her voice to shed light on the realities of living with NF, a condition that affects the nervous system and can lead to benign tumours that may become cancerous. Janu’s journey is one of resilience, vulnerability, and advocacy, as she aims to change the way we perceive those with visible and invisible differences.
Neurofibromatosis is a genetic condition
Living with Neurofibromatosis
From taunts and isolation to advocacy: How Janu Dhayanathan turned pain into purpose in the fight against neurofibromatosis.
her a 1-in-3000 case. Though the condition is typically diagnosed in early childhood, Janu’s journey began at the age of 9 when she visited a paediatrician for asthma-related issues.
“My mother noticed small brown patches on my skin, which were initially mistaken for birthmarks,” she revealed.
“Growing up in a South Asian family, I was told to keep my diagnosis a secret.” This secrecy, born from fear of societal judgement, caused more harm than good. As her tumours grew, it became impossible to hide the condition, leading to feelings of shame and social isolation. She struggled with depression, anxiety, and the cruelty of others, but the psychological burden was the heaviest. With a lack of representation and support, she felt like she didn’t belong anywhere.
“Western beauty standards didn’t fit me, and I didn’t have anyone in my family with NF to relate to,” she recalls.
she had longed for in her own journey.
Through her work with the media, including appearances on TV, Janu has seen the power of forgiveness. One of her former bullies reached out to her on Facebook, not to apologise but to acknowledge the pain he had caused. Janu, who had worked through therapy to forgive those who had hurt her, responded with grace.
“Forgiveness is about letting go of negative emotions,” she explains.
Now, as a NF ambassador for CTF, her work revolves around mentoring young individuals living with NF as well as speaking at events to create awareness and fight the stigma. Her advocacy work has also led to important conversations around how the South Asian community can better support individuals with NF.
that causes tumours to form wherever there are nerve cells in the body. Though these tumours are generally benign, they can become cancerous, requiring constant monitoring. The condition is unpredictable, with no clear path of progression or guarantee of where the tumours will grow. For many, this unpredictability is the most terrifying part. Along with physical challenges like scoliosis, cognitive difficulties, and social isolation, NF can also cause emotional and mental health struggles. Individuals with NF may experience symptoms that affect their mobility, hearing, and vision. But one of the most significant hurdles is the psychological toll of living with a visible difference.
“While NF is typically passed down from parent to child, my case was different since my parents did not have the condition,” Janu explains. This means she was born with a spontaneous mutation of NF, making
For years, Janu Dhayanathan wore long sleeves to hide the spots on her skin, unsure of how to manage her emotions and anxiety. But everything changed in 2019 when she made the courageous decision to shave her head to remove tumours from her scalp. In doing so, she began a fundraiser for the Children’s Tumour Foundation (CTF), the leading organisation supporting NF research. What followed was a wave of support.
“I realised I had been hiding for so long, depriving myself of so much love,” Janu shares.
Her initial goal for the fundraiser was $3,000, but within 48 hours, she had surpassed that goal. By the end of the month, the total reached an incredible $16,000.
“When I shared my story, the outpouring of love and support was overwhelming,” she says. This marked a turning point for Janu, who was later invited to become an official ambassador for NF. Initially hesitant, she realised that she could be the representative
“In films, people with visible differences are often shown as ‘villains’ or something to be feared,” she says. “This attitude needs to shift, and it’s essential that the media showcase a diverse range of looks.”
Janu encourages the South Asian community to get involved in raising awareness for NF.
“Don’t feel ashamed of what makes you different,” she advises. “You don’t need to tell everyone, but you also don’t need to hide it.”
She emphasises that every case of NF is unique, where some individuals may live with tumours that are visible, others face challenges that are invisible, such as cognitive or internal tumours, which deserve equal compassion and support.
For those looking to make a tangible impact, Janu suggests visiting the Children’s Tumour Foundation website ctf.org.au to donate or organise a fundraiser. The funds go directly toward research and supporting families who might not have the resources to manage the condition.
As Janu Dhayanathan reminds us, “If there’s something different about you, don’t feel ashamed. Embrace it, and know that you are not alone.”
Mahindra XUV700
The MY25 Mahindra XUV700 is a versatile SUV designed to accommodate various family sizes and lifestyles.
With seating configurations for up to seven passengers, it caters equally well to couples seeking countryside adventures in Australia’s great outdoors or larger families needing to travel together across the city.
For couples, the MY25 XUV700 AX7L model offers a comfortable and stylish ride, featuring dual 10.25-inch screens, wireless Apple CarPlay and Android Auto connectivity, and a panoramic sunroof. Its 2.0-litre turbocharged engine delivers 149kW and 380Nm, ensuring a smooth drive on both highways and rural roads.
Growing families benefit from the spacious interior, with ample room in the third row and a generous boot space when the seats are folded down.
In exciting news, Mahindra Automotive
Australia has just announced its End of Financial Year (EOFY) Bonus program, effective immediately across participating dealerships nationwide.
From now until June 30, 2025, customers will receive a $3000 Factory Bonus on selected in-stock models, including the MY25 XUV700 AX7 and AX7L.
The MY25 XUV700 offers exceptional value in a congested SUV market for those looking for a reliable and well-equipped SUV.
Mahindra’s commitment to quality and innovation was recognised when it was named the 2024 Indian Company of the Year by The Economic Times, highlighting its achievements in the automotive sector. Mahindra Australia is alsoproudly marking 20 years of operations in Australia.Today, Mahindra boasts a growing workforce of 40 employees and a strong network of more than 70 dealers across the country.
COERCIVE CONTROL IS A WEB OF ABUSE
Coercive control is when someone repeatedly hurts, scares, or isolates another person to control them. It’s domestic abuse and can cause serious harm.
Coercive control is now a crime in NSW when a person uses abusive behaviours towards a current or former intimate partner, with the intention to coerce or control them. It can include any type of physical or non-physical abuse that is repeated over time.
It looks different in every relationship and culture. Unfortunately, women from non-English speaking backgrounds can experience this more.
Coercive and controlling behaviours can seem minor on their own. However, over time they can impact someone's sense of safety and independence, making them feel trapped, powerless and alone. It can look like restricting their access to finances, threats to remove visa sponsorship or humiliating someone to cause feelings of shame.
Women from non-English speaking backgrounds often face greater challenges to access support services because of language barriers and fears that asking for help will affect their visa or immigration status.
Temporary visa holders also report higher levels of domestic and family
violence than people who have a permanent visa, with more than 30 percent of migrant and refugee women experiencing some form of domestic and
family violence. The Punjabi community are encouraged to learn more about the signs of coercive control and reach out to free support services available.
HOW CAN YOU SUPPORT YOUR COMMUNITY?
The NSW Government has developed free in-language information explaining coercive control, what it looks like and how someone can get help in a range of languages.
While some people may be more likely to experience coercive control, it’s important to remember that coercive control is never the victim-survivor’s fault. Visit nsw.gov.au/coercive-control/ languages for more information.
If you’re in immediate danger, call Triple Zero [000] and ask for Police.
If you, or someone you know, is experiencing coercive control, there’s help available. Call 1800RESPECT (1800 737 732) for 24/7 support.
If you need an interpreter, call the Translating and Interpreting Service on 131 450 and ask them to contact the service you would like to speak to.
The end of faith, the dawn of fury
When old gods fall silent and new ones bring destruction, the result is a quiet devastation
TBY MANAN LUTHRA
Religion. Family. Nature. Culture. They all collide in The Wrong Gods
he Wrong Gods, the third play written by S. Shakthidharan (also co-director) presented by Belvoir St Theatre, is a powerful story of displacement, familial and spiritual conflict, and the clash between old and new worlds. Following the spellbinding Counting and Cracking and The Jungle and the Sea, Shakthidharan again plays to his strengths by crafting a script that is nuanced, thoughtprovoking, and proudly South Asian. A strong performance from the fabulous Nadie Kammallaweera channels the play’s themes well. The intricate plot and richly layered dialogue, however, may require close attention from the audience.
The Wrong Gods mirrors elements of the real-life controversy of the Narmada River, which flows through central India, and the Indian government’s decision to build more than 3000 dams along it, most notably the Sardar Sarovar Dam – an action which displaced hundreds of villages, thousands of families, and was subject to a series of court actions, protests, and a hunger strike. These elements are noticeable in the plot, where a dispute over a dam being built near an Indian village by a mysterious American company causes a rift between village elder Nirmala (Kammallaweera), her ambitious daughter Isha (Radhika Mudaliyar), Isha’s
forward-thinking teacher Devi (Manali Datar), and company executive Lakshmi (Vaishnavi Suryaprakash).
Kammallaweera leads the cast brilliantly. Her Nirmala is stubborn, spiritual, and deeply understanding of the world around her, and she embodies all of these in a raw and powerful performance. She palpably and profoundly displays the pain Nirmala experiences as Isha neglects her old-world teachings, her village faces flooding from the new dam, and her faith in her gods is tested by new technologies and ways of thinking. At the same time Kammallaweera capitalises on Nirmala’s humour, which arises from her age and stubbornness. This offers a much-needed balance to the play’s intensity – which peaks in a well-choreographed fight sequence (courtesy Movement & Fight Director Nigel Poulton) – and adds nicely to the range of her performance.
The rest of the cast have their standout moments and a good chemistry with each other. Radhika Mudaliyar offers a lot in the show’s early stages, playing up Isha’s cheeky, aspirational qualities. Though her character feels sidelined as the play progresses, she picks up in importance and impact towards its climax. At that point, Mudaliyar’s maturity lets her portray Isha as distinct from her mother but understanding of her decisions, resolving one of the play’s conflicts.
Viashnavi Suryaprakash plays Lakshmi in a compelling way, not so much a villain but someone struggling to reconcile their work with their ethics. Her ability to capture Lakshmi’s internal conflict with such intricacy reflects her much-lauded skill.
Manali Datar delivers her supporting roles with skill (rising to the fore as the play reaches its telling moments), though the material gives her only glimpses to reveal the full extent of her talent.
Production elements support the show well, with a gorgeous minimal set courtesy Keerthi Subramanyam, and Indian music well composed by Sabyasachi Bhattacharya. Yet, despite co-direction by Hannah Goodwin and Shakthidharan trying to bring everything together, The Wrong Gods gets somewhat lost in its complexity. This is because there are so many conflicts on display – between Nirmala and Isha, Nirmala and Lakshmi, Devi and Nirmala, Lakshmi and Isha, Isha and spirituality, Lakshmi and the village, to name a few. It is not easy to track each conflict clearly, especially as the cast move quickly between them: because the characters have so much to get through, the direction has to follow suit.
While the early pacing demands close attention, the show finds its rhythm by the climax, offering the audience a chance to fully engage with its layered narrative.
Ultimately, The Wrong Gods offers a lot to dissect. Its cast and South Asian influence are worth celebrating. Its themes, though inherently tied to the latter, are not exclusively so; many societies throughout the world continue to experience displacement from various forces. The play raises many questions, but leaves its most important unanswered: in a world where new gods bring destruction, and old gods no longer respond to our prayers, where do we look for guidance?
This review was originally published in State of the Art Media (stateoftheart.net.au). The Wrong Gods runs May 3–June 1 in Sydney, and June 6–July 12 in Melbourne.
Photos: Brett
Nadie Kammallaweera (left) and Manali Datar
Vaishnavi Suryaprakash (left) and Radhika Mudaliyar Manali Datar (centre)
Theatre helps unlock generational silences
S. SHAKTHIDHARAN, award-winning playwright, director, and screenwriter, speaks with RAJNI ANAND LUTHRA about navigating expectations and uncovering the unspoken histories behind his latest work, The Wrong Gods.
Congratulations on the new production The Wrong Gods. Your earlier works (Counting and Cracking and The Jungle and the Sea) were expansive in scope. With The Wrong Gods, you've opted for a more intimate setting and a smaller cast. What inspired this shift in scale and focus? I became interested in the idea of a play which had a call and a response. I think that modernity and systemic changes that a community might go through often begin in very small ways, and then once you're in that system, it's hard to extricate yourself from it. So, this very simple [dramatic] form of a place and a gift from a stranger, and then that gift becoming something else in a second act really appealed to me. It wasn't a conscious decision to have a smaller cast. It was just that I suddenly struck upon being able to tell a story from pre-modern times to now in two scenes, all based around one gift from a stranger. The simplicity of that really appealed to me. I’m always led by what the story needs, and it felt to me like that's what this story needed.
Set against the backdrop of India's Green Revolution and the Narmada Dam Project, The Wrong Gods delves into the tension
battles like that for every city in the world.
I was quite happy to see an all-female cast; it's women who typically bear the brunt of transformation in societies. Absolutely. I think that a female cast allows us to look at the whole picture. Nirmala has to figure out who she is as a mother to Isha, but also who she is as a leader of her community. Isha has to think about what her duty is to that place, but also what her duty is to herself. Unfortunately, men can often feel like they've only got a duty to their work, or to their goals, or their dreams. It's the women in a community who think about everything and have to weigh up the pros and cons and all the responsibilities.
Yes, and in the Narmada Bachao Andolan we saw the women rise up - they were the ones that became negotiators and first-time political actors, leading the marches and fasts.
Yeah, it's a wonderful thing; we see that again and again in history. In Sri Lanka, it's now the women who are leading the charge to find the bodies which haven’t been found. They're leading the protests and looking at initiatives to rebuild their communities post-war. It's the women who find the solutions because they understand how the whole system works.
The title The Wrong Gods is striking - it suggests cultural misdirection, as well as misplaced faith in progress. But it also evokes reverence, not just rupture. Is that the South Asian in me speaking? Why are we always seeking gods, even in broken places?
I don’t know, it's the South Asian in me too! I think I wanted to figure out a way to both rekindle how important it is to have God and be reverent because none of us are everything - we're all one small part of a massive world which is mostly non-human. The moment we are in our history is about what gods we believe in. I question the idea that progress should be a god. Progress is something we can get good things out of – it becomes, for me, dangerous when we become reverential towards it and allow it to dictate everything. We think we're a multi-faith or secular society, but we're not. We're just as religious as we've always been, and we pray to different gods now, I think.
Displacement and identity are a central thread in your work. How do you navigate the balance between your personal history and collective memory in your storytelling? Being migrants, it's impossible not to have this idea of a split identity put to you. There's the homeland of your ancestors, and there's the place that you call home now.
"Strangely, in theatre, through the falseness of performance, we get a feeling of what life really is like, because we can't feel it while we're living."
When I was younger, I tried to behave as the mainstream did, by letting go of myself. In my 20s and 30s I figured out how to live two worlds; behind closed doors, I knew my full self, and I could be who I really was culturally and spiritually. I didn't necessarily show that to people I wasn't close to.
Counting and Cracking really changed me; it forced me to put a lot of personal material and the collective memory of my community on the stage. Collective memory is an interesting idea, because if you're going to be honest about it, it means memories that have clashing truths in them. Collective memory means people might have different memories of the same incidents. Part of what theatre can do, is put them side by side and say, ‘this is what it means to be human’.
What I really learned through that [play] was, true belonging is only belonging in public. Though the play was so embraced by the wider Australian community, Sri Lankans would come and say to me, ‘I don't understand why everyone else likes this show’. I think it’s because we as migrants are so used to the idea that only certain people understand the full version of ourselves, and we’re not used to putting the full version out in public and having that be embraced. That means we've put conditions on ourselves; only a public, vulnerable belonging is a true belonging, where we're accepted by mainstream society after they've understood the fullness of who we are. If they accept us based on the conditions they give us, that's not acceptance at all, is it?
There's a thread that runs through all my work where I try to push that, and find ways to show the beautiful and the ugly sides of us - the conflicting truths and the messiness of our identities - to get to a point where we go, ‘no, we don't have to be split, we can combine the wisdom of our ancestors and our new home in a full self that just exists here in Australia’. That's going to take generations, but I hope I can contribute a small part to it with the work that I do.
Do you find that telling these stories helps you reclaim parts of your own identity, or perhaps heal what was lost in generational silence?
Any violent rupturing (including displacement and trauma) creates silence; it's very hard as a human to deal with it by talking about it. My own mother, and many people in my community dealt with what happened in Sri Lanka by burying it and trying to get on with it. The act of migration only encourages that - just set up your new life in your new country, forget the past. But of course, that's both impossible and not fair to our children. At a certain point, we need to share all of who we are with them.
South Asian communities are so vociferous and open with community joy and with guilt and shame and anger. But we're not very good at sitting down and being
"South Asian communities are so vociferous and open with community joy and with guilt and shame and anger. But we're not very good at sitting down and being vulnerable and quiet with each other. When we've been through those kinds of traumas, and don't have the tools to talk about it, theatre unlocks something in us."
vulnerable and quiet with each other. I think theatre is one of the few ways we can allow that. When we've been through those kinds of traumas, and don't have the tools to talk about it, theatre unlocks something in us.
Many reviews of your work use the word ‘powerful’. What are your thoughts on this?
Yeah, it's interesting. I've got no idea [why], but I can only guess. Something I try to do, is not separate intellect and heart, politics from the personal, past from the present. When we feel all the layers combine - when a moment in theatre can be both political and personal, when we see the past inside that present moment, when we can feel both our heart and our brain working at the same time - I think that is powerful.
It’s hard to appreciate all the layers of life; to have a discussion with someone and take them in visually and take what they're saying in. Whereas with theatre, we can get life reflected to us and have time to take in all the layers of it. Strangely, through the falseness of performance, we get a feeling of what life really is like, because we can't feel it while we're living.
What responsibilities do you feel when representing South Asian stories in predominantly Western spaces? What's tricky is dealing with the success of Counting and Cracking. The South Asian community is so diverse; I hope that these works help the industry have more faith in supporting other South Asian works, because I can't do it on my own. What that allows is for each artist to not have to shoulder the burden of a generalised representation, because that only does us a disservice.
The other thing I’m interested in, is mixing up the spaces as much as possible. I love working with people like Belvoir but having more and more South Asian audiences and audiences who don't come to the theatre normally. To go into a predominantly white space but then go: ‘you've built up a certain amount of power. You have a system here that works. We want an equal seat at a table.
And you're going to let us lead and do our community-centred approach in a way which uses all your power.’ It’s kind of what Isha has to do after the play.
For the first 15 years of my career, I was a community artist. I absolutely loved that time, never want to change it. But it means you're always working with people who have less power and trying to build up things from the ground. There’s a different journey when you go into the more powerful spaces in the country, culturally speaking, and ask them to change. The risk is greater. When it goes badly, it goes badly. But there's a valuable goal at the end of that, which is to actually have an equal seat at the table where the cultural power is, and to change what they do. I want to be a small contributor to that process now at this stage of my career.
I think you're a major contributor there already! But many of your close collaborators, like Hannah Goodwin or Eamon Flack, haven't been from South Asian backgrounds. Was that a conscious decision, and how has that shaped the way your stories are told and received? Well, they're co-directors. I don't want to make work that only white audiences go to – or work that only South Asian audiences go to, or that only multicultural audiences go to. I believe our stories deserve mainstream exposure. I want to make work that the fullness of Australian society comes to.
How do you [then] make sure that each line of the play and each directing choice can speak to multiple audiences at once? I like that challenge. I like that someone can come to this show who was involved with the Narmada and see all the layers of it. But I like that someone might come to this show and their first entry point into it is the mother-daughter relationship and [they] learn more about how South Asian communities look at that. I like that there's multiple journeys happening at once.
Have there been any responses to The Wrong Gods that surprised you? One night I was sitting in front of a family
of South Asian heritage and when the show finished, they turned around to me, and we started talking about it. They loved it, but the daughter who was there said, ‘I live in France. And I'm in Sydney at the moment to see my parents. They wanted me to come and see this show - I flew the nest just like Isha did.’ And then they started talking about it, you know – ‘why did you feel the need to go all the way to France? And what does it mean to come back?’ It’s important that theatre does that. When we've been through those kinds of traumas, and we don't have the tools to talk about it, theatre unlocks something in us.
What advice would you give to young South Asians who want to tell their stories but feel caught between two cultures, or afraid their voice won't be heard?
Speak from your heart and put forward who you are. I don't think that's as easy as it sounds because there's a lot of forces in society which subliminally tell us to fit in in certain ways. It's very tricky to sit down with yourself and go, who am I? What is my voice? But I can tell you it feels electric when someone is saying an idea that can only be told by them. You feel the energy of it.
My advice would be to spend the time trying to get to the point where you're developing ideas that can only be done by you. That doesn't mean it has to be your personal story, but it has to be something that no one else on the planet could do. And if you're not there yet just experiment, but when you arrive at something which can only be you, then put your full heart behind it. When you're receiving feedback on that [project], you have to differentiate those who are giving you feedback that makes that idea even more you - in which case you should listen. If they hear the heart of the story and they want to make it even more powerful, then take it on. Those giving you feedback that makes that story less you and makes the heart of the story drift away from itself, that's [who] you step away [from].
Learning to differentiate between those two things is really important; you don't want to become someone who just ignores everyone's feedback and thinks you're the best, because no one is the best. And you don't want to be someone who puts forward an idea that becomes really successful, but that's not actually an expression of yourself - people will expect more of that, and then what are you going to do?
Be humble enough to figure out that there's better ways of doing that than how you first thought. But don't keep working with the people who don't want the power of the story to stay there. We're a beautiful community and our stories deserve to be told.
The Wrong Gods
Counting and Cracking
The Jungle and The Sea
Kohli’s last stand in whites, etched into SCG’s history
Photo: Ritam Mitra
The King bows out
The roar fades, but the echoes remain. As Virat Kohli retires from the long format, so ends one of cricket’s most commanding eras
VBY RITAM MITRA
irat Kohli’s Test career was never going to be about subtlety. That much was clear when he burst onto the scene, a clearly prodigious talent with a swagger and cockiness to match. The big moments – good and bad –were always accompanied by expletives, the bowlers were given flying kisses, and soon enough, the entire team was sporting inked arms and perfectly curated beards and fades. The Kohli era was about so much more than his batting prowess.
And yet, despite how it began, the journey ended not with fireworks, but a hush, when Kohli announced his retirement on Instagram, before a series in England that many had already pencilled in as his swansong.
Virat Kohli was misunderstood, particularly here in Australia where fans notoriously give their worst to the opposition’s best. And, occasionally, Kohli deserved it.
Those that know him off the field speak widely of a humble, respectful man who values his family and friends, has a cheeky personality, and gives his time generously.
When I met Kohli over the course of a few days during the 2018-19 Boxing Day Test, I was immediately taken by his calm, almost meditative demeanour. Perhaps it was the circumstances; our interactions primarily took place while relaxing in a Melbourne rooftop pool. But away from the cameras and the hundreds, thousands, millions of eyes that follow his every move, Kohli was the consummate gentleman: candid but polite, introspective but warm.
That, of course, stood in stark contrast to his on-field persona. There, he commanded attention whether he’d earned it that day or not. He led as a general might – imperious, aggressive, always in the thick of it. His intense fitness culture, inspired in part by military discipline, raised the physical standards of Indian cricket almost overnight.
Kohli’s extreme confidence – like many elite athletes, often wantonly crossing into arrogance – was his shield. He was no
Just as Kohli came at the perfect time to give India the snarl it needed, so too has the team perhaps outgrown Kohli’s brashness. Not because it wasn’t valuable, but because it was no longer necessary.
Tendulkar, who bore the weight of a billion dreams with an almost monastic serenity that belied the pervading nerves and anxiety that accompanied his time at the crease.
Kohli made fans feel like he wanted their expectations; in fact, he craved them. When
Tendulkar was at the crease, the worst was possible. When Kohli was at the crease, anything was possible.
And Indian cricket needed that.
After the gentle nobility of Dravid, the statesman like Kumble and the inescapably
stoic Dhoni, here came a man who made you feel what he was feeling. Passion, rage, triumph, despair – they spilled out from him with no filter. He struck the ball with a ferocious grace, his famously intense gaze never faltering. He was a veritable panther when fielding in the covers. He would engage constantly with the crowd when stationed at the boundary, occasionally to his detriment.
Under Virat Kohli – or at least on his foundations – India became the best allround Test team of their generation. They conquered Australian shores for the first time in their history, only to repeat the feat again just two years later. They came agonisingly close in England and South Africa, leaving disappointed with draws that other teams would have celebrated as victories. No longer subcontinent bullies, this was a team that expected to win anywhere.
But Kohli’s aura has been dimming for some time now. The runs had all but dried up. The magical knocks, once routine, became rare. His glittering captaincy record – the best ever by an Indian – became a distant memory. Younger stars – Gill, Jaiswal, Bumrah – rose, not in his shadow but well beyond it.
Just as Kohli came at the perfect time to give India the snarl it needed, so too has the team perhaps outgrown Kohli’s brashness. Not because it wasn’t valuable, but because it was no longer necessary.
And so he bows out. And for Test cricket, this departure will hit hard.
Virat Kohli was its unlikely but unwavering champion. In an era blitzed by T20 leagues and franchise glitter, he wore his whites with pride and spoke openly about the primacy of Test cricket above all else. He sold the idea that a grinding 50 on a cracked pitch in Johannesburg meant more than blasting 100 off 40 balls in Bengaluru in his favourite blood reds. He spearheaded the charge to assemble a fast-bowling cartel in India. He urged and persuaded India’s faltering Test audiences to care again.
As Virat Kohli retires, following his friend and successor Rohit Sharma who made his own announcement just days ago, there’s an unmistakeable sense of loss.
Not just for Kohli, though he will of course be missed; but for the little bit of Test cricket that perhaps retired with him this day.
Not one for selfies, but here’s one from Ritam
MY MUM, IN HER
From lived experience to legacy: maternal wisdom and Our Mother’s Day tribute series, compiled
“You’ve grown from being my little boy helping with samosas to a leader I deeply respect. These days, you teach me just as much as I teach you. It’s not just mother and son anymore—it’s a partnership built on love, trust, and shared vision.”
Restaurateur KARANDEEP GUJRAL
interviews his mum
KANWAL GUJRAL
, co-founder of the Manjit’s food empire.
Let’s start with your childhood in India –a favourite memory?
Sitting beside my mother in the early mornings as she prepared food for the family. She did everything with love and intention, even the simplest meals felt special. It’s why I believe food is never just about eating – it’s about care, connection, and comfort. It’s something I see in you and Varun now, the way you treat every plate as a story.
What was the hardest thing you went through when you moved to Australia?
It was overwhelming at first. The language, the pace, even the silence here felt different. But your father and I had each other, and dreams bigger than our fears. I focussed on what I could give to this country: food from my heart, and a home where people felt welcome. Watching my sons grow up here and embrace both worlds has been one of my greatest joys.
What was it like raising us while establishing a family business in a new country?
You grew up between the kitchen and the dining room. I still remember you running around with a notepad pretending to take orders or helping fold napkins after school. It was tough – so many late nights, no days off – but seeing you thrive in that environment gave me strength. You were always watching, always learning. I’m not surprised by the man you’ve become.
How did your upbringing influence your values and approach to family and business?
Family is everything and hard work speaks louder than words. That’s how I raised you both – to always show up with heart, humility, and determination. Business for me has always been personal. It’s not just about money, it’s about legacy – and I see that same fire and respect in the way you lead today. The early years were full of sacrifice. There were moments of doubt, health scares, financial stress. But every time you stood tall and took risks, I knew we were moving in the right direction. The triumph isn’t just in the awards or recognitions – it’s in the way our family still eats together, still laughs together, still dreams together.
Describe a moment when you felt pride in my achievements.
The day you took over Angelo’s and transformed it without losing the soul of the place, I was so proud I cried. I saw you honour our roots while confidently carving out your own path. And now when I see the grandkids Nishka and Zivaan walking through the same halls, I know the legacy is in safe hands.
You’ve grown from being my little boy helping with samosas to a leader I deeply respect. These days, you teach me just as much as I teach you. It’s not just mother and son anymore — it’s a partnership built on love, trust, and shared vision.
The businesses couldn’t function without you. Give us an example of what a day in your life looks like?
I start with checking messages from you or the staff — there’s always something that needs sorting! Then I might visit one of the venues, help with preparations for a big function, make sure the staff feel supported, and yes, I still sneak into the kitchen sometimes to give my two
cents! I don’t stop, but I wouldn’t have it any other way.
How has art influenced your perspective on business and family?
Art is my escape, but also my expression. Whether it’s setting up a dining space or curating a menu’s visual presentation, I see it all as an extension of art. That creativity spills into the business, helping me see things differently. I think it’s why our venues feel so warm and layered – they reflect life, not just function.
I’m glad to have found ways to integrate my artistic sensibilities into the ambiance and design of Manjit’s restaurants. The cushions, the lighting, the way the table is set, all speak volumes. Guests may not realise it, but every touch is there for a reason, just like every spice in a dish.
What’s the best gift you’ve ever received?
Being called “Dadi.” The day Nishka was born, something inside me shifted. Then came Zivaan, with his cheeky smile and big hugs. No material thing has ever come close to the joy of being a grandmother.
The best gift you’ve ever given?
Time to my family, to the business, to anyone who needed me. But if you ask Nishka and Zivaan, they’d probably say their handmade quilts or the sweet boxes I sneak them when their parents aren’t looking!
What’s your favourite song?
Lag Jaa Gale by Lata Mangeshkar. It always makes me stop and feel. It’s soft, beautiful, and timeless, like the kind of love I believe in.
Favourite food?
Home-style kadhi chawal made by my mum. Comfort in a bowl! But if I’m going out, paneer tikka with fresh mint chutney. And if it’s a cheat day, gulab jamuns without question!
What lessons have you learned from other people in life?
That everyone is carrying something. Some people show it, some don’t — but kindness goes a long way. I’ve also learned to trust actions over words, and that respect, once earned, is more valuable than gold.
HER OWN WORDS
and personal stories passed on to the next generation. compiled by LAKSHMI GANAPATHY
“I would high five you if you broke tradition! I encourage it! I want you to forge your own path. That’s exactly what I’ve done. I’m a screenwriter, for God’s sake! My parents encourage me to be who I want to be, and I’m proud of that. I want to do the same for you.”
An imagined conversation between 12-week-old baby RANI GUPTA-GLAVAN and her writer mum MITHILA GUPTA, creator of SBS’s Four Years Later
When did you realise I was coming, and how did that feel?
I was actually in post-production for my series Four Years Later. I had hoped to have a bubba; we had decided for me to get through my shoot before we would start trying. We were so lucky – you came to us not long after, it took about a month. It just felt like magic. I couldn’t believe it. I tested over and over again because it felt like just the greatest blessing!
Also, at the time my dad (your Nana) could no longer get cancer treatment, and was given six months – he’s since passed, bless his soul – but he was around then, and when we learned about you, we just couldn’t believe our luck that we could share the good news with Papa! Through the toughest time for our family, you gave us hope.
How did you choose my name?
We chose your name ‘Rani’, because it means ‘queen’. We knew even before day one that whoever you turn out to be, you will be an absolute queen!
Your dad Tom and I had gone through many names for girls and boys before I even got pregnant, and out of all the names in Hindi, English, or Croatian, Rani was the only name for any gender we agreed on. So, we crossed our fingers that you would turn out to be a girl and you did!
It was a no-brainer you were going to be our queen!
How did you and Dad feel when you held me for the first time?
I had a C-section, so when they pulled you out and I saw you, I was still awake. They put you on my chest while they were doing surgery; a lot was going on, I couldn’t see a thing. All I could see was you. I just burst into tears, and I laughed.
You felt like the most natural, but also the most surreal, presence in our lives. Your father was very strong and stable – he cut your cord actually. So, he got to touch you even before I did. But we just felt like our lives were beginning. It was just the most magical feeling.
Who in our family do I remind you of the most?
You know, it’s a funny question because I’m trying not to project too much on you.
I want you to grow up to be your own person. But a couple of other people have mentioned there are reflections of your Nana (my father) in you – when you sleep, you have a peaceful face like his. He was so full of life and so loud and vibrant, but when he slept, he was just overcome with peace; I see that in you.
Sorry for keeping you up at night! How are you dealing with the sleeplessness?
The sleeplessness is hard. It was especially hard when you were a newborn. I think I just dealt with it because I was excited to see you and hold you.
There were times when I didn’t deal with it as well. There have been tantrums. There have been tears. I think that’s very normal, but I’ve just allowed myself to feel those feelings and as a result, most of the time when I’ve got you in my arms, no matter
what time [of the day] it is I’m very happy to be there.
What’s been the happiest day with me so far?
I’ve really enjoyed celebrating my birthday with you. You, me, your dad and Nani all went out for a big lunch to one of my favourite places by the beach, and I got to drink champagne.
I was doing all the things I like to do to treat myself, with my favourite people around me. But then I would look over and you were there! That just took the birthday joy and life joy to the next level.
What’s been the most challenging day with me so far?
A challenging but also beautiful day was when we flew down to Melbourne and we took you to your Nana and Nani’s (my mum
and dad’s) house.
It was the first time I deeply, achingly felt the loss of your Nana, because I expected him to come to the front door to greet you and he wasn’t there.
The emotions were quite deep and quite sad. But there was also beauty in it, because while I felt his absence, I felt your presence – we put you in his chair, we took photos of you next to photos of him. Even though it was tough, it did feel like you were meeting him for the first time.
What do you have planned for my 1st birthday?
A big party! I don’t know how social you’re going to be. I’m very social and your dad is not so social. But I want to have a huge party for you so we can celebrate you. I think this will involve good food, good drinks and some kind of play equipment for all your cousins and our friends’ kids to come and celebrate you.
What would you do if I broke tradition in my career or in my love life?
I would high five you! Break tradition, I encourage it! I want you to forge your own path. That’s exactly what I’ve done. I’m a screenwriter, for God’s sake! My parents encourage me to be who I want to be, and I’m proud of that. I want to do the same for you.
What’s something you want to tell me now, even though I probably won’t understand?
Do you know what? When you look at me, I feel like you understand everything. I don’t know if I can tell you much that you don’t understand. I feel like you carry more wisdom than me. You seem to live in the moment and connect with people with your whole heart. So more than tell you something, I would like to ask you something!
What advice would you give me in life? Be open-minded and live your life with an open heart. Have your boundaries, be strong about them. Don’t do things that make you feel like you’re compromising your values.
Just live and love openly. I feel like you already know that, but that’s what I would remind you of time and time again.
‘There’s
pride in Indianness again’
PAWAN LUTHRA catches up with Indian culinary icon SANJEEV KAPOOR, who was in Sydney to launch his Arth range of products at Coles
He holds the record for the longest-running show on Indian television. He’s a Padma Shri awardee. He has 26.5 million followers across social media.
No, he’s not a Bollywood star, but his name is just as likely to come up in conversation at your dinner table. Chef extraordinaire Sanjeev Kapoor - through his recipes, shows, and sheer presence - has helped shape kitchens across India.
From pioneering India’s first food channel to inspiring millions with his accessible take on Indian cuisine, Chef Kapoor has been more than a household name - he’s been part of the household.
Let's start at the very beginning. You started your career in 1984, over 40 years ago. Tell us a little bit about your journey. Forty years, you say, and a little bit?
(Laughs). You know, people often ask me, is this something that I always wanted to do?
Actually, I didn't even know what a chef was,
growing up, because we were not the kind who would eat at a place which had chefs. Back then, it was only five-star hotels, and we had never been to one. So it was Mum that cooked for us. Dad could cook too. And when we went out, we went to Punjab Sweet House in the neighbourhood. And they had everything, from samosas to dosas.
But for a career, I always knew I wanted to do something different – something that nobody in my family or in my neighbourhood had done before.
So what was your father's reaction?
Parents of Partition wanted children who were doctors or lawyers or engineers… Fortunately my parents, by the time I turned 17, had seen me looking at things differently.
Rebellious young child, were you?
I wouldn't say rebellious, but I loved to stand out. I still believe that if you have the guts to stand out, the chances of becoming outstanding are much higher.
Were you cooking at home at 17? No, my brother was a better cook. It was his hobby.
I on the other hand, had to train for it, but studied and worked hard. I actually became successful in my industry before I was on TV. People think it was TV that was a game changer for me, but I was already getting attention and promotions.
Was there a sliding door moment which made you feel, ‘‘This is where I'm meant to be’’?
At 28, I was already the best executive chef in our country, doing things which were ahead of our time. So at that young age, when you reach the peak of your career, you think, what next? What do I do more?
That was 1992 - when television was starting to break out. ‘93. Yes. So the first cable and satellite channel, ZeeTV, was to launch. And this opportunity came my way of being in one
episode of a 13-part cooking series.
And the rest is history.
A long history, actually, I can tell you that! I said at first that I don't want to do the show because I didn't like its name - Shrimaan Bawarchi. I was in further studies at the time, doing Masters in Marketing Management, and was aware of concepts like positioning etc. As a chef and an educated professional, I suggested the name Khana Khazana.
The producer-director was Hansal Mehta (who’s a major filmmaker now, and who’s actually making a biopic based on me at the moment). Hansal asked me to host this show – and we filmed three episodes for ZeeTV. All three were rejected.
Rejected?!
Yup. So I got back to working at my hotel. One day I get a call from Hansal saying, can you help me out? Apparently, the chef lined up for the ZeeTV show did not turn up at the last minute. With the shoot all set to
go, Hansal had reached out in desperation. Well, I landed up on set, the episode aired –and then you can say, rest is history.
And here you are now! I'm going to draw on your forty years of experience now. The 1980s were the Amitabh Bachchan era; the 1990s, the Shah Rukh Khan era; the 2000s, Shah Rukh Khan and Hrithik Roshan era. How has the Indian food evolved every 10 years in your experience? Very good question, Pawan. But actually, the change in food does not happen that fast. It's pretty slow. The taste parameters have remained the same over these years. But there is an evolution. One thing that’s different is the conversations around healthier foods. Healthy food consumption has increased. Agreed it's not something which is going through the roof, but it's a good sign.
Other than that, the most significant change that has happened in last 10 to 15 years, is that within India, respect for Indian food has gone up. Now there is pride with Indianness. And also globally there’s more acceptance - I think that's also to do with the way India is seen by the world.
Within India we also have a cross pollination of tastes - so people in south are eating more food from the north. And vice versa.
But your Punjab Sweet House was making dosas in 1984. Yeah, it was Punjabi dosa, I can tell you that. A sambhar with too much dal and a coconut chutney without coconut. But now there’s awareness about various kinds of rice, for example – not just basmati alone but Gobinda bhog rice from Bengal, Ambemohar from Maharashtra, black rice from Manipur. That change we can see now - more conversations around foods from different parts of India.
That's a great segue to ask you about the new brand of Indian food you're introducing to Australian palates. Tell us what are you doing here in Australia? A couple of years ago, we started discussions with Coles, to bring our new range of products into the Australian market. It’s such a vibrant market now - the growth of Indians and Indian food has been significant. It's the number one growth in terms of international foods, and that growth has been more than 60%. And the Indians here, they are the largest growing population in this country.
You've done your homework. Oh, yeah. And not only does their heart beat for Indian flavours, they are also big influencers, in terms of who they come into contact with in their workplace, in their community, schools, wherever.
It’s interesting also to see the way people look at Indian food outside India. There’s food targeted towards Indians or South Asians. And there’s food targeted towards Caucasians. And that's how brands also work. So you see brands from England of Indian food, which Indians won't buy. Then there are Indian products, Indian brands which only Indians are buying, which Caucasians cannot relate to! So how to go about this difference? We produce a range which feels authentic for both. I saw an opportunity where that convergence can happen, and the Arth range of food products was born. Even the packaging, the language, the ease of use, all of that we made sure is not intimidating for a local person. What’s in our range? We have marinades.
For the many meats and the high quality produce you have here. Our mint chilli marinade for example, is wonderful with barramundi. Rub it in, and put in the oven. Indian flavours, but local produce - that's the language we talk. Our tandoori marinade –great for your French cutlets on the barbie. Our traditional pickles can be used creatively. I just put some lemon chili pickle on oysters – went down wonderfully!
I'm going to try that. I love my oysters. Arth lemon chilli pickle will make them special. For a quinoa and chickpea salad recently, I made a dressing with our Sweet Lime Picklecame out beautiful. In our range of curry pastes we have Rogan Josh and Tikka Masala. Sauces, try our Chatpati Mint Sauce and Special Chilli Sauce, which you can use in different ways. Try our Khichidi – it is an even more healthy version, with ancient grains like millets. I call it my High Protein Risotto-style Khichidi. I’ve even made arancinis with this khichidi! We’re giving you authentic Indian flavours, but showing you extensions. Check out our recipe cards and recipes on social media.
The entire range is available in select Coles stores.
I can see your marketing studies from way back in 1994 coming together now. Sanjeev, the food business is fascinating. Chefs these days are held at almost the same pedestal as movie stars and cricket players. What is it about these celebrity chefs which makes them so special?
I don't know what makes them special. Perhaps it's people that make them so. What makes a celebrity? Perhaps someone that creates a body of work that's worth celebrating? I think now people have started to realise that chefs are artists. How do you consume art? Through the senses, right? Then food is art, because it is sensorial too. A chef who works on all five senses simultaneously, I would say, is a more evolved artist!
That's a good answer! Sanjeev, Australian produce has growing presence in India. You started by being a brand ambassador for an Australian juice, I believe. Now I've seen you cook with Australian avocados. What about lobsters, wines and so on?
I think Australia has stunning quality seafood, fantastic quality fruits, vegetables, amazing quality in wines.
We have filmed extensively in this country.
What about indigenous foods?
Have you used them in?
Of course. In season, if you get your hands on say, finger lime, it’s a beautiful ingredient. Or something as simple as lemon myrtle or salt bush. They’re so easy going. They transport easily too.
Sanjeev, you must be one of the most challenging persons to invite over for dinner, because of the pressure on the hosts, given your celebrity status. Now you go to somebody's house, they've worked hard to cook and serve a good meal, but you’ve spotted a glaring mistake. Do you bring it up?
Okay, so first, I'm the easiest person to feed.
Why do you say that?
I never find fault in food. Unless I'm paid to do so!
Look, as a chef, I know how difficult
SPILL THE CHAI
Favourite childhood dish Gol gappe
My comfort food These days, Khichidi
A dish I’ll always remember Rajma Chawal cooked by my mum
A dish I’d rather forget None
That one gadget in my kitchen Wonderchef Nutriblend
My favourite food movie Ratatouille
Food to me is… Life
My date night cuisine
Whatever my date wants
Indian food: white wine, red wine or beer
Indian food is very kind, it’ll take in
Indian food hasn’t changed. What’s changed is the conversations around healthier foods, and the awareness and acceptance of foods from around the country, and the pride in our own cuisine
cooking can be. So, whenever I eat with somebody who's cooked, I'm only focusing on what is right. There's so much that is often right.
I was at someone's place in Bhopal once, and the hostess had cooked a wonderful meal. Which I enjoyed, and thanked her for. Later the host said to me, Sir aapne bataya nahin (You didn’t mention?) Apparently, there was a dish in which his wife had forgotten to add salt. I said, I didn't notice that there was no salt. I thought it was good!
So that's me, right? I’ve made a choice in my life to focus on what is good. People ask me how has my journey been so far. A bed of roses, I reply. There's so much goodness that's there. Let's enjoy that. Let's have fun with that.
That's a great philosophy of life. Your tips for healthy eating?
Listen to your body. Your body will tell you when you are overeating. Stop eating when you’re 3/4 full.
What do you do when your hosts force food on your plate?
You can be firm. My massi in Delhi – she’s no more now – would often say to me, you never come to visit. I said to her once, massi, I can't come to your place because you end up force feeding me! She finally agreed when I said, look, I’ll come and eat what you’ve cooked, but the way I want to enjoy it.
So, learn to say no at the right time? Learn to say no. Eat less than what you think you need, and (reaching for a sip of water) have much more water than you normally do.
What a wonderful way to finish our segment, with some water. But before you go, tell us, who’s playing you in the biopic Hansal Mehta’s making?
It’s not my choice but Hansal’s. My favourite though, is Vicky Kaushal.
The best dish my wife Alyona cooks for me Masala dosa
Indian tandoor, or Australian barbecue
Since we’re in Australia, let’s do an Indian barbecue.
Sanjeev greets crowds at a Coles store in Melbourne
The
dosa, the
wet grinder, its inventor and global chocolate
How Coimbatore’s famous ‘wet grinder’ moved overseas – taken up by chocolatiers
WBY CHARMAINE O’BRIEN
hen the waiter in a Canberra Indian eatery asked me if I wanted my dosa “soft or crisp”, it took me a moment to consider. It was a question I had not been asked before. I queried him about it, and he said, “People are fussy about their dosa and complain otherwise”. I have eaten dosa all across south India: soft-thick ones in Mysuru and Bengaluru; thin and crisp in Udupi, Chennai, Rameswaram, and from the 66 different types at Pai Brothers in Ernakulam. In Delhi, my second home, Chidambaram and Karnataka Food Centre are my go-to for what I consider the ‘best’ dosa in town, but I am not finnicky about ‘soft or crisp’. I love dosa any way they come and often, when eating one, think “whoever invented this is a genius”.
Despite my musings, it is doubtful the dosa was the brainchild of a singular cook. With
at least a 1500-year history in India it likely emerged from collective innovation. However, there is an identifiable individual who invented a machine that modernised dosa production, and this same piece of equipment, intended to produce an ancient food, has been integral to the development of the contemporary global artisanal chocolate movement.
INVENTING THE DOSA BATTER GRINDER
Two processes are key to making dosa: grinding rice and dal to a thick fluffy batter and leaving it to ferment overnight. The fermentation produces its delectable ‘sour’ flavour and is naturally catalysed by the ambient environment, but the grinding of the constituent cereals required manual labour with a weighty stone mortar and pestle. In a traditional south Indian household grinding dosa batter was women’s daily work (no need for these ladies to go to the gym). In 1955, P. Sabapathy of Coimbatore was reportedly denied his breakfast dosa because his mother had a sore back, rendering her unable to grind the
2011, when Tamil Nadu Chief Minister J. Jayalalithaa promised a free grinder for every household in her constituency it sent the industry into panic. It was not considered possible to produce the numbers required so quickly, despite hundreds of manufacturers operating in Coimbatore, still the capacity to supply the pledged machines was built. Other politicos continued to hand out grinders, until one day every household in the state had one, some more than one. Demand fell. The grinder industry now had an oversupply and needed to find new markets, but one came to them.
EXTENDING THE CONCEPT TO CHOCOLATE
European chocolate makers had recognised the grinder’s potential for small batch production, albeit with some adaptations. As it was, the grinder could only safely operate for the short time required to prepare dosa batter, but cacao beans need 24-48 hours of continuous grinding to achieve the smooth mouthfeel of chocolate. This necessitated the development of a motor with greater capacity, along with a gear box to allow different speeds and tensions to be applied to the beans. With these modifications the grinder took on a new name, the ‘melanger,’ and a new role as a key instrument in the booming global craft chocolate industry, as these are affordable, easier to clean and operate, and foster experimentation. Coimbatore remains the centre of manufacture of grinders, aka melangers, exporting these across the world.
THE MELANGER’S ROLE IN SHAPING INDIA’S CHOCOLATE REVOLUTION
requisite batter. This critical culinary situation inspired him to invent a motorised grinder. In 1963 fellow Coimbatorean, P.B Krishnamurty, began commercial manufacture of electric dosa grinders there. There was resistance to this innovation; people decried the taste of machine ground dosa, declaring those made with handground batter superior. This may have been true, but the electric grinder saved women hours of work. It soon became a coveted kitchen item, an essential wedding gift for southern brides, with its production centred in its city of origin, becoming known as the ‘Coimbatore wet grinder’ (grinder). In
Naturally, India’s artisan chocolatiers use the indigenous grinder technology that has been eagerly adopted by their international fellows. Their products are also beginning to stand out on the world stage. At the 2024International Chocolate Awards Kerala based Paul & Mike won gold for their chocolate coated salted capers - the cacao from the Western Ghats, the capers from Thoothukadi. I like their desi flavoured bars such as gin and ginger, Alphonso mango and jamun, which have also won international awards. Hyderabad’s Manam won 11 medals at the same 2024 awards including three for its Indian-origin tablets and one flavoured with local Chakkarakeli banana. Both brands have won awards in previous years, along with a growing coterie of Indian chocolate makers including Kocoatrait, La Folie and Bon Ton. Classic Indian chocolate confectionary such as Five Star and Nutties are available in Australia, but I haven’t seen any of her contemporary artisan chocolate here as yet. So, stock up on it on your next trip to India to bring back to share with, and wow your family and friends.
With stronger motors and a gear box to allow different speeds, the ‘wet grinder’ took on a new name - the ‘melanger’and a new role as a key instrument in the booming global craft chocolate industry, as these are affordable, easier to clean and operate, and foster experimentation.
Manam: Leading India’s artisan chocolate revolution
with Lakshmi Ganapathy
Dr AHONA GUHA is a Melbourne-based clinical and forensic psychologist. She is the author of two books, Reclaim: Understanding complex trauma and those who abuse, and Life Skills for a Broken World and writes widely for the media on psychology and social justice.
What do you think mental health policy will look like under the new Albanese government, and is it enough to address the sector crisis? The new Government has promised $1 billion in additional funding; most of it is going to go to youth mental health and centres for complex care needs. I think it's going to be a start, but it's a drop in the ocean in terms of the outstanding need. Mental health has been vastly under resourced, and we are seeing the ripple impacts of that now, so it's certainly not going to solve the issue; it also leaves questions around the missing middle, given so much of the focus is on youth and older adults.
One of the key things I've noticed is there's no emphasis on the broader social determinants of health - things like housing, access to education, a life free of family violence. These have long term implications for mental health, and what I’ve seen successive governments do is try to dissociate mental health from these key structural conditions.
I'm glad there's some investment in mental health. I'm cautious as well, because I've seen mental health funded in a very flashy way and new services come online and then get defunded very quietly. I'm hopeful but not overly optimistic.
You’ve written a book called ‘Life Skills for a Broken World’. Why is the world broken?
As to why the world is broken, it’s probably a range of factors, but it feels like humans have lost the capacity to stop and assess what feels meaningful. There’s this push toward acquiring more, buying more and having flashier lifestyles, none of which, research shows, actually makes us happy. We've fixed our gaze on the wrong thing, and everyone's paying the price for it.
You’ve written about how cognitive psychology can help us understand the polarity on Gaza. How can it help us process the current responses to Pahalgam?
One of the key things I would say is understanding propaganda; I've noticed a lot of propaganda and disinformation playing out on social media and it's been incredibly hard to track what's actually happening. So, being across critical thinking - who's presenting this information, what is the subtext, what are they trying to influence, are they trying to bring up emotion, can I verify this or is this fake news - that’s going to be important, because if we are taking in false information designed to elicit strong emotion and then responding with that, we're probably going to be advocating for war or saying hateful things, which is
going to make the whole situation worse.
The other thing I'd be encouraging people to do is look out for their own biases - if I believe this, what is the other side, what are the other possibilities here?
Just being aware of why we believe what we believe, is important.
[In terms of navigating debate], I think knowing when you want to engage in conversation and when you don't is important. If you're constantly refreshing the news, which honestly, I did the first couple of days because I was quite anxious, or if you’re in a few WhatsApp groups, you're probably bombarded by [information]. It can be helpful to know your focus is going to be split, your concentration is going to be poorer, and you're going to have some cognitive resources offline.
A strategy I use is to read longer form pieces. So, instead of looking at Instagram or quick jazzy headlines, [I’m] looking for deeper sources and longer articles so I can understand things in more detail and take in fewer but longer pieces of information.
What’s something you’re currently listening to/reading/ playing/watching?
I couldn't give you one answer as to why the world is broken, but if I did have to, I'd probably say neoliberal capitalism and the way we've learned to use the world just for profit. It’s such a bizarre system when you stop to think about the fact we expect infinite growth on a very finite planet.
I started thinking about the world being ‘broken’ around 2021, 2022 - I was looking around and seeing geopolitical strife, anxiety, and cost of living rising…if anything, I'd say this concept of a ‘broken world’ feels even more relevant now than when I first wrote the book.
I am currently reading Broken Brains by Jamila Rizvi and Rosie Waterland. It’s about having sickness within yourself or the family, and I found it reassuring and comforting to know that other people have gone through that. Also, a good old fashioned murder mystery – The Creeper by Margaret Hickey, enjoying that very much. I'm not a huge TV person, but I returned to watching House as a comfort show.
What’s a word that you like in a South Asian language, and what does it mean?
‘Asha’ is probably one that comes to mind, it means ‘hope’ in Hindi. Hope is quite a key factor in life for me. When things have been quite rough, I've always held on to hope.
And finally: Soan Papdi or Papdi Chaat?
Soan Papdi, because I have a massive sweet tooth.
Seven No es of the noted
Laya Gnaana
Thilagam CHIDAMBARAM R. SURESH and his wife SHOBANA SURESH (International Women’s Day Awardee 2018), cofounders of Sydney’s Samarpana Institute of Dance, speak with SUMATHI KRISHNAN about their artistic journey.
As a married couple, what does a typical creative day look like?
Each day at our dance institute unfolds differently. Year-end breaks are for reflection - evaluating progress, refining our curriculum, and strengthening student support. Once classes begin, our days revolve around teaching, yet creativity never rests. New choreographies emerge from spontaneous conversations, poetic inspirations, or an evocative piece of music. As artists and partners, creativity weaves seamlessly into daily life, balancing structured instruction with organic artistic exchanges between us.
Suresh, your book 108 Bharathanatyam Jathis has been well received. Tell us about it. During lockdown, jathis filled our homescribbled on scraps of paper, waiting to be shaped into something greater. Shobana saw order in the chaos and said, “Why not make it a book?” That spark ignited a year-long journey of meticulous notation, ensuring clarity in Tamil and English. Legends like Prof. C.V. Chandrasekhar and even a Western percussionist praised the book for its precision. The crowning moment? Receiving the title Laya Gnaana Thilagam for Suresh. What began as scattered thoughts, the book has become an invaluable resource, complete with audio links, now resonating with dancers worldwide.
Your views on Arangetram and advice to students?
Bharathanatyam is a journey, not a destination. Yet, many rush towards an arangetram, mistaking it for the final curtain instead of the opening act. True mastery lies in the quiet discipline of perfecting adavus, in the depth of abhinaya, in the humility of lifelong learning. Observing seasoned dancers, immersing in literature, and practicing
consistently - even briefly but with focusrefines technique. As our guru Prof. C.V. Chandrasekhar embodied, grace is not just in movement but in the willingness to grow.
Some of your best performances in Australia?
Our most meaningful performances in Sydney have been where we have presented traditional Bharathanatyam pieces - jathiswarams, pada varnams, padams, javalis, and thillanas - staying true to their South Indian origins. With limited platforms for high-quality Bharathanatyam, our work in building a growing audience that values authenticity continues. At the same time, we embrace every opportunity to educate and experiment, using Bharathanatyam to tell new stories and explore new texts.
Tell us about your award-winning film and your involvement with audio-visual arts.
In 2018, with funding from Blacktown Arts Council, we produced Our Country, a dance film exploring Dorothea Mackellar’s iconic poem My Country through Bharathanatyam. Suresh’s original jathi compositions captured Australia’s landscapes and wildlife, while abhinaya, costumes, and choreography brought the poetry to life. With artistic direction by our student Vishnu Arunasalam, videography by Dioscury Photography, and poetry recitation by Srisha, it was a truly collaborative effort. Selected for the Rollout Dance Film Festival in 2020, this project fused classical dance with visual storytelling, a creative milestone we deeply cherish.
Your relationship with Margazhi and international artistic ties?
Before Australia, there was ChennaiMargazhi seasons steeped in learning
and performing. Suresh’s nattuvangam resounded in sabhas, while Shobana graced festival stages. Migration, family, and responsibilities changed the landscape, yet we returned annually - studying under our guru Prof. C.V. Chandrasekhar, until his recent passing. Shobana refined abhinaya with Bragha Bessel, while workshops with Sheejith Krishna reshaped our creative lens. The Thenangur camp with Natyarangam was a privilege, surrounded by wisdom and emerging talent. Now, as our children grow, so does our longing to re-immerse in Margazhi’s magic.
What message do you want to give to Australian festival directors?
To festival directors, we say this: If you seek authentic, high-quality Bharathanatyam that honours tradition while engaging with contemporary themes, we are ready to offer a range of productions. Some have already been successfully staged; others are in development - all crafted with artistic integrity and relevance. We hope to bring Bharathanatyam to broader Australian audiences, not just as a cultural artifact, but as a powerful, evolving art form.
With expertise in Bharathanatyam, nattuvangam, and choreography spanning over three decades, Suresh and Shobana have made a significant impact on the classical arts scene in Australia’s Indian community and beyond. At their dance institute founded in 2010, they are passionate about sustaining authentic Bharathanatyam practice, enhancing the bodymind connection through movement, and training the next generation.
A journey into the
Where sand meets surprise: Life, water and wonder in the world’s oldest desert
TBY RITAM MITRA
he Namib is thought to be the oldest desert in the world, at anywhere between 55 to 80 million years old – for contrast, the Sahara has only been dry for around 12,000 years. The Namib spans 2,000 kilometres along the Atlantic coast, covering parts of Angola, Namibia and South Africa. Its most famous attraction is Sossusvlei, a salt and clay pan surrounded by some of the tallest sand dunes on the planet. It’s a photographer’s dream and the main reason I’ve travelled to Namibia, but there’s much more to the country than I’d first anticipated.
I’ve booked a three-day private tour from Windhoek to Sossusvlei, and all too quickly I’m glad I didn’t elect to self-drive. As we set out from the capital and the country peels itself open before us, we suddenly run into flash flooding. It’s a peculiar phenomenon; Namibia is one of the driest countries in the
world, but desert soils typically struggle to cope with a heavy bout of rain, so flooding can be quite common.
In a stark reminder of nature’s duality, after passing through the floods we see lightning striking a bush and sparking a fire. We see neighbouring farmers with makeshift firefighting equipment rushing to
help; there’s no fire brigade out here. Our path through the Namibian outback is replete with wildlife. We stop to admire a gigantic sociable weaverbird nest, nature’s version of a high-rise apartment; the nests, which can last up to a century, are communal homes for up to 500 birds. We see springbok, zebra, oryx, wildebeest, kudu
(antelope), and warthogs aplenty. The skies too, abound with eagles and vultures.
We arrive in the Namib-Naukluft National Park just in time for sunrise the next day. Watching the seemingly larger African sun peeking over the deep red dunes is an otherworldly sight. We quickly make our way to the base of one of the more prominent dunes, Dune 45. At 170m tall, it’s a steep but short climb, and I’m rewarded with panoramic views of the desert slowly waking up, light rolling over the dunes as would a gentle tide.
From Dune 45, we make our way to Deadvlei, a white clay pan dotted with blackened, long-dead camelthorn trees, synonymous with the Sossusvlei region and one of the most photographed places in sub-Saharan Africa. Some of these trees are estimated to be over 900 years old, preserved not by water, but by its absence. After a short walk across more sweeping dunes, an ethereal contrast lay before me: scorched black trees scattered across bleached white ground, surrounded by ochre dunes and all under a cobalt blue sky. It was a painting, a half-forgotten dream. Later that day, we stop at Sesriem
Deadvlei
Zebra in Namib Naukluft
Climbing
Canyon, a 30-metre-deep gorge carved over millions of years by the Tsauchab River. It’s one of the few places in the region where water lingers after rains. Baboons watched us from a rocky ledge as we gratefully climbed down into its cool, shadowed belly.
That evening, as we drove back towards our lodge and roamed through the NamibNaukluft reserve in the dying daylight, my guide remarked mournfully on changes in the landscape over the years. The arid plans we were driving through were full of lush vegetation just a decade ago, attracting all manner of wildlife; here too, climate change was having its say.
On our return to Windhoek the next day, we drove through the Naukluft Mountains. The landscape shifted again; from the vastness of the desert, we were now in narrower, rockier, greener territory, the occasional baboon troupe darting across the road. At one point, we stopped to watch an injured young zebra pass, limping but wildeyed and defiant. He wouldn’t survive long, my guide said matter-of-factly. Overhead, lappet-faced vultures circled on thermals. As they say throughout the continent, TIA: This is Africa.
Best time to go May to September for dry, clear skies and cooler weather, though January was quieter and not too warm. The desert comes alive at sunrise, so early starts are a must.
Getting there Fly into Windhoek and arrange a guided tour or get a 4x4. Sossusvlei is a 5 - 6 hour drive away but consider going further west to Walvis Bay, where the desert meets the ocean.
Where to stay Lodges near Sesriem offer easy access to the dunes and night skies. Mine had private cabins, a deck for stargazing, and a phenomenal chef.
The dollars and cents A three-day tour of Sossusvlei and the Naukluft mountains only costs around $1,100 for a single traveller, with all meals and accommodation included.
Across the sweeping dunes, an ethereal contrast lay before me: scorched black trees scattered across bleached white ground, surrounded by ochre dunes and all under a cobalt blue sky. It was a painting, a half-forgotten dream.
The arid plans we were driving through were full of lush vegetation
just a decade ago, attracting all manner of wildlife; here too, climate change was having its say.
Wildebeest in Namib Naukluft
A dune in Sossusvlei
Oryx in Sossusvlei
cineTALK
High-voltage action. Feel-good love stories. Spine-chillimg horrors. Check out KHUSHEE GUPTA’s watchlist for May.
THE BHOOTNII (In cinemas)
A unique horror-comedy that follows the journey of a haunted tree at a university campus and the chaos that ensues when its bhootni awakens. Sanjay Dutt turns ghostbuster as the movie also features Sunny Singh, Mouni Roy, and Palak Tiwari in lead roles.
Releasing 1 May
RAID 2 (In cinemas)
Raid 2 picks up where its predecessor left off, with Ajay Devgn back as fearless income tax officer Amay Patnaik. This time, he’s joined by Riteish Deshmukh and Vaani Kapoor as he dives deep into another gripping white-collar crime that threatens to shake the system.
Releasing 1 May
MATRIMONIALS
BHOOL CHUK MAAF (amazon prime)
Maddock Films is back with yet another movie, but this time it’s not about a Stree or a Chaava. Rajkummar Rao and Wamiqa Gabbi star in this quirky comedy about a man whose haldi ceremony day keeps repeating itself, forcing him to relive the same chaotic events over and over.
Releasing 16 May
SHREEMAN V/S SHREEMATI (In cinemas)
Starring the legendary Mithun Chakraborty, this film is a heartwarming Bengali romantic comedy that dives deep into love, relationships, and the ups and downs of marriage.
Releasing 1 May
ABIR GULAAL (In cinemas)
A film that is already in headlines before its release marks Fawad Khan’s much-anticipated Bollywood comeback (or so we thought). Despite being banned in India, audiences overseas could still get the chance to experience what looks like a cute romantic story.
Releasing 9 May
KESARI VEER (In cinemas)
A historical action drama on the war against religion, featuring Suniel Shetty, Sooraj Pancholi, and Vivek Oberoi. It showcases the life of an unsung warrior Hamirhi Gohil, and is packed with patriotic fervour, intense battle sequences, and compelling storytelling.
Releasing 16 May
KAPKAPIII (In cinemas)
A group of friends looking for thrills get more than they bargained for when they use a ouija board to contact a ghost for fun. What starts as a game quickly turns into a nightmare as they realise their house is now haunted by a powerful female spirit. Starring Tusshar Kapoor and Shreyas Talpade, this spine-chilling film blends horror and humour in a way you won’t forget!
Releasing 23 May
GULKAND (In cinemas)
A nostalgic romance blooms as former lovers reunite in their later years, confronting new challenges and rediscovering the sweet complexities of love despite the passage of time. Starring Sai Tamhankar, this film beautifully captures the beauty of second chances and the timeless magic of love.
Releasing 1 May
THE ROYALS (Netflix)
When Prince Aviraaj meets Sophia, a self-made girl boss, royalty and business collide in a whirlwind of romance, drama, and ambition. Expect a seriously stacked cast featuring Bhumi Pednekar, Ishaan Khatter, Sakshi Tanwar, Zeenat Aman, Nora Fatehi, Vihaan Samat, and Chunky Panday. Basically, it’s a full house of drama, dreams, and a whole lot of royal chaos.
Releasing 9 May
ENNA NU REHNA SEHNA NI AUNDA (In cinemas)
This Punjabi language film is about Kiran’s quiet and peaceful life in a sleepy Canadian neighbourhood – until a group of wild international students moves in next door. Kiran tries to lay down the law, but Jaggi, their fearless (and slightly annoying) leader, has other plans. Cue the chaos, the pranks, and a neighbourhood rivalry you won’t want to miss!
Releasing 16 May
SHAUNKI
SARDAR (In cinemas)
In this Punjabi-language film, a mentor returns from prison to find the proteges he once guided have changed in unexpected ways. Their reunion stirs up old loyalties, buried tensions, and secrets that refuse to stay hidden.
Releasing 16 May
THUNDERBOLTS (In cinemas)
The anticipated Marvel film brings together an unexpected team of anti-heroes for one epic mission. Look out for Indian-Australian star Geraldine Viswanathan, who joins the MCU with this exciting role!
Releasing 2 May
JAI MATAJI LET’S ROCK (In cinemas)
Get ready for a laugh-out-loud family entertainer as an 80-year-old grandmother’s life takes a hilarious turn thanks to a government scheme. Directed by Manish Saini, this film is packed with humour, satire, and heartwarming moments – all brought to life by a Gujarati cast!
Releasing 9 May
SUSWAGATAM
KHUSHAAMADEED (In cinemas)
Finally, a rom-com we’ve been waiting for! The film brings a fresh new pairing with Pulkit Samrat and Isabelle Kaif – yes, Katrina Kaif’s sister. Get ready for sparks, laughs, and all the feel-good vibes!
Releasing 16 May
SAUNKAN SAUNKANAY 2 (In cinemas)
The hilarious chaos lingers in this Punjabi sequel which continues the journey of a man who married two cousins in the first film. The fun, drama, and rivalry that ensue as he juggles his complex relationships are doubled in this sequel.
Releasing 30 May
MAY 2025 BY MINAL KHONA
Minal Khona has been reading tarot cards for the last two decades. She uses her intuition and connect with the cards mostly to help people.
TAURUS
TAROT
GEMINI
MARCH 21 - APRIL 19
A month to delve into one’s emotions. If you are friend zoning someone, ask yourself if you want something deeper. Or, if you are in a relationship, ask if this is what you really want. A short trip could be on the anvil. At work, some of you may want a job with a wider reach and a learning curve. A longstanding financial problem will get resolved and money is assured. A new friend could prove to be a blessing in disguise.
The bull draws the card for Libra which makes them more amenable this month. Let go of the past if you are looking to start dating again. Be cautious while driving or travelling. You will cut through problems at work with your ideas but expect a stressful month. Any infection that persists needs a second opinion. Expect stress related to money matters. Find different ways of connecting or seeing the other’s perspective for best results. Remain detached in all situations.
You might find yourself going down memory lane. Singles still in pining mode will now be open to meeting someone new. Expect support at work from a superior which could lead to a promotion or a bonus. This will rejuvenate you too if you are unhappy at work. Finances remain positive. If feeling tired, give yourself a break. Expect reunions with friends and family. Spiritual growth where you learn to let go of desires is foretold. Things will work out better than expected.
An Aquarian woman could help you significantly at work or in your personal life as you drew the card for Aquarius. Metaphysical and humanitarian causes could interest you. Singles could meet someone who may be Aquarian. The attraction will be mutual. A job offer is on the anvil. You will receive money related to paperwork – like a property being sold. Those starting out in college might consider a profession in healthcare for major success. Take some time out to detox spiritually.
JULY 21 - AUG 22
Fast moving energy and rapid change in the emotional realm is coming. A strong desire could lead to self-healing. Singles could meet someone new. Short trips might need to be undertaken. Seniors support you at work and there just might be a promotion coming along. If you are in a serious relationship, expect a proposal. The self-employed might find a new business partner. Debts owed to you will be paid so be bold and ask for your money.
SAGITTARIUS
NOV 22 - DEC 21
If you’ve been busy, this card asks you to slow down, meditate and ask the right questions going forward. Those in a relationship will work on their issues if there are any, instead of calling it off. A past project could get restarted at work but the atmosphere there remains toxic. If unwell, you may need to see a doctor. A dispute over money can upset but it will get resolved. You will get what is in your destiny.
CAPRICORN DEC 22 - JAN 19
In a relationship, there could be tension due to a stressful situation. Try to support each other through it. A new approach to an idea at work brings positive results. External circumstances will help you get over an emotional problem – these could come via work or a friend. The month is fraught with tension and finances are tight too. A change of heart or a new job brings good results on all fronts. Whatever the difficulties you are facing this month are temporary.
AQUARIUS
JAN 20 - FEB 18
A slightly difficult month as circumstances force you to let go of a desire or a lover. Express your feelings in a relationship or it could lead to an argument. Travel for health reasons could come up. Spend carefully this month as finances could be tight. Even if it feels like everything is going wrong currently, hold on as the situation will change for the better. A disputed financial settlement will go in your favour. Trust the process and pray.
PISCES
FEB 19 - MARCH 20
Someone close, possibly male could let you down badly. This could be a love interest. If feeling burnt out at work, take a break; it will do wonders. If in a relationship, chances are it is going to take an unhappy turn. Watch out for health issues like haemorrhoids or constipation. Stand your ground during negotiations about money. A renewed sense of confidence will help you take responsibility and work towards changing what you don’t like about yourself or a situation.
The ones in jobs might find themselves stuck in a hard place at work and could be looking for a change. If your relationship is stifling you, step back and analyse it from a spiritual perspective. What is your role in this situation? Those looking to sell property will find buyers. Some of you might find love with someone new and this will revive your spirits. Any problems that come along need to be addressed with a clear mind and no emotion.
You pick the card for Leo this month — it’s a time of heightened social energy, and you’re outgoing and gregarious. Family gatherings, chance meetings with a Leo, and generally positive vibes are highlighted. Singles could meet someone special, sparking a passionate love affair, or a secret admirer might reveal their feelings. A surprise career advancement could bring unexpected joy. Meanwhile, those in unfulfilling relationships may decide to move on.
An abundant month on all fronts. Singles could find love at work or in a social setting. A new job offer could come your way too. The self-employed will successfully promote their business and will see profits. If dating casually, you may need to wait for what you truly want instead of making a compromise. Avoid binge drinking. If you’ve had surgery, you will recover soon. In any discussion, be clear about your goals before you agree to anything.
From DDLJ to LOL: Kids vs. filmy parents
DEAR AUNTYJI
I am a 47-year-old man from Fiji married to a white Aussie. We have 16-year-old twins - a boy and a girl who mostly look like me, but white. Auntyji, I am a General Manager in a technology company and so I have a stressful job. Sometimes, after dinner, I like to watch old Bollywood songs on YouTube – they bring me joy and relaxation.
But the problem is this. Every now and again, I’ll be sitting there, minding my own business, listening to Mohd Rafi or Kishore Kumar, with Sally the dog at my feet and Poosa the cat next to me. Sooner or later one of the kids will make an appearance. If it’s just one of them, they will linger a little and watch what’s on TV. But heaven help me if they both happen to be in the kitchen at the same time. They communicate with silent language - as though they are reading the other’s mind. All of a sudden, my son will place a tea towel on his head and play the part of the heroine, while my daughter pretends to be the hero. Then they
dramatise what they see on the screen, pretending to sing along. Ultimately, Poosa the cat decides he has had enough of this tamasha and walks away with a dismissive flick of his tail. I have no choice but to yell out, Tum dono upar jaobecause I forget to speak English and I revert to Fiji Hindi. My kids then laugh uproariously and run upstairs, giggling like preschoolers. Why do they torment me like this, Auntyji, how do I get them to stop ruining my solitude?
ASK AUNTYJI
AUNTYJI SAYS
Arre ullu, you have so many blessings in your life, and this is what irritates you? What kind of a nasamajh are you that you don’t realise you are living the best years of your life - and your children are making memories that they will probably tell their own kids? Imagine this - 20 years from now, one of your kids will probably tell their kids, “Oh yes, Pops used to sit there listening to Bollywood and from time to
time, to amuse ourselves, your uncle and I would dance around like the Bollywood stars in Choli ke Peeche, and Pops would yell at us in Fiji Hindi Upar Jao, which means go upstairs. Your grandfather probably wanted to be a Bollywood hero.”
See, my little ullu, your kids are having fun. They are happy children and every now and again they express it, and you get to see something that is beautiful and fleeting. There will come a time when they stop indulging in such endearing shenanigans. So, my advice to you is to cherish these moments because they won’t last. Enjoy it; appreciate the beauty of it, because you are a lucky man.
Also, here you are having such entertainment in your own house - why would you bother with Bollywood? Next time this happens, watch your kids and notice how carefree and beautiful they are. Enjoy the moment. You have riches beyond belief, so stop focusing on stupid stuff.
Do you have a question for Auntyji? Email it to info@indianlink.com.au
The
impact of casual speeding could be devastating.
Every kilometre over the speed limit increases the risk of a serious crash.
