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Signs of the times: Come October

Humra  Quraishi remembers classical singer Begum Akhtar, also known as Akhtari Bai and we...

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Salim Arif: His Work of Many Parts

It is a daunting task to undertake summarising Salim Arif’s multifaceted talent and work resume in a few pages, writes ...

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The Glad and the Sad

Even as COVID-19 spikes on, the film soundtracks of yesteryear offer some solace and relief. Khalid Mohamed writes on the vast...

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Stayin’ Alive: Pt. Jasrajji

Senior musicians speak to Monarose Sheila Pereia, to pay their tributes to the great legend Pandit Jasrajji, who passed away o...

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Mind Your Language: Vidya Balan on how to get the ps and qs right

Khalid Mohamed frazzled by today’s Bollywood language, talks to Vidya Balan on how she g...

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Minority Report

Khalid Mohamed writes on the ceaseless ghettoization of Muslim characters in B-town’s mainstream movies, and now web ser...

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The Last Concert

Begum Akhtar passed away a day after her concert in Ahmedabad on 29 October, 1974. Here’s a rare photo-essay of that enchanted evening by...

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Father Of The Groom

Makrand Deshpande’s new play Pitaji Please—should count among his best so far—deals with parental anxiety caused by an offspr...

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Women’s Voices

The experiment of staging a selection of monologues worked well in Gujarati. In the first collection of seven short plays-- Saat Teri Ekvees (7...

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Queen of Ghazals

When Danish Husain introduces his stage production of Akhtari: Dastan Bai Se Begum Tak, he says the storytelling and music format...

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