Mumbai’s vastness is what makes it unique because every neighbourhood is a world in itself, often becoming the subject of films and even sketches by Mumbai’s comics over the years. As much as they share their take on what makes them different, they also take the opportunity to dive into the communities and culture in various parts including South Mumbai, Bandra, Andheri, Borivali and Malad. However, there are not many who go beyond and that is where Mumbai comic Siddhartha Shetty’s sketches are refreshing as it brings in the unique flavour. He boasts about Thane and its newly opened Central Park and more recently even the real estate in Mira Road and or the dolphins in Virar’s Arnala thus connecting with people in those areas almost instantly and even taking it a step further by doing his first standup gig in Virar earlier this week. Making comedy more accessible in MumbaiMore than that, Shetty, who goes by @siddyshetty on Instagram, celebrates middle class Mumbaikars and their habits. With his most recent video about split ACs crossing over 2.5 million views, as he dived into how Mumbai’s middle-class are still stuck to their window ACs which work on just one temperature, relating to most people almost instantly. Another one has him talking about the famous Delhi vada pav lady, how Delhi is obsessed with it, and why Mumbaikars love the simple dish; it has got close to 1.4 million views. It also started out with a reel about mangoes going viral last year, ever since then, his reels about mangoes are also unique as he delves into a video adding a dramatic element of having “internal fights within the family with Langda during season”. Inspired by this very fandom for mangoes, the name for his gig in Virar on May 12, which he calls ‘Wakanda of Mumbai’, was titled ‘Phak You Avocado Return of the Mango’. This is only the start as he plans to do more in north Mumbai apart from the rest of the city. “I did a show in Mira Road recently and I want to do a show in Vasai soon because there is a great chunk of population that is being left out in these places. For a person to come from Nallasopara and Virar to even Andheri for a show is a lot because even Malad, Kandivali and Borivali don’t have as many shows.” It is more than just doing shows for him because Shetty feels that apart from talking about Virar in his sketches, he wants to do shows at places he talks about because the people there can relate to it the most. “I want to make it more accessible. If you have a room and mic, the event can happen,” he shares, as his comments section wants him to do a show in Thane soon, after the Virar announcement. Also Read: Anuvab Pal: ‘There is intolerance towards everything. Laughing is what makes it tolerable’ The need for accessibility for the audience may come from a special 34-year-old who started doing comedy in 2017, after being a member in the crowd attending these shows. “I started with open mics and used to watch a lot of live standups. I was an audience member who turned into a standup comic. I used to always be this funny guy and my childhood friend registered me for the first open mic.”Soon enough, Shetty started putting out videos in 2018 but things took form during the pandemic when Instagram reels came out. “I started experimenting with my humour because I think it is something absurd and has a lot of characters. For me, humour doesn’t fall into a particular section because for me anything and everything is funny because I used to always tell jokes ever since I was a kid. I used to make it funny in front of my friends and teachers and see if I could get a reaction out of them. From there, it translated to Instagram and YouTube where I got a platform,” adds the Mumbaikar. While he explores different subjects, Shetty also grows in different ways as an artist and that also comes across in the different types of topics he explores on stage. He explains, "After some time, you like to talk about yourself, your perspective about life and that is much funnier and that comes from a place of experience and truth. There are a lot of things you go through in life and a lot of catharsis comes out on stage. I talk about a lot of my own life experiences. As a comic, I am still not happy. I feel I can do so much better.” Even though the elections are here, Shetty will not jump on the bandwagon because he believes there is more to it. “I believe I am not that well-read. I believe political satire requires you to be well-read. You have to be very articulate. I don’t want to do jokes just for the sake of it.” Shetty says he did a video on Indian news anchor Arnab Goswami and that comes from a place of satire, but believes that he needs to get better at it but will not mind experimenting with it in the future.Interestingly, standup comedy is part-time, as he also has a regular day job which has led him to roam the length and breadth of the city. This has, in turn, led him to know the nooks and crannies of the city, which is often known only to locals. Also Read: Meet this 15-year-old Mumbai sailor who is making India proud around the world Celebrating MumbaiArmed with his knack of bringing out the funny side of things and being a Mumbaikar, Shetty brings out a very local flavour in his accent, sounds and broken English as well as Hinglish - all are signature mannerisms of every middle-class Mumbaikar. What is this inspiration? He shares, “This is the third generation of my family in Mumbai, so I have a lot of friends and myself am a Maharashtrian. I grew up in Dombivali and have now moved to the Western line. With Dombivali being a Maharashtrian-dominated locality, I try to imbibe the local culture into my standup.” At the same time, the idea has always been to make comedy palatable and simple, and one that everyone will relate to. “The undertone has always been what happens to a middle-class guy because I belong to a middle-class family. A lot of these experiences are common experiences,” he adds. Even as he goes out doing these videos in different ways, Shetty celebrates Mumbai in more ways than one not only through its neighbourhood but also its people. “There is a divide in Mumbai beyond the (Bandra Worli) sea link and on the other side of the sea link – even if you talk about real estate. I will try to talk about that. Then I will try to talk about how Mumbai is very basic. We are simple people, and we just need to get our job done. It is kind of a comic relief to a lot of Mumbaikars who are busy with their daily lives,” he concludes. Also Read: Gazpacho to Smoke Salmon Rolls: Unique cucumber-based recipes to try in summer
14 May,2024 04:52 PM IST | Mumbai | Nascimento PintoAmong many other things that Mumbai is known for, it is also popular for its arts and cultural festivals. KASHISH Pride Film Festival, one of the most celebrated film festivals in the country is back to the bay. This year’s theme is ‘Unfurl Your Pride’, an invitation for everyone to come to KASHISH with their true and complete self, holding their head high with pride. Sridhar Rangayan, festival director, says, “As with any international festival, there is a lot of buzz around some of the films. While we love each and every one of the 133 films we are screening, we have put together 15 films that are the buzziest in the 15th edition of KASHISH Pride Film Festival. They stand out either through their narrative approaches, or the unique standpoint the filmmaker takes; or some films that raise uncomfortable questions which are necessary, while others bring out the joys and triumphs of the community. Each of these films are a must see, and we hope you manage to catch them all.” If you have been planning to attend this film festival, we share some key highlights you must check out. 1. The festival was first organised in 2010, this year being its 15th edition. The festival was also conducted during the pandemic years. 2. This year festival changed its name to KASHISH Pride Film Festival, from KASHISH Mumbai International Queer Film Festival, to be more inclusive of LGBTQ+ communities as well as allies who attend the festival, and to make it one of the film festivals to reckon with nationally. 3. KASHISH 2024 is being held from May 15-19 at three venues, Liberty Cinema and Alliance Francaise in South Mumbai and Cinepolis in Andheri West. 4. 133 films from 46 countries are being showcased this year with 33 feature-length narrative and documentary films. 5. 45 films in 11 competition categories, along with five screenplays are competing for a total cash award of rupees seven lakh – highest ever at KASHISH. 6. For the first time KASHISH will be hosting the Asia Pacific Queer Film Festival Alliance award to give away the Best APQFFA short film award with a cash prize of US $ 1000, supported by GagaOOLala, a Taiwanese OTT platform. 7. The festival has introduced a new category this year – Best Indian Film on Mental Health, supported by Keshav Suri Foundation. 8. The festival is set to screen 12 world premieres, 56 Asian premieres and 89 Indian premieres. 9. The festival will also see 10 films made by transgender-identifying filmmakers, including transwomen, transmasculine and non-binary filmmakers. 10. Some films will also focus on elderly queer persons with seven films about elderly gay, lesbian and trans folks. 11. Eminent jury panels will comprise award-winning filmmakers, popular actors and media personalities who will pick the winners on the closing night. 12. The famous Lola Kutty aka Anu Menon and Seductress Soniqa will host the opening ceremony on May 15. 13. Popular media personalities, Rohini Ramnathan and Rohan Joshi will host the closing ceremony. 14. Opening night will feature a stand-up act by Varun Grover and a Kathak-Lavani dance by Aditi Bhagwat and troupe; the Closing Ceremony will feature a classical dance by Sunil Sunkara and troupe, and a vibrant dance performance by the queer group Colour Positive. 15. Lastly, a chat with Nandita Das on May 18 and several other panel discussions will be held including a Sweekar The Rainbow Parents group meet.
14 May,2024 04:31 PM IST | Mumbai | mid-day online correspondent
Shraddha Almeida has been a Harry Potter fan for more than 18 years now and over the years, she has only grown to love the series of books more than ever before and doesn't intend to stop any time soon as she has built her own Harry Potter universe in her home. An healthy obsession that started out with the books that were bought from her parents's money has today translated into her feeding her love for the franchise in many different ways. Earlier this year, British actor Miriam Margolyes, who plays Professor Pomona Sprout in the films on the series, spoke about the fandom on New Zealand's 1 News Network saying she worries for Harry Potter fans. She goes on to say, "They should be over that by now. It was over 25 years ago and it is for children." While Margolyes clarified that she believes it is for children, mid-day.com went in search of some of the biggest fans in Mumbai and India and Almeida is only one of them. Every year, Potterheads around the world celebrate International Harry Potter Day on May 2 as it is the day the great Battle of Hogwarts was fought and Lord Voldemort was finally defeated. When Joanne Kathleen Rowling, popularly known as JK Rowling, wrote Harry Potter, little did she know it would capture the world's attention more 25 years later. Interestingly, even though the first book came out in 1998, it has developed quite a fanbase and the Harry Potter universe around the world since then, as the films followed from 2001. In fact, United Kingdom's former Prime Minister David Cameron officially declared the day himself to help "children and adults remember Harry Potter's strong and courageous character on this day". Also Read: Naezy releases new EP 'Anti Fitna'; says, 'I want to be that guy who will change hip-hop in India forever' Teleported to a whole new world Just like this writer, who received the first two books in 2000 as a gift and never looked back, the Harry Potter series has been an otherworldly experience for Vasaikar Almeida, who now lives in the US. Even though she is far away from where she fell in love with the series and its characters, it is more than a series. "It is still unique for me because I have childhood memories associated with it and also the fact that it still holds the power to teleport you to a whole different world after all this time!," expresses the risk manager specialist. She still continues to discuss the series and share trivia with fellow Potterheads, expressing, "I absolutely continue to do it at every chance I get". Ask her if she thinks she is the biggest fan and she quickly says, "I am a huge fan for sure but I have met bigger fans over the years." As of today, the 31-year-old boasts of a collection that includes all the seven books from the Harry Potter series - 'Philosopher's Stone' (1997), 'Chamber of Secrets' (1998), 'Prisoner of Azkaban' (1999), 'Goblet of Fire' (2000), 'Order of the Phoenix' (2003), 'Half-Blood Prince' (2005), and 'Deathly Hallows' (2007). She has also gone a step further to get the three that are a part of the Hogwarts Library Set including three books - 'Fantastic Beasts and Where to Find Them', 'Quidditch Through the Ages', and 'The Tales of Beedle the Bard' - taking her total tally of the series to 12 books. It is important to note that the latter collection is one that is mostly known only to true Potterheads as they dive deep into the universe after they are first mentioned in the books. Apart from the series, Almeida also owns two figurines, one wand, mandrake, 9 and 3/4 sign and music box too. This, she has managed to procure because of her savings over the years. "I have read the entire book series at least three times, and movies I have lost count, as they will be anywhere above 20 times. I even have a zillion Harry Potter-themed Christmas ornaments that I remove every December to decorate the house," adds the proud Mumbaikar, who supports the Hufflepuff house, which is one of four houses in the series that fans identify themselves with; the other ones are Gryffindor, Slytherin and Ravenclaw. Such is her fandom that she has even dressed her dog Nico as Harry Potter for a Halloween party in the past. Also Read: Berlinale award-winner ‘The Last Swim’ director Sasha Nathwani: ‘I’m grateful for both my Indian and Iranian heritage’ Getting introduced to the world of magic Elsewhere, Tash John, who is originally from Borivali, but has now settled in Canada, has also been a Potterhead for more than 18 years now and he has continued to be a fan because of how much it reminds him of his great childhood when he was immersed in the books. He shares, "It is very nostalgic for me. It was the first time I read about magic in what seemed to be a regular setting like a school." It got even more dramatic for him, especially because he studied in a boarding school in Mount Abu in Rajasthan. "Taking the train to Abu was very similar to going to Hogwarts," reminisces John, just like this writer who believed that the topmost floor of his school was banned like the 'Third Floor Corridor', popularly known as the 'Forbidden Corridor' of Hogwarts School of Witchcraft and Wizardry, and the supplies room was like the 'Room of Requirement', which was introduced to readers in the 'Order of the Phoenix' (2007). John, just like Almeida, is humble about his fandom and believes he is nowhere close to others who he knows that have their house filled with memorabilia. However, his collection is proof of how much he loves Harry Potter. "I have got my hands on some of the new illustrated editions of the books, which I believe are so freaking cool!," says the excited 32-year-old advertising professional. "I also have games, a house scarf and house pin (obviously) and figurines," adds the Mumbaikar, who identifies with Slytherin. When he is not working, John is busy sharing memes daily with his friends and even taking part in discussions actively but dearly misses all the Potterheads in Mumbai as he builds his home away from home but now without Harry Potter in it. Also Read: Anuvab Pal: ‘There is intolerance towards everything. Laughing is what makes it tolerable’
14 May,2024 02:59 PM IST | Mumbai | Nascimento PintoDavid Sanborn, beloved jazz saxophonist, who is credited on songs for Stevie Wonder, David Bowie and many more, has passed away. He was 78. In a series of posts on X (formerly Twitter), his official account revealed that the musician passed away Sunday due to complications from prostate cancer. "It is with sad and heavy hearts that we convey to you the loss of internationally renowned, 6 time Grammy Award-winning, saxophonist, David Sanborn. Mr. Sanborn passed Sunday afternoon, May 12th, after an extended battle with prostate cancer with complications," the post read. His account notes that he had been struggling with prostate cancer since 2018, and that he recently felt well enough to resume performing live with shows scheduled through 2025. Last month, he announced the cancelation of several shows in Virginia set to take place in May, citing health issues, as per Variety. After learning about his demise, netizens penned heartfelt tributes. Also Read: How Mumbai’s traffic woes made this Mumbaikar play the guitar at the Saki Naki traffic signal "I still remember the first time I heard "Port of Call" in 9th grade. He was the reason I learned alto in high school. Truly saddened by this news," a social media user wrote on X. "A great talent whose music will live forever," another one wrote. In a statement, he previously announced, "For the last weeks I've been dealing with unbelievable pain in my spine that prohibited me from walking, let alone playing my horn. We were finally able to diagnose the issue as two stressed fractures in my spine. Last week I underwent an unexpected spinal surgery. The doctors assure me the procedure was a success, but recovery is 6 to 8 weeks of doing nothing, including not playing my horn." Also Read: Why Mumbai pianists love playing in public spaces like hotels and malls Throughout his decades-long career, Sanborn became known for traipsing genres, bringing jazz sensibilities to pop, R&B and rock records. He played with musicians including Paul Simon, the Rolling Stones, James Brown, Chaka Khan, Elton John, Carly Simon, Billy Joel, Steely Dan, Grateful Dead and numerous others. As a solo musician, he released 25 albums beginning with his 1975 debut "Taking Off." Outside of recording music, Sanborn hosted a syndicated radio program, The Jazz Show, as well as a podcast called As We Speak. He also worked on a YouTube series called Sanborn Sessions with his nephew and brother-in-law. This story has been sourced from a third party syndicated feed, agencies. Mid-day accepts no responsibility or liability for its dependability, trustworthiness, reliability and data of the text. Mid-day management/mid-day.com reserves the sole right to alter, delete or remove (without notice) the content in its absolute discretion for any reason whatsoever.
14 May,2024 10:45 AM IST | Los Angeles | ANIThe evolution of women's clergy robes in various religious communities is not just a matter of liturgical interest but also serves as a vibrant narrative of societal transformation. These garments, emblematic of spiritual authority, have mirrored the broader changes in social attitudes towards gender equality and the role of women in leadership. This article explores how the changes in women's clergy robe have paralleled shifts in societal norms, indicating a fascinating interplay between religion and culture. 1. Historical Background of Clergy Attire Traditionally, clergy attire, including priest attire, has been a symbol of the religious office, designed to convey a sense of separation from secular life and dedication to spiritual service. For centuries, this attire was exclusively male, mirroring societal norms where leadership roles were predominantly reserved for men. Women, when involved in religious activities, were typically assigned roles that required less formal or distinctly different attire, such as that of nuns or lay helpers. The first official adaptations of women's clergy robes began appearing significantly later than their male counterparts. These changes were often met with resistance, reflecting broader societal hesitations about women in positions of power. Over time, as women gained more rights and recognition in other areas of society, religious communities gradually began to acknowledge their right to hold leadership positions and wear garments that signify their status. The historical context of these robes tells a tale of gradual acceptance and shifting perceptions. Initially, women in clergy roles were rare and sometimes controversial figures. As societal views on women's roles evolved, so too did their presence in religious leadership. These changes were often paralleled by developments in other sectors, such as politics and business, where women were also making significant strides. The adaptation of clergy attire to include women was a visual and symbolic representation of these broader shifts, marking a step toward inclusivity and equality in religious settings. 2. Symbolism and Significance Women's clergy robes are rich in symbolism. They are more than just modified versions of men's robes; they are redesigned to meet the specific needs and considerations of women while maintaining the dignity and solemnity of priest attire. Every element, from the fabric to the fit and style, is infused with symbolic meaning, representing purity, dedication, and service. The adoption and adaptation of these robes also symbolize the breaking of gender barriers within the religious contexts. As such, they represent not only a change in the fabric of the garments but also a profound shift in the theological and cultural fabrics of the institutions they represent. The robes signify a new era where women are not only participants but also leaders in spiritual and communal life. This symbolism extends to the very act of wearing these robes. For many women clergy, donning their robe is both a personal and a communal statement of their role and authority. It is an affirmation of their qualifications and their acceptance by their faith community. In traditions where the clergy robe has been a symbol of spiritual authority for centuries, adapting this tradition to include women redefines the very concept of authority within those religious groups. It challenges congregants to rethink their views on leadership and to recognize the spiritual capabilities of women as equal to those of men. 3. Reflecting Gender Equality The transformation of women's clergy robes directly mirrors the strides being made towards gender equality in broader society. As movements for women's rights gained momentum in public and private sectors, religious communities were also prompted to reevaluate their positions on gender roles. These changes in attire reflect an acknowledgment that spiritual authority and capability are not confined to one gender. They help congregants adjust to and accept the idea of women as leaders within their spiritual communities, thereby fostering an environment of equality rather than tradition-bound disparity. The evolution of these robes not only reflects but also encourages changes in the broader societal understanding of gender roles. As gender equality becomes a more central theme in global discourse, the religious response—as seen through adjustments in traditional priest attire—serves as a testament to the adaptability and responsiveness of faith communities. These garments, therefore, act as both products and agents of cultural change, facilitating and reflecting shifts in societal norms about gender and leadership. They demonstrate to the wider community that religious institutions are capable of evolving and supporting progressive values, which can lead to increased engagement from younger generations and those who might previously have felt alienated by traditional gender roles in religious settings. 4. Design Evolution The design of women's clergy robes has evolved significantly, moving from simple, modest modifications of men's robes to unique designs that consider functionality, aesthetics, and comfort. Modern robes often feature lighter fabrics, adjustable designs to accommodate different body types, and subtle stylistic touches that reflect feminine aesthetics without diminishing the authority of the robe. This evolution in design not only makes the robes more comfortable and practical for women but also challenges the traditional perceptions of how religious authority should look. It signifies an evolving understanding that effectiveness in leadership roles is not determined by gender or a traditionalist approach to uniforms but by the quality of service and dedication to spiritual duties. Moreover, the practical aspects of these designs, such as the integration of pockets, adjustable waistlines, and breathable fabrics, address the physical demands of clerical work, which can include long periods of standing, performing rituals, or providing pastoral care. The attention to detail in the design of women’s clergy robes goes beyond aesthetics; it is about respecting the physicality of the role and ensuring that women are as equipped and comfortable as men in their religious duties. The continual refinement and customization of these robes also reflect a broader trend in fashion and professional attire, where functionality and personal expression are paramount. As designers and religious institutions collaborate to create garments that meet the specific needs of women clergy, they contribute to a broader discourse about inclusion and respect for individual needs within professional and sacred spaces. 5. Societal and Cultural Impact The visibility of women wearing women's clergy robes has a significant impact on societal and cultural norms within communities. It challenges long-standing stereotypes about the roles women can and should play in both religious and secular spheres. This visibility can inspire young girls in the congregation, showing them that spiritual and leadership roles are equally accessible to them. Moreover, it sends a message of inclusivity and modernity to the broader community, often improving the perception of religious institutions as more progressive and adaptable to changing societal norms. This can attract a broader, more diverse membership who feel that their values are reflected in the practices of their religious leaders. The impact of seeing women in these roles, and dressed in attire that signifies their authority, can be profound. It challenges existing preconceptions and prejudices about gender roles, both in religious settings and in the community at large. For some congregants, it may be the first time they see women in a position of religious leadership, which can alter their understanding of what is possible for women within their faith community and beyond. This change can also lead to greater dialogue within communities about other social issues, creating openings for conversations about equality, justice, and the role of tradition in modern society. As religious leaders, women wearing clergy robes can become symbols of change, bridging historical divides and fostering a sense of unity and progress within their congregations. 6. Challenges and Controversies The integration of women's clergy robes into religious practice has not been without challenges and controversies. These debates often extend beyond the garments themselves to address broader issues of gender roles within religious administrations and communities. However, each challenge also presents an opportunity for dialogue and growth, allowing religious communities to reassess their values and practices in light of contemporary human rights standards. One of the key challenges in adapting clergy attire for women is finding a balance between tradition and inclusivity. Some argue that changing the design or style of robes for women compromises the integrity of long-standing religious practices. Others contend that refusing to adapt attire to accommodate women sends a message of exclusion and reinforces harmful gender stereotypes. These debates are often deeply entrenched in theological and cultural perspectives, making them difficult to resolve. However, they also provide opportunities for communities to engage in meaningful discussions about gender, tradition, and the evolving role of women in religious leadership. By navigating these challenges thoughtfully and respectfully, religious institutions can foster greater understanding and unity within their congregations. 7. Future Trends As society continues to evolve, so too will the designs and acceptance of women's clergy robes. We can expect future trends to focus on inclusivity, with designs that accommodate a broader range of body types and personal expressions. Technology might also play a role, with innovative fabrics that improve comfort and functionality, supporting the diverse duties that clergy members fulfill. Moreover, as conversations about gender continue to evolve, there might be a move towards more gender-neutral designs in clergy attire, reflecting a broader understanding of gender identity beyond the binary male and female norms. These designs could include features that appeal to a diverse range of individuals, allowing clergy members to express their identities authentically while maintaining the dignity and authority of their roles. As religious institutions continue to adapt to changing societal norms and values, the evolution of women's clergy robes will likely reflect these broader trends. By embracing diversity and inclusivity in clergy attire, religious communities can send a powerful message of acceptance and respect for all individuals, regardless of gender or identity. 8. Conclusion: A Cloak of Change Women's clergy robes are much more than articles of clothing; they are cloaks of change, draped in history, symbolism, and societal hopes. As we witness these garments evolve, they not only reflect the changes within the church but also act as catalysts for broader societal acceptance of women in roles of authority and influence. They are threads woven into the larger fabric of social progress, representing a dynamic interplay between tradition and transformation. Through thoughtful design, inclusive practices, and respectful dialogue, women's clergy robes will continue to serve as symbols of a more equitable and compassionate society.
13 May,2024 06:07 PM IST | Mumbai | S KannanIn the realm of religious practice, attire holds profound symbolism and significance, serving as a visual representation of spiritual authority, tradition, and identity. Among clergy members, robes play a central role in this visual language, embodying centuries of ritual and religious tradition. In this article, we explore the significance of Women clergy robes, examining how they redefine ritual and shape the sacred experience for clergy members and congregations alike. 1. Honoring Tradition: The Historical Roots of Clergy Robes Women clergy robes trace their origins back to ancient religious practices, where attire played a central role in distinguishing clergy members from the general populace. In early Christianity, clergy robes served as symbols of spiritual authority and reverence, drawing inspiration from the garments worn by ancient priests and religious leaders. Throughout history, clergy robes have evolved in style and design, reflecting changes in religious doctrine, cultural norms, and fashion trends. Despite these changes, the underlying symbolism and significance of clergy attire remain constant, serving as a tangible link to the sacred traditions of the past. 2. Symbolism and Spiritual Authority: The Meaning Behind the Robes At the heart of women clergy robes lies a rich tapestry of symbolism and spiritual meaning. Each element of the robe, from its color to its design details, carries layers of significance that speak to the clergy member's role as a spiritual leader and servant of their community. The color of a clergy robe, for example, may hold specific symbolic associations within certain religious traditions. White robes often symbolize purity, innocence, and divine light, while black robes may signify solemnity, humility, and spiritual authority. These symbolic associations serve to enrich the worship experience and deepen the congregation's understanding of religious teachings and themes. 3. Embodying Spiritual Commitment: The Role of Clergy Uniforms Clergy uniforms, including women clergy robes, serve as outward expressions of inward devotion and commitment to religious service. By donning the robe, clergy members affirm their calling to ministry and publicly declare their dedication to serving their faith community and upholding its sacred traditions. The act of wearing the clergy uniforms also serves to unify clergy members with their congregation, creating a sense of shared identity and purpose. In this way, women clergy robes serve not only as symbols of spiritual authority but also as instruments of unity and community within the religious context. 4. Fostering Reverence and Respect: The Impact of Clergy Attire The sight of a clergy member adorned in their robe evokes a sense of reverence and respect among congregants, signaling the sacred nature of religious rituals and ceremonies. Clergy attire serves as a visual reminder of the divine presence and authority that permeates religious gatherings, inspiring awe and reverence in those who witness it. Furthermore, women clergy robes serve to elevate the role of clergy members within the religious hierarchy, affirming their authority and leadership within the faith community. By dressing in attire that distinguishes them from the congregation, clergy members command respect and attention, allowing them to fulfill their roles as spiritual guides and mentors with dignity and authority. 5. Embracing Diversity and Inclusivity: Modern Interpretations of Clergy Attire In recent years, there has been a growing movement towards inclusivity and diversity within religious communities, leading to a reexamination of traditional clergy attire. Women clergy robes, once limited to a narrow range of styles and designs, now encompass a diverse array of options that reflect the varied identities, backgrounds, and beliefs of clergy members. From traditional robes with intricate embroidery to contemporary designs with modern silhouettes, women clergy robes now offer greater flexibility and choice than ever before. This inclusivity extends to clergy members of all genders, ethnicities, and cultural backgrounds, allowing each individual to express their unique identity and calling through their attire. 6. Empowering Clergy Members: The Role of Customization and Personalization One of the most significant developments in the world of women clergy robes is the emphasis on customization and personalization. Recognizing that clergy attire is a deeply personal expression of identity and faith, many clergy members now seek out robes that reflect their individual style, preferences, and values. eClergys, a leading provider of clergy attire, offers a wide range of customization options to meet the unique needs of clergy members. From choosing the fabric and color of the robe to adding personalized embroidery or embellishments, clergy members can create a robe that is truly their own, reflecting their personality, beliefs, and ministry style. 7. Bridging Tradition and Innovation: The Future of Women Clergy Robes As we look to the future, the role of women clergy robes continues to evolve, embracing both tradition and innovation in equal measure. While honoring the timeless symbolism and significance of clergy attire, modern robes also incorporate innovative design elements and materials that enhance comfort, functionality, and style. eClergys remains at the forefront of this evolution, continuously innovating and adapting to meet the changing needs and preferences of clergy members. With a commitment to quality, craftsmanship, and inclusivity, eClergys ensures that every clergy member can find attire that reflects their unique identity and empowers them to fulfill their sacred calling with confidence and grace. Conclusion Women clergy robes are more than just garments; they are symbols of spiritual authority, reverence, and identity. By redefining ritual and embracing diversity, clergy attire plays a vital role in shaping the sacred experience for clergy members and congregations alike. With eClergys as your trusted partner, you can find attire that honors tradition, celebrates diversity, and empowers you to fulfill your sacred calling with dignity and grace.
13 May,2024 03:57 PM IST | Mumbai | Tanya SyedSinger-songwriter Rihanna and her boyfriend A$AP Rocky celebrated their eldest son’s birthday with a special bash. They stepped out in New York City to celebrate their son, RZA’s second birthday, as they showed off their impeccable style, reports ‘Mirror.co.uk’. Holding their youngest child, Riot Rose, in her arms, Rihanna emanated serious cool-mum energy. The 36-year-old ‘Umbrella’ hitmaker wore an all-grey outfit, opting for baggy jeans and a stunning corset top, finishing off the look with a fur grey cropped jacket and oval-shaped sunglasses. Following in his fashion-forward mum’s footsteps, the youngest of the family wore a denim jacket over a graphic tee and chunky sand-coloured Vans. As per ‘Mirror.co.uk’, A$AP cut a casual dad look in jeans, a white T-shirt, and a striped blue shirt, waving while carrying RZA as they left the bash. The birthday boy -- who turned two on Monday -- showed off his style in brown patterned trousers and a denim jacket. The foursome went to a private party for family and friends in New York City. Rihanna recently revealed that her rapper boyfriend has always been the inspiration behind her sons’ looks. Speaking to Entertainment Tonight, she said: “When I dress them, I always try to dress them like Rocky. Because I always envisioned dressing a girl, right? We all do as women, like, ‘Oh, I’m going to dress her in these cute little things,’ but then you get sons and you’re like, ‘What do I do?’ and I was like, ‘You know what, I have the biggest hack - their dad’." Also Read: Deepa Mehta: Why is self-determination in women interpreted as selfish?
13 May,2024 02:11 PM IST | Mumbai | IANSIt’s that time of the year when filmmakers and actors across the world will travel to Cannes for a discourse on craft and cinema. The Cannes 2024 Film Festival will commence on May 14 and will end on May 25. Indian filmmaker Payal Kapadia’s 'All We Imagine as Light' has scripted history by becoming the first Indian title in 30 years since 'Swaham' (1994) to feature in the prestigious competition section of the Cannes Film Festival, where it will vie for the top prize Palme d’Or. The movie is an Indo-France co-production about two Kerala nurses working in a Mumbai nursing home. The film stars Kani Kusruti and Divya Prabha. Kapadia’s project will be presented alongside 19 anticipated titles, including films from master directors, Francis Ford Coppola and Yorgos Lanthimos. Movies competing for Palme d'Or at Cannes Film Festival 2024: 'Megalopolis' (Francis Ford Coppola)This self-funded epic -- a Roman drama transplanted to modern-day New York starring Adam Driver -- has been in the works for more than 40 years. Coppola has twice won the Palme d'Or -- for "The Conversation" (1974) and "Apocalypse Now" (1979). 'The Apprentice' (Ali Abbasi)A biopic about Donald Trump's formative years from an award-winning Iranian director is bound to grab attention. It stars Sebastian Stan, best known as the Winter Soldier in Marvel films and rocker Tommy Lee in the series "Pam and Tommy", alongside Jeremy Strong of "Succession" fame as Trump's lawyer. 'Kinds of Kindness' (Yorgos Lanthimos)Three short stories in one, this is the latest team-up between the Greek director and Emma Stone, just weeks after she won an Oscar for "Poor Things", also starring Willem Defoe and Margaret Qualley. 'The Shrouds' (David Cronenberg)The horror maestro's latest supernatural drama is about a man who builds a device to connect with his dead wife -- a deeply personal project for the Canadian director who lost his wife in 2017. It stars Vincent Cassel and Diane Kruger. 'Oh, Canada' (Paul Schrader)The iconic writer-director has been on a roll lately with a string of dramas about obsessive and dangerous men. He reunites with his "American Gigolo" star Richard Gere for the story of a dying man reflecting on his past mistakes. 'Emilia Perez' (Jacques Audiard)Quite the synopsis -- a musical about a Mexican cartel boss undergoing a sex change to escape the authorities, with pop superstar Selena Gomez in a supporting role. The unpredictable French director has tried many genres, from "The Prophet" and "Rust and Bone" to his Palme d'Or-winning "Dheepan". 'The Substance' (Coralie Fargeat)An unlikely comeback vehicle for Demi Moore -- an ultra-violent horror film from the French director of 2017's "Revenge" that will "leave a lot of blood on the screen", according to festival director Thierry Fremaux. 'The Most Precious of Cargoes' (Michel Hazanavicius)The first animation in competition since 2008's "Waltz With Bashir" is the tale of a twin thrown to safety from a death train transporting his Jewish parents to Auschwitz, from the director of the Oscar-winning "The Artist". 'Limonov' (Kirill Serebrennikov)The exiled Russian director tackles the bizarre true life of dissident poet Eduard Limonov, who fled the Soviet Union but returned to found a new Bolshevik Party after the Cold War. 'Parthenope' (Paolo Sorrentino)Another love letter to his native Naples from the Oscar-winning director of "The Great Beauty" and Netflix series "The Young Pope". 'Bird' (Andrea Arnold)The celebrated British auteur returns with a coming-of-age tale set in an English suburb, starring Barry Keoghan ("Saltburn"). Arnold won an Oscar for a short film "Wasp" and made acclaimed features "Red Road" and "Fish Tank". 'The Seed of the Sacred Fig' (Mohammad Rasoulof)Imprisoned for criticising Iran's government and barred from leaving the country, Rasoulof has already faced pressure to pull his latest film from the Cannes line-up. Its plot remains under wraps. 'Anora' (Sean Baker)A darling of the US indie scene for his portraits of marginalised characters in "The Florida Project" and "Red Rocket", Baker returns with a "romantic adventure" starring "Scream" actress Mikey Madison. 'The Girl with the Needle' (Magnus von Horn)Loosely based on the story of a Danish serial killer who helped poor women kill their unwanted children in the early 20th century. 'Motel Destino' (Karim Ainouz)An erotic comedy-thriller from the Brazilian director of Henry VIII drama "Firebrand", which competed in Cannes last year. 'Grand Tour' (Miguel Gomes)The story of a British colonial officer in Burma who flees his wedding but is pursued by his bride. 'Marcello Mio' (Christophe Honore)The fictional tale of a woman who starts impersonating her father, the late Italian screen icon Marcello Mastroianni. It features French icon Catherine Deneuve. 'Caught by the Tides' (Jia Zhang-Ke)One of China's most celebrated auteurs offers a view of the country "we are not necessarily used to seeing", according to Fremaux. 'All We Imagine As Light' (Payal Kapadia)The first Indian entry in 30 years tells the intimate stories of a Mumbai nurse and her roommate. 'Beating Hearts (Gilles Lellouche)The French actor-director adapts an Irish novel, "Jackie Loves Johnser OK?", with Francois Civil and Adele Exarchopoulos. 'Wild Diamond' (Agathe Riedinger)A debut film about a young French girl seeking fame on reality TV. 'Three Kilometres to the End of the World' (Emanuel Parvu)A surprise last-minute entry about a gay teenager ostracised by his village community in Romania. (With inputs from AFP) Cannes 2024: Aishwarya Rai Bachchan and Aditi Rao Hydari to return to the film festival
13 May,2024 01:34 PM IST | Mumbai | Ainie RizviIndian-Canadian filmmaker Deepa Mehta is set to screen her documentary ‘I am Sirat’ at the Kashish Pride Film Festival in Mumbai on May 18. ‘I am Sirat’ follows Sirat Taneja, a trans woman, as she navigates her life in New Delhi. Sirat leads a fulfilling life outside her home, with a steady job, a supportive circle of friends, and an active presence on social media. However, at home, she is forced to hide her true identity and pretend to be someone she's not - a dutiful son to a mother who cannot come to terms with having a transgender daughter. Shot almost entirely on smartphones, this collaborative documentary offers us an intimate look at Sirat’s life and explores the duality that is an oppressive reality for many LGBTQIA+ individuals. Mehta, best known for her Elements Trilogy, ‘Fire’ (1996), ‘Earth’ (1998), and ‘Water’ (2005), has received critical acclaim for her nuanced portrayal of complex social issues, and human rights struggles through intimate storytelling. This dedication to social commentary has garnered her numerous awards and accolades, including an Academy Award nomination for Best Foreign Language Film for ‘Water’. Also Read: Gen Z and Technology: Bandra-based Gen Z redefines dabbawalla deliveries in Mumbai The festival will also unite Mehta with acclaimed actor and director Nandita Das for a conversation with noted film critic and curator Meenakshi Shedde to celebrate 26 years of the release of ‘Fire’. A landmark film for the LGBTQIA+movement in India, ‘Fire’ broke ground by depicting a lesbian relationship, a topic absent from mainstream Indian cinema at the time. This portrayal brought homosexuality out of the shadows and into the homes of middle-class India. The film sparked public dialogue and challenged traditional views on sexuality, paving the way for greater visibility and understanding of the LGBTQIA+ community in India. In an exclusive chat with mid-day.com, Mehta talks about her unrelenting curiosity, the public response to ‘Fire’, and discovering a liberal side of Delhi through her co-director. Here are edited excerpts: In ‘Fire’, Sita tells Radha, “There is no word in our language that can describe what we are. How we feel for each other.” In times when most people were not armed with the vocabulary to self-identify, what drew you to make the film? I think other folks in India were armed with the vocabulary for self-identity, but perhaps ‘Fire’ allowed them to express it. At least the anger that ‘Fire’ unleashed by self-confessed ‘protectors of Indian culture’, who proclaimed across the board that there were ‘no lesbians in India’ reverberated through the country. I remember vividly when the Regal Cinema in Delhi had been trashed for screening ‘Fire’, a protest that evening just blew me away. As far as one could see and observe I saw women carrying placards that proclaimed, “We are lesbians and we are Indians.” I think we underestimate the human ability to see through bull shit! I had made a film about emotional empathy turning into a physical relationship, and was curious about how it would affect the two female protagonists. Little did I know that it would affect a large part of the Indian population. Male and female. Too bad it was shut down and our amazing Indian distributor Jhamu Sughand took a huge financial hit. I remember what he said to me as ‘Fire’ was taken off all the movie halls, “Jaane do. Hum ne accha kiya. Paisay gaye, to kya hua?” Also Read: Anuvab Pal: ‘There is intolerance towards everything. Laughing is what makes it tolerable’ The film's ending is powerful and ambiguous. Can you discuss your reasons for choosing this ending and what you hoped audiences would take away from it? I am glad you think the ending is powerful and better still that it is ambiguous. There is no certainty in life. Change is the only constant. Forgive if it sounds trite. But hey, that’s what I really believe. After the Central Board of Film Certification cleared ‘Fire’ without any cuts, did you anticipate the scale of protests the right-wing subjected it to? Do you believe ‘Fire’ could see a theatrical release in the current scenario? I was deeply touched when the censor board of India (headed by two really strong women) passed the film without any cuts. But the irony is that it was the Mahila Aghadi-the women’s wing of the Shiv Sena that barged into a Mumbai theatre and rampaged the movie hall. Most of them carried ‘belans’ and flourished them like weapons! Could ‘Fire’ see a similar scenario in the current climate? Only if it serves a political purpose, I think. Today, audiences view cinema with a microscopic lens and quickly comment on what’s appropriate. Do you believe ‘Fire’ has aged well? Looking back at the filmmaking process, is there anything you would have done differently? I think the curiosity that made me make ‘Fire’ has aged well. The cultural battle between duty, responsibility, and family obligation versus self-determination still rages. As Avni Doshi in her brilliant novel ‘Burnt Sugar’ has the protagonist ask, “Why is self-determination in women interpreted as selfish?” If anything, I wish we had made the film in Hindi. But when the translation arrived, I felt it was a bit heavy-handed. And unfortunately, we didn’t have the time nor the money to have it get another go. How did you come across Sirat Taneja? What made you invested in telling her deeply personal story? Sirat Taneja played the role of a jailer in the dystopian series Leila (which was co-directed by Mehta). We all (Huma Qureshi, Priya Sreedharan and Netflix Creative) loved the fact that she had no hesitation in going the distance. Sirat is fearless! LGBTQIA+ representation in the media has often lacked the nuance and sensitivity of a queer perspective. I am Sirat is a collaborative directorial effort by you alongside Sirat Taneja. How did her queer gaze influence the documentary? How has your storytelling evolved in depicting queer lived experiences? Sirat was an invaluable partner in making ‘I Am Sirat’. I learnt so much from her and more importantly, she exposed me to a Delhi that I thought did not exist. A liberal Delhi of the gay and transgenders. Far less bound by tradition than what would be expected. After premiering at the Toronto International Film Festival in 2023, I am Sirat is set to screen at the Kashish Film Festival in Mumbai. What are your expectations from Indian audiences? I am so glad that ‘I am Sirat’ is getting screened at South Asia’s largest LGBTQIA+ film festival as it will find a larger audience. I think Sirat the protagonist, Sirat the co-director, Sirat the transwoman, Sirat the hopeful (against all odds) Sirat the Instagram persona, Sirat who loves her family, Sirat who laughs easily, Sirat who is so wise and kind would be BLOODY hard to resist!
13 May,2024 01:23 PM IST | Mumbai | Maitrai Agarwal
The dabbawalas – Mumbai’s OG delivery agents, might be at the cusp of a change. In a recent workshop introduced by RevolGo, Parel-based dabbawalas were powered with 8 cargo bikes that claimed to double their last-mile deliveries. “Beyond speeding up delivery time, it also slashed off a major load of goods in transit. And with its ergonomic design, my legs don’t get tired anymore!” exclaims Mahadeo Havaji Bachche dabbawala when asked about his experience with RevolGo. He is not alone. Ravi, a young vendor who sells coconut in Bandra East has also switched to the futuristic bike. From 7 am to 4 pm, he is on a roll serving 40-50 coconuts across a distance of 15 kilometers. Adding to the list of riders are more delivery partners from DHL, local kirana stores and more porter services.The green venture founded in 2022 by Bandra local Amartya Raj (23), is a novel entry into the e-bike realm committed to diminishing carbon footprints and fostering environmental synergy. “We have been working with the dabbawalas for over five months now. We wanted to equip them with a tool that doesn’t disrupt their daily functioning,” Raj tells Midday. So, how does RevolGo work?On a Tuesday afternoon, this writer, a locomotive enthusiast, hopped up to Kalanagar grocery store Meena Bazar, to check out the brand new RevolGo it had received. Packed with a not-so-usual giant basket in the front, the e-bike is just like any other bicycle but with an accelerator. The rider can either use the throttle to speed up or pedal down to her destination. Delving into tech specifications, Raj tells us that the speed limit is 25 km (per hour), meaning that no prior licensing is required to acquire or ride it. The battery size is that of a Bluetooth speaker, which takes a little over three hours to charge, lasts all day (30 to 50 km) and comes in a pack of 2. Boxy, edgy and an absolute trouble-shooter - this electric cycle stands as a common means of transport in Europe. Also Read: How AI simplifies decision-making in real estate“When conceptualising the bike's design, our objective was inclusivity. You ask who can RevolGo? And our answer is just anyone that has anything to carry,” outlines Raj.Central to Revolgo's mission is versatility. The cargo bicycle, dubbed as the Long John model, offers ample space for various cargo types, catering to a diverse range of businesses. From grocery stores to event management companies, the applications are manifold. The team's collaboration with the Ed Sheeran concert exemplifies this adaptability, where their bicycles facilitated seamless logistics during the event at Mahalaxmi Racecourse earlier this March.Drawbacks of using EVThe increasing demand for lithium, a key component in electric vehicle batteries, has led to shortages, admits Raj’s long-standing friend and schoolmate Hushaan Khambata (23). He joined the green venture as a business partner in February this year. A firm believer in clean energy, he recounts, “Yes, there have been shortages, but as the demand for such products increases, people are going to find new and innovative ways of creating batteries and charging batteries. This is going to happen because, at the end of the day, fossil fuels are bound to run out.” Khambata reflects upon the core ethos of RevolGo: sustainability and accessibility. His belief in the future of electric vehicles (EVs) is tempered by a pragmatic acknowledgment of associated challenges. While issues like lithium sourcing and charging infrastructure persist, he remains optimistic about evolving solutions and governmental support for green initiatives.Genesis of RevolGoThe genesis of Revolgo can be traced back to a transformative trip to Europe two years ago. It was during this journey in the summer months of 2022, that founder, Raj was struck by the practicality and sustainability of cargo bicycles, igniting a passion for eco-friendly transport solutions. The inception of their work turned into reality at the Mumbai International Bike Fair. “We had created a prototype of a cargo bicycle for the exhibit. The bike was far from functional, yet this exercise took our innovative concept further,” Raj tells Midday.Having spent time studying in the US, Raj frequently returned home every six to seven months. Each time he was back, he couldn't help but notice how Mumbai was evolving at a lightning pace. The transformation was palpable - from the modes of transportation to the everyday convenience of Swiggy deliveries. “It became evident to me that the existing transportation infrastructure was ill-equipped to handle the evolving demands of modern delivery services. This prompted me to devise a specialised transport vehicle tailored specifically for efficient and sustainable delivery operations, challenging the status quo of our current systems,” remarks Raj. Also Read: Is your child hooked to screens? Check this digital detox summer camp in BandraUpon returning from college, the team embarked on refining their prototype, a process that extended until late last year. The design, although not revolutionary in appearance, aimed to address the specific needs of urban delivery services. One size fits allNavigating the intricacies of urban mobility, RevolGo has ventured beyond traditional partnerships. Collaborations with Mumbai's iconic Dabbawalas and local businesses like Meena Bazaar underscored their commitment to grassroots impact. Harshaan's emphasis on community-driven initiatives highlights the team’s holistic approach to sustainable urban development.As the cargo bike expands its footprint beyond Mumbai, strategic partnerships and innovative financing models are crucial. Micro-financing schemes that are under process, aim to democratise access to their bicycles, empowering small businesses and entrepreneurs. With manufacturing operations shifting to Delhi and plans for a nationwide expansion, the e-bike’s trajectory signals a promising future for urban mobility solutions.In the middle of rapid growth, RevolGo remains steadfast in its commitment to social impact. Recent collaborations with pet shops, coconut vendors and even potential partnerships with resorts hint at their inclusive approach to mobility solutions. Through diverse partnerships and a relentless focus on innovation, Revolgo continues to revolutionise urban mobility, one pedal at a time. Log on to: revolgo.inCost: Rs 60,000 onwards Also Read: Rent denied to residents for 6 years, 50 illegal flats made in Santacruz society
13 May,2024 12:10 PM IST | Mumbai | Ainie Rizvi
At the southern railway bridge connecting Dadar West to East, Narendra Patil stands at the crossway serving a higher purpose. While pointing to the west side, he announces: “For Andheri, head to the second station – ticket price Rs 10. Fast mein jana hai, toh teen number platform.” Interrupting his speech, a middle-aged woman screams hastily: “Grant Road?” Pat comes the reply: “Mataji, keep to your left and reach platform number 2 for the Churchgate slow train.” What prompted Patil to serve as a human signpost? Before the current layout of parallel foot overbridges, Dadar station had a single straight bridge connecting its platforms. “Back then, all the indicators used to work,” Patil informs this writer while pointing at the southernmost bridge of Dadar station. Post the demolition of the bridge by Brihanmumbai Municipal Corporation (BMC) – a new bridge was constructed in 2022. While this served as a respite for crowd management at Mumbai’s busiest railway station – the absence of train indicators has led to confusion and chaos amongst new passengers. “This new bridge is confusing for people, many of them fail to locate the station and run around in circles. Ladies come running, seeking trains for Malad, Virar, Goregaon and Ghatkopar with puzzled faces. It is very frustrating to watch these people struggle.” Upon noticing the widespread confusion due to missing indicators – he complained to the station master “Indicator toh lagao!” The station master conveniently brushed him off by saying: “lagata hu!” Patil knocked on the authorities’ door for eight consecutive days. Despite repeated requests – there was no effort from the railways to install an indicator. “I approached Sawant sahab at platform number 2 and requested him to look into the matter. He shrugged and said: hamare hath mein kuch nahi hai, go speak to municipality or use a bigger jack!” They suggested he consult local ministers, but Patil, being just an average Joe, decided he'd rather not take on on the epic quest of persuading bureaucrats. Frustrated, he took matters into his own hands. “The railway master kept on stalling me, eight days went by and there was not even a single signage. I decided not to wait further.” The next morning, the cement firm worker reincarnated as a train indicator to end commuter woes. Rail doot or Railway messenger Patil has carved out a window for himself from 9.30 to 11:30 (rush hours) when he dictates his ultimate act of rebellion: Before he rides off to work, he guides helpless commuters on platforms and trains. In an interview with this newspaper, he tells Rajendra Aklekar: “I initially tried to help them while on my way to the office. Then a couple of years ago, before the lockdown, I started waiting outside the station on the western side before heading to work and spent some time guiding people.” It has been 26 months since there has been no indicator at the Dadar railway station. This was just before the renumbering of platforms at Dadar station which was not accompanied by appropriate signage and indicators. Therefore, people ended up on the wrong stations due to lack of signposts, informs Patil. “Public sochta hai k main idhar jau ya udhar jau?” He remarks that everyday commuters are well-versed with the routes, however, new passengers are lost without the sign boards. Mumbai’s Dadar Railway Station has always been a dramatic spot for local trains. Numerous episodes of overcrowding, congestion and train accidents have earned it a notorious reputation. Catering to almost 8-10 lakh commuters daily – this station is one the most important and busy junctions where the Western and Central lines of the railway meet. It also is a Terminus and stop for out-station trains. Special Sixties: What is the secret behind Chembur's age-defying grannies? An act of impact Patil had been serving at his spot for the past 15 months when the authorities acknowledged his efforts. What followed was one signboard that went up on December 6, 2023, marking Dr Babasaheb Ambedkar’s birth date. The boards read ‘platforms 2 and 3’ with an arrow pointing towards the respective platforms. “Another board has come up indicating platforms for Churchgate and Virar,” Patil said with a sheepish smile. However, these efforts are still not satisfactory for him and the general public as the font is small and the boards are placed hastily which misses the eyes of travellers. “Laga do na patra..for each platform.. why work half-heartedly? Their promises have failed us and now it has been 26 months with no solution in sight,” exclaims Patil. Dadar’s Good Samaritan “Namaskar...” – Patil greets a middle-aged man in white. An everyday face at Dadar station, people pay him in smiles and greetings for his selfless act. Before the lady clad in a formal suit could open her mouth, he gauged her baffled look and asked: “Kahan jana hai madam?” and later guided her to the desired platform. While guiding lost commuters, he exudes a positive light and has an inviting appeal. Not only is his smile wide, his vision is swift to identify the needy passengers. “Madam I don’t do this to get paid – for that, I have a job,” the Worli resident tells me. As the clock strikes 11.30 am, he hops on to Thane slow local and heads to Mulund where he works to sell cement. “I can do this only in the morning as I have to reach work by Midday. When I will get free – only the lord knows?” he jokes modestly. Man on mission Despite working till late in the night, Patil has a single-track mind to get back to Dadar station every morning and impart his duties (like clockwork). A daily commuter of Mumbai local, he is well-versed with the routes. “Doing this gives me immense satisfaction,” he remarks. Despite him giving free service – the railway authority has not taken cognizance of the missing indicator. The inconvenience remains ignored and people continue to rely on his directions to reach their destination. In our brief interaction, at least a dozen people greeted him, and another dozen followed his directions with obedience. Serving as a commuter’s guardian, Patil is an angel of a higher order. How long will he go on? “I will stop when the indicator goes up,” says the man on a mission. Also Read: Outrage in Santacruz’s Khotwadi: Builder denying transit rent for 6 years, erected 50 illegal flats
13 May,2024 11:01 AM IST | Mumbai | Ainie RizviADVERTISEMENT
