Life & Style

Have you tried the Satvik food at Numaish?


The team of people who manage the stall with Vijaya Bhaskar at Numaish

The team of people who manage the stall with Vijaya Bhaskar at Numaish
| Photo Credit: Prabalika M Borah

A visit to Numaish, Hyderabad’s most popular industrial exhibition, that lasts for over a month is driven by nostalgia and curiosity. Curiosity over what is new at the stalls selling pickles, kitchenware, food and more. Then there is the fun of going on the giant wheel or witnessing the daredevils in action at the maut-ka-kuwa (well of death) on two-wheelers and four-wheelers. 

For septuagenarian like Neeta Bhogle, a homemaker who rarely eats outside, Numaish is a culmination all the above and a meal at Natural and Satvik food canteen. Neeta says, “The shopping spree culminates with a meal of Satvikkhichdi, because this food has never given me an upset tummy. It is a plain khichdi but is also tasty. Surprisingly this khichdi needs no side dish to go with it.” 

Steamed groundnut, horse gram and sprouted moong

Steamed groundnut, horse gram and sprouted moong
| Photo Credit:
Prabalika M Borah

Natural and satvik food canteen sells simple homely food, easy in the pocket. This include boiled peanuts, sprouts and horse gram and the hot-sellers, khichdi and dahi vada

The menu of the canteen, currently run by Vijaya Bhaskar and his team, has 10 products, including fruit juice, salad and soup. 

The idea was mooted in 1988 by Bhusani Babu Rao Sharma, chairman of Satvik Ahaar Pracharam. It was adopted by Nature Cure Hospital, which managed the stall till 1992. After that Vijaya Bhaskar, who was the secretary of Satvik Ahar Pracharam (who worked with Bhusani Babu Rao Sharma), and and team took up the responsibility of the stall.

Khichdi at Natural and Satvik food canteen

Khichdi at Natural and Satvik food canteen
| Photo Credit:
Prabalika M Borah

Vijaya, now working at Gandhi Bhavan, says, “We continued it because people loved the idea and the stall from the day it opened. The concept is to promote healthy food which can be consumed by anyone. We also aim at keeping it affordable for all.” Expensive of the lot are khichdi and dahi vada, priced just ₹50.

Dahi vada at Natural and Satvik food canteen

Dahi vada at Natural and Satvik food canteen
| Photo Credit:
Prabalika M Borah

Discussing the quantity of food cooked and sold, Vijaya says it depends on the footfall at the exhibition. On weekends and holidays the number of visitors soar. “Everything is made fresh and in limited quantities. Some items like khichdi, dahi vada, salads etc are cooked multiple times whereas boiled peanuts, sprouted moong and horse gram that need soaking will be available the following day once they are sold out,” explains Vijaya.

The Natural and Satvik food canteen menu

The Natural and Satvik food canteen menu

The exhibition, which is on till February 15, is open from 4pm to 10.30pm on working days and till 11pm on weekends and public holidays. Entry free is ₹50 per person, while it is free for children aged below five.



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Taste Korea in Chennai with Nasi and Mee’s Special Menu


Bibimbap

Bibimbap
| Photo Credit: Special Arrangement

This past week, we visited the newly launched Nasi and Mee in Velachery, where the restaurant has introduced a limited-time Korean street-food menu called The Korean Edit. The special menu brings Chennai diners a taste of Korea’s vibrant street-food culture, alongside Nasi and Mee’s signature Southeast Asian offerings.

Chef Sadesh Babu walked us through the menu, explaining the nuances of each dish. Inspired, we started with Jjin-Mandu(Korean steamed dumplings) and Yangnyeom chicken wings. The mandu offered a well-balanced flavor of ginger, garlic, minced chicken, and glass noodles, while the chicken wings were a flavor explosion—sweet, spicy, savory, and umami, with gochujang as the predominant seasoning. “We aerate the flour for dipping the wings by adding soda before frying, giving it a light, crispy texture,” the chef explained.

 Jjin mandu

Jjin mandu
| Photo Credit:
Special Arrangement

Next, we tried Gimbap, the Korean rice rolls, and Pajeon(savory pancakes).  “Korean cuisine uses soy sauce and sesame oil in almost all the dishes, and their pancakes are made of a mixture of maida flour, potato starch, spring onions, mix of spices, sesame oil and here in our menu we have added prawns to please the sea food lovers,” the chef says. Though the pancake is too bland, when we douse it with the accompanying dipping sauce, it elevates to another level.  Gimbap featured cooked, pickled, and sautéed fillings, a distinct contrast to Japanese sushi, where ingredients are often raw. The savory, nutty sesame flavour along with minced cooked chicken, carrots, spinach and egg strips, served wtih  spicy soy-sesame dip,steals the thunder. Korean cuisine also encourages diners to adjust flavors with accompanying sauces, creating a personalized eating experience.

The interiors were a visual delight, with exposed rafters and cane light fixtures.

The interiors were a visual delight, with exposed rafters and cane light fixtures.
| Photo Credit:
Special Arrangement

For the main course, we skipped the ramen and tried Bibimbap, literally meaning “mixed rice.” Served with assorted vegetables—carrots, zucchini, mushrooms, spinach, and cucumber—chicken, and a sunny-side-up egg, the dish was layered with flavor. Each bite offered a harmonious mix of sweet, savory, nutty, and spicy notes, showing why Bibimbap is one of Korea’s most beloved dishes.

 Gimbap

Gimbap
| Photo Credit:
Special Arrangement

For dessert, the menu offered Passion Fruit Panna Cotta, a creamy Italian dessert with a tropical twist. The tangy passion fruit complemented the smooth richness of the panna cotta, providing a refreshing finish to the meal.

The interiors were a visual delight, with exposed rafters and cane light fixtures. striking centerpiece mural added a touch of whimsy, depicting village animals—a stork enjoying sushi, a water buffalo wearing a chef’s hat—blending imagination with cultural elements. The Korean Edit menu is offered alongside Nasi and Mee’s signature Southeast Asian dishes, giving diners the best of both culinary worlds.

Pajeon

Pajeon
| Photo Credit:
Special Arrangement

@Nasi and Mee, Velachery. 12 noon to 11 pm. For reservations, call: 95914 14947



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Mahindra XUV 7XO review: Comfort redefined


The Mahindra XUV 7XO is far more than a straightforward successor to the XUV700. It represents a decisive step forward for the brand, both in intent and execution, and arrives as an all-new three-row SUV that signals just how far Mahindra has matured. While the XUV700 provided a strong base, the 7XO builds on it in a way that feels genuinely transformative. In many ways, this is Mahindra’s most complete product yet. It gets the fundamentals right while also delivering on comfort, performance, technology, and presence. It is not without flaws, but when viewed as a whole, the positives comfortably outweigh the negatives, making the XUV 7XO a compelling and confident contender in its segment.

Visually, the XUV 7XO strikes a confident balance between familiarity and evolution. The side profile still carries the unmistakable DNA of the XUV700, and that works in its favour. The vehicle remains a well-proportioned, muscular silhouette that looks every bit like a modern full-size SUV. The real evolution lies in the finer details, where Mahindra has clearly focused on elevating the premium quotient.

A bold side profile with 19-inch diamond-cut alloys reinforces the XUV 7XO’s confident SUV proportions

A bold side profile with 19-inch diamond-cut alloys reinforces the XUV 7XO’s confident SUV proportions
| Photo Credit:
Special Arrangement

The SUV rides on striking 19-inch diamond-cut alloy wheels that fill the arches nicely and add to its planted stance. Up front, the revised grille with distinctive talon-inspired accents gives the vehicle a sharper, more sophisticated face, while premium piano black elements are generously used across the grille, fenders, and door cladding. From a long-term ownership perspective, piano black surfaces are always a questionable choice as they tend to show scratches easily, and that concern remains valid here as well. However, there is no denying the air of sophistication they lend to the design, and it is unlikely to be a deal-breaker for most buyers.

Lighting plays a key role in the XUV 7XO’s visual appeal. Squared-off bi-LED projector headlamps draw inspiration from the Scorpio-N, complemented by exposed ICE Cube fog lamps up front. At the rear, diamond-inspired LED tail lamps with clear lenses stand out, especially after dark, giving the SUV a distinctive and premium night-time signature.

Step inside, and it becomes immediately clear that the cabin is where Mahindra has made one of its most significant strides. The interior has been completely redesigned, not only in terms of layout but also in material quality and overall ambience. The result is a space that feels genuinely premium, with a level of sophistication that places it firmly among the best in its class.

Advanced lighting elements and LED tail lamps give the XUV 7XO a striking presence, especially after dark

Advanced lighting elements and LED tail lamps give the XUV 7XO a striking presence, especially after dark
| Photo Credit:
Special Arrangement

The new two-spoke steering wheel, wrapped in leather and finished in piano black, looks contemporary and feels great to hold, offering excellent feedback on the move.

It is not without its flaws, though. During the drive, there were moments when using the phone controls would inadvertently trigger the horn, pointing to a button sensitivity or software calibration issue. It is a minor glitch and one that Mahindra will likely address quickly, but it does stand out as one of the few negatives in an otherwise well-thought-out cabin.

Seat comfort is a clear highlight of the XUV 7XO. The premium soft leather upholstery, finished in a tasteful two-tone combination of chestnut brown and off-white, instantly elevates the interior. The seats are well contoured, generously cushioned with thick foam, offering excellent support over long journeys. Subtle aluminium accents on the seats add a touch of visual flair without feeling overdone.

Both the front and second-row seats are ventilated, a welcome addition and a major advantage in warmer climates. The first and second rows offer excellent comfort and space, making the XUV 7XO an easy SUV to spend long hours in. The third row, however, is more suited to children than adults. While it does feel a bit tight for full-sized passengers, Mahindra has ensured that it is not an afterthought, with dedicated AC vents and a charging port to keep rear occupants comfortable and connected.

The redesigned cabin showcases a coast-to-coast triple-screen layout and a distinctly premium ambience

The redesigned cabin showcases a coast-to-coast triple-screen layout and a distinctly premium ambience
| Photo Credit:
Special Arrangement

The sense of space inside the cabin is further amplifiedby the large panoramic sunroof, which opens wide and is likely to be a major draw for family buyers. It allows plenty of light into the cabin and adds to the overall feeling of openness.

Technology is another area where the XUV 7XO truly stands out. The highlight here is the coast-to-coast display setup, which consists of three screens seamlessly integrated across the dashboard. This includes a fully digital driver information cluster, a central infotainment system, and a dedicated front passenger display. What is particularly impressive is that this entire setup is standard across all variants, a bold move that underlines Mahindra’s confidence in the product. These displays are further elevated by segment-first Dolby Vision, which noticeably improves clarity, contrast, and overall visual richness. Audio duties are handled by a 16-speaker Harman Kardon sound system that delivers an immersive and well-balanced listening experience.

Beyond the screens, the feature list is extensive and thoughtfully executed. Dual-zone climate control, retractable sunblinds for the rear windows, wireless charging for both front and rear passengers, boss mode that allows the front passenger seat to be adjusted easily from the second row — all add to the sense of everyday luxury. Features such as multi-zone ambient lighting, a six-way power-adjustable driver seat, and a 540-degree camera system with digital video recording all contribute to the feeling that nothing important has been overlooked. The connected car experience is taken a step further with Alexa integrated with ChatGPT, allowing users to interact with the vehicle in a far more natural and conversational manner than traditional voice assistants typically allow.

Safety is another key strength of the XUV 7XO. The SUV comes equipped with Level 2 ADAS, offering features such as adaptive cruise control, lane keep assist, lane departure warning, blind spot monitoring, autonomous emergency braking, forward collision warning, and traffic sign recognition. This is complemented by disc brakes on all four wheels, a high-strength body structure, and a comprehensive suite of airbags, reinforcing Mahindra’s focus on occupant protection and overall safety.

Under the hood, the XUV 7XO offers a choice of petrol and diesel powertrains. The 2.0-litre mStallion petrol engine produces 200 PS of power and 380 Nm of torque, delivering strong performance for those who prefer a petrol setup. The 2.2-litre mHawk diesel engine remains the more compelling option for this SUV, producing around 186 PS and 420 Nm of torque with the manual gearbox, while the 6-speed automatic version ups torque output to a substantial 450 Nm. Mahindra has confirmed that the XUV 7XO platform is capable of supporting all-wheel drive, although an AWD variant is yet to be introduced.

Ventilated leather seats and a panoramic sunroof elevate comfort and space for all occupants

Ventilated leather seats and a panoramic sunroof elevate comfort and space for all occupants
| Photo Credit:
Special Arrangement

What we drove was the top-of-the-line diesel automatic, and it also showcased Mahindra’s all-new DaVinci suspension setup, which the company claims is a world-first. Technicalities aside, the real-world results are genuinely impressive. Ride quality is among the best in the segment, with the suspension doing a superb job of absorbing road imperfections while maintaining excellent composure at speed. It strikes a rare balance, delivering plush comfort without diluting handling confidence. Behind the wheel, the XUV 7XO feels robust, responsive, and surprisingly engaging for a vehicle of its size. It feels peppy when pushed, stable through corners, and always in control, making it an SUV that you genuinely enjoy driving rather than merely being driven in.

Taken as a complete package, the Mahindra XUV 7XO ranks among the most impressive vehicles the brand has ever produced. It is well priced, generously equipped across the variant range, and finally showcases a level of quality, refinement, and dynamic ability that firmly places Mahindra among the best in the business. There are minor flaws, but they do little to detract from what is otherwise a thoroughly accomplished SUV. The XUV 7XO does not just move the game forward for Mahindra—it clearly shows that the brand has come of age.

Mahindra XUV 7XO starts from INR 13.66 lakh onwards

Motorscribes, in association with The Hindu, brings you the latest in cars and bikes. Follow them on Instagram on @motorscribes



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The Hindu Lit for Life: Shobhaa De on love, desire and loneliness


Novelist and columnist Shobhaa De

Novelist and columnist Shobhaa De
| Photo Credit: Getty Images

Loneliness is the world’s number one malaise right now, killing more people than we care to admit.  My advice to people across age groups who are trying to find love, belonging, passion, etc., is to tune in — first to ourselves, then to others who matter.

Imagination is so underrated, (and) we are afraid of our own sexual fantasies. To discover your own sensual potential, inhibitions and speed breakers need to be dropped — mentally, to start with, and selectively, in practice. A good place to start is by nurturing all that is beautiful and pleasing in tactile terms. Also, accepting one’s body and appreciating the partner’s is crucial. Love-making is not performative or transactional: give, and you shall receive! Beyond just a biological need, there is poetry!

The Sensual Self: Explorations of Love, Sex & Romance began as a lifelong quest to decode desire. There are so many unanswered questions, unsolved puzzles, personal insecurities, unresolved dilemmas and long-buried secrets. I wanted to write about stuff that makes us squeamish without blushing, reassure women it’s okay to fake it and remind Gen Z there are body parts that need attention. 

Living well, for me, is all about enchantment and magic! It means living in the ‘now’ (with) every waking moment illuminated by a golden glow. (It also means) looking forward to the unexpected and startling: a dangerous dinner companion, discovering a new fragrance, regressing, enjoying dreams.

The one indulgence that makes my life better is benne — with Prosecco.

Right now, I am reading Tender is the Night — my lifelong love affair with F Scott Fitzgerald continues. And Rumi in between.

As told to Preeti Zachariah

Shobhaa De will be in conversation with Rosella Stephen, discussing ‘Sex, Sensuality, and Shobhaa De’ on January 18 between 2pm and 2.50 pm at Sri Mutha Venkatasubba Rao Concert Hall



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Tamil Nadu | Pongal, jaggery and a vanishing tradition


Till recently, the air in Veeramangudi, in Papanasam taluk of Tamil Nadu’s Thanjavur district, used to be redolent with the fragrance of caramelised sugarcane juice, thanks to the over 100 family-run jaggery units here. Of late though, these factories have started closing down due to an attack of yellow leaf disease in the sugarcane crop.

In their heyday, these units specialised in the soft and crumbly atchu vellam (jaggery set into cubical wooden moulds). A 2024 application for a Geographical Indication (GI) tag by the Veeramangudi Atchuvellam Producers Association, Thiruvaiyaru, reveals that the factories in and around the village produce approximately 245 tonnes of jaggery (7,000 bags of 35 kg each) annually.

The atchu vellam makers here cater to bigger retailers in Thanjavur and also sell their stock at the Neikkarapatti jaggery market near Palani, says P. Sathyaseelan, a third-generation farmer and jaggery maker from Veeramangudi. “It is no longer a profitable business. We are carrying on only because it is our family tradition, and we do not want it to vanish like other rural occupations,” he says.

A 30 kg sack of Veeramangudi atchu vellam typically fetches around ₹1,350 in the market. “This is quite a reasonable price, but of late, we have been unable to get even this, because of the unusable crop,” adds Sathyaseelan.

Sugarcane juice is cooked till it caramelises and thickens before being set into wooden moulds to make Veeramangudi atchu vellam.

Sugarcane juice is cooked till it caramelises and thickens before being set into wooden moulds to make Veeramangudi atchu vellam.
| Photo Credit:
R. Vengadesh

A close-up view of freshly made Veeramangudi atchu vellam cubes.

A close-up view of freshly made Veeramangudi atchu vellam cubes.
| Photo Credit:
R. Vengadesh

Integral part of Tamil Nadu

Jaggery is an emotional component of Asian cuisine. It turns up in home remedies, Ayurvedic medicines and as wedding gifts, and is the flavour definer in traditional sweet dishes like pongalthothaldodol and chikki, besides being a spice stabiliser in sambar and rasam.

In Tamil Nadu, one of the five major sugarcane producing states in India (along with Uttar Pradesh, Maharashtra, Karnataka and Gujarat), many rural communities rely on jaggery production from sugarcane (known as vellam) and palm sugar (karuppatti) to cater to larger retailers, especially during the festival season that stretches from October to March.

During the Pongal festival being celebrated across the State this week, the making of sakkarai pongal — a sweet preparation made with freshly harvested rice, moong dal and jaggery in earthen pots on firewood stoves — is a treasured ritual symbolising prosperity and thanksgiving.

‘Sakkarai pongal ‘, a sweet preparation made with rice, moong dal and jaggery, is a staple of Pongal festival celebrations in Tamil Nadu.

‘Sakkarai pongal ‘, a sweet preparation made with rice, moong dal and jaggery, is a staple of Pongal festival celebrations in Tamil Nadu.
| Photo Credit:
Getty Images

Traditionally, vellam makers are farmers who grow their own sugarcane, and process it for jaggery making in small thatched working sheds within their fields. Sugarcane ‘bagasse’ (the dry pulpy residue left after the extraction of juice) is used as fuel to cook the jaggery syrup down on large flat-bottomed pans.

Largely a self-sustaining cottage industry, Tamil Nadu’s jaggery hotspots include Salem, Erode, Namakkal, Madurai and Virudhunagar. Many villages in the Cauvery delta region also produce artisanal jaggery in significant quantities.

Other GI-tagged jaggery variants
Marayoor sharkara, Kerala

Handmade, with a distinct non-salty sweetness, and commonly used in Ayurvedic medicine

Kolhapuri gul, Maharashtra

The highest exported variety from India

Muzaffarnagar gur,Uttar Pradesh

The city has India’s largest jaggery market, accounting for 20% of the country’s total jaggery production

Made with care and precision

A master cook and his assistants stir the sugarcane juice continuously for up to two hours until it thickens.

A master cook and his assistants stir the sugarcane juice continuously for up to two hours until it thickens.
| Photo Credit:
R. Vengadesh

Recently, before copious rains hit the Cauvery delta region, farmer Aravinth and his co-workers prepared a batch of atchu vellam, with a mix of old and new technology. Gone are the cattle-driven juice extractor machines, their place taken by a noisy motorised thresher. The juice is directed through an inbuilt channel into the koprai, a giant metallic flat pan set on a raised earthen stove that is lit up with large batches of bagasse fibre. A master cook and his assistants stir the juice continuously with the help of long paddle spoons for up to two hours until it thickens. “You cannot leave the mixture unattended, as it can burn easily when caramelisation starts,” says Sathyaseelan.

Workers pour and level hot jaggery syrup into wooden moulds at a traditional workshop near Thanjavur.

Workers pour and level hot jaggery syrup into wooden moulds at a traditional workshop near Thanjavur.
| Photo Credit:
R. Vengadesh

The concentrated cane sugar syrup is removed from the pan and allowed to rest for a while before it is poured into the atchu (mould) in wooden frames. Around 15 minutes later, the moulded jaggery is tapped out of the frames, cured for 30 minutes, and then packed in sacks.

Rows of traditionally moulded atchu vellam (jaggery) cubes set out to cool.

Rows of traditionally moulded atchu vellam (jaggery) cubes set out to cool.
| Photo Credit:
R. Vengadesh

On the cusp of change

The labour-intensive manufacturing technique has reduced the number of jaggery producers in many regions of Tamil Nadu. Modern-day industrial mills have shifted the processing from farms to factories. “Many farmers are moving away from sugarcane cultivation because its harvesting needs extra labour. And with the prolonged hot weather patterns, most of the crop is used for making juice or refined sugar. Only those with the financial resources can afford to produce jaggery profitably,” says M. Karthikeyan, secretary, Tamil Nadu Jaggery Merchants Association, Madurai.

However, health-conscious urban consumers are driving the demand for good quality jaggery. “In today’s culinary world, where farm-to-table and local ingredients are used for sustainability, jaggery stands out naturally. It is made with very little processing, unlike refined sugar,” says M.S. Raj Mohan, chef and head, Department of Hotel Management, G.T.N. Arts College, Dindigul.

Mohan says that jaggery also scores over white sugar with its flavour and aroma. “In classic recipes, replacing jaggery with white sugar changes the flavour, texture, and overall soul of the dish. It blends well with spices like cardamom, ginger, cumin and pepper, and contains minerals like iron, calcium, and potassium.”

nahla.nainar@thehindu.co.in

Published – January 14, 2026 08:35 pm IST



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The Hindu Lit for Life 2026 | Some of India’s foremost experts on what the future could hold in the health ecosystem


“This is just the beginning for GLP-1 medications”

Dr Ambrish Mithal

Dr Ambrish Mithal
| Photo Credit:
Special Arrangement

Dr Ambrish Mithal is convinced that the use of GLP-1 medications will only increase. “There is no question about this,” says the Delhi-based endocrinologist and co-author of The Weight Loss Revolution: Weight Loss Drugs and How to Use Them. He points out recent trends that indicate as much: the WHO has categorised semaglutide as an essential drug, China has slashed the prices of the drugs, and even President Donald Trump is talking about capping the price of these drugs. “This is just the beginning. There will be a new drugs every year, as for the next five years, you will be getting some interesting molecules from this stable.”

However, he does not see this development as a magic pill that can solve India’s non-communicable disease pandemic. “The answer will be in providing healthier dietary options to people, more awareness, avoiding childhood obesity, overall nutrition guidance, and better walking spaces,” he believes. Where GLP-1 medications can be useful is with treating people who “have crossed the line or are about to cross the line,” he says. “We cannot expect these drugs to take away these issues, but they can help people tackle them.”

While there are many genuine candidates for these drugs, they need to be seen as something that helps manage the disease of obesity rather than as an easy, quick-fix, a view that is getting unfortunately prevalent, given how affordable these drugs are becoming, he says. “About ₹ 10-12,000 at a minimum, but I expect it will come down to less than half.”

The well-known endocrinologist also worries about the regulation, or lack thereof, of these drugs. “That is the biggest challenge right now. These are drugs that have been hard to regulate even in better-controlled environments.” In India, where drug regulation is already a challenge, this issue can be even more serious. “I’m seeing people all around me, starting it on their own or on the advice of some nutritionist. This is really not ok,” he says, pointing out that only qualified professionals should be allowed to prescribe these drugs.

GLP-1  drugs have a promising future

GLP-1 drugs have a promising future
| Photo Credit:
Getty Images

But, in spite of these issues, he feels that the drug has a promising future as a weight loss drug. “Misuse should be prevented, of course, but that doesn’t take away the science behind the drug. Even steroids are misused, but they are life-saving drugs.”

The Weight Loss Revolution, a conversation between Dr Ambrish Mithal, Raj Ganpath and Shivam Viji, will be held in Sir Mutha Venkatasubba Rao Concert Hall on Jan 18, between 11.25am and 12.15pm.

“Lived experience stories truly have the power to transform the mental health space”

Neha Kirpal

Neha Kirpal
| Photo Credit:
Special Arrangement

Understanding mental health through the prism of lived experiences is important, says Neha Kirpal, the co-founder of Amaha Health and a member of the founding cohort of the India Mental Health Alliance, whose recent book, Homecoming, brings together the lived experiences of women navigating severe mental health conditions. Having herself navigated two generations of mental illness — as a child carer to a parent with schizophrenia and a sibling suicide loss survivor — she says that wanting to write and speak publicly about mental health has been on her mind. “I am always conscious of how invisible the daily struggles of navigating family life and mental healthcare are, and how families are never really able to fully own or share their whole truth with the world around them,” she says.

Neha sees the book as a way of creating a space for people not only to share their experiences, but also to offer Lived Experience Expertise (LEE) about care and support for mental illness. “The moment you put a name and face to it, it really becomes a story that is owned and relatable, not fictional or an anonymous statistic. Lived experience stories truly have the power to transform the mental health space.”

In her opinion, the narrative around mental health has changed considerably since the 80s, when her own struggles started. “Our own neighbours and close friends couldn’t even understand what our struggles were,” says Neha, recalling how the stigma and lack of awareness continued for decades. “We spent our time disassociating with ourselves and trying to fit in to society: generally abandoning or hiding this part of our lives.”

What massively altered this narrative for Neha and families around the world, she says, was social media and then the COVID-19 pandemic, which led young people to talk about their various struggles openly as it became the norm. “Stigmatised topics around trauma, abuse, identity, mental illnesses had become a conversation at every dining room, class room and board room,” says Neha, who believes that having open access platforms like social media enables people to “find expression, share, seek validation and have private access to information and help, as long as it’s from credible sources.”


 More and more children and teenagers are susceptible to depression and suicide ideation

 More and more children and teenagers are susceptible to depression and suicide ideation
| Photo Credit:
Getty Images/iStockphoto

While this, as well as other positive developments in the mental health space — the development of accessible mental health services, emphasis on best practices and building capacities in education organisations/ workplaces, rise of caregiver support groups, grief circles addiction support groups, and helplines — is heartening, it is also simply not enough in scale or quality to cover this silent pandemic that today impacts over 300 million Indians. “There is a 95% treatment gap in India,” says Neha, pointing out that more and more children and teenagers are susceptible to depression and suicide ideation, with suicide being the number one cause of death in among young Indians today.

Additional factors impacting mental health include climate anxiety, the current political environment, natural disasters and the rise of situations causing adverse childhood traumas, such as divorce rates and addiction. “All these have had an impact on our lifelong mental well-being and risk of having a mental illness. With all these impacting factors on the rise, we all have a responsibility to be aware and play a role in reducing the stigma, building capacities as a society to support everyone in need.”

Resilience and Hope: Women and Their Mental Health Journeys, a conversation between Neha Kirpal, Dr Lakshmi Narasimhan and Soma Basu to be held at The Hindu Pavilion on Jan 18, between 3.45 and 4:35pm.

“Everything that comes from America at this point must be taken with a pinch of salt”

Rujuta Diwekar

Rujuta Diwekar
| Photo Credit:
Special Arrangement

Rujuta Diwekar’s opinions on nutrition continue to be candid, uncomplicated and sensible. “The boring always wins the race. Living a good life is a marathon, not a sprint,” says the celebrity nutritionist and author, who firmly eschews most new food trends, but she does believe in a well-established mantra: eat local, seasonal, traditional, eat slowly and with attention, get regular exercise and go to bed on time.

According to her, while the food and weight loss industry thrives on making regular foods into villains and heroes, “it is good for business and not for health,” says Rujuta. She believes that food trends follow a certain pattern: they enjoy their moment in the sun and are relegated to a has-been for a long time, till they get “discovered” again and the whole rigmarole repeats itself, she says, wryly. “We already had a very poor self-image; social media is making it worse, and everyone can mark up their price by adding a # that is currently in vogue.”

All this, she implies, is unnecessary. India already has an evolved cuisine that eats everything, including meat in moderation, and its blueprint is about meeting personal nutrient requirements while staying within our economic and ecological means, says Rujuta, who also appears to be rather sceptical of the new US dietary guidelines, which focus heavily on animal protein, dairy, healthy fats and produce while deemphasising whole grains. “Food has always been political, and everything that comes from America at this point must be taken with a pinch of salt. In my personal opinion, this is a diss to the climate agenda more than a push for protein or public health,” she says.

Rujuta firmly believes that every nutrient, including protein, is important and is clearly not a fan of no-grain diets. “We shouldn’t shortchange that for pyramids, plates, or protein obsession,” she says, pointing out that the problem with our diets today is not grains but the penetration of ultra-processed foods (UPF). Since 1999, while the household spending on cereals has reduced by half, spending on junk food (UPF) has increased by 353% in rural areas and 222% in urban areas, making India the world’s fastest-growing junk food market. “We are not grain-heavy but regulation poor, and that’s why we are eating our way to obesity,” she says.

It is not grain but ultra-processed foods that are the problem with Indian diets

It is not grain but ultra-processed foods that are the problem with Indian diets
| Photo Credit:
Getty Images/iStockphoto

She also seems unimpressed by the tribe of longevity-obsessed biohackers who are mushrooming across the world. “Longevity in real life is not about hacks but about policies that put public health first,” she says. These include keeping pollution in check, creating walkable cities, protecting green spaces, enabling gender equity, and, very importantly, keeping a check on the marketing and taxing of ultra-processed food products. “Health is about everyone getting an equal opportunity to live their best life and not about rich boys living longer than they should be,” believes Rujuta.

Why Dieting Made Us Fat: On Weight Loss, Metabolism and Why Food is not the Enemy, a conversation between Rujuta Diwekar in conversation and Shonali Muthalaly to be held in Sir Mutha Venkatasubba Rao Concert Hall on Jan 18 between 4.50 and 5.35 pm.



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Poetry With Prakriti returns for its 11th edition and brings together poets from all over India


Day three of Poetry with Prakriti at Shreyas Apartment in Besant Nagar

Day three of Poetry with Prakriti at Shreyas Apartment in Besant Nagar
| Photo Credit: SPECIAL ARRANGEMENT

The Prakriti Foundation held a six-day poetry festival Poetry with Prakriti from January 5 to 10. Bringing back the 11th edition, the event had lined up a series of festivities across Chennai at venues ranging from colleges and art galleries to pubs. “Coming from the Banjara tribal community, the Prakriti Foundation gave me a platform to express myself through my work. It made poetry more accessible to everyone and allowed the audience to explore the worlds of different poets across the country,” said Ramesh Karthik Nayak, a Sahitya Akademi Yuva Puraska recipient, who was also part of this well-curated festival.

The festivities began with a session on January 5 titled What Women Carry at Amdavadi Gujarati Snack House, Nungambakkam, where K Srilata, Shobana Kumar and Nithya Mariam John read their poetry. They explored themes such as women’s experiences, identities and landscapes through their poetry. Subequent days saw events at pubs, and cafes. Take, for instance, the surprise line-up at Pasha by The Park, Nungambakkam. The poems at the pub spanned college romance, a father’s quiet longing, and the restlessness of a buzzing phone, eliciting hoots and cheers. “We saw poetry as something that should reach every audience, from a disco to a school. We wanted something that would make people ask questions, create an impact, leave a legacy behind,” said Ranvir Shah, founder, Prakriti Foundation.

The poetry at the festival also attempted to relay raw emotion, particularly love. In other instances, the festival provided space to explore topics like caste, sensuality, and womanhood too. This was particularly evident in the panel consisting Kutty Revathi, Shripad Sinnakar and Aleena on January 8 at Punch comedy club. Besides this, poets like Akhil Katyal, Dibyajyoti Sarma, Gayatri Majumdar and Amal Matthew explored their processes as poets. The event ended with a reading that wove together Carnatic ragas, jazz, and spoken word. The poetry session featured three poets — Sivakami Velliangiri, Geetha Ravichandran and Shikhandin reading poems from their book, Footnotes in G Sharp. As each poet read their poems, singers Shreya Ramnath and Prashanth Gaspar added their spin.

As the event came to an end, it showed us that poetry is not just for everyone because of the emotions it carries; it is because of the impact it can make with just a few verses.



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How Loyola College bought the soul of Tamil Nadu with its Pongal festivities


Pongal festivities at Loyola College

Pongal festivities at Loyola College
| Photo Credit: SPECIAL ARRANGEMENT

In Chennai’s chilly January Loyola College took a deep inhale. Mann Manam, which translates to fragrance of the soil, is the college’s Pongal festival, and it brought with it the joy of harvest.

Held at the Jubilee Quadrangle on campus, the festival revolved around honouring traditions of rural Tamil Nadu.

There were cultural performances and games that pay tribute to festival. The event was attended by Tamil folk singer Pushpavanam Kuppusaamy and his wife, Anitha Kuppusaamy.

“Loyola College’s Mann Manam is a celebration of Pongal that honours Tamil heritage, agrarian roots, and our bond with mother Earth and one another. It showcases rich folk arts, and the true spirit of harvest,” said Fr Justin Prabhu SJ, director, Loyola Students Support Services and chief coordinator of Mann Manam.

Loyola College invited 15 cultural teams from across Tamil Nadu to showcase various cultural performances, particularly through folk art forms such as therukoothu, baduga dance, ammanaatam, karagam, thadukku karagam, mayilatum, marakalatam and more.

“I performed karagattam, a traditional folk dance dedicated to the rain god Mariamman. Our main objective is not only to display our culture but also to help people understand it. This dance form has been practised for over a thousand years and is an essential part of our culture and traditions,” said Anuradha, a karagattam dancer.

Each department set up their own booth, cooking Pongal in earthen pots and hosted a competition.

Rangolis were made, and stalks of sugarcanes were set up. 

There were several activities that brought back old rural traditions of Pongal, including stone lifting, uriyadi, guess the grain, and a joyride of a bullock cart ride around campus.

“It was more than just an event for us; the student council and students alike wanted to reflect the values and the traditions of Pongal, while keeping the fun alive. It is easy to forget one’s traditions, however, holding on to your heritage through activities like this keeps the soul of the festival alive,” said Ashish Antony, part of the organising team of Loyola student council.

The festivities ended with a DJ night.

While the joy of Pongal lies in its time-honoured traditions, the true essence lies in celebrating community.



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How Loyola College bought the soul of Tamil Nadu with its Pongal festivities


Pongal festivities at Loyola College

Pongal festivities at Loyola College
| Photo Credit: SPECIAL ARRANGEMENT

In Chennai’s chilly January Loyola College took a deep inhale. Mann Manam, which translates to fragrance of the soil, is the college’s Pongal festival, and it brought with it the joy of harvest.

Held at the Jubilee Quadrangle on campus, the festival revolved around honouring traditions of rural Tamil Nadu.

There were cultural performances and games that pay tribute to festival. The event was attended by Tamil folk singer Pushpavanam Kuppusaamy and his wife, Anitha Kuppusaamy.

“Loyola College’s Mann Manam is a celebration of Pongal that honours Tamil heritage, agrarian roots, and our bond with mother Earth and one another. It showcases rich folk arts, and the true spirit of harvest,” said Fr Justin Prabhu SJ, director, Loyola Students Support Services and chief coordinator of Mann Manam.

Loyola College invited 15 cultural teams from across Tamil Nadu to showcase various cultural performances, particularly through folk art forms such as therukoothu, baduga dance, ammanaatam, karagam, thadukku karagam, mayilatum, marakalatam and more.

“I performed karagattam, a traditional folk dance dedicated to the rain god Mariamman. Our main objective is not only to display our culture but also to help people understand it. This dance form has been practised for over a thousand years and is an essential part of our culture and traditions,” said Anuradha, a karagattam dancer.

Each department set up their own booth, cooking Pongal in earthen pots and hosted a competition.

Rangolis were made, and stalks of sugarcanes were set up. 

There were several activities that brought back old rural traditions of Pongal, including stone lifting, uriyadi, guess the grain, and a joyride of a bullock cart ride around campus.

“It was more than just an event for us; the student council and students alike wanted to reflect the values and the traditions of Pongal, while keeping the fun alive. It is easy to forget one’s traditions, however, holding on to your heritage through activities like this keeps the soul of the festival alive,” said Ashish Antony, part of the organising team of Loyola student council.

The festivities ended with a DJ night.

While the joy of Pongal lies in its time-honoured traditions, the true essence lies in celebrating community.



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Handcrafted Tribal Jewellery from across India on display at CCI store in Chennai


Designers and craft-led brands from across India showcase tribal-inspired jewellery that blends indigenous aesthetics with modern design.

Designers and craft-led brands from across India showcase tribal-inspired jewellery that blends indigenous aesthetics with modern design.
| Photo Credit: Special Arrangement

At the ongoing tribal jewellery exhibition organised by the Crafts Council of India, Chennai, contemporary design finds meaningful expression through the traditions of India’s tribal communities.

The exhibition presents a collection of handcrafted jewellery that draws from indigenous cultures across the country , bringing together earthy yet vibrant creations made from natural materials such as beads, textiles, shells, wood and metal.

Jewellery on display and for sale includes large pendants, long necklaces, beadwork malas, cloth-based ornaments, bracelets and jhumkas. Nazari Arts from New Delhi, Peno India from Mumbai, Sonam Dorjee from Himachal Pradesh, Studio Vam from Indore and Chennai-based Zola India are among the participating brands.

Creation by Studio Vam

Creation by Studio Vam
| Photo Credit:
Special Arrangement

Drawing inspiration from regions beyond India’s borders as well, Seyfullah Nazarogulu, a third-generation entrepreneur, presents vintage tribal jewellery under his brand Nazari Arts. His collections are influenced by select tribal regions of Afghanistan, the Kutch region of Gujarat and the Hazara tribes of Kashmir. The display features statement necklaces, earrings, bracelets, foot kadas, hip belts and even décor pieces. Emphasising authenticity, Seyfullah notes that the brand’s focus remains on classic, vintage designs that are largely handcrafted.

Chennai-based designer Gina Joseph’s brand Zola India, has Dokra jewellery, made from the ancient metal casting tradition originating in Odisha. Having worked extensively with tribal crafts, from the Toda community of the Nilgiris to Kerala mural artists, Andhra Pradesh’s leather puppetry artisans and Dogra art, Gina presents a collection of necklaces, anklets and bangles at the exhibition.

Textiles play a central role in the work of Dr Shriram Pawar and Vijaya Pawar, who have been promoting Indus Valley Civilisation art and reviving the legacy of Gormati (Banjara) embroidery since 2019 under their brand, Peno. Their jewellery incorporates textiles in colours traditionally associated with the Gormati tribe; yellow, red and blue paired with motifs drawn from the Indus Valley Civilisation. The collection combines textile, embroidery and metal in their collection of long necklaces, chokers, bangles and earrings

Wearable art by Peno

Wearable art by Peno
| Photo Credit:
Special Arrangement

From the hills of Himachal Pradesh, Sonam Dorjee Negi presents jewellery inspired by the tribes of the Kinnaur district. Working closely with the community and drawing from Kinnauri culture, heritage, traditional crafts and lifestyle, he creates tribal-inspired jewellery in bronze. His collection includes long, elaborate necklaces, anklets, earrings and accessories that reflect the distinctive identity of the region.

Indore-based designer Mrunmayee Namjoshi’s brand Studio Vam collaborates with ajrakh block printers, brass metalsmiths, hand embroiderers and bead weavers from Bhuj and Kutch. Each piece is partially crafted at a craft cluster and later assembled at the studio’s workshop, resulting in heirloom-quality jewellery that combines Ajrakh textiles with brass embellishments.

Together, these collections form a compelling showcase of how tribal aesthetics, age-old techniques and regional identities continue to inspire contemporary jewellery, offering visitors stories shaped by craft, culture and community.

@Kamala, the craft store, on till January 20, 10 am to 7 pm. For details, call: 9840700445.



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