A workaholic designer
By Jyoti Mahajan
SHE is Bollywood’s stunning fairy godmother who transformed into beauties Madhuri Dixit in “Hum Apke Hain Kaun”, Karisma Kapoor in “Raja Hindustani” and is presently engaged in designing clothes for five film stars. She is the beautiful Anna Singh, who works behind the scenes and has worked for more than 530 films and was a one-time model herself. Anna switched over to dress-designing as her clothes were highly appreciated in the Bollywood circle and modelling is a short-lived profession.

Album on Gandhi’s hymn
Vaishnav jan to..., the famous hymn that was so popular with the Father of the Nation Mahatma Gandhi, is to be rendered in a single album by top artistes like classical vocalists Gangubai Hangal and Pandit Jasraj and pop star Remo Fernandes.

Audioscan by ASC

An exquisite cart collection
By Usha Bande

HAVE you ever looked with an iota of interest at a cart labouring on the road? Probably, no. Do we pause to marvel at its rough and tough make and the unknown artisan’s skill? And finally, do we ever consider a cart a piece of art? No, no, no!

But a cart can be a piece of art, a museum item and a witness to our rich heritage. What one requires is the eye and the imagination of a connoisseur.

That is exactly what Col Ram Jain displays — artistic inclination, fantastic imagination, assiduity and an indomitable will. His cart collection is unique in itself and holds the fancy of the onlookers. It is “ethnic, exclusive and exquisite,” as a blurb on the pamphlet of his collection proclaims and proclaims correctly.

Known as “Colonel Jain’s Cart Collection”, this unique museum (or call it art gallery, if you may) is situated on the LBS Marg, Tilak Nagar, Jaipur. Visit it, and you will be taken around cheerfully by the Colonel himself, the owner of his proud collection, and shown the various cart models displayed tastefully and methodically on shelves, in glass-cases and on the tables.

Enthusiastic and energetic Colonel Jain explains the origin of the idea, the efforts he put in the implement the concept, the doubts he faced initially and the response he gets now. Asked how did he get the idea of collecting carts, he turns nostalgically to his Army days and says:

“You know, in the Army you are transferred to different parts of the country. That’s a good chance an Army personnel gets to see this wonderful land, full of variety. While I was posted to different places, I saw the infinite variety of folk modes of transport. I got interested in the designs of the carts. Moreover, I felt that the carts will be lost to the posterity. That is one of the reasons why I decided to make these models.”

He pauses as he shows you a model of a bullock-cart. “Now, look at this. This is a bullock-cart. And this one, too. See the difference,” he says, placing a couple of models in front of the visitors. When he explains, the difference in design becomes clear.

Bullock-carts are used all over India, but the one used in Tamil Nadu has a specific structure unlike the one in Bengal. In Maharashtra, for example, a damni is small with rounded roof and is meant for passenger transport, while a normal bullock-cart for carrying load and farm-products is open and spacious. A chhakdu is still smaller and can accommodate only one person, besides the driver.

The Colonel, then shown us a beautifully decorated model. “This is a camel cart. Look at the delicate carvings on it and the brass work. This is Rajasthani,” he says holding a marvellously carved piece. At this point, one wonders why one had never noticed the beauty on the road vying with the automobiles.

There are a large number of chariot models from the hoary past and from different regions. Likewise, the models of horse-driven carriages like the Bombay Victoria, ikka, tonga and tum-tum. A look at these revives the memory of those days when life had rhythm and pace of its own; one can almost hear the clanging hoofs of the horse and the rattling wheels on the cobbled paths.

Explaining the authenticity of these designs, Colonel Jain speaks of the efforts he put in to make them the realistic replica of the original. He saw the real carts, studied their structures, talked to artisans, went to museums, consulted libraries and then drafted the designs. “My computer comes handy,” he says, stroking the lap-top computer lying on the table.

“How and when did you start this hobby,” I ask him.

“I took voluntary retirement from the Army and established my furniture factory. During my Army tenure, I had collected a large number of cart designs. I thought of making small models for self-satisfaction, from the pieces of wood cut for furniture. The idea caught up. Today, I have a large clientele abroad. They value the exotic, ethnic designs,” he replies. Then with a twinkle in his eyes, he adds, “Am I wrong? Aren’t you all feeling interested now? Could you have stopped to examine and appreciate a cart on the road howsoever fantastic? But, now you would, isn’t it?”

Cart-making has traditionally been done by village artisans who learn the art from their elders. The animal-driven carts are fast vanishing and efforts such as these are significant if we want to preserve the traditional art.

“Carts are not just carts or carriages. Each design has a purpose, and each cart has a personality,” the collector tells us. “For example, there are the rough but strong carts meant to carry load. While the delicate ones are used for passengers, the decorative ones show the status of the users. Some designs are fit for racing and some are ceremonial and used for festive occasions,” he explains.

The carts displayed in Jain’s collection are beautiful, ethnic, historically important and serve as records of our rich heritage. The collection has the honour of being the largest of its kind in the world.

Asked if he has ever exhibited his pieces in places other than Jaipur, Jain smiles and utters, “O yes! Extensively. And it has received wide acclaim.” His is almost the expression of a parent talking about his children’s achievements.

The Colonel designs furniture and numerous wooden art pieces. An ethnic piece showing African musicians with their musical instruments was one of the most exquisite and delicately carved, which fascinated us.

The Colonel is also an artist par excellence. He paints water colours when not carving or drawing wooden pieces, grown Bonsai when not painting, tends his garden when the Bonsai do not need care and entertains guests in his exquisitely managed home. In all his activities, he has the support of his wife, Dr Jasbir Jain, herself a celebrity in the field of literature and now a retired Professor of English from the University of Rajasthan, Jaipur.

The agile and zealous Colonel is full of life, wit and humour. His descriptions, sometimes serious, sometimes witty and often with tongue-in-the cheek manner, make the trip lively.

What one appreciates, apart from the art, of course, is the spirit behind the venture: a part of the sale proceeds of the carts is utilised for the rehabilitation and welfare of artisans and their families.

You admire the dedication and the labour of love gone into the making of this fantastic collection. The aesthetic experience stays with you for long. And thereafter, every animal-driven cart catches your attention as a piece of art, not just a rustic mode of transport.

A workaholic designer
By Jyoti Mahajan

SHE is Bollywood’s stunning fairy godmother who transformed into beauties Madhuri Dixit in “Hum Apke Hain Kaun”, Karisma Kapoor in “Raja Hindustani” and is presently engaged in designing clothes for five film stars. She is the beautiful Anna Singh, who works behind the scenes and has worked for more than 530 films and was a one-time model herself. Anna switched over to dress-designing as her clothes were highly appreciated in the Bollywood circle and modelling is a short-lived profession.

The tall and beautiful designer was recently at Shilon Resorts, near Shimla, as one of the judges of the Miss Shimla Queen’99 contest. During an exclusive interview with the writer Anna happily informs me that some of the films in which she has designed clothes include “Khudagawah,” “Dil Hai Ki Manta Nahin” and “Barsaat”.

A gold medallist from the Sir JJ School of Arts, Bombay, Anna has done a year’s course in pattern-cutting and is a better seamstress than a designer. She attributes her success to the blessings of her parents and film stars Pooja Bhatt and Jackie Shroff, who, she says made her aware of her talent and realise her own sense of creativity. According to her, Jackie Shroff (for whom she has been designing clothes for the past 12 years) is the most wonderful human being she has ever met in her life.

Anna is at present designing clothes for Sanjay Dutt, Abhishekh Bachchan, Kareena Kapoor and Aishwarya Rai. She says she is selective in her approach of designing dresses and designs for only four or five stars at a time. “I am looking for long innings in Bollywood and don’t want to burn out. Besides, I have always maintained an exclusive type of work and do everything myself”, she states in her husky voice.

Anna is soon going to launch a costume jewellery line titled, “Just About Jewellery”. It will cater to people who cannot afford expensive jewellery and will simultaneously match their outfits at much cheaper rates. “Since going out and wearing good stuff has become an integral part of the Indian society, I decided to launch a jewellery line”. She intends designing jewellery for other designers also.

Did she ever think of joining the film industry as an actress as she herself was a famous model?

She says, “No. When I came here at 17, the offers for acting were stronger than they are now. The fact is that I belong to a Jat Sikh family where coming into movies was not accepted”.

When asked how she feels now that she has got recognition, pat replies Anna, “The feeling that I have made my parents proud makes me happy”.

The stunning designer has yet to find the man of her dreams. When I ask if she would marry someone from the film industry, she candidly says, “Film men are slightly unstable. Moreover, I am a workaholic and I have not got the time to concentrate on men. I am too busy”.

Album on Gandhi’s hymn

Vaishnav jan to..., the famous hymn that was so popular with the Father of the Nation Mahatma Gandhi, is to be rendered in a single album by top artistes like classical vocalists Gangubai Hangal and Pandit Jasraj and pop star Remo Fernandes.

In addition, instrumentalists like sarod maestro Amjad Ali Khan, Pandit Narayan on the sarangi, flute maestro Hariprasad Chaurasia and santoor exponent Shiv Kumar Sharma will play an instrumental rendition of this song.

The renditions will form a part of the first-ever 12-track musical album 'India Unlimited' featuring some of the country's top most artistes and slated for release as a tribute on October 2, the birth anniversary of the Father of the Nation.

The album is the brainchild of Savita Raj, Managing Director of India Unlimited, which was set up by her and urban folk singer Sushmit Bose three months ago.

She said these artistes had also agreed to perform together for the first time in history. The instrumentalists would also perform to the score arranged by Dr L. Subramaniam.

Other artistes who have already confirmed their participation include S.P. Balasubramaniam, Gulzar, Javed Akhtar, Ruma Guha Thakurta, L. Subramaniam, Hariharan, Louis Banks, Vanraj Bhatia, Vishal and Illayaraja.

— UNI

Audioscan by ASC
Rahman joins ‘mainstream’

TAAL (Tips): Every lover of Indian film music develops this uncanny knack of guessing the name of the music director of a particular film merely by listening to the album. The chances of making a correct guess are all the more bright when it comes to the music of A.R. Rahman. He has spawned many copycats but his creations remain unique.

Surprisingly, for this prestigious film of Subhash Ghai, he has shed his trademark and has given the kind of music which could have been of Anu Malik or even Laxmikant Pyarelal in their day. No, this is not to criticise his work but only to highlight that he has made himself subservient to the exact requirements of the particular film. Perhaps instructions were precise from Ghai as to what he wanted.

The Punjabi touch is unmistakable in the entire album. Perhaps that is why Sukhwinder figures in most of the songs (the two created magic through Chal chhaiyan chhaiyan… earlier). Punjabi music may not be Rahman’s forte, but he still manages to create some memorable tunes.

Even when Rahman renders out- and-out Western tunes, he extensively uses Indian instruments. Here since he is offering more Indianised music, he goes the whole hog. And because Ghai is known for having long snatches of music in between the stanzas, Rahman gets to display his wares suitably. Then there is also the title music called Beat of Passion and Raga Dance.

Taal se taal mila … is in two versions. While Sukhwinder and chorus sing the western one, Alka Yagnik and Udit Narayan render the other.

As usual, Rahman gives a chance to new singers like Sujatha, Richa Sharma etc although Asha Bhonsle figures in Kahin aag lage ….

Lyrics of Anand Bakshi break no new ground. Still, the cassette may have its full share of arclight.

AB KE SAWAN (Virgin): Shubha Mudgal is quite an enigma. Pure classical singers accuse her of bowing to the commercial pressure, but she remains unfazed and comes up with this cassette which is such an unusual mixture of classical, folk and pop. The title song, Ab ke sawan … appearing regularly on the TV channels make one expect a lot from this album. However, the other songs do not really fall in the same bracket, although her classical training shines through each and every one of them.

The album is more notable for the tunes. It is an almost all-India bouquet and the variety is staggering. There is Goa as well as Bengal here. Except for Hai pyar to musafir …, which has been penned by Jaideep Sahni, all other songs have been written by Prasoon Joshi.

Music has been composed and directed by Shantanu Moitra.

HINDUSTAN KI KASAM (Tips): If Taal has the Punjabi influence, this album from Tips is fully dipped into the Punjabi music. No surprise, considering that the music director is Sukhwinder. He has borrowed extensively from Punjabi folk songs to the extent of merely translating them at times. This will take the music far beyond the boundaries of Punjab.

As the name of the film itself suggests, patriotism is the theme of the film. So there is Main Hindustan hoon … sung by Sukhwinder and Is paar sarhad ke … (Anuradha Paudwal, Sukhwinder). The rest of the songs are romantic or fun numbers.

Lyrics are typical Anand Bakshi stuff.