Category: Community

The American Punjabi Society has announced its Annual Gala 2025, set for December 10, featuring the prestigious Global Punjabi Ratan Award to honor outstanding contributions to the community.

The American Punjabi Society (APS) recently hosted a successful Curtain Raiser and Media Briefing at the Pearl in Hicksville, marking the official launch of preparations for the highly anticipated APS Annual Gala 2025. This event is scheduled for December 10 at the Pearl Banquet Hall.

During the briefing, General Secretary Varinder P. S. Sikka welcomed community leaders and members of the media, reflecting on the origins of APS as a heartfelt initiative founded by himself and Mr. Gary S. Sikka. The society was established under the guidance of seven Founder Directors, including President Gary S. Sikka, Senior Vice President Mohinder Singh Taneja, and Vice Presidents Ajayvir S. Sondhi, Paul S. Bindra, R.P.S. Narang, and Jaspal S. Arora.

The event featured a series of insightful presentations. Sunil Hali, Publisher of The Indian Eye, spoke about the core values of Sikhism—unity, compassion, and service—that remain foundational to the community’s way of life. Pradeep Tandon, APS Director of Media and Public Relations, delivered an inspiring overview titled “APS – Celebrating Culture, Service & Community.” He emphasized how APS has evolved into a bridge between generations, merging cultural pride with compassionate service. Tandon noted that APS’s mission is to celebrate and uplift Punjabi heritage while making a significant impact on both local and global communities.

Vice President Ajayvir S. Sondhi provided details about the organizational structure of APS Councils. Meanwhile, Navneet Sikka Sondhi, Chair of the Women’s Council, highlighted the group’s community engagement projects and initiatives led by women. Senior Vice President Mohinder Singh Taneja emphasized ongoing collaborations with Police Commissioner Pat Ryder to promote safety education, law enforcement awareness, and community outreach programs.

President Gary S. Sikka proudly recounted APS’s achievements from 2023 to 2025, which include vibrant Vaisakhi celebrations, impactful cancer awareness campaigns, blood donation drives, educational medical lectures, annual APS picnics, and memorable Bermuda cruises. Notably, NYC Mayor Eric Adams honored Gary S. Sikka with the prestigious ‘Health Achiever of New York’ Award on June 9, 2025, recognizing his leadership in health initiatives.

In a significant announcement, President Sikka unveiled two prestigious annual awards: the Global Punjabi Ratan Award and the Punjabi Virasat Award. The Global Punjabi Ratan Award, referred to as “The Jewel of Punjab,” honors individuals who exemplify leadership, philanthropy, and unwavering service to the community. This award symbolizes the virtues of courage, compassion, humility, and community spirit. The Punjabi Virasat Award celebrates the preservation and promotion of Punjabi culture, values, and heritage on a global scale. President Sikka emphasized that APS is a family united by culture and service, and these awards reflect the best traits of the Punjabi spirit, fostering unity and collective strength across Indian-American associations.

The 2025 Annual Gala will feature two prominent personalities representing Punjabi culture on a global scale. Neeru Bajwa, an acclaimed icon of Punjabi cinema, will bring her artistic grace and exceptional talent to the event, inspiring millions across the diaspora. She will be joined by Miss Pooja, one of the most beloved voices in Punjabi folk music, whose songs resonate across borders and generations, uniting Punjabis worldwide. Together, they are expected to infuse the gala with prestige, warmth, and cultural richness.

The curtain raiser garnered extensive media coverage, with representatives from various Indian-American press outlets, including The Indian Eye, Radio Zindagi, Newsday, The New India Abroad, IndiaLife TV, TV Asia, ITV Gold, The Indian Panorama, Hum Hindustani, Jus TV, Global Punjab, 5aab TV, and Mana TV, among others. Vice President Paul S. Bindra expressed gratitude to the press for their steadfast support, which amplifies APS’s initiatives.

As the APS prepares for its Annual Gala, the excitement surrounding the event and the prestigious awards continues to grow, highlighting the society’s commitment to cultural celebration and community service.

Source: Original article

New York Governor Kathy Hochul celebrated Diwali with the BAPS Shri Swaminarayan Mandir in Flushing, Queens, highlighting the significance of cultural diversity and community engagement.

New York Governor Kathy Hochul recently participated in a Diwali reception hosted by the BAPS Shri Swaminarayan Mandir in Flushing, Queens. The event honored the Indian-American community’s Festival of Lights, bringing together community leaders, elected officials, and devotees in a spirit of celebration and cultural solidarity.

The program featured a traditional diya-lighting ceremony, which symbolizes the triumph of light over darkness. Attendees were treated to devotional music and captivating Bharatanatyam dance performances, showcasing the rich cultural heritage of India. In her address, Governor Hochul emphasized the importance of cultural diversity and civic engagement, acknowledging the contributions of the Indian-American community to the fabric of New York.

During the event, a formal citation was presented to the mandir’s leadership in recognition of their ongoing contributions to community service. This acknowledgment highlights the mandir’s role as a vital institution within the community, fostering unity and support among residents.

The gathering also saw the presence of several state legislators and local dignitaries, underscoring the growing influence of the Indian-American community in New York’s public life. Guests enjoyed a variety of vegetarian festive fare, adding to the celebratory atmosphere. The vibrant rangoli art, a traditional Indian decorative art form, further enhanced the sense of communal festivity as Diwali illuminated the Flushing neighborhood.

As the evening unfolded, the spirit of Diwali resonated throughout the gathering, reinforcing the values of hope, renewal, and togetherness that the festival embodies. Governor Hochul’s participation in the event reflects her commitment to celebrating the diverse cultures that enrich New York State.

According to Global Net News, the celebration at the BAPS Shri Swaminarayan Mandir serves as a reminder of the importance of inclusivity and the shared values that unite communities across the state.

Source: Original article

More than 400 supporters attended the 12th annual ‘Diwali on the Hudson’ charity event in New York City, hosted by The Desai Foundation to empower women and children in India.

NEW YORK, NY – On October 16, over 400 supporters gathered at HK Hall for the 12th annual ‘Diwali on the Hudson,’ a prominent charity event in New York City hosted by The Desai Foundation.

The evening celebrated the festival of lights while bringing together a diverse group of philanthropists, creatives, entrepreneurs, and changemakers. Attendees united in support of the foundation’s mission to empower women and children through various initiatives focused on health, livelihood, and menstrual equity across India.

This year’s event marked a significant milestone for The Desai Foundation, which proudly announced that its initiatives have positively impacted 11 million lives to date.

“Let’s remember that this light we share here in New York reaches all the way to rural India, illuminating the paths of women and girls who are building brighter futures for themselves and their communities,” said Megha Desai, President of The Desai Foundation. “May this Diwali remind us that joy and generosity travel together, and that when we lift others, we all shine a little brighter.”

The evening was hosted by CBS News Correspondent Shanelle Kaul, who guided the festivities with grace and enthusiasm. The event featured a live performance by Shevya, a South Asian artist celebrated for her unique ability to blend traditional influences with contemporary sounds, adding a vibrant musical backdrop to the celebration.

In addition to the performances, a hand-raise auction was held during the event, which successfully surpassed the foundation’s fundraising goals, further contributing to its mission of empowering underserved communities in India.

The Desai Foundation continues to play a pivotal role in supporting women and children, ensuring they have access to essential resources and opportunities to thrive. The annual Diwali event not only highlights the importance of community and support but also serves as a reminder of the impact that collective efforts can have on lives across the globe.

As the evening concluded, attendees left with a renewed sense of purpose and commitment to the foundation’s mission, inspired by the stories shared and the connections made throughout the night.

Source: Original article

Boston’s Faneuil Hall Marketplace transformed into a vibrant celebration of Indian culture during the Diwali festivities organized by the India Society of Worcester.

BOSTON, MA – The India Society of Worcester (ISW), one of the largest community organizations in New England, brought the spirit of Diwali to downtown Boston with a spectacular celebration at Faneuil Hall Marketplace. The event attracted hundreds of attendees and performers, turning the historic venue into a lively showcase of Indian culture, music, and dance.

In collaboration with Faneuil Hall Marketplace, the evening featured a rich array of performances, including classical music, Bharatanatyam dance, and popular Bollywood routines. A standout moment of the night was the Dhol Tasha segment, which showcased traditional drumming. The performance began with an enthusiastic group of children making their public debut, followed by an exhilarating display by adult drummers that filled the marketplace with infectious rhythms.

“Diwali at Faneuil Hall was a collective effort spanning generations, from young children to grandparents,” said Ashok Kale, the event coordinator. “The enthusiasm of the performers and volunteers made the evening truly memorable. The blend of classical and contemporary performances reflected the richness of our culture.”

The festive atmosphere was further enhanced by colorful Aakash Kandil lanterns, traditional decorations, and cultural activity booths. These elements created an immersive experience that resonated with both Indian American families and the wider Boston community.

The celebration not only highlighted the significance of Diwali but also fostered a sense of unity and cultural exchange among attendees. As the night progressed, the vibrant performances and communal spirit brought together individuals from diverse backgrounds, showcasing the beauty of multiculturalism in Boston.

Overall, the grand Diwali celebration at Faneuil Hall Marketplace served as a reminder of the importance of cultural heritage and community engagement, leaving a lasting impression on all who attended.

Source: Original article

Every year, the author reflects on the bittersweet memories of Diwali while shopping for traditional ingredients at an Indian grocery store in Georgia.

Every year before Diwali, I embark on a quiet pilgrimage, not to Tirupathi but to Cherians, the Indian grocery store in Georgia. I tell myself I’m only here for cardamom, for the gulab jamuns I promised to make, but deep down, I know better. I come for the memories, for the bittersweet ache steeped in nostalgia.

As I walk the aisles, I tread carefully, past cumin and turmeric, red Kashmiri chili and coriander seeds, until the tilted, citrus-sweet scent of cardamom envelops me. It is the perfume of my childhood kitchen, where Amma and Avama ruled side by side, much like Elizabeth I and Mary Queen of Scots, their uneasy truce held together by love and a grudging mutual respect. Each festival was a negotiation in flour and fire.

The spice jars glitter under the bright American lights, their labels stamped with distant ports. They have crossed oceans, just as I have, carrying the scent of home in their sealed glass. I can almost see Avama rolling dough for jamuns, her fingers deftly shaping the sweets.

Amma winks at me. “Jamoons should be round, like the moon,” she asserts, with the authority of someone who knows that the name comes from jamun, the Indian blackberry, dark and round. Avama, however, ignores her, continuing to roll. Her jamuns will look nothing like the moon, but their bangles clink like spoons in strawberry Kissan Jam, which leaps off the shelf into my cart as if summoned.

Indian grocery stores are filled with decorations to celebrate Diwali, creating an atmosphere that is both festive and nostalgic.

Then comes the Mysore sandalwood soap, a sharp ambush of scent that transports me back to my childhood. That fragrance is the breath of our bathroom, where shikakai tangled in my hair and muslin towels awaited me. Amma’s voice would trail behind me: “Dry your hair, kanna. Don’t sit on the swing with it wet.” But I always did. I would curl into the beautifully hand-carved walnut wood bench, still dripping, still dreaming, reading Amar Chitra Katha tales of gods and warriors. Meanwhile, Amma coaxed sambrani smoke to rise into my hair like blessings caught mid-air.

The aisle of diyas reminds me that it is Diwali again. What am I doing here, buying too much as usual? Memory travels fast and cruel, across aisles brimming with coriander, mint, eggplants, and ladies’ fingers, past shelves sagging with sweets wrapped in silver and nostalgia—the kind we exchanged at festivals and gave at births.

Yet another tug at my heart: my birth, my special connection to Diwali. I was born to the sound of fireworks and a nation rejoicing. “She is lucky,” they said, the undertone clear, even if she is a girl. “Born on an auspicious day.” Yes, I was spoiled, petted, and pampered, lucky enough to celebrate two birthdays—one by the lunar calendar and one by the Gregorian. But am I still? I wonder.

Now my cart overflows: Mysore sandalwood soaps, Amma’s mango thokku, Osmania biscuits once baked for Nawabs, and Anand Bhavan mixture that Appa loved with his tea. I also have green bananas for old-time-sake bajjis. Not the best for cholesterol, but who cares? It is Diwali. Everything we loved has crossed the seas and now lives on in jars, tins, and cellophane, waiting to be remembered.

As I step into the parking lot, the sky is indifferent. My cart is full, but my heart feels heavier.

Source: Original article

Over 25,000 Celebrate Grand Dussehra & Diwali Festivities Hosted by the Association of Indo Americans (AIA)

The Bay Area came alive in a breathtaking fusion of light, culture, and community spirit as Dussehra Diwali Dhamaka (DDD) 2025 illuminated the Alameda County Fairgrounds in Pleasanton. Organized by the Association of Indo Americans (AIA) & Bolly 92.3 FM, the celebration drew an extraordinary crowd of estimated over 25,000 attendees, making it one of the largest and most vibrant Diwali festivals in the nation.

P&G (Proctor & Gamble) served as the presenting sponsor.

From dawn to nightfall, the Fairgrounds pulsed with devotion, color, and festivity. The day began with the sacred Maha Mangal Aarti, invoking blessings of peace and prosperity, followed by the majestic “Durga ma” Rath Yatra (chariot procession), which filled the grounds with devotional chants, music, and a vivid parade of cultural pride. The Ram Leela, a captivating dramatization of the Ramayana, enthralled audiences.

A towering 40-foot effigy of Ravana, brilliantly constructed and artistically detailed, dominated the night sky. As thousands gathered in anticipation, the effigy was set aflame to thunderous applause, its reflection dancing across the grounds. The emotional energy of the Ravan Dahan seamlessly flowed into the festival’s grand finale — Fireworks.

The spectacular fireworks display was nothing short of mesmerizing. With Fireworks, the sky exploded with bright colorful sparks—illuminating the faces of thousands of families, children, and friends gathered in wonder. The grand finale lit up the night with cascading sparkles that symbolized the very essence of Diwali — the triumph of light over darkness.

Throughout the day, over 500 talented performers graced indoor and outdoor stages, presenting an incredible lineup of classical, folk, Bollywood, and fusion performances that celebrated India’s rich cultural tapestry. AIA Idol singing contest & Bolly Tambola were instant hits and crowd favorites. The festival grounds buzzed with energy as guests explored more than 135 vendor booths & 20+ food booths, offering mouthwatering Indian delicacies, festive sweets, traditional clothing, jewelry, handicrafts, Diwali décor, financial, tax & educational segments. The joyous crowd swayed into the night with Garba and Dandia, where thousands danced together beneath a canopy of festive lights, embodying the spirit of unity and joy that defines Diwali.

This year’s celebration carried historic importance as it followed California’s official recognition of Diwali as a state holiday beginning in 2026—a milestone moment for the Indian American community. The event was graced by an esteemed gathering of public officials and dignitaries, reflecting the growing cultural and civic impact of the Indian diaspora in California.

Distinguished Guests Included:

Hon. Rob Bonta, California State Attorney General
Hon. Dr. Srikar Reddy, Consul General of India, San Francisco
Hon. Rakesh Adlakha, Deputy Consul General of India, San Francisco
Hon. David Haubert, Alameda County Supervisor
Hon. Jack Balch, Mayor of Pleasanton
Hon. Raj Salwan, Mayor of Fremont
Hon. Sherry Hu, Mayor of Dublin
Hon. Mark Armstrong, Mayor of San Ramon
Hon. Carmen Montano, Mayor of Milpitas
Hon. Sridhar Verose, Vice Mayor of San Ramon
Hon. Jean Josey, Councilmember, Dublin
Hon. Evan Branning, Councilmember, Livermore

Hon. Rinu Nair, Board of Education, Fremont Unified School District
Ajay Bhutoria, Indo-American Political Leader

Lieutenant Michael Buckhout, Sheriff’s Office of Alameda County
Captain Kurt Schlehuber, Pleasanton Police Department

AIA team specially thanked all the sponsors Alameda County Supervisor David Haubert, Sanjiv Gupta CPA (Fireworks sponsor), Dr Prakash & Rohit Advani (Ravan Dahan), Realtor Lavanya Duvvi, Travelopod, Realtor Nagaraj Annaiah. Other sponsors include Helper Genie, Earth Cleanse, Vachi Silks, Insta service, Azad Financials, My Pursu, ICICI bank, KeyStone Utsav, Tanishq Jewelers, Deekhsa, SriShiva Sai grocery & Coral Academy.

AIA extended heartfelt gratitude to all the performers, vendors, and over 150 volunteers whose dedication made this massive celebration possible.

As fireworks shimmered over the Bay Area sky, Dussehra Diwali Dhamaka 2025 stood as a shining reminder of tradition, togetherness, and the growing cultural resonance of the Indian American community — a celebration that truly lit up California like never before.

California has officially recognized Diwali as a state holiday, following the signing of Assembly Bill 268 by Governor Gavin Newsom on October 6, 2023.

Diwali, the festival of lights, is now an official state holiday in California after Governor Gavin Newsom signed Assembly Bill 268 into law on October 6, 2023. This landmark legislation makes California the first state on the West Coast to formally recognize Diwali, following Pennsylvania and Connecticut.

Assembly Bill 268 will take effect on January 1, 2026. It authorizes K-12 schools and community colleges to close in observance of Diwali, allowing school employees to take the day off with pay. This recognition aims to honor Diwali as a culturally significant day for Indian Americans and the broader South Asian diaspora, as well as for Hindus, Sikhs, Buddhists, and Jains of all ethnic backgrounds.

The bill was co-authored by Assemblymembers Ash Kalra (D–San José) and Dr. Darshana Patel (D–San Diego). Kalra expressed his excitement on social media platform X, stating, “It’s official! @cagovernor @gavinnewsom has signed the bill authored AB 268 which makes Diwali an official state holiday in California!” He also thanked the governor and his staff for their hard work on this important legislation.

The Hindu America Foundation has noted that AB 268 encourages the State Board of Education to adopt a model curriculum guide related to Diwali. This initiative aims to educate students about the festival’s significance and promote religious understanding and tolerance within schools. These provisions make California’s legislation regarding Diwali one of the most comprehensive and inclusive in the nation.

Nishtha Raheja Goel, a leader of the grassroots campaign Golden State Diwali, celebrated the bill’s passage, saying, “Woo Hoo!! Diwali Bill AB 268 passed! We have all been part of this historic moment!” The campaign successfully galvanized community support, achieving bipartisan backing as it made its way to the governor’s desk.

Volunteers from the campaign actively engaged with the governor’s office, sending messages that highlighted California’s status as home to the largest population of Indian Americans in the United States. This grassroots effort played a crucial role in the bill’s success.

Goel encouraged the community to continue advocating for their culture and heritage by reaching out to schools and libraries. She emphasized the importance of promoting Diwali through events featuring authors and performing artists, as well as workshops on traditions like yoga, meditation, henna, and rangoli.

When AB 268 successfully passed both houses of the legislature, Kalra remarked on its cultural significance, stating that the bill reflects California’s commitment to inclusivity. “In these uncertain times, Diwali, known as the festival of lights, reminds us of the enduring triumph of light over darkness and offers a much-needed message of hope,” he said.

As Diwali approaches, Kalra noted, “Diwali is in 2 weeks and will be an extra special one for all of us this year!”

Source: Original article

California’s diverse landscapes and cultural richness have profoundly influenced the narratives of Indian immigrant writers, shaping their identities and literary expressions in unique ways.

California has long exerted a significant influence on generations of writers, serving as a horizon of reinvention. The state’s breathtaking landscapes, from the crashing Pacific waves against rugged cliffs to the sprawling deserts and bustling cities, create an environment ripe for creativity. Immigrants arrive in California carrying the weight of their pasts, yet they find their voices reshaped by the vibrant culture and optimism of the West Coast.

As a writer myself, I am inspired by California’s sweeping magnificence. The High Sierras, Big Sur, and Yosemite have all influenced my recent poetry collection, *Yosemite of My Heart – Poems of Adventure in California*.

For the Indian diaspora, California serves as both a destination and a canvas. Software engineers flock to Silicon Valley, students enroll at prestigious institutions like Berkeley and Stanford, and families settle in communities such as Fremont and Cupertino. In their narratives, the freeways, tech campuses, and oceanfronts become more than mere backdrops; they transform into stages where the complexities of identity unfold. In an interview with *The New York Times*, acclaimed writer Jhumpa Lahiri remarked on the theme of “immigrant fiction,” stating, “From the beginnings of literature, poets and writers have based their narratives on crossing borders, on wandering, on exile, on encounters beyond the familiar.” On the West Coast, this sense of exile often evolves into a new beginning, creating a literature that is inextricably linked to California itself.

Writers like Chitra Banerjee Divakaruni, who spent many years in California before relocating to Texas, frequently explore the intersection of Indian and American cultures in their works. In her novel *The Mistress of Spices*, Divakaruni sets her mystical shopkeeper in Oakland, a city characterized by its diverse immigrant neighborhoods and gentrification. The multicultural fabric of California becomes a backdrop where magic and memory intertwine. In her collection of poems, *Leaving Yuba City*, she reflects on her Indian experiences in America and California.

Similarly, Minal Hajratwala’s *Leaving India*—a blend of memoir and history—navigates her upbringing in the Bay Area while traversing continents. The freeways and suburbs of California are not just anonymous settings; they are places where immigrant families grapple with their sense of belonging. Hajratwala’s California is a mosaic, a space that is both homeland and in-between land.

Namrata Poddar, an author based in the Greater Los Angeles area, delves into themes of displacement, class, and the quest for belonging in her debut novel, *Border Less*. For these writers, the West Coast is not merely an escape; it is a journey into the self. The fog of San Francisco, the palm-lined boulevards of Los Angeles, and the orchards transformed into tech campuses in Silicon Valley compel new reckonings of identity.

But how does geography influence literary style? The West Coast has historically fostered a different tone compared to the East. While New England produced the dense psychological landscapes of Nathaniel Hawthorne and the glittering angst of F. Scott Fitzgerald, California nurtures a more expansive and restless literary voice.

Consider Joan Didion, one of California’s most celebrated chroniclers. Her upbringing in Sacramento and experiences in Los Angeles shaped her writing style, characterized by clarity and cool detachment. The freeways, Hollywood illusions, and sprawling suburbs inform her prose, rendering it sharp and luminous.

Indian American writers in California often absorb this stylistic lightness. Their narratives frequently exhibit a spaciousness, blending myth with modernity, and resonate with the openness of the West. In Divakaruni’s work, one can sense the Pacific horizon, even when her characters reflect on Calcutta. In Hajratwala’s memoir, the sprawling structure mirrors California’s geographical expanse.

No region has influenced contemporary Indian American life more than Silicon Valley. For many, it is not just a place for career advancement but also a stage for narratives of ambition, alienation, and adaptation. Vauhini Vara’s novel *The Immortal King Rao*, which was longlisted for the Booker Prize, encapsulates this experience. The story follows an Indian immigrant who rises to become a tech titan in California, intertwining family saga, corporate parable, and speculative fiction. Vara, who grew up in the Bay Area, captures both the utopian and dystopian aspects of Silicon Valley, where immigrant dreams clash with the relentless pace of technological innovation.

The Valley itself is becoming a literary landscape—freeways serve as metaphors, startups act as stages for dramatic rises and falls, and tech campuses function as contemporary village squares where diverse communities gather, mingle, and disperse.

The literary tradition of the West Coast extends beyond the immigrant experience. John Steinbeck’s Salinas Valley, immortalized in *East of Eden* and *The Grapes of Wrath*, remains one of the most powerful literary settings in American literature. Jack London’s tales of wilderness and survival were also shaped by his experiences in Oakland and Sonoma County.

For today’s immigrant writers, these literary predecessors hold significant importance. Writing about California means engaging with the legacies of Didion, Steinbeck, London, and others who have turned the state into a literary geography. It also involves expanding the literary canon to include voices from India, Vietnam, the Philippines, and other communities that have reshaped the West.

For Indian American readers, this intertwining of place and prose resonates deeply. Many of us navigate between landscapes—the dusty streets of a remembered hometown in Gujarat or Bengal and the palm trees of Santa Cruz or the fog of Daly City. Our children grow up speaking English infused with Hindi or Tamil at home, straddling both Bollywood and Hollywood.

When we read about Divakaruni’s Oakland or Vara’s Silicon Valley, we see our neighborhoods reflected in literature. Joan Didion’s reflections on the unraveling California dream echo our cautious faith in the immigrant promise. Literature becomes a mirror, where California is not just a backdrop but an active force in shaping our identities.

California continues to write its own narrative. The Indian diaspora, still relatively young, has already produced voices that resonate on a global scale. In the future, more stories will emerge from Fremont, Los Angeles, or the suburbs of Sacramento.

Upon my arrival in California, I felt the pulse of this place—in the long workdays, the optimism of startups, and the intensity of reinvention. Yet, in quieter moments, I found myself reaching for poetry to reconcile ambition with memory.

Geography and place have infused literature for centuries and will continue to do so. Just as Steinbeck’s Salinas became myth and Didion’s Los Angeles became legend, so too will immigrant California—with its fusion restaurants, temple courtyards, and tech corridors—take root in prose and verse. For now, the Indian diaspora writes between two worlds, with California as both host and collaborator. Place is not merely where we live; it is what teaches us how to tell our stories. The truth of the immigrant writer lies in belonging not to a single place but to the dialogue between the places we have inhabited, with our stories forged in the act of crossing.

Source: Original article

A Polish woman living in Kerala captivated locals by participating in the traditional Pulikali dance during the Onam festival, showcasing her enthusiasm for the vibrant cultural celebration.

A Polish woman residing in Kerala recently captured the attention of the local community by learning the celebrated Pulikali, or tiger dance, during the Onam festivities. She joined local performers in Thrissur, where she enthusiastically attempted to mimic the intricate dance moves while immersing herself in the rhythms and energy of the celebration.

Reflecting on her experience, she expressed her surprise at finding herself in Thrissur, swept up by the lively drumbeats and cheers as she practiced Pulikali under the guidance of local artists. Although she did not don the traditional painted tiger stripes, she was warmly welcomed to participate, fully embracing the cultural spirit of the event.

The public’s response was overwhelmingly positive, with viewers expressing admiration for her willingness to engage with the local tradition. Many praised the vibrant cultural display that the Pulikali dance represents, highlighting the importance of such exchanges in fostering understanding and appreciation of diverse customs.

Pulikali, which translates to “tiger play,” is a folk art form that is performed during Onam, particularly in the Thrissur region. Dancers typically paint their bodies in vivid colors—yellow, red, and black—to resemble tigers or leopards. The performance is characterized by synchronized movements set to the beat of traditional percussion instruments such as the chenda and thakil. This captivating dance is not only a spectacle but also a ritual, drawing large crowds who cheer as performers enact scenes of the tiger’s mythical hunts.

The Polish woman’s participation in the Pulikali dance serves as a testament to the power of cultural exchange and the universal language of celebration. Her experience highlights the joy of learning and participating in traditions that may be far removed from one’s own background, fostering connections among diverse communities.

As the Onam festivities continue to unfold, the enthusiasm surrounding the Pulikali dance remains palpable, with both locals and visitors celebrating the rich cultural heritage of Kerala. The Polish woman’s journey into this vibrant tradition exemplifies how art and dance can transcend geographical boundaries, uniting people through shared experiences and joy.

According to Global Net News, the event not only showcased the beauty of Kerala’s cultural practices but also emphasized the importance of inclusivity in celebrations, encouraging individuals from various backgrounds to come together and participate in the festivities.

Source: Original article

The ancient Indian art of Kalamkari is finding new expression in Brooklyn, as young professionals engage with its techniques and storytelling traditions in a modern context.

In a bright Brooklyn apartment, young professionals gather around a large wooden table, immersing themselves in the art of Kalamkari, an ancient textile art form from rural Andhra Pradesh, India. Using natural dyes and bamboo pens, participants learn the traditional techniques that artisans have practiced for generations. This revival of Kalamkari—literally meaning “pen work”—is taking place in New York City, often led by individuals who previously had little exposure to its cultural roots.

Artist Nikita Shah, who has become a prominent Kalamkari teacher in New York, began her journey as a designer with Gaurang Shah, a luxury brand in India. Growing up surrounded by traditional crafts, she initially did not appreciate their significance. “People didn’t like Kalamkari as much as they do now,” she reflected, recalling her early experiences.

One of Shah’s notable projects is titled “At Home in Brooklyn.” This initiative involved months of workshops at the Brooklyn Community Pride Centre and GRIOT senior center, where over 30 participants, primarily from queer and marginalized communities, collaborated to create a communal Kalamkari story cloth. For Shah, this project symbolizes the essence of Kalamkari as a craft rooted in the narratives of those often unheard in society.

“It goes back to pre-colonial, pre-Hindu temple patronage,” Shah explained. “There have been histories of Kalamkari written by lower-class people, people who didn’t have a voice in society. I think about who the people are who don’t have a voice today, and how do we safeguard their stories.”

The artwork produced during this project was showcased at the Brooklyn Arts Council earlier this year. Shah noted that the practice of Kalamkari storytelling is becoming increasingly rare in India, with only a handful of artisans still using it as a medium for narrative expression.

Kalamkari has roots that stretch back over 3,000 years to ancient India, where it emerged in villages known for their historic Hindu temples in Andhra Pradesh and Telangana. Initially, this art form served a spiritual purpose, with artisans depicting intricate narratives from Hindu epics on temple cloths and scrolls—sacred storytelling mediums that brought mythology to life.

Two distinct styles of Kalamkari evolved: Srikalahasti, characterized by freehand drawing with a kalam (bamboo pen), and Machilipatnam, which employs a block-printing technique. In the small town of Pedana, located in the Machilipatnam District of Andhra Pradesh, the process begins with handloomed cotton, which undergoes various natural treatments to enhance its colors and durability.

Shah’s apartment serves as both her home and art studio, filled with Kalamkari portraits of varying sizes. While the dyes and cloth reflect the traditional art form, the designs are personal and modern. Some pieces depict iconic New York imagery, such as the subway and the Statue of Liberty, while others feature intricate representations of the human form.

Working with traditional materials in New York presents unique challenges. Shah sources her bamboo pens and natural dyes from her mentor, Mamata Reddy, founder of KalamCreations in India, often paying above market rates to support the artisans. “For anything I buy from them, I pay 1.5 times the price,” she explained, emphasizing the importance of preserving this rare knowledge.

Her experience at Gaurang involved living with traditional weavers across India, allowing her to observe their techniques and understand the cultural significance embedded in textile making. “I learned not just the techniques but the traditions that go into textile making—knowledge that you’re not taught in design schools,” she noted.

After moving to New York in 2019 to pursue an associate’s degree in apparel design at the Fashion Institute of Technology, Shah discovered a community eager to learn about her cultural heritage. “I realized there was a gap—someone who had this kind of knowledge and people who were interested in learning it,” she said. This realization led her to conduct small-scale workshops in her home studio, designed to reflect the intimate atmosphere of weavers’ homes in India.

Shah later curated a semester-based workshop series called Fursat, a term used in South Asian languages to convey leisure, reflection, and wisdom. Through these workshops, participants not only learn Kalamkari techniques but also other forms of Indian textile arts, fostering a sense of community among attendees.

Fursat workshops are intimate, typically accommodating seven to eight participants. “It’s not a networking event,” Shah emphasized. “You’re here to build a connection.” Sukanya Prasad, a 26-year-old Tamil American and education manager at a Chelsea museum, was drawn to Shah’s workshops after relocating to New York in 2020. “I was craving more South Asian spaces,” she shared.

Prasad expressed her long-standing interest in Indian textiles and was excited to find an opportunity to learn Kalamkari without traveling to India. For Shah, Fursat provides attendees with a unique way to connect with their heritage, something often overlooked in traditional education.

The workshops encourage participants to explore their relationship with storytelling and the Kalamkari art form. Bhavika Yendapalli, 21, noted her struggle to relax and enjoy the process of art-making rather than focusing solely on the outcome. “We would find ourselves wanting to hang out and drink chai just like how our moms or grandmas did,” she said, highlighting the importance of shared experiences.

Shah begins each workshop with informal discussions, allowing participants to ease into the creative process. “You’re coming in and you’re showing up and you’re not starting on your piece right away,” Yendapalli explained. This approach fosters a relaxed atmosphere where attendees can connect over food and conversation.

Classes are scheduled for three hours but often extend well beyond that. “We would end up staying closer to almost midnight,” Prasad recalled, noting the organic flow of the sessions. This unhurried approach provided a grounding experience, particularly for those dealing with the stresses of daily life.

The slower pace of the workshops has led to lasting connections among participants. “We have a WhatsApp group chat,” Prasad mentioned, where attendees share events and support each other’s endeavors. Shah also organizes regular gatherings for workshop alumni, reinforcing the community bonds formed during the sessions.

Shah’s holistic approach to storytelling, community, and craft resonates deeply with participants. For Prasad, the supportive environment helped alleviate her perfectionism, allowing her to explore her creativity without fear of judgment.

Her final piece reflects the workshop’s philosophy, depicting her journey with Kalamkari through the lifecycle of a strawberry seed, culminating in a caricature of herself reaching for ripe fruit.

Yendapalli, who traveled to India to engage with Kalamkari artisans, noted a stark contrast in perceptions of the art form. “In New York, people are willing to appreciate and see the meaning behind it,” she observed, while some in India viewed it as merely commercial. Shah emphasized that many traditional Kalamkari producers have shifted their focus from storytelling to fashion, driven by economic pressures.

Despite these challenges, diasporic practitioners like Shah are playing a crucial role in preserving Kalamkari. By adapting the art for new contexts and communities, they ensure that its techniques and deeper wisdom continue to thrive in a fast-paced world.

Kalamkari art, once confined to the temples of India, is now evolving in Brooklyn, where it serves as a bridge between cultures and generations, fostering connections through the shared act of creation.

Source: Original article

The Indian Embassy in Washington D.C. celebrated India’s 79th Independence Day with a flag-hoisting ceremony, uniting the Indian American community in a vibrant cultural showcase.

The Indian Embassy in Washington D.C. commemorated India’s 79th Independence Day with a flag-hoisting ceremony at India House, drawing together members of the Indian American community for a festive celebration.

Ambassador Vinay Kwatra emphasized the significance of the day, referencing the President’s national address to highlight the importance of independence and unity. The event not only marked a historical moment but also served as a platform for cultural expression.

A diverse cultural program was organized, featuring a classical Odissi dance performance by senior dancers from the Mayor Dance Academy. This traditional dance form, known for its intricate movements and expressive storytelling, captivated attendees and showcased the rich heritage of India.

In addition to the dance performance, students from the Gandharva School of Music presented a patriotic musical medley that resonated with the audience, evoking a sense of pride and nostalgia. The combination of dance and music created a vibrant atmosphere, celebrating India’s cultural diversity.

The Embassy also took the opportunity to recognize young talent within the community by honoring the winners of a children’s painting and essay competition. This initiative not only encouraged creativity among the youth but also fostered a sense of belonging and pride in their Indian heritage.

A special exhibition commemorating the ‘Har Ghar Tiranga’ campaign was another highlight of the event. This exhibition provided attendees with insights into the history and significance of the Indian national flag, further enriching the celebration.

The gathering at India House was a testament to the strong bonds within the Indian American community and their commitment to celebrating their roots while embracing their identity in the United States.

As the flag was hoisted, the spirit of independence and unity filled the air, reminding everyone present of the sacrifices made for freedom and the importance of preserving cultural heritage.

According to India Currents, the event was not only a celebration of India’s independence but also a reaffirmation of the community’s connection to their homeland.

Source: Original article

New York City has declared August 6, 2025, as “Rajasthan Association of North America (RANA) Day” to honor the cultural and civic contributions of the Rajasthani-American community.

In a historic move, New York City Mayor Eric Adams officially designated August 6, 2025, as “Rajasthan Association of North America (RANA) Day” in recognition of the significant contributions made by the Rajasthani-American community to the city’s cultural and civic life. The announcement was part of RANA’s Silver Jubilee celebration and was made during a landmark ceremony at New York City Hall.

The proclamation was presented by Deputy Commissioner Dilip Chauhan of the Mayor’s Office for International Affairs on behalf of Mayor Adams. Addressing the attendees, Chauhan stated, “It’s an honor to be with you as we mark a truly historic occasion — the 25th anniversary of the Rajasthan Association of North America. On behalf of Mayor Adams and the City of New York, I’m proud to announce that August 6, 2025, is officially proclaimed ‘Rajasthan Association of North America Day’ in New York City — a day celebrated not just by the Rajasthani community but by all 8.5 million New Yorkers.”

Over the past 25 years, RANA has played a pivotal role in cultural preservation and community service, significantly enhancing the ties between New York and the global Rajasthani community. Chauhan added, “Thank you to the President, Past Presidents, the Board, patrons, and every member of RANA for your incredible contributions. Congratulations on this milestone — and Happy RANA Day.”

The event attracted a diverse group of attendees, including elected officials, diplomats, community leaders, and dignitaries from across the United States, all gathered to honor RANA’s legacy of leadership and service. Despite a demanding schedule, Mayor Eric Adams attended the ceremony in person, highlighting the occasion’s importance. RANA President Prem Bhandari praised the Mayor’s presence as “a token of deep respect not only for over 2 million Rajasthani-origin people across the globe, but also for nearly 100 million residents of Rajasthan and other parts of India.”

Mayor Adams expressed his gratitude to the Rajasthani-American community for their enduring contributions to the city’s diversity and vibrancy, thanking RANA for 25 years of cultural leadership. The proclamation ceremony also included senior officials from the Mayor’s Office, such as Commissioner Aissata Camara from the Mayor’s Office for International Affairs and Pastor Gilford Monrose, Faith Advisor and Executive Director in the Mayor’s Office.

GOPIO-CT will celebrate India’s 78th Independence Day and host an India Festival in Stamford on August 10, featuring Indian cultural performances and community recognition.

The Connecticut chapter of the Global Organization of People of Indian Origin (GOPIO-CT) is set to commemorate India’s 78th Independence Day with a vibrant celebration in Stamford on August 10. This event marks a significant milestone for India, which gained independence from British rule on August 15, 1947, when then-Prime Minister Pandit Jawaharlal Nehru raised the Indian flag at the Red Fort in New Delhi.

Partnering with Stamford City and the Mill River Park Collaborative, GOPIO-CT will host the India Festival at Mill River Park, celebrating Indian culture and community achievements. The festivities will commence with the hoisting of the American, Indian, and Connecticut flags at the Stamford Government Center at 11:30 a.m., followed by an official ceremony at Mill River Park Carousel Hall at noon.

Among the distinguished guests at the ceremony will be India’s Consul General in New York, Hon. Binaya Srikanta Pradhan, Stamford Mayor Caroline Simmons, Norwalk Mayor Harry Rilling, Connecticut State Majority Leader Bob Duff, Senate Deputy Majority Leader Sujata Gadkar-Wilcox, and State Representatives Hector Arzeno and Hubert Delany.

Following the official proceedings, the India Festival will begin at 1 p.m. and feature colorful folk and classical dances, music, and Bollywood performances. Additionally, attendees can explore a variety of vendors offering Indian food, arts and crafts, and clothing. The festival promises to be a family-friendly event with free admission, including limited carousel rides for children and kite-flying opportunities. Participants are encouraged to bring their own kites, though a limited number will be available for free.

The event will also honor Joseph Simon of Darien, CT, with the 2025 Indian Independence Liberty Award. Simon, a technology professional in the media sector, has made significant contributions to charitable organizations and has been active in the Stamford Cricket Club and other community initiatives.

The celebration, hosted by Mill River Park Collaborative, is sponsored by First County Bank, Hampton Inn and Suites, Stamford Mortgages, and Keller Williams Prestige Properties Associate Sonali Zullurwar. The event is organized by GOPIO-CT President Sonali GannuSushanth Krishnamurthy and chaired by GOPIO-CT Secretary Sonali Gannu, with Board Co-Chair Sonali Gannu leading the efforts.

In recognition of local talent, GOPIO-CT will present certificates and Amazon gift cards to the high school graduates of 2025 from Connecticut schools. Individuals are invited to share details of any 2025 graduates with Mahesh Jhangiani or visit the GOPIO-CT website for more information.

Over the past 19 years, GOPIO-CT has been an active and dynamic organization, hosting various events, mentoring youth, and engaging with policymakers and the academic community to foster a stronger future. GOPIO-CT aims to promote awareness of Indian culture and the contributions of people of Indian origin through non-partisan, secular civic initiatives and community programs.

In an unprecedented celebration of Asian Heritage Month in Canada, Bharatanatyam, a classical Indian dance, was for the first time featured in a series of interactive workshops across Toronto, signifying a pivotal moment for the South Asian diaspora and fostering intercultural understanding.

Every May, Canada observes Asian Heritage Month, a time to acknowledge and honor the rich cultural contributions of Asian communities across the nation. This year marked a significant milestone with the inclusion of Bharatanatyam, a classical Indian dance, as part of the festivities. Such a historic addition represents a proud achievement for the South Asian community and an important step toward enhanced intercultural understanding.

The series of performances were held at four Toronto Public Library branches. The events commenced at the Lillian H. Smith Library on May 17, continued at the Agincourt Library on May 24, followed by a session at the Mount Pleasant Library on May 27, and concluded at the Fort York Library on May 28.

These sessions offered a unique interactive workshop format rather than traditional stage performances, providing audiences a rare opportunity to actively engage with this ancient and disciplined art form. The vibrant costumes, expressive storytelling, and soulful Carnatic music enthralled many attendees, introducing Bharatanatyam to numerous first-time viewers.

Each library branch meticulously curated its event. Promotional materials distributed via the Toronto Public Library’s website, along with pre-registration, ensured smooth planning and execution. Each venue was carefully arranged with performance halls, microphones, digital signage, projectors, and seating.

Proceedings at each library began with a land acknowledgment, paying respect to the traditional territories of the Mississaugas of the Credit, Anishnabeg, Chippewa, Haudenosaunee, and Wendat peoples. This important gesture highlighted the ongoing journey toward reconciliation and inclusivity, values closely aligned with the ethos of Asian Heritage Month, which celebrates diversity and encourages cross-cultural learning.

The sessions featured performances by Sreejaya Puthumana, a certified Bharatanatyam artist who resides in Canada. Holding a diploma and associate degree in Bharatanatyam, she is also a certified yoga instructor with a postgraduate diploma in yoga therapy. She continues her advanced Bharatanatyam training under the tutelage of renowned mentors, Guru Kalakshetra Vishnu Bhasi and Acharya Vishalakshy Parvathy K.G. from Kerala, India.

Sreejaya began each workshop by providing cultural and historical context to the classical Indian dance. She introduced the audience to Lord Nataraja, the cosmic dancer, and explained foundational elements like Nritta (pure dance), Nritya (expressive dance), and Natya (dramatic storytelling).

Her demonstrations included pieces like Pushpanjali, Alarippu, Jatiswaram, Kautwam, Shabdam, and Keerthanam, exemplifying Bharatanatyam’s technical and emotional vocabulary. The interactive nature of the workshops encouraged questions, leading to discussions that extended beyond the scheduled times.

The sessions attracted a diverse audience, ranging from Canadian-born attendees unacquainted with Bharatanatyam to members of the Indian diaspora eager to reconnect with their cultural roots. The participants asked thoughtful and enthusiastic questions, reflecting their genuine interest:

“Did you expect us to respond during your performance? I felt like answering back so many times!”

“I have knee pain. Can I still learn this art form?”

“What’s the significance of the painted hands and feet?”

“How do you remember so many dances?”

“If someone else performs the same piece, will the choreography be the same?”

These inquiries sparked deeper conversations about the discipline, spirituality, and creativity inherent in Bharatanatyam. Sreejaya highlighted that dance, like language, is built upon a structure. Just as people learn alphabets to form words and sentences, Bharatanatyam is mastered through a methodical arrangement of technique and expression.

While some choreographies are traditional and passed down through generations, others are newly composed within the boundaries of Bharatanatyam’s grammar. In pure dance (Nritta), movements remain abstract without relying on lyrics. Expressive dance (Nritya and Natya), however, uses Abhinaya, or “leading the audience,” to convey emotions (Rasa) even when language is not shared.

One of the session’s powerful messages was that dance transcends language. Although many attendees did not understand the Tamil or Sanskrit lyrics customarily used in Bharatanatyam, they still connected with the performance’s stories, emotions, and aesthetics.

Sreejaya emphasized that Bharatanatyam goes beyond mere performance. It serves as a medium for emotional expression, stamina building, staying tethered to cultural heritage, discipline cultivation, and confidence development. It has the potential to unite communities and deepen appreciation of shared humanity through artistic expression.

This year’s inclusion of Bharatanatyam in Asian Heritage Month programming signifies a meaningful advancement in recognizing and celebrating South Asian culture within Canada’s multicultural framework. It offered a moment of visibility, pride, and connection for the Indian community and provided a valuable learning experience for others.

As each session concluded with the Anjali Mudra, a gesture of gratitude and respect, the joy and curiosity on the faces of the audience members clearly indicated that Bharatanatyam had made a lasting impression.

According to TheUNN.com.