Eastern Eye caught the musical pioneer during his 30th anniversary tour and got him to select 30 memorable moments
By Asjad NazirNov 04, 2023
AN INCREDIBLE career has seen Apache Indian become a great British music icon.
Whether it has been creating a new musical genre, monster hits like Boom Shak-A-Lak, world-class collaborations, trailblazing moments or setting up an academy for new talent, he has had three decades of brilliance.
The singer, songwriter and musician has also inspired artists, done amazing work for charity, and represented the UK globally. All of that and more has been celebrated this year, during his 30th anniversary tour that has entertained cross-cultural audiences around the world.
Eastern Eye caught the musical pioneer during that whirlwind tour and got him to select 30 memorable moments. He said: “This beautiful journey has gifted me so many special moments. Each one has been a blessing. It is impossible to list all of them, but here are 30 that stand out.”
First step: I released my first song myself in December 1989. It wasn’t easy as I had no idea what I was doing. I ended up at a vinyl pressing plant in Leicester and had 500 records made. I only ever planned to release one song, so filled in the necessary forms, where I quickly made up my artist and label name. The song was called Movie Over India.
Reaction:Movie Over India got a massive reaction on the streets of Birmingham among the black and Asian communities in particular. It went straight in at number one in all the local Birmingham reggae charts. Simultaneously, it went to number one in all the Asian-bhangra charts. Something that hadn’t been done before.
The cover of his debut album
Record label: In 1990 I had a call from the biggest reggae label and distributor from London called Jet Star. They wanted the song I released and two more. I had no plans to record anymore songs but agreed. Movie Over India was released by Jet Star in 1990 and went to number one in the national reggae charts. The second song I recorded was Chok There and the third was Don Raja. Both these songs also hit the top spot in all reggae and Asian charts across the country in 1991-92.
Majors: In 1992 I started getting offers from some of the major record labels in the UK. I signed a worldwide deal with Island Records which was Bob Marley’s label under Universal Music. The deal was worth a lot of money at the time which was a big deal for me at 23 years old.
Tuff Gong: I recorded my first album with my cousins, Simon & Diamond in Birmingham. The three of us flew to Jamaica to record with the legendary reggae producers Sly & Robbie at Tuff Gong, Bob Marley Studios in Kingston. This was a spiritual experience that has guided me through my career.
Debut album: My first album No Reservations was released in 1992. The first single from the album was Arranged Marriage, which went straight into the National UK charts at number 29.
Television: I performed Arranged Marriage on the biggest music TV show at the time, Top of the Pops, where I met Paul McCartney from the Beatles. Arranged Marriage moved up to number 16 the following week. I also performed on other TV shows including The Jools Holland Show, The Word, and Blue Peter
Nominations:Arranged Marriage went on to be nominated for the best contemporary song by the prestigious Ivor Norvello Awards alongside Take That and M People. My debut album, No Reservations went on to be nominated for the Mercury Music Prize, as well as many other awards.
International: I started performing across the UK and was offered a big reggae show in New York with my idols Super Cat, Frankie Paul and Shabba Ranks. This was a big deal for me, being around artists I grew up listening to. After that show, I went on to perform in Toronto at my first international Asian gig. Seeing people enjoy my music overseas was incredible.
More chart success: Island Records went on to release more singles of No Reservations including, Chok There and Fe Real with Maxi Priest. Both songs went into the national British charts. I started performing on more big British TV shows and touring across Europe.
Nuff Vibes: I started recording my second album in 1993. Before the album was released, Island Records decided to release a four-track EP called Nuff Vibes which featured the song, Boom Shack-A-Lak. This song went straight into the national British charts at number eight. I was invited to perform on Top of the Pops again. Boom Shack-A-Lak moved up to number five in the charts.
Monster hit:Boom Shack-A-Lak blew up around the world and then was featured in the blockbuster Hollywood film, Dumb & Dumber. It has since been featured on over 200 TV commercials worldwide as well as eight Hollywood movies, including Dumb & Dumber 2 and Scooby Doo 2.
Further recognition: Following all the success, I was nominated for four Brit Awards and performed at the Smash Hits Poll Awards with Take That, E17, Will Smith and many other leading pop acts at the time.
India: My first India trip proved to be life changing. My songs were major hits across the country, and it was the first time Asian rap music was introduced to the market. I couldn’t believe how popular the music had become in India. I was performing to crowds of over 40,000 people in various cities. I was taken to see Sonia Gandhi and the prime minister of India at the time.
Reggae splash: I performed on the big Reggae Japan Splash Tour in 1994-95 with all the leading reggae artists at the time from Jamaica. This was a great experience as I performed with a live band for the first time, called the 809 Band from Kingston. I was the only UK artist and Asian on the tour. We performed in 14 cities across Japan ending up in Tokyo in front of over a hundred thousand people. I headlined alongside the IThrees, Shaggy and many others. I continued earning the respect from the reggae industry too. You can still find this on YouTube.
Second album: My second album, Make Way For The Indian was released in 1995. We went on to release more singles including, the album’s title track featuring famous hip hop rapper Tim Dog, and Raggamuffin Girl with reggae legend Frankie Paul from Jamaica. Both songs also went into the British charts.
Radio 1: I was the first Asian artist in the national UK charts taking the fusion of bhangra and raggamuffin mainstream. People started calling it bhangramuffin. I was then asked to present my own show on BBC Radio 1. I presented the Apache Indian show and became the first Asian DJ on national radio in the UK. I used this platform to promote bhangra and reggae. I also invited many artists on the show for interviews and live performances.
Apache Indian
MTV: I went on to present a show for MTV called Reggae Sound System from Jamaica with female reggae artist Patra. We recorded 13 episodes interviewing artists such as Beenie Man, Chaka Demus & Pliers, and many others.
Soul: I went on to present a show for Charlton/ ITV called Soul Music, which included performances from artists such as Gabrielle, Lynden David Hall, Asian Dub Foundation and more. The show was very similar to the Jools Holland Show, but the acts were from a more varied range of genres.
Mumbai: I was asked to present a big TV show from India called Apache goes Indian for Channel 4. I went to India for six weeks and presented six episodes from Mumbai focusing on the different lifestyles of the city. This experience opened my eyes to the levels of poverty and corruption in India. I started working with various charities in India over the coming years.
Cinema: While in India I recorded a song with AR Rahman called No Problem for Tamil movie Love Birds. I was also featured in the movie with dancing sensation Prabhu Deva. This was my ‘Movie Over India’ dreams do come true.
Icon: I also recorded a song with the legend herself Asha Bhosle entitled Yeh Ladka, which went on an album called Rahul & I in memory of her late husband (RD Burman). What an absolute honour!
Big bhangra: A big collaboration I recorded was Dil Luteya with bhangra legend Jazzy B. We filmed the music video on the streets of Mumbai. The global hit crossed genres and generations. This song was produced by the great Sukshinder Shinda, whom I went to secondary school with.
Collaborations: Having toured globally many times over and recorded albums, and singles for various labels including Warner Brothers, I could do a long list of collaborations alone as they have all been great experiences. Some memorable ones include with great artists such as Malkit Singh, Yami Bolo, Capelton, Tippa Irie, Luciano, Raghav, Yo Yo Honey Singh, Desmond Dekker, Boy George, Raftaar, Zen Lewis, Jim Beanz and so many more.
Giving back: In 2014 I opened The Apache Indian Music Academy (AIM) in my hometown Handsworth in collaboration with South and City College. The idea was to help young people with music and life skills free of charge at least once a week. The academy has been running for over 10 years now, helping many young people and working very closely with the community. We were featured on the BBC One Show just after lockdown.
Award: In 2021 I was presented with the British Empire Medal (BEM) by the late Queen of England recognising my contribution to music and community, and for starting a new genre of music. This highlight of my career showed I had come a long way.
With Yo Yo Honey Singh
Commonwealth: In 2022 I performed live at the closing ceremony of the Commonwealth Games in Birmingham in front of 30,000 people to an audience of over a billion people watching across the globe. Representing my city to the world was so special.
Anniversary tour: In 2023 I started another world tour celebrating 30 years in the music industry. This has already taken me across the UK, India, Holland, Bulgaria, Cyprus, Dubai, New York and is still going.
Biopic: When I was in India, I signed a deal with Universal Music to start working on a biopic film based on my life and career. Watch this space.
Fans: Last, but not least, I have had the most special moments with music fans who have inspired me from day one. I am thankful to everyone who has supported me. Knowing people have been entertained by my music and felt happiness, is a feeling that will always remain special. Here is looking forward to another 30 years of bringing more happiness through my music. Keep updated and get in touch.
EASTERN EYE is supporting this year’s Jaipur Literature Festival (JLF) at the British Library next Friday (13) to Sunday (15) as its media partner.
“We are happy to do so as we aim to be ‘the voice of British Asians’, as we say on our masthead,” said Shailesh Solanki, executive editor of the newspaper.
JLF also seeks to attract all sections of the community in the UK.
Many of the speakers in this year’s event have featured in Eastern Eye in recent years.
For example, Sheela Banerjee won Eastern Eye’s Arts, Culture & Theatre Award (ACTA) in the non-fiction category last year for What’s in a Name: Friendship, Identity and History in Multicultural Britain.
Vaseem Khan, the first Asian chairman of the Crime Writers’ Association in 70 years, won an ACTA in the fiction category in 2018 for The Strange Disappearance of a Bollywood Star.
The BBC’s Reeta Chakrabarti was named best presenter in ACTA this year. She was also shortlisted in the fiction category for her debut novel featuring schizophrenia, Finding Belle.
In the newly introduced category for crime fiction, the winner was Ram Murali, author of Death in the Air, which has been described as “a love letter to Agatha Christie”.
Eastern Eye has also written about Sushma Jansari, who has curated the British Museum’s new exhibition, Ancient India: Living traditions.
Among the headline speakers this year is Banu Mushtaq, whose book Heart Lamp, translated from Kannada by Deepa Bhasthi, is the first short-story collection to win the International Booker Prize.
Ram Murali
Hanif Kureishi will be discussing his book, Shattered: “After a devastating fall in Rome, Hanif Kureishi was left immobile. From his hospital bed, he began to dictate powerful reflections on illness, identity, love, and writing. Shattered is the result: an odyssey of survival.”
JLF 2025 is bringing together some established authors from India, such as the MP Shashi Tharoor. His latest book, Our Living Constitution, “offers a masterful analysis of India’s constitutional framework, highlighting how it transcends political rhetoric to reflect the nation’s core ideals”, according to the festival organisers.
Although Tharoor belongs to the opposition Congress party in the Lok Sabha, India’s lower house of parliament, he expressed strong support for Narendra Modi’s Operation Sindoor military action against Pakistan. He was picked to lead one of seven Indian government delegations explaining New Delhi’s foreign policy in countries around the world, including Panama, Guyana, Colombia, Brazil and the US.
Other authors from India include William Dalrymple, whose Eastern Eye lecture on The Golden Road: How Ancient India Transformed the World at the Bhavan in London last October was attended by nearly 250 people.
His son, Sam Dalrymple, will be speaking at JLF on his book, Shattered Lands: Five Partitions and the Making of Modern Asia. This was shortlisted for an ACTA this year in the history category.
JLF describes his book as “a sweeping narrative of how the once-unified Indian empire splintered into 12 modern nations. Drawing on rare archives, untranslated memoirs, and interviews across multiple languages, Dalrymple excavates five key partitions that reshaped the political, cultural, and emotional geography of the region. From boardroom deals and battlefield lines to personal stories of loss, resistance, and reinvention, the session reflects on how borders are drawn and the human cost they carry.”
His father, William, one of the founding directors of the festival, said: ”At JLF London at the British Library, we bring together some of the finest minds from across the world to explore the great questions of our time – from the rise of AI to the legacies of empire, from the pleasures of food and art to the complexities of geopolitics.
“This year’s edition reflects the festival’s commitment to rich, nuanced discourse, bridging cultures and offering a truly global literary experience.”
Namita Gokhale, a festival co-director – she will be talking about the re-publication of her novel, Paro, which came out in 1984 – commented: “At this volatile moment of change and transformation, we seek to make sense of our fractured world, and to explore and understand it through our shared stories.”
The éminence grise behind JLF is Sanjoy K Roy, managing director of Teamwork Arts, which describes itself as “a highly versatile production company with roots in the performing arts, social action and the corporate world”.
Sanjoy K Roy
He said: “We celebrate the power of literary thought to foster meaningful conversations and build bridges between cultures through our sessions at JLF London. The 12th edition of JLF London hosts diverse themes ranging from history and artificial intelligence to culture and geopolitics, food and art.”
Incidentally, Roy will be speaking to Bafta-winning playwright David Hare, celebrated as “the finest living British dramatist”.
Hare will provide “a peek into his remarkable career that has redefined contemporary theatre. Renowned for iconic works such as Skylight, Plenty and Racing Demon, Hare’s plays explore the intricacies of politics, power, and human relationships with unflinching honesty and wit. His innovative storytelling, blending sharp dialogue with profound moral inquiry, has left an indelible mark on stage and screen.”
Support for the festival was expressed by Jamie Andrews, the British Library’s director of public engagement: “The British Library looks after one of the world’s most significant south Asian collections, and international collaboration is at the heart of our mission as a library.”
The British Library had a message for Asians in the UK and typically Eastern Eye readers:
“We are the national library of the UK and we are here for everyone. Our shelves hold over 170 million items – a living collection that gets bigger every day. Although our roots extend back centuries, we aim to collect everything published in the UK today, tomorrow and far into the future.
“Our trusted experts care for this collection and open it up for everyone to spark new discoveries, ideas and to help people do incredible things.
Sheela Banerjee’s award-winning book
“We have millions of books, and much more besides. Our London and Yorkshire sites hold collections ranging from newspapers and maps to sound recordings, patents, academic journals, as well as a copy of every UK domain website and blog.
“Our public spaces provide a place to research, to meet friends, to start up a new business or simply to get inspired by visiting our galleries and events. We work with partners and libraries across the UK and the world to make sure that as many people as possible have the chance to use and explore our collections, events and expertise. And we’re always open online, along with more and more of our digitised collection.”
After this year’s London Book Fair, Eastern Eye reported that the British Library republishes crime novels, which first came out decades ago.
This year, Shobaa De is likely to prove a big draw at JLF, which says that the celebrity writer and columnist “is unapologetically bold, fiercely candid, and never afraid to stir the pot. Her popular column, Politically Incorrect, and her bestseller novels like Socialite Evenings and the more recent Insatiable, have won her global acclaim. She has spent decades challenging conventions with her sharp wit and candid observations. Her upcoming book, The Sensualist, is a provocative look at passion, power, and the private lives of modern Indians. In an unfiltered conversation with Yasser Usman, De talks about writing, relationships, and the art of being unapologetically herself.”
Dr Deborah Swallow, an expert on Indian art, will take part in a session on “libraries, museums and archives”, and Asma Khan, founder of the restaurant Darjeeling Express, will talk about food.
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Aamir Khan’s iconic transformation in Bollywood over the decades
Aamir Khan returns to the big screen this month in Sitare Zameen Par, a heart-warming Bollywood remake of the Spanish comedy-drama Campiones. He plays a disgraced basketball coach who takes on an unexpected challenge with a team of individuals with special needs.
Sporting a look unlike any from the past decade, the film – due out on 20 June – adds to the many transformations he has embraced over his career, from shifting hairstyles to dramatic facial hair.
Eastern Eye uses this new role as a chance to revisit the superstar’s evolving on-screen appearances.
Yaadon Ki Baarat (1973): An eight-year-old Aamir Khan made his film debut in a song sequence of this smash hit, produced and directed by his uncle Nasir Hussain. It marked the first time cinema audiences saw him on screen.
The actor’s evolving style from youth to maturity getty images
Qayamat Se Qayamat Tak (1988): After working in further films as a child star and assistant director, the baby-faced actor was launched as a leading man with the hit romantic musical. He established himself with that same clean-cut look in subsequent films.
Aamir Khan embracing vintage looks with classic charmgetty images
Baazi (1995): This action thriller failed at the box office but is remembered for Khan dressing in drag. The striking female get-up was arguably the only memorable aspect of an otherwise forgettable film.
Rangeela (1995): In this musical hit, Khan played a street-smart ruffian and debuted a rugged new look with heavy stubble. The image shift helped him fully inhabit the role and showcased a different side of him to audiences.
Bold and dramatic changes defining Aamir Khan’s careergetty images
Ghulam (1998): Heavily inspired by the 1954 Hollywood classic On the Waterfront, this film saw Khan blend ruggedness with a more heroic edge. His portrayal of a hoodlum with boxing skills left a lasting impact.
Dil Chahta Hai (2001): With its fresh haircuts and urban styling, Farhan Akhtar’s directorial debut introduced a new wave of contemporary cool to Hindi cinema. Khan’s image underwent a complete makeover as part of the film’s trendsetting aesthetic.
From rugged to refined Aamir Khan’s versatile appearancesgetty images
Mangal Pandey The Rising (2005): After a four-year hiatus, Khan returned with his most dramatic transformation yet – long hair and an epic moustache that brought to life the spirit of the 19th-century freedom fighter.
Rang De Basanti (2006): This story of youthful defiance gave Khan a refreshed haircut. In historical flashbacks, he adopted other appearances inspired by the past, adding further layers to his portrayal.
Ghajini (2008): In this remake of a Tamil film – itself inspired by Hollywood drama Memento – Khan adopted a dramatic new look with a muscular physique and buzz cut that intensified the film’s emotional and action-driven edge.
Memorable film moments showcasing Aamir Khan’s unique stylegetty images
3 Idiots (2009): Khan turned back the clock in this record-breaking film, transforming his appearance to convincingly play a young engineering student. He changed his weight, hairstyle and mannerisms to suit the role.
Delhi Belly (2011): Producing this crime caper, Khan made a cameo in a song sequence where he donned a retro disco look. Funky glasses, glittery costumes and exaggerated 70s flair helped him stand out in yet another memorable appearance.
Talaash The Answer Lies Within (2012): As a serious police officer, Khan adopted a subdued look – short hair, a neatly trimmed moustache and a haunted expression, completed by a simple police uniform.
Dhoom 3 (2013): To play identical twins with different personalities, Khan adopted a muscular physique, sharp haircut, tight outfits, a bowler hat and intense expressions. This gave him another memorable identity.
Aamir Khan’s blend of classic and contemporary fashiongetty images
PK (2014): Portraying an alien, Khan had to create an entirely unfamiliar look. He did this by pushing out his ears, widening his eyes and pairing innocent expressions with mismatched clothes to enhance the character’s quirky charm.
Dangal (2016): Although he appeared as a younger, muscular version of his character, Khan’s look in this record-breaking movie was defined by older age. He transformed himself with extra weight, grey hair and weather-worn expressions.
Secret Superstar (2017): In this acclaimed film, which he also produced, Khan played a flamboyant music director. Leather jackets, tight trousers, eccentric hairstyles, earrings, facial hair and a rockstar swagger made it one of his most over-the-top looks.
Thugs of Hindostan (2018): The actor pierced his nose for this swashbuckling period film. With long curly hair, a scruffy beard, old-fashioned clothes and roguish expressions, he embraced the character’s mischief and flair.
Aamir Khan’s dedication to authentic character portrayals getty images
Laal Singh Chaddha (2022): In this remake of Forrest Gump, Khan portrayed his character across different stages of life. From clean-shaven youth to a heavily bearded older man, he showcased a broad spectrum of looks in a single film.
Sitare Zameen Par (2025): In the Hindi remake of Campiones, Khan plays a short-tempered basketball coach. After decades of dramatic transformations, the 60-year-old returns to a look that closely mirrors his everyday appearance.
Rang De Basanti (2006): This story of youthful defiance gave Khan a refreshed haircut. In historical flashbacks, he adopted other appearances inspired by the past, adding further layers to his portrayal.
Ghajini (2008): In this remake of a Tamil film – itself inspired by Hollywood drama Memento – Khan adopted a dramatic new look with a muscular physique and buzz cut that intensified the film’s emotional and action-driven edge.
3 Idiots (2009): Khan turned back the clock in this record-breaking film, transforming his appearance to convincingly play a young engineering student. He changed his weight, hairstyle and mannerisms to suit the role.
Delhi Belly (2011): Producing this crime caper, Khan made a cameo in a song sequence where he donned a retro disco look. Funky glasses, glittery costumes and exaggerated 70s flair helped him stand out in yet another memorable appearance.
Talaash: The Answer Lies Within (2012): As a serious police officer, Khan adopted a subdued look – short hair, a neatly trimmed moustache and a haunted expression, completed by a simple police uniform.
Dhoom 3 (2013): To play identical twins with different personalities, Khan adopted a muscular physique, sharp haircut, tight outfits, a bowler hat and intense expressions. This gave him another memorable identity.
Cinematic milestones reflected in Aamir Khan’s on-screen imagegetty images
PK (2014): Portraying an alien, Khan had to create an entirely unfamiliar look. He did this by pushing out his ears, widening his eyes and pairing innocent expressions with mismatched clothes to enhance the character’s quirky charm.
Dangal (2016): Although he appeared as a younger, muscular version of his character, Khan’s look in this record-breaking movie was defined by older age. He transformed himself with extra weight, grey hair and weather-worn expressions.
Secret Superstar (2017): In this acclaimed film, which he also produced, Khan played a flamboyant music director. Leather jackets, tight trousers, eccentric hairstyles, earrings, facial hair and a rockstar swagger made it one of his most over-the-top looks.
Thugs of Hindostan (2018): The actor pierced his nose for this swashbuckling period film. With long curly hair, a scruffy beard, old-fashioned clothes and roguish expressions, he embraced the character’s mischief and flair.
Laal Singh Chaddha (2022): In this remake of Forrest Gump, Khan portrayed his character across different stages of life. From clean-shaven youth to a heavily bearded older man, he showcased a broad spectrum of looks in a single film.
Sitare Zameen Par (2025): In the Hindi remake of Campiones, Khan plays a short-tempered basketball coach. After decades of dramatic transformations, the 60-year-old returns to a look that closely mirrors his everyday appearance.
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The Ancient India: Living traditions exhibition at the British Museum
The British Museum’s Ancient India: Living Traditions is among the most significant displays for Hindus, Jains, and Buddhists living in the UK.
Eastern Eye was given a tour of the exhibition by its curator, Dr Sushma Jansari, the Tabor Foundation curator of South Asia at the British Museum, and Kajal Meghani, the project curator, who has completed a PhD on the contributions of South Asian collectors to the museum.
A seated Jain enlightened teacherAshmolean Museum, University of Oxford
Highlights in the exhibition include: Ardhanarishvara, “lord who is half woman” – Shiva and Parvati combined in one deity – dated about 1790–1810; the Bimaran casket, about 1st century; Gaja-Lakshmi (“Elephant Lakshmi”), goddess of good fortune, about 1780; Ganesha made in Java from volcanic stone, about AD 1000–1200; the head of a grimacing yaksha, about second or third century; Naga, about 17th century; a sandstone figure of Ganesha from Uttar Pradesh, about AD 750; a seated Jain enlightened teacher in meditation, about AD 1150–1200; and a silk watercolour painting of the Buddha from China, about AD 701–750.
Ganesha from JavaAshmolean Museum, University of Oxford
Jansari said one of the aims of the exhibition was to connect the figures with visitors, especially practitioners of Hinduism, Jainism and Buddhism in the UK.
She said: “Most of them don’t know a great deal about Indian religions, so (this is) just to say that these might be ancient images, but they are and have always been under veneration. People do venerate them. This isn’t all about just one religious tradition. It’s about three of the indigenous religions of the subcontinent. You’ve got the Buddha, Ganesh and a Jain enlightened teacher (in close proximity).
A Chinese silk painting depicting the BuddhaAshmolean Museum, University of Oxford
“It was important for me, as a member of the South Asian diaspora, that I didn’t want to split up these traditions. I wanted very much to look at our collections and ask, what are the commonalities between Jainism, Hinduism and Buddhism.
“What are their artistic origins? Just as we live alongside each other, it was the same in the ancient past. It was even more fluid because you didn’t subscribe to just one particular religion. You would venerate at different shrines. You’d subscribe to different aspects of these different religions.”
ArdhanarishvaraAshmolean Museum, University of Oxford
She stopped at one point: “We wanted you to feel the atmosphere of ancient India. We’re in early India, maybe about the second century BCE. Most of the population live in the countryside. There are obviously some amazing cities as well, but we’re looking at the countryside.
Head of a grimacing yakshaAshmolean Museum, University of Oxford
You’re living in an agrarian society. The failure of your crops means famine, and the success of your crops means you are likely to survive another year with your family, and you will prosper. And we’re just trying to evoke that.”
In Indian mythology, a yaksha is a class of supernatural beings, often nature spirits or deities, that can be benevolent, mischievous, or even malevolent. They are frequently associated with water, fertility, trees, the forest, treasure, and wilderness. Yakshas are often depicted as guardians of places or treasures and can be found in Hindu, Jain, and Buddhist texts, as well as in temples throughout South and Southeast Asia.
“You can hear the sounds of nature,” continued Jansari. “Maybe you’re walking through a dappled forest, and then you encounter the yakshas, the yakshis and the (snake gods) nagas and the naginis. And these are some of the earliest images of deities in the subcontinent, shaped in human form, which is incredibly important, but it doesn’t mean that they’re consigned to the past. This is not ancient and long gone, like an exhibition of beautiful Greek or Roman art, but those deities are no longer under active worship. These have a long continuous life.”
NagaAshmolean Museum, University of Oxford
The yakshas and the yakshis were “not all lovely, happy figures,” said Jansari. “Actually, they need to be placated. You’ve got these grimacing yakshas here, and they’re clutching sacrificial animals.”
She pointed out a figure of “a voluptuous woman draped in jewellery. There’s lots of floral imagery. You are thinking about fecundity and plenty. But then you look a bit more closely at her hair, there are weapons emanating out. These are powerful, independent goddesses with a martial quality.”
The Bimaran casketAshmolean Museum, University of Oxford
Jansari spoke about snakes and why in many societies in India, particularly in rural parts, they tend not to be killed.
She explained: “The nagas and the naginis were independent, really powerful gods. And in a society where the monsoon is incredibly important for the success or failure of your crops, the snakes are vital. You’ve got lovely plenty of water, which means your crops are growing, which means there are more rodents and frogs. So having lots of snakes around is a really healthy sign. They were venerated. They were not killed. It was considered very bad karma to kill a snake. And even now, you still don’t kill snakes. Within nature spirits, it’s not only yakshas and yakshis and nagas and naginis it’s also animal-headed deities.” She talked about the genesis of the exhibition: “I really wanted to show the connections between this ancient religious art and nature, but also the religions themselves. There are so many similarities. There are also key differences. I wanted to make sure that this exhibition is not seen as ancient objects from abroad which have no meaning or purpose here in the UK. They absolutely do for large portions of our society. This is very much part of British culture. That’s how Belgrave Road (in Leicester) happens.”
Meghani looked at “how these faiths and the practices travelled, not just from India to the UK, but there is this weaving through East Africa and other places, and how these traditions change and are adapted to these spaces, how it allows people to maintain a sense of connection with their families and also their faith.”
The curators had consulted places of worship in the UK. They included the Buddhapadipa temple in Wimbledon, the BAPS Shri Swaminarayan Mandir in Neasden in north London, as well as the Oshwal Association of the UK in Potter’s Bar in Hertfordshire.
Meghani said: “This is one of the films we created with a community partner in Potter’s bar. Manjula Shah, who volunteers at Potter’s Bar, wakes up at the crack of dawn to get to the temple for 7 am. She’s preparing sandalwood paste, and she’ll use that in the ceremony.
“And we wanted to include sites in the UK to show how South Asians are still carrying on their veneration practices within Britain today.
” In Ancient India: Living traditions is at the British Museum until October 19, 2025.
A NEW play explores the issues faced by this current generation of immigrants and questions the definitions of freedom and liberation, its playwright has said.
Permission, written and co-produced by Hunia Chawla, casts a questioning eye on the trope of ‘the oppressed Muslim woman’ and examines the links between patriarchy, protest, and the global political order.
In an interview with Eastern Eye, Chawla said, “There are not many voices of contemporary immigrants in today’s world. The immigrant stories we hear are from the 1950s and 1970s.
“There is not much discussion taking place, and I believe it is an important discussion to have, given everything that is happening in the world. What is the role of protest? Who gets to decide what freedom is? This tension between the West and the East that we often observe offers a new way of looking at these issues.”
Through the stories of Hanna (played by Anisa Butt) and Minza (Rea Malhotra Mukhtyar), the 70-minute play, which moves between a Heathrow immigration queue and a rooftop in Karachi, explores themes such as friendship, sisterhood, identity politics, and state violence.
“I believe this trope (the oppressed Muslim woman) holds significant importance because it is frequently employed to justify numerous oppressive measures against people from the global south, Muslims, and specific nations,” Chawla, who is in her late 20s pointed out.
“Consider, for instance, the situation in Afghanistan. There exists considerable outcry regarding the Taliban, and quite rightly so, as they are indeed oppressive towards women. However, the response to this oppression is the assertion that “we must save Afghans from the Taliban,” which then leads to sending weapons and dropping bombs on that very country under the guise of liberation. One ends up killing the same people one purports to liberate, and the irony of this situation is not lost on observers
“Similarly, regarding the Israel-Palestine conflict, much of the propaganda centres on the claim that all Palestinians are oppressive towards women and gender minorities, and this assertion is then used to justify genocide. Identity politics has become so divorced from actual political violence that it proves harmful at times – indeed, it is sometimes weaponised in deeply damaging ways.”
Hunia Chawla
According to the writer, who is from Karachi and lives in Yorkshire, the solution to the issue lies “simply in maintaining awareness”.
“It is crucial to recognise that Muslim women are not the only ones facing oppression, patriarchy exists everywhere. It is present here in the UK and across the globe, merely manifesting in different forms. The critical factor is determining who tells the story and who it serves.
“Currently, I observe a narrative structure featuring a saviour and the oppressed, with engagement conducted in a manner that serves the so-called saviour, who are, paradoxically, also the oppressors. This approach proves unhelpful and reinforces a colonial mentality of “we are modern and shall liberate you,” while considerable harm is being inflicted that remains largely unacknowledged,” she added.
In the play, Hanna tries to balance her political beliefs and personal choices by presenting herself as a ‘proper’ Pakistani woman. Her best friend, Minza, doesn’t care about appearing respectable to others. Their close friendship, played out in the busy city of Karachi, faces a major challenge when Hanna relocates to London seeking personal freedom and independence, meanwhile Minza stays behind in Karachi to campaign for political change through protests.
Chawla explained that while the play follows a chronological structure, showing Hanna’s journey from Karachi to London, it incorporates numerous flashbacks to her childhood and teenage years, creating a non-linear narrative.
She expressed her fascination with magical realism, noting that incorporating less naturalistic elements allows for greater character dimension and environmental shifts.
The play explores two distinct approaches to seeking freedom through its protagonists. Originally created as a 20-minute one-woman show and performed to a packed audience at The Space in London, Chawla developed the play into its current form over two years. She collaborated with director Neetu Singh to provide a “new vision” for the play.
She explained that Permission initially told the story of an immigrant girl from Pakistan dealing with the contemporary immigration process.
“The story expanded to explore the broader politics of immigration and questions of liberation and freedom, particularly for south Asian women navigating the immigration process and the complexities of dual identity between Karachi and London,” she said.
“Permission came from the essential question of what liberation means and who gets to define it,” Chawla said.
A still from rehearsal
She noted that Western media often presents reductive narratives, such as in Bend It Like Beckham, where a brown girl from a conservative family becomes “liberated” through western ideas, reinforcing a colonial mindset that positions the west as the standard for modernity and liberation.
The British Pakistani artist highlighted the hypocrisy within this narrative, explaining that while the main character Hanna may feel more secure as a woman in the UK, she encounters censorship when attempting to speak about state violence, Palestine, or western complicity in global conflicts.
“The liberation question becomes complicated – you’re not free to do everything. There’s a condition to that freedom,” she observed.
The Asian actor-writer developed an interest in poetry from a very young age. She studied at the University of Warwick and pursued a career in the financial sector upon completing her studies. She completed the Old Vic Theatre Makers programme and is currently part of the Soho Writers Lab.
Chawla added, “Viewers don’t need to be politically engaged to appreciate the production, as the play’s strength lies in intimate moments and the beautiful portrayal of friendship and sisterhood between its characters. Permission operates on multiple levels, combining serious political themes with genuine entertainment value. It is genuinely funny and engaging.”
She expressed confidence in the production’s broad appeal, noting that previous performances attracted diverse audiences who responded enthusiastically.
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Sons of the late, legendary Ustad Bahauddin Khan Qawwal
At a time when the spiritual essence of Sufi music is often diluted by commercial reinvention, Najmuddin Saifuddin & Brothers Qawwali Group stand tall as torchbearers of an unbroken tradition stretching back more than 700 years.
Sons of the late, legendary Ustad Bahauddin Khan Qawwal, the five brothers continue a sacred musical lineage dating back to the 13th century and the disciples of the genre’s founding figure, Hazrat Amir Khusro.
As they bring their stirring performances to audiences across the UK, the group shares stories from their journey, memories of landmark concerts, and the profound responsibility of carrying forward a legacy rooted in devotion, discipline and divine inspiration. The brilliant brothers – Muhammad Najmuddin, Saifuddin Mehmood, Zafeeruddin Ahmed, Mughisuddin Hasan and Ehtishamuddin Husain – also reflect on their inspirations and the best advice given to them by their legendary father.
How do you reflect on your journey as a group?
We have been on a meaningful journey since childhood, dedicated to presenting traditional qawwali to the world. But this journey began long before us – our family’s connection to qawwali dates back to Hazrat Amir Khusro’s time in the 13th century. Our ancestor was part of the very first qawwali group. So, this is a spiritual journey that has continued across generations, and it lives on through our current UK tour.
What has been your most memorable moment?
We have many wonderful memories – one was performing at Millennium Park in 2013, during the Chicago World Music Festival, where nearly 12,000 people sang along with us. In 2012, on the USA Worldfest tour, we had 1,500 school students singing qawwalis with us. On that same tour, we also performed at the triennial Jewish-Christian-Muslim interfaith dialogue.
Which other moments stand out?
In 2011, we performed at the inauguration of the Islamic Block of Metropolitan Museum in the US. A special highlight was collaborating with the Moroccan group Hassan Hakmoun Ensemble to present a kalam that merged qawwali with Gnawa – a form of African devotional music. In 2002, during a tour of Iran, we performed to an audience of 8,000, who all sang Persian kalaams with us. Honestly, every time we step on stage, it feels special.
How important is live performance to you personally?
We absolutely love performing live. The audience response energises us and adds momentum to our performance. That shared connection is what motivates us to give every show our all and create something unforgettable.
How much do you enjoy touring the UK and performing here?
We always enjoy performing in the UK. After Pakistan and India, the UK has the greatest appreciation for traditional qawwali and music with classical roots. Audiences here are excellent listeners who understand and value authentic qawwali. We hope to see everyone during our current tour, which is being organised by Jay Visvadeva of Sama Arts Network.
What can audiences expect from your shows?
As always, we will give our best kalaams and strive for perfection so UK audiences can experience traditional qawwali in its purest, most powerful form – deeply rooted in ancient tradition.
How do you generate so much power on stage?
Our uniqueness lies in our collective strength – we have always performed as a group rather than relying on a frontman. While many groups have just one or two lead singers, we have five. Audiences appreciate that and are often amazed that each member plays an essential role in the performance. That is why our shows are so dynamic and full of energy.
Them performing liveNajmuddin Saifuddin Qawwal Group
Tell us about the documentary you have made.
The documentary, produced by Kamran Anwar and Professor Katherine Schofield, traces the emergence, history and evolution of qawwali. It goes right back to the disciples of Hazrat Amir Khusro, who is recognised as the first qawwal in history. We are proud to say our ancestor was part of that original group.
How important is it to carry forward a legacy that stretches back centuries?
We are descendants of the leader of the first Qawwal Bachchay group. Ours is a continuous legacy spanning 25 generations, and we will continue to carry it forward. It is both our honour and our responsibility to preserve and pass on this tradition.
What do you most admire about your father, Ustad Bahauddin Khan Qawwal?
He was a true legend of the Khusro tradition. He believed in achieving perfection in every aspect of his work, art, and performance. He taught us every element of this tradition and was generous in sharing his knowledge, not just with us but with anyone who came to him. That is why his legacy extends far beyond the family.
What was the greatest lesson he taught you in your journey?
He always said, “Remain a disciple – never believe you are a teacher.” Being a disciple means you stay open to learning, remain inspired, and keep striving for perfection. The moment you think of yourself as a master, you stop growing, and others start questioning you.
What inspires you as a group?
We are inspired by simplicity, purity and excellence in performance. Our father never stopped striving for more, even though he was revered worldwide. He remained rooted in the Khusro tradition, and that focus continues to guide us. Our audiences also inspire us – whether we are performing for a few or for thousands, the energy they give back fuels us.
Why do you think Sufi music remains timeless and beloved?
Because it originates from the soul and speaks to the spirit. It brings calm, stillness and a sense of divine connection. Sufi music carries a universal message of love, humanity, equality, humility, peace and unity – all beautifully expressed through hypnotic rhythms and heartfelt vocals.
Why should people come to your upcoming UK shows?
Because the kind of qawwali we present is rare. It is not the inauthentic, Bollywood-style version that dilutes the genre. What we offer is real qawwali – in its purest form – and something you will not hear from any other group.
Najmuddin Saifuddin Qawwal Group are touring the UK until late July. Visit sama. co.uk for dates and ticket information.