EXCLUSIVE: Saif fearlessly conquering new acting frontiers
By ASJAD NAZIRDec 15, 2021
POPULAR MOVIE STAR SAIF ALI KHAN REVEALS HOW A BRAVE NEW APPROACH HAS TRANSFORMED HIS CAREER
TWO of the biggest blockbusters of 2022 have Saif Ali Khan in contrasting roles and show that he is now in the most exciting chapter of his long, distinguished career.
Hotly anticipated films Adipurush and Vikram Vedha will add momentum to a recent run of performance-driven projects for an actor in top gear. Not surprisingly, he is enjoying the wide variety of roles and feels motivated to cross more acting horizons.
Eastern Eye caught up with the popular Bollywood star to discuss this exciting new phase of his career, recent film Bunty Aur Babli 2, acting, future hopes and what keeps him inspired.
Is it a coincidence that all your recent projects are different to one another?
I don’t know! I mean it could also be that people are making different movies. It’s not really me choosing specifically to be different, but there is a choice to be made it seems. I’m a little aware. I was just telling somebody recently that I don’t want to fall into a trap, you know, of having to colour my hair green or something to look different in the next movie because you’ve got this thing of being an actor who’s playing different parts. There are traps everywhere, so I’m going to try to avoid that by playing a classic hero cop and classic hero fireman in my next two movies.
Is it fair to say that you are looking for performance-driven roles ahead of starry ones?
Absolutely! I don’t want to play the star. Even if you do play starry roles, you learn from my teachers in cinema, who I’m obviously nothing like – Al Pacino and people like this, who would look like stars, but avoid playing the star and kind of find a way to get in to the character and make it more about acting than looking good or whatever.
You’re great in dramatic roles, but is it fair to say that comedy is still the most natural genre for you?
I don’t know actually whether it’s still the most natural genre. It certainly was before and something I do enjoy tremendously. I think people like to see me in that when things are not being taken too seriously, so it’s great. I love it and it is something that I want to do.
What was it like teaming up with Rani Mukerji again after all these years for Bunty Aur Babli 2?
It was really nice. (Laughs) She’s the boss now (of Yash Raj Films)! So, there was that. But I was just very keen for us to be very good because that’s the only relevant thing. I mean, we have history and have done some very good things in the past, but that was a long time ago and now I just wanted it to work. And it did work. Normally my first day is a bit unsure, but here from day one, we were just in the same rhythm again because she’s a good actor. At her best, she is one of our best actresses. She will always make the scene work.
Your Bunty Aur Babli 2 co-star Siddhant Chaturvedi told me he was inspired by how energised you still are despite achieving so much. What keeps you so motivated?
I think it’s a balance for life, taking pride in your work and just making it special. And it is a tremendous privilege to be in front of the camera. I think that’s an attitude that we must have, and how do I entertain the audience. What can I do to just make it better, so that I can go home and have a nice drink when it’s done? You know, when you contemplate your life or midlife crisis, potentially, you say okay, well the wine’s not going to get any better and neither are my chats with friends. The only thing that I could improve it with is by working a bit harder. So that the time-out can be more enjoyable.
You are hugely in demand right now. What made you step into a sequel like Bunty Aur Babli 2, even though you didn’t play your character in part one?
Well, (producer) Aditya Chopra called me and said ‘this is what it is, are you interested in taking this forward’. A lot of my movies were ones I wasn’t the first choice for, so I don’t really have an issue with that, provided it’s all clear. He was very clear, and I said yes. I was also very keen on reuniting with Yash Raj Films because we haven’t worked together in a while. My producer used the word ‘homecoming’ in his text and that’s what it was. I’m not very sentimental about these things, in the sense that films come and go. Each film has its own kind of equation with the director and producer. Provided it’s all clear and everyone’s discussed everything, it doesn’t really matter whose playing what.
The projects you have on the way are incredible. Is this the most exciting phase of your career?
Really, it’s like planting and watching it grow. We did our hard work and chose very carefully. I have to thank my management team for helping me. To take Tanhaji and then Adipurush, and Vikram Vedha. All really exciting projects! There is also a fireman’s role for (production house) Excel. I’m really keen on doing well in those movies, so that I can improve my general stock in the industry.
One of the most anticipated films of 2022 is Vikram Vedha headlined by you and Hrithik Roshan. Does that put pressure on you?
Not really, because it’s a bloody good script and just reads really well. Obviously, on one level, it’s an edge-of-your-seat thriller and on another level, it is like, ‘wow, there is something deep happening here’. It makes you think as well and that doesn’t happen to me every day, where you get a double-edged kind of script. Something that’s working intellectually, but at the same time is just a page turner on the surface of it. I’m excited by it.
Hrithik Roshan (STRINGER/AFP via Getty Images)
A lot of people kind of focus on your stardom, but for me you’re a very good actor. What according to you is the secret of a good performance?
I’ve been asked this question so often that I started thinking about it a lot. I’ve never thought about it before. But I like to subvert any kind of ego and play the part for what it is, warts and all, especially if there’s a chance to do that, whether it’s a bad walk, stupid expression or speaking noisily. I shouldn’t talk about others, but I notice some I’ve worked with are not being genuine to the part because they are more concerned with looking good. I think that’s a mistake and it’s not something I’m interested in. So that could be the kind of attitude you’re talking about.
You have lived in the west and know the culture, so are one of the few frontline stars who could do Hollywood films. Why have you resisted doing projects in the west?
You’re right and I might be able to because I am one of the few Indian actors who understands western culture. It is not about language, it’s about culture. How a normal man speaks to his mother in India is different to America. Therefore, an American can never play an Indian, even if he was the right colour and sounding right, because culturally we are alien. So, it’s about understanding another culture and that’s why a lot of guys can’t do it. I could but it also involves a lot of relocation, struggle and starting again. All that kind of stuff, and I am very comfortable here. But this internet is shrinking the world every day. Maybe there will be a Netflix movie or something, where someone would say come over and do it. If it’s within the next three or four years and we’re not too old, maybe we could do it.
Saif Ali Khan(STR/AFP via Getty Images)
Do you carry characters home after you play them?
In a way, yes, but I really thought about something Shah Rukh Khan said about having a big bath and washing it all off and letting it go somehow. There needs to be some ritual and I think it might involve fire or something cleansing, and then whiskey. There should be a ritual where you have to get rid of them. I mean obviously part of them stay with you when you spend so long learning the lines and remember them for a few years afterwards. So that part stays with you, but you need to let it go. There needs to be a ritual. There aren’t enough rituals for things that we do. We have more rituals for religion than we do for life. I need to find that ritual of letting go.
Finally, what is it that inspires you today in life?
I think people who are constantly learning and changing after a certain age, like people working well in their fifties and beyond. People who are engaged and excited about life, and keeping their craft going upwards. So, Amitabh Bachchan inspires me because he’s just getting better and better. The way he speaks Hindi is amazing. Fitness, discipline, and role models change. You know we want to keep making money, keep working hard and not give up, so the role models are more about longevity.
By day, Prabhu Ram is a senior executive at a top investment bank in London. But when the suit comes off, another world unfurls – one filled with ancient sutras, secret societies, forgotten kingdoms and cosmic adventure.
His debut novel, Nectar on the Seven Hills – The Pure Seed, is a bold, genre-blending odyssey that bridges the sacred and cinematic, the mystical and the modern.
Set deep within the mythical forests of the Eastern Ghats, it is the first in an ambitious fantasy trilogy. The story follows three young protagonists – siblings Magadh and Yukti, and their friend Rudra – who return from America to India, only to stumble into an extraordinary mission. What begins as a routine visit transforms into a high-stakes race against dark forces and ancient enemies. At the heart of their quest lies the Pure Seed, a potent symbol of wisdom and power that could alter the course of humanity.
“The seed of this story was planted during a hike in Tirumala,” says Ram, reflecting on the moment inspiration struck. “The richness of India’s ancient history and wisdom found in Vedic literature, particularly the Bhagavatam and Bhagavad Gita, have always guided me. I often try to apply the core principles from these timeless scriptures to the corporate world, as an investment banking professional. That desire to bring these ancient ideas to a younger audience in a modern and engaging way became the foundation of this creative journey.
“A Harry Potter-style adventure had long been in my mind. Once I began plotting the characters, the story started to evolve into its best version.”
A bilingual writer and award-winning Tamil poet, Ram’s love for language, particularly his mother tongue, has been a lifelong passion.
“My creative writing journey started in Tamil – one of the world’s oldest languages, with a rich literary heritage. I had the opportunity to study the language in depth, which deepened my admiration for its vast and expressive poetic tradition,” he explains. “Discovering the works of many authentic Tamil poets was a turning point in my journey as a writer. I used to write poetry during long bus rides to school when I was young.”
Ram creates a global narrative tapestryOm Books International
Drawing on ancient Indian epics, Nectar on the Seven Hills – The Pure Seed is a homage to Indian texts, but also a cross-cultural historical reimagining.
Ram creates a global narrative tapestry that includes a hardened Chinese military officer on a covert mission and an ancient enemy waiting to seize the same force. Their paths intersect with the protagonists in a high-stakes race against time that explores lost knowledge, secret societies, and long-forgotten sutras.
At its core, the novel is a fantasy adventure with heart and heritage. Its cinematic storytelling and rich characterisation have struck a chord with younger Indian readers. The book quickly climbed the Amazon India charts to become a bestseller.
“Many readers have described the world-building as outstanding,” Ram shares. “A distinctive feature of the trilogy is the organic integration of scriptures and Sanskrit verses from the Bhagavad Gita and the Śrīmad Bhāgavatam. This approach has resonated particularly well with younger readers, drawing them closer to our rich spiritual heritage. Reviews from critics have also highlighted this element as a major strength of the work.”
Ram credits his upbringing steeped in literature and the arts, as well as the creative edge demanded by his professional life, as major influences on his writing.
“I try to bring creativity into everything I do, even in my day-to-day work. The corporate world has taught me something important: when you're competing with some of the brightest minds out there, being unique and creative is often the only path to truly stand out. Otherwise, you're just another number in the system.”
His fascination with the cosmos – galaxies, stars and the mysteries of the universe – also plays a role in shaping his imagination.
“These unanswered questions inspire me immensely. They spark ideas, fuel my imagination, and often find their way into my writing in unexpected ways.”
Ram has poured so much passion into crafting the book that he loves every part of it. “But if I had to choose, my top pick would be an epic moment in the story where the modern world suddenly and seamlessly transitions into an enchanting ancient setting. The shift is unexpected and leaves the protagonists completely speechless.”
This turning point in the narrative enables the characters to realise that they are not ordinary individuals, but rather destined for something far greater. It features characters from the lost kingdom of Kishkindha, from the time of the Indian epic Ramayan, who come to life. “Additionally, a pivotal character from the Śrīmad Bhāgavatam – a divine bull – appears to deliver a powerful secret that lies at the heart of the story. It’s a moment designed to leave readers truly awestruck.”
Moments like this elevate the book beyond adventure, tapping into themes of destiny and cosmic purpose.
Ram’s literary influences are broad and global. He cites The Lord of the Rings as a foundational inspiration. “Tolkien’s world-building is peerless,” he says. Among Indian writers, Amish Tripathi’s Shiva Trilogy made a lasting impact. “I deeply admire the way he reimagines mythology with a fresh, contemporary voice.”
Dan Brown’s fast-paced, code-cracking thrillers also played a part in shaping Ram’s approach to suspense and pacing.
As the trilogy unfolds, Ram promises the stakes will grow higher and offer more adventure in the next two books. His aim from is to captivate young readers and draw them into the fascinating world of ancient history, from India’s rich cultural heritage to other great civilisations. “At the heart of this trilogy is a deeper mission: to subtly introduce key messages and teachings from ancient scriptures, making them engaging and accessible. In the second instalment, readers will meet even more characters drawn from ancient texts who come alive to guide and sometimes challenge the protagonists. The story continues to expand in scope, magic, and meaning.”
He explains that the trilogy draws inspiration from the legendary Samudra Manthan – the churning of the ocean – a pivotal moment in ancient Indian history when there was an epic struggle between the Devas (gods) and Asuras (demons). “This symbolic event, representing the eternal battle between good and evil, becomes even more central as the series progresses. In the second and third books, this theme intensifies, with antagonists gaining strength.”
The mythological elements, combined with significant historical events, are woven together to create memorable moments for readers. “My goal is not just to make the sequel better, but to elevate it in a massive way. Expect more magic, more fantasy, and a deeper, darker setting where multiple characters chase their own agendas on the path to an ultimate revelation.”
What makes a great novel, he believes, is the ability to completely absorb a reader.
“A great book is unputdownable. It should grip the reader so fully that they do not want to do anything else until they’ve turned the last page. When a novel feels as addictive as binge-watching a Netflix series, the writer has truly succeeded.”
He says for that to happen, everything must align. “The story must connect. The plot must feel fresh and original. The language should be simple yet powerful. The style needs to inspire. The characters must come alive, so much so that the reader feels what they feel, roots for them, fears for them, and even wants to take revenge on the antagonists themselves.”
For aspiring writers, Ram has one central message: don’t stop until you’re holding the paperback in your hands. “That moment is worth every struggle,” he says.
And why should readers pick up his novel now available in UK? Ram smiles: “You don’t just want to read a book, you want to live in it. That’s how I feel every time I pick up a great story. It should pull you in, leave you breathless, and never let go. If you're ready to experience history like never before, in a universe that is both ancient and astonishingly new, then Nectar on the Seven Hills – The Pure Seed is your next adventure. Truly magical. Admirably global. Ambitiously rooted in ancient wisdom. The characters will leave you awestruck. The plot will give you goosebumps.”
Nectar on the Seven Hills – The Pure Seed is available now, published by Om Books International
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From the moment Poppy and Rubina stepped onto the stage of Soho Theatre in central London for Brown Girls Do It Too: Mama Told Me Not to Come, the energy was electric, the laughs non-stop, and the message loud and clear: British Asian women are done with silence.
What began as a ground-breaking, award-winning podcast that sparked online backlash for daring to talk openly about sex and relationships within South Asian communities has now evolved into arguably the most unique and fearless live show of the year.
Set against a cheekily colourful bedroom backdrop, this dynamic duo dived headfirst into everything from sex, shame, fantasies and motherhood to the layered realities of growing up as British Asian women. With sharp, smart transitions between confessional-style conversation and character-driven sketches, the show
managed to feel both intimately honest and wildly theatrical.
It is rare to witness a show that is both this hilarious and this importantAMG
One moment they were sat discussing sexual awakenings and mother–daughter culture clashes; the next, they were morphing into wickedly satirical versions of Priti Patel and Suella Braverman or belting out a catchy song – a side-splitting ode to Jolen bleach and body hair, brilliantly riffing off Dolly Parton’s Jolene. A recurring sketch involving a “Coconut Crimes Hotline” was a comedic masterstroke, and their hilarious mother–daughter bits had most in the audience instantly relating.
It is no surprise the crowd, largely women, many of them British Asian, responded with raucous joy. This representation, delivered with bite, boldness and belly laughs, made them feel seen. They did not just watch Mama Told Me Not to Come – they felt it, because it reflected them.
Poppy and Rubina’s magnetic chemistry, unstoppable presence and ability to straddle personal vulnerability with political satire was nothing short of genius. It is rare to witness a show that is both this hilarious and this important. And just when you think it is all laughs, they deliver a powerful emotional gut punch, ending the evening with heartfelt letters to their respective mothers, which brought tears to many eyes and underlined just how deeply the show resonates.
This is not just a standout – it is the show that is going to take the Edinburgh Fringe by storm in August. Bold,
brilliant, blisteringly funny and ultimately moving, Brown Girls Do It Too is a fantastic five-star triumph in every sense.
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Pooja Singhal on reviving Rajasthan’s Pichvai art with Feast Melody and Adornment in the UK’s largest showcase
For the first time, London’s Mall Galleries will host a major exhibition dedicated entirely to Pichvai paintings, an intricate devotional textile tradition from Rajasthan. Titled Feast, Melody and Adornment (2–6 July 2025), the show brings over 350 artworks to a British audience, highlighting the evolution and global revival of this 400-year-old art form.
Curated by Pooja Singhal, founder of Udaipur-based atelier Pichvai Tradition and Beyond, the exhibition is being hailed as the most ambitious contemporary presentation of Pichvai to date. In fact, it marks a powerful shift in how Indian temple art is being experienced: not in hushed museum archives, but as a vibrant, living tradition reaching new audiences.
Pichvai, meaning “behind the idol”, originated in the 17th century in Nathdwara, a temple town near Udaipur. Artists created these large-format cloth paintings for daily darshans (ritual viewings) of Srinathji, a baby Krishna deity. These works captured moments of shringar (adornment), bhog (feasting) and raag (devotional music), and were displayed behind the idol in the sanctum.
Deccan Miniature Images - Gold Cows on red getty images
Over time, these temple painters formed a tight-knit community. “My mother collected Pichvais, and my grandfather sold them,” says Singhal, whose childhood was steeped in this visual tradition. “I literally grew up surrounded by them.”
Layers of meaning, scale and detail
Though often mistaken for simple Krishna depictions, Pichvais are complex, layered artworks. They can include over 100 miniature elements like cows, lotuses, chariots and gopis, often spanning six to eight feet in height. Some motifs, like lotus blooms, are symbolic too, evoking cooling relief during Rajasthan’s scorching summers.
Pastel Lotus getty images
“Pichvai is unique because it marries the scale of a textile with the detailing of miniature painting,” explains Singhal. “Every inch has a hundred layers. You can stand there for hours and keep discovering new stories.”
Krishna as Govindagetty image
Schools of miniature painting from Nathdwara, Bundi, Jaipur and Kishangarh influence the styles on display. Some resemble aerial maps of temple festivals; others evoke the rhythm of music or the warmth of food being served to devotees.
Reimagining tradition for a global audience
Singhal’s goal since launching Pichvai Tradition and Beyond in 2010 has been to preserve traditional methods while adapting them for modern collectors. Her key innovations include:
Grayscale reinterpretations for minimal, contemporary homes
Greyscale Pichvais
Restored sketchbook folios, recreating daily temple scenes from archival fragments
Sketches
Pastel colour palettes and geometric cow motifs to appeal to wider interiors
Modern Cow Pastel
Framing artworks individually, allowing Pichvai sketches to stand as contemporary works in their own right
Sketches
These modern adaptations haven’t diluted the tradition; they’ve helped it grow. One of the atelier’s works was even selected by Prime Minister Narendra Modi as a diplomatic gift to a foreign leader, an unexpected milestone that, according to Singhal, affirmed the relevance and stature of this centuries-old tradition in the modern world. “When a Swedish collector bought a grayscale Pichvai at the India Art Fair, I realised the form can travel,” she says.
Pichvai gifted to Narendra Modi
A new system for old skills
Breaking away from the age-old guru–shishya (teacher–disciple) model, Singhal’s atelier now works more like a studio collective. A team of 10–12 artists from different miniature schools collaborate on large and small format works.
“Many painters had no work,” she says. “We started smaller Pichvais and even Deccan-style gold miniatures. It gave artists a viable livelihood.”
Black and gold Gopis
Bringing Pichvai to Britain
Shipping 350 works across continents has taken six months of preparation. The Victorian-era Mall Galleries, located near Trafalgar Square, has never hosted an Indian temple art show of this magnitude.
The artworks are split across three interconnected rooms, themed around Raag, Bhog and Shringar. Alongside the art, there will be over 15 events including artist walkthroughs, collector previews, academic panels, and auctions benefiting Rajasthan’s artisans.
The Haveli of Shrinathji
“I’ve never worked at this scale before,” Singhal admits. “But if every visitor leaves feeling connected to the art, it’ll be worth it.”
What it means for British-Indian audiences
This is the first exhibition in the UK to exclusively showcase newly created Pichvais, not just preserved artefacts. For British-Asian families who’ve seen such works in temples or family homes, it’s a rare chance to see them celebrated on an international platform.
“Many have never seen this tradition at such scale or detail,” says Singhal. “And now, these living artists, whose families have painted for generations, get their moment.”
📍 Mall Galleries, The Mall, London SW1Y 5BD 📅 2–6 July 2025 🕙 10:00–18:00 daily (until 19:00 on 4 July) 🎟️ Admission: £12 (₹1,280), £8 (₹850), Free for Under 12s 🔗 More info: mallgalleries.org.uk
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The strike highlights long-standing concerns among Louvre staff
The Louvre Museum in Paris, the world’s most-visited art institution, was forced to shut its doors to the public for most of Monday, 17 June, as workers staged a spontaneous strike in protest over chronic overcrowding and deteriorating working conditions.
Thousands of ticket-holding visitors were left waiting in long queues beneath the museum’s iconic glass pyramid, with no clear explanation provided on-site. Many expressed frustration over the lack of communication and the disruption to their plans.
Staff protest against 'untenable' conditions
The walkout took place during a scheduled internal meeting, during which gallery attendants, security staff and ticket agents decided to withdraw their services. According to the CGT-Culture union, the protest was triggered by “unmanageable crowds”, insufficient staffing and unsafe working conditions.
Sarah Sefian of CGT-Culture said, “We can’t wait six years for help. Our teams are under pressure now. It’s not just about the art – it’s about the people protecting it.”
The strike highlights long-standing concerns among Louvre staff, including inadequate facilities for both visitors and employees. These include limited restrooms, a shortage of rest areas, and extreme temperature swings within the museum that also pose a risk to the artworks.
Louvre’s overtourism problem
Over 8.7 million people visited the Louvre in 2023 – more than double the capacity the building was designed to handle. Despite a daily visitor cap of 30,000, staff say that the volume, combined with inadequate infrastructure, turns the museum experience into a daily “physical ordeal”.
Central to the issue is the popularity of the Mona Lisa, which draws around 20,000 people a day to the Salle des États. The crowding in this room often prevents visitors from appreciating the surrounding Renaissance masterpieces. Some tourists describe the experience as overwhelming, with little chance to enjoy the art amid the noise, heat, and crowding.
Renovation plans and funding concerns
In January 2025, President Emmanuel Macron unveiled a €700–800 million “Louvre New Renaissance” plan to address the museum’s pressing issues. Under the plan, the Mona Lisa will be relocated to a purpose-built gallery with timed entry. A new entrance near the Seine River is also expected to be completed by 2031 to alleviate congestion at the existing pyramid entrance.
However, Louvre staff remain sceptical about the project’s impact. While the plan promises improved display conditions and a modernised visitor experience, unions have criticised the government for allowing annual state subsidies to fall by over 20 per cent in the past decade, despite increasing footfall.
“We take it very badly that Monsieur Le President makes his speeches here in our museum,” said Sefian. “But when you scratch the surface, the financial investment of the state is getting worse with each passing year.”
A leaked internal memo from Louvre President Laurence des Cars echoed many of these concerns. The document described failing infrastructure, including leaks and temperature fluctuations, as well as poor basic visitor services such as signage, food and restrooms.
Limited reopening possible, full closure expected Tuesday
Some striking staff indicated they might briefly reopen a limited “masterpiece route” on Monday evening to allow access to key artworks, including the Mona Lisa and Venus de Milo. However, the museum is officially closed on Tuesdays and is expected to resume normal operations on Wednesday.
Visitors affected by the strike may be allowed to reuse Monday’s tickets on another day, subject to availability.
Financial outlook and restoration timeline
The Louvre’s full renovation is expected to be financed through a mix of ticket revenue, government contributions, private donations, and proceeds from international partnerships, including licensing from the Louvre Abu Dhabi. Ticket prices for non-EU visitors are expected to increase later in 2025.
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Unlike other major Parisian sites, such as Notre Dame Cathedral and the Centre Pompidou – both of which are undergoing state-funded restorations – the Louvre remains underfunded and overstretched. Staff argue that without immediate action, both the museum’s collection and its workforce are at risk.
President Macron, who delivered his 2017 election victory speech at the Louvre and used it prominently during the 2024 Paris Olympics, has promised a revitalised museum by the end of the decade.
For now, however, the Louvre remains emblematic of the broader overtourism challenges facing cultural landmarks across Europe. With no short-term solutions in place, both staff and visitors remain caught between ambition and reality.
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Father’s Day reflects a wide range of traditions shaped by history, culture and emotion
Father’s Day is often seen as a time for cards, tools or a family lunch, but across the globe, it carries a much deeper significance. Beyond the commercial promotions, Father’s Day reflects a wide range of traditions shaped by history, culture and emotion. While some mark the occasion with grand gestures, others focus on quiet reflection, respect and the bonds that define fatherhood.
Thailand’s day of respect
In Thailand, Father’s Day is celebrated on 5 December, the birthday of the late King Bhumibol Adulyadej. The day is as much about honouring the nation’s former monarch as it is about celebrating fatherhood. Citizens wear yellow, the king’s birth colour, and present canna lilies to their fathers as a symbol of gratitude and respect. It’s a cultural blend of familial and national reverence.
Germany’s tradition of brotherhood
Germany takes a different approach. Known as Vatertag, or Father’s Day, it coincides with Ascension Day and is often marked by groups of men going on hiking trips, pulling wagons of food and drink. While it may appear more social than family-oriented, the tradition is rooted in camaraderie and shared responsibility among men and father figures.
Remembering fathers in Mexico
In Mexico and across parts of Latin America, Father’s Day is a time to honour both the living and the departed. Families often visit cemeteries to pay tribute to late fathers and gather to share stories and memories. It’s a day that highlights legacy over materialism, where the emotional role of a father is celebrated beyond life itself.
The expanding meaning in India
In India, Father’s Day doesn’t have deep historical roots, but its popularity is growing among urban families. Influenced by Western customs, it is increasingly used to recognise not only biological fathers, but also mentors, guardians and elders who provide support and guidance. The day is evolving into a broader celebration of male role models across generations.
A shared message worldwide
Though celebrated in different ways, Father’s Day across cultures shares a central idea: appreciation. Whether through a gift, a walk, a meal or a memory, the day is about acknowledging the role fathers and father figures play in shaping lives. In a time when traditional family structures are changing, this occasion also highlights that fatherhood is defined not just by biology, but by love, responsibility and care.
A thoughtful reminder
Rather than focus on finding the perfect present, Father’s Day offers an opportunity to be present. A simple message, a phone call or a shared moment can mean more than any physical gift. In a fast-moving world, slowing down to recognise those who’ve quietly supported us is perhaps the most meaningful tribute we can give.