An Indian act will be debuting a traditional art form in an extravagant circus show in central London this month.
Mallakhamb India! will be performing at the La Soirée theatrical performance event at the newly refurbished Aldwych Theatre, in the West End.
Performers Rajesh Amrale, 32, and Rajesh Rao, 33, will be showcasing the traditional art form of mallakhamb, initially invented to practise wrestling, which combines acrobatics, martial arts and yoga.
The pair have known each other for more than two decades and told Eastern Eye they are “proud” to represent their country on such a stage.
“It’s so great to see the reaction of people who have not seen mallakhamb performed before,” Rao said. “We hope to represent India in a very traditional way and make sure we show the audience a representation of our country’s culture.”
The performance is a whirlwind of infectious energy – the two artists balance themselves at awedropping angles, using every part of their body, with an accompanying soundtrack of Bollywood music.
The act was discovered by the creative producer of La Soirée, Brett Haylock. The Australian initially came across a viral video of the pair performing in India and sought to find a way of contacting them.
Haylock, who had no previous knowledge of mallakhamb, said within a few weeks he had located where the footage came from and eventually contacted Amrale over Facebook.
However, it took five years for the act to finally make it to the La Soirée platform, which is noted for its wild (and sometimes raunchy) acts.
“We threw around dates and they didn’t really work, but there was no particular rush – it was just in the back of my mind,” Haylock explained. “The right vehicle for us had to prepare itself and London is an ideal platform on which to present that act – the UK has a strong Indian association.”
Amrale and Rao have been performing mallakhamb since they were children: Rao from the age of six and Amrale from when he was 11.
“My father encouraged me to practise a traditional sport,” Rao recalled. “[Amrale] and I went to the same school and that was how we got involved. There were lots of people from our school doing it.”
When they were younger, the duo would practise six hours a day, but as adults, they admit it is “difficult” to spend so much time on mallakhamb.
“Now we are grown up, we have other duties,” Amrale said. “I teach mallakhamb back in India and [Rao] works as a choreographer. We are both very busy, but we are both so interested in making sure we can promote mallakhamb.”
Mallakhamb India! is the opening act of the show – a “significant, trust-worthy” decision, Haylock said.
“There is a little pressure,” Amrale laughed. “It’s a big responsibility. We just hope the audience understand the different emotions throughout the performance and they send us back that same energy.”
La Soirée, which is in its 14th year, features a variety of international acts, but this is the first time an Indian act has performed at the popular event.
Haylock explained it was “beautiful” to see the cultural differences behind the scenes.
“When you come to see the show, what you feel is there is a real family,” he said. “We cast this show as much backstage as we do onstage. It needs to gel. It is a genuine ensemble – people look after each other and watch each other’s acts and give each other tips.”
Amrale agreed that it was “great” to meet other international artists.
“Meeting the other amazing acts just makes you want to compete with them to make your own act better,” he laughed.
La Soirée will be at the Aldwych Theatre until February 3, 2018.
Forum brings UK and Chinese film professionals together to explore collaborations.
Emerging British-Asian talent gain mentorship and international exposure.
Small-scale dramas, kids’ shows, and adapting popular formats were the projects everyone was talking about.
Telling stories that feel real to their culture, yet can connect with anyone, is what makes them work worldwide.
Meeting three times a year keeps the UK and China talking, creating opportunities that last beyond one event.
The theatre was packed for the Third Shanghai–London Screen Industry Forum. Between panels and workshops, filmmakers, producers and executives discussed ideas and business cards and it felt more than just a summit. British-Asian filmmakers were meeting and greeting the Chinese industry in an attempt to explore genuine possibilities of working in China’s film market.
UK China film collaborations take off as Third Shanghai London Forum connects British Asian filmmakers with Chinese studios Instagram/ukchinafilm
What makes the forum important for British-Asian filmmakers?
For filmmakers whose films explore identity and belonging, this is a chance to show their work on an international stage, meet Chinese directors, talk co-productions and break cultural walls that normally feel unscalable. “It’s invaluable,” Abid Khan said after a panel, “because you can’t create globally if you don’t talk globally.”
And it’s not just established names. Young filmmakers were all around, pitching ideas and learning on the go. The forum gave them a chance to get noticed with mentoring, workshops, and live pitch sessions.
Which projects are catching international attention?
Micro-dramas are trending. Roy Lu of Linmon International says vertical content for apps is “where it’s at.” They’ve done US, Canada, Australia and next stop, Europe. YouTube is back in focus too, thanks to Rosemary Reed of POW TV Studios. Short attention spans and three-minute hits, she’s ready.
Children’s and sports shows are another hotspot. Jiella Esmat of 8Lions is developing Touch Grass, a football-themed children’s show. The logic is simple: sports and kids content unite families, like global glue.
Then there’s format adaptation. Lu also talked about Nothing But 30, a Chinese series with 7 billion streams. The plan is for an english version in London. Not a straight translation, but a cultural transformation. “‘30’ in London isn’t just words,” Lu says. “It’s a new story.”
Jason Zhang of Stellar Pictures says international audiences respond when culture isn’t just a background prop. Lanterns, flowers, rituals, they’re part of the plot. Cedric Behrel from Trinity CineAsia adds: you need context. Western audiences don’t know Journey to the West, so co-production helps them understand without diluting the story.
Economic sense matters too. Roy Lu stresses: pick your market, make it financially viable. Esmat likens ideal co-productions to a marriage: “Multicultural teams naturally think about what works globally and what doesn’t.”
The UK-China Film Collab’s Future Talent Programme is taking on eight students or recent grads this year. They’re getting the backstage access to international filmmaking that few ever see, including mentorship, festival organising and hands-on experience. Alumni are landing real jobs: accredited festival journalists, Beijing producers, curators at The National Gallery.
Adrian Wootton OBE reminded everyone: “We exist through partnerships, networks, and collaboration.” Yin Xin from Shanghai Media Group noted that tri-annual gathering: London, Shanghai, Hong Kong create an “intensive concentration” of ideas.
Actor-director Zhang Luyi said it best: cultural exchange isn’t telling your story to someone, it’s creating stories together.
The Shanghai-London Screen Industry Forum is no longer just a talking shop. It’s a launchpad, a bridge. And for British-Asian filmmakers and emerging talent, it’s a chance to turn ideas into reality.
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