Navratri gets a global tune with Gujarati–British folk fusion
The piece blends the iconic Gujarati folk song Kon Halave Limdi Ne Kon Halave Pipdi with the classic English–Celtic ballad Scarborough Fair
By Mahesh LiloriyaAug 25, 2025
This Navratri, the traditional rhythms of Garba are being paired with the timeless melodies of British folk in a new musical fusion that promises to bring fresh energy to the festival.
The piece blends the iconic Gujarati folk song Kon Halave Limdi Ne Kon Halave Pipdi with the classic English–Celtic ballad Scarborough Fair. It is performed as a duet by Gujarati folk singer Kashyap Dave and Western classical vocalist Vanya Bhatt, a graduate of Christ University, Bengaluru.
Rooted in Surat, Gujarat—the city where the British East India Company established its first factory in 1612—the collaboration connects two cultures centuries apart, showing how music can transcend time and geography.
“For me, Kon Halave Limdi captures the joy and energy of Garba,” said Vanya. “Pairing it with Scarborough Fair created a harmony that feels both new and familiar, perfect for global Navratri celebrations.”
Music producer Jimmy Desai called it “a rare and exciting blend.” He added: “It’s not often you hear operatic vocals flowing seamlessly over Garba rhythms. We wanted to preserve the essence of both traditions while making the music festive and universal.”
The English ballad, originally romantic, has been reworked with lyrics highlighting the camaraderie, joy and togetherness central to Navratri.
“The Gujarati melody instantly evokes community spirit,” said Kashyap. “Combining it with a British classic gives it cross-cultural appeal, making it suitable for celebrations anywhere in the world.”
The fusion, the team said, is more than just a song: it is a celebration of heritage, a bridge between East and West, and a musical thread tying hearts together during the festival of dance, devotion and community.
The Shahbaz Fayyaz Qawwal Group return to the UK with a nationwide tour after viral success online.
The ensemble of brothers blend centuries-old qawwali traditions with fresh improvisations that connect with young audiences.
From Pakistan to the USA and UK, their performances have won acclaim for their electrifying energy and spiritual depth.
Fans can expect new instruments, reimagined classics, and the same message of love and harmony at this year’s shows.
From viral sensation to global stages
When a performance goes viral, it can change an artist’s career overnight. For the Shahbaz Fayyaz Qawwal Group, their stirring renditions of Bhar Do Jholi and B Kafara propelled them from local fame in Pakistan to global recognition, amassing millions of views across platforms. What set them apart was not just the power of their voices, but the way their music resonated with younger listeners who were hearing qawwali with fresh ears.
That viral momentum soon carried them beyond borders, leading to major performances in the United States and the UK. “It wasn’t just one track,” the group explained. “We revived older gems like Kali Kali Zulfon and Dil Pukare Aaja in our own style, and those went viral again, showing that qawwali still speaks across generations.”
Heritage, family and style
The Shahbaz Fayyaz Qawwal Group’s uniqueness lies in their roots. Composed of seven brothers and joined by fellow musicians from respected musical families, the ensemble was trained by their late father, himself a master of the art form. On stage, as many as 15 to 20 performers create a sound that is both deeply traditional and daringly modern.
Their shows are alive with improvisation. In the middle of a devotional track, harmonium player Shahbaz might suddenly weave in a melody from a contemporary Bollywood hit, while lead vocalist Fayyaz channels his energy into unrestrained movements and audience interaction. “When different styles meet, something new emerges,” they said. “That’s what keeps the music vibrant.”
UK audiences and the international journey
Having performed across the USA, the Middle East and Europe, the group describe UK audiences as particularly electric. “Each time we perform here, the atmosphere is charged. People don’t just listen – they become part of the performance,” they said.
Their repertoire often draws requests from fans who expect to hear viral favourites alongside traditional classics. “Sometimes, if organisers don’t allow us to perform songs like B Kafara or Dil Pukare Aaja, the audience won’t let the show continue. That’s the level of passion here,” they recalled with a laugh.
Keeping qawwali alive for new generations
While the roots of qawwali stretch back centuries, the group see their role as carrying the tradition into the present. By fusing tabla, harmonium and handclaps with newer instruments and arrangements, they appeal to younger listeners without losing the music’s essence.
“We want every audience to feel peace, harmony and love when they leave our concerts,” they said. “An artist should never belong to just one group of people – music is for everyone.”
What fans can expect this tour
This year’s UK tour promises new surprises. The group have introduced fresh orchestral elements and added instruments to expand their live sound. Fans can expect a mix of beloved classics, spontaneous improvisations, and the chance to hear qawwali reimagined for today’s world.
For Shahbaz Fayyaz Qawwal Group, the mission remains unchanged: to honour their heritage, embrace new audiences, and spread the universal message at the heart of their art. As they put it: “We look forward to growing together with our fans. Let’s celebrate qawwali as a tradition that belongs to everyone.”
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Woodcut prints that explore the fragile threshold between body, time, and transcendence
Inspired by Baul mystics like Lalon Shai and Shah Abdul Karim, as well as sculptural forms from Michelangelo to Rodin
Figures emerge from black holes and womb-like voids — trapped in time yet reaching for freedom
A visual dialogue between flesh and spirit, rootedness and flight
A bold continuation of South Asian metaphysical traditions in contemporary form
Paradox becomes the path: muscular bodies dream of escape through light, memory, and love
Expressionist in tone, haunting in imagery — a theatre of becoming
I imagine Tarek Amin (Ruhul Amin Tarek) has a singular vision as his hands work on his craft, his measuring eyes, the membranes of his fingers. They are mostly woodcut prints on the threshold of becoming, from darkened holes. A human figure dangling in space, yet not without gravitational pull, the backwards tilt of the head is like a modern-day high jumper in the fall position, the muscles and ribcage straining to keep the body's mass afloat. A clock is ticking away in the background of a darkened rectangle. Is it the black hole, the womb, or the nothingness from which the first murmurings of being, its tentative emergence into light, can be heard?
A clock is ticking away in the background of a darkened rectangleManzu Islam
This one is in the darkened inside of a clock, as if in the womb of time, but not quite trapped in the savage tick-tock of the metronome, for the body in its stylised repose is already stirring to take flight. Why else would the face turn away from the body in its sideways position and look beyond the dark hole, beyond the frame of time?
Even the figure deep in sleep in the primal bed of the darkened womb is not as lost to time as it first appears. The legs have already wriggled their way beyond the frame. Besides, the folds of the garment covering the lower body are billowing in the wind, as if responding to the summons of the beyond to take flight into the infinite. They are all over, these black holes that imprison even a tiny flicker of light. Staged almost as an expressionist theatre reminiscent of Ludwig Kirchner et al and the Bridge Group’s woodcut prints where dark areas, looming large, provide abodes for the likes of Nosferatu or the sinister zones of danger in a Hitchcock film, but always pointing to the lighted outside, the avenue of escape, even transcendence, as Tarek Amin tends to think.
Often bathed in metamorphic ochre and orange, these figures inspired by Bengal’s deep-rooted philosophers and mystical poets, such as Lalon Shai and Shah Abdul Karim, are swept along by their melodies of love and dread, which, despite being authorised in the name of an ineffable stranger, never fail to touch the very membrane of the soul. Perhaps that’s why Tarek Amin calls this series of artwork Echoes of Existence.
The body in its stylised repose is already stirring to take flightManzu Islam
In Ovid’s Metamorphoses, Narcissus, trapped in the mirroring surface of the water, stays deaf to Echo’s lovelorn calls. From Tarek Amin’s canvases, the echoes resolute not to take no for an answer insist on being heard, even though they speak in whispers.
What do these echoes speak of? Mostly of bodies, sinuous bodies toned and chiselled like Yukio Mishima’s, destined for a metaphysical journey. These journeys are fraught with dangers, as Mishima’s have been, imploding in a manic misadventure. Tarek Amin’s bodies, taken at once from the body-centred metaphysics of the Bauls (of which Lalon Shai and Shah Abdul Karim are preeminent figures), and from the long lines of sculptures from Michelangelo to Rodin and beyond.
Auguste Rodin looked at Michelangelo, who spurred him on his creative journey. But the Frenchman, being a workman and given to the sheer materiality of objects, the thingness of things which prompted Rilke to his poetic exploration of Dinggedicht (thing-poem), gave his figures ample volume, substance, and the rough edges of their emergence. Rodin’s bodies, weighed down by their dense matter, are rooted in places. They are too heavy to take flight. Analogous to Rodin, although working in a different medium, is the work of Bangladeshi painter SM Sultan. His embodied figures, mainly peasants bulging with muscle, know only work. Labouring in the fields, their muscles protruding all over their anatomy, creating fleshy mountains and slopes that even the likes of Arnold Schwarzenegger couldn’t dream of in their wildest imagination, is too heavy. They seem more likely to sink under their own weight than take flight. If there is an escape route for them, it is by digging deep, like Kafka’s moles.
Sure, bodies are houses of being, but some bodies are bent on dragging their being elsewhere. This, I sense, is the case in Tarek Amin’s work. Muscular bodies, bound by the sheer force of their materiality, and yet they want to fly elsewhere, it doesn’t matter how one names it: beloved, divine, or even God (Lalon imagines him as a strange neighbour in a hall of mirrors so close and yet aeons away). It seems we’ve ended up with a paradox. Rooted in bodies and yet looking for lines of flight. Imprisoned by the clock and yet wishing to melt it away as Salvador Dalí so theatrically wanted, or as Henri Bergson so patiently waited to experience his durée, as the cubes of sugar dissolved in water, which sent young Marcel Proust wild with excitement, thinking he had found the key to retrieving lost time.
Yet paradox is not a negative force. In carnival, particularly in the Caribbean one sees some figures in their limbo dancing, lowering themselves to almost ground level to pass the bar, while others elongate themselves on stilts to touch the sky. The high and the low, all at the same time, is the force that disrupts the habitual orders of things. It unleashes the forces of creation.
Tarek Amin’s bodies, then rooted in their flesh and chiselled muscles, and in dreams of escape with the melodies of Lalon Shai and Shah Abdul Karim are the figures of freedom. It will be a bumpy ride, but I wish them well.
Exhibition Title:Echoes of Existence
Artist: Tarek Amin Date: 20–27 June 2025 Venue: Spitalfields Studios, London E1
Manzu Islam is a British-Bangladeshi writer and academic, author of The Mapmakers of Spitalfields, Burrow, and Godzilla and the Song Bird. His fiction explores migration, racism, and cultural identity through vivid storytelling rooted in postcolonial experiences.
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The song delivers a strong critique of social inequality
Welsh-based British-Asian artist Nayyah releases Bees & Honey, a reggae-trap fusion track
Features reggae legends Apache Indian and Amlak Tafari
Produced by Mikey ‘Megahbass’ Fletcher
Song critiques inequality but delivers a message of hope
Lead single from upcoming album Fire In My Soul
Official music video filmed in Llandudno, out now
British-Asian artist Nayyah has released Bees & Honey, a collaborative single featuring reggae icons Apache Indian and Amlak Tafari. The track was produced by Mikey ‘Megahbass’ Fletcher, known for his work with Alborosie, and brings together reggae roots with contemporary trap rhythms. Filmed in Nayyah’s hometown of Llandudno, the video is now available on YouTube.
The song delivers a strong critique of social inequality — highlighting how those who work the hardest often receive the least — while also promoting resilience and self-belief.
A collaboration with musical heavyweights
Producer Mikey Fletcher recalled how the song began:
“Nayyah brought me this idea and a melody for the track. I tried out some reggae beats, but his unique style called for something different. I played with a trap rhythm idea, and it fitted like a glove.”
Amlak Tafari added his signature vocals and brought in Apache Indian, whose contribution was both a tribute to his global hit Boom Shack-A-Lak and a reimagining of his classic style.
Apache Indian praises Nayyah’s talent and vision
Apache Indian called the collaboration a “breath of fresh air” and commended Nayyah’s creativity:
“It was an honour for me to feature on this song, which has a fantastic video filmed in his home town. His album is nothing less than a masterpiece.”
- YouTube YouTube/ NAYYAHREGGAE
Bees & Honey part of upcoming album Fire In My Soul
The single is taken from Fire In My Soul, Nayyah’s forthcoming album featuring some of Jamaica’s most respected musicians:
Sly Dunbar, Stephen ‘Cat’ Coore, Dean Fraser, Stephen ‘Lenky’ Marsden
Paul Kastick, Robert ‘Dubwise’ Browne, Carol ‘Bowie’ McLaughlin
UK contributions from Steve Grantley (Stiff Little Fingers) and James Stevenson (The Cult, The Alarm)
Original Salvador Dali painting found at a house clearance sale in Cambridge.
Bought for £150, now expected to fetch £20,000–£30,000 at auction.
The piece, Vecchio Sultano, is part of a rare series linked to The Arabian Nights.
Confirmed authentic by Dali expert Nicolas Descharnes.
Auction to be held by Cheffins on 23 October.
Dali original rediscovered in Cambridge sale
A painting by Salvador Dali, bought for just £150 at a house clearance sale, has been authenticated as an original work by the surrealist master and is expected to sell for up to £30,000 at auction.
The artwork, titled Vecchio Sultano, is a mixed media piece featuring watercolour and felt-tip pen. It was acquired in 2023 by an art dealer who later discovered it had been fully attributed to Dali when previously offered at Sotheby’s in the 1990s.
Authenticated and set for auction
The painting has now been certified as genuine by leading Dali expert Nicolas Descharnes. It will be offered by Cambridgeshire-based auctioneer Cheffins on 23 October. The seller has chosen to remain anonymous.
Gabrielle Downie, associate at Cheffins, called the find a “significant rediscovery”:
“The loss of an attribution is quite rare in the modern art world. To handle a genuine rediscovery of a work by someone who is easily one of the most famous artists in the world, and the godfather of Surrealism, is a real honour.”
Only 100 pieces were completed before the project was abandonedCheffins Auctioneers
Link to The Arabian Nights project
Vecchio Sultano depicts a scene from The Arabian Nights and was part of a planned series of 500 works Dali had intended to create, inspired by Middle Eastern folk tales. The project was commissioned by Italian collectors Giuseppe and Mara Albaretto, who had originally asked Dali to illustrate a Bible in 1963. Dali instead chose to focus on 1,001 Nights, reflecting his fascination with Moorish culture.
Only 100 pieces were completed before the project was abandoned. Of these, 50 remained with the publishers and were damaged or lost. The remaining 50 were kept by the Albaretto family and later inherited by their daughter Christina, Dali’s goddaughter.
A rare piece of Dali’s legacy
According to Ms Downie, the artwork likely comes from the batch of 50 retained by the family and later lost. The surviving pieces were published in 2016 by the Folio Society.
With its unusual materials and cultural references, the 38cm x 29cm piece shows a lesser-known aspect of Dali’s creative practice. Ms Downie added:
“While Dali’s work is often some of the most recognisable, this is an unusual piece which shows a different side to his practice when working in watercolour.”
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UTSAV aims to become an annual celebration of Indian performing arts in Wales
Samarpan to host inaugural Indian classical dance festival ‘UTSAV’ in Cardiff
Festival includes Bharatanatyam, Kathak, Kuchipudi and Odissi performances
Features student showcases and senior artists from across the UK
Supported by Arts Council Wales and Royal Welsh College of Music & Drama
Aims to preserve, promote, and inspire future generations through traditional dance
Samarpan, a South Asian performing arts initiative founded in 2017 by Dr Leena Menon and Santosh Nair, is set to launch UTSAV, a new Indian classical dance festival in Cardiff, Wales.
The festival, supported by the Arts Council of Wales and hosted in partnership with the Royal Welsh College of Music & Drama, aims to address the lack of platforms for Indian classical dance in the region. UTSAV, meaning ‘celebration’ in Sanskrit, will showcase multiple classical dance styles in a day-long event, providing opportunities for both emerging students and established performers.
The first half of UTSAV will feature performances by Samarpan students and groups from across WalesSamarpan
Samarpan’s journey and the birth of UTSAV
Founded originally as a Bharatanatyam school in 2012, Samarpan evolved into a comprehensive performing arts organisation in 2017 under its current leadership. It is built on three pillars: education, outreach, and performance, offering dance and music classes both online and in-person across the UK.
According to Dr Leena Menon, the festival idea grew out of a long-standing gap in South Wales. “There’s a perception that Indian dance means Bollywood. Classical forms like Odissi or Kathak are rarely seen here. UTSAV is our way of preserving and passing on this legacy to the next generation.”
Samarpan has seen growing engagement from non-South Asian communities in Cardiff and beyondSamarpan
Santosh Nair, Samarpan’s Artistic Director, said that Wales lacked platforms where diverse classical forms could be seen together: “We want students to witness the distinct vocabulary of each style — not just to perform, but to truly understand and appreciate the depth of the art.”
Festival structure and artist line-up
The first half of UTSAV will feature performances by Samarpan students and groups from across Wales, offering them a platform to present their work as part of a curated 35-minute showcase.
The second half will present solo performances by senior artists, including:
Divya Ravi and Dr.Swarup Menon – Bharatanatyam
Payal Ramchandani – Kuchipudi
Elena Catalano – Odissi
Ashwini Kalsekar – Katha
These performers, based in the UK and internationally recognised, reflect a broad spectrum of artistic backgrounds — including medics, lecturers, and cross-cultural practitioners.
A local business, Ginger and Clove, is also supporting the festival with a 20% discount for attendees, extending the celebratory theme beyond the stage.
Inclusive and evolving vision
UTSAV aims to become an annual celebration of Indian performing arts in Wales, with future editions expected to feature international artists. According to the organisers, the mission is not only to promote artistic excellence, but also to challenge perceptions around who can participate in classical Indian arts.
“Many of our performers are non-Indian or began learning later in life,” said Dr Menon. “There is no barrier — not gender, race, or age — to pursuing or appreciating this art.”
Samarpan has seen growing engagement from non-South Asian communities in Cardiff and beyond. A recent performance at the International Eisteddfod in Llangollen introduced Indian classical dance to new audiences and sparked an increase in student interest.
Why UTSAV matters
For those unfamiliar with Indian classical dance, the organisers emphasise that the art form offers much more than entertainment. “This is centuries of literature, poetry, music, and philosophy told through movement,” said Santosh Nair. “If you’d spend £10 on a film, why not on something rooted in heritage and meaning?”
UTSAV is as much about showcasing performance as it is about cultural access and education. “We want children and adults — especially those disconnected from their cultural roots to witness, explore, and potentially embrace these forms,” Dr Menon added.
The duo hope that UTSAV becomes a long-term fixture in the Welsh cultural calendar, creating a dedicated space for classical Indian dance and fostering artistic appreciation across communities.