Gayathri Kallukaran is a Junior Journalist with Eastern Eye. She has a Master’s degree in Journalism and Mass Communication from St. Paul’s College, Bengaluru, and brings over five years of experience in content creation, including two years in digital journalism. She covers stories across culture, lifestyle, travel, health, and technology, with a creative yet fact-driven approach to reporting. Known for her sensitivity towards human interest narratives, Gayathri’s storytelling often aims to inform, inspire, and empower. Her journey began as a layout designer and reporter for her college’s daily newsletter, where she also contributed short films and editorial features. Since then, she has worked with platforms like FWD Media, Pepper Content, and Petrons.com, where several of her interviews and features have gained spotlight recognition. Fluent in English, Malayalam, Tamil, and Hindi, she writes in English and Malayalam, continuing to explore inclusive, people-focused storytelling in the digital space.
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.
Saudha presents A Mint of Mysticism at Nehru Centre, London on 15 July 2025
The show celebrates Nobel Laureates Rabindranath Tagore and Maurice Maeterlinck
Live performances feature Indian classical music, spoken word, and dance
An accompanying art exhibition will run from 14–18 July, with daily talks
Event curated by T M Ahmed Kaysher; free to attend with registration
Tribute to literary mystics takes centre stage in London
The Nehru Centre in London will host A Mint of Mysticism Through Tagore and Maeterlinck on Tuesday, 15 July 2025 at 6 pm, a multidisciplinary performance exploring the mystic and metaphysical philosophies of two Nobel Prize-winning literary icons. Organised by the Saudha Society of Poetry and Indian Music, the event pays tribute to Rabindranath Tagore, the first non-European to win the Nobel Prize in Literature in 1913, and Maurice Maeterlinck, Belgium’s only literature laureate, awarded in 1911.
Curated by poet and director T M Ahmed Kaysher, the evening will feature performances blending Indian classical music, dance, and spoken word. Admission is free, with tickets available via Eventbrite.
Exploring the mystic worlds of Tagore and Maeterlinck
Tagore and Maeterlinck, though from vastly different backgrounds, shared a literary commitment to mysticism, symbolism, and metaphysical themes. Tagore’s Gitanjali, which earned him the Nobel Prize, is known for its spiritual verse and lyrical depth. Maeterlinck, acclaimed for his symbolist plays like The Blue Bird, wrote about the soul, destiny, and the unseen forces of life.
This event aims to draw parallels between their works, offering a philosophical exploration of their writings through the lens of music, poetry, and visual art.
Performers bring mystic poetry to life
The evening’s main performance will feature:
Chandra Chakraborty, a renowned UK-based Hindustani classical vocalist and co-founder of Saudha, known for her emotive renditions of Tagore’s Rabindra Sangeet
Eka, a national award-winning Ukrainian singer, songwriter and Bandura player, known for fusing Ukrainian folk with classical styles
Shree Ganguly, a powerful performance poet
Nazia Amin and Zafira Salam, prominent spoken-word artists
Asmitha Keer, Sewli Bhattacharyya, and Wafi Rahman Ananna presenting classical Indian dance interpretations of mystic themes
A group of Tagore singers from Oxford, performing choral pieces
Together, they will create an immersive sonic and visual interpretation of the mystic philosophies in the works of both writers.
Mystic-inspired visual art exhibition
Running in parallel, an art exhibition inspired by the writings of Tagore and Maeterlinck will be displayed at the Nehru Centre Gallery from Monday, 14 July to Friday, 18 July 2025.
The exhibition features 16 original works by:
Tarek Amin, a national award-winning painter
Bengt O. Björklund, a Swedish poet and painter
Sonia Yasmeen, a London-based landscape artist
Each piece offers a visual interpretation of verses or ideas rooted in mysticism drawn from the authors’ work. Visitors can also attend daily curated talks, readings, and recitations in the gallery from 4 pm to 6 pm during the exhibition dates.
An artistic fusion of East and West
Through its cross-cultural performances and curated exhibitions, A Mint of Mysticism not only highlights the literary legacy of Tagore and Maeterlinck but also fosters an artistic dialogue between East and West. Organisers say the initiative hopes to engage new audiences in both philosophical reflection and artistic expression.
THE theme of the Royal Academy’s Summer Exhibition 2025 is “dialogues”, prompting the question: can art help bring together the people of India and Pakistan? Or, indeed, Israel and Iran – or Israel and Palestine?
It so happens that the coordinator of this year’s Summer Exhibition is the internationally celebrated artist and Royal Academician Farshid Moussavi, who is of Iranian origin.
She said: “The Royal Academy Summer Exhibition 2025 is dedicated to art’s capacity to forge dialogues and to nurture sensitivity towards societal concerns, such as ecology, survival and living together. These dialogues can be between people of different races, genders or cultures; between humans, other species and the planet; or across disciplines – art, science, politics, for example.
” In an interview with Eastern Eye, Moussavi stressed that art exhibitions alone cannot solve political problems.
But, she added: “Art exhibitions are about developing sensibilities and giving people the opportunity to see things differently – different from how they are presented, perhaps, in the media, on social media and general media.
“That’s all we can do. There is so much more that unites us than divides us.”
Asked whether art could help temper the anti-immigrant sentiment being stirred by some politicians in the UK, she replied: “The reason why I set the theme of dialogue is to encourage and nurture compassion and understanding. Yes, there is a lot of anti-immigrant [sentiment] – and it’s not just the UK, by the way, it’s everywhere.”
“Sometimes I feel that part of the negative feeling stems from simple ignorance – from not knowing or understanding each other. When you do not understand someone, you become afraid, or you see them as a threat. The more we come together – perhaps by going to exhibitions together, sitting around the table – the more we realise we can cohabit the world while being different. But we need to respect each other.”
The Story Teller by Ley Roberts
In his remarks at the opening of the 257th Summer Exhibition, Andrew Tarsia, director of exhibitions at the RA, said: “It has been held every year without interruption since it was first inaugurated in 1769. The theme of this year’s exhibition is dialogues – a theme which Farshid and the [hanging] committee have explored through more than 1,700 works displayed in the galleries. “Something that really marks this edition is the thoughtfulness with which the theme has been explored – through specific combinations of works that have been carefully curated, selected and hung across the galleries.”
He said Moussavi had worked with other members of the hanging committee, including “Tom Emerson and Stephanie Macdonald of 6a Architects, Vanessa Jackson, Christopher Le Brun, Helen Sear, Caragh Thuring and Richard Wilson. And, of course, the committee was chaired by the president of the Royal Academy, Rebecca Salter.”
This year, there has been a particular focus on architecture.
Tarsia was followed by Moussavi, who said that being the coordinator had given her “a wonderful opportunity to test art, and I’m including architecture as part of that capacity to forge dialogue between people, ideas and things.
Summer Exhibition coordinator Farshid Moussavi, with Royal Academy director of exhibitions Andrea Tarsia in the background
“We live at a time of unprecedented polarity, whether cultural, social or political. Since the world out there is focused on those polarities, here we have the opportunity to dwell on what is common to us.”
She was trying to “find conversations between artworks or within artworks as a way to inspire us to come together and address the many problems we face, which arise from multiple spheres.
“In order to address them, we need to think across things, rather than treat them in isolation. The first such separation we have tried to address is that between architecture and art at the Summer Exhibition. You will notice there is no dedicated architecture room – instead, architecture is treated as art and displayed throughout the galleries.” She added: “Pairing art and architecture has definitely been a theme.”
An installation by Ryan Gander
She referred to the large inflatable balls designed by Ryan Gander, with questions inscribed on them such as, “How much is a lot?” and “When do you know you’re right?”
The RA said: “A playful, large-scale installation by Gander is on display in the Annenberg Courtyard. Featuring five three-metre-diameter inflatable balls inscribed with questions developed with children, the work represents the inquisitiveness of kids, who ask what grown-ups often dismiss as nonsensical or illogical.”
“Raising questions is the start of addressing our problems,” commented Moussavi. “You will notice his inflatable balls in the courtyard and one inside the gallery. They confront us with questions raised by children, but which are very difficult to answer. They make us think. They make us reflect.”
A sectional model of DY Patil University Centre of Excellence, Mumbai, by Spencer de Grey
One ball inside the building had blocked the usual route taken by visitors to the Summer Exhibition. This was deliberate, forcing them to choose between two routes instead of three.
“Some people apparently take the [exhibition] book and go through the numbers,” she quipped. “I do not do that. I go with what I feel like.”
She referred to a building in Ukraine that had been painted by Jock McFadyen: “For an architect, the elevation or façade of a building is like working on a canvas. We see these kinds of dialogues. We have also discovered other themes. The open submissions come in, and we begin to identify issues that seem to be on the minds of artists and architects. One recurring theme is reuse.
“I can point you to an area where artists are working with found materials. There is an existing building that has been transformed or repurposed for a different use, and you can see the old ceiling and the new ceiling side by side. We can take what already exists – perhaps something lifeless or no longer useful – and transform it, give it a new life.
” Committee members Tom Emerson and Stephanie Macdonald of 6a Architects “have, in response to the theme, invited architectural submissions that explore how architecture can bring society together and reconnect with nature and its entangled global past and present”.
On display is work by a number of architects, including London-based Arinjoy Sen. “His work and interests have an acute focus on contested landscapes, citizenship, migration, narrative and spatial justice,” his studio said. “Sen brings a contemporary take on narrative painting, specifically evoking traditional forms such as Mughal miniatures, Kalighat paintings and pattachitra. He revisits the idea of the ritual through and beyond its association with religion.
Rituals and Identity and Theatre of Resistance by Arinjoy Sen
“Sen uses the digital medium combined with traditional craft practices like kantha embroidery and carpet weaving.”
In addition to the large number of public submissions, Royal Academicians exhibiting work include Rana Begum, Frank Bowling, Grayson Perry, Lubaina Himid, Cornelia Parker, Veronica Ryan, Conrad Shawcross, Yinka Shonibare and Rose Wylie.
Suspended works are a recurring theme throughout the exhibition; hanging above visitors in the largest gallery is an installation of textile carcasses by Argentine American artist Tamara Kostianovsky. Other invited artists this year include Lucy and Jorge Orta, Hussein Chalayan, Anya Gallaccio and John Walker.
n The Summer Exhibition is currently open to the public at the Royal Academy of Arts and will run until August 17, 2025
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It was part of a global promotional campaign for Jackson's HIStory: Past, Present and Future, Book I album
Ten giant Michael Jackson statues were built in 1995 to promote his HIStory album
The 32ft figures appeared around the world and followed him on tour
Some remain visible in places like Switzerland, Italy, and South Africa
Others have been removed or stored due to controversy after Jackson’s death and allegations
Owners now face challenges selling, relocating or preserving the monuments
A colossal promotion campaign
In June 1995, Londoners witnessed an unusual spectacle: a 32ft statue of Michael Jackson being floated down the River Thames. It was part of a global promotional campaign for Jackson's HIStory: Past, Present and Future, Book I album. A total of ten fibreglass statues were made, all modelled on the album cover image, and they accompanied the singer on his worldwide tour.
The statues were the product of a transatlantic effort. American sculptor Diana Walczak worked closely with Jackson to design a clay prototype. In the UK, artist Stephen Pyle oversaw the construction of the fibreglass versions, assisted by sculptor Derek Howarth and a team based at Elstree Studios. Built in just four months, the statues bore some differences from the original prototype due to limited access.
A statue above a Dutch McDonald's
One of the most well-known statues stood for years above a McDonald’s car park in Best, a village in the Netherlands. Restaurant owner Peter Van Gelder purchased the statue from Sony at a 1996 charity auction and installed it as a promotional feature.
The monument became a local landmark, drawing Jackson fans who visited regularly to celebrate the singer's birthday or commemorate his death. However, in 2019, following the release of the Leaving Neverland documentary which raised new allegations of child sexual abuse, McDonald's corporate headquarters in the US requested its removal. It now lies in storage, hidden under a tarp.
Van Gelder has considered donating it to a fan club, but due to its size, relocating it requires a building permit. “The interest in the statue is decreasing,” he notes.
From nightclub attraction to unsold collector’s item
In Austria, another statue stands in the courtyard of a closed nightclub west of Vienna. Franz Josef Zika, the former owner of The Baby'O, bought the statue at a radio charity auction in 1998 for around £9,300. Initially met with scepticism by family members, the statue eventually became a feature at the venue, placed in the smoking area and surrounded by bars.
The club closed in 2023 due to nearby residential development. Zika is now looking to sell the statue and has received interest from Sweden and Hungary but cites cost as a barrier. “Maybe I’ll send it to Mars. Elon will do this for me!” he jokes.
Fairground fixture in Switzerland
Another Jackson effigy resides with Luna Park, a long-running fairground event in Lausanne, Switzerland. Purchased in 2008 from a previous owner, the statue has been lightly refurbished, with gold accents added to its uniform. Although it has not been displayed in recent years, organisers confirmed it is not for sale.
Out of place in South Africa’s miniature world
Santarama Miniland in Johannesburg, once a popular educational park showcasing miniature replicas of South African landmarks, also hosts one of the Jackson statues. Despite the park being largely abandoned, the statue still stands, oddly juxtaposed against the park's "miniature" theme.
Blogger Heather Mason, who visited the park in 2013, described the scene as strange but memorable. “The MJ statue was the best photo op in the park,” she wrote.
Repainted and on sale in Italy
In Milan, Europark Idroscalo unveiled a freshly restored version of the Jackson statue in June 2019, just months after Leaving Neverland aired. A flash mob accompanied its reintroduction, and the statue was given new paint and sunglasses.
Park officials revealed the statue had previously been covered due to the allegations, and at one point modified to resemble a robot to distance it from Jackson's image. It is now up for sale once again.
Legacy in limbo
The statues were the product of a transatlantic effortGetty Iamges
While some of the statues remain visible in unlikely corners of the world, many have been removed or hidden due to shifting public sentiment. For others, storage, cost, and controversy have made preservation difficult. Thirty years after their creation, the towering monuments to Michael Jackson's legacy now stand as both relics of a global pop campaign and reminders of a career clouded by enduring debate.