TALENTED NEWCOMER TALKS ABOUT THE CHALLENGES OF HEADLINING ICONIC SHOW
INDIAN TV serial Yeh Rishta Kya Kehlata Hai recently had a time leap and saw new stars jump into the much-coveted lead roles.
One of these newcomers who has stepped up to headline the globally popular show is Pranali Rathod. Her character Akshara Goenka has already made a strong connection with audiences on the super hit Star Plus serial and is elevating her to great heights.
Eastern Eye caught up with the talented actress to talk about the challenges of taking on such an iconic show.
How did you feel about landing a lead role in Yeh Rishta Kya Kehlata Hai?
I was very happy. I felt privileged because Yeh Rishta Kya Kehlata Hai is a show I used to watch with my mom and never thought that I would work in this show as a lead, portraying Akshara, Naira’s daughter and Akshara’s granddaughter. So, I feel happy, honoured, and privileged.
What was the first day on set like?
My first day on set, my God, I was so nervous. I still remember how scared I was. But thanks to my co-actors, everybody made us feel so comfortable and warm that we were fine in half an hour. Besides me, (characters) Aarohi, Vansh Bhaiya, and Kairav Bhaiya (Karishma Sawant, Sharan Anandani and Mayank Arora) – the whole new generation – we were shooting on the first day. They made us feel so nice and like we’re a family member already on our very first day.
Tell us about your character?
Akshara is chirpy. She is a very happy person. You must have seen that Akshara of childhood is exactly the same. Only change is that she now talks openly. She can do anything for her family. She could take a bullet for her family. Anyway, she is very lovable and for her life is beautiful. No one is rich or poor for her. Everyone is the same for her.
Do you feel pressure stepping into such a big show?
At first, I felt pressured, of course. But thanks to Rajan Shahi sir, Directors Kut Productions, and everybody on set, they did not let any pressure on the new generation of cast members. We all equally took the pressure. And I think it’s a good pressure, because we are able to work, give our 100 per cent, so people can accept us.
What can we expect from the character and story?
(Laughs) In terms of what to expect from the character and story, you will know that only by watching the episodes. I can’t tell you everything.
What are your co-stars like to work with?
I think my co-stars are really nice to work with because they keep me motivated and my energy level high, like on 100 per cent. I get to learn every day from them. Everybody is so down to earth on set. I enjoy and love working with them.
How have you prepared to take on this exciting journey?
To be honest, I was just being myself, Pranali, because she is like Akshara. She is clumsy, silly, chirpy, and full of life. Everything is so nice, like life is beautiful for her and she loves her journey. She doesn’t care about the destination. She’s enjoying her journey just like I am. But now I’ve started realising that I’m learning about Akshara every day. Like I learn new things about her all the time.
Tell us something that nobody knows about you?
(Smiles) Something about me that nobody knows is that I’m a big Sidharth Malhotra fan.
What inspires you?
My directors, co-stars and producers inspire me the most.
Why should we tune into the new show?
Because it is Yeh Rishta Kya Kehlata Hai and we’ve come up with a new story. It is fresh, has twists, turns, romance, drama, fun, comedy, and everything else. It is a mixture of all emotions and people are going to enjoy it. Touchwood, hopefully! So you should definitely tune into our show.
A new play based on Asian author Sathnam Sanghera’s novel traces generations and communities, offering insight into British society, its director has said.
Published in 2013, Marriage Material delves into the experiences of an immigrant family in the UK, as a young man navigates the tensions between his dual British and Punjabi identities, his family’s past, and the life he has built for himself.
Marriage Material has been adapted for the stage under the same name by Gurpreet Kaur Bhatti and is directed by Iqbal Khan.
The play follows the journey of a Sikh family across generations. It begins in the late 1960s in Wolverhampton, where they run a corner shop, and continues through to the present day.
Gurpreet Kaur BhattiHelen Murray
In an interview with Eastern Eye, Khan said, “The play tracks and parallels my life in many ways, because I was born in Birmingham to Punjabi Pakistani parents, and so many of the themes are resonant with what I’ve lived. So, it’s a very significant story.”
He added, “Gurpreet has made changes (from the original version) and it has a slightly different end. Interestingly, there are no stereotypical elements.
“One of the most compelling aspects of Gurpreet’s writing was where the story begins. “Typically, such plays start with the patriarch and matriarch figures from the older generation, often portrayed as duty-bound and lacking passion. But that’s not the case here. We begin with a relatively young couple in their early to mid-30s, deeply in love – and unafraid to show it.
“The play then explores how the pressures of living in British society gradually erode their physical health and what their children inherit from them, both emotionally and culturally.”
Actresses Kiran Landa and Anoushka Deshmukh in a poster of Marriage MaterialHelen Murray
Khan, who is in his early fifties, and is the associate director of Birmingham Rep, said the play speaks direct to Sikh and Punjabi communities, especially those in the Midlands and London.
He said, “Like any great piece of theatre, this story, however, goes beyond one community. It’s about a family, about Britain, and about the journey of identity in today’s world.”
But, he added, “This isn’t just a story about British Asians – it features a range of characters and reflects the wider story of who we are as a country today, shaped by our past. Anyone interested in that journey, or who comes from an extended family or immigrant background, which includes most of us, will find something familiar in it. It’s a warm and funny play, using humour to bring people together and celebrate our differences. It builds bridges across generations and cultures, and I truly believe it will resonate with everyone, no matter their background. It’s a story for all.”
Describing the “inner strength” of the novel, Khan said, “Great writers often use the family and the domestic sphere as a metaphor for the world. This is also very much present in Sanghera’s original novel. By focusing on the family, you create an image of the world and of society. So, it’s not just about a Sikh Punjabi family in Wolverhampton; it’s also an image of how society has developed over time. The more specific we are, the more resonant the story becomes with universal truths – about the world, society, and what makes Britain what it is today.”
Khan explained how in the play’s second half, set in the present day, the youngest son faces questions about who he really is – how he balances his Asian heritage with his British life. He’s also in a relationship with a white British woman, which brings up issues that are still very relevant.
“I hope anyone who enjoys smart comedy, moving drama, and quality theatre will come. It’s a rich, heartfelt story that can connect with people from all walks of life,” the director said.
Khan has been working in the industry for more than three decades. He said the production team used movements and music to show transitions among different time periods in the play.
“Honouring the complexity of that narrative is a significant challenge. Another is the structure – the first half jumps forward in time, sometimes five or 10 years at a stretch. Staging those shifts while maintaining narrative clarity is demanding. We’re not relying solely on realism either; we’re also working to preserve the poetic and lyrical qualities of the piece,” he said.
“I hope it’s a beautiful, playful set, with a poetic element. The great thing about theatre is that it’s inherently non-naturalistic. If you want naturalism or realism, you go to TV or cinema. Theatre is a poetic form; it allows you to suggest truths and transition between moments. The design conveys more than just the setting or period. Without giving too much away, the play does shift across time.”
Khan said it’s an “exciting time” for people from Asian and minority communities to be in the arts.
“When I started in the industry, there were a few leading figures like Jatinder Verma (theatre director and activist), but opportunities were limited, especially in the mainstream. The types of stories being told were quite narrow. That has changed a lot. Today, the arts are far more open and eager for a wider range of stories, not just those focused on trauma, but joyful and celebratory ones too. The next big step is encouraging people from all backgrounds to tell any story they feel passionate about, not just ones linked to their heritage,” he said.
“If you’re creative with a strong voice, don’t feel restricted. Tell the stories you want to tell. Don’t limit your ambitions or dreams. Be bold, and don’t be afraid to bring activism into your work. In the past, work from marginalised communities was seen as financially risky, but that view is shifting – and will continue to change faster if the next generation stands firm and refuses to compromise.
“We now have inspiring leaders like Indhu Rubasingham and Natasha Kathi-Chandra, who are genuinely excited about bold, honest, and sometimes challenging stories that reflect the world we live in. So yes, it’s a very exciting time to be in the arts.”
Marriage Material will run at Lyric Hammersmith Theatre until June 21, and at Birmingham Rep from June 25 to July 5.
Perhaps the biggest Bollywood celebration this year is the 50th anniversary of the iconic film Sholay, which smashed box-office records when it was released in 1975.
But what most Hindi cinema fans may not realise is that another film released that same year (technically) made a bigger profit – with a much higher return on investment. In that regard, it remains perhaps the most profitable Bollywood movie in history.
Hindu devotional drama worked miracles at the box office IMDb
That micro-budget film, Jai Santoshi Maa, achieved something so miraculous it has never been replicated. The second-highest box-office grosser of 1975, it earned more than all-time classics released that year, including Deewaar, Dharmatma and Chupke Chupke – all led by superstars. Despite having no big stars, no lavish sets, minimal marketing and being made on a shoestring budget, the Hindu devotional drama worked miracles at the box office after its release on May 30, 1975.
Eastern Eye marks the landmark film’s 50th anniversary by revisiting its remarkable story and impact, one largely forgotten over time.
The film was written with its limitations in mind, using minimal sets and focusing on emotion IMDb
Struggling actor Vijay Sharma made the leap to directing with this deeply religious drama. At a time when Bollywood was dominated by action films headlined by big stars, he secured only a modest budget – thought to be around `500,000 (£5,000) – from low-profile producer Satram Rohra.
With such limited funds, there was no scope for elaborate sets, special effects, a large cast or any major names. Kanan Kaushal, previously seen in minor supporting roles, was cast in the lead. Anita Guha, who had some success in the 1950s but was mostly inactive by the 1970s, was brought in for a guest appearance as the divine title character.
With such limited funds, there was no scope for elaborate sets, special effects, a large cast or any major names Scroll.in
Bharat Bhushan, once a major star in the 1950s and early 60s but by then largely forgotten, took on a role out of necessity. Trilok Kapoor – younger brother of Prithviraj Kapoor and uncle to Shammi, Raj and Shashi – was also struggling for work and joined the cast.
What the film lacked in glamour, it made up for with a powerful, spiritually resonant soundtrack. Composer C Arjun and lyricist Kavi Pradeep, both relatively obscure at the time, delivered career-best work despite budget constraints.
Unable to afford Lata Mangeshkar or Asha Bhosle, they turned to their lesser-known sister, Usha Mangeshkar. They did, however, manage to get Manna Dey and Mahendra Kapoor to sing one song each. The film was written with its limitations in mind, using minimal sets and focusing on emotion.
The film became a case study in how faith can fuel fandomIMDb
The story followed a pious woman who remains devoted to the goddess Santoshi Maa despite enduring severe hardship, poverty and abuse from her in-laws. Her unwavering faith is ultimately rewarded when the goddess intervenes to restore justice and peace.
When the film was ready to be released, no major distributor would take it. A smaller company finally agreed to give it a limited release, and then something extraordinary happened. It's simple storytelling, emotional arc and devotional songs struck a deep chord with audiences. Unlike the more extravagant mythological films of earlier decades, Jai Santoshi Maa was intimate, emotional and spiritual.
It felt less like watching a film and more like experiencing a prayer. What the film lacked in advertising, it made up for with astonishing word of mouth. Its appeal extended beyond the religious – the emotional story of a woman’s resilience resonated especially with female viewers.
Songs like Main To Aarti Utaru Re Santoshi Mata Ki had entire theatres singing along. While wealthier audiences flocked to watch star-studded blockbusters, grassroots viewers embraced everything about this modest devotional film, especially its message of hope.
Cinema halls screening the movie were transformed into makeshift temples, with patrons arriving barefoot, applying vermillion on their foreheads and distributing prasad after screenings. In some places, audiences performed prayers before the film began. Prasad counters even appeared inside theatres – unheard of in Indian cinema until then.
There were female-only screenings and reports of coconuts being broken at theatre entrances. In rural areas, entire villages organised trips to the nearest towns to catch a glimpse of the goddess on screen. Traditional moviegoers were replaced by worshippers, many of whom wept during the film and sang bhajans in the aisles.
As one historian recalled, “Watching Jai Santoshi Maa wasn’t like watching a movie – it was like participating in a collective act of worship.”
Cinemas that had initially rejected the film scrambled to secure it, leading to a dream run across India. When Sholay released a few months later, it crushed most of the competition, except Jai Santoshi Maa, which continued its successful run. In fact, had Sholay not been released, the devotional drama would likely have earned even more.
While record-breaking films like Sholay returned 10 to 15 times their investment, Jai Santoshi Maa reportedly earned over 100 times its budget. One journalist wrote, “Sholay gave us fire and bullets, while Jai Santoshi Maa gave us faith and devotion – and the box office bowed to both.”
Despite its massive earnings, reports suggest the producer was cheated by distributors and saw little profit. Yet the legacy of Jai Santoshi Maa went far beyond box office success.
Following its release, Santoshi Maa temples sprang up across India. Calendars, posters and religious books featuring her image flooded markets.
The film became a case study in how faith can fuel fandom, inspiring similar devotional films and later mythological television serials.
Lead actress Kanan Kaushal became so adored that fans often greeted her with reverence. Anita Guha, who played the goddess, was so strongly associated with the role that she was referred to as “Santoshi Maa” in public, with some people even seeking her blessings.
In an era dominated by big budgets and big stars, Jai Santoshi Maa remains a timeless reminder that faith and storytelling can achieve what no spectacle can. It had no brooding heroes, no bullets, and not a single superstar – but it accomplished something no other film has matched.
Remakes and similar concepts followed, but none could replicate its divine success. As director Vijay Sharma later said, “We thought it would do okay in devotional circuits. But the response was something else – a tidal wave of emotion and faith.”
The British Asian community, especially the acting fraternity, will be fascinated to learn that film director Waris Hussein is halfway through writing his memoirs. After all, how many British Asian directors can lay claim to straightening Richard Burton’s tie?
He directed Burton and Elizabeth Taylor in the film Divorce His, Divorce Hers in 1973.
Hussein, who is 86 and not as mobile as he used to be since suffering a stroke a few years ago, is expected to attend Eastern Eye’s Arts, Culture & Theatre Awards (ACTA) on Friday (23).
As a young man fresh out of Cambridge, he made television history when he directed the first seven episodes of Dr Who in 1963 and established what has since become the BBC’s most successful franchise that has been sold all over the world.
Hussein and Richard Burton getty images
In fact, when the BBC marked the 50th anniversary of Doctor Who in 2013 with a specially written drama called An Adventure in Space and Time, the young Hussein was played by the actor Sacha Dhawan.
Hussein, who has spent many years of his career working in America, has maintained a home in London, where he talked to Eastern Eye.
“I’ve worked with some of the most eminent people in the business – (Laurence) Olivier, (John) Gielgud, Peggy Ashcroft, Sybil Thorndike, and then eminent movie people like Tony Hopkins,” he said.
He laughed: “I have a whole wall on which I keep photos of people I’ve worked with – I call it my wall of fame.”
There is a picture of him with Angela Lansbury and Patricia Hodge – the latter had written, “Darling Waris, I think I look drunk with happiness at working with you again.”
There is an inscription from Anthony Quinn whom he had directed in Onassis: “To Waris, a fantastic director & friend.”
Hussein with Angela Lansbury and Patricia Hodge on the set of The Shell Seekersgetty images
There are photographs of him with Bette Davis; Claire Bloom; Sybil Thorndike; Donald Sutherland and Teri Garr; Ian McKellen and Janet Suzman; Jeanne Moreau, Joan Plowright & Julie Walters; Keith Michell (as Henry VIII); Laurence Olivier and Joan Plowright; Peggy Ashcroft (in Edward & Mrs Simpson); Stephanie Powers & Eva Gardner; Ted Danson & Richard Mansur; and Barry Manilow. There is one with Bill Clinton who played himself in A Child’s Wish – the US president had written, “I enjoyed taking direction from you.”
Hussein’s record suggests he is probably the most successful director the British Asian community has produced in the last half-century.
Waris Habibullah (he later changed his surname to Hussein) was born in Lucknow in India on December 9, 1938, which is why he felt an instinctive sympathy for the former BBC presenter Mishal Husain when he read that her family had also originated from Lucknow.
Hussein with his mother Attia Hosain and Barry Manilow on the set of Copacabanagetty images
He said: “Lucknow is central to my background, where I was born and raised. It is known for its arts, culture and cuisine, and I am proud of that heritage.”
The young Hussein came to Britain with his family in 1946. He went to public school at Clifton College in Bristol and read English at Queens’ College, Cambridge. He has reservations about his time at Clifton: “I had a hard time, because in my mind, Clifton was created in the mid-19th century to educate administrators for the empire – for the ICS (Indian Civil Service). Most of the older boys were sent off to India to administrate and be a part of that landscape. I was resentful at being told that I should expect to order people around in an authoritarian way.”
In marked contrast, “Cambridge was three years of the most important period of my life. I made so many friends there who are now prominent in their fields. One of my contemporaries was Ian McKellen, whom I had the privilege of working with in the very first film that I made. I had directed him as a student. I was able to express myself in a way that I don’t think I would have been able to do anywhere else. At Cambridge you get not only a scientific university, but it encouraged arts. And some of my professors were very prominent in the arts, and I learned a lot from them.”
Hussein with Bill Clinton on the set of A Child’s Wishgetty images
His mother, Attia Hosain, who had a patrician background, was also a great influence on him. After the Partition of India, she chose not to go to Pakistan.
“I owe much to my mother’s creativity and her incredible resilience, because she was transplanted here (to the UK),” he said. “She wrote her first (semi-autobiographical) novel (Sunlight on a Broken Column) in English way back in 1961. It is still read by many, many women in colleges in India. My book is a tribute to her.”
He said of his memoirs: “What I’m trying to do is reorganise my rambling and my memories about being an outsider looking in. Since my stroke, I have begun to appreciate life even more. Apart from being taken care of by some very good medical people, I’m also surrounded by others who look after me. I’m determined to survive as much as I can, particularly on my own terms. In spite of my condition, I’m very lucid. I’ve got my mental marbles, and I can vividly remember things that have happened in my life – the names and places of people I’ve encountered.
Hussein with Donald Sutherland and Teri Garr on the set of The Winter of Our Discontentgetty images
“I’m hanging my narrative on the people I’ve known and who were important in my life. The only thing to do is to be honest about these things and not hide anything. Most of my friends are people of a literary nature – they are creative, write and think for themselves, and encourage me to do the same. I’m inspired by my friend Miriam Margolyes, who wrote her memoirs. She spoke quite openly about her emotional situation. People might be interested in mine because of my Doctor Who connection.
He recalled: “If you look at my repertoire, at the height of the BBC’s golden age of drama, I was doing up to 10 dramas a year. I did things like (Bernard) Shaw’s Saint Joan and Ibsen’s Hedda Gabler, which are classics with prominent actors. I’ve dealt with everything from Henry VIII to the abdication of Edward VIII.”
Hussein with Donald Sutherland and Teri Garr on the set of The Winter of Our Discontentgetty images
In February 2018, the National Film Institute devoted the whole month to a retrospective on his work called Breaking Through. The season began with a screening of A Passage to India (1965), which he felt had “echoes of my own life in terms of my origin”.
A Passage to India was based on EM Forster’s 1924 novel about the clash between two cultures. The impressionable Adela Quested, freshly arrived in India, imagines Dr Aziz has behaved inappropriately towards her while showing her the mysterious Marabar Caves. The ensuing trial proves he was innocent, but exposed the fault lines in the relationship between Indians and their colonial masters.
Other films in the season included The Possession of Joel Delaney (1972), a psychodrama starring Shirley MacLaine; Chips with Everything (1975); and Copacabana (1985), with Barry Manilow.
Dame Sybil Thorndike in A Passage to Indiagetty images
Some of the stars he had worked with came for the respective screenings of their films. For example, Virginia McKenna attended the screening of A Passage to India, Janet Suzman came for Hedda Gabler (1972), Ian McKellen for A Touch of Love (1968), and Claire Bloom for Intimate Contact (1968), a tale of how heterosexual AIDS devastates a family.
When he was interviewed on stage by the arts journalist Samira Ahmed, two-minute clips were shown from some of his other films. They included Daphne Laureola (1978), starring Laurence Olivier and Joan Plowright; Edward & Mrs Simpson (1978), which earned him a BAFTA; and Divorce His, Divorce Hers (1973), starring Burton and Taylor.
Some of Hussein’s early work had been wiped clean by the BBC, it was revealed.
On television in 1976, he directed The Glittering Prizes, which gave Tom Conti’s career a huge boost.
Hussein with Sacha Dhawangetty images
Sometimes, he suffered racist abuse. He once told Eastern Eye that his sister, Shama Habibullah, later a distinguished film producer, “left England because of all this. She went to Cheltenham Ladies’ College, to Cambridge, is highly educated, far more intelligent than me. One day she was waiting at a bus stop on Clapham Common and a drunkard abused her. ‘Why don’t you f****** people go home? You breed like rabbits. You smell of curry.’ Nobody said anything. She came home in tears and said, ‘I can’t live here anymore. What has it all meant? Why did I go to school here when this is what I’m reduced to?’”
An autographed photograph of Hussein with Anthony Quinn on the set of Onassisgetty images
He received worse abuse at a dinner party in the late 1970s. “It was a very smart, upper-class dinner in Campden Hill. All male company. This man sat next to me and said, ‘And what do you do?’ I told him I was directing Edward and Mrs Simpson and he replied, ‘Fancy! I had no idea we’d have colonials telling us about our lives.’ After dinner this man said, ‘Ugh, I really don’t think I can be in the same room as that man over there,’ pointing to me. I stood up and said, ‘I’m going to spare you that embarrassment. One thing I will say is I was brought up to be polite and a gentleman under your British rule, and I know what the rules are. Some of you obviously don’t. I’m going to leave now.’”
In writing his memoirs, he said he hoped he might be providing “a beacon for the younger generation who might want to know what I have done.”
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“This book was born from the belief that no story is ever small,” she said
Banu Mushtaq has made literary history by becoming the first Kannada writer to win the International Booker Prize. The 2025 award was given for her short story collection Heart Lamp, a collaboration with translator Deepa Bhasthi, who rendered the work into English. The pair will share the £50,000 prize, which was presented at a ceremony at London’s Tate Modern on 20 May.
Published by Penguin Random House India, Heart Lamp is a collection of twelve short stories written between 1990 and 2023. It explores the lives of women in southern India, particularly in Karnataka, portraying their struggles and strength within patriarchal communities. The stories are grounded in regional oral storytelling traditions and have been praised for their wit, vividness and emotional depth.
Chair of the judging panel, Max Porter, called the book “a radical translation which ruffles language, to create new textures in a plurality of Englishes,” adding that the result is “genuinely new for English readers.”
Mushtaq, who is also known for her work as a lawyer and activist, reflected on the significance of the award during her acceptance speech. “This book was born from the belief that no story is ever small,” she said. “In a world that often tries to divide us, literature remains one of the lost sacred spaces where we can live inside each other's minds, if only for a few pages.”
Bhasthi’s translation has been praised for preserving the multilingual and musical essence of the original Kannada text. She chose to retain Kannada, Urdu and Arabic words in the English version, aiming to reflect the region’s everyday speech patterns. Speaking at a recent event at Champaca Bookstore in Bengaluru, she said, “None of us speaks ‘proper English’ in Karnataka… I wanted Indian readers to hear the deliberate Kannada hum behind it.”
In an earlier interview with The New Indian Express, Mushtaq addressed the personal dimensions of her writing. “I was asked to write about my contexts, and so I did. But at the same time, I didn’t want to be confined within the identity of the ‘Muslim woman’,” she said.
Heart Lamp is the first short story collection to win the International Booker Prize and only the second Indian title overall, following Geetanjali Shree’s Tomb of Sand, which won in 2022.
Fiammetta Rocco, Administrator of the prize, described the book as “a testament to the enduring fight for women's rights, translated with sympathy and ingenuity,” encouraging readers of all backgrounds to engage with its themes.
The 2025 shortlist featured works translated from Danish, French, Japanese and Italian. Each shortlisted book received £5,000, divided between the author and translator.
A NEW dance-theatre production explores how women enforce patriarchal rules upon their daughters and the consequent impact on family and societal structures, its artistic director said.
Choreographer Amina Khayyam uses Kathak, the classical Indian dance in her new production – Bibi Rukiya’s Reckless Daughter – to raise awareness about gender prejudice in ethnic communities.
In an interview with Eastern Eye, Khayyam also stressed the importance of mutual support among women during challenging situations.
Loosely based on Federico García Lorca’s The House of Bernarda Alba, the 70-minute show is set in modern, inner-city migrant communities.
The story centres on widow Bibi Rukiya, who restricts her three daughters’ freedom to maintain family honour and secure marriages. One daughter challenges her mother’s authority and questions her role as a woman.
Khayyam said, “I have a fondness for Lorca and the subjects he covers, particularly because they still resonate in our communities and culture. I work with women’s groups across the UK, particularly those who have difficult backgrounds like domestic violence or mental health issues, and I find those stories from Lorca really resonate with these communities,”
Bibi Rukiya was created over 18 months through workshops with women’s community groups across Britain. Participants collaborated with professional artists from the Amina Khayyam Dance Company to explore mother-daughter relationships.
Khayyam said these shaped the content and ensured the production reflects genuine experiences.
“I take the subject to them and then explore it through movement and storytelling, hearing their perspectives. When these women come back to see the performance, they see themselves and can relate to the stories,” the artist said.
Workshops were conducted in London, Luton and Birmingham for the production and more than 250 women took part.
Khayyam said, “Our show examines how women impose patriarchal rules on their daughters and the consequences thereof. We investigate why women perpetuate these structures and whom they serve by doing so, facilitating self-discovery, rather than providing answers.
“Centuries of conditioning have established clear, hierarchical gender roles in our society. Women who’ve experienced lifelong suffering often expect their daughters and daughters-in-law to endure similar hardships, following the principle, ‘I suffered, so you suffer now’, rather than breaking this cycle.
“We express these revelations through dance, movement and storytelling, bringing professional dancers and female musicians to the stage. Participants are encouraged to articulate their experiences in their native languages – Punjabi, Gujarati, Bengali, Hindi and English – which we then develop into poetry or narrative.”
She added, “We teach Kathak basics and mudras, providing theatrical elements that combine movement and text. While some participants initially resist dancing due to cultural taboos, most ultimately embrace it upon discovering its emotional benefits. We maintain women-only environments to ensure participants feel safe to express themselves freely.”
Khayyam, who is British Bangladeshi, began her Kathak dance training with Alpana Sengupta and progressed to professional level with Sushmita Ghosh at The Bhavan in London.
She then made her professional debut at the Southbank Centre.
Describing the use of Kathak to express complex emotions in the show, she said, “Kathak comes from katha, which means storyteller. We explore many different emotions within our form, and as we are storytellers, it lends itself to tell those stories. “In Kathak, we have many different tools – like spins with rhythmic footwork – as well as storytelling mudras, head gestures; all of this can come into play when we’re creating stories.”
Khayyam said the show uses music, movement and footwork to depict complex themes.
“In one scene there’s a conflict between the mother and the three daughters. We’re adapting it to three daughters as opposed to the five daughters originally in the book. There’s something called sawal jawab – question and answer.
“Through the footwork, the daughters are having a huge head-to-head with each other, and one of the best ways to bring that positively and impactfully is through sawal jawab – asking questions and giving answers – only through footwork.”
Set up in 2013 and based in Slough, the Amina Khayyam Dance Company has 15 pieces of work to its credit, with 160 shows in 40 venues in the UK and abroad.
Khayyam said her hope was for audiences to “go away and think about what they just saw”.
She added, “Sometimes we’re quite blinkered; we just carry on with life without questioning things, and I would like people to be able to question.
“Second, I’d like those south Asian women, both those we’ve worked with and those we haven’t, to be able to stop and think, ‘This is something we have in our community. How do we deal with this? How do we change it? How do we evolve this situation and empower these women who are trapped in it?’ With every show we’ve done in the past, we like to leave a question with the audience.
“It’s also about awareness. Sometimes we walk down the street and there’s a huge tree, but we never notice it – we take it for granted. Then suddenly we look up and think, “Wow, this tree is amazing.” We want to bring this kind of awareness into their lives, to recognise what’s happening and how we can help each other.
“In the workshops with women, I stressed that they need to support each other, because often that support isn’t there. We’re judging a lot, gossiping, and we need to support each other when we see difficult situations. That’s what I would like the show to bring about.”
Bibi Rukiya’sReckless Daughter will have its premiere at the Birmingham Hippodrome next Thursday (22) and Friday (23), followed by a national tour starting in autumn 2025