Shelina Janmohamed: ‘Why is empire a question of morality unlike the Greeks?’
Author of Story of Now – Let's Talk About the British Empire explains her approach to British history in new book
By Sarwar AlamAug 10, 2023
WHEN author Shelina Janmohamed couldn’t find any relevant books on the British empire for her two young daughters, she decided to write her own book, titled Story of Now – Let’s Talk About the British Empire.
Her two daughters, aged nine and five at the time, were keen to learn more about British history after watching the statue of slave trader Edward Colston being torn down by anti-racism campaigners in Bristol, in 2020.
“My daughters are huge history buffs so I wanted to give them something to read that might help them to understand a bit more about the British empire,” Janmohamed told Eastern Eye.
“To my absolute shock, I couldn’t find anything for them to read at that age. I couldn’t believe that the biggest empire ever - there wasn’t something that was written about for children.
“I thought, well, if nothing exists, I’m going to have to write it myself.”
Janmohamed is an established writer whose books include the bestselling Lovein
a Headscarf, a memoir about growing up as a British Muslim woman; and Generation M: Young Muslims Changing the World, an exploration of a group of global Muslims who believe that faith and modernity go hand in hand.
Her first children’s book, The Extraordinary Life of Serena Williams, told the story of the tennis champion whose experiences of life-threatening illnesses, sports injuries, sexism and racism in the sport did not stop her from her exemplary achievements.
Despite Janmohamed’s background as a writer, she said she felt daunted to tackle the subject of the British empire.
“I actually say in the book that when Edward Colston fell, I had never heard of him. Probably surprising to hear that somebody writing about the British empire had never heard of him, but it was something I learned,” she said. “The empire was a big thing. It went on for 400 years across 25 per cent of the world. It was quite hard work to get it all into a little book.
“I haven’t written the whole history of the empire. What I’ve tried to do is give a framework of key things that happened and tried very hard to make sure that as many regions of the world that were part of the British Empire get a little spotlight.
“People can then go away and explore the parts that are relevant to them and they find interesting.”
The British empire is not currently a part of either primary or secondary school history curriculum.
“It’s the biggest empire ever, so purely from a historic perspective, it’s affected the whole world,” said Janmohamed. “The amount of books that kids read about the Greeks, the Romans, the Aztecs and they’re all really important, but to think the empire that’s lasted the longest, spread the widest, has had the biggest impact and is about where we live today, isn’t something that’s taught, I find it completely baffling.” Two years ago, a YouGov poll found that 32 per cent of people in Britain are actively proud of the nation’s colonial history. However, some argue it’s not something to be proud of as the empire was built through vicious military conquests, enslavement, massacres, famines and partitions to create profit.
In the subcontinent, some estimates suggest up to one million people alone lost their lives in the aftermath of the Partition of India and Pakistan in 1947.
Janmohamed said a more nuanced approach was needed when teaching children about the complexities of the British empire. “It’s interesting that we try to address the question of the British empire as a question of morality – as though it says something about who we are.
“But when we talk about the Romans or the Greeks or the Egyptians, we don’t approach the question of empire with them as one of morality,” she said.
“Empire happened. That’s just an incontrovertible fact. Whether we agree about the details of what happened, the impact and what our perspective should be - that’s all up for debate. But for children, that culture war is not really something that I think should affect their lives.”
Janmohamed said she was more interested in how she could connect British colonialism to children’s lives today; hence the first part of the title of the book – The Story of Now. “I talked to children about migration, that the British empire is responsible for the biggest migrations in human history and some of them are very connected to children,” she said.
“I tell them the story of the home children - from Britain, who were sent away to the colonies, for all sorts of reasons, some of them being to build the empire, some of them because, frankly, the people in Britain didn’t want the poor, ‘scallywags’ on the streets, they wanted to just deport them out of here. When those children got to the colonies, they were rejected. They were, as migrants, told that they shouldn’t talk about it.
“I speak about how children used to work in the industrial revolution and how the stories that those children told changed the labour laws and it means children today can go to school and don’t have to work.” Janmohamed added: “While we might want to discuss the morality, it’s a red herring, because for children, it’s happened. We need to focus on what can we get from learning about it that will help them to understand who they are and the kind of world we hope they will build for us.”
She is also a prominent social commentator on Islam and current affairs. She has written for publications such as the Times, the Guardian, the Telegraph and the Independent and appeared on the BBC and ITV. She also has her own national podcast.
Janmohamed said the UK still remains a country where, often, people of colour are looked at as foreigners, despite having generations of family members who have lived in the country or have a connection to the country through colonialism.
“At the beginning of the book, I tell my story of how I came to be in Britain,” she said. “My family have been part of Britain for more than 200 years.
“My family is from Gujarat and was there when the East India Company turned up in 1608 and took over India. At the end of the 19th century, they travelled to Tanzania and then, in the 1960s, my parents came to London because they were overseas subjects of the British empire.
“I was born here. The British empire and my story are very much the same story, they’re intertwined. The power of not just my own story, but the power of children finding their own stories is that you understand how your life has been shaped by the British empire.”
The 49-year-old said learning about the empire will help with social cohesion as different communities learn about their own shared history.
“I came to this book as somebody who’s really interested in identity. Who are we now? What makes me who I am? How do I find my place in history?” she said.
“This is why the book is called Story of Now. It says in the strapline, this is not a history book. This isn’t about something that’s past. This is about finding who you are. Because when you know your story and you listen to somebody else’s story, that’s how we create a really great society. That’s how you create social cohesion because you understand who you are and what shapes you and also understand who somebody else is, and then you can have a dialogue.”
One of the ways of finding out who you are, Janmohamed said, is to learn your history from your loved ones. “I’m a firm believer that one of the greatest treasures we have are the oral histories from the people of our families,” she said.
“One of the greatest skills we can teach our children is how to get those first-hand accounts from parents and grandparents. I tell children the oral history of your family is probably the most exciting part of history you will ever find because it’s not in books and it’s what shaped who you are.
“That’s what I want kids to take away from the book, to understand who they are in the context of the world around them.”
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.
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Drawings by Victor Hugo on display include Ecce Lex
The moment I walked into the Royal Academy to see Astonishing Things: The Drawings of Victor Hugo, I thought of Rabindranath Tagore.
Both men were giants of literature, but they were visual artists as well.
Victor-Marie Hugo (February 26, 1802- May 22, 1885) is best known for his novels The Hunchback ofNotre-Dame (1831) – many will have seen the 1939 film adaptation starring Charles Laughton and Maureen O’Hara – and Les Misérables (1862), which BBC TV adapted in 2018, with a starring role for Adeel Akhtar.
The Cheerful CastleParis Musees
Rabindranath Tagore (May 7, 1861-August 7, 1941) was a Bengali poet, writer, playwright, composer, philosopher, social reformer and painter. He was the first non-European to win the Nobel Prize for Literature in 1913, for the poetry of Gitanjali.
Gallery owner Sundaram Tagore, who had flown over from New York to attend Eastern Eye’s Arts, Culture & Theatre Awards (ACTAs) at the May Fair Hotel on May 23, said: “Before leaving London, I managed to visit the Victor Hugo exhibition, which moved me deeply.”
Sundaram’s father, Subhogendranath Tagore (1912-1985), was the grandson of Hemendranath Tagore, the third son of Debendranath Tagore and the elder brother of Rabindranath Tagore.
The Victor Hugo exhibition is definitely worth seeing before it ends on June 29.
Giving a tour of the exhibition, Andrea Tarsia, director of exhibitions at the Royal Academy, said Hugo left behind some 4,000 works on paper, of which 70 were chosen for display.
“But they really are 70 of his most remarkable drawings,” commented Tarsia. Hugo often used brown ink and wash and graphite on paper.
OctopusParis Musees
Notable works include The Town of Vianden Seen Through a Spider’s Web, 1871; Mushroom, 1850; Lace and Spectres, 1855-56; The Cheerful Castle, 1847; The Town of Vianden, with Stone Cross, 1871; Mirror with Birds, 1870; Chain, 1864; Octopus, 1866–69; and The Lighthouse at Casquets, Guernsey, 1866.
There is also Ecce Lex (Latin for “Behold the Law”), 1854, done after the hanging of John Tapner in Guernsey; and The Shade of the Manchineel Tree (notes from a trip to the Pyrenees and Spain), 1856, where the shade is made to resemble a skull to denote the poisonous qualities of the fruit.
The Shade of the Manchineel TreeParis Musees
There is a photograph of Hugo seated on the Rocher des Proscrits (Exile’s Rock), Jersey, 1853, which was taken by his son, Charles Hugo.
“Hopefully, together, they will give you an intimate sense of Hugo’s remarkable, multifaceted imagination. Perhaps people are less familiar with his work as a visual artist. The exhibition is the first to be held in the UK with Hugo’s drawings in just over half a century.”
MushroomParis Musees
He explained it was “a rare chance to see these works because the inks and the paper are so fragile that once exhibited, even at these very low lighting levels, they then need to be kept in the dark for an extended period of time”.
The exhibition’s curator, Sarah Lea, said: “We made a decision to arrange these spectacular works in a thematic structure, because although Hugo drew across his lifetime, he often returns to similar motifs. And it’s really interesting to be able to see, for example, the collections of the castles, one of his great passions. Despite writing so much, he doesn’t leave us very much direct commentary on the drawings themselves. He was inspired by the way ink moves on paper. He was never intending to be an artist.”
She referred to his “mysterious” drawing of a mushroom: “Who knows what was really meant by the mushroom? It appears to us as a total enigma.”
“We have him exploring nature on the monumental level with mountains, and a minute level with spiders’ webs and birds’ nests,” she went on. “The drawings were largely private during his lifetime. Sometimes he made works that he would send to friends. But the drawings themselves weren’t exhibited until three years after his death. They’re first shown in a public exhibition in Paris in 1888.”
A photograph of Hugo taken by his son, CharlesParis Musees
Hugo lived in exile from 1856 to 1870 on the island of Guernsey, where he bought a house. “He redecorated it from bottom to top in a most extraordinary manner of eclectic collecting and reassembling different pieces of furniture and decorative arts. And it was from the lookout, which was a vast conservatory that he constructed at the top of this house, that he would be able, on a clear day, to see the coastline of France. And it was there that he completed some of his most important literary works. A profound source of inspiration for Hugo was the ocean.”
He strongly opposed the death penalty. After the execution by hanging of convicted murderer John Tapner in Guernsey in 1854, Hugo made many drawings of a hanged man, including Ecce Lex.
He also appealed – unsuccessfully – to the US to pardon John Brown, an abolitionist who had been sentenced to death in Virginia on charges of treason, murder and conspiracy to incite a slave insurrection. Hugo appeared to be an early supporter of Black Lives Matter.
Hugo’s brother-in-law, Paul Chenay, made print reproductions of his earlier Ecce drawings, which were published with a new title, John Brown, and circulated in protest at Brown’s execution.
In a letter to Chenay in 1861, Hugo said: “John Brown is a hero and a martyr. His death was a crime. His gallows is a cross. Let us therefore once again draw the attention of all to the lessons of the gallows of Charlestown. My drawing, which through your fine talent has been reproduced with striking fidelity, has no other value than this name: John Brown – a name that must be repeated unceasingly, to the supporters of the American republic, so that it reminds them of their duty to the slaves: to call them forth to freedom. I shake your hand.”
When Hugo died in 1885, aged 83, over two million people lined the streets of Paris to see his funeral procession. But many of Hugo’s admirers wouldn’t have been aware of his private love of drawing.
Incidentally, the Royal Academy last week announced that Simon Wallis, currently the director of The Hepworth Wakefield, will take over in September as its new secretary and chief executive. In his earlier career, he held curatorial positions at Kettle’s Yard, Cambridge, and Tate Liverpool. He was the director of Chisenhale Gallery, London.
Wallis, who succeeds Axel Rüger, said: “The Royal Academy of Arts is at a pivotal moment of development and positive change. The RA is the central London home for artists, art and art lovers, generating powerful experiences and innovative teaching about art in a rapidly changing society. As the UK’s oldest and foremost artist-led organisation, the extraordinary talent and vision of the Royal Academicians and their team lead the creative conversation on a national and international stage.”
Now that Hugo has been featured at the Royal Academy, maybe Tagore, too, will merit an exhibition one day under Wallis’s leadership.
The Royal Academy won the ACTA for community engagement last year. It was collected by Tarsia.
In Astonishing Things: The Drawings of Victor Hugo, at the Jillian and Arthur M Sackler Wing of Galleries at the Royal Academy, ends on June 29.
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The year 1975 was significant in Indian cinema for newly crowned superstar Amitabh Bachchan
The year 1975 was significant in Indian cinema for newly crowned superstar Amitabh Bachchan, as he starred in the two biggest films of that year, and also his career, Deewaar and Sholay.
These blockbusters cemented his position at the top. In between their releases came Mili, Hrishikesh Mukherjee’s decidedly different tearjerker.
Known for his non-starry social dramas, the acclaimed producer-director delivered a message-driven story about Mili (Jaya Bhaduri), a terminally ill but bubbly young woman, and the profound impact she has on those around her – including depressed alcoholic Shekhar, played by Bachchan. The real-life couple headlined a multi-layered film anchored by subtle, deeply emotive performances.
Eastern Eye marks 50 years of the underrated classic on June 20 by presenting the 10 best scenes from this story of hope, anguish and learning how to live.
Enter the grouch: Known for her pranks and cheerful attitude, Mili is taken aback by new neighbour Shekhar’s aloofness. His introduction, during the haunting Badi Sooni Sooni Hai song, shows him as a tormented alcoholic. It establishes the contrast between the two main characters – she smiles through life’s challenges, while he seeks refuge in alcohol.
Visual highlights from MiliRotten Tomatoes
Confrontation: Unable to understand Shekhar’s solitude and unfriendliness, Mili ropes in the children from their building to disturb his peace in protest. What begins as an immature territorial clash soon reveals Mili’s intuitive response to the darkness surrounding him. Her inner child recognises and challenges the negativity threatening their otherwise pleasant environment.
Their innocence and kindness melt his hardened exteriorIMDb
Compassion: After provoking Shekhar, the children apologise sincerely. Their innocence and kindness melt his hardened exterior, and he invites them, along with Mili, to play on his terrace. In the song Maine Kaha Phoolon Se, Shekhar, glass still in hand, watches them dance and smiles for the first time. The warmth of this moment even leads him to request tea instead of whisky in the next scene, to his servant’s delight.
Visual highlights from Mili
In the song Maine Kaha Phoolon SeIMDb
Crossroads: In a drunken breakdown, Shekhar slashes his wrist and is saved by Mili. For the first time, she shows visible anger and tears. Her outburst marks a new level of closeness in their friendship and signals the beginning of something deeper. In his vulnerable state, Shekhar is moved by Mili’s scolding – a sign of care he desperately craves.
The raw emotions of every characterInstagram/ hindifilimography
Romance: Shekhar’s growing vulnerability draws him closer to Mili. He begins confiding in her about childhood trauma, his mother, and the root of his pain. He is receptive of her solace and outlook on life. Their bond strengthens as they exchange notes when Mili falls ill. He experiences joy for the first time, unaware of the seriousness of her condition.
The heart-rending scene between father and daughterInstagram/ hindifilimography
Tragedy: The film reaches its most emotional point when Mili’s father (Ashok Kumar) learns that she has only days to live. The harrowing scenes that follow reveal the raw emotions of every character, from shock to grief to quiet acceptance. The heart-rending scene between father and daughter, with Kumar and Bhaduri in each other’s arms, delivers an emotional poignancy audiences can relate to.
The woman who taught him how to liveRotten Tomatoes
Role reversal: Initially unable to process the truth about Mili’s illness, Shekhar has a change of heart about leaving after confronting some hard realities. The woman who taught him how to live is dying, and he feels betrayed by fate. Determined not to give up, he sets out to explore every possible option that might offer her a chance of recovery.
He sets out to explore every possible option Rotten Tomatoes
Selfless love: Unaware that Shekhar already knows the truth, Mili urges her father not to tell him about her illness. Having changed him for the better, she fears that the news will undo his progress and send him back into despair. In that moment, she puts his well-being above her own.
Having changed him for the betterInstagram/ hindifilimography
Proposal: In the film’s penultimate scene, its message becomes clear – the purpose of life is happiness. Shekhar realises he can fulfil one of Mili’s dreams by marrying her. He proposes not out of pity or obligation, but love. Their decision to embrace a short but meaningful life together speaks volumes.
Fifty years later, those sentiments still ring trueInstagram/ hindifilimography
Farewell: The story, told in flashback, returns to its starting point as the newlyweds leave for Switzerland in search of a cure. Mili’s father waves to their aircraft, perhaps knowing she may never return. As the plane takes off, the audience is left with a lasting message – that hope should never die. Fifty years later, those sentiments still ring true.
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William Dalrymple with his artist wife Olivia Fraser
EASTERN EYE is supporting this year’s Jaipur Literature Festival (JLF) at the British Library next Friday (13) to Sunday (15) as its media partner.
“We are happy to do so as we aim to be ‘the voice of British Asians’, as we say on our masthead,” said Shailesh Solanki, executive editor of the newspaper.
JLF also seeks to attract all sections of the community in the UK.
Many of the speakers in this year’s event have featured in Eastern Eye in recent years.
For example, Sheela Banerjee won Eastern Eye’s Arts, Culture & Theatre Award (ACTA) in the non-fiction category last year for What’s in a Name: Friendship, Identity and History in Multicultural Britain.
Vaseem Khan, the first Asian chairman of the Crime Writers’ Association in 70 years, won an ACTA in the fiction category in 2018 for The Strange Disappearance of a Bollywood Star.
The BBC’s Reeta Chakrabarti was named best presenter in ACTA this year. She was also shortlisted in the fiction category for her debut novel featuring schizophrenia, Finding Belle.
In the newly introduced category for crime fiction, the winner was Ram Murali, author of Death in the Air, which has been described as “a love letter to Agatha Christie”.
Eastern Eye has also written about Sushma Jansari, who has curated the British Museum’s new exhibition, Ancient India: Living traditions.
Among the headline speakers this year is Banu Mushtaq, whose book Heart Lamp, translated from Kannada by Deepa Bhasthi, is the first short-story collection to win the International Booker Prize.
Ram Murali
Hanif Kureishi will be discussing his book, Shattered: “After a devastating fall in Rome, Hanif Kureishi was left immobile. From his hospital bed, he began to dictate powerful reflections on illness, identity, love, and writing. Shattered is the result: an odyssey of survival.”
JLF 2025 is bringing together some established authors from India, such as the MP Shashi Tharoor. His latest book, Our Living Constitution, “offers a masterful analysis of India’s constitutional framework, highlighting how it transcends political rhetoric to reflect the nation’s core ideals”, according to the festival organisers.
Although Tharoor belongs to the opposition Congress party in the Lok Sabha, India’s lower house of parliament, he expressed strong support for Narendra Modi’s Operation Sindoor military action against Pakistan. He was picked to lead one of seven Indian government delegations explaining New Delhi’s foreign policy in countries around the world, including Panama, Guyana, Colombia, Brazil and the US.
Other authors from India include William Dalrymple, whose Eastern Eye lecture on The Golden Road: How Ancient India Transformed the World at the Bhavan in London last October was attended by nearly 250 people.
His son, Sam Dalrymple, will be speaking at JLF on his book, Shattered Lands: Five Partitions and the Making of Modern Asia. This was shortlisted for an ACTA this year in the history category.
JLF describes his book as “a sweeping narrative of how the once-unified Indian empire splintered into 12 modern nations. Drawing on rare archives, untranslated memoirs, and interviews across multiple languages, Dalrymple excavates five key partitions that reshaped the political, cultural, and emotional geography of the region. From boardroom deals and battlefield lines to personal stories of loss, resistance, and reinvention, the session reflects on how borders are drawn and the human cost they carry.”
His father, William, one of the founding directors of the festival, said: ”At JLF London at the British Library, we bring together some of the finest minds from across the world to explore the great questions of our time – from the rise of AI to the legacies of empire, from the pleasures of food and art to the complexities of geopolitics.
“This year’s edition reflects the festival’s commitment to rich, nuanced discourse, bridging cultures and offering a truly global literary experience.”
Namita Gokhale, a festival co-director – she will be talking about the re-publication of her novel, Paro, which came out in 1984 – commented: “At this volatile moment of change and transformation, we seek to make sense of our fractured world, and to explore and understand it through our shared stories.”
The éminence grise behind JLF is Sanjoy K Roy, managing director of Teamwork Arts, which describes itself as “a highly versatile production company with roots in the performing arts, social action and the corporate world”.
Sanjoy K Roy
He said: “We celebrate the power of literary thought to foster meaningful conversations and build bridges between cultures through our sessions at JLF London. The 12th edition of JLF London hosts diverse themes ranging from history and artificial intelligence to culture and geopolitics, food and art.”
Incidentally, Roy will be speaking to Bafta-winning playwright David Hare, celebrated as “the finest living British dramatist”.
Hare will provide “a peek into his remarkable career that has redefined contemporary theatre. Renowned for iconic works such as Skylight, Plenty and Racing Demon, Hare’s plays explore the intricacies of politics, power, and human relationships with unflinching honesty and wit. His innovative storytelling, blending sharp dialogue with profound moral inquiry, has left an indelible mark on stage and screen.”
Support for the festival was expressed by Jamie Andrews, the British Library’s director of public engagement: “The British Library looks after one of the world’s most significant south Asian collections, and international collaboration is at the heart of our mission as a library.”
The British Library had a message for Asians in the UK and typically Eastern Eye readers:
“We are the national library of the UK and we are here for everyone. Our shelves hold over 170 million items – a living collection that gets bigger every day. Although our roots extend back centuries, we aim to collect everything published in the UK today, tomorrow and far into the future.
“Our trusted experts care for this collection and open it up for everyone to spark new discoveries, ideas and to help people do incredible things.
Sheela Banerjee’s award-winning book
“We have millions of books, and much more besides. Our London and Yorkshire sites hold collections ranging from newspapers and maps to sound recordings, patents, academic journals, as well as a copy of every UK domain website and blog.
“Our public spaces provide a place to research, to meet friends, to start up a new business or simply to get inspired by visiting our galleries and events. We work with partners and libraries across the UK and the world to make sure that as many people as possible have the chance to use and explore our collections, events and expertise. And we’re always open online, along with more and more of our digitised collection.”
After this year’s London Book Fair, Eastern Eye reported that the British Library republishes crime novels, which first came out decades ago.
This year, Shobaa De is likely to prove a big draw at JLF, which says that the celebrity writer and columnist “is unapologetically bold, fiercely candid, and never afraid to stir the pot. Her popular column, Politically Incorrect, and her bestseller novels like Socialite Evenings and the more recent Insatiable, have won her global acclaim. She has spent decades challenging conventions with her sharp wit and candid observations. Her upcoming book, The Sensualist, is a provocative look at passion, power, and the private lives of modern Indians. In an unfiltered conversation with Yasser Usman, De talks about writing, relationships, and the art of being unapologetically herself.”
Dr Deborah Swallow, an expert on Indian art, will take part in a session on “libraries, museums and archives”, and Asma Khan, founder of the restaurant Darjeeling Express, will talk about food.
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Aamir Khan’s iconic transformation in Bollywood over the decades
Aamir Khan returns to the big screen this month in Sitare Zameen Par, a heart-warming Bollywood remake of the Spanish comedy-drama Campiones. He plays a disgraced basketball coach who takes on an unexpected challenge with a team of individuals with special needs.
Sporting a look unlike any from the past decade, the film – due out on 20 June – adds to the many transformations he has embraced over his career, from shifting hairstyles to dramatic facial hair.
Eastern Eye uses this new role as a chance to revisit the superstar’s evolving on-screen appearances.
Yaadon Ki Baarat (1973): An eight-year-old Aamir Khan made his film debut in a song sequence of this smash hit, produced and directed by his uncle Nasir Hussain. It marked the first time cinema audiences saw him on screen.
The actor’s evolving style from youth to maturity getty images
Qayamat Se Qayamat Tak (1988): After working in further films as a child star and assistant director, the baby-faced actor was launched as a leading man with the hit romantic musical. He established himself with that same clean-cut look in subsequent films.
Aamir Khan embracing vintage looks with classic charmgetty images
Baazi (1995): This action thriller failed at the box office but is remembered for Khan dressing in drag. The striking female get-up was arguably the only memorable aspect of an otherwise forgettable film.
Rangeela (1995): In this musical hit, Khan played a street-smart ruffian and debuted a rugged new look with heavy stubble. The image shift helped him fully inhabit the role and showcased a different side of him to audiences.
Bold and dramatic changes defining Aamir Khan’s careergetty images
Ghulam (1998): Heavily inspired by the 1954 Hollywood classic On the Waterfront, this film saw Khan blend ruggedness with a more heroic edge. His portrayal of a hoodlum with boxing skills left a lasting impact.
Dil Chahta Hai (2001): With its fresh haircuts and urban styling, Farhan Akhtar’s directorial debut introduced a new wave of contemporary cool to Hindi cinema. Khan’s image underwent a complete makeover as part of the film’s trendsetting aesthetic.
From rugged to refined Aamir Khan’s versatile appearancesgetty images
Mangal Pandey The Rising (2005): After a four-year hiatus, Khan returned with his most dramatic transformation yet – long hair and an epic moustache that brought to life the spirit of the 19th-century freedom fighter.
Rang De Basanti (2006): This story of youthful defiance gave Khan a refreshed haircut. In historical flashbacks, he adopted other appearances inspired by the past, adding further layers to his portrayal.
Ghajini (2008): In this remake of a Tamil film – itself inspired by Hollywood drama Memento – Khan adopted a dramatic new look with a muscular physique and buzz cut that intensified the film’s emotional and action-driven edge.
Memorable film moments showcasing Aamir Khan’s unique stylegetty images
3 Idiots (2009): Khan turned back the clock in this record-breaking film, transforming his appearance to convincingly play a young engineering student. He changed his weight, hairstyle and mannerisms to suit the role.
Delhi Belly (2011): Producing this crime caper, Khan made a cameo in a song sequence where he donned a retro disco look. Funky glasses, glittery costumes and exaggerated 70s flair helped him stand out in yet another memorable appearance.
Talaash The Answer Lies Within (2012): As a serious police officer, Khan adopted a subdued look – short hair, a neatly trimmed moustache and a haunted expression, completed by a simple police uniform.
Dhoom 3 (2013): To play identical twins with different personalities, Khan adopted a muscular physique, sharp haircut, tight outfits, a bowler hat and intense expressions. This gave him another memorable identity.
Aamir Khan’s blend of classic and contemporary fashiongetty images
PK (2014): Portraying an alien, Khan had to create an entirely unfamiliar look. He did this by pushing out his ears, widening his eyes and pairing innocent expressions with mismatched clothes to enhance the character’s quirky charm.
Dangal (2016): Although he appeared as a younger, muscular version of his character, Khan’s look in this record-breaking movie was defined by older age. He transformed himself with extra weight, grey hair and weather-worn expressions.
Secret Superstar (2017): In this acclaimed film, which he also produced, Khan played a flamboyant music director. Leather jackets, tight trousers, eccentric hairstyles, earrings, facial hair and a rockstar swagger made it one of his most over-the-top looks.
Thugs of Hindostan (2018): The actor pierced his nose for this swashbuckling period film. With long curly hair, a scruffy beard, old-fashioned clothes and roguish expressions, he embraced the character’s mischief and flair.
Aamir Khan’s dedication to authentic character portrayals getty images
Laal Singh Chaddha (2022): In this remake of Forrest Gump, Khan portrayed his character across different stages of life. From clean-shaven youth to a heavily bearded older man, he showcased a broad spectrum of looks in a single film.
Sitare Zameen Par (2025): In the Hindi remake of Campiones, Khan plays a short-tempered basketball coach. After decades of dramatic transformations, the 60-year-old returns to a look that closely mirrors his everyday appearance.
Rang De Basanti (2006): This story of youthful defiance gave Khan a refreshed haircut. In historical flashbacks, he adopted other appearances inspired by the past, adding further layers to his portrayal.
Ghajini (2008): In this remake of a Tamil film – itself inspired by Hollywood drama Memento – Khan adopted a dramatic new look with a muscular physique and buzz cut that intensified the film’s emotional and action-driven edge.
3 Idiots (2009): Khan turned back the clock in this record-breaking film, transforming his appearance to convincingly play a young engineering student. He changed his weight, hairstyle and mannerisms to suit the role.
Delhi Belly (2011): Producing this crime caper, Khan made a cameo in a song sequence where he donned a retro disco look. Funky glasses, glittery costumes and exaggerated 70s flair helped him stand out in yet another memorable appearance.
Talaash: The Answer Lies Within (2012): As a serious police officer, Khan adopted a subdued look – short hair, a neatly trimmed moustache and a haunted expression, completed by a simple police uniform.
Dhoom 3 (2013): To play identical twins with different personalities, Khan adopted a muscular physique, sharp haircut, tight outfits, a bowler hat and intense expressions. This gave him another memorable identity.
Cinematic milestones reflected in Aamir Khan’s on-screen imagegetty images
PK (2014): Portraying an alien, Khan had to create an entirely unfamiliar look. He did this by pushing out his ears, widening his eyes and pairing innocent expressions with mismatched clothes to enhance the character’s quirky charm.
Dangal (2016): Although he appeared as a younger, muscular version of his character, Khan’s look in this record-breaking movie was defined by older age. He transformed himself with extra weight, grey hair and weather-worn expressions.
Secret Superstar (2017): In this acclaimed film, which he also produced, Khan played a flamboyant music director. Leather jackets, tight trousers, eccentric hairstyles, earrings, facial hair and a rockstar swagger made it one of his most over-the-top looks.
Thugs of Hindostan (2018): The actor pierced his nose for this swashbuckling period film. With long curly hair, a scruffy beard, old-fashioned clothes and roguish expressions, he embraced the character’s mischief and flair.
Laal Singh Chaddha (2022): In this remake of Forrest Gump, Khan portrayed his character across different stages of life. From clean-shaven youth to a heavily bearded older man, he showcased a broad spectrum of looks in a single film.
Sitare Zameen Par (2025): In the Hindi remake of Campiones, Khan plays a short-tempered basketball coach. After decades of dramatic transformations, the 60-year-old returns to a look that closely mirrors his everyday appearance.