Stunning performances thrill audiences at annual festival
Amaan Ali Bangash
with Anubrata Chatterjee perform as part of the double bill
By Savitha PalanivelNov 09, 2024
THE annual Darbar festival gives Indian classical music fans a feast of fabulous live performances. This dynamic double bill at Barbican Hall in London perhaps summed up everything that makes it such an important, vibrant and entertaining date in the calendar every year.
Sarod maestro Amaan Ali Bangash, often seen on stage with his talented brother Ayaan Ali Bangash and legendary father Ustad Amjad Ali Khan, showed that he is a formidable solo performer. He began the show by playing an impressive repertoire of music that encompassed different moods and emotions. By enabling him to make his UK solo debut, Darbar gave a platform to an artist who will keep alive his impressive musical lineage, which has stretched for seven generations, for decades to come. Anubrata Chatterjee, accompanying on tabla, gave an already energetic performance added power with his mastery on stage.
In the second half, legendary musician Dr L Subramaniam teamed up with his son Ambi Subramaniam for a world-class violin concert. Both showed absolute brilliance on the much-loved instrument, as they glided through different genres and styles with effortless ease. Accompanied by wonderful musicians, the duo used the violin to show how music can be a unifying force.
The performances, rooted in ancient tradition, not only united different generations, but also crossed cultures, as they enthralled a packed audience from diverse backgrounds. The stage was also filled with musicians at different stages of their respective journeys, ranging from current stars to future icons.
All this perhaps sums up what Darbar is about. Those who missed the stunning series of concerts, including this one, can watch the performances on Sky Arts later this year. They are timeless and brilliant, like this near-perfect double bill, which took audiences on a memorable journey.
Forum brings UK and Chinese film professionals together to explore collaborations.
Emerging British-Asian talent gain mentorship and international exposure.
Small-scale dramas, kids’ shows, and adapting popular formats were the projects everyone was talking about.
Telling stories that feel real to their culture, yet can connect with anyone, is what makes them work worldwide.
Meeting three times a year keeps the UK and China talking, creating opportunities that last beyond one event.
The theatre was packed for the Third Shanghai–London Screen Industry Forum. Between panels and workshops, filmmakers, producers and executives discussed ideas and business cards and it felt more than just a summit. British-Asian filmmakers were meeting and greeting the Chinese industry in an attempt to explore genuine possibilities of working in China’s film market.
UK China film collaborations take off as Third Shanghai London Forum connects British Asian filmmakers with Chinese studios Instagram/ukchinafilm
What makes the forum important for British-Asian filmmakers?
For filmmakers whose films explore identity and belonging, this is a chance to show their work on an international stage, meet Chinese directors, talk co-productions and break cultural walls that normally feel unscalable. “It’s invaluable,” Abid Khan said after a panel, “because you can’t create globally if you don’t talk globally.”
And it’s not just established names. Young filmmakers were all around, pitching ideas and learning on the go. The forum gave them a chance to get noticed with mentoring, workshops, and live pitch sessions.
Which projects are catching international attention?
Micro-dramas are trending. Roy Lu of Linmon International says vertical content for apps is “where it’s at.” They’ve done US, Canada, Australia and next stop, Europe. YouTube is back in focus too, thanks to Rosemary Reed of POW TV Studios. Short attention spans and three-minute hits, she’s ready.
Children’s and sports shows are another hotspot. Jiella Esmat of 8Lions is developing Touch Grass, a football-themed children’s show. The logic is simple: sports and kids content unite families, like global glue.
Then there’s format adaptation. Lu also talked about Nothing But 30, a Chinese series with 7 billion streams. The plan is for an english version in London. Not a straight translation, but a cultural transformation. “‘30’ in London isn’t just words,” Lu says. “It’s a new story.”
Jason Zhang of Stellar Pictures says international audiences respond when culture isn’t just a background prop. Lanterns, flowers, rituals, they’re part of the plot. Cedric Behrel from Trinity CineAsia adds: you need context. Western audiences don’t know Journey to the West, so co-production helps them understand without diluting the story.
Economic sense matters too. Roy Lu stresses: pick your market, make it financially viable. Esmat likens ideal co-productions to a marriage: “Multicultural teams naturally think about what works globally and what doesn’t.”
The UK-China Film Collab’s Future Talent Programme is taking on eight students or recent grads this year. They’re getting the backstage access to international filmmaking that few ever see, including mentorship, festival organising and hands-on experience. Alumni are landing real jobs: accredited festival journalists, Beijing producers, curators at The National Gallery.
Adrian Wootton OBE reminded everyone: “We exist through partnerships, networks, and collaboration.” Yin Xin from Shanghai Media Group noted that tri-annual gathering: London, Shanghai, Hong Kong create an “intensive concentration” of ideas.
Actor-director Zhang Luyi said it best: cultural exchange isn’t telling your story to someone, it’s creating stories together.
The Shanghai-London Screen Industry Forum is no longer just a talking shop. It’s a launchpad, a bridge. And for British-Asian filmmakers and emerging talent, it’s a chance to turn ideas into reality.
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