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.
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.
Woodcut prints that explore the fragile threshold between body, time, and transcendence
Inspired by Baul mystics like Lalon Shai and Shah Abdul Karim, as well as sculptural forms from Michelangelo to Rodin
Figures emerge from black holes and womb-like voids — trapped in time yet reaching for freedom
A visual dialogue between flesh and spirit, rootedness and flight
A bold continuation of South Asian metaphysical traditions in contemporary form
Paradox becomes the path: muscular bodies dream of escape through light, memory, and love
Expressionist in tone, haunting in imagery — a theatre of becoming
I imagine Tarek Amin (Ruhul Amin Tarek) has a singular vision as his hands work on his craft, his measuring eyes, the membranes of his fingers. They are mostly woodcut prints on the threshold of becoming, from darkened holes. A human figure dangling in space, yet not without gravitational pull, the backwards tilt of the head is like a modern-day high jumper in the fall position, the muscles and ribcage straining to keep the body's mass afloat. A clock is ticking away in the background of a darkened rectangle. Is it the black hole, the womb, or the nothingness from which the first murmurings of being, its tentative emergence into light, can be heard?
A clock is ticking away in the background of a darkened rectangleManzu Islam
This one is in the darkened inside of a clock, as if in the womb of time, but not quite trapped in the savage tick-tock of the metronome, for the body in its stylised repose is already stirring to take flight. Why else would the face turn away from the body in its sideways position and look beyond the dark hole, beyond the frame of time?
Even the figure deep in sleep in the primal bed of the darkened womb is not as lost to time as it first appears. The legs have already wriggled their way beyond the frame. Besides, the folds of the garment covering the lower body are billowing in the wind, as if responding to the summons of the beyond to take flight into the infinite. They are all over, these black holes that imprison even a tiny flicker of light. Staged almost as an expressionist theatre reminiscent of Ludwig Kirchner et al and the Bridge Group’s woodcut prints where dark areas, looming large, provide abodes for the likes of Nosferatu or the sinister zones of danger in a Hitchcock film, but always pointing to the lighted outside, the avenue of escape, even transcendence, as Tarek Amin tends to think.
Often bathed in metamorphic ochre and orange, these figures inspired by Bengal’s deep-rooted philosophers and mystical poets, such as Lalon Shai and Shah Abdul Karim, are swept along by their melodies of love and dread, which, despite being authorised in the name of an ineffable stranger, never fail to touch the very membrane of the soul. Perhaps that’s why Tarek Amin calls this series of artwork Echoes of Existence.
The body in its stylised repose is already stirring to take flightManzu Islam
In Ovid’s Metamorphoses, Narcissus, trapped in the mirroring surface of the water, stays deaf to Echo’s lovelorn calls. From Tarek Amin’s canvases, the echoes resolute not to take no for an answer insist on being heard, even though they speak in whispers.
What do these echoes speak of? Mostly of bodies, sinuous bodies toned and chiselled like Yukio Mishima’s, destined for a metaphysical journey. These journeys are fraught with dangers, as Mishima’s have been, imploding in a manic misadventure. Tarek Amin’s bodies, taken at once from the body-centred metaphysics of the Bauls (of which Lalon Shai and Shah Abdul Karim are preeminent figures), and from the long lines of sculptures from Michelangelo to Rodin and beyond.
Auguste Rodin looked at Michelangelo, who spurred him on his creative journey. But the Frenchman, being a workman and given to the sheer materiality of objects, the thingness of things which prompted Rilke to his poetic exploration of Dinggedicht (thing-poem), gave his figures ample volume, substance, and the rough edges of their emergence. Rodin’s bodies, weighed down by their dense matter, are rooted in places. They are too heavy to take flight. Analogous to Rodin, although working in a different medium, is the work of Bangladeshi painter SM Sultan. His embodied figures, mainly peasants bulging with muscle, know only work. Labouring in the fields, their muscles protruding all over their anatomy, creating fleshy mountains and slopes that even the likes of Arnold Schwarzenegger couldn’t dream of in their wildest imagination, is too heavy. They seem more likely to sink under their own weight than take flight. If there is an escape route for them, it is by digging deep, like Kafka’s moles.
Sure, bodies are houses of being, but some bodies are bent on dragging their being elsewhere. This, I sense, is the case in Tarek Amin’s work. Muscular bodies, bound by the sheer force of their materiality, and yet they want to fly elsewhere, it doesn’t matter how one names it: beloved, divine, or even God (Lalon imagines him as a strange neighbour in a hall of mirrors so close and yet aeons away). It seems we’ve ended up with a paradox. Rooted in bodies and yet looking for lines of flight. Imprisoned by the clock and yet wishing to melt it away as Salvador Dalí so theatrically wanted, or as Henri Bergson so patiently waited to experience his durée, as the cubes of sugar dissolved in water, which sent young Marcel Proust wild with excitement, thinking he had found the key to retrieving lost time.
Yet paradox is not a negative force. In carnival, particularly in the Caribbean one sees some figures in their limbo dancing, lowering themselves to almost ground level to pass the bar, while others elongate themselves on stilts to touch the sky. The high and the low, all at the same time, is the force that disrupts the habitual orders of things. It unleashes the forces of creation.
Tarek Amin’s bodies, then rooted in their flesh and chiselled muscles, and in dreams of escape with the melodies of Lalon Shai and Shah Abdul Karim are the figures of freedom. It will be a bumpy ride, but I wish them well.
Exhibition Title:Echoes of Existence
Artist: Tarek Amin Date: 20–27 June 2025 Venue: Spitalfields Studios, London E1
Manzu Islam is a British-Bangladeshi writer and academic, author of The Mapmakers of Spitalfields, Burrow, and Godzilla and the Song Bird. His fiction explores migration, racism, and cultural identity through vivid storytelling rooted in postcolonial experiences.
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The song delivers a strong critique of social inequality
Welsh-based British-Asian artist Nayyah releases Bees & Honey, a reggae-trap fusion track
Features reggae legends Apache Indian and Amlak Tafari
Produced by Mikey ‘Megahbass’ Fletcher
Song critiques inequality but delivers a message of hope
Lead single from upcoming album Fire In My Soul
Official music video filmed in Llandudno, out now
British-Asian artist Nayyah has released Bees & Honey, a collaborative single featuring reggae icons Apache Indian and Amlak Tafari. The track was produced by Mikey ‘Megahbass’ Fletcher, known for his work with Alborosie, and brings together reggae roots with contemporary trap rhythms. Filmed in Nayyah’s hometown of Llandudno, the video is now available on YouTube.
The song delivers a strong critique of social inequality — highlighting how those who work the hardest often receive the least — while also promoting resilience and self-belief.
A collaboration with musical heavyweights
Producer Mikey Fletcher recalled how the song began:
“Nayyah brought me this idea and a melody for the track. I tried out some reggae beats, but his unique style called for something different. I played with a trap rhythm idea, and it fitted like a glove.”
Amlak Tafari added his signature vocals and brought in Apache Indian, whose contribution was both a tribute to his global hit Boom Shack-A-Lak and a reimagining of his classic style.
Apache Indian praises Nayyah’s talent and vision
Apache Indian called the collaboration a “breath of fresh air” and commended Nayyah’s creativity:
“It was an honour for me to feature on this song, which has a fantastic video filmed in his home town. His album is nothing less than a masterpiece.”
- YouTube YouTube/ NAYYAHREGGAE
Bees & Honey part of upcoming album Fire In My Soul
The single is taken from Fire In My Soul, Nayyah’s forthcoming album featuring some of Jamaica’s most respected musicians:
Sly Dunbar, Stephen ‘Cat’ Coore, Dean Fraser, Stephen ‘Lenky’ Marsden
Paul Kastick, Robert ‘Dubwise’ Browne, Carol ‘Bowie’ McLaughlin
UK contributions from Steve Grantley (Stiff Little Fingers) and James Stevenson (The Cult, The Alarm)
Original Salvador Dali painting found at a house clearance sale in Cambridge.
Bought for £150, now expected to fetch £20,000–£30,000 at auction.
The piece, Vecchio Sultano, is part of a rare series linked to The Arabian Nights.
Confirmed authentic by Dali expert Nicolas Descharnes.
Auction to be held by Cheffins on 23 October.
Dali original rediscovered in Cambridge sale
A painting by Salvador Dali, bought for just £150 at a house clearance sale, has been authenticated as an original work by the surrealist master and is expected to sell for up to £30,000 at auction.
The artwork, titled Vecchio Sultano, is a mixed media piece featuring watercolour and felt-tip pen. It was acquired in 2023 by an art dealer who later discovered it had been fully attributed to Dali when previously offered at Sotheby’s in the 1990s.
Authenticated and set for auction
The painting has now been certified as genuine by leading Dali expert Nicolas Descharnes. It will be offered by Cambridgeshire-based auctioneer Cheffins on 23 October. The seller has chosen to remain anonymous.
Gabrielle Downie, associate at Cheffins, called the find a “significant rediscovery”:
“The loss of an attribution is quite rare in the modern art world. To handle a genuine rediscovery of a work by someone who is easily one of the most famous artists in the world, and the godfather of Surrealism, is a real honour.”
Only 100 pieces were completed before the project was abandonedCheffins Auctioneers
Link to The Arabian Nights project
Vecchio Sultano depicts a scene from The Arabian Nights and was part of a planned series of 500 works Dali had intended to create, inspired by Middle Eastern folk tales. The project was commissioned by Italian collectors Giuseppe and Mara Albaretto, who had originally asked Dali to illustrate a Bible in 1963. Dali instead chose to focus on 1,001 Nights, reflecting his fascination with Moorish culture.
Only 100 pieces were completed before the project was abandoned. Of these, 50 remained with the publishers and were damaged or lost. The remaining 50 were kept by the Albaretto family and later inherited by their daughter Christina, Dali’s goddaughter.
A rare piece of Dali’s legacy
According to Ms Downie, the artwork likely comes from the batch of 50 retained by the family and later lost. The surviving pieces were published in 2016 by the Folio Society.
With its unusual materials and cultural references, the 38cm x 29cm piece shows a lesser-known aspect of Dali’s creative practice. Ms Downie added:
“While Dali’s work is often some of the most recognisable, this is an unusual piece which shows a different side to his practice when working in watercolour.”
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UTSAV aims to become an annual celebration of Indian performing arts in Wales
Samarpan to host inaugural Indian classical dance festival ‘UTSAV’ in Cardiff
Festival includes Bharatanatyam, Kathak, Kuchipudi and Odissi performances
Features student showcases and senior artists from across the UK
Supported by Arts Council Wales and Royal Welsh College of Music & Drama
Aims to preserve, promote, and inspire future generations through traditional dance
Samarpan, a South Asian performing arts initiative founded in 2017 by Dr Leena Menon and Santosh Nair, is set to launch UTSAV, a new Indian classical dance festival in Cardiff, Wales.
The festival, supported by the Arts Council of Wales and hosted in partnership with the Royal Welsh College of Music & Drama, aims to address the lack of platforms for Indian classical dance in the region. UTSAV, meaning ‘celebration’ in Sanskrit, will showcase multiple classical dance styles in a day-long event, providing opportunities for both emerging students and established performers.
The first half of UTSAV will feature performances by Samarpan students and groups from across WalesSamarpan
Samarpan’s journey and the birth of UTSAV
Founded originally as a Bharatanatyam school in 2012, Samarpan evolved into a comprehensive performing arts organisation in 2017 under its current leadership. It is built on three pillars: education, outreach, and performance, offering dance and music classes both online and in-person across the UK.
According to Dr Leena Menon, the festival idea grew out of a long-standing gap in South Wales. “There’s a perception that Indian dance means Bollywood. Classical forms like Odissi or Kathak are rarely seen here. UTSAV is our way of preserving and passing on this legacy to the next generation.”
Samarpan has seen growing engagement from non-South Asian communities in Cardiff and beyondSamarpan
Santosh Nair, Samarpan’s Artistic Director, said that Wales lacked platforms where diverse classical forms could be seen together: “We want students to witness the distinct vocabulary of each style — not just to perform, but to truly understand and appreciate the depth of the art.”
Festival structure and artist line-up
The first half of UTSAV will feature performances by Samarpan students and groups from across Wales, offering them a platform to present their work as part of a curated 35-minute showcase.
The second half will present solo performances by senior artists, including:
Divya Ravi and Dr.Swarup Menon – Bharatanatyam
Payal Ramchandani – Kuchipudi
Elena Catalano – Odissi
Ashwini Kalsekar – Katha
These performers, based in the UK and internationally recognised, reflect a broad spectrum of artistic backgrounds — including medics, lecturers, and cross-cultural practitioners.
A local business, Ginger and Clove, is also supporting the festival with a 20% discount for attendees, extending the celebratory theme beyond the stage.
Inclusive and evolving vision
UTSAV aims to become an annual celebration of Indian performing arts in Wales, with future editions expected to feature international artists. According to the organisers, the mission is not only to promote artistic excellence, but also to challenge perceptions around who can participate in classical Indian arts.
“Many of our performers are non-Indian or began learning later in life,” said Dr Menon. “There is no barrier — not gender, race, or age — to pursuing or appreciating this art.”
Samarpan has seen growing engagement from non-South Asian communities in Cardiff and beyond. A recent performance at the International Eisteddfod in Llangollen introduced Indian classical dance to new audiences and sparked an increase in student interest.
Why UTSAV matters
For those unfamiliar with Indian classical dance, the organisers emphasise that the art form offers much more than entertainment. “This is centuries of literature, poetry, music, and philosophy told through movement,” said Santosh Nair. “If you’d spend £10 on a film, why not on something rooted in heritage and meaning?”
UTSAV is as much about showcasing performance as it is about cultural access and education. “We want children and adults — especially those disconnected from their cultural roots to witness, explore, and potentially embrace these forms,” Dr Menon added.
The duo hope that UTSAV becomes a long-term fixture in the Welsh cultural calendar, creating a dedicated space for classical Indian dance and fostering artistic appreciation across communities.
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.