Archive for the ‘scenes from bangalore’ Category

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it was an interesting weekend full of art, talks, and books at the gender bender 2019.

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a talk on the history of women and gender in comics and a performance on gender and data later, there was a zine workshop.

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as someone who never bought into the whole establishment narrative, i loved the concept of zines as a platform for personal, social, and political expression.

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we flowed free on day one while day two revolved around the theme of gender/bender.

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© Anuradha Prasad 2019

among other things, there were pop-up libraries, menstrual-themed tarot cards, gender-focus posters from around the world.

© Anuradha Prasad 2019

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a troop of mushrooms at the dog park, cubbon park © Anuradha Prasad 2018

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I got a taste of Turkish coffee at the cafe where the girls showed me how it is done. The ritual of making coffee was as good as tasting the coffee!

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It began with a whiff of the coffee – rich with cardamom and mint. Coffee powder and sugar went into the ibrik, which is a copper pot with a long handle. Hot water was poured into it. The ibrik was then slow heated on a little stove.

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Only the crema – the frothy layer on the top – was poured into a shot glass as and when it formed. The result: intense! It did leave behind a muddy layer as it was unfiltered.

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This here are cherry beans. They smell fruity as opposed to the unwashed beans which are acidic.

© Anuradha Prasad 2018


© Anuradha Prasad 2018


Happening at Lahe Lahe, Indiranagar, Bangalore on June 10 2018 at 11.30am


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© Anuradha Prasad 2018

‘unexpected journeys at nicobar’ ebbed with stories from iran, bhutan, india, and sri lanka

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© Anuradha Prasad 2018

it included a primer in phone photography with katya matrioshka and india through the lens of josefin sorstrand

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© Anuradha Prasad 2018

designs journeyed through tropical islands of the imagination

© Anuradha Prasad 2018

A heritage site, the Bhoga Nandishwara temple is a Shiva temple at the foothills of Nandi Hills. The original temple dates back to the 9th century. There are numerous granite nandi (bull) idols here, sacred to Shiva as it was his choice of transport. Since it was first built, the temple complex has seen renovations made by ruling dynasties.

The temple complex follows a Dravidian style of architecture. So you’ll see sandstone pillars, temples, relief carvings, mantapas (outdoor halls, a kind of gazebo, where dances, music, and festivities were hosted), and dhwaja stambas (high pillars that are believed to protect temples from lightning apart from carrying a religious significance).

A highlight is the large kalyani (pool). The water is a startling green against the grey-beige symmetry of steps descending into it. Some say it is rain water that collects here; others that it is fed by an underground river, and could be the origin of the Dakshina Pinakini river.

© Anuradha Prasad, 2017


© Anuradha Prasad


We descended into chaos. There was no time to think or plan as we were swept into the tide of people. At a distance a mosque of white spires and domes rose like a dream. It was 7a.m.

Bundles and bundles of roses lay spread on the streets. Red was clearly the favourite.


There were occasional daisies, lotus buds, garlands of asters, marigolds, and sandwiches of multi-coloured flowers and round leaves.


Lines of Holy Basil garlands were strung on chipped walls and rails. On another side, the pavement was heaped with spengeri, which is commonly used in flower arrangements for that touch of green and artistry.


Most of the flower market circled around a mosque or dargah. It was a small green and white structure with a moon and star rising over it. A smaller, concrete moon was inscribed with Urdu script.


The flowers made way for vegetables and fruits – trays of eggplants, peas out of their pods, okra, and ginger roots. A broken and forsaken toy car hinted at the presence of children.


We were in the middle of monsoon. The misty rain got heavier and we took shelter in a building. It was business as usual for the vendors; they opened their umbrellas.

© Anuradha Prasad, 2016