Tag Archives: Shah Rukh Khan

Dhoti Daredevils

Celebrating the Warriors of India’s Traditional Attire

In a country where fashion trends come and go, a timeless and iconic garment continues to grace the Indian landscape with its elegance and cultural significance – the dhoti. This versatile and traditional attire has been integral to Indian men’s wardrobe for centuries. While modern fashion trends may have introduced new styles, the Dhoti Daredevils of India proudly wear this classic garment, embodying a spirit of tradition and fearlessness. 

India has diverse cultures and traditions; its traditional attire reflects this rich tapestry. The dhoti is essentially a rectangular piece of unstitched cloth, typically measuring around 4.5 meters (15 ft) in length. It is draped around the waist and legs and then knotted at the waist. This elegant garment reflects the cultural diversity and regional variations found within the Indian subcontinent. The dhoti holds a special place among men’s many traditional garments; it holds significant prominence in almost all states. In the northern parts of Gujarat and southern parts of Rajasthan, the dhoti, known as “Pancha,” is often paired with a short kurta called “kediya.” The most common combination is dhoti and kurta, known as “dhoti kurta.” In Bengal, the kurta is called “panjabi,” and the ensemble is known as “dhuti panjabi.” In Tamil Nadu, it is worn with a “sattai” or shirt, while in Andhra Pradesh, it is paired with a “chokka” and in Kerala as “jubba.” Assam embraces the kurta as “panjabi,” and the combination is called “suriya panjabi.” Dhoti, as it is called in the Hindi belt, Mundu in Kerala and Veshti in Tamil Nadu, is a traditional attire, especially in the country’s southern parts.

Preserving Tradition:

The dhoti is more than just a piece of clothing; it represents a deep-rooted cultural heritage that connects the past with the present. Dhoti daredevils are the torchbearers of this ancient tradition, donning the attire on various occasions, from religious ceremonies and weddings to festive celebrations and cultural events. Their unwavering dedication to preserving this aspect of Indian culture keeps the flame of tradition alive and burning brightly.

Reviving the Style:

Despite being steeped in tradition, the dhoti is not immune to the winds of change. Over time, its popularity has fluctuated, and younger generations have sometimes veered towards more Westernized fashion. However, the dhoti daredevils play a pivotal role in reviving this traditional style, embracing it with pride and incorporating it into contemporary fashion with a touch of modern flair. By doing so, they inspire others to appreciate the elegance and versatility of this timeless garment.

Dhoti as a Symbol of Fearlessness:

Wearing a dhoti requires a certain level of skill and confidence. The dhoti daredevils exhibit fearlessness as they gracefully carry themselves in this attire, navigating their way through various social and cultural settings with poise and charm. Their bold choice to wear dhotis challenges stereotypes and showcases that traditional attire can be as powerful and stylish as any modern fashion statement.

Breaking Gender Norms:

While the dhoti has predominantly been associated with men’s fashion, the dhoti daredevils are breaking gender norms by encouraging women to embrace this garment as well. With the rise of gender-inclusive fashion, women are increasingly choosing to wear dhotis, celebrating their heritage and expressing empowerment. 

Cultural Ambassadors:

The Dhoti Daredevils are cultural ambassadors, not just within India but also on the global stage. Their fearless display of traditional attire showcases the rich diversity of Indian culture to the world, drawing admiration and respect from different corners of the globe. They preserve the country’s unique identity and heritage by embracing their roots. 

The dhoti’s cultural significance lies in its deep-rooted connection to traditions, customs, and regional identities. It represents the rich heritage and diverse cultural tapestry of the Indian subcontinent. Wearing the dhoti is not just a fashion statement but an expression of respect, identity, and an appreciation for the customs and rituals associated with the garment. 

The Dhoti Daredevils of India are remarkable men who wear their traditional attire with immense pride. They are the torchbearers of a rich cultural heritage, keeping the flame of tradition alive in a world of ever-changing fashion trends. Through their bold fashion choices, they inspire others to appreciate and embrace the elegance of the dhoti while breaking stereotypes and challenging gender norms. As cultural ambassadors, they spotlight India’s diverse heritage and showcase the power of tradition in the modern world. The Dhoti Daredevils remind us all of the significance of preserving our cultural roots and celebrating the essence of who we are. 

Rajasthan:

The Rajasthani dhoti, also known as the “Safa Dhoti,” reflects the royal heritage and grandeur of the region. Made from luxurious fabrics like silk or cotton, the dhoti features exquisite hand-block prints, intricate embroidery, and ornate borders. The colours are vibrant and eye-catching, ranging from rich reds and royal blues to earthy browns and mustard yellows. The Rajasthani dhoti is often paired with a matching bandhani (tie and dye) or colourful turban, reflecting the traditional attire of Rajput warriors. This ensemble is commonly worn during festive occasions, weddings, and cultural celebrations, symbolizing grace, valour, and a deep connection to Rajasthan’s rich history.

Gujarat:

The Gujarati dhoti, popularly known as the “Patola Dhoti,” is a testament to Gujarat’s weavers’ exceptional craftsmanship and artistic skills. Patola silk, renowned for its intricate double ikat patterns, is the hallmark of the Gujarati dhoti. The weaving process is meticulous, involving tying and dyeing the warp and weft threads separately before carefully weaving them together. The result is a mesmerizing display of geometric designs, vibrant colors, and intricate motifs. The Gujarati dhoti is often paired with an embellished bandhgala jacket or kurta, creating a stunning ensemble for weddings, festivals, and cultural events. It represents the rich textile heritage of Gujarat and reflects the wearer’s refined taste and appreciation for artistic excellence. 

Maharashtra:

Maharashtrian dhotis, known as “Dhotar” in Marathi, are a traditional attire worn by men in the Indian state of Maharashtra. The dhoti is a rectangular piece of cloth that is typically wrapped around the waist and legs. Maharashtrian dhotis have a distinct style and are often accompanied by a unique way of draping, each with its own significance and cultural variations. The choice of style often depends on the occasion, personal preference, and regional customs. 

Why do temples down south insist men wear a Dhoti before entering its premises?It is a sign of reverence, respect, and a sense of purity. Also, some temples insist on removing the shirt, and the person has to enter the temple bare-chested. Also, the belief is that the temple has a lot of energy within, which can be imbibed if we are bare-chested. Historically, only the wealthy and well-to-do scholars used to wear an upper-body vest and the lower class used to be bare-chested. Wearing a shirt was considered ostentatious and a sign of showing off one’s wealth. But in the presence of God, there should not be any opulent show of wealth; hence, temples asked the male devotees to remove shirts. This is practised to this day in most of the temples in Kerala. While in some temples, you are permitted to wear the shirt in the outer perimeter within the temple walls, you will have to remove the shirt if you have to enter the inner sanctum.  In some temples, you must remove the shirt even if you have to enter the main gate of the temple, e.g. The Shree Padmanabhaswamy Temple in Thiruvananthapuram requires male devotees to remove their shirts and compulsorily wear dhotis even to enter the main gate.
~ M. Subbamani, a native of Tamil Nadu

When FAN made a star

In the sweltering heat of 2016, superstar Shah Rukh Khan’s Fan got a “Jabardast” Bhojpuri twist in Manoj Tiwari’s voice. The lyrics penned by Dr Ranju Sinha scorched the musical charts and cooled the heart and soul of Bhojpuri music lovers. The song was released in nine Indian languages, two foreign languages and a mashup version that was a remix version of all the 11 tracks. Here’s SRK Fan Dr Ranju Sinha’s personal relationship with her Superstar.  

Shillpi a singh

If you are a die-hard Shah Rukh Khan Fan from the eastern part of India, where Bhojpuri is the native language, chances are that you would have made a secret wish to see the superstar groove to a Bhojpuri song. Lo and behold, the wish had come true sooner when the Jabardast Fan song from Shah Rukh Khan-starrer was recorded in Bhojpuri, among many other languages. The peppy version was sung by singer, actor and parliamentarian Manoj Tiwari. The Hindi lyricist was Varun Grover, while the Bhojpuri version was penned by Dr Ranju Sinha, a producer, director, and lyricist in Bhojpuri cinema. And like Gaurav in Fan, she states, “Connection Bhi Na Kamaal Ki Cheez Hal, Bas Ho Gaya To Ho Gaya, Mat Pucho Kaise.” A conversation with Sinha and her special musical relationship with the Superstar… as a Jabardast Fan.

It was Sinha’s first outing in the Hindi cinema, and she still can’t believe that she had managed to fulfil a part of her dream – write the lyrics for Badshah SRK.

Retaining the essence of the original Jabardast Fan song in Hindi, she peppered the song with her nuanced choices of frequently spoken Bhojpuri words that helped the song strike a chord with Bhojpuri speaking youngsters. The Bhojpuri version of the song was a rage in Western Bihar, eastern Uttar Pradesh and Jharkhand.

Reminiscing her Fan moment, Sinha says, “It was a dream come true for someone like me to write a song for the superstar. SRK’s movie was about how a fan makes a star. In my case, too, I would say, Fan made me a star, in some measure.”

Dr Ranju Sinha.

A renowned name in the Bhojpuri cine circuit, life is a beautiful coincidence for Sinha. Born in a middle-class family in Bihar’s Muzaffarpur district on March 15th, 1962, she was married off at the age of 16 to Neelmani Kumar Sinha, a Bihar government official. “I was married off soon after Class 10 exams. I thought marriage meant the end of my academic and creative pursuits. But my parents-in-law and husband proved me wrong. They ensured that I continued my studies and finished my Class 12th, bachelors, masters and even got a doctorate,” she says, with a lot of pride.

Armed with a doctorate, she joined Raj Narain Singh Inter College, Muzaffarpur, as a lecturer in the home science department in 2002. By then, her two children — daughter Pooja Priyanka and son Pancham Priyam — had been packed off to New Delhi for schooling.

In 2005, her daughter moved to pursue an undergraduate program in audiology and speech therapy at Ali Yavar Jung National Institute for the Hearing Handicapped, Mumbai. “My daughter was all alone in Mumbai. She was homesick, so I thought it would be a good idea to move to Mumbai; Pooja would get to stay at home with me and would be able to focus on her studies.”

A homemaker, who mostly spent her days and nights taking care of her home and family in Muzaffarpur, Sinha shifted base to Mumbai only to give company to her daughter. She had planned to return home after Pooja completed her studies. As they say, man proposes, God disposes. “Initially, I did not know what to do with a lot of free time in this city. But it made me discover the creative side of my personality, which has been the biggest takeaway of being in Mumbai.” She was fond of writing, and for the first few months, all that she did was contribute articles for magazines and newspapers in Mumbai. Her penchant for writing made her explore options as a lyricist in the film industry. A movie buff, Sinha enjoyed watching the latest releases, but she had zilch knowledge about the craft of film-making as she admits today. But she was destined to be part of the film industry.

She says her elder brother, Mumbai-based businessman late Raman Kumar Bachchan, helped her get a toehold. It was on his insistence that she started looking for a meaningful creative engagement in the Bhojpuri film industry. “I started my career by penning devotional songs in Bhojpuri for ‘Chhatt Maharani’ for T-Series.” Dhananjay Mishra had composed the songs while Manoj Tiwari, and Anuradha Paudwal sang the songs. “It was a good start for a newcomer. Renowned singers such as Manoj Tiwari and Anuradha Paudwal lent their voices to my words. I was overjoyed.”

There was no looking back for Sinha after her debut as a songwriter for this devotional album. Buoyed by the success of this venture, she went on to pen devotional songs for two more albums — Chalo Re Sai Dham and Sai Base Hain Kan Kan Mein. Today she is a sought-after lyricist and story writer in the Bhojpuri film industry, having penned songs for hit movies such as Sautan, Ajab Devra ke Gazab Bhaujai, Niruha Banal Don, Rangbaaz and Jai Ho Jagdamba Mai. But that’s not all. She successfully forayed into film production and direction under her home banner, Gauri Shankar Arts Private Limited. She has produced half a dozen movies, including Jai Ho Jagdamba Mai, Chandrika, Preet Bada Anmol, Paro Patna Wali and among many others.

“In a way, I am in the best phase of my life. My children are doing well. Pooja is married to Dr Shashank Kumar, a dentist here in Mumbai, and the couple has a son Dhwanit. My son Pancham is currently working as Project Manager in NIIT Technologies in London, and he lives there with his wife and son.” So does she intend to leave Mumbai and return to her roots? “As of now, my hands are full. There is so much to do that I can’t even think of doing so by any means. I can’t even afford to take a break from work.”

Recalling her long association with Tiwari, Sinha says, “We go back a long way. His voice has the Midas touch. It did wonders to my just launched career way back in 2006. I was glad to have him lend his voice for the Bhojpuri version of Jabardast Fan.”

However, the call from Yash Raj Films was quite surprising for Sinha, as she fondly recalls. “I had initially dismissed it as a prank call. I couldn’t believe in my wildest dreams that I got a call from YRF to sing a song for their movie. When I checked with the production house, I realized it was indeed true. I was over the moon,” she says.

Sinha is a self-proclaimed Fan of SRK. The Bhojpuri Fan song is still popular among the masses. But unfortunately, not many people know that ‘E dilwa tohre jabardast ab toh fan ho gayil‘ was my work. The crowd goes berserk still to hear it in Bhojpuri, and that gladdens my heart.”