British Punch: A Surti Concoction

BRITISH PUNCH: A SURTI CONCOCTION

You know from Eastern India came
The skill of making punch as did the name.
And as the name consists of letters five,
By five ingredients it is kept alive

It is a curious fact, not generally known, that Britain’s favourite alcoholic beverage – Punch, was stirred up in the English factory at Surat. The word itself is derived from the Hindustani word Palepunsche or Panch; meaning ‘five’ which were the number of ingredients that added up to prepare the spirit.

In an account of the English factors at Surat,in his book on ‘Early Records of the British Settlements in India’,J.Talsboy .Wheeler narrates how on Fridays ,after prayers, the President and a few friends met for the purpose of drinking to the health of their wives ,whom they had left in England.” Some made to their advantage of this meeting to get more than they could well carry away, though every man was at liberty to drink what he pleased, and to mix the arrack as he thought fit or to drink Palepuntz which is a drink consisting of aqua vitae,rose-water,juice of citrons, sugar and cinnamon.”

This recipe I give to thee,
Dear brother in the heat.
Take two of sour (lime let it be)
To one and a half of sweet,
Of old arrack pour three strong,
And add four parts of weak.
Then mix and drink. I do no wrong —
I know whereof I speak.

That the Brits found the heat and dust in India unbearable is no state secret. Besides, the locally available arrack was as traveler Bernier put it,” a drink very hot and penetrate, like the brandy made of corn in Poland.” Little wonder then, that diluting the arrack in the punch provided the high without heat to the English.” It (punch) acts as a drug, for, it cleanse the stomach, and dissipates the superfluous humours by a temperate heat particular to it.” wrote the traveler who highly approved of the decoction.

And if I get drunk, well, me money's me own
And them don't like me they can leave me alone
I'll chune me fiddle and I'll rosin me bow
And I'll be welcome wherever I go.


Another factor that made punch extremely popular was that it was affordable. As Philip Anderson states in,’The English in Western India’,”The soul of a feast which is good wine was to be found nowhere but in the Dutch and English factories. Usually imported from Shiraz or the Canaries it was available at six crowns a bottle.” On festive days, two common tables were laid out, one where the Governor and higher servants dined while the other was appointed to the English factors and writers, differing only in this, ’one had a great deal of punch and little wine and the other what wine you please, and a little punch” The finest arrack flowed in from Goa and Bengal and was best savored by diluting its strength in punch. During winter months, local toddy replaced arrack. Often, factors like Fryer carried brandy in a flask and diluted it with sherbets when invited to teetotaler dinners by the Surti moors.
What more diversion can a man desire?

Than to sit him down by an alehouse fire
Upon his knee a pretty wench
And upon the table a jug of punch


Tapi town was once tipple town and its taverns were popularly visited by English sailors. Anderson further writes,” Cases of poisoning were said to be frequent in these taverns. The rude manners of British seamen led them to use a freedom with the dark ladies. A rough kiss or an offensive piece of raillery would often result in the sailor paying penalty by his death. The black wench whose employment was to make that beloved mixture of arrack and punch would contrive in a subtle skillful manner to make the punch bowl fatal for the man who abused her, while his companions drank without the slightest injury to themselves.”

Punch was as popular with the Dutch as it was with the English. At Surat’s Dutch cemetery, there once existed a tomb with a huge punch bowl in stone on top. Made in the memory of a merry maker who wanted his friends to come drink and celebrate each time they visited his grave.

And when I'm dead and in my grave
No costly tombstone will I crave
Just lay me down in my native peat
With a jug of punch at my head and feet.

ORIGINAL SURTI OOMPH LA LA!

Original Surti Oomph La La!

Hollywood’s ultimate sweetheart Marilyn Monroe once observed,” The trouble with censors is that they worry if a girl has cleavage. They ought to worry if she hasn't any.”

Bollywood’s cleavage kumaris on the other hand, have a heavier load to carry; they work hard to bust myths that women who expose skin and a little more other intimate stuff, need not know how to act as well.

As women go ‘eeeyuw!’ in disgust and men drool oh la la in lust over Vidya Balan’s dirty pictures that have been in our faces since a month now, Surti Lalas are lamenting for a different reason altogether.

Ever since Lalas became aware that Balaji Film’s blasphemous yet famous upcoming flick has been ‘inspired’ by the late southern siren Silk Smitha, speculation has been rife in our man made textile markets as to how our Art silk nee Nylon Namithaa, would have been the best choice for the role, compared to Viscose Vidya.

Earlier this year, I had interviewed Vidya and she had opened her heart sharing girlie secrets saying,” Deep down I am actually just a simple Tam –Brahm girl who loves collecting jhumkis, removes her ayurvedic kaajal with desi ghee and lounges about in comfy Juicy Couture track pants when not shooting cinema, there is nothing over ambitious about me. ”

Consider this, an actor who had worked with Silk in the past pointed out to TOI that,"Vidya lacks oomph and looks nothing like Silk. Her physical attributes don't add up. Silk was dusky, she was slightly over 5 feet 7 inches tall; her eyes were big and when she did those sexy movements of licking her thick luscious lips and rolling her eyes up in a dreamy way, she gave men something to think about.”

Surat’s Namithaa on the other hand, fits the description of Silk‘s bill to a T. Other than being equally voluptuous, like Smitha, Namita hails from a small town yet has achieved superstar status on her own gutsy chutzpah and charm. Like Silk, she has successfully played the sultry seductress and flirty Savithri among other roles, wearing knotty blouses in Tamil, Telegu, Malayalam and Kannada films. In 2009, with her first Malyalam flick Black Stallion, she became ‘the most Googled Indian Actress’

From a plain Jane girl next door in Adajan, Namita Vankawala to Namithaa Kapoor the southern superstar for whom, fans have built an exclusive temple, was a journey accomplished by flaunting vital stats along with acting assets for a long run in the industry.

Tapi town’s veteran theatre personality, Kapil Dev Shukla , who trained Namita, an MTB College of Art’s student in dramatics reminisces how sincere she was, “She was under my tutelage from 1999 to 2004 and was a keen and quick learner with great potential. After winning Miss Surat, she acted in four plays for my company. She was extremely hard working and always came prepared with her dialogues, her diction was extremely clear. The first role she enacted was in my play ‘Priya Pappa’ and you may be surprised to know she played the character of a mother in it. ”

It took a lot of convincing to get Namita’s parents to allow her to participate for the 2001 Miss India title. In her own words, she came from “a very orthodox family where girls get married at the age of 19.” Her businessman father and homemaker mother were not too happy about their daughter joining the glamour industry. That year, Celina Jaitley won the title, Namita was the fourth runner up but, secured first position in the ‘viewer’s choice ‘category. Since 2002, she shed her inhibitions and catapulted to Tolly/ Kollywood queen status. Back home, if Namithaa were to walk Surti streets, few would recognize her, leave alone worship her, but this buxom babe has always maintained that it is Surat alone that strums the strings of her heart.

Surat dished out Bollywood’s very first sizzlers- Fatma Begum, Sultana, Shahzadi and Zubeida who set box-office cash counters jingling, sent censors in a tizzy and drove viewers crazy. Like them, Namitha has made it big on her own in alien territory on the mere basis of her original Surti oomph la la.

Ghazal's Unforgettable Maestro

Ghazal’s Unforgettable Maestro

It’s been a month since his unfortunate death, yet, this columnist, along with millions of other fans world over, can’t quit mourning the silence of ghazal’s soothing yet tragic voice because we relate our lives to his songs.

My earliest memories of listening to ghazals albeit without then understanding their beher (meter), are of those at parties my parents threw for their Gujarati theatre artist friends in our Bombay home. As the evening grew on, the LP would play out some soul stirring fare by Jagjit and his partner in rhyme - Chitra. Occasionally, the late and very handsome Pravin Joshi would hum along gently as one hand held a cigarette and the other hand gestured in the air while his eyes welled up. His wife, the original drama queen -Sarita Joshi ( now a television star) would go a step further and give a shot at a few light hearted graceful dance moments. The Ghazals lent their intensity to the ambiance with lilting lyrics like Nida Fazli’s,“Duniya jisse kehtey hai jaadoo ka khilona hai” and Firaq’s, “Bahut pehle se unn qadmon ki aahat jaan letey hai,tujhey ae Zindagi hum duur se pehchaan letey hai”

Later, we shifted base from Mumbai to Surat and the parents loved entertaining the locals at terrace dos (they still do, since old habits die hard).It is with much nostalgia and a very heavy heart that we reminiscence all afore heard songs now.

The magic of the maestro’s renditions lay in the fact that his compositions unpretentiously put convoluted Urdu poetry into simple harmonious tunes; which found way to the lips of the common man . So, you would have a Surti businessman swooning to the poetry of Faiz or that of the mellifluous Mirza Ghalib, totally oblivious of the ‘takhallous’, yet in perfect sync with Ghazal’s rules of 'Matla', 'Maqta', 'Beher', 'Kaafiyaa' and 'Radif' .Who could have imagined a Surti lala lisping, “unnke dekhe se jo aajaati hain muh per raunaq, woh samajhtey hai ke bimaar ka haal achha hai”, had it not been for Jagjit Singh.

It was his ear for well penned verse that made him stick to his guns when he insisted on recording as his first LP, the skillfully scripted “Baat niklegi toh duur talaq jayega,log bewajah udaasi ka sabab puchengey”, a nazm that he had chanced upon in the Urdu magazine ‘Shama’ ;even though previous efforts to record it had run out of luck, the LP version went on to become one of his greatest masterpieces. Who can forget the effervescent charm of “Teri khushbu mein basey khat mein jalaata kaise?” or the jugalbandhi of two ghazals sung as one,with genius tact – Sudarshan Faakir’s“ Ishq mein ghairratey jazbaat ney roney na diya” along with Khwaja Hyder Ali’s “ Yaar ko mainey mujhey yaarne soney na diya “

Lyrics for Singh’s first Gujarati ghazal album “Jeevan Maran Ek Chey “were verses of Gujarat’s Ghalib aka Mareez of Surat. Jagjit made sure his audience understood him well, he never missed an opportunity to take time out in between live concerts, to explain the lafz that he was going to sing, and this bonded him to his listeners’ big time. Be it Surtis at Indoor Stadium or The Royal Albert Hall, with its prim and propah crowd, none would hesitate to sing along in chorus, ’ahista,ahista’ to ,’shabe furkat kaa jaagaa huun farishton ab to sone do/ kabhii fursat mein kar lenaa hisaab ahista ahista’.

From Punjabi renditions teamed with humorous anecdotes to the tear jerker “Kagaz ki kashti ,woh baarish ka paani”, there was something for everyone .Other than his commercial cinema hits, his ghazals were for all of love’s seasons .Be it Sahir Hoshiyarpuri’s flirty,” Kaun kehta hai mohobbat ki zubaan hoti hai, yeh haqeeqat toh nigahon se bayaan hoti hai -the intoxication of new found love, to a lover’s yearning, from a jilted lover’s lament to love lost for ever.

I distinctly remember a comment by one of Surat’s popular surgeons, Dr Piyush Khanna, all starry eyed at the riverside lawns of a local five star hotel where Singh performed to an awestruck audience.” He is the real doctor alright, a doctor of broken hearts which he miraculously cures instantaneously.” Said the surgeon.

One of my favourite Jagjit – Chitra number is “Sunntey hai ke mil jaati hai hurr cheez dua se, ek roz tumhey maangke dekheyngey Khuda se.”

Alas! If only we could just ask him back from the Almighty.

Hope Less For Heritage

Tombstone to kitchen slabs:

The SMC (Surat Municipal Corporation) is all set to sell Surat’s heritage-Hope Bridge as scrap. Should we be surprised? In a sheer case of neglect by the local governing body, Surat’s heritage sites seem to have slight hope of surviving. Here is another such story:
GRAVE DANGER

In 2000 years of its existence in India, the now minuscule Jewish community has never faced anti-Semitism

Holding on to their own identity; the Jews in India have Christian neighbours, Hindu colleagues and Muslim caretakers.

They celebrate with equal zest Durga Puja, Diwali, Rosh Hashanah and Christmas. Their synagogues here often resound with incantations in Hebrew echoing recitation from Talmud and Torah.

Our superstars and celebrities sport Star of David tattoos, our gourmands relish delicatessen from kosher cuisine, prime areas in metros such as Mumbai and Kolkuta are till date known after icons such as Sassoon and Ezra.

It was in Surat that the Baghdadi Jews first step foot on when they arrived in India .A prosperous merchant community from Aleppo, descendants of which migrated to Calcutta. They were cosmopolitan businessmen who extended their trading and financial network around the globe, dealing in Arabian horses, precious gemstones and rosewater.

The Encyclopedia of Jewish Diaspora‘s earliest record states,’ In 1730, Joseph Semah arrived from Baghdad to Surat and set up the Surat Synagogue here.’ When it comes to Jewish cemeteries however, Surat stands not much better off than Pakistan. As land sharks, vandals and garbage encroach upon and shatter the sanctity of their final place of rest, the last surviving tombs of Baghdadi Jews in Surat, struggle to protect their proof of life.

While the city’s English and Dutch cemeteries are now protected by the ASI and are the pride of the city’s ancient past, an 18th century Baghdadi Jewish graveyard is surprisingly, part of a private industrial estate ! Its present owners, the Asarawallas, chase off any visitors who try to enter the premises which faces the main road on Katargam.

Miscreants often climb over the 10 foot wall to use this unique burial ground as a urinal, garbage dump or sit around the graves to enjoy locally made alcohol, bottles of which they dump around this graveyard.

“In general, the cemetery is in a terrible state of neglect, this is clearly a legacy looted.” says Dr. Shalva Weil, Senior Researcher-Research Institute for Innovation in Education, Hebrew University of Jerusalem, Israel

One of the graves within is that of Moseh Tobi, buried here in 1769, he was considered an elder leader. In his book ‘A History of the Jews in Baghdad’, David Solomon Sassoon has mentioned “In the year 1769 Moses Tobi, who is styled ha-Nasi ha- Zaken [The Elder Prince] died in Surat”

In the urban mess of the city, while this heritage site is on the verge of extinction, another Jewish cemetery has already disappeared. In February 2003, Dr.Sara Manasseh from London, visited and reported the dire straits of two Jewish cemeteries in Surat, to the then Municipal Commissioner, Mr.Aloria.

Ms Manasseh’s report stated how these burial sites of historical, communal, national and archaeological importance were infested with wild pigs and garbage, urging the local governing body to take action and save them.

No action was taken, as a result of which, the Bene Israeli Kabrastan, which was in the vicinity of the SMC offices at Mugalisara, now longer exists. ”There are no more Jews left in Surat, in the absence of caretakers, their graves have disappeared too. The entire area was encroached upon by slum dwellers who converted marble tombstones into kitchen platforms.” Says Jolly Wellington, who resides in the vicinity.

“Jewish graves have beautiful cupolas and marble gravestones. But often, Jewish graveyards are not preserved by the civic authorities as part of the city’s heritage and history. In this context, the Vadodara Israeli Kabrastan is a very good example, as to how, a citizen’s initiative could preserve it”says writer Esther David.

In 2004, the Israeli Kabrastan at Nizampura in the Banyan city was saved by an awareness drive run by TOI and prominent denizens who lent support.

Can we hope to save our heritage? Or is that too much to ask from us Surtis; a business minded community whose prosperous present exists due to its glorious past.

9 Divine Prachin Garbas

9 Divine Prachin Garbas

With the return of popular Prachin (traditional) Garbas this year, raas revelers within Surat’s sheris have been swinging to pious ancient prayers.

Penned centuries ago, the essence of these folklores in song format is about the miracles of Mataji in all her Nav Durga incarnations

All garba evenings commence with the Jay Aadhya Shakti Aarti , post which garbas are sung out in praise of individual goddesses

1.Padvey thee pehlu Ma nu nortu jee rey- Officially sung out as the first garba of Navratri, this song comprises of the importance of the nine nortas in accordance to the nine goddesses, describing the strength of each avatar - Śhailaputrī, Brahmachārini, Chandrakaṇṭā, Kuṣhmāṇḍā, Skandamātā, Kātyāyanī, Kālarātrī, Mahāgaurī and Siddhidātrī

2.Aadhya shakti tujne namu re bahuchara – Penned by Vallabh Dholabhai Bhatt,this is known as ‘Vallabh no garbo’. Mythology mentions that Bhatt was born deaf and dumb but was gifted the boon of Saraswati, the Goddess of knowledge and miraculously cured, after which he spent his life penning devotional songs like ‘darshan gyani aanand no garbo’. Legend also has it that Vallabh’s faith in the unseen Goddess led him to be imprisoned by the then Mughal ruler and his prayers to Aadhya Shakti Ma resulted in her promise of showing her presence to humans. The goddess appeared at Nathdwara, within the idol of Shrinathji, which is why, since then, Shrinathji, who is a male God has been adorned with a ‘nathni’ (nose ring.)

3.Maa no garbo re ramey raj ne darbar –Known as ‘Virat no garbo’ this one goes all out to describe the sheer splendour and magnitude of the Goddess’s might.

4.Maa Pava te gadh thi utarya Mahakali re ( Goddess Mahakali descended from the Pavagadh hills)

5.Tu Kali re ne kalyaani Maa ( Thou ,goddess Kali are the miracle maker )

6.Patayee raja garbadiyo koravo

7.Tu Pava ma ‘pragtani’ re Maa

These four songs sung in praise of Ma Kali Pavagadh wali are arguably the most popular and also the most controversial. While the first two speak of her divine prowess, the latter two are about the story of king Patayee of Pavagadh, notorious for having misbehaved with Kali Ma by trying to hold the helm of her sari pallu and inviting her to spend a night at his palace, which is why ,many singers belt out the lyrics as ‘Tu Pavani Patrani re Ma “ ( you are the queen of Pavagadh) which is incorrect. Rajkot’s music composer Utpal Jivrajani argues this theory and points that,”Historical granths have clearly stated that king Patayee was in fact Maa Kali’s great devotee.”

8.Vishwambhari stuti akhil vishwa-This devotional song with authentic chhand matra ek taal is phonetically pronounced in Sanskrit. The charm of this classic composition lies in the fact that it is sung out in perfection, at every home, crossroad and garba venue, even by people who do not know Sanskrit and are neither trained in music.

9.Amba aavo to ramiye Maa maney ramta nahi aavde- A friendly teaser to Amba Maa ,inviting her to teach and play garba with mere mortals, its lyrics are endearing and childlike.

It is through songs such as these that the bond between goddesses and devotees has strengthened since ages. As the baton of tradition is passed on down generations, the ‘Garbhdeep’- lamp within earthen pot stays illuminated forever even as believers soulfully belt out ,’Pawan sapata thay,toye Maa no garbo ghoomto jaay’

Layman's Quickie Dodhiyu Guide

Layman’s Quickie Dodhiyu Guide


All right people, its time to sway and it don’t matter if you think you are not up to it. You need to be out there in the swirling circle as hearts and feet go scampering, trying to out do each others beats.

You have tried your hand at fencing the simple raas dandiya and returned home with a swollen finger or two. You managed to maneuver within human circles that swung to the humble two taali and three taali garbas, but now, dread dandiya season’s big bad daddy - the Dodhiyu.

A’ Dodhiyu’ in Gujarati means ‘one and a half’. It consists of a ménage-`a-troi of hop, skip and jump. One needs to hip hop, skip a beat or two and then jump in victorious delight. Often, the hands do not climax in a clap, even as one’s head sways in smooth surrender.

Invented by Amdavadis in the early eighties, the Dodhiyu is dependant on rhythm alone .It allows independent expression of one’s major body parts, as limbs, abdomen, hips, eyes and neck gracefully groove to an unchained melody. Instructors describe it as, ‘a dizzy drill which makes you forget whether you are going to or fro, while you crave for more.’

Here is a step by step breakdown to understand it a little better:
You begin in a circle facing outwards, step out with your right foot while your left hand shows the way, then step inwards half a circle with your left foot even as arms gracefully sway out in full swing, fore fingers pointing skywards, next, a sudden turn in the opposite direction,a full circle ensures that you are part of the merry go round, jerk your body as you skip a beat and take a heech before you take the next two steps forward, one inward and the other outwards to complete the routine of one permutation and reach the position you had begun from - a total of 6 moves if you please.

If you think that was complicated, remember, it’s just the first, basic step. One then upgrades to 8, 10, 12, 16, 22,26,32,36 steps which include innumerable variations of hand and footwork.

While Vadodara’s garba girls are renowned for their graceful gait in this art, in Surat, Dodhiyu is slick and spicy and has more ingredients to it than the Surti Undhiyu. This year Surtis are swaying to the Millennium Twist - a do it yourself 42 step Dodhiyu which makes the watchers swoon as revelers go in and out and all about, doing their thing in a peacock like prance.

Be warned that the Dodhiyu is extremely addictive and once you have mastered the art, nothing will manage to stop you from swinging.

Here Come The Hautesteppers......Ae Haalo

In Gujarat, it is one thing to celebrate Navratri for its religious purpose and completely another to live it up for its sheer glam quotient .These nine and a half nights bring along with them the haute stepping sultans of swing, out in full splendour with bare feet, barer backs. Backless cholis make sexy humjolis(companions)and Gujarati women hold their place in history for having invented the same. In his book’ Indian Dress: A Brief History’, author Charles Louis Fabri has noted how, ‘The first recorded examples of the choli, the bodice or blouse, are found, in the pre-Mughal miniature paintings of Gujarat, mostly Jain religious manuscript illuminations.’ Present fashion’s gravity defying tactful tailor technology not only manages to gracefully hold the shoulder boulder in place but also save face in stringy situations, even as the booty is held together by a mere fancy broach or semi precious stone. “Bollywood has a marked impression on Surat’s revelers this year. I have designed Kareena cholis with Bodygaurd movie colour themes, as well as Singham ghaghras. Surtis are swearing by locally made laces on brocade, jacquard crepes for ghaghras teamed with sheer chiffon or georgette dupattas .The look is heavy but light in weight .Only participants of competitions are sticking to traditional patch worked gear.” says Sangeeta Choksi, who designs for Surat’s suburbians.

The Jolie art behind the cholis too has undergone a new avatar. Younger girls are opting for tattoos on small of their backs and their waists, a la Deepika from Dum Maro Dum, shown off at the spot where the odhani is tucked in. Ahmedabad’s popular tattoo artist Jagruti Parmar points out that,” Youngsters want their tattoos to look permanent and so, this year, stickers and paint are passé. The in thing is translucent nail varnish and a transparent top up coat ensures that its sweat proof too. It’s easy to apply and quick to change. Girls have patterns like a base butterfly /dragonfly etched out in black ink and they come in to change the design and colour of their wings everyday, to match their outfit.” The boys meanwhile are getting temporarily inked on neck napes and behind ear lobes, to show off body art. Magnetic diamante ear studs for boys as well as push button navel studs and rings for girls are sparkling this season, and have replaced body piercing. Florescent coloured braids are making way within hairdos to match up to the magnetism of garba gear. Unlike Vadodara’s strictly traditional garba ramzhat, jhankaar beats are set to jazz up Mallika Sherawat’s ‘Jalebi Bai’ number at commercial venues within the state. Rajkot’s Racecourse grounds are offering pure Prachin and Arvachin Garbas sung out in the praise of the nine goddesses of Navratri.” The locals have demanded pure folk songs this year. Also making a big come back are Titodas, and remix Dhunki Daklas like ‘Ae Ma khamma khamma maadi’.Daklas are played to the beat of talking drums - an instrument known as Daklu.” Says singer Utpal Jivrajani. The only modern theme here is sneakers, as twirling troupes have matched chaniya cholis and kediyu dhotis with sports shoes for better stepping comfort. It’s the season of dancing, prancing and romancing and Gujaratis are putting their finest step forward.