Lahore ki Lakshmi

Lakshmi Insurance Building, Bombay

This is the Lakshmi Insurance Building on Pherozshah Mehta Road, opposite Bombay Store. It has a clock tower with a statue of the goddess Lakshmi.

Why am I calling it Lahore ki Lakshmi? Because the Lakshmi Insurance Company was originally founded in Lahore by Lala Lajpatrai. This building was the Bombay branch of the company (later merged with the Life Insurance Corporation).

There is also a Lakshmi Building in Lahore, which was the headquarters of the insurance company. In fact, the crossroads at which the building is located in Lahore is called Lakshmi Chowk.

Lakshmi Chowk in Lahore was a popular hangout for Bollywood celebrities and hopefuls, because many studios and movie offices were located there. The famous villian Pran got cast in a movie when he was hanging out at Lakshmi Chowk at a paan shop :) Apparently a director named Wali spotted him, and scribbled the address of a studio on the back of a cigarette packet. Thus began Pran's journey into films.

Dev Anand, Balraj Sahni, Mohammed Rafi, Om Prakash, Pran... all these major Bollywood stars hung out in Lahore's Lakshmi Chowk. And eventually migrated to Bombay to find fame and fortune here. 

Lahore's loss was Bombay's gain.

The cutest Art Deco Elephants in Mumbai

Mumbai's largest Baghdadi synagogue

- by Deepa Krishnan

In the late 1700's and early 1800's, Jews from Iraq began arriving in Calcutta and Mumbai.

It was not the first time Arabic speaking Jews had made their presence felt in India. The Great Mughal Akbar had a Jew in his court, and so did some subsequent Mughal emperors. Surat was one of the major ports of the Mughal empire, and Jewish merchants were well-established there, trading with the British East India Company.

As Mumbai prospered in the 1800's, Jews from Iraq, Syria, Afghanistan and Yemen began arriving in Mumbai in significant numbers. A lot of them came from Iraq, and so they were called Baghdadi Jews.

There was already another Jewish community in Mumbai, the Bene-Israel (Children of Israel). Believed to be one of the "ten lost tribes" of Israel, they had been in India for many centuries. The Bene-Israel were quite different from the Baghdadis - they spoke Marathi, and looked more Indian than Middle-Eastern. After many centuries in Maharashtra, Bene-Israeli cuisine had become localised, while the Baghdadi Jews followed their own cuisine. The prayer rituals of the Bene-Israel were also different from those of the Baghdadis. The two communities therefore, maintained a cultural distance, and did not intermarry.

In the initial years, the Baghdadis were few in number, and they prayed at the synagogues of the Bene Israeli community.  But as their numbers grew, they began to want their own synagogue in Mumbai.

Two factors made this dream a possibility. The first was the arrival of the wealthy Sassoon family of Baghdadi Jews in 1832. The second was the opening of the opium trade in the 1840's which allowed the Sassoons to amass huge fortunes. As their wealth multiplied to astronomical levels, the Sassoon family naturally became the de facto leaders of the Baghdadi community. Building a Baghdadi synagogue was an obvious logical demonstration of that leadership. The patriarch David Sassoon was a practising Jew, who observed the shabbath throughout his life.

In 1857, while the country erupted in flames of revolt against the East India Company, David Sassoon moved ahead with plans for the first Baghdadi synagogue in India. The Sassoon family owned land in Byculla. A plot was identified and architectural design commenced. The design selected for the synagogue was Western-inspired architecture, rather than Middle-Eastern or Indian. Perhaps it was because the Sassoons were quite well-aligned with the British. While David Sassoon did not speak a word of English, his three sons did, and they wore both traditional and Western clothes.

Construction progressed quickly. In 1861, the synagogue was consecrated, and named Magen David, Shield of David. It was the largest synagogue in Asia at the time. A few years later, the Sassoons built the Ohel David in Pune, which I think is even larger, although I cannot tell for sure.

Here's an old photo of Magen David synagogue. In the 1900's as the Baghdadi congregation grew, extensions were added on both sides, which are missing in the old photo. But you can see the extensions in this illustration below, which I got from the Sassoon Trust website.

I have visited Magen David on and off in the past 10 years. It used to be cream/white in colour, as the illustration shows.

Somewhere in 2008, it was painted an attractive blue and white colour. Blue is the identifying colour of Judaism, just as the saffron colour identifies Hinduism. In the Torah, the Israelites were told to dye a thread on their tassels with tekhelet, a blue ink from a sea creature, perhaps a type of cuttlefish. The Israeli flag is also blue-and-white (actually tekhelet is supposed to be a dark almost violet-blue).

When you stand in front of the synagogue, the most obvious architectural aspect that strikes you is the flat-roofed porch supported by four columns. The entablature contains the name of the synagogue in English, and there is a tablet showing the ten commandments in Hebrew.

If you step back a little from the synagogue, you can appreciate the central stepped tower. The tower is inspired by a similar one in Trafalgar Square, London. The one in London is called St. Martin in the Fields, you can see it here. There's a clock on the tower that was brought from London. It was an era when everyone did not have the money to own a pocket-watch; so public buildings had clocks to help the populace figure out the time.

Here a photo of the interior:

This is the view from the first floor, which is the women's area. The synagogue has separate seating for men and women, as required by halakha (Jewish religious laws). While gender separation has been a part of orthodox Judaism, there have been many reform movements trying to change the requirements. Particularly in Jerusalem, it's interesting to see how the orthodox control over the sacred Wailing Wall of Jerusalem is being contested by the "Women of the Wall"  They have been fighting for equal right to access and pray at this holy site.

Photo credits: Top and bottom photo from Garry Joseph, who did our Jewish Heritage tour

A great shopping day at Paramparik Karigar!

- by Deepa Krishnan

I had a meeting at the World Trade Centre; and it coincided with the first day of the Paramparik Karigar exhibition. So a bunch of us decided to make an outing of it. 

Paramparik Karigar is an association of craftsmen from around the country. It was formed under the guidance of Roshan Kalapesi and Kamaladevi Chattopadhyay (Crafts Council of India). I visit their exhibitions often, because they really bring the best of Indian crafts to consumers. There were so many stalls, each with their own specialty craft or textile. I started to photograph things, but within a couple of minutes, I decided to put my camera away :) and focused on enjoying myself.

Tholu Bommalata of Andhra Pradesh by Sindhe Sriramulu

With Padmashri Laila Tyabji at GV Sarees (Kanchipuram)

Our shopping haul

We ended with lunch at Status, their fabulous thali. Overall, great retail therapy! And here's me, enjoying one of my acquistions, a beautiful organic cotton stole from Khamir. Isn't it gorgeous? 

www.khamir.org

Mumbadevi Temple - The legend of the goddess Mumba

- by Deepa Krishnan

Mumbadevi is the patron goddess of Mumbai; the goddess after whom the city gets its name. But do you know her story? 

Mumbadevi Temple spire

When I went looking for more information, here's what I found: a textual reference called Mumbadevi Mahatmya.

Mumbadevi Mahatmya - the Glory of Mumbadevi - is a set of 52 verses in Sanskrit, estimated to have been composed somewhere in the period 16th to 18th century. In 208 lines, it tells the tale of how the goddess got her name.

The story goes like this:

In ancient times there was a daitya (demon) named Mumbaaraka. He obtained a powerful boon from Brahma, that he could not be defeated by man or animal or yaksha or gandharva. The people went to Vishnu, who along with all the gods, went to Kailasa to petition Siva. From Siva's mouth there emerged a shining bit of his essence. Other gods similarly gave a part of themselves. This combined to form the goddess Mumba. She mounted the lion of Ambadevi and waged battle with Mumbaraka, and defeated him. He was banished to patala (the netherworld). The goddess assured the people that she would take the title of Mumbadevi and reside on the island to protect them. 

Detail of decoration, temple walls

The poor quality of the Sanskrit and the grammatical errors in Mumbadevi Mahatmya suggest that this text was composed by someone without much education (and not much imagination either, by the looks of it).

Like all other mahatmyas, the text clearly outlines the benefits that will accrue to worshippers of Mumbadevi. For me personally, the chief benefit of visiting this temple is that I can eat the famous jalebis from the corner shop! But according to Mumbadevi Mahatmya, if you desire heath, prosperity, children, victory in battle, or the power of oratory, then it's a good idea to worship this goddess.

No dearth of Brahmins

Also, the author suggests that those who desire Mumbadevi's good graces should feed Brahmins and give them dakshina (donations). This is easily done: there's no shortage of dakshina-hunting Brahmins outside the temple, looking to tie red threads around your wrist.

Earlier texts such as the Mahikavati Bakhara (Story of Mahikavati) and Bimbakhyana (Story of Bimbadev Rana) which date to 15th and 16th century do not have any mention of Mumbadevi. Thus it is possible that this goddess gained prominence only in more recent times. 

Inside the temple

Mumbai-based researcher and lecturer Suraj Pandit suggests that the name 'Mumbaaraka' bears a close resemblance to Mubarak; and perhaps the reference is to Sultan Mubarak Shah of Gujarat who ruled over the area in the 1300's.

Late medieval mahatmyas, says Suraj Pandit, often preserve historical events through a retelling framed in a religious narrative. Perhaps the tale of Mumbadevi is one such story.

Text Reference: Tilak Maharashtra Vidyapeeth Pune, Sanskrit Sources of Indian History, Volume 1, Pages 189-198, Mumbadevi Mahatmya by Suraj Pandit 
Photo Credit: Deepa Krishnan

A day to remember

- by Deepa Krishnan

It's not often that you get to spend the day with the governor of the Reserve Bank! So here's a quick look at my day, with Radhika Puri and Raghuram Rajan. What a totally fabulous couple. And such lovely, old-fashioned good manners. I really should learn from them. I met them at 8:45 am, and we talked non-stop until 2:00 p.m. Quite a feat, even for a super-talkative person like me! 

We started with a visit to Castella de Aguada, the old Portuguese fort, where I explained about all the kingdoms who fought for control of trade on the western coast. There are multiple forts around the bay (Mahim Fort, Bandra Fort, Worli Fort). Clear evidence of the strategic importance of this area.

We saw lovely views of the Bandra-Worli Sea Link.

Driving past Mount Mary, we stopped to see the prayer candles. They are so uniquely Bandra! If you want to have your wishes fulfilled, all you need to do is pray to the Mother of the mount and light a candle. There are wax figurines which you can offer to become a television star, or a movie star, and there was even one for becoming a Hollywood star :) The homes of some big Bollywood badshahs and ranis are nearby, and we saw them as we drove past Bandstand.

At St Andrews Church, we were joined by Father Caesar D'Mello, who showed us around and told us some interesting stories. The church is celebrating its 400th year. "When the Taj Mahal was built, we were already 50 years old", they say proudly.

After the church visit, we started our village walk. We went to Chimbai Village, Ranwar Village and Chapel Road; where we enjoyed the old wooden architecture, the numerous small crosses and the quirky wall art. We went to a designer studio, to see how a old heritage house can be repurposed.

 

We ended the Bandra tour with chaat at Elco Arcade, where we ordered their seasonal strawberry kulfi, as well as some old favourites of mine (I like the pani puri and the gulab jamun!). 

And then because we wanted to get more out of the day, we went to Dharavi, to see what makes the slum economy tick. What a great visit, even though it was completely unplanned. We went to Dharavi Art Room, to meet Himanushu and see the great work he is doing with children and women. We saw the papad-making (cooperative model) and how that worked. We walked into a "multiplex" to watch the migrant population enjoying a Nagarjuna movie. We saw the recylcing industry, garments industry, and all the units busily at work. We met Fahim, who I have been mentoring now for several years. Fahim told the story of how he set up and grew his slum tour company 'Be the Local'.  We walked through narrow alleyways, seeing how people lived. All in all, it was quite a day!

Co-optex - A sleeping giant awakens

- By Deepa Krishnan

If you're a Tamilian living in Mumbai, there's a pretty good chance your cupboards contain something from Co-optex. Probably a bunch of hand-spun cotton towels. Or a nice cotton veshti. Or a handloom saree. My family has been buying all of these from Co-optex for many years now.

Co-optex is the brand name of the Tamil Nadu Handloom Weavers Cooperative Society. Last month I was invited to attend their lecture-demonstration on the handloom weaves of Tamil Nadu. Although I am Tamilian, there are many small weaving clusters of Tamil Nadu about which I know nothing. So this was the perfect opportunity to meet friends and learn new things.

The lec-dem was very informative. Knowledgeable and experienced staff from Co-optex showed us samples of the weaves, and told us about the diverse weaving traditions of Tamil Nadu. I learnt many new terms and developed a deeper appreciation for the complexities of the weaves.

I was also very impressed by all the changes happening at Co-optex. I have always thought of Co-optex as a slow behemoth. It looks like the behemoth is now alive and kicking and doing exciting stuff. 

For example, they are recreating a range of "MS" sarees. "MS" is the legendary Carnatic singer, M. S. Subbalakshmi, who is a household name among South Indians. Everyone was very excited to see a saree in "MS Blue", the famous shade of blue that M. S. Subbulakshmi wore. "When are you launching these in Mumbai, Sir?", was the clamour in the room!

I bought 4 sarees that day. Two of them were organic sarees, part of a new initiative by Co-optex. For weaving these sarees, they use cotton which is grown without the use of pesticides. The yarn is coloured using only natural dyes / plant extracts. I'm posting a photo of the organic saree which I wore earlier this week. The saree felt light and cool, and it worked really well with my dabu mud-resist blouse.

Here's the third saree, this one is also a lovely saree with green checks. It is from a weaving cluster called Paramakudi, near Madurai. Weavers from Saurashtra migrated to Paramakudi 600 years ago. They wove cotton and silk, and were originally patronised by royal families of Ramanathapuram and Sivaganga. I teamed this Paramakudi saree with a block-printed blouse and silver choker. Lovely combination, no?

Not many people know about the Paramakudi weaving cluster, or about the people who produce such beautiful sarees. Co-optex is trying to bridge the gap, by creating saree labels that show the origin of the weave. 

I learnt, for example, that my saree was woven by a woman named Geetha, and that she is 38 years old. It took Geetha two full days to produce my saree, because each thread was woven by hand. This sort of immense effort is not possible without a certain mental attitude. In fact, handloom weaving is a form of sadhana, meditation, because you need an almost meditative state of mind to achieve the rhythm and become one with the loom. This is why handlooms are a precious part of India's textile heritage.

I've got another beauty from Co-optex to wear in the coming weeks. It is a stunning purple "koorai podavai" from Koorainadu. In Tamil weddings, the main wedding saree is called a "koorai podavai", and traditionally these were made in the weaving cluster of Koorainadu in Nagapattinam. Co-optex is reviving this cluster by bringing new interesting colours to improve the appeal of the sarees. There are just 10 weavers in this society, so there are only a limited number of these Koorainadu-revival sarees. The saree has silk in the warp and cotton in the weft. I'm not posting a photo because I still haven't worn it! It's brand new.

I'm super thrilled that Co-optex is becoming a dynamic and enterprising co-operative. Their facebook page is active, they are reviving and breathing fresh life into handlooms, and they are creating new markets for the weavers. I wish them success in their efforts to popularise Tamil Nadu's beautiful handlooms.

Cooptex showrooms in Mumbai: http://cooptex.gov.in/showroom
Please note, the Matunga one is closed. The showrooms are in Mahalakshmi, Chembur, Fort and Dadar.

Sharda Cinema, Dadar: Are single screen cinemas surviving in Mumbai?

- by Deepa Krishnan

I went to Parel with my mom and sister, and on the way back, I photographed this building with metal grille-work. This is Sharda Cinema, Dadar; and the grille-work represents Sharada, the goddess of writing, the arts and all creative efforts.

Sharda Cinema has been around for four decades now. This architectural style - do I call it Bombay Deco? - was popular in the 70's, and perhaps even the 80s. But I don't think it continued into the 90's. 

Sharda is a single-screen cinema. The arrival of multiplexes has seriously threatened the survival of single-screens in Mumbai. The multiplexes are more expensive, but they have a wider range of films on show, and they are co-located in malls, making them attractive leisure destinations.

Most single-screen cinemas are struggling. Many old city icons like Strand and Minerva, have closed down. Some like my neighbourhood Rupam Cinema in Sion have converted into multiplexes.

But some - like Sharda Cinema - have survived in the single-screen format by adopting digitization. Going digital means they can screen "first-day" releases without waiting for the old-fashioned analog movie prints to eventually arrive at their cinema (high costs of analog prints means that the distributor only produces a limited number of them, and they cannot reach all cinema venues, so smaller cinemas lose out on the attractive first-day or first-weekend business).

When I saw Sharda Cinema, the poster was showing "Brothers", a mixed martial arts Hindi movie with Akshay Kumar. The movie had been released that week, and was being screened for 3 shows each day of the week. Alongside this, for the 3:30 pm show, the theatre was also showing a Marathi film "Double Seat", another new release. Sharda also shows some hit Bhojpuri films. Clearly they understand the working class clientele of this neighbourhood in Dadar East. Sharda has 1150 seats and according to an article I read in Outlook, they're managing to keep their head above water with 50-60% occupancy. Good for them.

Will Sharda survive? Will the other single screens in the city survive? The jury's still out on this one. Many of them are still open only because they cannot be converted into an office complex, or a mall (the space was granted to them specifically for a cinema/arts venue). The only thing they can do is convert themselves into more vibrant theatre/arts venues and see if that will work.

My article in Mid-Day today: How to make Mumbai the top tourist city in India

- By Deepa Krishnan
 
As part of their 25th year celebrations, Mumbai's popular newspaper Mid-day asked me to write about how to make Mumbai the top tourist city in India. Here's my article. 

Recently I read a report by MasterCard, listing the top 20 cities which received international tourists in 2014. London topped the list, with 18.9 million visitors. Mumbai had only 4.9 million and did not make the top 20 list. Neither did any other Indian city.

Common sense suggests that a large chunk of the arrivals into Mumbai are business visitors. Although many meetings and conferences are held in Mumbai, we are not among the world’s most popular conference venues. Why? I think it’s because conferences are not just about business - they’re also about entertainment. And Mumbai, despite being the entertainment capital of India, has no entertainment for tourists. 

In other countries, people queue up to fork out significant amounts of money to see professionally run movie-studio tours. A VIP experience of Universal Studios costs $300; and a regular-Joe tour costs $80. The studios actively promote these tours. They make money, not just from entry ticket sales, but also merchandise sales, restaurants, bars, performance show tickets, etc. But Mumbai has nothing comparable to offer.

I think it will completely change the Mumbai tourism industry if Mehboob Studio or Film City makes a great studio tour, with movie history, dance, music, dining and other entertainment options. Just think about the possibilities! What if the entire Kapoor clan promoted an R K Studios tour? I’m told they still preserve all the costumes from their sets! What if the Bollywood Khans became ambassadors for Film City tours? 

Hall of fame in Mehboob Studio

I think Bollywood can make Mumbai not just a prized conference venue, but the number one leisure tourist destination in India for both international and domestic tourists. But none of the studios in Mumbai seem to share this vision. Forget studio tours, there is not even a daily song and dance show on offer based on the movies. What a waste of Mumbai’s potential as an entertainment hub!

Apart from entertainment, we also need to revitalize and improve other aspects of the city. We have a great art district in Kala Ghoda, which could be made into a pedestrian plaza with cafes, boutiques and art galleries, much like central Amsterdam or Brussels. It could become an attractive place to showcase Maharashtra’s unique crafts and cuisine.

Kala Ghoda Art District

Kala Ghoda Festival

The nearby Ballard Estate, with its old-world charm, can also become an extended part of this tourism zone. It would inject life into this heritage zone, which otherwise goes creepily quiet after 6:00 p.m.

Ballard Estate

I’ve always said that Mumbai’s heart lies in its bazaars and neighbourhoods like Bhuleshwar, Bhendi Bazaar, Lalbaug, Dadar, Matunga, Bandra etc. Each locality has its own charm. These neighbourhoods are tourism assets and part of our living heritage. Walking tours conducted by locals to highlight the architecture, culture and cuisine of these neighbourhoods, will not only attract tourists, but also result in a sense of civic pride and provide impetus to local heritage conservation efforts.

My article in Mid-Day

Spice Market at Lalbaug

A major part of our effort has to be towards cleanliness. Mumbai’s street food is legendary. But does it have to be so unhygienic? Why should international tourists coming to Mumbai have to constantly worry about falling ill? In Kuala Lumpur you can eat authentic food from small street carts and not get sick. The municipal authorities provide space for stalls, ensure hygienic water supply, and conduct regular inspections. We can learn from this.

Public toilets and good public transport – these are two major areas where we need to focus if we want to become a tourist destination. It’s a miracle if you can find a clean public toilet in Mumbai! The shameful reality is that tour guides in the city are constantly scrambling to solve toilet emergencies of tourists.

Elephanta Island is a UNESCO World Heritage site, but the clunky ferries that take tourists to the island have rickety motors, untrained staff, unsafe boarding practices and no life-jackets. I have personally been stranded aboard a ferry, drifting out to sea with 20 panicky international tourists. We had to be towed ashore by a second boat. The entire infrastructure around the Elephanta experience needs a major overhaul.

Lastly – I don’t think we can talk about promoting tourism in Mumbai without talking about how to develop the potential of nearby areas. Only if Maharashtra becomes an attractive destination, will more and more people consider coming to Mumbai. Maharashtra is blessed with a long coastline, great trekking potential, world heritage sites, sacred pilgrimage towns, unique craft traditions, and great cuisine. We need to raise awareness of everything this state can offer.

Public space and a sense of community - Growing up in Mumbai

- by Deepa Krishnan

Yesterday I explored Mumbai with a group of 6 urban planning experts from around the world. In the morning we visited south and central Mumbai, seeing how the city gradually expanded northwards from its small beginnings in the Fort area. After lunch, we went to Navi Mumbai, taking in all the changes that have happened in Airoli, Turbhe, Belapur, Kharghar and Vashi. I saw 500 years of Mumbai's growth, all compressed into a single day.

By the end of the day, I had developed an acute awareness of "public spaces" in Mumbai.

By public spaces, I don't only mean places like the huge Oval Maidan or the popular Marine Drive. I mean space for activities at the neighbourhood level, such as small gardens, places for people to walk or jog, areas for holding community meetings, etc. 

As a child growing up in Sion and Matunga, I had access to many such public spaces. 

Our home in Sion was right next to Sion Fort, and we spent many happy evenings running around there with friends and cousins. There was an "aeroplane garden" there, where we clambered in and out of a concrete art-deco mock-aeroplane. There was a "waterfall" which came cascading down the side of the hill, and we loved climbing it when it was dry. 

With my cousins at Sion Fort

Because of the specifications mandated by the City Improvement Trust, our building stood in a compound of its own. All the buildings in our neighbourhood similarly stood in their own compounds, and each compound had a maximum of only 12 apartments. These compounds formed another type of public space, where everyone knew each other.

There were no cars parked inside our compound, so we had space to play hide-and-seek, marbles, cricket and lagori. We plucked flowers and leaves, and played "ghar ghar".  (A couple of years ago, I came across a building in Matunga, where these girls were running around plucking flowers in the compound; it reminded me of my childhood).

Each building is set in its own compound

Our compound was larger than the one in the photo above. We could string up a net and play badminton. We hosted fun-fairs in the compound. We had a 'club' in the building, where we played carrom in the evenings. We flew kites on our building terrace, gathered there with friends to dry fatakadas for Diwali, and eagerly bombarded each other with balloons on Holi.

But the compound could not really meet all the recreational needs of its children. Older children played cricket on the streets. We were in a quiet lane. There were very few cars in those days, so cricket could be played all day long, with only the occasional interruption by a passing Fiat or Ambassador. In fact, even today, cricket is played in our lane on Sundays.

In Sion, there were many venues for cultural events nearby. We went to dance and music performances at Shanmukhananda Hall and Mysore Association. Children learnt musical instruments, singing and dancing at the Tamil Sangam and various dance schools. We celebrated Ganesh festival and Navratri in small building pandals in the neighbourhood. We enacted skits and dance-dramas for Rama Navami at the temples in Matunga. Because of all these cultural activities, we met many other kids from our neighbourhood.

In fact, when I think about my childhood in the city, I now realise how much public space was available to me! I spent a lot of time outside the home, in the neighbourhood. I now realise how these public spaces influenced my experience of the city. They helped me form friendships and community bonds, and they created in me, a sense of civic and cultural identity.

In the last 8 years or so, I have been exploring the older residential areas in south Mumbai. The more I ventured into the older districts - Dongri, Kalbadevi, Bhuleshwar - the more I felt the lack of  public spaces. The biggest difference I felt was the lack of the "compound". In the older districts, there are houses and shops, all touching each other, with shop wares spilling out on already narrow streets. These older districts have no spacious pavements. They have very few trees. There are no gardens; and there are no places for children to bicycle or to play. 

Jagannath Shankar Seth Road, going from Metro to Kalbadevi. See how the buildings are all stuck together.

Bhuleshwar Road. Shops and residences on both sides, stalls spilling over on the street, no access to pavements.

Although there are no major public spaces for leisure, these older districts do have a distinct sense of shared community and culture. Since people from each religious community cluster together, there is a cultural identity. The community somehow manages to create shared experiences, especially during festivals. Mosques and temples offer physical space for people to come together. Places like the Jain panjrapole offer not just peace and quiet but also the chance to feed and care for animals.

Here is a peep into a quiet temple at Bhuleshwar. In the compound, I often see Gujarati women chatting.

Community space seen through temple door

Here is another example: the local residents have pooled money to decorate this lane in the Chor Bazaar area for a festival. There is a mosque inside the lane.

Mutton Street all decked up

Here's another photo, this one is from Girgaon's now famous Padwa celebrations. The processions begin at the Phadke Mandir (Ganesh temple) and continue through the streets of area. 

Families watching Gudi Padwa processions at Girgaon

In Navi Mumbai, a very different sort of development has taken place. Everything is very large-scale and spread out when compared to Mumbai. The stations are huge. The distances between stations are also significant. But the most striking feature of Navi Mumbai is that there are very few people around, compared to Mumbai.

Among the most impressive places I visited was Central Park in Khargar. It has 300 acres of green space, lots of trees, open areas, a water body, etc. What a boon to the residents. So much open space, and that too, available to the common man. In a city that doesn't have good ratio of public spaces per person, this is really a welcome development.

But will a sense of community form? Will these places - with wide open streets and modern amenities produce a shared sense of civic belonging? Will people form fond attachments to their neighbourhood? It is too soon to tell.

The scale of things in Navi Mumbai is huge. This sort of scale is ideal if you have private cars to go from one place to another; but it can be intimidating when you have to walk long distances just to get home from the train station. Deserted streets with no street-stalls or hawkers de-humanise the place, and stop you from connecting emotionally with it. It especially makes things very difficult for women. A certain scale has to be achieved; yes, but it has to be the right scale, so that small communities form easily.

My personal belief is that our religious spaces - temples, derasars, mosques, churches and gurudwaras - form the cultural core of a new settlement. We are still a very religiously oriented people. Our food and dietary habits are very community-specific and we want markets which can cater to those special requirements. If an area offers the right combination of prayer house + bazaars, it will attract new residents who will form a close-knit community, rather than just a culture-less homogenous urban mass of people. Such people will celebrate festivals, set up cultural associations, and provide a sense of identity to the area. People who live there will develop an attachment to that area.

I'm not sure where Navi Mumbai's new large-scale settlements are heading, or what sort of communities are forming. I really don't know the area well enough. But I am very keen to see how it all plays out. I will be going back there, to check it out more.