Latest news with #Rahman
Time of India
6 hours ago
- Entertainment
- Time of India
'The most important thing about art is freedom': AR Rahman at London forum
As AR Rahman delivered a deeply personal and philosophical address on the closing day of India Global Forum London 2025 on June 23, he said, "The most important thing about art is freedom—you can't do that with a film studio. " The Oscar-winning composer used the platform to reflect on the evolving nature of creativity, the urgency of preserving Indian classical arts, and the complex role of artificial intelligence in music and storytelling. Rahman opened up about his growing dissatisfaction with traditional cinematic formats, saying, 'In cinema for over 40 years now, I was bored with the same rectangle form. It's just seeing and hearing—what else can we do?' This question led to the creation of Le Musk , his multisensory, immersive project that blends scent, touch, and narrative. Inspired by a conversation with his late wife, the project is now set for a year-long run in London. 'Why not create a theatre experience with perfume and haptics?' he said, describing Le Musk as more than a film—an experiment in expanding the sensory boundaries of storytelling. The conversation soon turned to the future of Indian classical music. Rahman sounded the alarm on the dwindling presence of traditional instruments and artists. 'Where is the next shehnai player? Where is the next Bismillah Khan Sahib?' he asked. 'Unless we find them, recognise them, and let the world see them—they'll vanish.' To address this, Rahman spoke of an initiative he's developing— JHAALA —that aims to spotlight under-recognised classical talent through technology, global exposure, and institutional support. 'We need to make the invisible visible,' he said. Rahman also offered a nuanced perspective on Artificial Intelligence. 'AI is like Frankenstein—it just steals from human experiences, human knowledge, human art, and then puts together multiple thoughts. It's copied from us.' Despite this, he encouraged artistes to use AI as a tool rather than view it as a threat. 'Don't fear it. Use it to speed up the mundane.' Rahman also pointed to global examples of cultural resurgence led by policy and collective effort. 'Look at South Korea and K-pop—it emerged in the last 10 years because of government involvement and economic growth. That needs to happen with Indian music too. We need to reinvent the wheel.' Throughout the session, Rahman repeatedly returned to the idea that art must remain untethered. 'True art doesn't always fit inside formats or institutions,' he said. 'It needs space to breathe.' He ended the session with a reminder of music's transcendent power: 'Music connects. It heals. It's a shared soul. And it belongs to everyone.'
Time of India
2 days ago
- Entertainment
- Time of India
AR Rahman Teams Up with Pharrell Williams for Global Track 'Yaara' at Paris Fashion Week
AR Rahman collaborated with American musician and the Men's Creative Director for Louis Vuitton on a Punjabi track, Yaara, which was played at the Paris Fashion Week. The Oscar winner shared a video from the event on Instagram and wrote, 'It was fun working with Pharrell Williams on the track Yaara for Louis Vuitton. Tired of too many ads? go ad free now ' The video featured models walking the ramp on the upbeat track that had the audience, including celebs like Beyoncé, Jay-Z and K-pop star J-Hope, vibing to it. Talking to us about the collaboration, Rahman, who shared a picture with his son AR Ameen and Pharrell on social media, says, 'Pharrell and I have known each other since the time we both were part of Hans Zimmer's super band project. There's always been mutual respect. When this opportunity came up, we thought, why not do something that feels truly global but is rooted in something vibrant and real? That's where Yaara came in. It happened all of a sudden, and it was exciting. Bringing Romy on board, who worked with me earlier on Chamkila, was spontaneous. He wrote the lyrics quickly.' LV fashion show at Paris Fashion Week 'Borders to music have blurred, and the world just needs more unique ideas' Talking about the collab, Rahman shares, 'This collaboration was an opportunity to present our heritage on a global stage while staying true to the creative vision we were given. The borders of music have blurred a long time ago, the world just needs more cool and unique ideas. I met the legendary filmmaker Spike Lee, and we bonded over the Inside Man experience, where he fondly remembered how he had wanted Chaiyya Chaiyya, sung by Sukhwinder Singh, as the title track. And then there was J-Hope from BTS grooving to it, that was lovely to see.' Models display props with Indian elements at Paris Fashion Week 'My son Ameen is one of the main reasons I attended the event' Interestingly, this was the first time Rahman attended a fashion show. Tired of too many ads? go ad free now He said, 'My son Ameen is one of the main reasons I attended the event. This is the first fashion show I have ever attended, and it was a great start. The whole place was filled with celebrities from all over the world, some of whom I knew and some I had the pleasure of meeting for the first time.' 'A track with Indian roots, taking centre stage at the Paris Fashion Week, was special' Rahman, who has represented India on global platforms before, says that each time he does that, it feels new. 'But this one was special,' he says, adding, 'To have a track with Indian roots, taking centre stage at the Paris Fashion Week was special. It just highlights that our sounds, languages and rhythms are not only relevant, but also resonate globally. It's a celebration of identity and interconnected creativity. I'm grateful to Pharrell and the entire team for embracing that spirit.'
Time of India
2 days ago
- Entertainment
- Time of India
Anuradha Paudwal calls AR Rahman 'rare': He nurtures everyone painstakingly; says he is like 'ek chotta innocent school ka bachcha'
Anuradha Paudwal fondly remembers her collaborations with AR Rahman, highlighting his unique teaching methods and genuine desire to nurture talent. She praised Rahman's ability to articulate musical nuances, enabling artists to improve instantly. Paudwal also noted Rahman's humility and dedication to his students, emphasizing the exceptional training they receive, reflecting his authentic and grounded personality. Legendary singers AR Rahman and Anuradha Paudwal may have collaborated on only two songs, but both became unforgettable hits. Their iconic tracks — 'Kissa Hum Likhenge' and 'Pa Jaye Kismat Se Tum Humko Mile Ho' from the 1998 film Doli Saja Ke Rakhna — remain fan favorites even today. In a recent chat, Anuradha praised the Oscar-winning composer and fondly recalled his unique method of teaching music to students. In conversation with O2 India, Anuradha called AR Rahman one of the 'finest music directors' of our time. She likened his approach to music as a source of light that illuminates everything around it. Praising his generosity, she noted that Rahman doesn't just focus on his own success but genuinely wants those around him to thrive and grow in music as well. The veteran singer recalled a moment at AR Rahman's studio that left a lasting impression on her. She shared that while observing a young girl recording a song, Rahman gently guided her through the nuances of expression and tone. 'He told her, 'You're singing it this way, but it needs to be like this,'' Anuradha said, calling it a rare and remarkable skill. She further praised AR Rahman's clarity as a composer, noting that many music directors struggle to articulate what exactly is missing in a singer's performance. She explained that Rahman has a rare ability to precisely communicate what needs to be corrected, which helps artists improve on the spot—something she witnessed firsthand in his studio. Doli Saja Ke Rakhna marked the first collaboration between AR Rahman and Anuradha Paudwal. Recalling the experience, Anuradha revealed that trained singers Srinidhi and Hiral Viradia were also present in the studio. What stood out to her was seeing a recordist sing alongside—a rare sight in her long career. When she asked about it, the recordist humbly said she simply enjoyed singing, though she wasn't a professional vocalist. Anuradha highlighted how Rahman nurtures every talent in his space with care and dedication, a side of him she feels more people should know about. Anuradha went on to praise AR Rahman's humility and dedication to nurturing talent. She said students from his music school emerge with an exceptional level of training—something the general public may not fully realise. Despite reaching global heights, Rahman remains grounded, with the simplicity and innocence of a schoolboy. Anuradha added that there's no showmanship or manipulation in his personality, and that rare authenticity reflects in his music, which is why audiences connect to his compositions so deeply and instantly.
DW
3 days ago
- General
- DW
Local journalism in Bangladesh
In Bangladesh, mainstream media rarely cover life outside the big cities. DW Akademie supports young journalists like Naimur Rahman to use the newest techniques to report on local issues. The light of the setting sun filters through the dense foliage, as lanterns are pulled up on wooden poles. Hundreds of candles lie scattered in the grass like clusters of white flowers. Around them, sitting cross-legged, women and men are praying. Some are wearing traditional dress, others in their checked shirts look as if they have just come from the office. They are members of Buddhist minorities who are performing a yearly purification ritual in the hills of the Rangamati region in southern Bangladesh. The lanterns may light up the sky, but just 300 kilometers away in Dhaka, the capital of Bangladesh, hardly anyone knows of the ritual. In 2021, the then 22-year-old student Naimur Rahman produced a video about the tradition in Rangamati. The largest English-language newspaper in Bangladesh, The Daily Star, published the report , introducing the ritual to the website's many users in Dhaka. The country's mainstream media rarely report on how people live outside of urban centers. But if people know nothing about each other, they run the risk of becoming embroiled in disputes, even bloody conflicts. Unfortunately, this has already occurred several times in Rangamati in the past. A way to build bridges between communities, Rahman's video was the result of a three-year fellowship program at DW Akademie, which teaches aspiring media professionals in Bangladesh the most up-to-date digital skills. In 2023, Rahman reported on Chittagong's shipbreaking yards for a story exploring the industry's environmental and human health impacts Image: Saim Bin Mujib/DW A new look at one's own country Rahman was one of the first 28 recipients of the "Local Media Hub Fellowship" selected by DW Akademie from all over the country. The word "local" was key to the program, as the aspiring journalists were expected to bring with them an enthusiasm for their regions and their cultural richness. They then set out to cover places where the country's major newspapers and television stations do not send correspondents. Rahman reported live from the Bangladesh–Myanmar border in February 2024 amid crossfire between Myanmar's Junta forces and the Arakan Army Image: Mong Sing Hai Marma/DW Even as a schoolboy, Rahman roamed the streets with a camera in his hand. Taking part in the DW Akademie training courses, he received training on a range of digital tools needed for modern reporting, including interviewing, data journalism, mobile reporting, multimedia storytelling, constructive journalism, fact-checking and artificial intelligence. Rahman also learned how to turn relevant topics into gripping stories and how to appropriately verify information from the Internet. Julfikar Ali Manik, one of Bangladesh's best-known investigative journalists and one of the project trainers, was pivotal in helping Rahman during his research in Rangamati. According to Rahman, Al Manik showed him how to connect with people of completely different walks of life and get them to tell their stories. "This early, practical foundation gave me the confidence to grow in this field," said Rahman. Impressive career Naimur Rahman's young career has already seen multiple successes and he attributes this to the DW Akademie fellowship. 'It led directly to a job interview that helped me get my current position at The Daily Star,' said the multi-award-winning Rahman. "I now work there as an assistant producer in the multimedia department." As part of his work for the Daily Star, Rahman also researched human rights violations surrounding the political upheaval in Bangladesh in the summer of 2024. He conducted interviews with mothers whose young sons were killed in the protests, visited hospitals and collected information on official death tolls. He now also works as a field producer, video journalist (VJ) and cameraman for international media outlets. After completing his bachelor's degree, Rahman went on to complete a diploma in film and TV in 2024. New round has already started The current DW Akademie scholarship program started in 2024, with 30 new participants. This time, 15 students and 15 young media professionals have been selected. In addition to two years of training, they will also be able to work in tandems and support each other. Rahman is certain that, like him, the new participants will continue to benefit from the experience and contacts made after completing the program. The Local Media Hub Fellowship group of 2024-2026 during a training on AI in journalism Image: Istiaq Muhit "The fellowship brought me together with a vibrant network of colleagues and mentors from across the region and broadened my view of journalism beyond national borders," Rahman said. "Participating in collaborative projects, workshops and receiving feedback from international trainers helped me to understand the importance of ethical reporting, inclusive storytelling and target group orientation." All of this has inspired him to tell stories with a social impact and to work to make underrepresented voices heard. Rahman also wants to pass on the knowledge he has acquired over the years to others and now works as a trainer and mentor himself, including for DW Akademie. Author: Patrick Batarilo The fellowship program is part of DW Akademie's thematic program 'Journalism of the Future' and is funded by the German Federal Ministry for Economic Cooperation and Development (BMZ). DW Akademie has been working in Bangladesh since 2014, primarily to modernize the university education of aspiring journalists.
The Hindu
3 days ago
- Entertainment
- The Hindu
How the delightful ‘Alappuzha Gymkhana' champions the idea of an atypical sports film
On June 07, 2025, Temba Bavuma had more supporters than he knew after he led South Africa to a historic World Test Championship triumph against Australia. Bavuma, ridiculed for his short stature, managed to turn critics into friends. Ahead of the final, despite being the captain, Bavuma wasn't the one expected to be the X factor in the team. Experts rated the likes of Aiden Markram, Kagiso Rabada, and Ryan Rickelton higher than the top-order batsman. Battling a hamstring issue, Bavuma had to play out of his skin to prove to the world that he was beyond the description of a black African cricketer. Bavuma's journey is a testimony to the heart-over-height phenomenon in sports. The entertaining Malayalam film Alappuzha Gymkhana, currently streaming on SonyLiv, reflects this inspiring quality in a sportsperson. Director Khalid Rahman explores the idea of the unlikely hero through a character named Shifas (played by Franco Francis). He is called 'cheruth' (meaning small) for his build, and the film cleverly keeps our attention away until he knocks down an opponent inside the boxing ring. 'I hope you all realised that being tall doesn't make you big,' he snaps at his teammates after his win. An atypical sports film is less obsessed with the sporting result and more interested in exploring the vulnerabilities of its characters. Alappuzha Gymkhana is yet another Malayalam film that beautifully subverts a popular cinematic trope. Boxing is a vast genre, and the temptation to follow the structure of the underdog story (a la Rocky) is hard to resist. Rahman chooses the path less trodden. In one line, Alappuzha Gymkhana can be described as a tale of amateurish boxers competing at a high level, only to realise they aren't good enough yet. A traditional boxing drama would have made the bunch of boys overnight champions. Director Rahman, who has co-written the script with Sreeni Saseendran, focuses on the mindset of the losers. Naslen, who plays Jojo Johnson, is the lead of the movie, albeit only on paper, as the inventive writing strips off from Naslen's character all the qualities of a commercial hero. Jojo is a goofy youngster and a team player. He cheers up his teammates battling self-doubt. Jojo is less of a skilled boxer and more of a cheerleader. Nalsen, with his charming screen presence and natural dialogue delivery, is perfect for the role. In a film filled with several adrenaline-inducing bouts, the clever casting produces several wonderful little moments, like when Jojo rallies for his crush with the famous line from Mohammad Ali, 'Float like a butterfly, sting like a bee.' The story denies all the main characters a conventional ending, bolstering the believability of the plot. The team's captain (essayed by Ganapathi) is willing to sacrifice a crucial game for the safety of his players. The coach openly talks about his imperfections in a heartwarming scene. The unusual treatment notwithstanding, Rahman never dilutes the 'vibe' of a fun boxing drama and films the boxing battles with verve. The camera becomes an important character. Cinematographer Jimshi Khalid captures the tension inside the ring and the minute expressions of the fighting participants. Bollywood has squeezed the sports genre like a well-served tube of toothpaste. Amid the overdose of generic sports films, Kacchey Limbu (2022) stands apart for its ideas. In the movie, siblings Aditi Nath (Radhika Madan) and Rajat Barmecha (Aakash Nath) see cricket as a breeding ground for their respective dreams. Aditi seeks agency and self-respect, while Rajat tries to renegotiate his goals even as he enjoys his fame as a talented gully cricketer. The film indugles in the almost-forgotten idea of 'colony-cricket', yet it falls short from being perfect thanks to its over-stuffed themes. In Tamizharasan Pachamuthu's brilliant Lubber Pandhu, ego, and not skill, defines the rivalry between the lead characters. You witness the conflict of generation gap, as an up-and-coming bowler and a veteran batsman don't see eye to eye. When cricket fades into the background, you feel the tension caused by the impending off-the-ground battles fuelled by two egoistic men. Nothing is on the face in this rural drama that celebrates cricket in a delightfully casual manner. In the middle of intense cricketing encounters, commentators slip in details of memorable matches in hilarious manner. A subtle scene elevates cricket when a woman asks a character why he loves the game so much. 'I just love it, that's all,' he says, with a beaming smile that reflects his love for the sport. And when it comes to the lead character losing for a cause, the message (caste discrimination) isn't thankfully hammered home. ALSO READ:'Lubber Pandhu' movie review: Harish Kalyan, Attakathi Dinesh hit it out of the park with this wholesome entertainer Basil Joseph's Godha (2017) is as mainstream as it can get. It ticks every cliche in the book, like a sportsperson (in this case, a wrestler) defying odds, a coming-of-age tale of a man, a love story and a rousing climax. Yet, the writing focuses on the joy of small things, as the film brims with hilarious conversations and beautiful moments of realisation and the redemptive quality of sports. And in the final act, the movie organically portrays the hero as a second fiddle by providing ample room for the leading female character to shine, a significant sign of an atypical sports drama.
