More than 1,000 students and staff gathered to take part in the festival of lights, marking one of the most important and culturally significant events on the Indian calendar. The event served as a joyous opportunity for cultural exchange and brought a diverse group of participants together, celebrating the spirit of community.

Diwali, also known as Deepavali, is celebrated as the Hindu festival of lights and symbolises the victory of light over darkness, good over evil, and knowledge over ignorance. While Diwali has its roots in Hinduism, it has become a cultural phenomenon celebrated not only in India but also in countries like Australia, Malaysia, Sri Lanka, Singapore, and United Kingdom, as well as by the Indian diaspora across the globe.

For the University of Melbourne, the event held a special significance as it brought international and local students together in a shared celebration.

The festivities at the Parkville campus featured a dazzling mix of performances, traditional Indian food, and music, creating an atmosphere of joy and unity. Students gathered to watch and participate in vibrant cultural showcases, including performances by the Indian dance and entertainment organisation, Ignite Bollywood, which captivated the audience with its energetic routines and intricate choreography. The event also highlighted student-led performances, showcasing the talents of the university’s diverse community.

Attendees were also treated to a feast of traditional Indian food, which played a key role in immersing participants in the cultural experience. Fragrant curries, freshly made naan, samosas, and a variety of sweets like gulab jamun and jalebi offered attendees a taste of Indian culinary traditions, encouraging everyone to come together over a shared meal. The aroma of spices filled the air, adding to the lively, warm atmosphere of the celebration.

The highlight of the evening was the lighting of diyas—small oil lamps that symbolize the triumph of light over darkness. The campus courtyard was transformed into a glowing landscape, with hundreds of diyas illuminating the area, creating a breathtaking visual representation of Diwali’s central message. Students and staff joined hands to light these diyas, symbolizing the unity that transcends cultural and geographic boundaries.

Deputy Vice-Chancellor (Global, Culture and Engagement) Professor Michael Wesley expressed his delight at seeing the festival’s success. “Diwali is a special occasion at our University and it brings a fantastic energy of cultural exchange to our campus,” Professor Wesley said.

“It is one of the most anticipated days of the cultural calendar and the event attracts people from all backgrounds, celebrating with our international student community, learning, and sharing experiences with each other.”

Professor Wesley further noted how the Diwali celebrations have grown in size and significance each year, reflecting the university’s commitment to fostering an inclusive environment.

“Events like these showcase the importance of cultural diversity at our institution and highlight the contributions that international students make to the broader university community,” he added.

For many students, the Diwali celebration offered a sense of belonging, especially for those spending the festival away from home. Pranav Soman, a Master of International Business student and President of the Bollywood Club, emphasised the value of having a place to celebrate the festival within the university community.

“This is my first time celebrating Diwali away from family,” Soman said.

“The University of Melbourne and all the clubs and activities organised during festivals like these have definitely helped in making Melbourne my home away from home.”

The cultural exchange fostered by the Diwali celebration went beyond just performances and food. Workshops were also held on traditional art forms, such as rangoli—intricate designs made on the ground using coloured powders—which allowed participants to learn more about the cultural significance of these practices. This hands-on experience gave students and staff an opportunity to not only observe but also actively participate in the cultural traditions of Diwali.

The event concluded with an open dance floor, where attendees of all backgrounds came together to dance to popular Bollywood tracks. The lively beats and joyful atmosphere highlighted the unifying power of music and dance, providing a perfect end to an evening dedicated to celebrating diversity and fostering connections within the university.

As the diyas continued to burn late into the evening, the Diwali celebrations at the University of Melbourne proved to be more than just an event—it was a symbol of unity, inclusivity, and the beauty of cultural exchange. The festival brought together people from different walks of life, bridging gaps through shared experiences and creating lasting memories.

With each year, the Diwali celebration at Parkville grows, solidifying its place as one of the most cherished events on the university’s cultural calendar.

Support Our Journalism

Global Indian Diaspora and Australia’s multicultural communities need fair, non-hyphenated, and questioning journalism, packed with on-ground reporting. The Australia Today – with exceptional reporters, columnists, and editors – is doing just that. Sustaining this needs support from wonderful readers like you.

Whether you live in Australia, the United Kingdom, Canada, the United States of America, or India you can take a paid subscription by clicking Patreon and support honest and fearless journalism. LINK: https://tinyurl.com/TheAusToday

The festivities saw an impressive 1,121 people participating in the aarti ritual, marking the city’s eighth annual Deepotsav and the first Diwali celebration since the consecration of the Ram Temple in early 2022.

The new records were set across 55 ghats along the Saryu River, including the famous Ram ki Paidi, where drones were deployed to accurately count the diyas.

Guinness adjudicator Pravin Patel, along with consultant Nischal Bharot, was present in Ayodhya to verify the achievements.

“With a total of 1,121, UP Tourism, Ayodhya’s district administration, and the Saryu Aarti Samiti have set a Guinness World Record for the most people performing diya rotations (aarti) simultaneously. Congratulations!” announced Patel to a cheering crowd.

Patel also confirmed a second record for the largest oil lamp display, stating,

“With a total of 25,12,585 diyas, Ayodhya now holds the Guinness World Record for the largest display of oil lamps, surpassing last year’s total of 22,23,676.”

Uttar Pradesh’s Chief Minister Yogi Adityanath, present to mark the occasion, congratulated Ayodhya on this historic achievement and hailed the festival as part of Prime Minister Narendra Modi’s vision to preserve and promote India’s Sanatan Dharma heritage.

“This is the first Diwali after the reinstallation of Shri Ramlala in his grand temple, and today Ayodhya shines with an aura reminiscent of Treta Yuga. Congratulations to all Ram devotees partaking in Deepotsav 2024!”

The Deepotsav, celebrated annually since 2017, has grown into a majestic display of lights, drawing visitors and devotees from around the country.

This year’s event was enhanced by cultural programmes, tableaux on Ramayana themes, and performances by artists from states across India, showcasing rich regional folk traditions.

Support Our Journalism

Global Indian Diaspora and Australia’s multicultural communities need fair, non-hyphenated, and questioning journalism, packed with on-ground reporting. The Australia Today – with exceptional reporters, columnists, and editors – is doing just that. Sustaining this needs support from wonderful readers like you.

Whether you live in Australia, the United Kingdom, Canada, the United States of America, or India you can take a paid subscription by clicking Patreon and support honest and fearless journalism. LINK: https://tinyurl.com/TheAusToday

Sticky, known for its handcrafted rock candy, has embraced the spirit of Diwali by crafting colourful, intricate sweets designed to honour the Hindu cultural tradition of sharing sweets on this festival of lights.

This unique release not only highlights Sticky’s commitment to cultural appreciation but also taps into the universal joy of sweet treats during festive times.

For millions of Hindus worldwide, Diwali holds profound significance. This festival symbolises the triumph of light over darkness, knowledge over ignorance, and good over evil, while inviting prosperity, peace, and positivity into homes.

Celebrated with prayers, lights, and the giving and sharing of sweets, Diwali is a cultural anchor within Hinduism, and the exchange of sweets is a symbol of love, goodwill, and community connection.

Sticky, a proudly Australian, family-owned brand, has created Diwali Rock, Raspberry/Lemonade flavour sweet, using traditional candy-making techniques updated for today’s market.

Sticky’s Diwali sweets feature vibrant colours and delicate lamp patterns that pay homage to the celebration of light and prosperity, while adding a modern twist.

Sticky expressed the brand’s excitement about this Diwali launch:

“Let’s celebrate the Diwali Festival of Lights! This gorgeous Diya lolly is inspired by this beautiful celebration, in delicious Raspberry/Lemonade flavour.”

With this special release, Sticky invites people around the world to enjoy a sweet taste of Diwali, making this season a little brighter and a lot sweeter.

Support Our Journalism

Global Indian Diaspora and Australia’s multicultural communities need fair, non-hyphenated, and questioning journalism, packed with on-ground reporting. The Australia Today – with exceptional reporters, columnists, and editors – is doing just that. Sustaining this needs support from wonderful readers like you.

Whether you live in Australia, the United Kingdom, Canada, the United States of America, or India you can take a paid subscription by clicking Patreon and support honest and fearless journalism. LINK: https://tinyurl.com/TheAusToday

Celebrated in different corners of the world, each festival holds deep significance, yet the convergence of these two on the same night invites communities to navigate how to respectfully balance both.

Recently, a friend forwarded a message that underscores the sentiments of many Hindu households in the Indian diaspora on this rare coincidence:

“Please don’t decorate your homes for Halloween, as we are welcoming Lakshmi Mata on this day. Also, please avoid dressing your children in scary costumes and sending them out after sunset. Amavasya is not an ideal day to send kids out in scary costumes!”

While, the social media is buzzing with memes, featuring everything from Pennywise the Clown performing aarti to Diwali-meets-Halloween outfit mashups, like sarees paired with vampire makeup. This blend of horror and tradition has inspired creative costumes and memes, turning the day into a potential new, unofficial holiday tradition.

It’s a also reminder of the meaning Diwali holds, especially on Amavasya, the new moon night, which is traditionally spent in prayer, lighting diyas (lamps), and surrounding oneself with positive energy. But it also raises an interesting question: How can communities observe the excitement of Halloween while preserving the sacred atmosphere of Diwali?

Diwali marks the victory of light over darkness, good over evil, and knowledge over ignorance, and it holds immense cultural, spiritual, and emotional significance for Hindus across the globe. Coinciding with this is Halloween, a Western celebration where costumes, especially those inspired by ghosts and the supernatural, are common as people enjoy an evening of treats and playful frights.

For Diwali, particularly in 2024 when it aligns with Halloween, the day has an even deeper resonance. The night of Diwali is also Amavasya, or the new moon, which is spiritually significant. Hindu households are traditionally decorated with oil lamps (diyas) and floral decorations to welcome Lakshmi, the goddess of wealth, and seek her blessings for prosperity and harmony. Each diya is seen as a beacon for Lakshmi, who is believed to bring fortune to those who keep their homes open, warm, and inviting.

On this night, Hindus refrain from wearing dark or “scary” clothing, as it could be seen as disrespectful. Additionally, with the significance of Amavasya, it is not considered auspicious to be outdoors with symbolic darkness or ghostly costumes. Instead, the emphasis is on family gatherings, prayers, and the lighting of the home to embrace positive energy.

Halloween, meanwhile, is a beloved festival in the West. Rooted in ancient Celtic traditions, Halloween began as Samhain, a festival marking the end of harvest season and the beginning of winter, with people dressing in costumes to ward off roaming spirits. Over time, it evolved into a holiday of community spirit, playful frights, and creative expression, with children dressed in costumes collecting treats from door to door. Halloween brings joy to millions, especially in Australia, where more families join in the fun each year. It is a time for communities to celebrate shared experiences, marking the onset of the holiday season with a sense of unity.

However, this year, the overlap of Halloween and Diwali calls for a nuanced approach, especially in the Indian diaspora. For Hindus, decorating homes with Halloween imagery on Diwali could disrupt the sacred ambience intended for the goddess Lakshmi.

Similarly, sending children out after sunset in costumes associated with darkness could feel jarring within the context of Diwali’s values. This doesn’t mean that one celebration is incompatible with the other, but rather, it suggests an opportunity to find a respectful balance that honours the spirit of both traditions.

Indian communities in the diaspora can foster understanding and harmony by accommodating the significance of each festival, celebrating Halloween in a way that feels true to its joyful spirit without encroaching upon Diwali’s sacred evening.

To me, in our increasingly multicultural world, moments like this remind us of the importance of cultural respect. Each festival brings its unique light and values, and in respecting the significance of both, we build communities that honour shared joy, diversity, and respect for tradition.

Support Our Journalism

Global Indian Diaspora and Australia’s multicultural communities need fair, non-hyphenated, and questioning journalism, packed with on-ground reporting. The Australia Today – with exceptional reporters, columnists, and editors – is doing just that. Sustaining this needs support from wonderful readers like you.

Whether you live in Australia, the United Kingdom, Canada, the United States of America, or India you can take a paid subscription by clicking Patreon and support honest and fearless journalism. LINK: https://tinyurl.com/TheAusToday

At the heart of FOMA Week was the FOMA Runway and Exhibition, an event that drew fashion enthusiasts, industry experts, and diplomats. This standalone event showcased the collections of both established and emerging designers from Australia and abroad, who brought modern Australian fabrics to life on the runway.

The FOMA runway featured a breathtaking display of cultural diversity and innovative design, with collections that merged traditional techniques with modern aesthetics. Designers from around the world, including those representing First Nations and diverse Australian communities, showcased their craftsmanship through garments that reflected both heritage and contemporary creativity. Each piece on the runway told a unique story, symbolizing the rich cultural tapestry of Australia and its global connections.

The Faces of FOMA program, showcased over 40 nationalities on the runway where Asian, American, and European cultures converged.

The Consulate General of India Sydney and the Swami Vivekananda Cultural Centre collaborated with FOMA to celebrate the rich and vibrant tapestry of Indian textiles in partnership with 5 Pleats by Poornima Menon.

The Embassies of Bhutan, Columbia, El Salvador, Guatemala, Kosovo and Uruguay and the Fiji Consulate General and Trade Commission Australia and New Zealand were also FOMA-in Country Partners this year.

The accompanying exhibition offered attendees a closer look at the intricate details of the garments, allowing them to explore the narratives behind each collection. Visitors could engage with the textiles, learning more about the designers’ creative processes and their commitment to sustainable and ethical fashion. This exhibition highlighted the core values of FOMA: sustainability, innovation, and cultural appreciation.

The FOMA runway wasn’t just about aesthetics; it was also a platform for business, with buyers, trade representatives, and foreign delegations in attendance. The event provided designers with unparalleled exposure, opening doors to international markets and trade partnerships. Several designers secured interest from global retailers, further establishing FOMA as a critical event for Australia’s creative industries and international trade relations.

Sonia Sadiq Gandhi, founder of FOMA and Gandhi Creations, reflected on the success of the runway, saying, “The FOMA Runway is where art meets business. It’s an opportunity for our designers to showcase their work on a global stage while also forging connections that will take Australian fashion to new heights.”

In addition to the FOMA Runway and Exhibition, the week was filled with other notable events, such as the “Threads of Identity” exhibition at SXSW Sydney, the FOMA x Powerhouse Castle Hill “Back of House” Tour, and the festival’s involvement in the Premier’s NSW Export Awards 2024. Through these diverse events, FOMA continued to merge creativity and commerce, elevating Australia’s role in the global fashion industry.

Fabrics of Modern Australia (FOMA) is an annual event celebrating the creative talents of designers working with modern Australian fabrics. Through runway shows, exhibitions, and trade discussions, FOMA serves as a platform for cultural exchange and international commerce, promoting Australia’s diverse design landscape

This follows the recent ratification of a co-production treaty between Australia and India, a move set to deepen cinematic collaboration between the two creative nations.

A statement from India’s Ministry of Information and Broadcasting said:

“This special recognition also aims to celebrate the dynamic contributions of Australian cinema to the global film industry, highlighting its rich storytelling traditions, vibrant film culture and innovative cinematic techniques.”

At this year’s festival, seven Australian films will be showcased, ranging from critically acclaimed dramas to thought-provoking documentaries, visually captivating thrillers, and light-hearted comedies.

The titles are yet to be disclosed, but organisers have promised a diverse and engaging selection that reflects the depth of Australian filmmaking.

A special highlight will be a masterclass led by Oscar-winning Australian cinematographer John Seale, known for his work on Mad Max: Fury Road and The English Patient. His session is expected to attract significant attention from Indian industry professionals and film enthusiasts alike.

Running concurrently with IFFI is Film Bazaar, South Asia’s premier film market, where Australia will have a notable presence.

Representatives from Screen Australia, various state screen commissions, and Ausfilm—an agency promoting Australia as a top filming destination—will attend. They will present Australian filming locations and government-backed production incentives at the Film Office exhibition area, showcasing the country’s appeal for international film projects.

In addition to these representatives, six Australian producers will receive government funding to explore co-production opportunities at the market.

One Australian project, Home Before Night, has already been selected as an official entry in Film Bazaar’s Co-Production Market, marking a key step towards fostering creative partnerships between Australian and Indian filmmakers.

A dedicated Australian Co-Production Day will also be held, offering networking opportunities for industry professionals from both countries. A panel discussion will further explore the creative and logistical potential of co-productions, spotlighting successful collaborations and discussing new opportunities under the co-production treaty.

The co-production treaty, ratified in late 2023, allows projects from both Australia and India to access significant funding benefits, including grants, loans, and tax offsets. This agreement is expected to drive a surge in collaborative projects, enhancing creative exchange between the two vibrant film industries.

Australian films have long made their mark in India, with notable co-productions such as Garth Davis’ Lion. Similarly, Indian filmmakers have increasingly chosen Australia as a filming location, with popular films like Salaam Namaste, Singh Is Kinng, and Chak De India being shot on Australian shores.

As Australia takes centre stage at IFFI 2024, the festival is poised to strengthen cultural ties and foster further collaboration between the Australian and Indian film industries.

Support Our Journalism

Global Indian Diaspora and Australia’s multicultural communities need fair, non-hyphenated, and questioning journalism, packed with on-ground reporting. The Australia Today – with exceptional reporters, columnists, and editors – is doing just that. Sustaining this needs support from wonderful readers like you.

Whether you live in Australia, the United Kingdom, Canada, the United States of America, or India you can take a paid subscription by clicking Patreon and support honest and fearless journalism. LINK: https://tinyurl.com/TheAusToday

The world’s largest free outdoor sculpture exhibition has transformed Sydney’s iconic Bondi to Tamarama coastal walk, opened to the public on Friday, 18 October.

Among the 100 artworks from 16 countries, the Indian Showcase will feature the creativity of eight Indian sculptors, alongside two artists from the Indian diaspora in Australia.

David Handley, founding CEO and Artistic Director of Sculpture by the Sea, praised the diverse talent of Indian sculptors, noting the challenges they overcame.

“The Indian Showcase demonstrates the strength and diversity of sculpture in India. Despite significant disruptions to freight caused by this year’s cyclones, the artists’ commitment to this exhibition is inspiring,” Handley said.

Notable pieces include Avantika Bawa’s Scaffolds by the Sea, Shovin Bhattacharjee’s Cosmic Nest, Harsha Durugadda’s The Conversation and Whorl, and Subodh Kerkar’s Red Fold and The Chilly. Artists Niharika Hukku (Shelter) and Shaumyika Sharma (Swimmer) represent the Indian diaspora.

Tim Thomas, CEO of the Centre for Australia-India Relations, highlighted the cultural bridge the event represents, stating, “This sponsorship reflects our commitment to strengthening ties between Australia and India while showcasing the artistic traditions that connect our two nations.”

Returning to the event is Harsha Durugadda, a Hyderabad-based sculptor whose previous work Column of Sound won the prestigious Rio Tinto Sculpture Award in 2016.

Reflecting on his artwork, Durugadda said in an Instagram post, “Whorl captures the essence of whirling dervishes’ spiritual dance through its spiralling form, symbolizing the journey towards inner enlightenment. Inspired by their continuous rotation around a central axis, the sculpture evokes a sense of fluidity and grace. By freezing the motion of a dervish in the midst of their dance, this piece invites viewers to contemplate the harmony between motion and stillness.”

Sculpture by the Sea is a major cultural event in Australia, drawing approximately 450,000 visitors over its 18-day duration (continues until Monday, 4 November 2024).

The Indian Showcase is supported by the Centre for Australia-India Relations (CAIR), the Howarth Foundation, the Swami Vivekananda Cultural Centre, and the Indian Consulate-General in Sydney.

Support Our Journalism

Global Indian Diaspora and Australia’s multicultural communities need fair, non-hyphenated, and questioning journalism, packed with on-ground reporting. The Australia Today – with exceptional reporters, columnists, and editors – is doing just that. Sustaining this needs support from wonderful readers like you.

Whether you live in Australia, the United Kingdom, Canada, the United States of America, or India you can take a paid subscription by clicking Patreon and support honest and fearless journalism. LINK: https://tinyurl.com/TheAusToday

Katrina Kaif stole the show, draped in a beautiful baby pink and golden saree, looking every bit the radiant newlywed as she proudly flaunted her sindoor. The actress shared a series of pictures, including a touching moment with Vicky Kaushal’s mother, taking her blessings, and a sweet family shot with Vicky and his parents. Fans couldn’t help but gush over the love-filled photos, as Katrina posed with grace and charm, her happiness shining through in every frame.

Meanwhile, Kriti Kharbanda was all smiles celebrating her first Karwa Chauth as a newlywed, alongside her husband Pulkit Samrat. Dressed in a stunning golden saree, Kriti glowed with joy, while Pulkit kept it classic in a white kurta.

In a heartwarming note, Kriti reminisced about her childhood memories of watching her mother observe the festival and dreaming of the day when she would follow the same tradition. “The 10-year-old me is shy and blushing!” she wrote, adding that being married to the right person had made all her dreams come true. Pulkit, of course, was the “cherry on top.”

Love was in the air for Rakul Preet and Jackky Bhagnani too, as the couple donned matching red outfits for the occasion. Rakul’s romantic caption, “My sun, moon, universe, my everything,” left fans swooning. The couple’s picture-perfect chemistry and coordinating attire added a delightful touch to the celebrations.

Raghav Chadha and Parineeti Chopra also made headlines, as they shared glimpses of their first Karwa Chauth together. In one heartfelt photo, Raghav was seen helping Parineeti break her fast, while his sweet words praised her dedication. “You’ve put so much love and dedication into this day from sunrise to moonrise… Happy Karwa Chauth, my darling Paru!” he wrote. The couple’s adorable moments instantly became a fan favourite, with Parineeti’s grace and Raghav’s admiration for her stealing the show.

Mira Rajput kept things cozy, sharing a sweet selfie with husband Shahid Kapoor and calling him her “sun and moon.” The couple, known for their loving social media exchanges, kept the tradition alive with simplicity and warmth.

The festivities wouldn’t be complete without Mouni Roy, who shared a series of breathtaking photos with husband Suraj Nambiar. Dressed in a stunning pink ensemble, Mouni looked like a vision as she celebrated the special day. The couple’s joy was palpable as they embraced the festival, with Mouni capturing every moment to share with her fans.

Karwa Chauth, a festival celebrated by Hindu married women, sees wives observing a strict ‘nirjala’ fast, without food or water, from sunrise until the moon rises. The festival symbolizes love, dedication, and the hope for a long, healthy life for their husbands. And this year, Bollywood’s beauties didn’t just celebrate—they set major #CoupleGoals while doing it.

With their heartfelt messages and dazzling outfits, the B-town wives showed that even as stars, they cherish age-old traditions and celebrate love in the most beautiful ways. It was a day filled with glam, devotion and a little bit of Bollywood magic.

Support Our Journalism

The global Indian Diaspora and Australia’s multicultural communities need fair, non-hyphenated, and questioning journalism, packed with on-ground reporting. The Australia Today—with exceptional reporters, columnists, and editors—is doing just that. Sustaining this requires support from wonderful readers like you.

Whether you live in Australia, the United Kingdom, Canada, the United States of America, or India you can take a paid subscription by clicking Patreon and support honest and fearless journalism. LINK: https://tinyurl.com/TheAusToday

The 24-year-old MBA student was initially crowned in early September during a ceremony at Fiji’s Pearl Resort and Spa, marking the first Miss Universe Fiji pageant in over 40 years.

However, just two days later, Miss Universe Fiji organisers declared a “breach of protocol” and announced runner-up Nadine Roberts as the rightful winner, citing “incorrect procedures” on the night of the event.

This ignited a whirlwind of accusations, including claims of racism, vote-rigging, and conflicts of interest. Roberts, a 30-year-old model and property developer originally from Australia’s Gold Coast, contested the decision, further fuelling the controversy.

The confusion stemmed from reports of an eighth judge who allegedly influenced the voting outcome, causing an uproar across social media and sparking conspiracy theories.

According to one of the judges, Prasad won with four out of seven votes, only for the decision to be challenged days later when an eighth judge, reportedly the license holder for Miss Universe Fiji, claimed a tie had occurred.

Both Prasad and Roberts declared themselves the rightful winner, leaving fans divided.

In response, the Miss Universe Organisation launched an investigation into the matter. In a statement released this week, the organisation assured the public that the matter had been addressed with “the utmost seriousness” and that the processes followed during the pageant were in line with their transparency and fairness standards.

“There have been conflicting reports regarding the winner,” the statement said.

“After reviewing the processes and results, we have determined that the winner of Miss Universe Fiji 2024 is Miss Manshika Prasad.”

The investigation was aimed at ensuring that Fiji would be fairly represented in the upcoming international Miss Universe competition in Mexico on 17 November.

Despite the turmoil, the Miss Universe Organisation has now restored Prasad’s title, officially confirming her as Fiji’s representative in the global competition.

“We trust that, through our rigorous and fair evaluation, we have been able to provide clarity and reinforce the integrity of our selection process,” the organisation concluded.

In a statement Prasad said:

“I am deeply honored to be crowned MISS UNIVERSE FIJI 2024 and I am so proud to represent our beautiful nation on the international stage for @missuniverse in MEXICO!!!”

The controversy marks a rocky return for the Miss Universe pageant in Fiji, which had not held a national competition since 1981 due to a lack of funding.

Support Our Journalism

Global Indian Diaspora and Australia’s multicultural communities need fair, non-hyphenated, and questioning journalism, packed with on-ground reporting. The Australia Today – with exceptional reporters, columnists, and editors – is doing just that. Sustaining this needs support from wonderful readers like you.

Whether you live in Australia, the United Kingdom, Canada, the United States of America, or India you can take a paid subscription by clicking Patreon and support honest and fearless journalism. LINK: https://tinyurl.com/TheAusToday

This result of a unique collaboration between Auckland Transport (AT) and local graphic artists Shiv Narandas and Jaishree (Jai) Pancha, a Bollywood-inspired bus has been designed to give passengers an authentic experience of Indian culture during this special time.

“Buses are a wonderful metaphor for Auckland’s diversity—people from all walks of life sharing a journey,” says Shiv.

Drawing inspiration from Diwali’s themes of light, joy, and cultural richness, Shiv and Jai teamed up with AT’s Creative team and cultural advisors to craft a design that celebrates Auckland’s multiculturalism and the vibrant Indian community.

“Our goal was to enhance that experience by celebrating Diwali and Indian culture through our design,” Jai adds.

The concept, ‘Once Upon a Time in Bollywood,’ blends the cinematic flair of Bollywood with the folk-art tradition of truck decoration seen across India.

The eye-catching design, featuring swirling patterns and bold lettering, reflects the spirit of motion and the artistic traditions of India.

“It’s a cultural mash-up,” Shiv explains, “capturing the playful essence of Diwali.”

AT India Connect Network leader, Pragati Vasisht, played a crucial role in ensuring the design resonated with the community, including translating the Hindi phrase शुभ दीपावली (Shubh Deepavali) prominently displayed on the bus, which wishes passengers an auspicious Diwali.

AT is encouraging everyone to take public transport to Diwali events, as parking will be limited due to road closures in the city. Hop on the Bolly-bus and celebrate Diwali in true festive style!

Support Our Journalism

Global Indian Diaspora and Australia’s multicultural communities need fair, non-hyphenated, and questioning journalism, packed with on-ground reporting. The Australia Today – with exceptional reporters, columnists, and editors – is doing just that. Sustaining this needs support from wonderful readers like you.

Whether you live in Australia, the United Kingdom, Canada, the United States of America, or India you can take a paid subscription by clicking Patreon and support honest and fearless journalism. LINK: https://tinyurl.com/TheAusToday

Under this program, residents of these two nations will gain access to over 2,000 hours of Australian television content each year.

Minister for Communications, the Hon Michelle Rowland MP, said, “With the expansion of the PacificAus TV initiative to the Cook Islands and Niue, now even more of our regional neighbours can access quality Australian content, fostering stronger cultural ties across the Indo-Pacific region.”

“The Indo-Pacific Broadcasting Strategy continues Australia’s longstanding commitment to supporting a robust media sector in the Indo-Pacific, and has identified this opportunity for expansion,” she added.

The PacificAus TV initiative, managed by Free TV Australia, receives $5.68 million annually as part of the Indo-Pacific Broadcasting Strategy. This initiative is aimed at supporting the viability of Pacific regional media while expanding access to Australian news, sports, children’s programs, dramas, and lifestyle entertainment.

Television networks Cook Islands Television, Vaka TV, and the Broadcasting Corporation of Niue have joined the initiative, allowing them to broadcast Australian content tailored to local audience preferences. They join 14 other Pacific broadcasters in Fiji, Kiribati, Nauru, Papua New Guinea, Samoa, Solomon Islands, Tonga, Tuvalu, and Vanuatu that already benefit from the program.

Minister for International Development and the Pacific, the Hon Pat Conroy MP, added, “Australia has a proud history of supporting Pacific media and broadcasters, and we know how critical a vibrant media sector is for sharing important stories and forging connections across our region.

“PacificAus TV’s growth is delivering on our commitment to share content that resonates with Pacific audiences and complements our investments to bolster media development and viability.”

The Indo-Pacific Broadcasting Strategy seeks to enhance access to reliable and high-quality news across the region, promote independent media, and strengthen people-to-people engagement. Through these efforts, Australia aims to counter misinformation and share the values of modern multicultural Australia with Pacific audiences.

Support Our Journalism

Global Indian Diaspora and Australia’s multicultural communities need fair, non-hyphenated, and questioning journalism, packed with on-ground reporting. The Australia Today – with exceptional reporters, columnists, and editors – is doing just that. Sustaining this needs support from wonderful readers like you.

Whether you live in Australia, the United Kingdom, Canada, the United States of America, or India you can take a paid subscription by clicking Patreon and support honest and fearless journalism. LINK: https://tinyurl.com/TheAusToday

Parents sometimes ask: what’s the point of drama class? Many want their children to choose elective subjects, especially in Year 12, that parents think will help them get into university and establish a career.

This is despite the fact work possibilities are wide open for the average 17 year-old, who is likely to have a range of jobs and careers over their lifetime.

So why study drama? As scholars who have researched drama and learning for 30 years, it’s clear studying drama can enhance your teenager’s present and contribute to their future. Drama teaches skills for life, learning and employability.

Teamwork, project management, public speaking and more

Many employers want staff who can work well in a team, manage a complicated project from inception to final delivery and speak well in public or to clients.

They want employees who can problem-solve creatively and effectively, can think flexibly, adapt to changing circumstances and see others’ point of view.

Now consider the skills kids learn in drama class. These include:

Teamwork: There is nothing like collaborating with your classmates as an ensemble to devise a script or pull off a show. There is excitement and a heightened sense of purpose in having to work together to present a performance for an audience. Relationships of trust and cooperation are formed through teamwork in drama class. These are valuable skills kids can use throughout their lives.

Public speaking: Drama develops communication and presentation skills that boost your confidence to speak in public. You learn how to use space, gesture, posture and to vary your pace, tone and volume to successfully communicate with and convince your audience. This is a skill set your child will use at university, in job interviews and at work.

Speedy problem-solving: In drama class, you learn to improvise. The skill of quick and creative thinking on your feet is valuable to many employers.

Creative and critical thinking: Drama is critical thinking in action, a way to look at issues from multiple points of view and understand nuance. Untangling this complexity in drama class is equipping students with the ability to cope with complexity in other parts of their life – now and in the future. It allows kids to exercise creativity, imagine alternate futures, and experiment and test radical ideas in a safe space. Creativity and imagination are essential skills for jobs of the future.

Make a compelling argument: When students have something important to say, a drama performance can be a powerful way to practice using their voice, express concerns and call others to action. Going to see live theatre with peers, studying plays and analysing theatre means engaging with and discussing big, complex and global ideas. Knowing how to formulate your point and articulate it in a compelling way is a valuable workplace skill.

Artistic and design skills: Students learn artistic, performance and theatre design skills when studying drama, which can lead to employment in a wide range of creative industries jobs.

Examining the evidence

There is a great deal of evidence on the impact of drama education on young people’s lives and employability skills.

Research shows drama develops empathy, social skills, well-being and confidence.

Studies involving drama students also report young people derive a sense of fellowship and fun from studying drama. They also report theatre helped them develop a sense of self and important life competencies.

Research has also shown drama can be an effective part of teacher education.

Consider the value drama adds to your child’s life now

Of course, school isn’t really about turning your child into an obedient and helpful worker bee. It’s their life now. Just as having a positive workplace can make a world of difference to your quality of life, having an enjoyable school experience is crucial to a teen’s mental health.

So if your child enjoys drama, ask them why. You might be surprised by the depth of the answer you receive.

Drama creates a strong sense of belonging and can reduce loneliness, as demonstrated in this recent ABC story: https://www.youtube.com/embed/V83DpIA4xBU?wmode=transparent&start=0 ABC Australia.

Drama class can help your child feel connected to others in school and to their community. It can help them develop empathy, relate to others in the real world (outside of social media) and encourage self-reflection.

It can allow them to engage with, and learn about, the big things in life: love, betrayal, friendship, ambition, power, envy, duty and more.

In the senior school years, when exam pressure and competitiveness can be overwhelming, a drama class and the community it provides can be a welcome relief.

And lastly: let’s not underestimate the sheer joy that comes of being creative, of expressing yourself, and the thrill of presenting to an audience.

Jo Raphael, Senior lecturer in drama education, Deakin University and Joanne O’Mara, Associate Professor in Education, Deakin University

This article is republished from The Conversation under a Creative Commons license. Read the original article.

Support Our Journalism

Global Indian Diaspora and Australia’s multicultural communities need fair, non-hyphenated, and questioning journalism, packed with on-ground reporting. The Australia Today – with exceptional reporters, columnists, and editors – is doing just that. Sustaining this needs support from wonderful readers like you.

Whether you live in Australia, the United Kingdom, Canada, the United States of America, or India you can take a paid subscription by clicking Patreon and support honest and fearless journalism. LINK: https://tinyurl.com/TheAusToday

This event is organised in partnership with Invest India and will coincide with the National Film Development Corporation (NFDC) Film Bazaar, running from 20 to 24 November 2024.

The six successful applicants will receive up to $6,000 each to cover travel and accommodation expenses. The event aims to foster collaboration between Australian and Indian filmmakers under the India-Australia Co-Production Treaty.

In preparation for the Co-production Day, Screen Australia and the Film Facilitation Office of India also hosted a webinar to provide insights into the treaty.

Ratified on 24 November 2023, the treaty enables filmmakers from both countries to access creative and financial resources and tap into each other’s markets.

As per Screen Australia, participants in co-productions will also benefit from incentives offered in both nations.

The Co-production Day initiative offers Australian producers with experience in official co-productions, or comparable large-budget content, the opportunity to connect with their Indian counterparts. These meetings are designed to build early-stage creative partnerships and develop meaningful collaborations for future projects.

To be eligible, applicants must:

• Be Australian citizens or residents and meet Screen Australia’s Terms of Trade requirements.
• Have recent credits as lead producers on scripted series or features with significant international viewership, especially in India. Eligible projects may include those:
  • Distributed theatrically or released on streaming platforms.
  • Nominated for or awarded significant international honours such as Cannes, Sundance, the Academy Awards, BAFTA, or the Emmys.
  • Featured in top 10 most-watched shows on a subscription platform.
  • Amassed over one million views on a reportable platform such as YouTube.

Producers with prior international co-production experience, particularly with India, and those with projects that show strong potential for collaboration, will be prioritised.

Applications from underrepresented communities are strongly encouraged.

Support Our Journalism

Global Indian Diaspora and Australia’s multicultural communities need fair, non-hyphenated, and questioning journalism, packed with on-ground reporting. The Australia Today – with exceptional reporters, columnists, and editors – is doing just that. Sustaining this needs support from wonderful readers like you.

Whether you live in Australia, the United Kingdom, Canada, the United States of America, or India you can take a paid subscription by clicking Patreon and support honest and fearless journalism. LINK: https://tinyurl.com/TheAusToday

Celebrating the artistic heritage of Aboriginal Australian women, the exhibition weaves together the creative talents of the Bábbarra Women’s Centre from Arnhem Land and Bengaluru’s Tharangini Studio, renowned for its heritage woodblock printing techniques.

Australian Consul General for Karnataka and Telangana Hilary McGeachy said,

“Wonderful to see parallels between artisanal communities in our two countries.”

This cross-cultural initiative showcases 21 exquisite textiles, created through the intricate process of hand-carved woodblock printing.

The designs, drawn from sacred Aboriginal Australian stories and folklore, have been translated into vibrant prints by Indian artisans at Tharangini.

Anahita Ananth, a visual storyteller and media professional with Tharangini Studio told TNIE, “The responsibility was immense.” She emphasised the sacred nature of many of the symbols and the deep care taken to preserve their essence.

“Some designs are so sacred that only a few members of the community are permitted to draw them.”

Supported by the Australian Government’s Centre for Australia-India Relations (CAIR), the exhibition pays tribute to 16 First Nations Australian women artists, some of whom are no longer with us.

Initially starting with seven designs, the project has now expanded to 77, a testament to the seamless synergy between the two artisanal communities and the support of CAIR’s grant.

“The designs from Bábbarra were unlike anything we’d worked with before, but the connection to nature was familiar. Both our traditions draw deeply from our respective landscapes,” shares Ananth.

Anshu Arora, a multidisciplinary design practitioner and the exhibition’s co-curator, echoes this sentiment, adding,

“We found striking parallels in the resilience of these communities. Both the Aboriginal Australian artists and Indian artisans are guardians of traditions passed down through generations.”

Arora stresses the importance of highlighting not just the final artistic output but also the underlying belief systems and processes that give depth to each piece.

Visitors to the exhibition will also get a glimpse of this behind-the-scenes journey, led by Tharangini’s director, Padmini Govind.

“It’s been a 24-month process to adapt the designs for woodblock printing,” says Ananth.

“The women at Bábbarra traditionally use linocut prints, but linoleum degrades over time. By using seasoned teak woodblocks, we’ve created something that can last for decades.”

The exhibition delves into themes central to the lives of Aboriginal Australian women, including food, hunting, flora, and spiritual beliefs, all intricately intertwined with the landscape of Arnhem Land.

“Each textile reflects the colours and textures of Arnhem Land – from the sky and sea to the native plants,” says Arora, adding,

“The stories of mermaids, fish, and seaweed, key symbols in their cultural identity, are brought to life through the prints.”

In addition to the work with the Bábbarra Women’s Centre, three of the textiles were created in collaboration with the Porgai community, an artisanal embroidery group from Tamil Nadu, further highlighting the beauty of this cross-cultural exchange.

The exhibition also features a video installation and photographic documentation, offering visitors a chance to witness the 24-month journey of transforming sacred Aboriginal designs into timeless textile art.

Karri-djarrk-durrkmirri will be on display from October 4 to 13 at the Bangalore International Centre, with free entry starting at 11 am.

Support Our Journalism

Global Indian Diaspora and Australia’s multicultural communities need fair, non-hyphenated, and questioning journalism, packed with on-ground reporting. The Australia Today – with exceptional reporters, columnists, and editors – is doing just that. Sustaining this needs support from wonderful readers like you.

Whether you live in Australia, the United Kingdom, Canada, the United States of America, or India you can take a paid subscription by clicking Patreon and support honest and fearless journalism. LINK: https://tinyurl.com/TheAusToday

The announcement was made by Indian Union Minister of Information and Broadcasting Ashwini Vaishnaw, who shared the news on his official X account, stating, “Mithun Da’s remarkable cinematic journey inspires generations! Honoured to announce that the Dadasaheb Phalke Selection Jury has decided to award legendary actor Mithun Chakraborty Ji for his iconic contribution to Indian cinema.”

The award will be presented at the 70th National Film Awards ceremony on October 8, 2024, marking another milestone in Mithun Chakraborty’s illustrious career. The Dadasaheb Phalke Award is India’s highest honour in the field of cinema, recognising exceptional contributions that have shaped the industry.

Indian Prime Minister Narendra Modi also extended his congratulations to the veteran actor, calling him a “cultural icon” admired for his versatility. In a post on X, PM Modi expressed his delight over the recognition given to Mithun Chakraborty, stating,

“Delighted that Mithun Chakraborty Ji has been conferred the prestigious Dadasaheb Phalke Award, recognising his unparalleled contributions to Indian cinema. He is a cultural icon, admired across generations for his versatile performances. Congratulations and best wishes to him.”

Mithun Chakraborty, who recently received the prestigious Padma Bhushan, has been one of the most celebrated figures in Indian cinema. He began his illustrious career in 1976 with the film Mrigayaa, portraying a Santhal rebel, a performance that earned him the National Film Award for Best Actor. Since then, Mithun has captivated audiences with his versatility, starring in numerous films across various genres.

Reflecting on receiving the Dadasaheb Phalke Award, Chakraborty said, “I never imagined that a boy from the footpath could receive such a big honour.” In an interview with ANI, he expressed his gratitude and dedicated the award to his family and fans.

“I’m literally dumbfounded, trust me. I can’t smile, I can’t cry with happiness because a man from literally nowhere, a nobody, made it.

This also proves what I always tell my fans and those who aren’t financially strong: if I can make it, then you can do it too.”

Mithun Chakraborty’s career has spanned almost five decades, with notable performances in films like Tahader Katha (1992) and Swami Vivekananda (1998), both of which earned him National Film Awards.

He is also celebrated for his contribution to Indian pop culture through his electrifying dance numbers, including hits like “I Am a Disco Dancer,” “Jimmy Jimmy,” and “Super Dancer.” These songs became instant classics, and his dance moves are still emulated by fans today.

Beyond acting, Mithun has also made his mark in politics, becoming a public figure who has inspired many with his journey from humble beginnings to stardom. Most recently, he appeared in Vivek Agnihotri’s critically acclaimed film The Kashmir Files, which added another successful chapter to his acting career.

The Dadasaheb Phalke Award is a fitting recognition of Mithun Chakraborty’s immense contribution to Indian cinema. His journey from a struggling actor to becoming a national icon is a testament to his talent, resilience, and ability to connect with audiences across generations. The upcoming award ceremony on October 8 will celebrate his achievements and his impact on Indian culture and cinema.

For millions of fans, Mithun Da remains not just an actor but an inspiration—proof that hard work, dedication, and passion can lead to incredible success, no matter the starting point.

Support Our Journalism

Global Indian Diaspora and Australia’s multicultural communities need fair, non-hyphenated, and questioning journalism, packed with on-ground reporting. The Australia Today – with exceptional reporters, columnists, and editors – is doing just that. Sustaining this needs support from wonderful readers like you.

Whether you live in Australia, the United Kingdom, Canada, the United States of America, or India you can take a paid subscription by clicking Patreon and support honest and fearless journalism. LINK: https://tinyurl.com/TheAusToday

For decades, commercial broadcasting made its owners rich. Advertisers flocked to the networks – there just weren’t any other ways to reach so many viewers.

At the same time, the government limited competition by restricting licenses to operate. This discouraged content innovation and led to little choice for viewers. People habitually tuned into whatever was “on” – even if they weren’t particularly interested.

That’s a far cry from where we find ourselves now. The internet age has brought unfathomable new depths of choice and content for viewers. Social media and search engines have handed advertisers powerful new tools. Commercial broadcasters have lost their sheen, just as we saw with newspapers two decades ago.

That will have consequences for what appears on our screens. A substantial decline in advertiser spending on television networks Seven, Nine and 10, as well as their multichannels like 10Peach, 7Mate, and 9Gem, means there will likely be fewer of these channels in Australia’s future.

So what exactly has been happening to their business model – and can it be saved? Is everything really hanging on gambling ad revenue? Perhaps most importantly, what could this shift mean for society?

Streaming is only the latest chapter

In the business model of commercial broadcasters, the audience is the “product” being sold. Broadcasters pay for content likely to attract viewers, then sell these viewers’ attention to advertisers.

It might be tempting to assume the broadcasters’ struggles have been caused by the rapid ascent of on-demand streaming services, such as Netflix. But broadcaster revenue has been in decline since 2005.

Adjusted for inflation, commercial television network revenue had already been falling by an average of 5.6% per year between 2004-05 and 2015-16, which was Netflix’s first year in Australia.

So what exactly did happen in the early 2000s? We all went online. Search engines and social media emerged as new ways for advertisers to buy attention.

At first, most of the shift to online advertising came at the expense of traditional newspapers, but for the last decade it has cut into commercial broadcasters’ revenue as well.

The commercial broadcasters’ share of Australian advertising spend plummeted from 43% to 17% between 2006 and 2022, as advertisers moved their spending online.

Local content has paid the price

On the other side of the coin, broadcasters’ programming costs have not diminished, and have actually been increasing by about 1.1% each year. Many now have more channels to fill with content, with no corresponding uptick in revenue.

They have already radically reduced their investment in Australian content. Between 2000 and 2023, commercial TV spending on Australian drama fell by 72% in real terms, and spending on Australian children’s drama fell by 100%. Yes, you read that correctly, right down to zero.

Broadcasters fill many hours on many channels, but audiences no longer find much of this content compelling, especially given the wide range of other content and leisure options they now have.

Diminishing ad dollars have led to cheaper programming, and audiences have responded by shifting their attention elsewhere.

The erosion of advertiser-funded television is happening around the globe, but historically, Australia has relied more on advertisers than other comparable countries. That means here, the crisis is more acute.

Are gambling ads really the final straw?

Free-to-air TV’s future has been thrust further into the limelight amid predictions of catastrophe if gambling ads were banned on TV. That claim is worth investigating.

Data from the Australian Communications and Media Authority suggests gambling advertising delivered A$162 million to free-to-air networks in 2022-23.

That accounts for just under 5% of the total TV advertising market’s $3.6 billion in revenue that year. Any revenue lost to a sector in decline is costly, but keeping this small fraction isn’t going to hold off broader decline.

Not least because that revenue comes at a great societal cost. Australia leads the world in gambling losses – $24 billion a year – and promoting gambling has been identified to have substantial negative consequences for Australian society.

More pressing concerns

On commercial TV, the government faces far more pressing questions than whether to ban gambling ads. The loss of one or more of our commercial broadcasters seems financially inevitable and may even be in the interest of Australians.

It has been some time since commercial broadcasters delivered on their public responsibilities. They are a special class of business that uses a public good, the electromagnetic spectrum, to profit, and so they were set up with responsibilities to Australians in exchange for its use.

Yet over the past 20 years, they have attempted to back out of many of those responsibilities. They have successfully lobbied for the elimination of license fees, as well as for a significant loosening of rules around commissioning local content.

There are also cultural concerns. Nine faces allegations of fostering a highly dysfunctional workplace.

A series of recent scandals at Seven have led some to raise the question of whether the media giant is in violation of the Broadcasting Services Act and should be allowed to continue to operate.

Seven’s net debt is now bigger than its market capitalisation. That makes it fair to ask – is the company still afloat because it’s actually a viable business, or because of the power that comes from holding a broadcast license?

Where to from here?

Today’s media world is very different from the past. Like the horse and carriage industry at the dawn of the combustible engine, last century’s commercial broadcast sector cannot be restored.

That doesn’t mean we’re going to suddenly lose sport and other valued content – these things will find a way to viewers as the ecosystem adapts. News and entertainment may come at a higher cost for consumers and government, but the content made will prioritise consumers rather than advertisers.

That might be a good thing. The sector arguably hasn’t delivered for Australians as it was meant to for some time.

Amanda Lotz, Professor of Media Studies, Queensland University of Technology

This is the third piece in a series on the Future of Australian media. You can read the first piece in the series here and the second piece here.

This article is republished from The Conversation under a Creative Commons license. Read the original article.

Support Our Journalism

Global Indian Diaspora and Australia’s multicultural communities need fair, non-hyphenated, and questioning journalism, packed with on-ground reporting. The Australia Today – with exceptional reporters, columnists, and editors – is doing just that. Sustaining this needs support from wonderful readers like you.

Whether you live in Australia, the United Kingdom, Canada, the United States of America, or India you can take a paid subscription by clicking Patreon and support honest and fearless journalism. LINK: https://tinyurl.com/TheAusToday

In a 2021 interview with ANI, Minogue said that she was looking forward to working in Bollywood once again, “I would really like to come to India and sing a song there once again.”

Minogue is set to embark on her largest global tour since 2011, with the “Tension Tour” kicking off on 15 February in Perth.

The Australian leg will see her perform in Adelaide (18 Feb), Melbourne (20-21 Feb), Brisbane (26 Feb), and Sydney (1-2 March), before heading to Asia and the UK in May.

Excited for her first major Australian tour since 2019, Minogue said, “I can’t wait to share beautiful and wild moments with fans all over the world, celebrating the Tension era and more.”

Minogue’s upcoming album Tension II, a sequel to her chart-topping 16th studio album Tension, will be released on 18 October, with the lead single Lights, Camera, Action out on 27 September.

Tension II will feature 13 songs, including nine new studio tracks and a selection of recent collaborations. These include Edge of Saturday Night with The Blessed Madonna, Dance Alone with Sia, Midnight Ride with Orville Peck, and My Oh My, featuring Bebe Rexha and Tove Lo.

The album promises to delve further into the electronic space that defined Tension, which became Minogue’s fourth consecutive number-one album in Australia, led by the global success of Padam Padam.

Padam Padam became an instant hit and was embraced as a Pride anthem. It earned Minogue her 18th ARIA Award in November and her first Grammy in 20 years in February for Best Pop/Dance Record. The song also brought Minogue back into Triple J’s Hottest 100 after a 27-year absence, setting a record for the longest gap between appearances.

Minogue was initially scheduled to headline this year’s Splendour in the Grass festival, which was later cancelled. Fans anticipated that her performance would draw inspiration from her Las Vegas residency and her spectacular 2024 BRIT Awards medley.

Over the summer Minogue played several European festivals and the 2025 “Tension Tour” marks Minogue’s return to Australian arenas for the first time in a decade, following her “Kiss Me Once” tour in 2015.

Support Our Journalism

Global Indian Diaspora and Australia’s multicultural communities need fair, non-hyphenated, and questioning journalism, packed with on-ground reporting. The Australia Today – with exceptional reporters, columnists, and editors – is doing just that. Sustaining this needs support from wonderful readers like you.

Whether you live in Australia, the United Kingdom, Canada, the United States of America, or India you can take a paid subscription by clicking Patreon and support honest and fearless journalism. LINK: https://tinyurl.com/TheAusToday

The film, produced by the Indian Film Festival of Melbourne (IFFM), is directed by Four renowned Bollywood filmmakers— Rima Das, Imtiaz Ali, Kabir Khan, and Onir —whose storytelling expertise brings to life the essence of Melbourne’s multicultural landscape. The event marks a crucial step in fostering deeper cultural and creative ties between Victoria and India.

Draped in a stunning traditional saree, Premier Allan delivered an impassioned speech at the special screening.

“It is an honor to be here in New Delhi to present My Melbourne, a film that captures the spirit of our great city—one that thrives on its diversity and inclusivity,”

Allan remarked.

She further highlighted the power of film as a medium that transcends boundaries, bringing people together and fostering understanding between cultures. She also revealed a light-hearted personal ambition, saying,

“I dream of being the first Victorian Premier to appear in a Bollywood film!”

This remark was met with laughter and applause from the audience, underscoring her genuine enthusiasm for India’s vibrant film industry.

Cultural Exchange Through Film

My Melbourne is a unique project, born out of a collaboration between IFFM and the Victorian Government, and is set to tell compelling stories about Melbourne’s diverse communities. The anthology film is composed of four short stories, each reflecting the experiences of migrants in Melbourne.

Directed by four of Bollywood’s most celebrated filmmakers—Imtiaz Ali, known for Jab We Met and Tamasha; Kabir Khan, director of Bajrangi Bhaijaan; and Onir, famous for his socially conscious films like My Brother…Nikhil—the film explores themes such as race, identity, and the challenges faced by people from different cultural backgrounds in a foreign land.

Onir, who directed one of the most touching and a story of inclusivity, shared his excitement about the project: “It’s a rare opportunity to tell stories that resonate globally, and Melbourne is the perfect backdrop to explore these universal themes of belonging and identity.”

Imtiaz Ali echoed these sentiments, stating that “Melbourne’s cultural landscape is rich, and the stories here are waiting to be told. I am thrilled to be a part of this journey.”

Building on Victoria’s India Strategy

The film’s special screening is just one of many engagements that Premier Allan is participating in during her visit to India, which focuses on strengthening ties between Victoria and India across multiple sectors. Film, in particular, is a key focus of the visit, given Melbourne’s growing reputation as a global hub for arts, film, and culture. The state of Victoria is home to a large Indian community, making collaborations like My Melbourne not only culturally relevant but also a celebration of shared values between the two regions.

At the event, Premier Allan emphasised the role of Victoria as a global leader in film production and cultural initiatives.

“Victoria is a state where arts and culture thrive.

We are home to a vibrant Indian community, and the stories they bring enrich the cultural fabric of Melbourne. Through this film, we aim to highlight our shared values and strengthen the bonds between our two nations,”

she said.

This focus on cultural diplomacy is aligned with Victoria’s broader India Strategy, which aims to enhance ties between the two regions across various domains including education, tourism, and trade. During her visit, Allan is also expected to release a comprehensive India Strategy report, outlining the state’s plans to boost trade and collaboration in fields such as advanced manufacturing, technology, and education.

Victoria’s Growing Influence in the Indian Film Industry

The Indian Film Festival of Melbourne has long been a cultural bridge between India and Australia. Each year, it showcases the best of Indian cinema to Australian audiences, fostering cultural exchange through film. Premier Allan’s participation in the inauguration of My Melbourne further cements Victoria’s place as a key player in the global film industry.

Mitu Bhowmick Lange, Director of the Indian Film Festival of Melbourne, expressed her excitement about the project: “This film is a celebration of the diversity that Melbourne is known for. We are thrilled to have these incredible directors onboard, and we hope this project will inspire more collaborations between India and Australia in the future.”

A Strong Foundation for Future Collaborations

Premier Allan’s visit to India, which focuses on deepening ties in tourism, technology, and education, has been a significant diplomatic milestone. The film inauguration serves as a reminder of the power of cultural exchange in strengthening international relations. By fostering collaborations in the creative industries, Victoria continues to position itself as a leading cultural hub on the global stage.

As Allan’s trip progresses, it is clear that both Victoria and India stand to benefit from this cultural diplomacy. The special screening of My Melbourne is just the beginning of a series of initiatives that will undoubtedly strengthen the bonds between these two regions for years to come.

In her closing remarks, Premier Allan shared her hopes for the future of Victoria-India relations: “As we continue to deepen our ties, I look forward to more collaborations that celebrate our shared values and build a future where Victoria and India grow together—both culturally and economically.”

Her inauguration of My Melbourne is a fitting representation of this future, where art, culture, and community come together to tell stories that transcend borders.

Support Our Journalism

Global Indian Diaspora and Australia’s multicultural communities need fair, non-hyphenated, and questioning journalism, packed with on-ground reporting. The Australia Today – with exceptional reporters, columnists, and editors – is doing just that. Sustaining this needs support from wonderful readers like you.

Whether you live in Australia, the United Kingdom, Canada, the United States of America, or India you can take a paid subscription by clicking Patreon and support honest and fearless journalism. LINK: https://tinyurl.com/TheAusToday

The Brisbane Maratha Warriors (BMW) hosted their annual Ganesh Festival and Award Night at the Coorparoo State School Auditorium, bringing together the community for a vibrant celebration of culture, sports, and unity.

The event, which featured an impressive mix of cultural performances and sporting recognitions, encapsulated the spirit of the Maratha community in Brisbane.

A major highlight of the evening was the recognition of 26 young cricket enthusiasts, aged between 4 and 12, who took part in the Cricket Blast program, supported by Queensland Cricket.

These budding athletes received medals for their participation, becoming the focal point of the night. The excitement in the room was undeniable as the young cricketers took to the stage, cheered on by an enthusiastic audience and proud parents. This initiative reflected BMW’s ongoing commitment to fostering the next generation of cricketing talent.

In addition to the Cricket Blast honours, medals were awarded to winners of the BMW Badminton Tournament and the highly anticipated BMW Super 6 Cricket Tournament. These athletes were recognised for their exceptional skill, sportsmanship, and dedication, underscoring BMW’s broader mission of promoting sporting excellence across a range of disciplines.

The event also featured a series of cultural performances that captivated the audience. Six performances, including an energetic Bhangra routine, the graceful movements of classical Kathak, and an array of dynamic Bollywood dance performances, highlighted the rich cultural heritage of the Maratha community. The vibrancy and energy of the performances were met with applause and admiration from attendees.

Distinguished guests, including Councillor Emily Kim, Ashutosh Mishra from Queensland Cricket, and Prerana Phawa from Simply Human, added a special touch to the evening. Their speeches reflected a shared appreciation for the community’s efforts in preserving cultural traditions and nurturing youth through sports.

Mishra underscored the value of initiatives like Cricket Blast in developing young talent, while Phawa praised community-driven efforts that create a positive, inclusive environment. Councillor Kim commended BMW’s role in enriching Brisbane’s multicultural landscape.

As the event concluded, it was clear that the Brisbane Maratha Warriors had successfully crafted a night that honoured tradition while strengthening the bonds of community through sport and culture. BMW continues to play a pivotal role in promoting cultural and athletic engagement in Brisbane, inspiring future generations.

Support Our Journalism

Global Indian Diaspora and Australia’s multicultural communities need fair, non-hyphenated, and questioning journalism, packed with on-ground reporting. The Australia Today – with exceptional reporters, columnists, and editors – is doing just that. Sustaining this needs support from wonderful readers like you.

Whether you live in Australia, the United Kingdom, Canada, the United States of America, or India you can take a paid subscription by clicking Patreon and support honest and fearless journalism. LINK: https://tinyurl.com/TheAusToday

It is reported that the two-day event, 14-15 September, headlined by the world-renowned artist after four decades of sharing Pacific sounds globally, drew an enthusiastic crowd of locals and international visitors alike.

Veikoso was joined on stage by chart-topping artists such as J Boog, Maoli, Josh Tatofi, and Justin Wellington, marking a historic occasion for Fiji’s music scene.

The concert, which attracted fans from as far as Australia, New Zealand, the US, and the Pacific Islands, delivered an unforgettable experience as fans sang along to timeless hits.

Deputy Prime Minister Manoa Kamikamica, who attended the concert, described the event as “emotional, inspirational, and uplifting.”

Veikoso’s 90-minute performance was a highlight, showcasing his enduring talent and Pacific pride. Kamikamica expressed admiration for Veikoso’s contributions to Pacific music and hoped his legacy would inspire future generations.

Minister for Tourism Viliame Gavoka observed that the broader impact of high-profile events like Veikoso’s homecoming on Fiji’s tourism.

“This is more than just a musical event; it’s a testament to our ability to provide world-class entertainment while showcasing our rich cultural heritage,” he said.

Veikoso is a veteran musician with over four decades of influence in the Fiji and Pacific music scene. Known for his distinctive vocals and genre-blending of reggae, hip hop, RnB, and jazz, his work as a songwriter, composer, and producer has earned him international recognition.

Beyond his musical contributions, Veikoso has been a mentor to emerging artists, promoting Polynesian unity through the TokoUso movement and advocating against gang violence. His achievements include winning the inaugural Best Pacific International Artist Award at the 2014 Pacific Music Awards.

With Veikoso’s ‘Homecoming’ Concert a spectacular success, fans of Fijian music are now expecting many more such evenings that celebrate Pacific culture.

Support Our Journalism

Global Indian Diaspora and Australia’s multicultural communities need fair, non-hyphenated, and questioning journalism, packed with on-ground reporting. The Australia Today – with exceptional reporters, columnists, and editors – is doing just that. Sustaining this needs support from wonderful readers like you.

Whether you live in Australia, the United Kingdom, Canada, the United States of America, or India you can take a paid subscription by clicking Patreon and support honest and fearless journalism. LINK: https://tinyurl.com/TheAusToday

Thukral & Tagra, known for their work across various media, including painting, sculpture, installations, video, and performance, have made waves with their exploration of migration, consumer culture, and Indian identity.

Their recent projects focus on interpreting Indian mythological narratives through dynamic and abstract visual forms. Both artists have built a reputation for creating immersive environments that challenge the boundaries of traditional art forms, making them a fitting choice for this groundbreaking cultural exchange.

The upcoming Federation Square showcase by Thukral & Tagra will transform the iconic Melbourne venue into an immersive, living canvas that celebrates Punjabi heritage through contemporary art.

This exciting collaboration between Melbourne’s Asia TOPA festival and India’s prestigious Serendipity Arts Festival in Goa comes under the Maitri Cultural Partnerships grants.

Melanie Smith, Executive Director of Performing Arts at Arts Centre Melbourne, emphasised the grant’s importance in enabling such an impactful partnership, “This timely support from the Maitri Cultural Partnerships program will allow us to embark on a rich, multifaceted collaboration with Serendipity Arts Festival.”

“It will bring together artists from both countries to engage with communities, develop new skills, and present bold, contemporary work to audiences across India and Australia,” she added.

The Maitri Cultural Partnerships aim to enhance collaboration between Australia’s and India’s vibrant creative industries, renowned globally for their contributions to film, theatre, literature, and visual arts. This initiative will not only enrich the cultural landscapes of both nations but also create platforms for artistic dialogue and innovation.

Support Our Journalism

Global Indian Diaspora and Australia’s multicultural communities need fair, non-hyphenated, and questioning journalism, packed with on-ground reporting. The Australia Today – with exceptional reporters, columnists, and editors – is doing just that. Sustaining this needs support from wonderful readers like you.

Whether you live in Australia, the United Kingdom, Canada, the United States of America, or India you can take a paid subscription by clicking Patreon and support honest and fearless journalism. LINK: https://tinyurl.com/TheAusToday

The event, which has become a staple in the community calendar, serves as a platform to showcase the remarkable talents of performers from the local Indian community.

Held in Perth, the event brought together 100 performers who mesmerised the 300-strong audience with their diverse acts, ranging from traditional dance to music and theatrical performances.

The evening was a vivid display of Indian art forms and cultural practices, fostering a deeper understanding and appreciation of India’s rich heritage, transcending language and ethnic boundaries.

The gala night is not only a showcase of talent but also a celebration of shared heritage, allowing the community to come together and strengthen their cultural bonds. It is a key event in the Bengali Association’s efforts to promote cultural diversity and build a sense of unity within the Indian-Australian community.

The evening was graced by several esteemed guests, including Dr Jags Krishnan, MLA and WA Labor Member for Riverton; Mr Deepak Sharma, President of the Indian Association of Western Australia; Mr Keyur Kamdar, Councillor for Ranford Ward, City of Armadale; Mr Tarun Dewan, Councillor for East Ward, City of Cockburn; Dr Anisur Rahmaan, President of the Bangladesh Australia Association of Western Australia; and Dr Parvinder Kaur. Their presence highlighted the importance of community gatherings that celebrate multiculturalism and unity.

Warm applause echoed through the auditorium after each performance, leaving attendees with fond memories of an evening filled with cultural pride and artistic brilliance.

BAWA’s Annual Cultural Night 2024 was not only a showcase of talent but a testament to the power of community and the celebration of shared heritage.

BAWA, a well-established nonprofit organisation that has represented the Bengali community in Western Australia for 32 years, continues to be a beacon of Indian culture in Perth. Through events like this, the association keeps the essence of Bengali culture alive, thousands of miles away from its roots in India.

Support Our Journalism

Global Indian Diaspora and Australia’s multicultural communities need fair, non-hyphenated, and questioning journalism, packed with on-ground reporting. The Australia Today – with exceptional reporters, columnists, and editors – is doing just that. Sustaining this needs support from wonderful readers like you.

Whether you live in Australia, the United Kingdom, Canada, the United States of America, or India you can take a paid subscription by clicking Patreon and support honest and fearless journalism. LINK: https://tinyurl.com/TheAusToday

Culture starts at home, and for many Indian families, home is where Carnatic music thrives. In a saying that resonates deeply, “It takes a village to raise a child,” families of Indian heritage in Melbourne, Australia, often find that Carnatic music plays an essential part in shaping that village. For many Indian-origin people in the diaspora, it’s not just a tradition but a way of life, one that cultivates gratitude, discipline, and a deep sense of cultural identity from a young age.

For the uninitiated, Carnatic music is a classical music tradition from India, known for its intricate compositions, melodic ragas, and rhythmic talas. It emphasises both vocal and instrumental forms, with the mridangam, violin, and veena being some of the key instruments. As this music tradition is rooted deeply in devotion and spirituality, it often features lyrical compositions dedicated to Hindu deities, with themes of love, devotion, and philosophy.

From the earliest years, children who are fortunate enough to engage in Carnatic music lessons develop a profound sense of appreciation for their Indian roots. The intricate patterns of this ancient musical tradition are not dissimilar to the design frameworks engineers study – meticulously crafted, with each raga tied to a specific mood or state of mind.

In many ways, Carnatic music can serve as a balm for the emotional and psychological challenges faced in today’s world. Whether it’s through vocal lessons or learning to play an instrument, this art form can be a lifelong companion, a precious gift parents can pass on to their children.

For families living abroad, the role of Carnatic music becomes even more significant. Encouraging young adults and teenagers to engage with this rich tradition helps them unlock not only the intellectual and emotional benefits of music but also the deep sense of devotion, or bhakti, that it fosters.

In Melbourne, music teachers like Mrs Vandana and Guru Murali Kumar stand as pillars of the community, dedicating their lives to preserving this centuries-old tradition.

For over two decades, the couple has been serving the city’s Indian diaspora through their RaagaSudha Academy of Music. They teach not just the technical aspects of Carnatic music but also the discipline, cultural values, and devotion that come with it. Their work goes beyond music lessons – it is a form of mentorship, a continuation of the guru-shishya (teacher-student) relationship, which is especially vital for families living far from their extended support systems.

Performing on stage is more than just a showcase of musical talent; it instils a sense of accomplishment in children from a young age. Carnatic music’s cultural gatherings, where families come together, also help children develop interpersonal skills and learn social etiquette – qualities that will serve them well in life.

Melbourne’s vibrant Carnatic music scene owes its strength to passionate teachers and schools that nurture this tradition with unwavering dedication. Thousands of families across the city reap the benefits of this musical heritage, building a home away from home through the sounds of ragas and keerthanas.

Our own family was fortunate enough to be introduced to violin maestro Guru Murali Kumar and the RaagaSudha Academy through one of Melbourne’s most anticipated annual events, FIMDV. Both of my boys now study violin and vocals under Guru Murali Kumar and his wife, Mrs Vandana. In fact, my husband and I have also rekindled our childhood passion for learning keerthanas – devotional songs set to popular ragas. For over six years, this musical journey has become an ongoing bond, enriching our lives and connecting us more deeply with our cultural roots.

Contributing Author: Jyothi, an IT consultant based in Melbourne, specialises in providing technological solutions and is actively involved in promoting Indian traditions among young children, fostering a deep sense of cultural identity from an early age.

Support Our Journalism

Global Indian Diaspora and Australia’s multicultural communities need fair, non-hyphenated, and questioning journalism, packed with on-ground reporting. The Australia Today – with exceptional reporters, columnists, and editors – is doing just that. Sustaining this needs support from wonderful readers like you.

Whether you live in Australia, the United Kingdom, Canada, the United States of America, or India you can take a paid subscription by clicking Patreon and support honest and fearless journalism. LINK: https://tinyurl.com/TheAusToday

Grateful for the unwavering support of her family and the people of Sabeto, Tora credited the Vanua’s backing for playing a significant role in her personal growth. The newly crowned queen also expressed her gratitude to the Lord and revealed she would spend the day with her family in church.

Tora, who hails from Natalau Village in Sabeto, Nadi, and has maternal ties to Daliconi, Vanuabalavu, has set her sights on advocating for mental health in Fiji.

Following her crowning, the 24-year-old shared her desire to create safe spaces where people can openly discuss their struggles. “I want to be the voice for the voiceless,” Tora declared.

She also highlighted the importance of family time, emphasising that it’s not just about being together in the same room but being emotionally and mentally present while sharing meals and connecting deeply.

Martina Sigrah, Miss Island Accommodation, and Pepe Malani, Miss Fiji Fashion Week, were named first and second runners-up, respectively.

Melania’s mother, Liliana Pareti Warid, expressed her pride, calling her daughter’s crowning a “dream come true.” She praised Melania’s dedication throughout the pageant preparations and acknowledged the support from sponsors and the Vanua of Nadi, particularly the people of Natalau, Sabeto.

As Miss Hibiscus 2024, Tora is eager to use her platform to raise awareness for mental health and inspire positive change across the nation.

Support Our Journalism

Global Indian Diaspora and Australia’s multicultural communities need fair, non-hyphenated, and questioning journalism, packed with on-ground reporting. The Australia Today – with exceptional reporters, columnists, and editors – is doing just that. Sustaining this needs support from wonderful readers like you.

Whether you live in Australia, the United Kingdom, Canada, the United States of America, or India you can take a paid subscription by clicking Patreon and support honest and fearless journalism. LINK: https://tinyurl.com/TheAusToday

The script of human life is written in time. Each passing moment is the crude telling of our loss or gain. It is also the story of our speed of progress, in which only transactions matter. The starting point of this inquiry is the way we seem to have forgotten that what matters, in this thing called life, are interactions and engagements; to see life only through the lens of growth and pleasure may jeopardize others’ life stories, even one’s own self.

For if life may teach us anything, it is the profound understanding that life is a cycle of probation; that we strive for permanence in it is another matter. The irony is that this now is hardly lived, because the future haunts and tempts us, while the past is mostly buried.

One may add that the past shapes the present and the future borrows from it, and in this continuum, the liveability of the present is lost or erased. So, where is this lost moment of our present? How one lives this moment, this now, this life defines our entire life of probation!

Just like a puddle of water that flows onto the ground only to be absorbed by it, in the same way, the moments of our probationary life are absorbed by that unlived certainty or permanence we aspire to, just for ourselves. That unarrived moment remains a myth; in our pedantic search for it, we also lose the sense of our present moment and, in so doing, imperil others’ lives as well.

Permanence is a hoax, an impending moment that never arrives, yet we all crave it, try to rationalize it, and be optimistic about it. In fact, our degree of optimism can reach that level where one can rationalize numbers and data about growth by making everything and anything disposable. The rhetoric of optimism knows well how to maintain the balance sheet of life and disposability; it calculates every single moment in terms of loss and profit, oblivious of the fact that this life is like an aperture that may close at any time.

If our experiences keep changing our forms, even our appearances, then how can the aperture remain a single point of absorption and endless growth? After all, even the way we appear, think, and behave may never have any converging point, so much to expose the prolonged condescending voices of optimism. Macbeth realized this long back when he said,

“Out, out, brief candle!

Life’s but a walking shadow, a poor player.”

Isn’t it true that the illusion of a bright tomorrow has and continues to fool many of us, so that, as Macbeth would put it,

“Tomorrow, and tomorrow, and tomorrow, Creeps in this petty pace from day to day?”

Tomorrow is a scale, and its acme tip keeps moving upwards, leaving the past and present in a feeble state.

In other words, the strength of the present keeps nourishing the prospects of that unsecular future. It is unsecular because it is always already foreclosed, safeguarded as it is by institutional mechanisms. Also, it is unsecular because the present moment of many is borrowed to build a future castle for a select few.

Proponents may argue that no loss is permanent, but then one may also counter-argue that nothing is permanent in this life, and, therefore, one needs the present moment to be nourished and cherished for as many as possible. As Gabrielle Zevin’s character Alabaster avers,

“And what is love, in the end? [. . .] Except the irrational desire to put evolutionary competitiveness aside in order to ease someone else’s journey through life?”

In the tapestry of this probationary life, the only pervasive thing to be desired and encouraged is love. While growth is based on scarcity and betterment and hence future-oriented, in this present moment love is the only available thing that one can have. In this limited time that we have, love is the singular source of fulfilment of that sublime joy, which cannot be experienced in economic transactions and iterations.

For many of us, there may not be enough future, but certainly, there is this present moment that can be invested with love and care to make our lives more secular. The purpose of our life can hardly be found in that celebrated future because there is no future; it keeps evading and shifting like a mirage, or, like that momentary ripple in water when someone throws a stone at it. There is only this now, this present moment, which we can live and feel. This fact is convincingly demonstrated by the intellectual fortitude of the great Sanskrit poet, Kalidas, who summed up human agony thus:

Look to this day:
For it is life the very life of life…

…
And today well-lived, makes
Yesterday a dream of happiness
And every tomorrow a vision of hope.
Look well therefore to this day.

It is in this moment, therefore, that one has to live, because it is in this very moment that one breathes. The question of growth is equally a question of how one breathes. Just as growth without any pattern or rhythm is detrimental, in the same way, breathing also requires a rhythmic pattern.

Contributing Author: OM PRAKASH DWIVEDI is Dean, School of Liberal Arts, Bennett University, India.

Support Our Journalism

Global Indian Diaspora and Australia’s multicultural communities need fair, non-hyphenated, and questioning journalism, packed with on-ground reporting. The Australia Today – with exceptional reporters, columnists, and editors – is doing just that. Sustaining this needs support from wonderful readers like you.

Whether you live in Australia, the United Kingdom, Canada, the United States of America, or India you can take a paid subscription by clicking Patreon and support honest and fearless journalism. LINK: https://tinyurl.com/TheAusToday