Eating a Bit of Culture

Now that the Commonwealth Games are round the corner, I wonder how many hoteliers and restaurateurs have given much thought to showcasing Indian culture to the visitors that we expect. Can our city boast of a single lively space where culture, performances and food blend in a seamless experience? Other countries in South East Asia seem to have stolen a march on us. All we have to show are interminable ghazal singers whose music interferes with dinner conversation.
On a recent trip to Bangkok, I chanced upon a concept that is perfect for our conditions: Maya, a restaurant in Millennium Hilton, has been conceptualised as a venue for evening performances. Millennium Hilton is very clear that the restaurant is not merely its Thai outlet; it’s a showcase of Thai culture. So the 32-seater, which could have easily packed in twice that number, has a central space for performances. The hotel did not take the conventional route by having a stage at one end. Instead, tables were grouped around that area, taking care to ensure that service did not hamper the dancers or vice versa. The performances and dinner start at 7.30 and go on for approximately three riveting hours. Every sequence has obviously been choreographed meticulously, so that no single dance exceeds ten minutes. The tempo of the evening moves from slow and classical to riotous and folk. In between, there’s not a moment to be bored or wish it would end sooner.
The hotel has done its homework well. The interiors are what could be called contemporary Thai and the dramatic lighting is what sets the restaurant apart: the space looks as much like a theatre as a restaurant. More than that, the serving staff has been trained in dance, so that their own movements, as they serve food and clear plates, are as sinuous as those of the dancers.
Millennium Hilton has tied up with Patravadi, a dance-theatre-cultural centre across the river. It was started by an iconic Thai actress called Patravadi Mejudhon whose daughter performs at Maya. One act involved each guest shaking an ethnic bamboo tambourine in time to a beat that the ‘conductor’ mimed. In a few minutes of chaotic practice, we were all playing Jingle Bells on an instrument that none of us had set eyes on before that. Prior to that, we saw a slow, languorous performance of a sarong being unfolded and worn in a variety of ways, some resembling the sari. The entire sequence was set to music. Even the 14 courses of food — traditional Thai served in small plates — were presented, it seemed, in time with the evening’s sequence.
Having a similar dining experience might be just what the Indian culinary scene needs. It’s easy to put together a three-hour programme of music and dance that appeals to a cross-section of tastes. And it isn’t rocket science to come up with a tasting menu of a variety of traditional Indian dishes served in small quantities. So why are we saddled with the tired formula of ghazal singers at Indian restaurants in five star hotels?
It’s probably a combination of factors. Primarily among them is sheer lack of imagination. Ghazal singers have become the default entertainers in many less-than-fashionable Indian restaurants. The second aspect is that most Indian restaurants have a mixed profile of patrons. They’re visited by tourists from overseas, from within the country, and local guests. The challenge is catering for all these groups simultaneously. Restaurateur Marut Sikka tells the story of a party he attended in Delhi in which a senior artiste from Pakistan performed. Hardly a soul listened to the world-class performance. Most were busy propping up the bar, exchanging stories of their next trip to the Greek islands.
Then there’s the question of listening comfort, as an expatriate chef pointed out. Indians like their live music far louder than westerners, but don’t feel the need to watch performances in restaurants. On the other hand, westerners are much more
attentive. And many Indians would probably not feel the need to mix cultural performances with their dinner. Rajesh Khanna, Executive Director, Abercrombie and Kent sighed when I approached him for his views on eatertainment as it is called in food and beverage circles. Khanna’s series of high-spending groups all seek at least one evening of cultural entertainment that’s not necessarily classical or high brow. Their only specification is that it should be representative of the country. Khanna needs to marshal all his resources to go hunting first for a suitable venue, then for a caterer and finally for performers. There are a number of pitfalls, he rues. First among them is that senior artistes decline to perform when alcoholic beverages or food is being served.
Marut Sikka, owner of the fashionable Indian restaurant Kainoosh, which serves modern Indian food in small plates, agrees with Khanna. Most classical dances started out in temples as an act of devotion, so mixing it with a cocktail of alcohol and non-vegetarian food is not entirely acceptable. Sikka strongly feels that the time for eatertainment will come. Once upon a time, restaurants were strictly functional. Then came the need to treat them as part of an evening out, and in the future, live entertainment — whether ethnic or international — will be the trend. This is already happening, Sikka says, offering Vishalla in Ahmedabad and Chokhi Dhani in Jaipur as examples. In Mumbai, Blue Frog and Comedy Store, which is yet to open, are eateries where food is only one component of an evening out.