The organisation has marked Deepavali, the Hindu festival of lights, for more than a decade, with its 12th celebration in 2025 attended by the Consul General of India in Sydney, Dr S. Janakiraman and representatives from local councils, the Hindu Council of Australia, temples and community organisations.

SAISH says its members worked with community organisations, leaders and the NSW Government to introduce a Deepavali celebration at NSW Parliament House in 2003, including the illumination of the building.

The organisation says this was the first Deepavali illumination of a parliament in the Western world. A marble plaque recognising the contribution of the Indian subcontinent community was installed at Parliament House in August 2007 following SAISH’s efforts. It has also been involved in cultural celebrations, interfaith activities and community initiatives, including ongoing yoga services in Strathfield.

In 2026, the organisation is introducing the SAISH Community Excellence Awards, recognising achievements across education, professional life and community service. The three categories are the Student High Achievement Award, Professional High Achievement Award and Highly Reputable Community Service Provider Award. SAISH says the initiative aims to recognise high achievers, encourage mentor-mentee relationships and strengthen community engagement.

Nominations are open to Australian residents and close on 15 August 2026. Nomination forms are available through the QR code on the SAISH Excellence Awards brochure above. This is a ticketed event.

In his address during last year’s celebrations, SAISH President Raj Datta recalled that the organisation was formed in 2013 to promote traditional culture and values and to provide services to all Australians. He listed joint work with the Hindu Council of Australia, BAPS Swaminarayan Temple, Shridi Sai Temple, Mukti Gupteswara Temple, Sydney Murugan Temple, the United Indian Association, NSW governments and local councils.

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In a video message recorded in Singapore, the veteran Malayalam actor said he was deeply disappointed after failing to receive his Australian visa, describing it as the first time in his nearly five-decade career that he had been unable to obtain a visa for a scheduled performance.

Mohanlal said he did not want to blame anyone for the situation and suggested the delay may have resulted from a technical or clerical issue.

“I am taking all the blame on myself. I am telling you that it is my fault. I am very sorry about it.”

The Sydney event had been planned with a large team, including acclaimed playback singer K S Chithra, who had already travelled to Australia.

Mohanlal said organisers and his team had made extensive efforts to resolve the visa issue and proceed with the show.

“Everyone with me, including K S Chithra, is there. But I don’t know, somehow it happened,” he said.

The actor also apologised to fans who had travelled long distances to attend the performance.

“To each one of you who drove from far away and came to watch this show, I apologise from the bottom of my heart.”

Mohanlal said he was particularly upset because the event had been developed as a special concept and his team had worked hard to bring it to Sydney.

He also promised fans that the show would return to Sydney with the same team.

“I promise that we will come back with the same team and do a wonderful show in front of you.”

The cancellation left organisers facing significant disruption, with performers, crew and audiences already prepared for the Sydney performance.

Mohanlal, who has worked in the Indian film industry for almost 50 years, said he had performed at shows in the United States, Germany, the United Kingdom and Ireland earlier this year.

The actor did not provide details about his visa application, saying he would not go into whether the issue was technical, clerical or potentially related to an AI-generated error. He ended his Instagram message by again expressing regret to Sydney audiences and asking them to accept his apology.

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ABC managing director Hugh Marks said the segment did not meet community expectations and acknowledged the broadcaster had fallen short in its handling of the content.

“When you hear it, when you hear about it and other people talking about it, doesn’t meet the pub test,” Marks said.

“So it didn’t meet community expectations.”

The ABC Ombudsman found the episode did not breach editorial standards relating to harm and offence, concluding that viewers were unlikely to interpret the remarks as a genuine call for violence due to the segment’s satirical format, surreal style and lack of visual depiction of violence.

The controversy centred on a short film created by contestant Kate McGuinness for the program, which included a fictional scenario involving Mrs Rinehart and graphic references to violence.

Rinehart’s company, Hancock Prospecting, had complained to the ABC Board, requesting the material be removed, an apology issued and an investigation into how the content was approved and published.

McGuinness later apologised to anyone offended by the segment, saying her work was intended as “farcical” and satirical. “In no way was it my intention to promote violence,” she said.

“My writing is cartoonish and always satirical.”

The segment also drew criticism from politicians, with Acting Prime Minister Richard Marles describing it as “completely inappropriate and unacceptable”, while Greens communications spokesperson Sarah Hanson-Young called it “disgusting”.

Following the controversy, the ABC said it would amend its editorial guidance on violence, particularly around comedy and non-news programming.

Marks said the broadcaster had a responsibility to reflect community standards. “No individual should be the subject of comedy that is violent in its description in our programming,” he said.

“The ABC has to hold itself to a higher standard.”

The ABC has removed the original segment from its platforms and replaced it with an edited version without the material subject to the complaint.

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Minister for Local Government Ron Hoenig said women across local government had made invaluable contributions to their communities.

“Throughout my years in local government, I’ve worked with many outstanding women who have given an enormous amount to their communities,” Mr Hoenig said.

“They’ve served as councillors, managers, engineers, planners, community workers and across every part of local government. Their contribution deserves to be recognised.”

Mr Hoenig said women now represent 40 per cent of elected councillors in NSW following the most recent local government elections, marking significant progress towards more representative councils.

“While this is significant progress, we should continue working towards councils that reflect the diversity of the communities they represent.”

Now in their 19th year, the awards celebrate outstanding women working in local government whose leadership, dedication and public service have helped strengthen communities across the state.

The awards will be presented by NSW Minister for Local Government Ron Hoenig and Minister for Women Jodie Harrison at Parliament House on 22 October 2026, recognising women from metropolitan, regional and rural councils who are making a lasting impact.

This year’s awards introduce two new categories — Excellence in Mentoring and Sponsorship and Emerging Councillor Leadership — reflecting the growing importance of supporting the next generation of women leaders in local government.

The awards recognise achievements across a broad range of areas, from young professionals beginning their careers to senior leaders transforming workplace culture and councillors strengthening women’s representation in public life.

The 2026 award categories include:

• Rising Star Award – recognising a female employee aged 25 or under, including apprentices, trainees and cadets, who demonstrates initiative and strong early career performance.
• Champion of Change Award – honouring senior leaders or general managers who have delivered meaningful cultural or structural reforms to advance gender equity.
• Breaking Barriers Award – celebrating women who have challenged traditional career pathways and helped overcome gender stereotypes.
• Excellence in Gender Equity Award – recognising councils that create inclusive workplaces and support women’s participation, career progression and leadership.
• Woman of Distinction Award – acknowledging women who demonstrate excellence, integrity and leadership while serving as positive role models.
• Excellence in Councillor Leadership Award – recognising female councillors who have strengthened the voice and influence of elected women in local government.
• Excellence in Mentoring and Sponsorship Award – celebrating women who actively support, mentor and champion the development of other women.
• Emerging Councillor Leadership Award – recognising first-term female councillors demonstrating strong leadership, public service and community commitment.

Minister for Women Jodie Harrison said women leaders across councils were helping shape better services, stronger communities and opportunities for future generations.

“Whether they’re serving as mayors, councillors, executives or staff, women are making a lasting difference in all of our councils,” Ms Harrison said.

“These awards recognise not only individual excellence, but the powerful impact that women in local government have on the decisions and actions that shape our communities.”

The NSW Government is encouraging councils, colleagues and community members to nominate women whose leadership and service deserve recognition.

Nominations for the 2026 Ministers’ Awards for Women in Local Government close on 28 August 2026 and can be submitted through the Office of Local Government website.

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Organised by the High Commission of India and the Swami Vivekananda Cultural Centre (ICCR Suva), the event brought together devotional singers, musicians, students, members of the Indian diaspora and the wider Fijian community in an evening celebrating India’s spiritual heritage through music.

The initiative was inspired by Indian Prime Minister Narendra Modi’s vision of “Bhajan Clubbing”, which encourages innovative and contemporary ways of engaging young people with India’s centuries-old devotional traditions.

Welcoming participants, Indian High Commissioner to Fiji Suneet Mehta highlighted the enduring role of devotional music in promoting shared cultural values and strengthening people-to-people ties.

He said bhajans remained a powerful medium for promoting peace, harmony and cultural understanding while reaffirming the High Commission’s commitment to advancing the Hindi language and Indian culture across Fiji and the Pacific.

The programme featured performances by several local devotional groups, including Bandish Group, Sukoon Group, Hanuman Chalisa Pariwar, His Masters Orchestra, Sound Groove, and the University of the South Pacific Indian Students Association Group.

Blending traditional devotional music with contemporary styles, the performances received enthusiastic applause throughout the evening.

Students and young performers from the University of the South Pacific added a distinctive element to the programme, reflecting growing interest among Fiji’s younger generation in Indian culture, music and traditions.

Certificates of Appreciation were presented to participating bhajan groups, singers and musicians in recognition of their contribution to the inaugural event.

Among those attending were Fiji Hindu Society president Sumanta Rout, India–Fiji Friendship Forum president Sanjay Ambasht, Supreme Fuel managing director Rajesh Patel, and representatives of Indian public sector organisations in Fiji.

The vote of thanks was delivered by High Commission Second Secretary (Hindi and Culture) and Acting Director of the Swami Vivekananda Cultural Centre Ishwar Singh Yadav, who acknowledged the contributions of performers, volunteers, the University of the South Pacific and community members in making the event a success.

The High Commission said Bhajan Jamming 2026 highlighted the enduring cultural bonds between India and Fiji while providing a platform for devotional music to inspire new generations and deepen the longstanding friendship between the two countries.

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Singh, an Indian-origin Uber driver based on the Gold Coast, was stunned when the man who entered his vehicle turned out to be the actor best known worldwide for playing Thor in Marvel’s Avengers franchise.

Sharing the surprise moment on Instagram, Singh posted a video with the caption: “Chris Hemsworth in my car,” as he documented the unexpected celebrity ride.

The video quickly went viral, with Singh later sharing his excitement after the encounter was featured by Australian media.

“Hemsworth around ⚡🔥,” Singh wrote on social media.

“Even 9 News couldn’t believe who was sitting in my car!”

Turning the moment into a celebration for Marvel fans, Singh added:

“From a normal drive to getting featured on national news with Chris Hemsworth (aka Thor) himself!”

Hemsworth, who lives in the Byron Bay–Gold Coast region, has become one of Australia’s most recognised international actors through his role as Thor in the Marvel Cinematic Universe. He is also known for films including Extraction, Rush and Furiosa: A Mad Max Saga.

For Singh, the experience was a once-in-a-lifetime memory — a routine day of driving transformed into a brush with one of Hollywood’s biggest names.

Sharing the excitement with Hindi-speaking followers, Singh also captioned the viral moment:

“जब गाड़ी में खुद असली Thor आकर बैठ जाए!” (“When the real Thor himself sits in your car!”).

The encounter has delighted Marvel fans online, with many joking that Singh’s passenger was not just any rider, but the God of Thunder himself.

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The National Award-winning actor will accept the honour at the IFFM Awards Night at Melbourne’s Palais Theatre on August 13, marking his first in-person appearance at the festival.

The award will celebrate Tripathi’s body of work across cinema and streaming, from the feared Sultan Qureshi in Gangs of Wasseypur and crime lord Kaleen Bhaiya in Mirzapur to his performances in Newton, Mimi, Stree, Ludo, Masaan and Main Atal Hoon.

Tripathi said receiving the international recognition was deeply meaningful because his career had been built around stories capable of crossing linguistic, cultural and geographical boundaries.

“To be soon receiving the Artist of Distinction honour at the Indian Film Festival of Melbourne is deeply humbling,” he said.

“As an actor, I have always believed that stories have the extraordinary power to transcend boundaries, connect hearts and bring people closer, irrespective of language or geography.

“To have my journey be recognised on an international platform like IFFM is truly special and incredibly meaningful.”

Tripathi said the award belonged not only to him, but also to the directors, writers, actors, technicians and audiences who had supported his work throughout his career.

“Every milestone in my career has been possible because of the trust and collaboration of filmmakers, writers, directors, fellow actors, technicians and, above all, the audiences who have embraced my work with so much love,” he said.

“This recognition belongs as much to them as it does to me.”

His journey has become one of the Indian film industry’s most widely admired success stories.

Tripathi grew up in a farming family in Bihar before studying at the National School of Drama and moving to Mumbai in 2004. After years of minor appearances in films and television, he gained wider recognition through Anurag Kashyap’s two-part crime drama Gangs of Wasseypur in 2012.

His portrayal of Sultan Qureshi established the qualities that would later define much of his work: controlled dialogue, precise body language and an ability to make even dangerous characters feel recognisably human.

Tripathi reflected on the distance between his beginnings and the international recognition he would receive in Melbourne.

“Coming from a small village in Bihar, I never imagined that the stories I would become a part of would one day travel across the world and be celebrated in this manner,” he said.

His career since Gangs of Wasseypur has moved freely between independent films, mainstream Hindi productions and streaming series.

In Newton, Tripathi played a pragmatic security officer overseeing an election in a conflict-affected region, earning a Special Mention at India’s National Film Awards.

He later won the National Film Award for Best Supporting Actor for his performance in Mimi, in which he played a driver who becomes closely involved in the life of a young woman acting as a surrogate. India’s Ministry of Information and Broadcasting announced the award as part of the 69th National Film Awards.

His roles have often resisted simple categories.

In Mirzapur, he transformed Kaleen Bhaiya into a cold but restrained crime boss whose power was conveyed as much through silence as violence.

In the Stree films, he demonstrated his gift for eccentric comedy as Rudra, while projects including Masaan, Bareilly Ki Barfi, Ludo, Kaagaz, Gunjan Saxena: The Kargil Girl and OMG 2 allowed him to move between humour, tenderness, social commentary and drama.

That range has made Tripathi one of the few performers equally recognisable to audiences of independent cinema, major commercial films and streaming television.

IFFM founder and festival director Mitu Bhowmick Lange described him as one of the finest actors of his generation.

“Pankaj Tripathi is one of the finest actors of our generation, an artist whose performances transcend language, geography and culture,” she said.

“His extraordinary ability to bring authenticity, empathy and quiet power to every character has made him one of the most respected voices in Indian cinema today.”

Ms Bhowmick Lange said the award would recognise both his performances and his broader contribution to storytelling.

“It is our absolute privilege to honour Pankaj Tripathi with the Artist of Distinction Award at the Indian Film Festival of Melbourne,” she said.

“This recognition celebrates not only his remarkable body of work but also his immense contribution to storytelling that resonates with audiences across the world.

“His journey from humble beginnings to becoming one of India’s most acclaimed actors is deeply inspiring and reflects the transformative power of cinema.”

Tripathi said attending the Melbourne festival for the first time would make the recognition even more memorable.

“What makes this honour even more special is that I will be attending the festival in person for the very first time,” he said.

“I am looking forward to interacting with audiences in Australia, celebrating the incredible journey of Indian cinema, and sharing this moment with fellow artists from across the industry.”

The awards presentation will take place at the Palais Theatre in St Kilda on August 13, with the event scheduled to begin at 7pm. The annual ceremony brings together actors, directors, filmmakers and industry representatives to recognise achievements in cinema from India and the wider subcontinent.

IFFM 2026 will run from August 13 to 23, featuring film screenings, public conversations, awards, community events and an Independence Day celebration.

The City of Melbourne describes the festival as a major celebration of Indian cinema, bringing films, artists and audiences from across the subcontinent together in Melbourne through screenings, celebrity conversations and public events.

Tripathi’s honour comes as this year’s festival prepares to recognise several major figures from Indian cinema.

Veteran actor Rekha will attend as Guest of Honour, receive the Excellence in Cinema Award and lead the Indian Independence Day flag-hoisting ceremony at Federation Square. A special screening of her 1981 classic Umrao Jaan will also form part of the program.

For Melbourne audiences, Tripathi’s first visit will offer a rare opportunity to hear directly from an actor whose rise has been built without the conventional image of a Hindi film leading man.

His appeal has instead come from performances grounded in observation, restraint and an understanding of ordinary people—whether playing a father, lawyer, gangster, politician, police officer or rural villager.

That quality has helped his characters travel far beyond the regions, languages and social settings in which their stories are based.

“My heartfelt gratitude to the Indian Film Festival of Melbourne for this honour,” Tripathi said.

“It is something I will always cherish.”

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The proposal was raised during a recent community consultation in Nasoso, Nadi, where residents and police argued that stronger internet restrictions could help protect vulnerable children from sexual abuse within their own homes.

As per the Fiji Times, Sergeant Semi Meru of the Namaka Police Station said the suggestion came from a local airline pilot during discussions with the community.

“There are a lot of pilots in Nasoso, and one of the pilots suggested that if England blocked watching of pornographic movies, then why can’t we?” Sgt Meru said.

“The pilot was sharing that in England, if you go to Google, and if you start to search pornography, it is totally blocked.”

The call comes as Fiji records an alarming number of sexual offences involving family members.

According to mid-year statistics released by the Office of the Director of Public Prosecutions, there were 37 rape or sexual assault cases involving relatives or people in domestic relationships between January and June this year.

The figures include seven cases involving the sexual abuse of stepchildren.

In one of the most disturbing incidents, a 56-year-old man was charged in June with allegedly raping his 13-year-old biological daughter.

Sgt Meru said the growing number of father-daughter sexual abuse cases highlighted the need for urgent intervention and claimed unrestricted access to online pornography was contributing to the problem. “If a father rapes his own daughter, then we know maybe the father was watching it,” he said.

He warned that exposure to explicit online material could distort behaviour and increase the risk of opportunistic abuse within households.

“Fiji may be a small nation, but the rise of sexual offences within families is a major crisis that requires immediate, nationwide intervention.”

The concerns are not new.

Fiji has one of the highest rates of mobile internet usage in the Pacific, but women’s advocates have long warned that increased access to online pornography has coincided with growing levels of sexual violence and easier exposure of children to explicit material.

The Fijian Government has previously indicated it wanted to begin a national discussion about pornography and online safety, including the introduction of stronger regulations.

Former National Taskforce to Address Pornography member and Government MP Manoa Kamikamica has welcomed recent safety initiatives by Meta, including new tools aimed at tackling harmful content, fake accounts, sextortion and online exploitation.

He told FBC that technology companies taking greater responsibility was a positive first step, but stronger local laws remained necessary.

“Certainly, the news that Meta is introducing new tools that will restrict, I guess, the first line of defence would be very welcome,” Kamikamica said.

“And hopefully joined with the initiatives that Honourable Tabuya and Honourable Naivalurua are pushing forward around Facebook controls, TikTok controls, etc. This will all create a healthier environment for our children, and that would be a very positive development.”

Kamikamica said legislative reforms recommended by the National Taskforce to Address Pornography remained a priority and expressed hope they would be implemented before the end of the current parliamentary term.

He said a combination of stronger regulation, improved online safeguards and greater public awareness would be critical to protecting children from exploitation and reducing the harm associated with online pornography.

The renewed calls come as authorities continue to grapple with rising concerns about online exploitation, child protection and domestic sexual violence across Fiji.

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The veteran actor will attend IFFM 2026 as Guest of Honour and lead the annual flag-raising ceremony at Federation Square on Saturday, August 15.

The free public celebration is scheduled from 10 am to midday and will include cultural performances and other community activities marking India’s Independence Day.

Rekha will also be presented with the Excellence in Cinema Award, recognising a screen career spanning more than five decades and performances that have made her one of Indian cinema’s most enduring stars.

The festival will pay a further tribute to her career with a special screening of Muzaffar Ali’s 1981 classic Umrao Jaan, regarded as one of the defining films of her career.

“Umrao Jaan has never left me. She lives in my memories, in my silences, and in the hearts of those who have embraced her with a lot of love over the years,” Rekha said.

“To revisit that journey and see the film being celebrated on a global stage is both humbling and moving.”

Rekha played Amiran, a young girl abducted and taken to Lucknow, where she is renamed Umrao Jaan and trained in poetry, music and dance before becoming a celebrated courtesan and poet.

Set against the cultural and political landscape of 19th-century Awadh, the film is remembered for its Urdu poetry, classical dance, Khayyam’s music and Rekha’s restrained portrayal of love, displacement and loss.

Her performance earned her the National Film Award for Best Actress. The official awards citation recognised her portrayal in Umrao Jaan, which remains closely associated with her artistic legacy 45 years after its release.

The film has also found a new international audience following its restoration in 4K by the National Film Development Corporation and the National Film Archive of India under India’s film preservation program.

Rekha said the Melbourne recognition represented not only her individual career but also the work of the many artists who contributed to her films.

“Cinema has been my life’s greatest blessing, and to be honoured with the Excellence in Cinema Award at IFFM 2026 is special,” she said.

“I accept this honour with immense gratitude, not only as a recognition of my own journey, but also as a tribute to the filmmakers, writers, musicians and countless collaborators who have enriched my life and shaped my work.”

Rekha’s career has included acclaimed performances across romantic drama, comedy, period cinema and revenge thrillers.

Her best-known films include Khubsoorat, Silsila, Ghar, Ijaazat, Khoon Bhari Maang, Khiladiyon Ka Khiladi and Koi… Mil Gaya, but Umrao Jaan remains the performance most frequently cited as the peak of her dramatic work.

IFFM founder and festival director Mitu Bhowmick Lange said Rekha’s influence extended beyond her filmography and had become part of India’s cultural consciousness.

“There are very few artists whose presence transcends cinema and becomes part of a nation’s cultural consciousness. Rekha ji is one such timeless icon,” she said.

“Her extraordinary body of work, her grace, and the unparalleled legacy she has built over decades have inspired audiences not only in India but across the world.”

Ms Bhowmick Lange said having Rekha lead the Independence Day ceremony would be a proud occasion for Indian Australians.

“Having Rekha ji hoist the Indian national flag on India’s Independence Day is a moment of immense pride for all of us,” she said.

“Our annual flag-hoisting ceremony has become one of the most meaningful traditions of the festival, bringing together the Indian community in Australia to celebrate our shared heritage and values.”

The flag-raising event has become one of IFFM’s largest community gatherings, bringing film stars, families, dignitaries and members of Australia’s Indian diaspora together in central Melbourne.

Previous editions have featured major Indian screen figures leading the ceremony, with Rekha now set to add her name to that tradition.

IFFM 2026 will run from August 13 to 23 and feature screenings, celebrity conversations, public events, awards and programs celebrating cinema from India and the wider subcontinent.

The festival describes itself as a platform connecting Indian filmmakers and performers with Australian audiences while highlighting the international reach of Indian storytelling.

For this year’s festival, Rekha’s visit will bring together three strands of that mission: recognition of an artist whose career has crossed generations, the international celebration of a restored Indian classic, and a public Independence Day event for Melbourne’s growing Indian community.

The special screening will allow Australian audiences to revisit Umrao Jaan on the big screen, while the Excellence in Cinema Award will recognise a career that has remained influential long after Rekha reduced her appearances in new films.

For Rekha, however, the Melbourne tribute appears to be as much about the character she played as the award she will receive.

More than four decades after its release, she said Umrao Jaan continues to live within her—and within the audiences who have carried the film across generations.

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NSW MP John Graham, representing Premier Chris Minns, attended as Chief Guest. Speaking on behalf of the Premier, Minister Graham praised community organisations like AHA for their vital role in strengthening New South Wales’ multicultural fabric.

“Events like Multicultural Saanjh bring people together, celebrate cultural diversity and help build stronger, more connected communities,” he noted.

Also in attendance was Dr. S. Janakiraman, Consul General of India in Sydney, who commended AHA’s efforts in promoting Indian culture while embracing Australian values. He highlighted the organisation’s role in strengthening people-to-people connections between the two nations.

Traditional folk dances from India, Nepal and Thailand took audiences on a journey through different traditions — all united by shared values of respect, family and community.

The AHA International Award of Honour was awarded to Dr. Jagbir Rathee, an internationally acclaimed Haryanvi folk artist, poet, actor and cultural ambassador. The award recognised his lifelong dedication to preserving Haryanvi language, literature and folk culture.

“It is encouraging to witness younger generations of the Indian diaspora embracing their cultural roots while contributing positively to Australia’s multicultural landscape,” Dr. Rathee said. “Culture is a powerful force that connects communities across borders and generations.”

During his Australian visit, community members were also treated to a special screening of Baingan, Dr. Rathee’s latest Haryanvi feature film — a rare opportunity to engage with contemporary regional Indian cinema.

Beyond the dance and festivities, Multicultural Saanjh also shone a light on AHA’s broader contributions to Australian society. Since 2018, the organisation has run blood donation drives, educational programs, youth engagement activities, migrant support initiatives and community outreach during the COVID-19 pandemic.

The event also showcased growing national collaboration within AHA. A delegation from AHA Victoria, led by Victorian President Vijaypal Redhu, made the trip from Melbourne to support their NSW counterparts.

AHA National President Sewa Singh summed up the organisation’s ethos:

“Australia’s diversity is one of our greatest strengths. Through events like Multicultural Saanjh, we create opportunities for people from different backgrounds to celebrate together, learn from one another and build friendships that extend beyond cultural boundaries.”

He added: “For nine years, AHA has worked to preserve cultural heritage while embracing the values that define modern Australia. We remain committed to creating opportunities that strengthen social cohesion and contribute to an even more inclusive Australia.”

Held at Roselea Community Centre in Beecroft, the event was supported by Multicultural NSW through the Stronger Together Festival and Events Grant Program.

It was coordinated by AHA NSW President Bhupesh Sharma, supported by a dedicated team of volunteers and executive members including Ajay Dhull, Vibhor Sharma, Rajiv Gupta, Pankaj Mittal, Lalit Uttam, Amardeep Malik, Sanjay Parashar, Mayank Sangwan, Ramesh Kundu and many others.

Grassroots celebrations like Multicultural Saanjh remind us that community is built not just through policy — but through people coming together, one namaste at a time.

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Aamir Khan, Ranveer Singh, Rishab Shetty, Mammootty and Dulquer Salmaan are among the nominees for Best Performance (Male), while Rani Mukerji, Yami Gautam Dhar, Neena Gupta and Kalyani Priyadarshan headline the female acting category.

The festival will run in Melbourne from August 13 to 23, with its program spanning theatrical releases, independent films, documentaries and streaming series from India and the wider South Asian region. The 2026 edition carries the theme “Shared Stories, Shared Humanity.”

The Best Film shortlist brings together eight titles from five languages: Haq, Jarann, Kantara: A Legend – Chapter 1, Lokah Chapter 1: Chandra, Saiyaara, Sitaare Zameen Par, Sharthopor and The Great Shamsuddin Family.

The category places major Hindi releases alongside Kannada, Malayalam, Marathi and Bengali productions, continuing the festival’s attempt to present Indian cinema as a multilingual industry rather than treating Bollywood as its sole representative.

Aamir Khan received his acting nomination for Sitaare Zameen Par, while Ahaan Panday was shortlisted for Saiyaara. Bhuman Bhargav Das was nominated for the Assamese film Not a Hero, Dulquer Salmaan for the Tamil-language Kaantha and Mammootty for the Malayalam psychological thriller Kalamkaval: The Venom Beneath.

Ranveer Singh enters the contest for Dhurandhar, while Rishab Shetty is nominated for Kantara: A Legend – Chapter 1. Sanjay Mishra completes the category for Vadh 2.

Rishab Shetty is among the most strongly represented individual nominees, competing for both Best Performance and Best Director for Kantara: A Legend – Chapter 1.

He faces Ashwiny Iyer Tiwari for System, Chandrasish Ray for Porshi, Mohit Suri for Saiyaara, Ramalingam Gowtham for Members of the Problematic Family, Rima Das for Not a Hero, RS Prasanna for Sitaare Zameen Par and Shazia Iqbal for Dhadak 2.

The Best Performance (Female) category includes Aneet Padda for Saiyaara, Kalyani Priyadarshan for Lokah Chapter 1: Chandra, Kirti Kulhari for Full Plate, Neena Gupta for Vadh 2, Rajshri Deshpande for Baapya, Rani Mukerji for Mardaani 3, Rituparna Sengupta for Bela and Yami Gautam Dhar for Haq.

The inclusion of both Ahaan Panday and Aneet Padda gives Saiyaara nominations across the male and female acting categories, as well as Best Film and Best Director for Mohit Suri.

Sitaare Zameen Par is similarly represented across Best Film, Best Director and Best Performance (Male), while Kantara: A Legend – Chapter 1 competes in all three categories through Rishab Shetty.

The independent film category has produced one of the festival’s most varied shortlists, featuring Ammang Haelbeda (Don’t Tell Mother), Full Plate, Kikkran De Phull (Flowers of Acacia), Lala and Poppy, Mayilaa – Semmalar Annam, Members of the Problematic Family, Not a Hero and Pankhudiyaan (Petals in the Wind).

The nominees span Kannada, Hindi, Punjabi, Tamil and Assamese, with several titles also incorporating English. Their presence alongside larger commercial productions gives independent and regional filmmakers access to an international awards platform in Melbourne.

Members of the Problematic Family, directed by Ramalingam Gowtham, has been selected as the festival’s opening-night film and will have its Australian premiere after appearing at the Berlin International Film Festival. The Tamil-language production examines grief, family relationships and tensions within communities.

Streaming productions are also competing across dedicated series and performance categories.

The Best Series nominees are Baai Tujhyapayi, Kohrra: Season 2, Matka King, Real Kashmir Football Club, Sapne Vs Everyone, The Ba**ds of Bollywood*, Perfect Family and Freedom at Midnight: Season 2.

The male series performance category includes Ambrish Verma and Paramvir Singh Cheema for Sapne Vs Everyone: Season 2, Arif Zakaria for Freedom at Midnight: Season 2, Barun Sobti for Kohrra: Season 2, Kunal Kemmu for Single Papa, Manav Kaul for Real Kashmir Football Club, Manoj Pahwa for Perfect Family and Vijay Varma for Matka King.

Anandhi, Huma Qureshi, Lakshmi Priyaa Chandramouli, Mona Singh, Rasika Dugal, Seema Pahwa, Shefali Shah and Swastika Mukherjee are nominated for female performances in streaming series.

Their nominated productions include Arabia Kadali, Maharani: Season 4, Kuttram Purindhavan: The Guilty One, Kohrra: Season 2, Delhi Crime: Season 3, Perfect Family and Kaalipotka.

The documentary shortlist also crosses languages, countries and subject areas.

The nominees are Madhusree Dutta’s Flying Tigers, Paromita Vohra’s Working Girls, Johnny Burke and Andrew Hinton’s Loving Karma, P Abhijith’s Njaan Revathi (I Am Revathi), Ben Rekhi and Swetlana’s Breaking the Code, Karla Murthy’s The Gas Station Attendant, Surabhi Sharma’s Music in a Village Named 1PB and Lesley Branagan’s Bride of Aravan.

The Best Film from the Subcontinent category expands the competition beyond India, with productions from Bangladesh, Sri Lanka, Nepal and Afghanistan.

The nominees are Sand City by Mahde Hasan, Roid by Mejbaur Rahman Sumon, Spying Stars by Vimukthi Jayasundara, Ek Mutthi Badal (My Share of Sky) by Sahara Sharma, No Good Men by Shahrbanoo Sadat, Goodbye Sisters by Alexander Murphy, Delupi by Mohammad Touqir Islam and In the Room by Brishkay Ahmed.

The nominations show a deliberate balance between major stars, commercially successful films and lesser-known productions dealing with family, identity, gender, social inequality and regional experiences.

They also reflect the growing overlap between theatrical cinema and subscription streaming platforms, with performers and filmmakers now moving between feature films and long-form series rather than being confined to one format.

Winners will be selected by a jury drawn from Australia’s film industry and cultural sector. The NAB IFFM Awards Night will be held at Melbourne’s Palais Theatre at 6pm on August 13, the opening day of the main festival.

IFFM says its broader 2026 program will include premieres, screenings, conversations, masterclasses, cultural events and industry activities. More than 75 films in 31 languages are expected to be presented through cinema and online screenings available to audiences across Australia.

Rani Mukerji will attend as the festival’s chief guest and is due to receive an honorary doctorate from La Trobe University on August 14 for her contribution to Indian cinema, international cultural influence and humanitarian work.

The festival’s 2026 program follows a curtain-raiser held at ACMI on July 9 celebrating 25 years of Lagaan, where Aamir Khan appeared alongside filmmaker Kabir Khan, former Australian cricketer Steve Waugh and senior Australian screen and government representatives.

With Aamir Khan, Ranveer Singh, Mammootty and Rishab Shetty competing against emerging performers and independent filmmakers, this year’s awards are shaping up as a contest between established star power and the expanding regional reach of Indian and South Asian storytelling.

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Expressing her gratitude, Mukerji said in a statement that she was deeply humbled by the recognition. “I am deeply humbled to receive this Honorary Doctor of Letters from La Trobe University,” she added.

“Cinema has been the greatest teacher in my life’s journey and I have always believed in the power of storytelling to inspire empathy, spark conversations and bring about positive change.

The honour recognises Mukerji’s nearly three-decade career as one of India’s most celebrated actors, as well as her commitment to social causes supporting women, children and marginalised communities.

With memorable performances in films including Black, No One Killed Jessica, Hichki, the Mardaani franchise and Mrs Chatterjee vs Norway, Mukerji has consistently championed stories that have brought conversations around women’s rights, gender justice, disability inclusion and social change into mainstream Indian cinema.

Beyond her work on screen, she has supported humanitarian initiatives focused on children’s healthcare, education and community development, reflecting her commitment to creating meaningful social impact.

Mukerji said that she is “grateful to La Trobe University and to IFFM for this incredible recognition.”

“I have been fortunate to have been able to do so many inspiring movies that have allowed me to tell stories of resilience, passion and the undying courage of human beings to rise against all odds. Human stories have always moved me and I’m grateful that I have lived so many lives because of cinema.”

She has dedicate this special honour from Australia and IFFM to India “and to everyone around the world whose love has empowered me to be an actor and made me live such a full life.”

The honorary degree will be presented at a special ceremony on 14 August 2026 at Federation Square during the 2026 Indian Film Festival of Melbourne (IFFM), which will run from 13 to 23 August.

The Indian Film Festival of Melbourne has established itself as one of the world’s leading celebrations of Indian cinema, bringing together filmmakers, actors and audiences while strengthening cultural ties between India and Australia.

The 2026 edition is expected to feature an extensive program of film screenings, premieres, industry conversations and special events, celebrating the diversity and global influence of Indian cinema.

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Among the gifts was the Uttarakhandi Cap, also known as the Traditional Pahari Cap, a distinctive symbol of Uttarakhand’s Himalayan identity and cultural traditions.

Handcrafted from high-quality wool, the cap features traditional woven patterns and represents the region’s craftsmanship, warmth and hospitality. Traditionally worn during festivals, religious ceremonies, weddings and community gatherings, the cap reflects pride, dignity and respect while preserving indigenous textile techniques.

PM Modi also gifted Luxon a Bastar Dhokra Tree of Life sculpture, created using the ancient lost-wax metal casting technique practised by tribal artisans of Chhattisgarh’s Bastar region.

The artwork represents harmony, renewal and the connection between humanity and nature, while highlighting India’s centuries-old tribal metal craftsmanship.

The cultural exchange came during Modi’s visit to Auckland, where he joined Prime Minister Luxon for a special sporting showcase marking 100 years of sporting ties between India and New Zealand.

The leaders explored advances in sports technology, including innovative equipment such as advanced bicycle frames and 3D-printed athletic gear, reflecting the role of creativity and technology in shaping the future of sport.

Through these gifts, PM Modi highlighted India’s diverse cultural landscape — from Himalayan weaving traditions to tribal artistry — while strengthening the people-to-people connection between India and New Zealand.

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Titled ‘Analogue and Alchemy’, the exhibition brings together Australian artist Elliot Bastianon and Punjab’s renowned Thathera craftsman Hari Krishan, combining contemporary sculptural practice with the UNESCO-recognised Thathera tradition of hand-crafted copper and brass work.

Bastianon, an Australian artist based in New Delhi, is known for his experimental approach to metal accumulation, creating wall-mounted and freestanding sculptures by stacking identical components and transforming them through electroplating into dense, geological-like formations.

For this exhibition, he collaborated with Hari Krishan, a senior member of the Thathera community, whose traditional hand-forming techniques have been passed down through generations for more than two centuries.

The Thathera craft, recognised by UNESCO as an endangered intangible cultural heritage tradition, represents a rare form of North Indian metal craftsmanship. Once practised by hundreds of family workshops, the tradition is now sustained by only a small number of remaining artisans.

The collaboration explores the relationship between heritage and innovation, showing how traditional knowledge can inspire new forms of artistic expression while supporting the survival of endangered crafts.

Beyond its artistic significance, ‘Analogue and Alchemy’ reflects strengthening Australia-India cultural ties, demonstrating how creative partnerships can preserve history while creating new possibilities for contemporary art.

Through copper and brass, the exhibition connects generations, geographies and artistic traditions — bringing Punjab’s rich metalworking legacy into conversation with modern global sculpture.

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The film will be written by acclaimed Australian screenwriter Andrew Anastasios (The Water Diviner) and directed by award-winning Indian filmmaker Kabir Khan (Bajrangi Bhaijaan, ’83’), bringing together the creative strengths of India and Australia in what producers describe as a historic cinematic collaboration.

The announcement coincided with Indian Prime Minister Narendra Modi’s visit to Australia, underscoring the growing partnership between the two nations.

Victorian Premier Jacinta Allan welcomed the production, saying it reflected the strong and growing relationship between Victoria and India.

“This not only strengthens that relationship, but it also tells our shared story to the world – a story that’s founded on family, hard work, connection to community, hope, and a love of the film industry.”

Federal Arts Minister Tony Burke described the project as a fitting tribute to the cooperation between the two countries.

“There is no greater story of Australian and Indian collaboration than Silkyara 41, and I’m so glad that it’s going to be told on the big screen.”

Aamir Khan said the rescue story embodied courage, resilience and humanity in the face of impossible odds. “We are especially proud to announce it on this historic day, as India and Australia open a new chapter in their bilateral relationship,” he said.

“It feels fitting that today we announce this wonderful film to be created by our two countries and is based on a story that celebrates international cooperation and the triumph of the human spirit,”

Director Kabir Khan described the rescue as one of the most extraordinary human dramas in recent times. “I am honoured to bring this inspiring true story to the screen,” he said.

“What drew me most to the project was its deeply human dimension – the lives that hung in the balance, the families waiting anxiously, and the remarkable individuals who came together to make the rescue possible.“

Prof. Arnold Dix, whose expertise proved instrumental in the successful rescue of all 41 trapped workers, said the achievement belonged to everyone involved. “The Silkyara rescue was never about one person. It was about people from different disciplines, cultures and backgrounds coming together with a single purpose – to bring 41 workers home safely,” Dix said.

“I hope it serves as a reminder of what humanity can achieve when we work together.”

Mind Blowing Films founder and CEO Mitu Bhowmick Lange AM said the story deserved to reach audiences around the world. “To partner with Aamir Khan Productions on this project is truly special,” she said.

“We are proud to create what we believe will be a landmark Indo-Australian cinematic collaboration and a celebration of the deepening friendship between our two nations.”

The film will recount the gripping rescue operation that captured global attention and highlighted the power of engineering, teamwork and international collaboration in overcoming extraordinary challenges.

Casting, production partners and the release timeline will be announced at a later date.

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Aamir Khan recently teamed up with the cast and crew of Lagaan to celebrate the 25th anniversary of the epic drama that left an enduring legacy in Indian cinema. Lagaan set the bar incredibly high for Bollywood. It was not only the plot, but also the acting, the dialogues and, of course, the unforgettable songs by musical genius A. R. Rahman.

Watching it as a 10-year-old boy in Fiji inspired me in countless ways. The music of Lagaan gave me the feeling that nothing is impossible and that I could achieve whatever I wanted. It was four hours of my life spent doing something truly worthwhile. As a curious child, I wondered why Aamir Khan was speaking in our language, Fiji Hindi.

In Lagaan, the characters spoke in Awadhi, which is strikingly similar to Fiji Hindi. I thought perhaps someone from Fiji had made the film and had Aamir Khan speak in my mother tongue. That alone made me and many other Indo-Fijians relate deeply to the film, especially given that, like the villagers in Lagaan, we share a history shaped by British colonisation.

While romance, comedy and family dramas were dominating the box office, Lagaan proved to be a game-changer for Indian cinema, giving the biggest studios a run for their money. Although it featured a love triangle—a common Bollywood trope since the late 1990s—its truly unique premise centred on a young farmer who challenged the British to a game of cricket, with three years of lagaan (land tax) at stake. If the villagers won, the tax would be forgiven.

Ashutosh Gowariker conceived the idea of a period sports drama at a time when producers heavily relied on love stories and comedies. Despite repeated rejections and pressure to compromise on his vision, he refused to give up. The concept impressed Aamir Khan so much that he decided to produce the film, taking his career in a bold new direction.

While Gowariker displayed his brilliance as a director, it was equally inspiring to see him collaborate with the legendary A. R. Rahman, arguably India’s greatest musical gift to the world. “Ghanan Ghanan”, capturing the villagers’ desperate longing for rain, remains deeply moving. The melody of “Mitwa” inspired not only the village cricket team but audiences for years after the film’s release, reminding us that even the greatest underdogs can defeat giants.

The cast deserves equal credit for the film’s success. Aamir Khan’s performance in Lagaan surpasses that of almost every film released during the past quarter-century. Based on his work in Lagaan alone, he truly earned the title of “Mr Perfectionist”. Gracy Singh also delivered a marvellous performance as Gauri, Bhuvan’s devoted love interest.

British actors Rachel Shelley and Paul Blackthorne brought authenticity to the story through their portrayals of the Russell siblings. Paul Blackthorne’s Captain Russell was a villain audiences loved to hate. His ability to speak the language of the people he colonised made the character even more menacing. Gowariker ensured that Captain Russell tormented audiences throughout the four-hour film, just as he tormented the people of Champaner.

Lagaan became a unifying force for a nation of more than a billion people. It conveyed a timeless message: people from diverse backgrounds can come together to overcome their greatest challenges. Just as rugby is almost a religion in Fiji, cricket occupies a similar place in India’s cultural identity. The film also became a source of pride for the Indian diaspora. Just as people would tell a Brazilian, “You’re from Brazil? I love Ronaldo—he’s a great footballer,” many Indians abroad likely heard, “You’re from India? I loved Lagaan.”

Then came the most heartbreaking moment—the film’s defeat at the 74th Academy Awards. In my opinion, it remains one of the greatest disappointments in Oscar history. Nevertheless, the loss did nothing to diminish the extraordinary work of its cast and crew.

Three years later, Gowariker released Swades, another remarkable film celebrating pride, patriotism and progress. While it has since become a cult classic, it could not replicate the phenomenal success of Lagaan.

On one side, we have Lagaan; on the other, we have high-budget, formulaic films inspired by Hollywood, packed with ensemble casts and remixed Hindi songs. Bollywood needs more films like Lagaan and fewer disposable blockbusters.

As the old man says during the film’s climax, “Ummid nahi thi ki yeh din dekhna padega” (“I never thought I would live to see this day”). I hope one day Bollywood produces a film that surpasses Lagaan, so that I too can say those words.

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The post When Aamir Khan’s historical Bollywood epic ‘Lagaan’ spoke the language of the Girmitiyas first appeared on The Australia Today.

Titled Tree of Life, the seven-metre bronze sculpture draws on Kher’s interpretation of the sacred tree from Indian mythology, traditionally described in Hindu texts as a conscious entity offering protection and connection between the human and spiritual worlds.

Conceived as a “spirit work” rather than a narrative piece, Tree of Life layers ancestral heads within the symbolic form of the tree, reflecting themes of memory, lineage and collective history. The work explores how families and communities remain interconnected as they evolve over time.

Kher said the totem represents an “Axis Mundi” for Powerhouse Parramatta, linking the living and spiritual realms while acknowledging humanity’s place within the natural world and its mythologies.

The sculpture also reflects the architectural vision of the Powerhouse Parramatta building itself, with its biomimicry-inspired exoskeleton designed to bridge human scale and large civic space. The institution said the artwork and architecture together form a shared message of connection between nature, humanity and memory.

Community consultation for the work took place in 2023, involving the artist, local residents, City of Parramatta representatives, Indian community leaders, creative industries stakeholders, Create NSW and the Centre for Australia-India Relations. Participants highlighted the significance of public art that reflects Western Sydney’s diverse communities, including its large Indian diaspora.

One of Kher’s signature materials is the bindi, a traditional Indian forehead decoration that she reinterprets in her work as a symbol of the “third eye”, representing spiritual perception and expanded consciousness. She uses such materials as artistic mediums, transforming their cultural meanings within contemporary contexts.

The Tree of Life sculpture originates from Kher’s Intermediaries series, where she repurposes broken clay figurines sourced from second-hand markets in India. It builds on her earlier public artwork Ancestor, continuing her exploration of transformation, spirituality and cultural memory.

Powerhouse said the new installation will become a defining landmark within Powerhouse Parramatta, symbolising multicultural identity, shared histories and the evolving cultural landscape of Western Sydney.

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Pandher, who lives in Whitehorse, Yukon, received the honour for his work in spreading positivity through Bhangra performances filmed against Canada’s breathtaking natural landscapes.

The citation recognises his contribution as a “Bhangra artist and educator” who has “harnessed the power of social media and community events to spread joy and hope, and to champion inclusion through dance”.

The award was presented at Rideau Hall in Ottawa by the Governor General of Canada, the Honourable Louise Arbour, with Pandher formally invested on 25 June 2026. The medal was awarded on 27 June 2024.

Sharing his gratitude on social media, Pandher said he felt “deeply honoured and profoundly grateful” for the recognition.

“Thank you, dear Canadians, for your love and support, expressed in so many ways, including forms I may never fully perceive.”

Following the ceremony, Rideau Hall staff invited Pandher to perform a few Bhangra moves outside the venue. Dressed in a suit, he happily accepted the challenge and joked about whether officials and bureaucrats could match his dance moves in their own formal attire.

“It was time to test if I could do it in the limits of a suit,” he said while sharing a video of the moment.

Pandher’s journey began more than a decade ago after he moved to Yukon in 2012. What started as teaching a small Bhangra class at the Yukon Literacy Coalition in Whitehorse gradually expanded into community sessions across the territory and beyond.

His outdoor dance videos, often recorded near his cabin overlooking the Yukon wilderness, gained international attention, particularly during the COVID-19 pandemic.

Pandher has said his mission was born from a desire to spread happiness during a period of uncertainty and isolation.

“What began as a single video grew into another, then dozens more, eventually becoming hundreds of recordings that continue to this day.”

Millions of people across Canada and around the world have watched his performances, with many describing them as a source of encouragement, cultural connection and optimism.

Inspired by the response to his videos, Pandher launched a cross-country “joy journey”, travelling across Canada to connect with communities through dance.

He has visited provinces including Newfoundland and Labrador, Nova Scotia, Prince Edward Island, New Brunswick, Quebec, Ontario and Manitoba, sharing messages of unity and positivity.

Pandher said he never imagined his simple dance videos from the Yukon would reach such a wide audience.

“When I first embarked on this path, I never imagined this day, let alone that my videos would reach and resonate with countless viewers across Canada and internationally.”

Through his Bhangra performances, Pandher has become a symbol of multiculturalism, demonstrating how a traditional Punjabi folk dance can create connections across cultures and communities.

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The post Yukon’s Bhangra sensation Gurdeep Pandher honoured with Canada’s Meritorious Service Medal first appeared on The Australia Today.

The video, shared on Instagram by his grandson Ankit, shows the grandfather taking on the thrilling challenge in Australia. This was not his first skydiving experience. He had previously completed a jump from 15,000 feet, but decided to take on an even greater challenge with his grandson by attempting the 18,000-foot jump.

Before boarding the aircraft, Ankit playfully asked his grandfather, “Baba darta to nahin?” (“Grandpa, you’re not scared, are you?”).

The elderly adventurer responded with confidence and a smile: “Darta kaun hai, main?” (“Who is scared? Me?”)

The fearless reply quickly became the highlight of the viral video, with viewers praising his confidence and determination to embrace new experiences.

The excitement continued during the freefall, when the grandfather enthusiastically shouted, “Jai Hind! Jai Bharat! Jai Haryana!” while soaring through the skies.

The patriotic cheers added an emotional touch to the adventure, further capturing the attention of viewers across social media platforms.

Ankit shared the video with the caption, “Dada ji skydiving, 18,000 feet in Australia.” The clip has received widespread appreciation, with many users celebrating the special bond between the grandfather and grandson.

Social media users praised the elderly man’s youthful spirit and said the video was a reminder that age should not limit people from pursuing dreams, exploring new adventures or creating unforgettable memories.

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The Australia India Foundation, which is hosting the event, has advised attendees to check their inbox, spam and junk folders for official communication regarding their registration.

According to an event update seen by The Australia today, Melbourne Meets Modi, RSVP invitation emails have now been sent to all Welcome Partner Organisation members.

“Please remember to check your Inbox, Spam, and Junk folders, as some invitation emails may have been filtered there,” the update said.

“If you have already completed your RSVP, no further action is required at this stage. You will receive further event updates from us in due course.”

A separate registration poster said general registration RSVP emails would begin being sent from 29 June 2026.

The organisers have urged people who registered for the event to complete their RSVP at the earliest once they receive an email.

The poster also states that if a person has successfully registered, they will hear directly from the organisers and no action is required until they receive further communication.

The event is being promoted as a community reception in honour of the Prime Minister of India and is scheduled to take place in Melbourne, Australia, on 9 July 2026.

Promotional material for the event features the Melbourne skyline, Indian and Australian flags, and the Australia India Foundation branding, highlighting the event’s focus on the Indian-Australian community and the bilateral relationship.

The RSVP process appears to be taking place in stages, beginning with Welcome Partner Organisation members and then moving to general registrations.

Organisers have asked participants to monitor their emails carefully, including junk mail folders, to avoid missing their invitation or RSVP instructions.

The Melbourne Meets Modi event is expected to draw strong interest from the Indian diaspora, community organisations and supporters of the Australia-India relationship.

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The new advisory group brings together experienced screen practitioners to provide strategic advice to SAFC leadership on diversity, equity, access and cultural safety, drawing on lived experience and industry expertise.

Devgan, filmmaker and founder of Mount Lofty Studios, the Australian Film Diversity and Inclusion Foundation and the Port Adelaide Diversity and Inclusion Festival, said he was excited to continue advocating for greater diversity and inclusion across South Australia’s screen sector.

“Excited to continue advocating for diversity and inclusion across the South Australian screen industry as part of the SAFC Diversity and Inclusion Advisory Group (DIAG). Excited to work alongside the DIAG group.”

The DIAG members will advise on SAFC programs and initiatives, organisational governance, legal and regulatory considerations, and future opportunities to support the growth of a more inclusive screen sector.

The inaugural members of the group include documentary producer and director Katrina Lucas; visual effects producer and Rising Sun Pictures Vice President of Production Kacy McDonald; filmmaker and communications professional Marcus McKenzie from Access2Arts and Arts and Disability Network Australia; multidisciplinary artist Yasemin Sabuncu; and games programmer, technical artist and Towerpoint Games co-founder Emma Waters.

The SAFC said diversity in the screen industry remains a key priority under its Strategic Plan 2025–2028, recognising that social inclusion and economic success go hand in hand.

The advisory group will support the organisation in developing best-practice approaches and creating opportunities for diverse voices, talent and stories to thrive across South Australia’s growing screen industry.

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Written and directed by Ravi Chand, the family film was previously broadcast nationally in Australia on ABC ME and ABC iview. It is now being made freely available to global audiences through YouTube.

The release comes as communities around the world prepare to mark the 12th International Day of Yoga, a United Nations observance celebrated every year on 21 June.

The first International Day of Yoga was celebrated globally in 2015 after Indian Prime Minister Narendra Modi proposed the idea during his 2014 address to the United Nations General Assembly. The date of 21 June was chosen because it is the summer solstice in the Northern Hemisphere and carries cultural and spiritual significance in many traditions.

Across Australia, yoga-related events are also being organised around the day, including community sessions, wellness gatherings and public celebrations in cities such as Melbourne and Sydney.

Against that backdrop, Namaste Yoga takes on added meaning.

The film follows Shiv, a 10-year-old boy who feels ashamed of being Indian and Hindu. After a school fight, he is told he must attend mandatory lunchtime yoga classes with Miss Blanche, a self-proclaimed yoga “guru” who has completed a 200-hour course, in order to avoid suspension.

Through humour, emotion and family storytelling, Namaste Yoga examines identity, assimilation and the cultural roots of yoga.

At a time when yoga has become a major global wellness industry, the film asks what is lost when a sacred Hindu practice is stripped of its origins, repackaged as Western wellness and sold back to the very children who inherit it.

The question sits at the heart of broader conversations around International Yoga Day. While the day celebrates yoga’s universal appeal and benefits for health and wellbeing, many Hindu and Indian diaspora voices have also called for greater recognition of yoga’s Indian and spiritual roots.

For migrant families, particularly children growing up in Western countries, the film explores a familiar tension: the pressure to fit in while carrying traditions that are often misunderstood, mocked, or commercially repackaged by others.

The UN proclaimed 21 June as the International Day of Yoga in December 2014 through resolution 69/131, recognising yoga as an ancient physical, mental and spiritual practice that originated in India. The UN says the word yoga comes from Sanskrit and means “to join” or “to unite”, symbolising the union of body and consciousness within Hindu philosophy.

The film has been praised by audiences, critics and Hindu organisations for its sensitive and authentic treatment of yoga, Hindu identity and cultural belonging.

The Hindu Council of Australia described the film as “an incredible and beautiful film”, while others called it “an honest discussion around the cultural appropriation and colonisation of yoga”.

Critics said the film was made with “such a level of care and respect that Hollywood, Bollywood and Western media should take note”, while most prominently it was written that “it is difficult not to tear up through this masterpiece”.

Suitable for children and adults, Namaste Yoga has also earned recognition on the international festival circuit.

The film was selected for the 2023 Māoriland Film Festival, the Oscar-qualifying 40th Chicago International Children’s Film Festival, the 47th Cleveland International Film Festival, Tasveer South Asian Film Festival and the San Diego International Kids Film Festival, where lead actor Emil Jayan won the Best Leading Actor Award.

It has also screened at several other international film festivals.

Chand said the decision to release the film freely was about returning it to the community.

“Everyone from the community has commented about the level of detail and lived experience in the film,” he said.

“This was’nt by accident. We collaborated in great detail with Hindu, yoga and Bharatanatyam elders and acharyas.”

The timing of the release also places the film in conversation with previous International Yoga Day celebrations, which have grown into one of India’s most visible cultural contributions to global public life. Since 2015, mass yoga gatherings have been held across India and in major cities around the world, including New York, Paris, Beijing, Bangkok, Kuala Lumpur, Seoul and New Delhi.

For Chand, Namaste Yoga is not simply a film about yoga classes. It is a story about what happens when children of migrant families are taught to feel embarrassed about the very traditions that shaped them.

The film’s global release is expected to resonate strongly with Indian Australian diaspora families, global Hindu communities, yoga practitioners and educators working with children navigating identity, culture and belonging.

As International Yoga Day again places yoga on the global stage, Namaste Yoga offers a reminder that yoga’s future cannot be separated from its roots.

Namaste Yoga is now available free on YouTube worldwide.

Screening links are available at www.warriortribefilms.com/namaste-yoga.

In 2026, the United Nations will mark the 12th International Yoga Day with an event at UN Headquarters in New York on 18 June, organised by the Permanent Mission of India to the UN in collaboration with the UN Secretariat.

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The post Ravi Chand’s ‘Namaste Yoga’ goes global, sparking conversation on culture and identity for International Yoga Day first appeared on The Australia Today.

Dr Dwivedi begins where so many extraordinary lives do — in ordinary circumstances. Growing up in a small village in the Hardoi district of Uttar Pradesh, he was far from the corridors of international science. The image he conjures of studying under a banyan tree is not merely picturesque; it is emblematic of the resourcefulness that would define his trajectory.

From those beginnings, he would go on to complete a PhD at the Indian Institute of Toxicology Research in Lucknow, join the University of Auckland as a scientist, and eventually settle in Adelaide, where he has built both a distinguished career in biomedical research and a meaningful life within his adopted community.

What sets this memoir apart from a straightforward success story is precisely what the title promises: the unlikeliness of it all. Dr Dwivedi does not present himself as a man destined for greatness, but as one who navigated setbacks and seized opportunities, often without a clear map. That honesty lends the narrative its most compelling quality. Readers who have themselves felt like outsiders — in a new country, a new institution, or simply a life that has not gone to plan — will find something to hold onto here.

The book also functions as a quiet tribute to the migrant experience more broadly. Dr Dwivedi is attentive to the emotional textures of displacement: the longing, the adaptation, the gradual sense of belonging that is earned rather than given. His account of community involvement in multicultural Australia suggests that belonging, for him, has been an active project rather than a passive gift — something built through contribution as much as through time.

The autobiography’s reception has been striking. As per Dr Dwivedi, the book released on Amazon on 25 May 2026 and has already reached the number one position on Amazon Australia. A remarkable achievement for a debut work. Its launch event in Adelaide — hosted by community figures and officially launched by Senator Andrew McLachlan — drew members of the city’s diverse multicultural community, underscoring the degree to which Dwivedi’s story resonates beyond any single background or experience.

The Unlikely Indian Migrant has since been published in India, broadening its reach to readers who may recognise in Dr Dwivedi’s early chapters the landscape of their own beginnings. That dual readership feels apt: this is a book that speaks both to those who have left and those who are still deciding whether to go.

It will appeal especially to aspiring migrants, students navigating unfamiliar systems, and anyone who has wondered whether a modest beginning can still lead somewhere remarkable. On that question, Dr Dwivedi’s life — and this book — offers an unambiguous answer.

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The post Meet the boy from rural India who swapped a banyan tree for an Australian laboratory first appeared on The Australia Today.

The announcement is part of the 2026 King’s Birthday Honours List, which recognises 948 Australians across the Order of Australia (General and Military Divisions), meritorious awards and conspicuous service.

“As Governor-General and Chancellor of the Order of Australia, I am delighted to announce and congratulate the remarkable Australians receiving honours in The 2026 King’s Birthday list,” said Sam Mostyn.

“Our honours system recognises outstanding people who contribute so much to Australia. In our communities, in workplaces and across the country, recipients have made an exceptional contribution to Australia.”

Mr Mishra has been recognised for his broad contributions across community service, healthcare initiatives, education, entrepreneurship and cultural engagement in Victoria.

He has played leadership roles in community and professional organisations, including multicultural associations and business networks, and has contributed to mentoring programs and not-for-profit initiatives supporting health and social care.

His volunteer work includes long-term involvement in palliative care support services, where he has contributed time to supporting patients and families in end-of-life care settings.

Mr Mishra has also been active in cultural and arts organisations, including leadership within Melbourne’s Hindustani classical music community, supporting performance, education and cultural preservation.

Alongside his community contributions, he has founded and led several health and technology-related ventures focused on healthcare innovation, digital services and care delivery models.

He has also been involved in mentoring entrepreneurs through business networks, including TiE Melbourne, supporting emerging startups and professional development.

The King’s Birthday Honours List this year includes 702 recipients in the General Division of the Order of Australia, along with 34 military awards, 149 meritorious awards and 63 conspicuous service awards.

Recipients will attend investiture ceremonies at Government House in their respective states and territories in the coming months.

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The post Melbourne entrepreneur Saurabh Mishra awarded Medal of the Order of Australia for service to the community first appeared on The Australia Today.

Mornington Peninsula based Lisa Jane Spencer had earlier posted a video in which she dressed and spoke in Indian accent, and declared:

“I was assigned Australian at birth, but I identify as Indian.”

The video showed her throwing rubbish on a front lawn while complaining that life was “a lot harder” with “much less melanin,” and included a crack about deodorant.

Spencer stirred controversy as soon as she posted a video mocking Aboriginal performing “comedy” under the persona “Aunty Lisa.” Peninsula Hot Springs distanced itself swiftly, acknowledging “concern and disappointment” from First Nations communities and stating it did not endorse content “inconsistent with our values or our commitment to inclusion, respect and cultural safety.”

The contrasting reception to the two videos sits at the heart of the controversy now swirling around Spencer’s dismissal from Peninsula Hot Springs, where she was fired on the spot last Wednesday — less than 24 hours after the Aboriginal identity video was posted.

That video showed Spencer in a faux-fur jacket holding a bowl of burning eucalyptus leaves, white paint on her face, and a badge featuring the Aboriginal flag. “I’m Aunty Lisa,” she says. “I started identifying as a black fella a few months ago.” The clip ends with Spencer placing a petrol can in front of her nose — a reference that drew particular condemnation given the serious and complex issue of petrol sniffing in some Indigenous communities.

In a post on Facebook, Spencer said the video was a parody of an SBS Insight episode and framed it as satire of “what I see as an even more absurd idea: white people claiming Aboriginal identity for benefits.” She said she stood by the content and apologised “to absolutely nobody.”

Spencer said friends and supporters had launched a fundraiser to help cover expenses after her workplace was allegedly doxxed online and she lost her job. She added that the funds would assist with legal costs and provide financial support while she is unemployed, thanking supporters for their donations and encouragement.

The reaction from her online following told a different story to the institutional condemnation. Hundreds of supporters rallied in the comments of her social media posts, with many comparing her style to classic British comedy — the kind, they argued, that once lampooned everyone without malice and would now be deemed unacceptable. “You are the Sal Grover of comedy,” wrote one follower, referencing the celebrated Australian satirist. Others encouraged Spencer to double down. “I’d go even harder and make a series of Aunty Lisa videos,” one supporter wrote.

Spencer, anticipating further consequences, addressed her followers directly. “Feel very weird making this but I just felt like I needed to say this before my account potentially gets nuked,” she wrote on Facebook.

“Comedy will be back soon, I promise.”

SBS confirmed it had not asked Spencer to remove the video but said the posts featured “unauthorised use of its logos” and that she was “in no way associated” with its content. The broadcaster said it “unequivocally condemns all forms of racism.”

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The post Melbourne content creator loses job over Aboriginal identity video, earlier parody targeted Indians first appeared on The Australia Today.