The moment I walked into the WAVES (World Audio Visual and Entertainment Summit) launch, I knew I was witnessing more than another media event, a defining moment for the Indian media and entertainment sector. It was a declaration – bold, ambitious and unapologetically one that India is ready to lead the future of storytelling.

Backed by the Ministry of Information and Broadcasting and driven by the vision of Prime Minister Narendra Modi, WAVES 2025 brought together everyone who matters in the global creative economy, from filmmakers and tech leaders to animators, investors, actors and emerging creators. As as someone who has been part of this industry and witnessed it’s evolution, I can confidently say that this is a turning point.

From Kala to Code: Where Tradition Meets Tech

What truly struck me was how seamlessly WAVES blended India’s artistic heritage with it’s technical potential. At Bharat Pavilion, called “Kala to Code”, I walked through installations that moved from sound and music to AI and immersive media, all under one roof. It was like witnessing centuries of creativity merge with the future in real-time. 

The convergence of the old with the new is not a coincidence. It begins to unfold how India’s creative industry can evolve with the cutting edge technology, while staying rooted in the Indian culture and on heritage. WAVES is truly a rare occasion where the creators meet coders and producers meet platform builders.

One of the most exciting part of WAVES is the “Create in India Challenge” (CIC), which has garnered over 1 lakh submissions from 60 countries! Now that shows how far India’s creative influence is reaching now. At the CreatoSphere, the finalists showcased their innovative ideas, prototypes and raw talent. But what moved me most was the intention behind CIC. It is not merely a contest; it is a launchpad, messaging to the creators around the world that India is not just a place to consume content but also a place to build it for the world.

WAVES also excels in the area of democratising opportunity. I saw regional filmmakers, indie game developers, anime fans and first time content creators sharing space with industry titans. It gave out a simple but powerful message: no voice is too small, no idea is too wild. In a country where the next big storyteller could be from a Tier-2 town or a comeback independent YouTube channel, this inclusivity is not only fair, it’s smart.  

The fact that the Indian film industry has supported WAVES speaks for itself. For stars like Shah Rukh Khan, Deepika Padukone and Karan Johar to attend and endorse the summit as a transformational leap for the sector, speaks volumes. Their support is not just because they want to play a part, it indicates a belief that this is more than a policy push: a common goal to structurally and sustainably take Indian entertainment global. 

A Movement, Not Just a Summit

As I left the venue, I realised that WAVES wasn’t just a one-off spectacle, it was a foundational move for long term collaborations among creators, investors, distributors and technologists, all working towards a shared vision of ‘Create in India, Create for the World’.

In a world where attention is currency, storytelling is power. And India? We’re ready to lead.

Born in a quiet town named Motipur, Bihar, on 27th March 2011, the boy, Vaibhav Suryavanshi, picked up a bat at four. From mimicking the gully matches of the landlords in his neighbourhood, he quickly moved to building an obsession, not merely playing the game but setting a standard for starting young.

Vaibhav’s father, Sanjiv Suryavanshi, used to be an aspiring cricketer. Sanjiv made a lot of sacrifices to back his son; he even sold farmland to support his training. His mother, Aarti Suryavanshi, would wake up as early as 4 o’clock in the morning to prepare food before he practised. Together, they established a regime of discipline, love and purpose. Vaibhav was introduced to coach Manish Ojha and began his formal training. For four years, Vaibhav travelled from Samastipur to Patna (100 km) every alternate day, starting training at 7.30 am and returning home every evening. Vaibhav followed this pattern for over four years.

In an interview with Cricketnext, coach Ojha mentioned that the coaching staff also contributed, but Vaibhav’s parents were seen as the fundamental drivers. His father always attended training and games and there was always support from home. Vaibhav and his father decided long ago to become cricketers. The family’s pride has been expressed deeply—his uncle spoke that his rise is a matter of national pride and his grandmother has made prayers for him.

A Meteor in Motion: Rising Through the Ranks

By age 12, Vaibhav was already wearing Bihar’s colours at the Vinoo Mankad Trophy. A year later, he became the second-youngest player to feature in the Ranji Trophy, making his debut against Mumbai at 12 and 284 days old. He startled his opponents with his serenity at the crease. He was not just playing with men—he was playing better than them.

Then came the Vijay Hazare Trophy. Vaibhav debuted in List A cricket at 13 years and 269 days, which is now another record for him. While he did not set the world alight with the bat, the selectors and the fans understood: he was still learning at a speed nobody ever had.

Making the World Notice: The U19 Phenomenon

Vaibhav’s September 2024 made its way to national headlines. In a match against Australia’s U19 squad, he scored a century of 58 balls – the fastest century for an Indian at U19 level – and it wasn’t just a record but a statement. A boy yet to be a teenager was taking apart bowlers with the composed mindset of a man twice his age. 

He was able to deliver consistency while playing in the ACC U19 Asia Cup: he recorded 76* against UAE, 67 in the semis against Sri Lanka and ignited a fearless presence that left the national selectors and IPL scouts drooling over him. 

The IPL Call That Changed Everything

Perhaps the most eyebrow-raising was the 2024 IPL Auction, which saw franchises go to war in a bidding war for a 13-year-old prodigy. The 13-year-old Rajasthan Royals emerged as victors, buying the prodigy for ₹1.1 crore. Not only was he the youngest player ever to be bought in the IPL, but he was also the youngest player to make the squad, warm up in the dugout and then walk out onto the field with fire-breathing fast bowlers running at him under lights. 

On April 19, 2025, he made his debut. First ball? Six. He scored 34 runs off 20 balls, displaying fearlessness and fluency. It was impressive, but it was not his peak glimpses.

The Blow That Made the Internet Go Crazy

In the game that followed his incredible feat against the Giants, Vaibhav Suryavanshi made a resounding announcement of himself, blasting 101 runs from 38 balls, including 11 sixes and seven fours against the once again, Gujarat Titans. The second-fastest century in the IPL (only one slower than Chris Gayle’s 30-ball century) also made Vaibhav the youngest centurion in men’s T20 history.

Here is the key point: He did not run about celebrating. There was no “dancing” or theatrics. He remained quiet with intensity in his eyes, raised his bat in respect and sent a quick nod to the dressing room. As expected, the cricket community exploded, but Vaibhav remained humble.

Kudos from Legends, Mentoring from the Wise

And as social media exploded in real time, cricketing legends joined in too. Sachin Tendulkar called his knock “beyond his years.” Yuvraj Singh called him “the left-handed Sehwag of the future.” His coach from Rajasthan Royals, Rahul Dravid, expressed, “Vaibhav doesn’t just play cricket, he studies it. Our job is to nurture that curiosity and love of the game.”

But, ooh, the praise did not come without caution. Indian cricket has experienced the talent flash in the pan scenario before. But, there is a belief that Vaibhav has more than ten minutes of fame. His combination of skills and story is a decade-long build-up to the moment Vaibhav always knew would come.

A Boy from Bihar, A Legend in the Making

Vaibhav’s figures may be the most impressive in a sport obsessed with numbers and data. But his true gift is what statistics can not measure: his hunger, respect and ability to never lose sight of focus in recognition of celebrity. He still trains quietly with intensity. He still listens more than he talks. He is still that four-year-old from Motipur, gripping the bat in disbelief.

Pointing to the next icon of cricket. But this is not the end of the road for Vaibhav Suryavanshi, this is just the start.

Kishori Amonkar (1932-2017)—a name which inspires reverence, rebellion, and raga. She was more than a voice; she was a movement. One of Hindustani classical music’s most iconic and revolutionary figures, Amonkar, did not merely sing—she revolutionised the paradigm of how music could be sensed, articulated, and, therefore, changed.

Born in Bombay in the dying embers of British India, music was Amonkar’s inheritance and battleground. Taught by her mother, the iconic Mogubai Kurdikar of the Jaipur Gharana, young Kishori learned the strict discipline of classical technique and the flame to challenge it. Her formative years were spent on tanpura-accompanied journeys with her mother, observing silently, soaking up, and planting the seeds of a future musical revolution.

Amonkar was already a force to be reckoned with in the classical scene by her late teens and early twenties. Then illness intervened—a hiatus that, in retrospect, proved her turning point. While forced out of music, she didn’t withdraw; she reinvented herself. When she resumed performing in the 1960s, her music wasn’t confined within gharana orthodoxy. She grasped the solid foundation of Jaipur Gharana’s precision and extended it, deepened it, and even ventured to break its rigidity. To Amonkar, music was never intended to be contained by lineage—it was designed to fly.

She once proudly asserted, “There is nothing called a gharana. There is only music.” This feeling permeated her every recital—a sonic khyal boom, a delicate thumri, or a spirituality-evoking bhajan. She sang with such expressiveness, such romanticism, such spiritualism. Her technique was infused with such authority over men (gliding between notes) that it approached not singing but the art of colouring with sound.

But she wasn’t always cherished for her defiance. Amonkar was criticised by purists who felt she was watering down the tradition. Her answer? Integrity and isolation. She didn’t play to the gallery; she played to the divine. “Music is a dialogue with the divine,” she said. Her stage presence was commanding, her rehearsals intense, and her silence before a concert sacred. She asked for respect, not applause—and delivered transcendence.

Offstage, she was no less powerful. Amonkar was strongly outspoken regarding how women were treated in music. She demanded equitable pay for artists and notoriously stormed out of performances over rude audience conduct—an action still discussed today as a defence of artist integrity.

Her musical understanding went beyond performance. She taught extensively on rasa (emotion) in music, wrote a boo,k Swaraartha Ramani in Marathi, and left behind a rich tradition of students who bear her name with pride. Even in films, she left her imprint, lending her voice to movies like Geet Gaya Patharon Ne and Drishti briefly before moving away from commercial music—led by her conviction that film sacrificed the soul of swaras (notes) for words.

Amonkar’s legacy is inscribed in her awards—Padma Bhushan, Padma Vibhushan, Sangeet Natak Akademi Fellowship, and many others. Yet her real award lay in each listener who remained transfixed, each raga she reimagined, and each boundary she transgressed.

She died in her sleep on April 3, 2017—almost in time for her 85th birthday next week. But her voice, haunting and therapeutic, remains. 

As tabla maestro Zakir Hussain said, “Her performances were landmark events that echo centuries.”

Today, we do not simply recall Kishori Amonkar—we return to the revolution she sang.

Field Marshal Sam Hormusji Framji Jamshedji Manekshaw, known as Sam Bahadur, was India’s most revered military leader. His name goes hand in hand with courage, strategy, and leadership, and his contribution to India’s military history is incomparable. For being the mastermind behind India’s resounding victory in the 1971 Bangladesh Liberation War, he was the first Indian Army officer to be given the rank of Field Marshal. His four-decade-long career in the armed forces, covering World War II to India’s post-independence wars, established him as a national hero.

Early Life and Military Beginnings

Born on 3rd April 1914, in Amritsar, British India, Manekshaw was of Parsi descent. He was in the first batch of cadets at the Indian Military Academy (IMA), Dehradun, in 1932. Commissioned into the British Indian Army in 1934, he was posted to the 12th Frontier Force Regiment and subsequently to the 8th Gorkha Rifles. His daredevil spirit and keen mind gained him an early reputation.

Manekshaw acted extensively in the Burma campaign against the Japanese in World War II. Despite being seriously injured, he continued to command his troops, for which he received the Military Cross for gallantry. His image as a fearless officer became well known, and on Indian independence, he was involved in restructuring the newly established Indian Army.

Rise Through the Ranks

Manekshaw played a pivotal role in many military actions after independence. He was present in the 1947 Indo-Pakistani War and contributed notably to resolving the Hyderabad crisis. His career received a big jolt in 1962 when he was wrongfully accused of treason during a politically driven trial. Despite that, his honour was never sullied, and he was later exonerated of all allegations.

By the mid-1960s, he had achieved prominence again. He led the Indian troops successfully as the commander of the Eastern Command during the 1967 skirmishes with China at Nathu La and Cho La, India’s first triumph over China militarily. In 1969, he was made the 7th Chief of the Army Staff, paving the way for his most illustrious success.

The 1971 Bangladesh Liberation War

The most defining point in Manekshaw’s career was in 1971 when the East and West Pakistan tensions heightened. East Pakistan (Bangladesh) was flooded with millions of refugees because of the atrocities of the Pakistani army. Prime Minister Indira Gandhi requested Manekshaw’s advice regarding military intervention.

He famously refused to jump into war in a historical setting, as he said the army needed to be well-planned. His strategic patience had the benefit of keeping India militarily and logistically prepared when the war in December 1971 finally erupted. The Indian Army, under his command, made a lightning-fast and decisive attack, which led to Bangladesh’s liberation in 13 days. On December 16, 1971, Pakistan’s General A.A.K. Niazi surrendered 93,000 men, one of the most significant military victories.

For his exceptional leadership, Manekshaw received the Padma Vibhushan, the second-highest civilian honour for India. He was promoted in 1973 to the five-star rank of Field Marshal and became the first Indian officer ever to be bestowed with this position.

Legacy and Leadership Style

Sam Manekshaw was a great strategist and a commander who inspired unflinching devotion in his soldiers. His quick wit and bold nature often conflicted with politicians, but he never compromised his values. He had a great sense of humour and a charismatic personality, and he was loved by his soldiers and civilians alike.

One of his most iconic statements was in 1971 when he was questioned regarding an attack by Pakistan on India. He said, “I guarantee you that if they dare attack us, they shall cease to exist as a nation.” His confidence and clarity of mind characterised his leadership.

Even in retirement in 1973, Manekshaw was still a highly regarded voice in military and strategic matters. Yet, his funeral in 2008 was characterised by the absence of senior political leaders, a move roundly condemned by the public and the military community. Despite this, his reputation remains unblemished.

Honours and Recognition

Manekshaw’s achievements have been recognised in many ways. He was commemorated with the issue of a postage stamp in 2008. The Manekshaw Centre in Delhi, the Manekshaw Parade Ground in Bengaluru, and several roads and institutions bear his name. His victory in the war of 1971 is commemorated annually on Vijay Diwas (December 16).

In 2023, Vicky Kaushal played Manekshaw in the biopic Sam Bahadur, sharing his fantastic tale with a new generation.

A Legacy

Field Marshal Sam Manekshaw was not merely a military general but a beacon of valour, discipline, and strategic ingenuity. His achievements marked the modern history of India’s army and secured the country’s security. As one of India’s most outstanding soldiers, Sam Bahadur will never be forgotten as the man who led India to triumph.

Hemant Joshi is a renowned academic, journalist, and author who has contributed significantly to media education in India. With more than three decades of experience, Joshi has been a Mass Communication and Journalism professor at the Indian Institute of Mass Communication (IIMC), New Delhi, and Jamia Millia Islamia. His areas of expertise include print and broadcast journalism, media theory, and linguistics.

Born on March 27, 1954, at Nainital, Uttarakhand, Joshi received his postgraduate education at Jawaharlal Nehru University (JNU), New Delhi, majoring in Linguistics and French Literature. His profound knowledge of languages has facilitated him working as an interpreter in international conferences, translating between Hindi, English, French, Italian, and Russian. His literary works have also reflected this multilingual expertise, especially in translations and reportage.

A Career in Academia and Journalism

During his career, Hemant Joshi has played a pivotal role in developing the academic literature on journalism and communication in India. He has guided several generations of journalists at IIMC, one of the nation’s top media schools. His research interests cover media ethics, communication tactics, and mass media’s contribution to development.

Outside of academia, Joshi has been actively engaged with global organisations like the International Association of Mass Communication Research (IAMCR) and the International Communication Association (ICA). In 2008, he was elected to the International Council of IAMCR, a recognition of his contributions to media studies on a global scale.

Literary and Scholarly Contributions

In addition to teaching, Hemant Joshi has been a prolific writer and editor. Among his publications are anthologies, translations, and media studies books. Some of his prominent books are:

“Mahayuddhon ke Aaspaas” – An anthology of eight French poets translated into Hindi.

“Arthat” – A compilation of journalistic work by great poet and journalist Raghuvir Sahay.

“Media Writing”, “Journalism and Mass Communication Basics”, and “Communication for Development” – Written in collaboration with his wife, Manjari Joshi, these books are essential texts for media students.

His articles on journalism, regularly published in major Hindi newspapers, deal with a wide range of subjects such as language, media ethics, and global politics.

A Legacy Based on Language and Media

Joshi comes from an intellectual and academic family. He is the in-law of Raghuvir Sahay, a renowned poet and journalist, and Manjari Joshi, his wife, a former TV news anchor, author, and writer. Their sons, Piyush Joshi (MBA, FMS Delhi) and Gunjan Joshi (a Chau dancer and heritage activist) carry forward the family tradition of arts and intellectual endeavours.

His family contains scientists, academicians, and artists to highlight a healthy cultural and intellectual heritage. They include Prof. P.C. Joshi, an educationist; Gaurav Joshi, a space scientist; Hema Singh, a theatre personality; and more.

The Power of Multilingualism in Journalism

Joshi’s mastery of several languages has been a key factor in his professional life. His capacity to translate and interpret between various linguistic environments has not only enriched his journalistic career but also enabled him to make significant contributions to cross-cultural communication. His translations, mainly from French to Hindi, bring world literature closer to Indian readers.

Conclusion

Hemant Joshi’s career is a remarkable blend of journalism, academia, literature, and multilingual expertise. His contributions have shaped the practice and pedagogy of mass communication in India. Whether through his books, translations, or teachings, his influence extends across generations of journalists and scholars. A lifelong advocate for the power of language in media, Joshi’s legacy continues to inspire and inform the evolving landscape of journalism.