Kamani Auditorium


Street Vendors Dialogue with Political Leaders and Civil Society Representatives to Convert Street Vendors Livelihood Protection Bill into the Act

New Delhi, 1 May: Thousands of street vendors’ representatives gathered on  International Labour Day at the” Street Vendors Dialogue with Political Leaders and Civil Society Representatives’ at the Kamani Auditorium, with the Union Minister of Housing and Urban Poverty Alleviation, Ajay Maken, sending a message to the National association of Street Vendors of India (NASVI) that the much awaited Street Vendors (Protection of Livelihood and Regulation of Street Vending) Bill had been approved by the Union Cabinet.

The main purpose of organizing the dialogue was to build momentum on getting effective central law in the current session of parliament through bringing key stakeholders together in support of early enactment of Street Vendors (Protection of Livelihood and Regulation of Street Vending) Act. The national dialogue was organized by the NASVI with support from Centre for Civil Society. Besides several street vendor leaders of Delhi, Punjab, Uttar Pradesh, Bihar, Madhya Pradesh, Rajasthan, Gujarat, Andhra Pradesh, Tamil Nadu and Kerala, the Congress leader and Delhi MP JP Agrawal, former director general of Labour and Welfare S.K. Das, FSSAI functionary Suniti Kumar Gupta and CCS associate director Shantanu Gupta also addressed the convention. Mr. Maken, who was to address the street vendors’ convention, could not turn up because of his presence in the Cabinet meeting. However, his office sent message of the development related to the Bill.

The Bill vetted by the cabinet incorporates the issue of inclusion of vendors doing their business on railway lands.  Earlier version of the Bill had excluded the railway vendors and the NASVI had strongly objected to the exclusion.  The revised Bill also has greatly empowered the Town Vending Committee (TVC) and given it power to decide ultimately on almost all issues of determining the vending zones. The Bill does also have strong grievance redressal mechanisms.

Describing an inclusive and effective central law as a critical social-political imperative of urbanizing India, NASVI coordinator – Mr. Arbind Singh said, “Once enacted by the parliament, the Act would go a long way in protecting the rights and entitlements of street vendors who earn their livelihood in tough and harsh conditions in cities and towns across India”.


Akriti Gupta

Writer’s rating: 3.5/5

Dirty Laundry, the fourth annual production of the Yellow Brick Project opened amid much fanfare at Kamani Auditorium on the 16th of August. After enthralling young audiences in the city with Razzle Dazzle and Dear Delhi, the bar was raised last year with Romeo Must Die, an attempt at synthesizing dance, music and theatre into the format of a musical. This year’s installment follows suit, albeit with a more compact cast, dance troupe, band and choir.

Dirty Laundry is a humorous take on the issue of infidelity, and how it stirs up a storm in the Sharma household when the protagonists’ secrets are revealed. A middle-aged Economics Professor desperate for an adrenaline rush, gives in to temptation, and beds an overtly flirtatious student less than half his age, thereby unwittingly prompting a series of events that test relationships, incite altercations and yield in comedic situations, ultimately concluding in a boisterous, and slightly confused manner.

The plot is effortlessly backed by a commendable original score and repertoire of musicians and singers, and the scenes brought to life by a hybrid and highly talented crew of dancers who not only complement but also add another dimension to them. The choreography is satisfactory, with some out-of-the-box pieces, quite literally. The ‘Pandora’s Box’ inspired routine that serves as a metaphor for the secrets tumbling out, deserves special mention in this regard.

The musical is raw and unabashed in its portrayal of sexuality and desire, and the direction meticulous and thoughtful, with some indispensably hilarious scenes, like the reality television imported face-off between the quarrelling Sharmas. It is also laudable for having age-appropriate actors essaying the roles of the main characters. Yet, the narrative does appear a little staccato and disjointed in parts, lacking cohesion and hence adhesion between the scenes.  The chaotic stage management in terms of blocking and positioning and faulty spotting and lighting are the blatant blemishes, and seem to have been the obvious hiccups of a premiere show.

All in all, a pulsating watch, particularly for a few good laughs and for fans of dance and music.


Tanya Dua
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