Life style
The ” Indian burger ” McDonalds can’t master
Thakur dropped another batch of potato patties, known as batata vada, into the cooking oil that had been sizzling in a massive iron pan since early morning. He’d already shaped the patties, made with mashed potato mixed with masala spices, green chilli and, occasionally, finely chopped raw onion, into near perfect spheres, and dipped them quickly in a thick chickpea batter just before frying. The vada made a gentle hiss as they hit the oil, and the aroma of the chickpea batter floated in the air, making me impatient. A few tosses and turns, and the vada were ready.
Thakur sliced open a soft, square bread roll called a pav, slathered on some green chilli-coriander chutney, and gesturing to me with a bowl of dry garlic chutney asked, “Lahsun?”
I nodded, and he sprinkled on a generous quantity of garlic chutney, then pressed the vada on top. He wrapped the sandwich in a piece of old newspaper, added a side of fried green chilli (in case the spice hit was not enough) and handed it to me in exchange for 12 rupees (roughly 14 pence).
As my teeth sank into the soft cloud of pav and the crispy vada, it was almost as if I was biting into the original taste of Mumbai. It was a perfect contrast of tastes and textures: the chewy blandness of the pav acting as a foil to the piquant crunchiness of the vada. Even to my palate, shaped by years of spicy food, the first mouthful was a fiery hit. I could feel the tang of both chutneys spread across my tongue. The vada pav is a delectable carb overload – an instant energy boost.
Today, this snack is synonymous with the city of Mumbai, with almost every resident, from factory workers to college students to Bollywood stars, unabashed in declaring their love for it. More than two million of these crispy, flavourful sandwiches are consumed in India’s financial capital and largest metropolis every single day.
“For a city that’s always on the move, I think the vada pav makes for the quickest, wallet-friendly, on-the-go snack,” travel blogger Kaushal Karkhanis, who runs a dedicated to this single dish, told me. “I think it’s the first ‘eating out’ experience for just about anyone in Mumbai. At this price, it cuts across social strata and is a great leveller.”
While the vada pav is delicious (as fried snacks tend to be), the overwhelming love for this snack often leaves outsiders bemused. But the truth is that the Maharashtrian capital has a close cultural connection with the vada pav that goes way beyond taste.
The dish is believed to have been invented in 1966 by a Mumbaikar, Ashok Vaidya, who opened the first vada pav stall opposite the Dadar train station, through which hundreds of thousands of workers – often in need of a quick, inexpensive snack – passed every day on their way to the textile mills in suburbs such as Parel and Worli. Vada pav was an instant hit with Bombayites (as Mumbaikars were then known). Vaidya remains a Mumbai icon; one local journalist even made a documentary about him.
After strikes throughout the 1970s and ‘80s eventually led to the textile mills’ closures, many former mill workers opened vada pav stalls of their own with the encouragement of Maharashtra state’s right-wing political party, Shiv Sena.
“The vada pav was subsequently co-opted by the Shiv Sena in order to offer a Maharashtrian alternative to the Udupi joints that were extremely popular at the time,” explained Mumbai-based food writer Meher Mirza, referring to the stalls set up by people from the South Indian temple town of Udupi in Karnataka. Shiv Sena’s campaign followed the rise in popularity of several south Indian dishes: the dosa (a crepe-like pancake made from fermented batter, traditionally stuffed with a spicy potato filling) and the idli (a savoury steamed cake made from black lentils and rice). The goal was to convince Mumbaikars to spurn ‘outside’ snacks and embrace their own cuisine, a strategy that worked very well in those turbulent economic times.
Ironically, both of vada pav’s main components – the potato and the bun – are European imports, brought into India by the Portuguese around the 17th Century. The only key ingredient originally belonging to the region – or even India – in the dish, is the besan (chickpea flour) in which the potato mix is coated before being deep-fried. Still, Mumbaikars consider the vada pav a thoroughly ‘Bombay’ (as Mumbai is still called by many of its residents) dish.
The vada pav industry in Mumbai chugged along peacefully until the 1990s with the arrival of international chain restaurants like McDonald’s, which served vegetarian burgers similar to vada pav to accommodate many Indians’ aversion to beef. But although the patties consist of fried potato, McDonalds’ McAloo Tikki burger could not be more different from the beloved vada pav. Not only does it not match the spice levels of the home-grown vada pav, but it also leaves little room for artistry. The flavour of vada pav depends entirely upon the whims of the cook, with every vendor claiming to have a secret recipe or a special ingredient that makes his vada pav unique: a pinch of ground masala, or a topping of choora (the crispy crumbs left at the bottom of the frying pan) along with the vada. It’s no wonder that the vada pav has always remained more popular in Mumbai, where it flies off street stalls like the proverbial hot cake.
In the early 2000s, local entrepreneur Dheeraj Gupta saw an economic opportunity and franchised the vada pav in his chain . “Calling it the ‘Indian burger’ immediately gave it an aspirational value, as well as a cultural context for those outside Mumbai city,” Gupta told me.
The company also introduced several new spins on the traditional treat, such as the Schezwan vada pav (inspired by Chinese cuisine) and the Nacho vada pav (topped with tortilla chips). Gupta says that the modern variants have struck a chord with consumers, accounting for more than 40% of sales. JumboKing now has 75 outlets in Mumbai alone, with each selling more than 500 vada pav every day, Gupta said. The chain can also be found in cities like Pune and Indore, and Gupta has plans to expand his reach even further over the next five years.
However, many Mumbai residents still vouch for the taste of the vada pav made in the street-side stalls. The most popular vada pav stalls – such as Aaram Milk Bar opposite the Chhatrapai Shivaji Terminus or Ashok Vada Pav in the suburb of Dadar – can still be found near suburban train stations across the city in order to serve the commuters who rely on the ‘Bombay local’ trains (as residents call them) to get to work. Some vendors have even begun serving adapted versions, dishing out Schezwan and sweetcorn vada pav with panache.
But as a former Mumbai resident, I am still partial to the original vada pav. To me, it’s the true taste of the city.– BBC
By Zanita Careem
Dr. Ayesha Wickramasinghe, who is the champion of the National Crafts Council plays a pivotal role in promoting and developing the local handicrafts. She has served as a Senior Lecturer at the University of Moratuwa specialising in Design and Production development since 2006. With her wealth of experience, she brings extensive professional expertise in Brand Promotion and Design from Sri Lanka, the United Kingdom and the United States. An old girl from Southlands College Galle, she graduated with first class honors in fashion design and production development from the University of Moratuwa. She also , holds a postgraduate degree from London and a doctorate from the University of the Visual and Performing Arts, Sri Lanka.
Stepping away from the techdriven expectations often tied to her generation, she believed craft wasnt just art, it was life and identity. In a world of hush and rush, deadlines and competition, her journey reminds of the beauty of persistence,creativity and the simple joy of doing what we love!In this interview, Ayesha explains the trajectory of her career, her work, inspiration and her empowering story.
Your journey?
My journey is rooted in a deep appreciation for tradition, artistry, and cultural identity. Growing up in Weragoda, a village in the Galle District, I was immersed in a lifestyle shaped by community, nature, and craft. These early experiences inspired my academic and professional path—first as a designer and educator, and now as Chairperson of the National Crafts Council of Sri Lanka.
Where did your interest in craft and making come from?
My interest stems from home and heritage. My mother, a primary school teacher, introduced me to flat pattern cutting and early creative expression. Surrounded by traditional crafts and nature, I grew up observing weaving, embroidery, and natural colors—realizing that craft wasn’t just art, it was life and identity.
Can you tell us about your academic and creative background?
I began my education at St. Theresa’s Primary School, later moving to Southlands College, Galle. After excelling in Bio-Science for A/Ls, I pursued a Bachelor of Design in Fashion Design and Product Development degree at the University of Moratuwa, graduating with First Class Honours and receiving a Gold Medal. I completed Master of Arts in Fashion Technology at the London College of Fashion, University of the Arts, London and completed my doctorate (PhD) focused on the evolution of women’s clothing in Sri Lanka. As a Senior Lecturer, my work blends fashion, textile, crafts, heritage, culture, and sustainability.
Your career as an artist?
Though I identify more as a researcher and creative practitioner, art has always shaped my work. Childhood memories of weaving tools from my grandmother’s old handloom center, along with a fascination for color in nature, designing, sculpting and paintings, fueled my artistic exploration. My projects bridge design and heritage, often reviving traditional techniques through a contemporary lens.
Your work with the Crafts Council of Sri Lanka?
As Chairperson of the National Crafts Council (NCC), I help lead efforts to preserve and promote Sri Lanka’s craft heritage while supporting over 20,000 artisans. From craft village development to initiatives like Shilpa Abhimani, the craftsmen training programmes, market access, and connecting crafts with tourism and younger generations.
What are your thoughts on the significance of crafts, heritage, and culture?
Craft is the soul of a nation—it links hands, minds, and hearts. It teaches patience, creativity, and cultural identity. Our heritage is rich with around over 30 craft traditions, and integrating craft education can instill pride and resilience in today’s fast-paced world.
Are we doing enough as a country to preserve our culture and heritage?
While commendable efforts are underway, there’s more to be done. Preservation must be embedded in education, policy, and public mindset. True change comes when people value their own culture and products—embracing what the world now calls “hyper-localism.”
Can traditional crafts find their niche in modern interiors?
Absolutely. Traditional crafts bring warmth, character, and authenticity to contemporary spaces. If artisans understand current market trends and adapt their presentation, these crafts can thrive in modern design contexts undoubtedly.
How can we create deeper awareness and appreciation of crafts?
Storytelling and education are key. People need to understand the time, skill, and meaning behind handmade work. Platforms like exhibitions, documentaries, media and school programs can help build this appreciation and pride in our own heritage.
Thoughts on national funding for art?
National funding is essential and should be seen as an investment in cultural and economic sustainability. Strategic public-private partnerships can support artisans, drive innovation, and promote cultural tourism to boost the national economy.
What are the key challenges facing artisans today?
Artisans face raw material shortages, policies, limited market access, undervaluation of their work, and weak generational continuity. Economic instability often discourages youth from joining the sector and lack of research and development initiatives for craft sector is crucial. These challenges need integrated solutions.
Where do you see the Sri Lankan craft industry heading?
With the right support, Sri Lankan crafts are poised for a revival. As global demand grows for sustainability and authenticity, our heritage can shine—offering rich stories and concepts, sustainable raw material and packaging, skilled and high-quality artistry, and cultural depth to the world.
As the joyous rhythms of Sinhala and Tamil rang though the island, Ramani Fernando Salon at Mount Lavinia celebrated this day with a season of warmth, togetherness and gaety.
The staff at Ramani Fernando Salon representing the true spirit of Sri Lankan traditons followed by religious observances came together to celebrate this auspicious occasion.Today the Avurudu at the salon is remarkable and exciting day for all of us” remaked Niroshan, supervisor of Ramani Salon, Mount Lavinia.
“We followed the ritual of boiling milk in a new clay pot symbolising new beginnings. All our members celebrated avurudu in traditional attire in vibrant colours adding to the festive atmosphere ’’ he said. Kiribath and sweets were followed made by staff themselves.
Jetwing Hotels has unveiled a readjustment of its branding strategy, signalling a bold step forward in aligning its offerings with the evolving trends of modern travel. This initiative reflects the company’s commitment to addressing the diverse needs and preferences of today’s travellers while reinforcing its position as a leader in Sri Lanka’s hospitality sector.
Recognising the shifting dynamics of the travel industry, Jetwing Hotels is transitioning from its previous categorization of “Hotels” and “Villas” to a refreshed and more defined portfolio structure. The properties will now be grouped into four distinct segments: Jetwing Luxury Reserves, Jetwing Premium Hotels, Select Hotels, and Essentials. This strategic move aims to provide guests with a clearer, more intuitive understanding of the brand’s offerings, catering to a wide spectrum of travellers—from the budget-conscious to those seeking truly extraordinary escapes.
The first of the newly defined segments, Jetwing Luxury Reserves, represents the epitome of indulgence, crafted for discerning travellers seeking unparalleled exclusivity and personalised experiences. This segment features 5-star, flagship properties, each offering a harmonious blend of distinct architecture in stunning locations, gourmet dining experiences, and bespoke service that anticipates every need. Designed to provide not just stays but unforgettable journeys, Jetwing Luxury Reserves promises intimate sanctuaries where luxury meets authenticity.
The second category, Jetwing Premium hotels, is a collection of elegant spaces where contemporary comfort meets Sri Lanka’s rich heritage. This category includes a selection of 4-star and 5-star properties, each offering full-service accommodation and modern amenities. For those in search of a peaceful retreat or a place to reconnect, each stay is designed with refinement, warmth, and a touch of timeless charm. Rooted in the legacy of Jetwing, these hotels go beyond a place to stay—they deliver immersive experiences shaped by regionally inspired architecture and the hallmark of legendary Sri Lankan hospitality along with a variety of activities and excursions.
The third category, Select Hotels, bridges the gap between value and comfort, designed for modern travellers seeking authentic experiences at an accessible price point. Though these properties do not carry the Jetwing brand name, they embody its renowned warmth and hospitality. This collection of unique 3-star hotels, including destinations such as Hotel Sigiriyaaya, the award-winning Mermaid Hotel and Club in Kalutara, and Meena Amma’s Tea Experience in Ambewela, offers a delightful variety of experiences—whether it’s the tranquility of a charming cottage, the lively energy of a beachside retreat, or an engaging immersion into Sri Lankan traditions.
The final category, Essentials, is designed for adventurers and explorers; offering budget-friendly accommodations that meet essential travel needs, focusing on simplicity, practicality, and comfort. Included in this category are 3-star and 2-star brands, Hotel J and City Beds, respectively, that provide comfortable rooms at the convenience of a central location. Whether it’s a quick overnight stop or a base for exploring the region, guests can enjoy reliable, no-frills hospitality.
Hashan Cooray, Director of Marketing and Development, stated, “Today, after the turmoil we all faced for over four years, we are more optimistic than ever about the growth potential of our industry and its role in transforming Sri Lanka’s economy. With this in mind, we felt it was time to bring more clarity to our branding as we now operate over 35 properties around our paradise island.”
Jetwing Hotels remains steadfast in its commitment to sustainability and delivering exceptional hospitality across all segments, ensuring every traveller experiences the warmth, service excellence, and legendary Sri Lankan hospitality that define the brand. From the quiet indulgence of Jetwing Luxury Reserves to the refined sophistication of Jetwing Premium Hotels, the cosy comforts of Select Hotels, and the practical simplicity of Essentials, Jetwing Hotels offers thoughtfully tailored experiences that resonate with the needs of every guest. Each category reflects the brand’s dedication to providing not just accommodation but meaningful journeys that celebrate Sri Lanka’s beauty, culture, and heritage. With a focus on innovation, sustainability, and personalised service, Jetwing Hotels continues to set new benchmarks in the global hospitality landscape, ensuring that every guest feels truly at home.
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