The kitchens across the world, though they may possess fundamental similarities, reveal intricate narratives through their usage, the instruments they have and the interactions among those engaged in process of cooking, all of which is deeply influenced by the cultural traditions that define them. During my observation of homes in both Delhi and London, I noted how the physical environments, instruments and actions within the kitchen act as mirrors of wider societal norms, practices, and anticipations. The term “Ghar-Ghar” is inspired by a children's game, encapsulating the foundational domestic conditioning that shapes movement dynamics within these environments. This chapter delves into the intricate comparisons between the kitchens and dining practices of Delhi and London, examining the subtle dynamics of domestic movements - from the management of everyday utensils to the wider ramifications of gender roles and technology in influencing the kitchen experience.

In Delhi, the kitchen emerges as a realm steeped in tradition. One of the most interesting aspects I noted across various households was the prevalent use of steel utensils. From expansive storage containers to elegant plates and cups, steel appeared to reign supreme in the culinary realm. The inclination towards steel likely arises from pragmatic considerations like durability and safety - attributes that have been deeply embedded in the collective mindset over generations. The miniature kitchen playsets that children engage with to replicate adult domestic tasks are frequently crafted from steel, gently priming them for their future roles within the household dynamic. The title of this chapter, “Ghar-Ghar”, resonates with the foundational experiences of childhood, where the innocent act of playing house frequently reflects the authentic domestic realities found within Indian kitchens. This material choice, seen since my childhood, seems ingrained in the domestic landscape, influencing how bodies engage with their environment. Handling these steel utensils has a rhythm that’s been perfected over time - there's a particular efficiency in the movements. The bodies are familiar with the weight and the feel of the steel, moving quickly and decisively as they scoop, pour and stir.

A notable feature of the Delhi kitchen is the inclusion of a helper. In numerous households, there is a distinct delineation of responsibilities, where domestic helpers manage tasks such as cleaning, washing dishes and occasionally even cooking meals. The division of labor in the kitchen fosters a sense of fluidity as the person cooking moves slowly and carefully, knowing that other chores, like cleaning and washing, are covered. This place exudes confidence, particularly when it comes to providing cuisine. For example, preparing rotis is a community activity in and of itself, with freshly made rotis being given to the table right away. The constant back and forth to the dining table and the kitchen creates a beautiful choreography of the bodies, with every roti embodying the dedication and affection it is made with. This act of sharing incorporates cultural values while also serving as a performative manifestation of identity, reflecting Erving Goffman's views on self-presentation in everyday life (Goffman, 1959).The way the hands roll the dough and flips the rotis and serves them in unison is rhythmic, almost like a dance.

The kitchens in London, though they preserve certain traditional aspects, have seamlessly woven technology into their fabric, transforming both the physical layout and the cultural essence of the environment. Although helpers are rare in these households, technological advancements come in to facilitate many tasks. I came across the wonder that is ‘Rotimatic’, an automatic roti maker, in numerous homes. Although this technological advancement offers convenience, it does make me wonder about the potential decline of the cherished tradition of hand-rolling rotis with the chakla and belan (the board and rolling pin) required practiced coordination, a skill that my mother taught me through the years and one that I still have not perfected. The machine now does it with minimal human input. This introduces a stillness, where the once fluid motions are replaced with a pause - a waiting for the machine to complete its task. The body, once in constant interaction with the dough and the heat from the stove, is now only briefly engaged in setting up the machine and retrieving the finished product. In addition to this, dishwashers and cutting-edge kitchen appliances have transformed numerous tasks that would generally demand manual effort.

The London kitchen serves as a vivid embodiment of the bustling lifestyles of its inhabitants, where technology seamlessly integrates to enhance efficiency and conserve precious time. These innovations seem to reflect the evolving dynamics in a society where individuals, regardless of gender, engage in professional pursuits beyond the domestic sphere. The convenience afforded by technology creates a gap between the individuals and the tactile, physical engagements that were once fundamental to the art of cooking. Appliances such as food processors, dishwashers, and even ovens with preset settings facilitate a distinct form of physical interaction. These tools’ efficiency has a substantial impact on how bodies move in the space. There are longer periods of silence in the bodies, but audible noise in the surroundings as the machines handle some aspects of the work rather than constant manual labor. Usually with a lot of spices utilised for Indian food, the utensil used for cooking gets a heavy layer of remains that are extremely hard to remove, and require rigorous scrubbing and techniques of soaking. The dishwasher, in this case, eliminates the need for the very specific scrubbing motions, which eliminates a whole class of movement from the kitchen area. I am unsure about how much this gap affects the movement practices passed down through generations in such domestic settings, or if it enables the invention of new movement patterns in the same context.

The influence of gender remains a pivotal factor in the distribution of labor within kitchens, whether in Delhi or London. In Delhi, the connection between women and the kitchen remains profoundly entrenched. Amid evolving gender dynamics throughout urban India, a considerable number of households continue to depend on women for kitchen management, whereas men often partake in alternative pursuits. This tradition is gradually evolving, particularly in younger households where men are increasingly participating in cooking, yet it continues to hold significant prevalence. This translates through the body when I observe men working in the kitchen; their movements often reflect a sense of unfamiliarity, as if navigating an unknown territory. They seem to be figuring out not only how to cook but also the placement of utensils and ingredients at the same time. This embodied experience of being somewhat “lost” in the kitchen becomes visible in their unsure gestures—slow, tentative, and marked by multiple pauses. Their bodies move at a slower pace, almost as if hesitating with each action, as they try to make sense of their surroundings and the tasks at hand. As opposed to a female body in the kitchen, who moves quicker and with a certainty. They seem to be completely aware of the time, space and the placement of everything around them.

Although the culinary practices may vary between Delhi and London, the tradition of gathering as a family to share a meal persists as a common value in both places. In Delhi, the act of dining transforms into a ritualistic affair, where dishes are presented hot and fresh, inviting a shared experience among all. The family congregates around a table fostering an atmosphere of closeness and mutual affection.

In London, this phenomenon is similarly observed, yet the city's multicultural backdrop introduces a myriad of nuances, both in taste and in meaning. The activity in the kitchen transforms into a choreography of tradition and innovation, where families navigate the delicate balance between their cultural roots and the dynamics of their contemporary surroundings. The body is constantly negotiating between different practices, creating a blend of motions that reflect a multicultural identity. There’s less of the repetitive rhythm seen in Delhi kitchens, replaced by a more eclectic mix of movements, as the body shifts from one thing to the other. The body becomes a site of negotiation, moving fluidly between cultural practices. While food retains cultural value in British Indian households, the act of preparing and eating has become a subject of negotiation. Many British Indians maintain a mixed identity, combining traditional cuisine with modern influences. Cooking in a diaspora context frequently requires adapting to available resources or changing methods to fit their environment.

The architectural style in Delhi fosters fluidity and ease of movement, with tiled floors and countertops that allow for rapid cleaning and upkeep, whereas London kitchens, which are frequently made of wood, impose cleaning constraints and may create a more formal domestic atmosphere. Furthermore, kitchens in Delhi often have plenty of space for numerous people to cook at the same time, as opposed to the small design of working-class kitchens in London, where space is often limited. The cultural artifact of the matka (a clay pot), essential for keeping water cool, highlights regional differences in the kitchen.

Cooking and eating are more than just food; they are performative gestures that help people connect with their cultural roots and identities. In Delhi, the kitchen becomes a bustling area where the flavors and scents of traditional meals elicit strong emotional connections to family and legacy. Cooking becomes an embodiment of cultural practices, putting the body in physical interaction with materials, skills, and rituals passed down through generations (Turner, 1982).

These movements ripple beyond the kitchen, where it now serves as a stage for household life and the embodiment and performance of cultural traditions. This has an impact on how identities are negotiated and presented in public fora. The domestic choreography that takes place in these communal areas provides a basis for how people negotiate and communicate their identities in the public domain outside of it. This leads me to an investigation of identity performance in public settings, where personal and cultural gestures take on new significance.