Pune: When Pune’s Aboli Thosar and Mumbai’s Nikhil Rane stood on the podium at the 47th World Whistling Convention in Kawasaki, Japan, they did more than celebrate a third-place win in the allied arts category. They proved that an art form often dismissed as a mere hobby in India can command respect on a global stage.Held from June 18 to 21, the biennial convention brings together the world’s finest whistlers for a four-day celebration of the craft. Representing India, Thosar and Rane combined theatre with whistling, replacing spoken dialogue entirely with melodies. Their performance told the moving story of a teacher nurturing a student’s dream of competing at a world championship.“We wanted to move beyond a conventional musical performance,” said Thosar, who is also a professional photographer. “Every emotion, every conversation, and every turning point in the story was expressed through acting and whistling instead of words.”The four-minute act featured a medley of pieces, including River in the Sky, Perfect, Anyone of Us, the Tarana from Ghar More Pardesiya, and the patriotic classic Saare Jahan Se Achha. The routine demanded intense synchronisation and precise breath control.“Our biggest challenge wasn’t just the music; it was building chemistry as performers,” Thosar said. “For nearly three months, Nikhil travelled from Mumbai to Pune on weekends to rehearse, while we both practiced individually during the week.”Thosar discovered Rane through social media while researching international competitions. It was Rane who encouraged her to partner with him for the allied arts category. “He didn’t just guide me; he invited me to represent India in a format that pushed the boundaries of what whistling could be,” she said.While India has seen success at the convention before—Chennai’s Shwetha Suresh won two prizes, including ‘Whistling Queen,’ in 2016 — the path remains difficult for female performers. Thosar said international recognition has not yet erased the prejudice she faces at home.“There are far more opportunities for singers than whistlers, and it is even more difficult for a woman in this niche field,” she said. “When I approach organizers, many become uncomfortable. I have been told several times that audiences will not be ‘comfortable’ seeing a woman whistling on stage.”This social stigma often follows her off-stage as well. “People who appreciate my performances privately often hesitate to support them publicly. They tell me, ‘Whistle at home, not on stage.’ But whistling requires the same discipline as singing or playing a wind instrument. It requires daily riyaz, immense breath control, and technical precision.”Thosar inherited the skill from her father, who taught her the basics by whistling Hindi and Marathi melodies. To sustain the physical demands of the art, she relies on years of practice and yogic breathing exercises like anulom-vilom.For Thosar, the trophy is a symbol of defiance. “Standing on that stage with the Indian flag proved that talent has no gender,” she said. “I hope more women feel confident enough to claim every art form as their own. This win is for every woman who has been told an art form isn’t meant for her.”
