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Program and Abstracts
Indian Council for Cultural Relations. Consulate General of India in St.Petersburg Russian Academy of Sciences, St.Petersburg scientific center, United Council for Humanities and Social Sciences. Peter the Great Museum of Anthropology and Ethnography (Kunstkamera) RAS. Institute of Oriental Manuscripts RAS. Oriental faculty, St.Petersburg State University. St.Petersburg Association for International cooperation GERASIM LEBEDEV (1749-1817) AND THE DAWN OF INDIAN NATIONAL RENAISSANCE Program and Abstracts Saint-Petersburg, October 25-27, 2018 Индийский совет по культурным связям. Генеральное консульство Индии в Санкт-Петербурге. Российская академия наук, Санкт-Петербургский научный центр, Объединенный научный совет по общественным и гуманитарным наукам. Музей антропологии и этнографии (Кунсткамера) РАН. Институт восточных рукописей РАН Восточный факультет СПбГУ. Санкт-Петербургская ассоциация международного сотрудничества ГЕРАСИМ ЛЕБЕДЕВ (1749-1817) И ЗАРЯ ИНДИЙСКОГО НАЦИОНАЛЬНОГО ВОЗРОЖДЕНИЯ Программа и тезисы Санкт-Петербург, 25-27 октября 2018 г. PROGRAM THURSDAY, OCTOBER 25 St.Peterburg Scientific Centre of the Russian Academy of Sciences, University Embankment 5. 10:30 – 10.55 Participants Registration 11:00 Inaugural Addresses Consul General of India at St. Petersburg Mr. DEEPAK MIGLANI Member of the RAS, Chairman of the United Council for Humanities and Social Sciences NIKOLAI N. KAZANSKY Director of the Peter the Great Museum of Anthropology and Ethnography, Associate Member of the RAS ANDREI V. GOLOVNEV Director of the Institute of Oriental Manuscripts, Professor IRINA F. POPOVA Chairman of the Board, St. Petersburg Association for International Cooperation, MARGARITA F. MUDRAK Head of the Indian Philology Chair, Oriental Faculty, SPb State University, Associate Professor SVETLANA O. TSVETKOVA THURSDAY SESSION. Chaiperson: S.O. Tsvetkova 1. SUDIPTO CHATTERJEE (Kolkata). -
The Actresses of the Public Theatre in Calcutta in the 19Th & 20Th Century
Revista Digital do e-ISSN 1984-4301 Programa de Pós-Graduação em Letras da PUCRS http://revistaseletronicas.pucrs.br/ojs/index.php/letronica/ Porto Alegre, v. 11, n. esp. (supl. 1), s113-s124, setembro 2018 http://dx.doi.org/10.15448/1984-4301.2018.s.30663 Memory and the written testimony: the actresses of the public theatre in Calcutta in the 19th & 20th century Memória e testemunho escrito: as atrizes do teatro público em Calcutá nos séculos XIX e XX Sarvani Gooptu1 Netaji Institute for Asian Studies, NIAS, in Kolkata, India. 1 Professor in Asian Literary and Cultural Studies ABSTRACT: Modern theatrical performances in Bengali language in Calcutta, the capital of British colonial rule, thrived from the mid-nineteenth at the Netaji Institute for Asian Studies, NIAS, in Kolkata, India. https://orcid.org/0000-0003-1564-1225 E-mail: [email protected] century though they did not include women performers till 1874. The story of the early actresses is difficult to trace due to a lack of evidence in primarycontemporary material sources. and the So scatteredthough a researcher references is to vaguely these legendary aware of their actresses significance in vernacular and contribution journals and to Indian memoirs, theatre, to recreate they have the remained stories of shadowy some of figures – nameless except for those few who have left a written testimony of their lives and activities. It is my intention through the study of this Keywords: Actresses; Bengali Theatre; Social pariahs; Performance and creative output; Memory and written testimony. these divas and draw a connection between testimony and lasting memory. -
Between Violence and Democracy: Bengali Theatre 1965–75
BETWEEN VIOLENCE AND DEMOCRACY / Sudeshna Banerjee / 1 BETWEEN VIOLENCE AND DEMOCRACY: BENGALI THEATRE 1965–75 SUDESHNA BANERJEE 1 The roots of representation of violence in Bengali theatre can be traced back to the tortuous strands of socio-political events that took place during the 1940s, virtually the last phase of British rule in India. While negotiations between the British, the Congress and the Muslim League were pushing the country towards a painful freedom, accompanied by widespread communal violence and an equally tragic Partition, with Bengal and Punjab bearing, perhaps, the worst brunt of it all; the INA release movement, the RIN Mutiny in 1945-46, numerous strikes, and armed peasant uprisings—Tebhaga in Bengal, Punnapra-Vayalar in Travancore and Telengana revolt in Hyderabad—had underscored the potency of popular movements. The Left-oriented, educated middle class including a large body of students, poets, writers, painters, playwrights and actors in Bengal became actively involved in popular movements, upholding the cause of and fighting for the marginalized and the downtrodden. The strong Left consciousness, though hardly reflected in electoral politics, emerged as a weapon to counter State violence and repression unleashed against the Left. A glance at a chronology of events from October 1947 to 1950 reflects a series of violent repressive measures including indiscriminate firing (even within the prisons) that Left movements faced all over the state. The history of post–1964 West Bengal is ridden by contradictions in the manifestation of the Left in representative politics. The complications and contradictions that came to dominate politics in West Bengal through the 1960s and ’70s came to a restive lull with the Left Front coming to power in 1977. -
List of Empanelled Artist
INDIAN COUNCIL FOR CULTURAL RELATIONS EMPANELMENT ARTISTS S.No. Name of Artist/Group State Date of Genre Contact Details Year of Current Last Cooling off Social Media Presence Birth Empanelment Category/ Sponsorsred Over Level by ICCR Yes/No 1 Ananda Shankar Jayant Telangana 27-09-1961 Bharatanatyam Tel: +91-40-23548384 2007 Outstanding Yes https://www.youtube.com/watch?v=vwH8YJH4iVY Cell: +91-9848016039 September 2004- https://www.youtube.com/watch?v=Vrts4yX0NOQ [email protected] San Jose, Panama, https://www.youtube.com/watch?v=YDwKHb4F4tk [email protected] Tegucigalpa, https://www.youtube.com/watch?v=SIh4lOqFa7o Guatemala City, https://www.youtube.com/watch?v=MiOhl5brqYc Quito & Argentina https://www.youtube.com/watch?v=COv7medCkW8 2 Bali Vyjayantimala Tamilnadu 13-08-1936 Bharatanatyam Tel: +91-44-24993433 Outstanding No Yes https://www.youtube.com/watch?v=wbT7vkbpkx4 +91-44-24992667 https://www.youtube.com/watch?v=zKvILzX5mX4 [email protected] https://www.youtube.com/watch?v=kyQAisJKlVs https://www.youtube.com/watch?v=q6S7GLiZtYQ https://www.youtube.com/watch?v=WBPKiWdEtHI 3 Sucheta Bhide Maharashtra 06-12-1948 Bharatanatyam Cell: +91-8605953615 Outstanding 24 June – 18 July, Yes https://www.youtube.com/watch?v=WTj_D-q-oGM suchetachapekar@hotmail 2015 Brazil (TG) https://www.youtube.com/watch?v=UOhzx_npilY .com https://www.youtube.com/watch?v=SgXsRIOFIQ0 https://www.youtube.com/watch?v=lSepFLNVelI 4 C.V.Chandershekar Tamilnadu 12-05-1935 Bharatanatyam Tel: +91-44- 24522797 1998 Outstanding 13 – 17 July 2017- No https://www.youtube.com/watch?v=Ec4OrzIwnWQ -
P7 P16community
Community Community Staff ord Doha Sri Lankan Youth Choir P7School Doha P16 performs marks Sinhala at the opening and Tamil ceremony Of New Year Qatar National with fanfare. Library. Thursday, April 19, 2018 Sha’baan 3, 1439 AH DOHA 22°C—33°C TODAY LIFESTYLE/HOROSCOPE 11 PUZZLES 12 & 13 COVER Conned STORY How images — sometimes manipulated and altered — are shaping the seething world of our politics. P4-5 2 GULF TIMES Thursday, April 19, 2018 COMMUNITY ROUND & ABOUT PRAYER TIME Fajr 3.49am Shorooq (sunrise) 5.08am Zuhr (noon) 11.33am Asr (afternoon) 3.03pm Maghreb (sunset) 6.00pm Isha (night) 7.30pm October end of Dan’s audaciousness. Life goes on until a sudden turn DIRECTION: Shoojit Sircar of events smashes Dan and Shiuli’s lives together, into a bond USEFUL NUMBERS CAST: Varun Dhawan, Gitanjali Rao, Banita Sandhu that’s unlike any 21 year olds. The emotional connection SYNOPSIS: Dan (Varun DHawan) is living the life of any between them goes through a metamorphoses that brings out carefree 21-year-old, revolving around a bunch of friends a form of love that’s unlike any other eventually leading to an and fellow hotel interns who feed off each other’s everyday internal awakening. October is not a love story, but rather a moments, their ups and downs. Shiuli (Banita Sandhu) is one story about love. such intern at the same hotel, who at times is at a receiving THEATRES: The Mall, Royal Plaza Emergency 999 Worldwide Emergency Number 112 Kahramaa – Electricity and Water 991 Local Directory 180 International Calls Enquires 150 Hamad International -
Profile Profile
MARWAR INDIA I MARCH-APRIL 2018 20 PROFILE 21 WITCHING OVER FROM THE BUSINESS OF MAKING rakhis (an ornamental thread that serves as an amulet which sisters ritualistically tie around the wrists of their brothers on Raksha Bandhan) to something as glamorous as producing films may seem hard to conceive, but for Shrikant Mohta and Mahendra Soni it happened as if by divine intervention. Not only did the cousins’ foray into filmdom happen against all odds, but success greeted them from the get-go. The growth has continued SHOOTING unabated for over two decades since and today their company, SVF Entertainment, is the largest film production and distribution TO FAME house in Eastern India. College kids to film distributors The Mohtas originally belong to Bikaner in Rajasthan, but have been living in Kolkata for the last three generations, where they own one of the country’s biggest rakhi manufacturing companies. Rather than pick up the baton, as is the usual practice among Marwaris, Shrikant Mohta and cousin Mahendra Soni decided to turn their efforts in another direction, which led to the foundation of Shree Venkatesh Films (now renamed SVF Entertainment), which has grown phenomenally over the years, earning the sobriquet ‘Yashraj Films of the East’. So how did it all begin? “We started way back in 1995,” says Shrikant Mohta, who is 43 now and the creative muscle of SVF Entertainment. “We were two young energetic boys still in college pursuing a bachelor’s degree in commerce when we thought we can become dream merchants, but with no idea on how to sell dreams, as till then we were only involved in our family For Shrikant Mohta and Mahendra Soni, there is no business like Many of SVF's films went on show business. -
Music, Partition and Ghatak Priyanka Shah
Of roots and rootlessness: music, partition and Ghatak Priyanka Shah Vol. 3, No. 1, pp. 120–136 | ISSN 2050-487X | www.southasianist.ed.ac.uk www.southasianist.ed.ac.uk | ISSN 2050-487X | pg. 120 Vol. 3, No. 1, pp. 120–136 Of roots and rootlessness: music, partition and Ghatak Priyanka Shah Maulana Azad College, University of Calcutta, [email protected] At a time when the ‘commercial’ Bengali film directors were busy caricaturing the language and the mannerisms of the East-Bengal refugees, specifically in Calcutta, using them as nothing but mere butts of ridicule, Ritwik Ghatak’s films portrayed these ‘refugees’, who formed the lower middle class of the society, as essentially torn between a nostalgia for an utopian motherland and the traumatic present of the post-partition world of an apocalyptic stupor. Ghatak himself was a victim of the Partition of India in 1947. He had to leave his homeland for a life in Calcutta where for the rest of his life he could not rip off the label of being a ‘refugee’, which the natives of the ‘West’ Bengal had labelled upon the homeless East Bengal masses. The melancholic longing for the estranged homeland forms the basis of most of Ghatak’s films, especially the trilogy: Meghe Dhaka Tara (1960), Komol Gondhar (1960) and Subarnarekha (1961). Ghatak’s running obsession with the post-partition trauma acts as one of the predominant themes in the plots of his films. To bring out the tragedy of the situation more vividly, he deploys music and melodrama as essential tropes. Ghatak brilliantly juxtaposes different genres of music, from Indian Classical Music and Rabindra Sangeet to folk songs, to carve out the trauma of a soul striving for recognition in a new land while, at the same time, trying hard to cope with the loss of its ‘motherland’. -
A Complete Profile of Rangroop
MMMAJOR PRODUCTIONS OF RANGRANG----ROOPROOP SINCE THE INCEPTION: Total Name Of The Year No. Of Drama By Directed By Production Shows 1969-70 Michhil 12 Goutam Mukherjee Goutam Mukherjee 1972-73 Akay Akay Sunya 9 Goutam Mukherjee Goutam Mukherjee 1979-80 Kanthaswar 151 Goutam Mukherjee Goutam Mukherjee Sanskrit play: Banabhatta; Adaptation : 1982-83 Kadambari 50 Goutam Mukherjee Dr. K.K. Chakraborty Story: Subodh Ghosh 1984-85 Andhkarer Rang 62 Script: Sima Mukherjee Goutam Mukherjee Story: O’Henry Do. Prahasan 62 Script: K.K. Chakraborty Goutam Mukherjee Story: O’Henry 1987-88 Clown 110 Script: K.K. Chakraborty Goutam Mukherjee 1988-89 Bikalpa 74 Sima Mukhopadhyay Goutam Mukherjee Dwijen Banerjee & 1991-92 Bhanga Boned 130 Sima Mukhopadhyay Saonli Mitra 1992-93 Tringsha Shatabdi 5 Badal Sarkar Kaliprosad Ghosh 1993-94 Boli 11 Tripti Mitra Sima Mukhopadhyay 1994-95 Je Jan Achhey 187 Sima Mukhopadhyay Sima Mukhopadhyay Majhkhane Sima Mukhopadhyay 1996-97 24 Abanindranath Tagore Aalor Phulki & K K Mukhopadhyay Panu Santi Sima Mukhopadhyay Krishna Kishore 1998-99 53 Cheyechhilo (Story: Ramanath Roy) Mukhopadhyay 1999- Aaborto 27 Sima Mukhopadhyay Sima Mukhopadhyay 2000 2000-01 Sunyapat 34 Sima Mukhopadhyay Sima Mukhopadhyay Drama: Olwen Wymark 2002-03 Khnuje Nao 37 Adaptation: Swatilekha Sengupta Rudraprasad Sengupta Je Jan Achhey 2003-04 Majhkhane 32 Sima Mukhopadhyay Sima Mukhopadhyay (Revive) 2004-05 Sesh Raksha 38 Rabindranath Tagore Sima Mukhopadhyay Sima Mukhopadhyay 2005-06 He Mor Debota 10 (Story: Deborshee Sima Mukhopadhyay Saroghee) -
Movie Schedule (Venue Wise)
26th Kolkata International Film Festival 8th - 15th January, 2021 Movie Schedule (Venue Wise) Nandan-I 09:00 am 12:00 pm 03:30 pm 07:00 pm 09-Jan Centenary Tribute: Federico Fellini International Competition: Innovation International Competition: Innovation Special Tribute: Kim Ki Duk Saturday 8 E Mezzo in Moving Images in Moving Images Bom Yeoreum Gaeul Gyeoul Geurigo (81/2) Korlesme Shambala Bom Dir: Federico Fellini (Going Blind) (Shambala) (Spring, Summer, Fall, Winter... And 1963/Italy/138 mins Dir: Haci Orman Dir: Artykpai Suiundukov Spring) 2020/Turkey/86 mins 2020/Kyrgyzstan/86 mins Dir: Kim Ki Duk 2003/South Korea/103 mins 10-Jan Cinema International International Competition: Innovation International Competition: Innovation Cinema International Sunday High Ground in Moving Images in Moving Images Non Odiare (High Ground) Aquarium Iz Zavyazanymy Ochyma (Thou Shalt Not Hate) Dir: Stephen Maxwell Johnson (Aquarium) (Blindfold) Dir: Mauro Mancini 2020/Australia/104 mins Dir: Deepesh T Dir: Taras Dron 2020/Italy/95 mins 2020/India/96 mins 2020/Ukraine/105 mins 11-Jan Centenary Tribute: Federico Fellini International Competition: Innovation International Competition: Innovation Cinema International Monday La Voce Dellaluna in Moving Images in Moving Images The Ties (The Voice Of The Moon) Presumpciya Vinovnosti Ghost Image (The Ties) Dir: Federico Fellini (The Presumption Of Guilt) (Ghost Image) Dir: Daniele Luchetti 1990/Italy/120 mins Dir: Oleg Asadulin Dir: Sang Jun Lee 2020/Italy/100 mins 2019/Russia/92 mins 2020/South Korea/83 -
“Do-Re-Mi-Fa-So-La, It's Not Precise”: Tracking the 'Demurral' in the Bengali Lebensmusik of The
Rupkatha Journal on Interdisciplinary Studies in Humanities (ISSN 0975-2935), Vol. 10, No. 3, 2018 [Indexed by Web of Science, Scopus & approved by UGC] DOI: https://dx.doi.org/10.21659/rupkatha.v10n3.16 Full Text: http://rupkatha.com/V10/n3/v10n316.pdf “Do-re-mi-fa-so-la, it’s not precise”: tracking the ‘demurral’ in the Bengali Lebensmusik of the 90s Dibyakusum Ray1 & Amlan Baisya2 1Asst. Professor, Dept. of Humanities and Social Sciences, IIT Ropar [email protected]. Orcid: 0000-0002-9537-3277 2PhD Research Scholar, Dept. of HSS, NIT Silchar [email protected] Orcid: 0000-0002-5966-1108 Abstract This paper is on four song-texts from Kabir Suman, Nachiketa Chakraborty, Silajit Majumder and Anjan Dutt—the apostles of ‘Jibonmukhee’ Bengali songs in early 90s-- as a form of cultural negotiation with the changing political-social-economic milieu within the country. Set in the backdrop of economic liberalization, rise of right-wing Hindutva nationalism and a strong left regime in the state for more than a decade, Bengal in the 90s reacted to the vista of ‘change’ in myriad ways—‘Culture’ being one and ‘Jibonmukhee’ being instantaneously vocal within it, the four harbingers of the new language of ‘culture’— in four of their seminal texts arranged thematically and chronologically |1992-1995|-- show an ideological demurral of the urban, middle class Bengali intelligentsia in reacting to ‘change’—the ‘old’ is repudiated, the ‘new’ unacceptable. ‘Jibonmukhee’ posits a dilemma unique to Bengali literati: the journey from celebration→ trepidation→ rejection unhesitatingly culminates in escape: an escape from ‘what-could- have-been’ and not a refuge in ‘what-will-be’. -
Spanning from 1950 to 1970S, It Aspires to Bring About the Struggles and Conflicts That a Female Artist Has to Go Through Even After Two Decades of Globalization
City Pride Presents IInnddiiaann CCiinneemmaa 2016 Cinemawala Indian Cinema Cinemawala Director: Kaushik Ganguly 2015 - 105’- Bengali - Colour - India Producer: Shrikant Mohta Cast: Paran Bandopadhyay, Parambrata Chatterjee, Arun Guha Thakurta, Lama Halder, Sohini Sarkar. Screenplay: Kaushik Ganguly Cinematographer: Soumik Halder Editor: Subhojit Singha Music Composer: Indraadip Dasgupta Production Company: Shree Venkatesh films World Sales Address: Shrikant Mohta & Mahendra Soni, Shree Venkatesh Films Pvt. Ltd., 6 Waterloo Street, Kolkata - 700069 World Sales Phone: 033 30927600 World Sales Email: [email protected] Festival/Awards: Cinemawala is about a father-son relationship set against the backdrop of the fast- Winner of UNESCO Fellini award at the 46th International vanishing single-screen theatres in West Bengal. Pranb, a retired film exhibitor, has always Film Festival of India 2015 maintained himself as a true 'Cinemawala', whereas, his son, Prakash is an opportunist who has no qualms about selling pirated DVDs of feature films in town. Director’s Biography Director’s Filmography Kaushik Ganguly is an Indian director, screenwriter and actor in Bengali Khaad (2014) cinema. He is eminent filmmaker who has garnered critical acclaim for Shabdo (2013) his feature films and national Award-winning 'Shobdo'. He is known for Apur Panchali (2013) his works that explore sexuality, like Ushnatar Janye (2003), which deals with a lesbian relationship, and Arekti Premer Golpo (2010), which Laptop (2012) examines transgender identity. Rang Milanti (2011) 244 2016 Song Of The Horned Owl Indian Cinema Dau Huduni Methai Director: Manju Borah 2015 - 78’- Bodo - Colour - India Producer: Shankar Lall Goenka Cast: Reshma Mushahary, Jasmine Hazowary, Ahalya Daimary, Nita Basumatary, Ajay Kumar Boro Screenplay: Manju Borah Cinematographer: Sudheer Palsane Editor: A. -
EVENT Year Lib. No. Name of the Film Director 35MM DCP BRD DVD/CD Sub-Title Language BETA/DVC Lenght B&W Gujrat Festival 553 ANDHA DIGANTHA (P
UMATIC/DG Duration/ Col./ EVENT Year Lib. No. Name of the Film Director 35MM DCP BRD DVD/CD Sub-Title Language BETA/DVC Lenght B&W Gujrat Festival 553 ANDHA DIGANTHA (P. B.) Man Mohan Mahapatra 06Reels HST Col. Oriya I. P. 1982-83 73 APAROOPA Jahnu Barua 07Reels EST Col. Assamese I. P. 1985-86 201 AGNISNAAN DR. Bhabendra Nath Saikia 09Reels EST Col. Assamese I. P. 1986-87 242 PAPORI Jahnu Barua 07Reels EST Col. Assamese I. P. 1987-88 252 HALODHIA CHORAYE BAODHAN KHAI Jahnu Barua 07Reels EST Col. Assamese I. P. 1988-89 294 KOLAHAL Dr. Bhabendra Nath Saikia 06Reels EST Col. Assamese F.O.I. 1985-86 429 AGANISNAAN Dr. Bhabendranath Saikia 09Reels EST Col. Assamese I. P. 1988-89 440 KOLAHAL Dr. Bhabendranath Saikia 06Reels SST Col. Assamese I. P. 1989-90 450 BANANI Jahnu Barua 06Reels EST Col. Assamese I. P. 1996-97 483 ADAJYA (P. B.) Satwana Bardoloi 05Reels EST Col. Assamese I. P. 1996-97 494 RAAG BIRAG (P. B.) Bidyut Chakravarty 06Reels EST Col. Assamese I. P. 1996-97 500 HASTIR KANYA(P. B.) Prabin Hazarika 03Reels EST Col. Assamese I. P. 1987-88 509 HALODHIA CHORYE BAODHAN KHAI Jahnu Barua 07Reels EST Col. Assamese I. P. 1987-88 522 HALODIA CHORAYE BAODHAN KHAI Jahnu Barua 07Reels FST Col. Assamese I. P. 1990-91 574 BANANI Jahnu Barua 12Reels HST Col. Assamese I. P. 1991-92 660 FIRINGOTI (P. B.) Jahnu Barua 06Reels EST Col. Assamese I. P. 1992-93 692 SAROTHI (P. B.) Dr. Bhabendranath Saikia 05Reels EST Col.