BEHALA SRIJAN (Education amidst of mud, slate and dried bread) A Registered Non Profitable Social and Culture Organisation

BEHALA SRIJAN, conceptualized and registered in 2012 primarily in- stitutionalized to extend its hands for educating, nourishing and up- lifting underprivileged Children and families in all respects to achieve better and sustainable independent life. It has touched that part of society where education has lost its relevance. At BEHALA SRIJAN, we believe to support 10 children fully in all respects rather extending nominal help to 100 children with our meagre financial capacity.

In past, various programs were organized by BEHALA SRIJAN named as Naari...to celebrate the birth anniversary of Holy sister Nivedita, who dedicated her life for the women education in and in in particular. BEHALA SRIJAN invited 6 children of under privileged families of the Sunderbans of South 24 Parganas of .

BEHALA SRIJAN have also extended support to underprivileged chil- dren of Bankura and Tiljala, Kalighat Galaxy Welfare Society, Bagbazar BEHALA SRIJAN Prathmick Vidyalaya and also supported destitute children from the EXECUTIVE MEMBERS primary school of Shiv Mandir Club of Kalighat area. Ranajit Basu President BEHALA SRIJAN’s one of the motto is to propagate and popularize Hindustani Classical Music by promoting and providing proper plat- Nabanita Banerjee Secretary form to young generation talented artists for showcasing their perfor- Niladrideb Bhattacharya Treasurer mances and also to engrave Hindustani Classical Music into Young- Santanu Manna Member sters of Indian Society. Amit Halder Member Since its inception, BEHALA SRIJAN has been continuously focusing Ashoke Barui Member on the propagation and restoration of the Indian Traditional Classical Member Music and Art by providing strong platform through audio and visual Nilratan Kanjilal media in association with BIHAAN MUSIC. It felicitates the forgotten Pt Aloke Lahiri Member musicians from the urban and rural areas and preserve their works Vivek Agnihotri Member as archive. BEHALA SRIJAN arranged such programs of Vocal, Instru- Member mental and Classical Dances in Sisir Manch and ICCR Kolkatta. Have Abhijit Kundu also arranged Biathak Programme on Bengali Songs - “Ganer baithak Dr Sujata Roy Manna Member sekaal ekaal” on the occasion of Bijaya Sammelan at Shiv Mandir with Jaganath Manna Member BIHAAN MUSIC.

BEHALA SRIJAN 57/1 Siddhinath Chaterjee Road, 2Behala, - |700034 APRIL 2018West Bengal, India APRIL 2018 | 3 EDITOR’S NOTE

Friends,

First of all heartfelt thanks for such a great response for this Magazine after the release of its first edition in the month of Januray-2018. It is really fortunate to have this release in one of the India’s largest classical Music concert “Swami Haridas Tansen Sangeet Nritya Mahotsava” organized every year by Padma Bhushan and exponent Uma Sharma Ji in New Delhi. The Magazine was released by Uma Sharma Ji, Tabla percussionist Bickram Ghosh ji and Sarod Maestro Ustaad Aashish Khan Saab on 13th January-2018.

The magazine also got recognition from senior artists as well as various young classical Music artists just because of its unique feature of inclusion of all forms of art, Music and culture which presents India in actual form. The main idea behind coming out with this magazine is primarily to create awareness amongst youth about Indian Music Art and Culture.

Now this second edition again has some unique features like “Raag Maala”, “Ek Nai Disha” and many more which cannot be construed in limited pages but still we tried to incorporate as much as possible to establish our mission clearly. Actually, there are so many subtle areas of Indian culture and so many young artists, writers, upcoming musicians which needs immediate attention for actual recognition which you will find in this edition when you go through the content of this Magazine.

I thank from bottom of my heart to my team members for extending their full cooperation for continuing this dream project “Bhartiyata-Ek Kalatmak Dhristikon.”

VIVEK AGNIHOTRI Editor-In Chief-Bhartiyata

Contact: 91-9899468088 | E-Mail: [email protected]

(Self- written articals, drawings, paintings, sketches, from the viewers and readers of this magazine are most welcome free of cost at above contact details). Design By : KAMAL SARKAR | 9999028026 For Yearly subscription, please follow the link http://bihaanmusic.com/book.php Brief Note about “Behala Srijan” Testimonial By Pt. Ronu Majumdar Editor Note Shakhsiyat 6 10 Chitrakala Raag Mala...16 24 Ek Ubharta Sitara Ek Nayi Disha...28 30 Yaadein Ek Koshish...32

Drishtikon 36 Bihaan Music...40 Sur Sandhya...42

46 Bhartiyata

APRIL 2018 | 5 DR. SONAL MANSINGH A Brief Profile

he iconic cultural personality of India, Dr. SONAL MANSINGH is acknowledged as master of cultural interpretations and an exemplary T teacher who explains inter-linkages with philosophy, literature, sculp- ture and mythological parables through lectures and dance. She is a great scholar and seasoned art administrator who has performed, given lectures and conducted workshops in 90 countries of the world.

She has been unique among dancers who has mastered multiple forms from different parts of India like , and Chhau. Her concern for nagging issues of ecological imbalance, environmental protection, empowerment of women and social justice specially for weaker sections of society have led to creation of numerous path-breaking choreographies.

As the Founder-President of Centre for Indian Classical Dances (1977) she has trained several talented performers who are carrying the message of Indian culture all over the world.

Sonal’s ever vibrant creativity has given new dimensions to known repertories practiced in India, her unique contribution has been her lifelong work using & utilizing her knowledge to address socio-cultural issues through the chosen medium of Naatya-Katha (solo-dance theatre) and group choreographies, most recent being ‘Sankalp se Siddhi’ & ‘Devi Mahatmaya’, dedicated to Swachhata.

Her book ‘Incredible India - Classical Dances’ in English published by Wisdom Tree and books on her ‘Devpriya’ in Hindi written by Yatindra Mishra & ‘SONAL MANSINGH – A Life Like No Other’ by Sujata Prasad have gained wide readership. She had also contrib- uted number of articles on dance and Indian culture in prestigious magazines and newspapers.

She is the recipient of the high civilian honours of Padma Bhushan (1992) and Padma Vibhushan (2003) from the President of India.

She is also nominated as one of the NAVARATNAs for Swachh Bharat Abhiyaan by Prime Minister Shri Narendra Modi. She is carrying forward the message of Swachha, Swastha and Shreshtha Bharat through Arts & culture all over the country, be it tribal belt of Gujarat or far-flung areas of North-East.

6 | APRIL 2018 Shaksiyat

Her significant contribution to Indian culture has been recognized with numer- ous awards and honours notably Central award, Nritya Choodamani, Kalidas Samman, Hanumant Samman, Kameshwari (from Adi Shak- tipeeth of Kamakhya in ), Three honorary doctorates - Doctor of Sciences (Honoris Causa) from G.B. Pant University, Uttarakhand, D.Litt Honoris Causa from Sambalpur University, Orissa and Honorary Doctorate from KIIT University, Bhubaneswar, was appointed as the Honorary Professor of the University of Delhi. Currently she is visiting professor at Banaras Hindu University (BHU).

She has served as chairperson of National Sangeet Natak Akademi and serving 2nd term as Trustee of Indira Gandhi National Centre for the Arts. She is also a member General Assembly Indian Council for Cultural Relations.

She is Trustee of Ritambhara Gramin Vikas Trust, Saputara, District Dang, Gujarat where she gives workshops and motivates the tribal girls who study at RITAMBHARA Vishwa Vidya Peeth.

Her tele-films DEVI DURGA and KRISHNA CHARIT commissioned by Doordarshan in 1993 and 1994 saw hundreds of re-runs.

Prakash Jha made documentary on her SONAL which won National Award.

She conceptulised Dance Reality Show, Bharat ki Shaan - RUMJHUM viz Indian dances v/s Non-Indian dances for DD National which had 56 episodes. Her wisdom as Guru-Shreshtha (Supreme Master) on the show was lauded globally.

Sonal speaks several Indian languages in addition to German. Her training in classical Indian music (vocal) systems both from South and North as well as the intricacies of the indigenous music system of Odisha (Orissa) add rare depth and dimension to her work. Her experience and knowledge of global dance and music is another important factor in moulding a nobler and inclusive vision of per- forming arts as instruments for balanced evolution and enrichment of successive generations.

Lecture-cum-presentation also on interpretation on Indian traditions, Literature, Iconography, philosophy etc.

To share your views, visit her website: www.sonalmansingh.in OR Facebook: www.facebook.com | sonalmansingh.indianculture www.facebook.com/SBM.sonalmansingh Twitter: @sonal_mansingh

APRIL 2018 | 7 Exquisite Performance by a GRAND ARTIST

8 | APRIL 2018 Shaksiyat 22 Carat Dancer Sonal Mansingh who turned 75 has proved her grandfather, who called her Sona, right She just entered 75th year (April 30) of her life on this planet. She has spent over 60 years dancing, 50 years being a star performer, 40-plus years running an institution and trained hundreds of stu- dents in the past four decades. And yet, Sonal sits calmly as if all those years and work are just a wisp of scented breeze.

Her grandfather called her Sona to symbolise gold. He also happened to be Governor (Bombay, Mysore) and Bangalore Raj Bhawan remained one of her childhood addresses.

After being trained by assorted teachers in Bharatanatyam, it was decided that the Governor’s granddaughter be taught by U.S. Krishna Rao and wife Chandrabhaga. But they were not impressed by the trappings of Raj Bhavan. “I will not come there to teach, like other students she will come to my school Maha Maya,” thundered the over 6 ft, broad shouldered, chemistry teacher-turned-dancer, whose best friend was the iconic Ram Gopal.

Spunk And Substance

She is the only Delhi dance diva who combined spunk with substance. Her word was valued. Ministers and babus quiv- ered in front of her righteous stands and fights for justice in the system. Appointed chairman of Central Sangeet- NatakAkademi by President Kalam, she tried to clean the stables but Delhi politics and operators created obstacles.

Did they succeed? Marginally, momentarily, but they could not destroy the shakti in her. The fighter in her rose again and deviKamakhya became her refuge, guide and support. Her institution has come up brick by brick, rupee by rupee. Today in its 42nd year, it’s a grand edifice.

Last fortnight, her students assembled at Delhi’s Kamani auditori- um with cake and all, showed how she is an influence on many.

When a peacock decides to stand and dance and spread its wings, the whole world stops to watch. What an oeuvre, what a life! Like no other.

Ashish Mohan Khokar MAY 17, 2018 | The Hindu APRIL 2018 | 9 About IMFPA Mouth and Foot Painting Artists Association (MFPA)

he Mouth and Foot Painting Artists Association (MFPA) is an international, registered society of T disabled artists, wholly owned and run by the artists themselves to meet their financial needs. Members paint with brushes held in their mouth or feet as a result of a disa- bility sustained at birth or through an accident or illness that prohibits them from using their hands.

In 1956, a polio victim, Erich Stegmann grew up with disa- bled arms, and yet built a highly successful career in Germa- ny by painting with a mouth-held brush. It was Stegmann’s belief that if painters with similar problems formed a co-op- erative, it would be possible for them to live by their artistic efforts and enjoy a sense of work security that until then had eluded them. This aim was to be achieved by the marketing of their work in the form of greetings cards, calendars, prints and illustrated books. The result has been a unique world- wide art movement called the MFPA Association.

With over 800 artists from 74 countries, the MFPA instills in its artists a sense of self-respect and dignity that comes from earning an independent, honest and secure livelihood through the sale of their artwork.

In India, the Association currently supports 20 member art- ists from across the country; The artists come from a diverse cultural background spread across the states of Maharashtra, Jammu & Kashmir, Gujarat, Uttaranchal, Andhra Pradesh, Ta- mil Nadu and Kerala. Members work individually from their homes and regularly submit artworks to the Association

Contact Details:

Mouth and Foot Painting Artists (India) A-401 Dipti Classic, Suren Road, Andheri (East), Mumbai, Maharashtra, India. Pin Code: 400 093 E-mail: [email protected] Phone: +91 (22) 4009 8877 | Fax: +91 (22) 4009 8899

10 | APRIL 2018 chitrakala

APRIL 2018 | 11 BANDENAWAZ NADAF

andenawaz Badshah Nadaf was born into a poor family in Mumbai on 5th February 1987. However, his parents were devastated to discover that Bandenawaz had come into this world with a birth defect of both his upper limbs i.e. BRight hand with a very short stump and the absence of a left hand. Bandenawaz’s father was a driver and his 2 broth- ers are labourers. His mother is a housewife. However, despite their difficulties, Bandenwaz’s family helped him to learn to write with his foot. He attended a Hindi medium school upto Class VIII and was a very good student. Slowly his love for art blossomed and he began to paint with his foot. Soon he became an accomplished foot painter and won prizes in several Inter-school and national level art competitions in India. Bandenawaz is totally independent in the activities of daily living like eating, dressing, shaving, and bathing, etc. He is also a very good cook and can play the tambourine. He is an excellent swimmer and won 2 gold medals in the National Swimming Championship for the Disabled. He is also a Yellow Belt in Karate and also learned to drive four wheeler on his own. Overall, other than being an accomplished foot painter, he is a wonderful sportsman who has participated in the Mini Olympics for the Disabled and won several prizes in various disciplines.

DOB: 5th February 1987 Place of Birth: Mumbai Painting Style: Foot Painter Member of MFPA since: 2015 Nationality: India

12 | APRIL 2018 chitrakala

APRIL 2018 | 13 SRILEKHA MANDALAPALLI

orn with a rare congenital condition known as Arthro- gyposis Multiplex Congenita that has almost paralyzed Bboth her limbs, Srilekha Mandallapalli is confined to a wheelchair and requires help with all her daily chores. Despite her tragic health condition, Srilekha’s love for art blossomed at a very young age but her disability never stopped her from becoming an accomplished mouth painter. After completing her graduation in 2003, she started fabric painting soon after and graduated to oil painting in 2007. Her main aim is to motivate and help other with disabilities like herself.

DOB: 8th June 1982 Place of Birth: Hyderabad Painting Style: Mouth Painter Member of MFPA since: 2013 Nationality: India

14 | APRIL 2018 chitrakala

APRIL 2018 | 15 Ragamala is a set of miniature paintings depicting var- ious musical mode, Ragas, of north Indian Music. Each A painting is accompanied by a brief inscription in the form of poems that suggests the mood of the Raga in its various aspects and devotion.

Ragamalas were created in most centres of Indian painting, but in majority of cases the identity of the painters and poets remains unknown. Interpretation of inscriptions regional imagery helps us identify Ragamalas of particular periods and localities.

Medieval Hindustani Musicians associated each raga with a deity, naming the Raga, perhaps as the means of memorising the melodic structure. Intrigued poets of late medieval period then personified the ragas and elaborated their tales in vivid verbal imagery. These stories, along with other influential texts on Indian Classical Music, provided the poetic source of Ragamala paintings.

Hindu deities personify the ragas and their raginis, the ‘wives” of the ragas. Sitting in the centre of the row Bhairava Raga is visualised as the many-armed god Shiva, his body smeared with holy ash, with his bull Nandi at his feet. To the far top right,. The green Megha Raga is identified with the deity Vishnu; he wears a garland of flowers and a peacock rest rests at his feet.

Ragamala has proved to be an exact pictorial representation of Indian Art and Music. In our edition, we have tried to revive this tradition of Ragamala by beautiful paintings of Ragas by an artist Sushil Mishra and the inscriptions by art in herself Pragya Pyasi whose writings/poems will take you to another realm of music 16 | APRIL 2018 which has divine vibrations. ragamala Loj jaxHkhus

jkx iwfj;k ÄukJh lqugjh ykfyek dk vaÄsjs dh ftOgk ij tc ?kqyrk gS Lokn gksrs gSSa ,djl jkf= vkSj mtkl iape dh Á£jrk ,oa ÄSor dh dkseyrk ds lkFk

APRIL 2018 | 17 xqtZjh rksM+h mxrs lw;Z ds lkFk ugha mxrs eu esa vkl ds vadqj ugha feVk ikrh ykfyek mldh vaÄdkj ds vkoj.k dks vks<+k tkrh gS ftls fu’kk ncs ikao ;k fQj eu esa gh mit vk, gksa tSls fujk’kk ds d.k volkn ls Hkjs xkrh gS fQj Hkh fojfg.kh ihje; vkYgkn dks e`xu;uh ds uSuksa lh xwtjh dh Lojygjh

18 | APRIL 2018 ragamala

jkx rksM+h ihM+k fojgh dh j >j vJq cgrh u;u lf[k;k dh tkM+h djrh O;Dr fojg vuqie vfr jkx rksM+h

APRIL 2018 | 19 ÁfrfcEc dk’k gksrs Ád`fr ds Hkh gkFk Fkke ysrh fdlh o`{k dh m¡xfy;k¡ esjs ,dkdh eu dh Mksj fu’Ny Li’kZ dh vuqHkwfr djrh foHkksj vkYgkndkjh laxhr esa gksrk vkea=.k Ácy ftthfo”kk ls Ádk’keku gksrk Hkksj dk vkaxu uSjk’; fu’kk ds vakpy esa Hkh gksrk lq[k fpajru

Lianu dSlk vuwBk gksrk gS uk lq[k vkSj nq[k dk lacaÄ tSls ,d nwljs dh ÁfrNk;k nq[k ds ihNs gh rks vkrh gS lq[k ds dneksa dh vkgV vk¡lqvksa ds ckn gh rks ÁLQqfjr gksrh gS eqLdku dlus ds ckn gh rks dlus ds ckn gh rks lqj esa Ökad`r gksrs gSa oh.kk ds rkj nq[k dh m¡xfy;k¡ gh rks lgstrh gSa lq[k ds nwfÄ;k mtkys dks feVkus vUÄdkj

20 | APRIL 2018 ragamala

laxhr ,oa fp=dyk ds vfHké lEcUÄ ls dksbZ Hkh laxhr Áseh ;k fp=dkj vufHkK ugha gSA lfn;ksa igys ls jkxekyk fp= gekjh lkaLd`frd fojklr dh vewY; Äkrh ds :i esa fo|eku gSaA ;|fi jkxekyk fp= laxhr lkfgR; ,oa dyk ds la;qDr lEcUÄksa ds ikjaifjd mnkgj.k ÁLrqr djrs gSa ijUrq os fp= ewy :i ls dYiuk vkÄkfjr gh gSaA vr% laxhr ,oa fp=dyk ds lEcUÄ dks ,d uohu fn’kk nsus dk Á;kl fd;k gS fp=dkj lq’khy feJk usA varjkZ”Vªh; [;kfr ÁkIr fp=dkj Jh tfru nkl th ds lgk;d jg pqds lq’khy feJk u dsoy ,d fp=dkj gSa oju ,d dq’ky flrkj oknd] QksVksxzkQj ,oa xzkfQDl fMt+kbuj Hkh gSaA laxhr ls tqM+s gksus ds dkj.k oskkLrzh; laxhr dh ckjhfd;ksa dks c[kwch le>rs gSa blhfy, muds fp=ksa esa lkaxhfrd rRo vfHké :i ls –fVxr gksrs gSaA jkxekyk fp=ksa esa jkxksa ds dkYifud Lo:i dks fpf=r fd;k x;k gS ijUrq lq’khy }kjk fp- f=r d`fr;k¡ laxhr lqurs gq, ctk;s x, jkx dh vkfRed vuqHkwfr dk fp=.k gSaA mUgksaus jkx esa Á;qDr Lojksa ,oa Hkkoksa ds vewrZ ÁHkko dks ewÙkZ :i ds lkFk dgha dgha vewrZ :i ls Hkh fpf=r fd;k gSA mudk ekuuk gS dh laxhr ,d vewrZ dyk gS vkSj mldh uSlfxZd vewrZrk dks vewrZ :i ls fpf=r djds gh ge laxhr ,oa dyk ds lEcUÄ ds fp=.k ds lkFk U;k; dj ldrs gSaA ÁLrqr fp=ksa esa ls jkx iqfj;k ÄukJh] rksM+h ,oa xqtZjh rksM+h ds fp= iafMr lat; canksik/;k; ,oa Mk- fgeka’kq fo’o:i }kjk fd;s x, oknu dks lqurs gq, gh fpf=r fd;s x, gSa ,oa lkFk esa ÁLrqfr;ksa dh la;qDr Hkkoukvksa ds Áfriknu ,oa kCnkadu ds ,d Á;kl gSaA

APRIL 2018 | 21 Sushil Kumar (Artist) DOB: 2nd August-1981 Address: Jayanagar/Jeypore/Koraput, Orissa-764005 Email: [email protected] | [email protected] Contact: 09450076078

• CSJM University Kanpur - 2010-11 • Lalit Kala Acedemy Lucknow - 2012 • Lalit Kala Acedemy Bhubaneshwar - 2013

WORK SHOPS • Indraprasth Academy, Jhansi (U.P.) - 2003 EDUCATION • J. N. V Unnao (U.P.) - 2006 M.A. (drawing and painting) from Kanpur University B.F.A. • Aarohan Jhansi (U.P.) - 2007 and 2008 in Painting from Indira Kala sangeet University Khairagarh. • Jyepore Odisha organized by TWISHA: Multimedia training from Arena multimedia Kolkata. A Ray of Hope - 2012 • Malyavant festival malkangiri - 2013 PROFESSIONAL EXPERIENCE • Saraswat Vidya Mandir Jyepore (Odisha) - 2014 Freelancing artist since 2002 • Bal bhavan Kanpur (U.P.) - 2014 Freelancing in computer graphics (Photo editing, Creating & Developing logo, Card Designing, Cover page Conducted several workshops in remote villages in Odisha designing, etc.) since 2002. with tribals and unpreveliged since 2013. Free lancing Photographer since 2005 Worked at JDCA (Jatin Das Center of Art) as an Art assis- He adopted a village named KUMHARPUT in Odisha, tant from 2002 to 2005 where residents earn their bread butter by pottery making. Worked as Director In charge in Aarohan, Jhansi (NGO for As the Director of TWISHA he decided to give these village promotion of Music and Art) from 2005 to 2009. talents an artistic approach and started teach them the intricacies of terracotta work. PROFESSIONAL ACTIVITIES • SOLO EXHIBITIONS Along with Kumharput he frequently visits nearby villages • State museum Jhansi (U.P.) - 2002 as Dighapur, Lachhanaguda,Anta etc. to nurture rural and • Town Hall Jeypore (Orissa) - 2003 tribal talents. • CEFNA - A series of charity Exhibitions for needy PERSONAL COLLECTION artists in various cities of U.P. - 2006 • Bhubaneshwar Lalit Kala Academy • Lalit kala academy Lucknow - 2009 • Odisha Modern Art Gallery (Bhubaneshwar) • Jay Narayan vidya mandir, Kanpur - 2010 • Mrs. Sheela Dixit- Fromer CM Delhi, • Lalit kala academy Lucknow - 2011 • Dr. Chandra Pal Yadav - MLA, Jhansi GROUP EXHIBITIONS • DM office Jhansi • I.K.S.V. Khairagarh - 2002 • Pt. Sanjoy Bandopadhyay - Dean - Faculty of Music, • St. Xavier’s Society Kolkata - 2003 • Rabindra Bharti University (Kolkata) • College of Visual Art (Kolkata) - 2003, 2004 • Mr. Rajesh Shukla - Art Critic (Delhi) • Fine Art Academy (Kolkata)- 2004 • Mrs.Neerja Shrivastava (Bhopal) • Sanjay Gupta( Delhi) • Sathi Dutta (Kolkata) 22 | APRIL 2018 ragamala Pragya Pyasi (Poetess)i DOB: 13th September-1979 Address: Quarter No. 28, Jawahar Navodaya Vidyalaya Mana Camp Raipur, PIN- 492015 E-mail- [email protected] Mob- 07400849513

Presently posted in Jawahar Navodaya Vidyalaya, Mana Camp, Raipur

ACHIEVEMENTS • National Scholarship from Ministry of Human Resource Development - 2001 • Yuva Vani Artist of AIR Chattarpur from 1997 to 2000 EDUCATION Runner up - Inter University National Youth festival 2001 Ph.D (Swatantryottar kaal me samaaj me aaye pramukh • Winner - Inter University Zonal Youth festival 2000 parivartano ka bhartiya shastriya sangeet par prabhaav: • Winner - Sangeet Natak Academy Lucknow gayan evam vadan ke vishesh sandarbh me)-Bhatkhande State Level Competition1999 Sangeet Sansthaan Sam Vishwavidyalaya Lucknow, 2017 • Winner - Sangeet Natak Academy Lucknow • UGC NET - 2012 Regional Level Competition 1998 • M.Phil (Sitar)- Indira Kala Sangeet • Winner - University Youth Festival Bundelkhand Vishwavidyalaya Khairagarh, 2003 University - Classical 2000 • M.A. (Sitar) - Indira Kala Sangeet • Winner - University Youth Festival Bundelkhand Vishwavidyalaya Khairagarh, 2002 University - Light Music 2000 • B.A. (English Literature, Hindi Literature and Sociology) - Bundelkhand Vishwavidyalaya Jhansi, 2002 PROFESSIONAL EXPERIENCES • VID (Sitar) - Indira Kala Sangeet • Served Bhartiya Sangeet Mahavidyalaya, Vishwavidyalaya Khairagarh, 1996 Jhansi from 1997 to 2000 • Sangeet Prabhakar (Sitar)- • Served Indraprasth Acedemy Babina Prayag Sangeet Samiti Allahabad,1996 Aug 2003 - June 2004 • Diploma in Vocal-Prayag Sangeet Samiti Allahabad, 2000 • Serving Jawahar Navodaya vidyalaya since 2004 • Appointed as External Examiner by Indira Kala HER PUBLICATIONS: Sangeet Vishwavidyalaya Khairagarh • Music Therapy : An Experiment With • Presently posted in Jawahar Navodaya Vidyalaya, My Students published in 2011 Mana Camp, Raipur • Sangeet me doorasth shikshan : Sambhaavanaayen published in 2011 PROFESSIONAL ACTIVITIES • Impact of Globalisation on Indian Music • Directress of NGO Aarohan for five years (2004 to 2009) After Independence published in 2012 • Secretary of NGO TWISHA : A RAY OF HOPE since 2012. • Conducted several workshops for students. PROFESSIONAL EXPERIENCES • Organized a number of programs and exhibitions in various cities. • Served Bhartiya Sangeet Mahavidyalaya, • Performed in various cities on reputed stages including Jhansi from 1997 to 2000 Sangeet Natak Academy Lucknow. • Served Indraprasth Acedemy Babina Aug 2003-June 2004 • Participated in several Regional and National level cultural • Serving Jawahar Navodaya vidyalaya since 2004 meets during service in Navodaya Vidyalaya Samiti. • Appointed as External Examiner by Indira Kala Sangeet Vishwavidyalaya Khairagarh APRIL 2018 | 23 CHIRAG KATTI Sitar Vaadan ka Naya Chirag

hirag Katti, fondly called as ‘Sitar Vaadan ka Naya Chirag’ (a new star in the field of sitar), is one of the most gifted and talented Cmusician whose youthful exuberance and persona is well expressed through his music. Learning Sitar from his father Pt.Shashank Katti, Chirag is an ‘A’ graded artist of A.I.R (All India Radio) and a Diploma holder in music from Mumbai University. Chirag is one of the most promis- ing Sitarist in the field of Indian classical music A recipient of the prestigious ‘Surmani’ award, Chirag is one of the youngest musicians recorded by Saregama H.M.V, the oldest and biggest record label company existing in India . At this young age Chirag already has many albums to his credit with reputed companies like HMV-Saregama, Times music, Inner Splendor (New York) Chirag has not only won many awards but has also performed on many television channels, radio and concerts in India and abroad. Apart from his 9 classical solo USA tours, he has also performed in Japan, South Africa, Dubai, Bangkok.

24 | APRIL 2018 ek ubharta sitara

As stated by Rave (International Magazine) - ‘There is little doubt that Katti has enormous talent-his playing is both studied and expansive, and he tackles difficult raags with panache. Also, his sitar skills bear the mark of years of practice’. • Chirag performed as a classical soloist at Tokyo Radio Japan when he was only 16 years old. • Chirag has been awarded the scholarship for Sitar by the Ministry of Culture New Delhi. (Government of India). • Chirag is an empanelled artist of Indian Council for Cultural Relations- ICCR

Apart from classical solo concerts Chirag also performs with his fusion band ‘Sitar Rhapsody’ Chirag has also worked for films with many music-di- rectors like Pyarelalji (Laxmikant-Pyarelal), Pritam ,Sal- im-Sulaiman, Ustad Taufiq Qureshi, Amit Trivedi,Sachin Jigar, Monty Sharma, to name a few. • What is your greatest inspiration for opting Music in your life? Answer: Frankly speaking, I don’t know; because Music came very naturally to me. It was in my family. So as a toddler I started by imitating what my father was doing. That’s how I started playing with the toy Sitar. • How do you define Guru Shishya Parampara? • What is the basic quality which is required to be Answer: In India, Guru Shishya Parampara is an ancient a musician? method of teaching, wherein the student not only learns Answer: One should be a good listener, ob- the music or the Art form, from his guru but also stays server, disciplined, dedicated, focused and with him and tries to grasp whatever the Guru has to offer. have lot of patience and perseverance. As far as I am concerned, I was born in my Guru’s house... • Can you please tell something my father. Fortunately for me, I didn’t have to search for a about your Guru and Gharana? Guru; was blessed to have one in the form of my father. Answer: My Guru is my • How you celebrate Guru Poornima? father Pt. Shashank Katti. Initially Answer: By offering prayers to God, our spiritual (Adhyat- he acquired the knowledge of mik) guru and to the Guru who taught us this Art form. classical vocal music from his mother and then learnt from Pt. • How do you define Complete Surrender? K. T. Bhatawdekar, who was one of Answer: The way a baby has complete faith and belief the senior most disciples of Ustad when he/she is lifted in the the air by the mother; that Vilayat Khan Saheb. So I belong to the the mother is going to catch him safely, similarly one has Imdadkhani Gharana. But having said to have complete trust and belief in your Guru. that, my father always encouraged me to listen to all the Artists, be it an instrumentalist or a vocalist from different gharanas, and try to adapt whatever I like and present it in my own way. APRIL 2018 | 25 • What is your idea about choosing • How much time you spent in a Music, as career? day for practice? Answer: Well, it’s not an easy thing Answer: I don’t count. But I try and and it’s not for everybody. One should be in this Subject (Music) consult to their Gurus and see if they for as much time as possible. are able to survive on Music alone. • What according to you should be • What personal advice would you emphasized during practice? give to someone wanting to pur- Answer: Correct Riyaaz or practice. sue this career? It’s what you practice that is im Answer: My advice would be- It’s not an portant...not how many hours easy career to choose. It has lot of chal- lenges and struggle. You have to work • What is the response you are very hard throughout your life to attain getting from India wherever you your goals or to even sustain them. perform? Answer: Well, I have been lucky • What are typical mistakes people enough to get some good r make when trying to pursue this sponses from all over the country career? and abroad. I wish and hope peo Answer: This field needs lot of pa- ple keep blessing me as they do. tience and perseverance. Nothing comes easy. Years and years of con- • What you are expecting from sistent practice is needed. After that Audience? Answer: To have discipline during too the struggle doesn’t end. If you the concert and have basic knowledge about the genre are a performer, every concert is like an exam wherein you of music they are hearing. Even if they don’t they should have to excel. Nowadays people want everything quickly. be good listeners. They want to learn fast, and start performing and get name fame and money even quicker. But that’s not how it works. • What is the greatest achievement you have ever Until and unless you spend those many years properly achieved in your musical journey? The Most Happiest learning and doing your Riyaz, you won’t sustain for long. Moment Also. Answer: There are quite a few moments where you feel • If you had to do it all over again, would you still choose happy in this journey. Like when you are blessed and this career? Would you do anything differently? applauded by some senior legendary Artists you feel you Answer: Yes, I would still choose this career and I don’t are on the right track. want to change anything. • How you advise for teaching music to children? • How do you get people to take you seriously as a musician? Answer: It should be started from a very early age. Try Answer: Through your Riyaz. As they say ‘Action speaks loud- and make them enjoy the subject. Make them hear differ- er than words’ So once your Riyaz and Music start speaking, ent Artists.Take them to different music concerts.Parents automatically people will start taking you seriously. should create interest in them. • Why you choose this particular instrument? Answer: As I mentioned before it came naturally to me as • Lastly, How’s your life going on… Answer: Life is going very good. By God’s grace and Par- my father is also a Sitarist. Thats way I can say the instru- ents and all well wishers blessings things are moving and ment chose me or God chose me to play this beautiful shaping up at a steady pace. instrument Sitar.

26 | APRIL 2018 ek ubharta sitara

APRIL 2018 | 27 The inauguration cere- SAURABH mony took place amidst the holiness of ‘Shrikr- VARTAK ishna Dhyan Mandir’, a meditation hall in Pune. A Young Flautist The presence of the ShriKrishna idol in the mandir and the flute aurabh Vartak, a young flautist in Pune started his legend himself was not flute academy to spread Indian classical music and a mere coincidence. It to encourage the connoisseurs of music to learn S meant many blessings to the great initiative of Saurabh flute. Saurabh had always dreamt to start a flute academy Vartak. The inauguration ceremony took place with the to carry forward the legacy of his Guru, Padmavibhu- legend leaving his impressions on the logo of Saurabh’s shan Pt. Hariprasad Chaurasia. Pune also lacked a music Flute academy in the form pf his autograph. academy dedicated to flute. Motivated by an intention to give an opportunity for aspiring flute learners in Pune, Pandit Hariprasad Chaurasia, the master of the North Indi- he decided to lay the foundation of a flute academy. In an bamboo flute, expressed his feelings on the occasion. 2018, his dream came true and the day he had waited for He said, “I am happy that Saurabh is initiating this acade- long, arrived. On the 21st of April 2018, Pandit Hariprasad my. Aspiring flute learners from Pune will not have to travel Chaurasia inaugurated ‘Saurabh’s Flute Academy’ which to other cities now.” has over 50 flute learners. He blessed the music lovers in the audience and motivated them with his inspiring words. He enlightened everyone 28 | APRIL 2018 with his deep thoughts on Indian classical music. He spoke ek nayi disha of the need to make classical music mainstream and its consequent manifold benefits. He said there is a vast dif- ference between ‘riyaz’ during his generation and today’s generation. The advancement in technology is a crucial factor that has been influencing the ‘riyaz’. inspite of the digital revolution he strongly believes in Guru-shishya tra- dition in classical music. He says, “In Indian Classical music, Guru is stronger than the God. The disciple should worship his Guru with a similar devotion. One can understand the nuances of music only with the able guidance of his Guru. Guru can help in deep understanding of each note and this can help in the attainment of the eternal the bliss in music. Follow the guru religiously and have immense trust in him. This trust and devotion will help you progress in music.” Article by : Chitkala Mulye He appealed the students to opt traditional methods of learning music. He also said that the longer routes help reach the goal and sustain success forever. But, shortcuts will give you success only for a short period of time.

He praised the new generation for their boldness and con- fidence and said that the kids today are highly motivated and are strong in their skills and art.

Listening to the legend was a food for thought for all mu- sic lovers present. His thought provoking words sowed the seeds for more attempts to popularise classical music. The event was a reminder that, noble initiatives by passionate musicians like Saurabh Vartak can provide new avenues for the youngsters to excel in the world of classical music.

SAURABH’S FLUTE ACADEMY Shri Krishna Dhyan Mandir Meditation Hall, Bhakti Marg lane, Law college road, Pune

Saturdays Batch (Every Saturday) 8.30 am to 9.30 am Sundays Batch (Every Sunday) 8.30 am to 9.30 am Weekdays Batch (On every Wednesday) 6.30 pm to 7.30 pm & 8 pm to 9.30 pm

Contact number - 8007728253 Mail: [email protected]

Online Skype Sessions are also conducted

APRIL 2018 | 29 KANTHE MAHARAJ An Unforgettable Tabla Maestro

anthe Maharaj, a famous Indian Vadya Shiromani of the Banares Gharana, was born in the year 1880 Kin the Kabir Chaura Muhallah of the Varanasi city. And he has passed away at 1st August in the year 1970 (at his 90) in the Varanasi as well. He was very profes- sional tabla player of the India and had performed at many places all over the India as well as outside the country. He was trained by the most renowned celebrity, Baldev Sahaya. Along with the Baldev Sa- haya, he was a court musician of the Nepal. He lived most of the time of his life in the Calcutta city. Later, he taught his tabla playing activity to his many dis- ciples named Badri Maharaj, Krishna Kumar Gangu- li, Nanku Maharaj, Ashutosh Bhattacharji, Ramnath Misra, Kishan Maharaj, Shamta Prasad (also known as Gudai Maharaj), Nanhe Sahaya and Sital Misra. Kanthe Maharaj Tabla He got the tabla playing property through his gener- ation as his father named Pandit Daleep Mishra, was also an outstanding tabla player. His father taught him all the important lessons of the tabla playing and later he was taught by the Baldev Dahayaji. It is considered as; the Kanthe Maharaj was the first tabla player who has presented the stuti means the praise of Lords through his Tabla. Around 70 years he entertained the whole world with his great tabla plying. In 1954, he made a tabla playing record for about two and half hours. He was very famous personality, al- ways renowned for playing the different style tabla. He was the great tabla maestro who could generate unique and wonderful varie- ty of tones from his tabla for any type of rag. It is also considered that he was practicing daily with a slow ‘Na Dhin Dhin Na’ whenever he wanted to be concentrated. He is still and will always be remem- bered by the people as a great tabla maestro.

30 | APRIL 2018 Yaadein

Awards and Recognitions

• He was awarded with the Sangeet Natak Academy award in the year 1961. • He made a record of playing tabla for about 2 and ½ hrs in the year 1954.

Disciples of KANTHE MAHARAJ

Noted among his disciples were: • Ashutosh Bhattacharji, • Nanhe Sahaya, • Badri Maharaj, • Nanku Maharaj (son-in-law), • Kishan Maharaj (nephew), • Ramnath Misra, Shamta Prasad (Gudai Maharaj) • Krishna Kumar Ganguli (Natubabu), • Sital Misra.

APRIL 2018 | 31 Initiatives by BEHALA SRIJAN

OBJECTIVES OF SHRUTI NAAD Music Concert

EHALA SRIJAN, a non-profit registered Society, based in Kolkata, is working for the promotion of Indian Classical Bmusic across the select places in the state of West Bengal. In this attempt of ours, we are trying to promote the upcoming talent- ed and unrecognized artists of music and art by providing them a proper platform of performance for their musical skill development and eventually achieving recognition.

Shruti Naad Music Concert is one of such endeavours organised by Behala Srijan. Its objectives are as follows-

• To give proper platform to underprivileged and unrecognized talents to showcase their potentials and thus giving them scope to be absorbed in the main stream of the society.To enhance self confidence level in the upcoming, unrecognized talented artists.

• To endure our rich heritage, culture, our musical paramapara, creative art of India and pass them on to the new generation.

• To help the audience and music lovers enjoy and move away from their day to day hectic lifestyle, official targets, job load and family responsibilities. To give them opportunity to relax and sooth their ears by listening to good music which will give them a feeling of peace in their mind.

• To help the youth of today develop their personality by engaging themselves in constructive and positive thoughts. This will help them to keep themselves away from wrong habits.

32 | APRIL 2018 ek kosHish

APRIL 2018 | 33 EVENT - Shruti Naad dated 22nd April, 2018 Shruti Naad - Program on Indian classical Music and rendition and dance, audio drama. Program held on 22 April 2018 at Khardah, North 24 Parganas, West Bengal. Underprivileged children were gifted with pastel colours and water bottles. Senior artists like Niladridev Bhattacharya and Debarati Chakraborty performed along with young and up-coming talented artists on the same platform. The participant artists and revered guests were felicitated. EVENT - Health Awareness Camp 15th April, 2018 On 15th April 2018 the whole team of Behala Srijan went to Sonagaon, a remote village in Sundarban, South 24 Parganas of West Bengal. There they organised a health awareness camp and distributed stationery, art materials, bags and other gifts among the underprivileged children to boost up their interest in going to school. Behala Srijan also extended their hand of financial support to help a few of these children to attend extra coaching classes. The Children have excelled in their school exams after getting 34 extra coaching | APRILin English 2018 and Mathematics. ek kosHish

APRIL 2018 | 35 –f”Vdks.k

“–f”Vdks.k” ,d ,slk vuqHkkx gS ftlds ek/;e ls ge Hkkjr ns’k dh laL—fr dks dyk vkSj laxhr ds ek/;e ls mtkxj djrs gSA ,d vksj ns[kk tk;s rks ftl ns’k esa dyk vksj laL—fr dk bruk çknqHkkZo gS] bruk vkd”kZ.k gS] ogh dqN ,sls oxZ] leqnk; gS ftUgksaus laxhr ds {ks= esa cgqr mR—”Brk çkIr dh gqbZ gS ijUrq mudk vHkh lgh ek;uks esa lkekftd :i ls inkZiZ.k ugha gqvk gSA lgh ek;us esa ns[kk tk;s rks fdlh us cgqr T;knk rcTtks Hkh ‘kk;n ugha nh D;ksfd ik’pkR; laxhr us vkt ds bl dy;qx esa oks txg cuk yh gS ftldk Lo#i dqN le; ds fy, vkidks ilan vk tk;s ij oks eqX/k ugha dj ldrk] vkuan ugha ns ldrkA vkuan dh ifjHkk”kk dkQh lq{e gS vkSj tks pht ftruh lq{e gksrh gS mldk çHkko mruk gh xgjk gksrk gSA bl ckj “–f”Vdks.k” ds ek/;e ls lqJh çKk I;klh th us ml ok| dh vksj gekjk fpÙk vksj #>ku ys tkus dh dksf’k’k dh gS ftldk çHkko vk/;kfRed Lrj is rks cgqr rstkse; vkSj xkSjoe;h gS ij bl ok| ls tqM+s dykdkjksa dh n’kk mruh gh ohHkRl vksj vJwiw.kZ gSA ,d vksj bruk mPp dksfV dk vk/;kfRed Lrj vksj nwljh rjQ dykdjks dh n;uh; n’kk blh Hkkjr ns’k dh nqHkkZX;o’k foMacuk dk ifjpk;d gSA lqJh çKk I;klh ,d çHkko’kkyh ysf[kdk rks gS gh ijUrq mlls Hkh c<+dj ,d mR—”V dykdkj Hkh gSA lgh ek;us esa ,d dykdkj dk mldh dyk ds çfr leiZ.k gksuk vfr vko’k;d gksrk gS ftlds vHkko esa ‘kk;n mldh dyk Hkko O;ä djus esa l{ke ugha gks ikrh ijrqa bl eeZLi’khZ ys[k dks iM+us ds ckn eS ;s Li”V :i ls dg ldrk gw dh çKk th dh ys[kuh esa lk{kkr~ ek¡ ljLorh th dk vk’khokZn gS D;ksfd fdlh Hkh Hkko dks Li”V :i ls ys[k }kjk O;ä djuk lk/ kkj.k ckr ugha gS D;ksfd ‘kCnksa dh lhferrkvks esa Li”Vhdj.k ljy vksj lgt ugha gSA ;gh ,d lPps dykdkj dh igpku gS pkgs oks ysf[kdk 36 | APRIL 2018 gks] xk;d gks] f’kYidkj gks] fp=dkj gksA dykdkj ogh gS tks flferrkvks Drishtikon ds ek/;e ls vlhfer ls tksM+ ns vkSj viuh dyk ds ek/;e ls ewy rRo dk vuqHko djk ldsA lqJh çKk I;klh th dk ;s çHkko’kkyh ys[k Hkkjrh;rk dks iw.kZ :i ls mtkxj djus esa l’kä gh ugha vfirq lq{e :i ls vkRek dh xgjk;h dks Nw nsusokyk gSA ,sls çHkko’kkyh ys[ku dh vkt cgqr t:jr gS tks bl rFkkdfFkr LFkfr dks lkekftd :i ls mtkxj dj lds vksj mu dykdjks dks lkeus yk lds ftudks vkt lgh ek;uks esa ,d fo’ks”k ekU;rk dh t:jr gSA gekjs gh ns’k esa ,sls leqnk; Hkh gS ftudh vksj fo’ks”k /;ku nsus dh vko’;drk gS D;ksfd Hkkjrh;rk vkt vxj thfor gS rks flQZ viuh ‘kk”=h;rk ds cy ij vksj mu lHkh dyk- dkjksa ds cy ij ftUgksaus viuk lEiw.kZ thou dyk dks vksj ns’k dh laL—fr dks cuk;k j[kus esa O;rhr dj fn;kA foosd vfXugks=h

The Dhakis of Bengal are an exquisite breed. Although, there are no caste or community belonging entirely to playing Dhakis, lot many poor peasants, artisans, labourers flock the city during the Durga festival which is celebrated with traditional tanfare for over tour days in all parts of Bengal. They bring along their ‘Dhaks’ or local drums and play at the pandals where such festivity is on for a paltry sum of money. the rhythm of this per- cussion instrument is unique. As calypso beats are unique to the West Indies, as the sound of Bagpipes makes one imagine Ireland. So do the sound of dhak paint a picture of lush green Bengal. This film has been dedicated to the fedgeling breed of dhakis, without whom the autumn in Bengal will never be the same. The concept of the film goes back to mythol- ogies, lays homage to Satyajit Ray’s ‘Durga’ who now sees a modern train, although the ‘kaash’ blooms remain the same. So also are the dhakis since time Immemorial.

APRIL 2018 | 37 fnO;rk dh Fkki

38 | APRIL 2018 Drishtikon

APRIL 2018 | 39

DUMDUM CLASSICAL MUSIC FESTIVAL

This concert is the most celebrated and high budget classical concert in the north- ern part of the Kolkata. It is organised by the Ministry of culture and particularly Hon- ble Minister Sri BratyaBasu. This year it took place on 21st March, 2018 in Dumdum Ra- bindra Bhavan includes Ustad Rashid Khan’s Daughters as vocalists and the veteran actor Kharaj Mukherjee’s son Bihu Mukherjee as a drummer opened the festival.

Singers: Shaona Khan and Suha Khan Drum: Bihu Mukherjee Guitar: Prajna Dutta Sitar: Snehesh Nag Tabla: Rohan Bose

Date: 21st feb, 2018 Venue: Dumdum Rabindra Bhavan

42 | APRIL 2018 sur sandhya

RABINDRA BHARATI UNIVERSITY

Concert organised by Rabindra Bharati University on 8th March, 2018 at Jor- ashankoThakurbari, which is the residence of Gurudev Rabindranath Tagore. This was also recorded by DD Bharti as a special archive program and telecasted later.

Flute: Pt. Ronu Majumdar Tabla: Rohan bose

APRIL 2018 | 43 ESRAJ, the name came after the name of the guru “ ISWARI RAJ PRASAD” as per colloquial stories. Iswari raj came from Punjab to Banaras to learn classical music. At that time his students gave him the instrument as a gift developed from Dilruba or TAUS or Mayuri Veena. From Iswari Raj instrument become Israj and after that ESRAJ.

Another story is also there, in early days, Sarangi was Rabindranath took Asesh Chandra to Shantiniketan the only bowing instrument for accompanying with to teach Dhrupad music, Tappa as well as ESRAJ. Ra- songs as well as playing classical music. For earning bindranath also found ESRAJ as the best instrument for money , sarangi players accompanied with ‘BAIJIs’ and accompanying with his songs. for that they don’t had social respect like other musi- cians. General people don’t want to learn music from Pandit Professor Ranadhir Roy was disciple of Asesh them. On the other hand Sarangi do not have Frets. So it Chandra since his Early days. Asesh Chandra was not was very tough to learn and play. Keeping in mind some completely satisfied with the sound and shape of this people developed an instrument. They took the upper instrument So, Ranadhir with his Guru’s words developed part of sitar and lower part of sarangi. After few days , the Instrument as well as its playing techniques like using from that instrument ESRAJ was developed. two fingers for fast TAAN play etc.

At that time Pandit RAMSARAN from Bishnupur, West At shantiniketan artist follow RANADHIR ROY’s system of Bengal , went to Banaras to learn music. He found that playing. ESRAJ can be easier and most effective to use with Dhru- Prof Roy also known through his nick name TUKU DA at pad music sang at . He learned and Santiniketan. took it to Bishnupur. Iswari raj took this to Punjab as he was from there. That is why, you only find the instrument It is very sad that Prof Roy died so early at his age of in Punjab and West Bengal only. forty six.

After Ramsaran his disciples of Bishnupur gharana start- In the Memory Of Pandit Professor Ranadhir Roy ed playing ESRAJ. Among them the best performers are Shri. Ramprasanna Banerjee, Shri.Surendranath Banerjee, On the occasion of 75th Birthday of Pt. RANADHIR ROY, Gopeswar Banerjee and Surendranth’s nephew Asesh his wife Prof. Roy organised one cultural evening Chandra banerjee. in association with Saptak (A Musical Troup).

There was a deep connection between Rabindranath- Ranadhir Roy’s student and artist Prof. Buddhadev Das Tagore’s family and this Banerjee family of Bishnupur. (Amongst all the students of Pt. Randhir Roy, Prof. Bud- dhadev Das is the only artist in the world teaching ESRAJ following Ranadhir’s style) played ESRAJ with his stu- dents. Performers were of Age group of 10 yrs, 25yrs-35 44 | APRIL 2018 yrs and professionals. sur sandhya

Venue: LIPIKA AUDITORIUM AT SANTINIKETAN, WEST BENGAL, INDIA. ESRAJ Players are Prof. BUDDHADEV DAS SHUBHAYUU SEN MAJUMDAR SOUGATA DAS DEBAYAN MAJUMDAR ARKAJYOTI BONDHYOPADHYAY DOIPAYAN SARKAR RITAM DAS ARCHISMAN DAS SOHOM MAITY

Percussionist - Tabla BISWAJIT SAHOO SITARAM DAS SUVOBRATA CHAKRABORTY

APRIL 2018 | 45 West Bengal, state of India, located in the eastern part of the country. It is bound- ed to the north by the state of Sikkim and the country of Bhutan, to the northeast by the state of Assam, to the east by the country of , to the south by the Bay of Bengal, to the southwest by the state of Odisha, to the west by the states of Jharkhand and Bihar, and to the northwest by the country of Nepal. Cultural Life The is an Indian Culture which has its roots in the , music, fine arts, drama and cinema. Different geographic regions of West Bengal have subtle as well as more pronounced variations between each other, with Himalayan hill region and Duars showing particularly different socio-cultural aspects.

West Bengal’s capital Kolkata - as the former capital of India—was the birthplace of modern Indian literary and artistic thought,and is referred to as the “cultural [or literary] capital of India”. The presence of paras, which are cluster of neighbourhoods that possess a strong sense of community, is characteristic of West Bengal. Typically, each para has its own community club and, on occasion, a playing field. Residents engage in addas, or leisurely chats, that often take the form of freestyle intellectual conversation. However, with the growth of apartments, expansion of neighbour- hoods and rapid urbanization, this culture is on decline. Adda is very common among the old peoples. West Bengal has a long tradition of popular literature, music and drama largely based on Bengali folklore and Hindu epics and Puranas.

Religion, specially Hinduism, the principal and predominant religion of the state, plays a vital role in the culture of West Bengal. , a five-day annual au- 46 | APRIL 2018 tumnal celebration in honour of Hindu goddess Durga, is the biggest festival of bhartiyata

majority . Since Bengal is a part of India, its culture has been an amalgamation of predominant Hindu culture with the secular Bengali culture which have drawn its inspiration from the modern Western culture. Music and dance The tradition is a unique heritage of Bengali folk music, which has also been influenced by regional music traditions. Other folk music forms include , Bha- waiya, , and festival music. Folk music in West Bengal is often accompanied by the ektara, a one-stringed instrument. West Bengal also has an heritage in North Indian classical music. The state is recognised for its appre- ciation of rabindra sangeet (songs written by Rabindranath Tagore) and Indian classical music. Popular music genres include adhunik songs. Since the early 1990s, new gen- res have emerged, including one comprising alternative folk–rock Bengali bands. Another new style, jibonmukhi gaan (“songs about life”), is based on realism.

Bengali dance forms draw from folk traditions, especially those of the tribal groups, as well as the broader Indian dance traditions. Chau dance of Purulia is a rare form of APRIL 2018 | 47 mask dance. is a classical Bengali school tional costumes like , panjabi, , , py- of Indian dance,originating in Gaur, West Bengal, the an- and are seen during weddings and major cient capital of the Bengal region. Various forms of Indian festivals. Like any other metropolis, Kolkata also has an classical dances are patronised, as are dances set on the eclectic mix of western wears with a tinge of ethnic wears. songs of Tagore and Nazrul. The people of West Bengal, People are found dressed in jeans along with , or in the first day of Bengali new year or Poyela Boishakh or- along with an overcoat. ganises a rally known as Mongal Shobhajatra with a view to resist and fight against all sorts of evils of the world in Festivals and Celebrations order to welcome the goodwill of the masses. West Bengal is famous for its culture and festivals are an inevitable part of this culture. People of different religions Masks and and communities perform their religious rituals with festivities. Some festivals are celebrated statewide, while masks dance others are local in nature. There are also various other Mask or Mukhosh of West Bengal, as it village fairs and seasonal tribal festivals. Durga known has a mysterious history is a true Puja is the biggest and most important . Mostly it uses for the festival of West Bengal, and it features Mask Dance, the of West colourful pandals, decorative idols of Bengal. The wearing of these Hindu goddess Durga and her family, masks is connected with early lighting decoration and immersion types of folklore and religion. processions. Other major festivals There is various type of masks are , , , Sar- made up of clay, wood, sponge aswati Puja, wood or shola, pith, paper, met- Puja, Rath , Kojagori al etc. Generally, half masks are , Vishwakar- made up of clay, pith and paper ma Puja, Poush Parbon, Poila and wooden masks are very rare. Boishakh, Eid, Muharram, Christ- Some of the masks came from mas etc. Kolkata Book Fair, Kol- the Tribal of West Bengal. Geo- kata International Film Fes- graphically, West Bengal comes tival and Dover Lane Music well within this mask using culture Festival are major annual zone. Mask in West Bengal is cultural events of Kolkata, mostly used in folk dance. UN- whereas , Ganga ESCO selected The Rural Craft Sagar Mela, Jhapan are some Hub of Bengal to showcase their of the major annual fairs of artwork in Paris in 2015. the state. The diverse ethnic populace of Darjeeling Attire Himalayan hill region Though Bengali women tradi- celebrates several local tionally wear the sari and shalwar festivals such as kameez, Western attire has gained Losar, Dusshera or acceptance among younger and Fulpati, Tihar, Ram Na- professional women. Western-style vami, Maghe Sankran- dress has greater acceptance ti, Chotrul Duchen, Bud- among men, although the tradi- dha Jayanti, Tendong Lho Rumfaat etc. 48 | APRIL 2018 bhartiyata

Durga Puja Durga Puja, held in September–October, is the biggest and most important festival of West Bengal. It marks the victory of ten-armed goddess Durga over the buffalo demon Mahishashur and signifies the victory of good over evil. The festival commences on Mahalaya, a week be- fore the actual Puja celebrations begin on Sashthi and continue through Sapta- mi, Ashtami, Navami and Bijaya Dashami, when the festival comes to an end. Pan- dals are set up and idols of goddess Dur- ga and her four children - Lakshmi, Saras- wati, Kartik, Ganesh are worshipped and displayed for five days across the state, especially in Kolkata. Some 2000 pandals are erected throughout Kolkata. Idols of the goddess are brought in mostly from Kumartuli, the potters’ district. Pujas are also conducted in sizeable number of family households and housing societies. Elaborate rituals are performed by priests amid sound of drums (dhaak), conch shell (shaankh) and bells, and many devotees join in the prayers. Although the root of Durga Puja is essentially religious, the festival has slowly changed into more of a social carnival than a religious festival, where people from other religious or ethnic backgrounds freely participate in the festivity. It has become Kolkata’s biggest public spectacle, glamorous art event and consumerist carnival. The city is decked up with lighting decorations. Loudspeakers play popular songs as well as recitation of mantras by priests. Shops, restaurants and eateries stay open all night. Fairs are set up in numerous parks and public spaces. The roads become overcrowded with hundreds of thousands of devotees, revellers and pandal-hop- pers visiting the pandals on Puja days. APRIL 2018 | 49 Ya devi sarvabhooteshu vishnumayoti shabdita, Ya devi sarvabhooteshu trishnaroopen sansthita Namastasyei namastasyei namastasyei namo namah Namastasyei namastasyei namastasyei namo namah

To the Devi who is all things is called Visnumaya, Reverence to Her, To the Devi who exists in the form of thirst in all beings Reverence reverence to Her Reverence to Her, reverence, reverence. to Her, Reverence to Her. Reverence to Her, reverence, reverence.

Ya devi sarvabhooteshu chetanetyabhidheeyate, Ya devi sarvabhooteshu kshantiroopen sansthita Namastasyei namastasyei namastasyei namo namah Namastasyei namastasyei namastasyei namo namah

To the Devi, who is known as intelligence, in all beings, Reverence To the Devi who in the form of forgiveness exists in all beings Rever- to Her, Reverence to Her, Reverance to Her, reverence, reverence. encec to Her, reverence to Her, Reverence to her, reverence, reverence.

Ya devi sarvabhooteshu buddhiroopen sansthita Ya devi sarvabhooteshu jatiroopen sansthita Namastasyei namastasyei namastasyei namo namah Namastasyei namastasyei namastasyei namo namah

To the Devi who dwells in the form of Buddhi in all beings. Reverence To the Devi who exists in the form of race and species in all beings, Rever- to Her, Reverence to Her, Reverence to Her, reverence, reverence. ence to Her, reverencec to Her, Reverence to Her, reverence, reverence.

Ya devi sarvabhooteshu nidraroopen sansthita Ya devi sarvabhooteshu lajjaroopen sansthita Namastasyei namastasyei namastasyei namo namah Namastasyei namastasyei namastasyei namo namah

To the Devi who is in the form of sleep abides in all beings Rever- To the Devi in the form of modesty in all beings, Reverence to Her, ence to Her, reverece to Her, Reverence to Her, reverence, reverence. reverence to Her, Reverance to Her, reverence, reverence.

Ya devi sarvabhooteshu kshudharoopen sansthita Ya devi sarvabhooteshu shantiroopen sansthita Namastasyei namastasyei namastasyei namo namah Namastasyei namastasyei namastasyei namo namah

To the Devi who exists in all beings in the form of hunger, Reverencec To the Devi existing in the form of peace in all beings Reverence to to Her, reverence to Her, Reverence to Her, reverence, reverence. Her, reverence to Her, Reverance to Her, reverence, reverence.

Ya devi sarvabhooteshu chhayaroopen sansthita Ya devi sarvabhooteshu shraddharoopen sansthita Namastasyei namastasyei namastasyei namo namah Namastasyei namastasyei namastasyei namo namah

To the Devi who exists in all beings in the form of Caya Reverence To the Devi who exists in all beings in the form of faith Reverence to Her, reverence to Her, Reverence to Her, reverence, reverence. to Her, reverence to Her, Reverance to Her, reverence, reverence.

Ya devi sarvabhooteshu shaktiroopen sansthita Ya devi sarvabhooteshu kantiroopen sansthita Namastasyei namastasyei namastasyei namo namah Namastasyei namastasyei namastasyei namo namah

To the Devi who exists as energy in all beings, Reverence to Her, To the Devi existing in the form of beauty in all beings Reverence to Reverence to Her. Reverence to Her, reverence, reverence. Her, reverence to Her, Reverance to Her, reverence, reverence.

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Ya devi sarvabhooteshu lakshmiroopen sansthita Ya devi sarvabhooteshu matriroopen sansthita Namastasyei namastasyei namastasyei namo namah Namastasyei namastasyei namastasyei namo namah

To the Devi who exists in all beings in the form of prosperity Reverence To the Devi who exists in all being as (their ) Mother, Reverence to to Her, reverence to Her, Reverance to Her, reverence, reverence. Her, reverence to Her, Reverance to Her, reverence, reverence.

Ya devi sarvabhooteshu vrittiroopen sansthita Ya devi sarvabhooteshu bhrantiroopen sansthita Namastasyei namastasyei namastasyei namo namah Namastasyei namastasyei namastasyei namo namah

To the Devi who in all beings exists in the form of their respective callings, To the Devi who in the form of error exists in all beings Reverence Reverence to Her, reverence to Her, Reverance to Her, reverence, reverence. to Her, reverence to Her, Reverance to Her, reverence, reverence.

Ya devi sarvabhooteshu smritiroopen sansthita Indriyanamadhishthatri bhootanam chakhileshu ya Namastasyei namastasyei namastasyei namo namah Bhooteshu satatam tasyei vyaptidevyei namo namah

To the Devi who in the form of memory exists in all beings Reverence Reverence to the Devi Who is the Presiding Deity over the sense of to Her, reverence to Her, Reverance to Her, reverence, reverence. all beings Who is ever in all beings And who pervades all things.

Ya devi sarvabhooteshu dayaroopen sansthita Chitiroopen ya kritsnametadvyapya sthita jagat, Namastasyei namastasyei namastasyei namo namah Namastasyei namastasyei namastasyei namo namah

To the Devi who in all beings exists in the form of mercy Reverence To the Devi who in the form of consciousness, Having pervaded to Her, reverence to Her, Reverance to Her, reverence, reverence. all the world, exists therein, Reverence to Her, reverence to Her, Reverance to Her, reverence, reverence. Ya devi sarvabhooteshu tushtiroopen sansthita Namastasyei namastasyei namastasyei namo namah

To the Devi who exists in the form of contentment exists in all beings Rev- erence to Her, reverence to Her, Reverance to Her, reverence, reverence.

APRIL 2018 | 51 On Bijaya Dashami, the day of the festival, people bid adieu temples. Kali Puja is light-up night for Bengal. People dec- to goddess Durga offering her sweets and sindoor. Before orate their homes with diyas, candles and lights and draw bidding adieu to the goddess, the married women assem- colourful rangolis on the floors of their homes. Children ble near the idol, apply vermilion on her feet or forehead and adults burst firecrackers and burn sparklers through- and then smear vermillion on each other. This is a part of out the night. A large number of devotees visit the temples the last celebration before the idols are taken out in grand to offer prayers to the goddess and animals, especially processions of song, dance, music and then immersed in goats are sacrificed in some places. Two days after it is Bhai the waters. The idol immersion ceremony continues for Phonta or Bhatri Dwitiya which is virtually the brother’s the next few days. People distribute sweets and visit their day. On Bhai Phonta, the sisters fast in the morning till friends, family members and relatives to exchange the they put a mark of sandalwood paste on their brothers’ Bijoya greetings. foreheads and treat them with gifts and delicacies. While doing so, they pray to God for the sound health, safety and Kojagori Lakshmi Puja prosperity of their brothers. The brothers in return present gifts to the sisters Goddess Lakshmi is worshipped at homes on the full moon night, just five days after Bijoya Dashami. Public Pujas are performed in the same pandals as for Durga Puja. Saraswati Puja Saraswati Puja, a festival honouring the goddess of learn- Kali Puja & Diwali ing and arts, is celebrated with domestic pujas, and familial gatherings in Kolkata on a date between the last week Kali Puja which coincides with the North Indian festival of January and the middle of February. The day is sacred of Diwali is a major festival of West Bengal, and proba- to Saraswati, goddess of learning whose worship is cele- bly the second largest after Durga Puja. Goddess Kali is brated with great splendor mainly by students and artists. worshipped at night in thousands of pandals, homes and Books are often worshipped in lieu of the clay image of the Goddess. Girl worshipers usually wear saffron and 52 | APRIL 2018 yellow-coloured cloths. The puja is especially celebrated in bhartiyata

Rath Jatra The symbolic movement of the chariot of Jagannath is celebrated with much fanfare in Kolkata due to close- ness to Odia culture . The destination of the cult figures are the Maidan. Thousands of people spill into the roads to witness the pulling of the chariot. Images of Jagan- nath are set upon the chariots and pulled through the streets by the children as well as by the adults in many neighbourhoods and areas. The week is synonymous with numerous fairs (Rather mela) held all over Kolkata parks, known for their distinctive food and carousels. schools and other educational institutes. It gives an chance Myth has it that it always rains on the day of Ratha Jatra of free-mixing among school kids. This is the equivalent of in Kolkata. The idols are brought back after a week in Valentine’s Day to them. The typical bhog which accompa- the chariot in the festival of Ulto Ratha. Rath Yatra is an nies the Puja depends dramatically on whether the family ancient culture in Bengal in spite of having its origin at is initially from West Bengal (or ghoti) or from East Bengal Puri in Odisha. The Ratha Jatra of Mahesh at Serampore — now Bangladesh —(or ). Ghotis have vegetarian (Srirampur) in is the second oldest char- fare, while offer paired Ilish fishes to the goddess iot festival in India (after Rath Yatra at Puri) and oldest in and then consume it. Bengal. It is a month-long festival here and a grand fair is held at that time.

APRIL 2018 | 53 Poush Mela at the fairground where the roving folk artistes like , singers perform and jatras and dance performances Poush Mela held at Shantiniketan in Birbhum district de- are held. The kiosks and stalls are set up while many sellers picts the quintessential Bengali culture. The fair is hosted sit wherever they like, spreading their earthenwares, hand- between 7th and 9th of the month of Poush, near about icrafts, toys etc. on the ground. The fair ground is continu- the time when the present Gregorian year is to bid fare- ously thronged by hordes of crowds for three days. well and preparations are made to welcome the new year, with its new hopes and new promises. Shantiniketan, the famed land from where the renowned Nobel Laureate Ra- Charak Puja bindranath Tagore drew his inspiration abounds in cultural Charak Puja is a special folk festival and it is celebrated on and intellectual festivities throughout the year. On the the last day of Chaitra month in the Bengali calendar or a inaugural day, the festival begins with a community prayer day before Poila Boishakh. Lord Shiva and Goddess Shakti that includes Vedic hymns and reading from passages writ- are worshipped on the day of Charak Puja. It is celebrated ten by Maharshi Debendranath Tagore and Rabindranath with great élan amongst the villagers. The rituals of Charak followed singing of Rabindra sangeet by invited artists and Puja, a way to show the miracle of God, are unique and, at students. After this, visitors assemble on the central stage times, a little risky. On this day, bamboo stages, of aver- age height between 10 and 15 feet, are erected, with their ground full of knives, glass and thorns where devotees 54 | APRIL 2018 intentionally fall from above bhartiyata

Ganga Sagar Mela Gangasagar Mela is possibly the state’s largest fair. As the name suggests, Gangasagar Mela is held in South 24 Par- gana district’s, Gangasagar or the shores of the voluminous Bay of Bengal. The festival commences on when hordes of ascetics, pilgrims and devotees flock to the picturesque Sagar Dwip islands. The annual fair is hosted during the winter months of January and February. Chilly sea breeze and wisps of salt water sting people’s faces as they arrive here to take a dip in the holy waters and be absolved of their sins. The three day long affair is a gala Poila Boishakh occasion in the state. Pilgrims from all nooks and crannies The first month of the Bengali calendar, Baishakh, marks of the country arrive to take a bath in the confluence of sea the starting of the crop cycle in Bengal. A lot of Bengali and river to seek salvation and the lord’s blessings. There weddings are held in this month, and new businesses is a common belief among the locals that the girls who started. The first day of this month is called Poila Baisakh take the holy dip and pray at the ashram of Kapil Muni get is celebrated as the Bengali new year. The Bengali New handsome grooms and the boys get beautiful brides. Year or “Poila Baisakh” (the first day of the month of

APRIL 2018 | 55 Baisakh) is celebrated on either 14 or 15 April on the basis Kolkata Book Fair of the lunar calendar of Bangabda. Visitors to homes are greeted with sweets, and trade establishments are deco- The Kolkata International Book Fair or Kolkata Boi Mela is rated with auspicious garlands of marigold and aam(man- the world›s largest non-trade annual book fair as well go) leaves. Shop-owners and businessmen offer puja at as the largest book fair in Asia. Held on the Milan Mela temples in the morning with new ledgers or Halkhatas. ground near Science City on E.M.Bypass, this fair has over Some open the first page by drawing the Hindu symbol of 600 stalls, selling over Rs.23,000,000 worth of books and auspiciousness called swastika. Some shopkeepers print attracting more than 2.5 million visitors annually. It was goddess calendars with their address, and distribute them started in 1970 by the Publishers’ and Booksellers’ Associ- to their clients. In some regions, festivities begin a few days ation. It has huge attraction with new poets and artists, an before, with music and dance performances. annual theme country and famous authors visiting the fair as chief guests. It offers a typical fair- ground experience with a literary theme with picknickers, singer-songwriters, artistes and candyfloss vendors. It starts on the last Wednesday of January, and continues for twelve days, including two weekends. Dover Lane Music Festival The Dover Lane Music Festi- val is a Hindustani classical music-oriented event, with performances from es- tablished musicians from several countries as well as new musicians. It has been held for Kenduli Mela the past years in the January conglom- On the occasion of Makar Sankranti (mid-January) Kenduli erate holiday (23 – 26 January) period fair is held at Kenduli in Birbhum district. The Mela draws and comprises three all-night recitals. the largest number of Bauls, the wandering minstrels of Initially held open air at Dover Lane in Bengal. The river Ganga accounts for one of the huge Ballygunge area of South Kolkata, due festivals-cum-fair. On the last day of Poush, thousands of to the large crowds, it is now held at the assembled pilgrims take a holy dip at the island beach open-air theatre Nazrul Mancha on the on the estuary of the Bhagirathi river, where a makeshift Southern Avenue (Ballygunge area). It is township is erected for their reception by the state author- held in conjunction with the Dover Lane ities. Complete bazaars (markets) crop up for meeting their Music Conference. needs. Medical and hospital facilities are made available and Hindu missionary bodies provide thousands of volun- teers to look after their welfare.

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Hand Pulled Rickshaw: A bitter Truth Hand Pulled Rickshaw is one of the oldest local means of transport prevailing in Kolkata since British Times. India has got the independence from British rule but we have to still introspect ourselves whether we are really independent from our own thought of continuing such custom- ary still in India??? Hard to believe the fact that Indians are using Indians for small comfort of their means of transport from one place to other.

Kolkata being one of the cultural city of India has been continuing this tradition as an emblem of city in spite of having other advanced means of transport available in the same city like Metro, Auto-rickshaw, etc. Hand pulled rickshaw is supposed to be one of the cheapest vehicle in Kolkata that’s why the people are still utilising this means of transporting in- spite of the fact that the per capita income of Kolkata has increased many fold since independence. The simple reason behind this disgraceful irony is that the humani- ty is diminishing day by day. Everything has become a fashion at the cost of downtrodden and weak class of society whose daily livelihoods are hard to attain beuase of this attitude and culture.

We feel sad when we talk about these rickshaw pullers and their terrible life but do we really feel happy and proud when we really discuss in public front or when we really avail this transport system for our small comfort of transport???? How can a human being sit on a vehicle that is being pulled by a human being by running on heated road in a scorching heat of sun??? Added to all these is a bargaining for reducing Rs. 5.00 to Rs. 3.00 by passengers?????

A serious introspection is required to free ourselves from such thought of domination to weak society and to work collectively for the upliftment of such class of society.

APRIL 2018 | 57 SARASWATI VEENA

The Sarasvati veena is an Indian Plucked string instrument. FAMOUS SARASWATI It is named after the Hindu goddess Saraswati, who is usu- ally depicted holding or playing the instrument. VEENA PLAYERS South Indian music that is carnatic classical is played on • Muthuswami Dikshitar this veena its whole body is made of jackfruit wood it has • Veenai Dhanammal (known for her individual style) 24 freats, the veena which is displayed in this exihibition • Veena Sheshanna (Mysore style) is spacial because it is made with a single wood that’s why • Veena Subbanna (Mysore style) this is also know as ektantra veena playing style of this • Veena Ventatagiriappa veena is vertical, it consist of four main melody strings. • Veena Doraiswamy Iyengar (Mysore style) • Emani Sankara Sastry (Andhara style) HISTORY • Chitti (Andhara style) The veena has a recorded history that dates back to the • Karaikudi Sambasiva Iyer (Karaikudi style) approximately 1500 BCE. • Karaikudi Subbarama Iyer (Karaikudi style)

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