Santanu Das, Mirza Waheed Win the Hindu Prize 2019

Total Page:16

File Type:pdf, Size:1020Kb

Santanu Das, Mirza Waheed Win the Hindu Prize 2019 EEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEE DELHI THE HINDU 16 LIFE THURSDAY, MARCH 26, 2020 EEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEE IN BRIEF Santanu Das, Mirza Waheed Pioneering chef Floyd Cardoz win The Hindu Prize 2019 dies at 59 of COVID­19 He broke stereotypes and mentored many in the industry In the award citation, jury members describe the books as sensitive and complex Cannes opens its doors Anoothi Vishal to the homeless R. Krithika dians in it, and in particular, PARIS the tens of thousands among He sat at an outer table, The Palais des Festivals The winners of The Hindu them who lost their lives.” quiet and unobtrusive, eat­ should be preparing to Prize 2019 Fiction and Non­ “An extraordinary work of ing dinner with his two com­ welcome the hottest names Fiction are Mirza Waheed fiction whose complexity, panions at the then newly in cinema onto its red carpet. (Tell Her Everything) and depth and narrative mastery launched Farzi Café in Gur­ Instead the Cannes Film Santanu Das (India, Empire, would be hard to match in gaon one monsoon evening Festival venue has now and First World War Cul- contemporary world litera­ in 2014, when someone opened its doors to the ture,” reads the citation for pointed him out to me as the town’s homeless who have ture: Writings, Images and nowhere to go during the Songs). The winners for both Mr. Waheed’s Tell Her Eve- chef behind Tabla, New coronavirus lockdown. REUTERS categories were selected by rything, describing it as “a York. an eminent panel of judges. compelling novel, both a Till then, I had known The jury members for fic­ narrative tour de force and Floyd Cardoz by reputation tion were diplomat and auth­ an exploration of a profound alone. To those of us who or Navtej Sarna, author and existential and moral wrote on Indian gastrono­ columnist Nilanjana Roy, conundrum.” my, he was a well­known author Pradeep Sebastian, The Hindu Prize was insti­ name — the Mumbai­raised, researcher and translator J. tuted in 2010 to honour wri­ Goan chef who had put In­ Devika and professor Rajes­ ters who have spent their li­ dian food on the map in the wari Sunder Rajan. For non­ fetime mining the human U.S., marrying regional fla­ Chef Floyd Cardoz in New York. * KRIS CONNOR/GETTY IMAGES African jazz great dies in fiction, the jury comprised spirit through their words vours to local produce to France of coronavirus Kamini Mahadevan, publish­ and ideas. The prize is usual­ come up with contemporar­ hospital in New Jersey on vier’s College canteen, the PARIS ing consultant; Chandan ly awarded at a ceremony ised plates and a Bread Bar Mach 18 after feeling crab curry and Goan sausage Manu Dibango, who fused Gowda, faculty member at during The Hindu’s annual whose fan following belied feverish. at home had obviously African rhythms with funk to become one of the most Azim Premji University; literature festival Lit For Life. curry and tandoori stereo­ My abiding memory of seeped into the spirit and influential musicians in world Harsh Sethi, former consult­ However the 2020 edition types of desi food in the Big Cardoz will be of that mon­ cooking of the restaurant. As dance music, died on Tuesday ing editor with Seminar; Honour roll: Santanu Das, winner of the prize for non­fiction, had to be cancelled due to a Apple. soon evening in 2014, when he sat remembering things with the coronavirus, author Rustom Bharucha; and, below, Mirza Waheed for fiction. * SPECIAL ARRANGEMENT challenging environment. Chef Cardoz died of CO­ Floyd had come back to In­ past, two young men were according to his music and author and social an­ An award ceremony to be VID­19 on Wednesday. He dia, having earned his acco­ manning the kitchen, exe­ publisher. He was 86. The thropologist Shiv man dimensions of a major mine the scholarly and pop­ held on March 28 was also had tested positive on March lades abroad, on a mission cuting his dishes, passing Cameroon­born saxophonist Visvanathan. modern war that reshaped ular imaginations of the First cancelled because of the CO­ 18 and was being treated at to push the envelope even food out through a small ser­ gained gained international The citation describes global politics and culture in World War which have tend­ VID­19 pandemic. The Hindu Mountainside Medical further. vice window. Chefs Thomas fame with his 1972 song Soul Prof. Das’ work as “a sensi­ fundamental ways” and as ed to ignore the involvement Lit For Life will be back in Ja­ Centre, New Jersey. He was Zacharias and Hussain Shah­ Makossa. AP tive exploration of the hu­ one that “helps to re­exa­ of close to over a million In­ nuary 2021. 59. Passion project zad were being mentored by A chef par excellence, That evening as he and his Cardoz. Cardoz was the co­founder two dining companions, The two are leading res­ of Hunger Inc, the company Yash Bhanage and Sameer taurant chefs in India today; that runs restaurants such as Seth, sat at Farzi Café, they their own dishes define the Full steam ahead for U.K.’s model railway buffs The Bombay Canteen and O had been discussing their menus of The Bombay Can­ Pedro. plans to start a new restau­ teen and its sister outlet O Reuters andra Palace venue was can­ supposed to be a two­day The loss is unbearable, rant in Mumbai. Bhanage Pedro (that opened in 2017). London celled due to coronavirus festival into a lasting online stunning all of us in the and Seth had been men­ And their creativity is inde­ The trains of Britain have restrictions, model­makers community. world of food in India, a tored by Cardoz as young pendent of their mentor’s. been known to grind to a halt got the show back on track The show’s sponsor was community that for all its hospitality professionals in But both did start out under due to such minor hazards as by taking it online. British toymaker Hornby, squabbles and differences is the U.S. Now, with their the able guidance of Cardoz. leaves on the line or the Using the hashtag #Twit­ which makes train sets in­ also closely knit. Just in the guide and father figure in There was a generosity in wrong type of snow, but the terModelRailwayShow, thou­ cluding miniatures of real beginning of the month, tow, it was fitting that they letting them soar indepen­ world of model railways is sands of them have been engines and more magical when Cardoz was in Mumbai should plan a passion pro­ dently, unshackled. It is a made of sterner stuff. posting photos and videos ones like Harry Potter’s Hog­ for the launch of the Bom­ ject meticulously. testimony to Cardoz’s talent Even a pandemic of epic this week of their detailed warts Express. “It just goes bay Sweet Shop (also by A year later, the trio and leadership that all his proportions has been unable miniature railway sets, draw­ to show how resourceful Hunger Inc), he had attend­ launched The Bombay Can­ protégées have carved out to ruin one of the U.K.’s pre­ ing expert commentary and folks are,” said Simon Kohler, ed events with much of the teen and invited me over. creative niches for them­ mier railway modelling appreciative feedback from Hornby’s marketing and pro­ restaurant and writing com­ The food was a tribute to selves and are taking his le­ shows. fellow enthusiasts. duct development director. munity in attendance. He Cardoz’s memories of a gacy forward. When the annual London The railway festival has ”You get knocked down, you flew back to New York, and Bombay he had grown up in. (Anoothi Vishal is a Tiny train: A model of a small­town railway station called Festival of Railway Modelling carried on unabated for get up again and you find according to his Facebook His stories about feema Delhi-based food writer Cheadle Hill in Britain. * PAUL WILLARD/REUTERS exhibition at the grand Alex­ days, extending what was another way.” post admitted himself to a (kheema) pao at the St. Xa­ and author) CCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCC CCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCC The man who never missed a moment Photographer Nemai Ghosh, who documented filmmaking, passes away at 85 Namrata Joshi Mumbai Veteran photographer Nemai Ghosh passed away in Kolkata on Wednesday. He was 85. He had been unwell after a recent surgery. For someone best remembered as the visual biographer of legendary filmmaker Satyajit Ray and a documentarian of the making of his astounding body of work, an interesting aspect about Nemai Ghosh was that he started off as an actor with actor­director Utpal Dutt’s Little Theatre Group in Kolkata. Arts critic and publisher­editor Samik Bandopadhyay
Recommended publications
  • 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.
    [Show full text]
  • Hindi Theater Is Not Seen in Any Other Theatre
    NATYA SHODH SANSTHAN DISCUSSION ON HINDI THEATRE FROM THE COLLECTIONS OF NATYA SHODH SANSTHAN AUDIO LIBRARY THE PRESENT SCENARIO OF HINDI THEATRE IN CALCUTTA ON th 15 May 1983 AT NATYA SHODH SANSTHAN PARTICIPANTS PRATIBHA AGRAWAL, SAMIK BANDYOPADHYAY, SHIV KUMAR JOSHI, SHYAMANAND JALAN, MANAMOHON THAKORE SHEO KUMAR JHUNJHUNWALA, SWRAN CHOWDHURY, TAPAS SEN, BIMAL LATH, GAYANWATI LATH, SURESH DUTT, PRAMOD SHROFF NATYA SHODH SANSTHAN EE 8, SECTOR 2, SALT LAKE, KOLKATA 91 MAIL : [email protected] Phone (033)23217667 1 NATYA SHODH SANSTHAN Pratibha Agrawal We are recording the discussion on “The present scenario of the Hindi Theatre in Calcutta”. The participants include – Kishen Kumar, Shymanand Jalan, Shiv Kumar Joshi, Shiv Kumar Jhunjhunwala, Manamohan Thakore1, Samik Banerjee, Dharani Ghosh, Usha Ganguly2 and Bimal Lath. We welcome all of you on behalf of Natya Shodh Sansthan. For quite some time we, the actors, directors, critics and the members of the audience have been appreciating and at the same time complaining about the plays that are being staged in Calcutta in the languages that are being practiced in Calcutta, be it in Hindi, English, Bangla or any other language. We felt that if we, the practitioners should sit down and talk about the various issues that are bothering us, we may be able to solve some of the problems and several issues may be resolved. Often it so happens that the artists take one side and the critics-audience occupies the other. There is a clear division – one group which creates and the other who criticizes. Many a time this proves to be useful and necessary as well.
    [Show full text]
  • 2011 Batch List of Previous Batch Students.Xlsx
    Registration_No Application No. Name Father's Name State/Central Board 1/2011 11-VIII 02/97 Shubham Shukla Ramesh Chandra Shukla Uttaranchal 2/2011 11-VIII 02/96 Madhav Prasad Kamleshwar Prasad Painuli Uttaranchal 3/2011 11-VIII 03/15 KM Shikha Negi Shri Balbeer Singh Uttaranchal 4/2011 11-VIII 04/21 Suhasni Srivastava Mr. S.C Srivastava ICSE 5/2011 11-VIII 04/3 Sapam Amarjit Singh Late Sapam Modhuchandra SinghManipur 6/2011 11-VIII 04/2 Nurutpal Dutta Ghana Kanta Dutta Assam 7/2011 11-VIII 02/98 Laishram Bidyabati Devi L. Bijen Singh Manipur 8/2011 11-VIII 02/90 Makunga Joysee Maring M.Kodun Maring Manipur 9/2011 11-VIII 02/33 Anitha Iswarankutty K.V Iswarankutty Kerala 10/2011 11-VIII 02/37 Ningthoujam Victor N. Hemajit Singh Manipur 11/2011 11-VIII 04/13 Maibam Kamal Hassan M. Iboyal Manipur 12/2011 11-VIII 03/28 Dinesh Chhimwal Mr B.C Chhimwal Uttaranchal 13/2011 11-VIII 03/35 Manisha Khati Mr. M.S Khati Uttaranchal 14/2011 11-VIII 02/81 Rajni Mr. Nagendra Singh Kandari Uttaranchal 15/2011 11-VIII 02/82 Gajanan Shankar Jadhav Shankar Maharashtra 16/2011 11-VIII 02/83 Pragati Chaudhary Sanjeev Kumar Uttaranchal 17/2011 11-VIII 02/84 Ritngenbahun Hoojon Markus Kharbhoi Meghalaya 18/2011 11-VII 02/76 Kavya D Devadasan P Kerala 19/2011 11-VIII 02/77 Sougat Chatterjee Kashinath Chatterjee Maharashtra 20/2011 11-VIII 02/67 Yumnam Nirmal Singh Y Manaobi Manipur 21/2011 11-VIII 04/17 Laiphangbam Gunajit Roy L Iboton Roy Manipur 22/2011 11-VIII 04/14 Amom Rohen Singh Amom Jugeshwor Manipur 23/2011 11-VII 02/48 Sruthy Poulose K P Poulose Kerala
    [Show full text]
  • Download (5.2
    c m y k c m y k Registered with the Registrar of Newspapers of India: Regd. No. 14377/57 CONTRIBUTORS Dr. Karan Singh Gouranga Dash Madhavilatha Ganji Meena Naik Prof. S. A. Krishnaiah Sampa Ghosh Satish C. Mehta Usha Mailk Utpal K Banerjee Indian Council for Cultural Relations Hkkjrh; lkaLdfrd` lEca/k ifj”kn~ Phone: 91-11-23379309, 23379310, 23379314, 23379930 Fax: 91-11-23378639, 23378647, 23370732, 23378783, 23378830 E-mail: [email protected] Web Site: www.iccrindia.net c m y k c m y k c m y k c m y k Indian Council for Cultural Relations The Indian Council for Cultural Relations (ICCR) was founded on 9th April 1950 by Maulana Abul Kalam Azad, the first Education Minister of independent India. The objectives of the Council are to participate in the formulation and implementation of policies and programmes relating to India’s external cultural relations; to foster and strengthen cultural relations and mutual understanding between India and other countries; to promote cultural exchanges with other countries and people; to establish and develop relations with national and international organizations in the field of culture; and to take such measures as may be required to further these objectives. The ICCR is about a communion of cultures, a creative dialogue with other nations. To facilitate this interaction with world cultures, the Council strives to articulate and demonstrate the diversity and richness of the cultures of India, both in and with other countries of the world. The Council prides itself on being a pre-eminent institution engaged in cultural diplomacy and the sponsor of intellectual exchanges between India and partner countries.
    [Show full text]
  • Annual Report 1990 .. 91
    SANGEET NAT~AKADEMI . ANNUAL REPORT 1990 ..91 Emblem; Akademi A wards 1990. Contents Appendices INTRODUCTION 0 2 Appendix I : MEMORANDUM OF ASSOCIATION (EXCERPTS) 0 53 ORGANIZATIONAL SET-UP 05 AKADEMI FELLOWSHIPS/ AWARDS Appendix II : CALENDAR OF 19900 6 EVENTS 0 54 Appendix III : GENERAL COUNCIL, FESTIVALS 0 10 EXECUTIVE BOARD, AND THE ASSISTANCE TO YOUNG THEATRE COMMITTEES OF THE WORKERS 0 28 AKADEMID 55 PROMOTION AND PRESERVATION Appendix IV: NEW AUDIO/ VIDEO OF RARE FORMS OF TRADITIONAL RECORDINGS 0 57 PERFORMING ARTS 0 32 Appendix V : BOOKS IN PRINT 0 63 CULTURAL EXCHANGE Appendix VI : GRANTS TO PROGRAMMES 0 33 INSTITUTIONS 1990-91 064 PUBLICATIONS 0 37 Appendix VII: DISCRETIONARY DOCUMENTATION / GRANTS 1990-91 071 DISSEMINATION 0 38 Appendix VIll : CONSOLIDATED MUSEUM OF MUSICAL BALANCE SHEET 1990-91 0 72 INSTRUMENTS 0 39 Appendix IX : CONSOLIDATED FINANCIAL ASSISTANCE TO SCHEDULE OF FIXED CULTURAL INSTITUTIONS 0 41 ASSETS 1990-91 0 74 LIBRARY AND LISTENING Appendix X : PROVIDENT FUND ROOMD41 BALANCE SHEET 1990-91 078 BUDGET AND ACCOUNTS 0 41 Appendix Xl : CONSOLIDATED INCOME & EXPENDITURE IN MEMORIAM 0 42 ACCOUNT 1990-91 KA THAK KENDRA: DELHI 0 44 (NON-PLAN & PLAN) 0 80 JA WAHARLAL NEHRU MANIPUR Appendix XII : CONSOLIDATED DANCE ACADEMY: IMPHAL 0 50 INCOME & EXPENDITURE ACCOUNT 1990-91 (NON-PLAN) 0 86 Appendix Xlll : CONSOLIDATED INCOME & EXPENDITURE ACCOUNT 1990-91 (PLAN) 0 88 Appendix XIV : CONSOLIDATED RECEIPTS & PAYMENTS ACCOUNT 1990-91 (NON-PLAN & PLAN) 0 94 Appendix XV : CONSOLIDATED RECEIPTS & PAYMENTS ACCOUNT 1990-91 (NON-PLAN) 0 104 Appendix XVI : CONSOLIDATED RECEIPTS & PAYMENTS ACCOUNT 1990-91 (PLAN) 0 110 Introduction Apart from the ongoing schemes and programmes, the Sangeet Natak Akademi-the period was marked by two major National Academy of Music, international festivals presented Dance, and Drama-was founded by the Akademi in association in 1953 for the furtherance of with the Indian Council for the performing arts of India, a Cultural Relations.
    [Show full text]
  • SEAGULL Theatre QUARTERLY 244 Theatrelog Issue 29/30 Jun 2001 Acknowledgements
    2 Acknowledgements 3 Introduction 7 ‘My kind of theatre is for the people’ KUMAR ROY 37 ‘And through the poetry we found a new direction’ SHYAMAL GHO S H 59 Minority Culture, Universal Voice RUDRAPRA S AD SEN G UPTA 81 ‘A different kind of confidence and strength’ Editor AS IT MU K HERJEE Anjum Katyal Editorial Consultant Samik Bandyopadhyay 99 Assistants Falling in Love with Theatre Paramita Banerjee ARUN MU K HERJEE Sumita Banerjee Sudeshna Banerjee Sunandini Banerjee 109 Padmini Ray Chaudhury ‘Your own language, your own style’ Vikram Iyengar BI B HA S H CHA K RA B ORTY Design Sunandini Banerjee 149 Photograph used on cover © Nemai Ghosh ‘That tiny cube of space’ MANOJ MITRA 175 ‘A theatre idiom of my own’ AS IT BO S E 197 The Totality of Theatre NIL K ANTHA SEN G UPTA 223 Conversations Published by Naveen Kishore 232 for The Seagull Foundation for the Arts, Appendix I 26 Circus Avenue, Calcutta 700017 Notes on Classic Playtexts Printed at Laurens & Co. 9 Crooked Lane, Calcutta 700 069 234 Appendix II Notes on major Bengali Productions 1944 –-2000 S T Q SEAGULL THeatRE QUARTERLY 244 Theatrelog Issue 29/30 Jun 2001 Acknowledgements Most of the material collected for documentation in this issue of STQ, had already been gathered when work for STQ 27/28 was in progress. We would like to acknowledge with deep gratitude the cooperation we have received from all the theatre directors featured in this issue. We would especially like to thank Shyamal Ghosh and Nilkantha Sengupta for providing a very interesting and rare set of photographs; Mohit Chattopadhyay, Bibhash Chakraborty and Asit Bose for patiently answering our queries; Alok Deb of Pratikriti for providing us the production details of Kenaram Becharam; Abhijit Kar Gupta of Chokh, who has readily answered/ provided the correct sources.
    [Show full text]
  • Sankeet Natak Akademy Awards from 1952 to 2016
    All Sankeet Natak Akademy Awards from 1952 to 2016 Yea Sub Artist Name Field Category r Category Prabhakar Karekar - 201 Music Hindustani Vocal Akademi 6 Awardee Padma Talwalkar - 201 Music Hindustani Vocal Akademi 6 Awardee Koushik Aithal - 201 Music Hindustani Vocal Yuva Puraskar 6 Yashasvi 201 Sirpotkar - Yuva Music Hindustani Vocal 6 Puraskar Arvind Mulgaonkar - 201 Music Hindustani Tabla Akademi 6 Awardee Yashwant 201 Vaishnav - Yuva Music Hindustani Tabla 6 Puraskar Arvind Parikh - 201 Music Hindustani Sitar Akademi Fellow 6 Abir hussain - 201 Music Hindustani Sarod Yuva Puraskar 6 Kala Ramnath - 201 Akademi Music Hindustani Violin 6 Awardee R. Vedavalli - 201 Music Carnatic Vocal Akademi Fellow 6 K. Omanakutty - 201 Akademi Music Carnatic Vocal 6 Awardee Neela Ramgopal - 201 Akademi Music Carnatic Vocal 6 Awardee Srikrishna Mohan & Ram Mohan 201 (Joint Award) Music Carnatic Vocal 6 (Trichur Brothers) - Yuva Puraskar Ashwin Anand - 201 Music Carnatic Veena Yuva Puraskar 6 Mysore M Manjunath - 201 Music Carnatic Violin Akademi 6 Awardee J. Vaidyanathan - 201 Akademi Music Carnatic Mridangam 6 Awardee Sai Giridhar - 201 Akademi Music Carnatic Mridangam 6 Awardee B Shree Sundar 201 Kumar - Yuva Music Carnatic Kanjeera 6 Puraskar Ningthoujam Nata Shyamchand 201 Other Major Music Sankirtana Singh - Akademi 6 Traditions of Music of Manipur Awardee Ahmed Hussain & Mohd. Hussain (Joint Award) 201 Other Major Sugam (Hussain Music 6 Traditions of Music Sangeet Brothers) - Akademi Awardee Ratnamala Prakash - 201 Other Major Sugam Music Akademi
    [Show full text]
  • Shipping Corporation of India Ltd Unpaid Amount of Dividend for the Fy 2019-20 As on 23.10.2020
    SHIPPING CORPORATION OF INDIA LTD UNPAID AMOUNT OF DIVIDEND FOR THE FY 2019-20 AS ON 23.10.2020 NOTE: CLAIMS MADE SUBSEQUENTLY ARE NOT REFLECTED BELOW. SHAREHOLDERS WHO WISH TO CLAIM THE UNCLAIMED DIVIDEND AMOUNT MAY SEND AN EMAIL TO OUR REGISTRAR AND SHARE TRANSFER AGENTS, M/S. BIGSHARE SERVICES PRIVATE LIMITED ON [email protected] Amount of Investor Name Address DP Id-Client Id-Folio Number Dividend Unpaid NASEEM . 5 , BANDHU NAGAR BEHIND DADI BARI MARKET SIKAR ROAD JAIPUR- 1201770100176242 84.00 PAWAN KUMAR SHARMA WARD NO-14 NEW MARKET LAXMANGARH SIKAR- 1201770100195071 27.75 RAJ KUMAR TAMBI (HUF) . 117-A SHIVAJI MARG, GALI NO-8 GOVIND NAGAR (EAST) AMER ROAD JAIPUR- 1201770100255514 155.00 MAINA DEVI JAIN 630, CHHOTA BAJAR BANETHA TH. UNIYARA TONK- 1201770100598986 42.00 ANJALI, 28/191-G, OEN RD. OPP. SARASWATHI VILASAM - -L P SCHOOL,TRIPUNITHURA SOUTH K S NAIR . 1202390000150588 75.00 ERNAKULAM- K. I. SHAIKH NR. MINARA MASJID B/H. MADRESA SCHOOL YAKUTPURA VADODARA- 1301670000411699 37.50 ANSHIMA AGARWAL 14/24 MALVIYA NAGAR JAIPUR-1 1201130000413433 9.00 ARUN SUGLA B-75, DOUBLE STOREY, RAMESH NAGAR, NEW DELHI-10015 1202600000024136 168.00 ARUN KUMAR PALIT B1A/2B DDA FLATS JANAKPURI NEW DELHI-110001 1204630000546566 37.50 HARISH KAPOOR F-48 BHAGAT SINGH MARKET NEW DELHI-110001 IN30026310090109 168.00 S.V.RAGHAVAN BHASIN RAGHAVAN CO. F-48, BHAGAT SINGH MARKET NEW DELHI-110001 IN30026310108222 60.00 B B THAPAR 605 6TH FLOOR NEELGIRI APARTMENTS 9 BARAKHAMBA ROAD NEW DELHI-110001 IN30114310416132 77.00 SHANKAR SINGH CANARA BANK NSE BRANCH H 54 CON CIRCUS NEW DELHI-110001 IN30135630000398 7.50 HARSHARAN KAUR E-27, B K DUTT COLONY LODHI ROAD NEW DELHI-110003 IN30155721226422 168.00 NAROTTAM SHARMA C 3/302 LODHI COLONY NEW DELHI LODHI ROAD H.O.
    [Show full text]
  • Bengali Theatre Overview: India Utpal K Banerjee 3 Bengali Theatre Overview: Bangladesh Mumtajuddin Ahmed 9
    CONTENTS I—PROLOGUE 1 Bengali Theatre Overview: India Utpal K Banerjee 3 Bengali Theatre Overview: Bangladesh Mumtajuddin Ahmed 9 II—BENGALI THEATRE: LEGACY 19 My Statement Binodini Dasi 21 Golapsundari: The First Actress Debashis Roy Chowdhury 29 Rakhaldas Banerjee: Pioneer Theatre Critic Durga Dutta 33 Girish Chandra Ghosh: Actor and Playwright Samik Bandyopadhyay 37 Girish Chandra and Mythical Plays Samik Bandyopadhyay 41 Views of Sisir Kumar on Theatre Debnarayan Gupta 45 HI—BENGALI THEATRE: EVOLUTION 47 Old Calcutta's English Theatres Kironmoy Raha 49 Nabanna' and Mainstream Theatre Kumar Roy 54 The Theatre of the Post-Thirties Purabi Mukherjee 63 Proscenium Theatre of Bangladesh Ramendu Majumder 65 Changing Role of Theatre in Society Rustam Barucha 72 Evolution Behind the Theatre Curtain Suresh Dutta 78 IV—BENGALI THEATRE: PLURALITY 83 Innovation and Experimentation in Theatre Utpal Dutt 85 Bengali Theatre: The Folk and The Foreign Bibhas Chakraborty 92 The Hijack of Yatra Rudraprasad Sengupta 96 My Narrative Theatre Saoli Mitra 102 Theatre of Politics, Protest and Commitment Bishnupriya Pal 109 Commercial Stage and Group Theatre: Similarities and Contrasts Meghnad Bhattacharjee 120 Bengali Puppet Theatre Sampa Ghosh 125 V—BENGALI THEATRE: EXPRESSION 133 The Sailboat of Fantacy Shyamal Ghosh 135 The Actress: Down the Ages Shova Sen 139 Acting in Multiple Media Mohammad Zakaria 143 Acting and Transcendental Time Debashis Majumdar 147 Advent of New Playwrights Manoj Mitra 153 Terms of Our Art-Form Khaled Choudhury 158 A Tradition of Stagecraft Durga Dutta 170 The Luminous Beginning Tapas Sen 172 VI—INTERACTIONS WITH BENGALI THEATRE 181 The Expanded Theatre Mrinal Sen 183 Bengali Theatre: Persons and Performances J.N.
    [Show full text]
  • PAPER-II DANCE / DRAMA / THEATRE Signature and Name of Invigilator 1
    PAPER-II DANCE / DRAMA / THEATRE Signature and Name of Invigilator 1. (Signature) __________________________ OMR Sheet No. : ............................................... (Name) ____________________________ (To be filled by the Candidate) 2. (Signature) __________________________ Roll No. (Name) ____________________________ (In figures as per admission card) Roll No.________________________________ J6 5 1 1 (In words) 1 Time : 1 /4 hours] [Maximum Marks : 100 Number of Pages in this Booklet : 20 Instructions for the Candidates ¯Ö¸üßõÖÖÙ£ÖµÖÖë Ûêú ×»Ö‹ ×®Ö¤ìü¿Ö 1. Write your roll number in the space provided on the top of 1. ¯ÖÆü»Öê ¯Öéšü Ûêú ‰ú¯Ö¸ü ×®ÖµÖŸÖ Ã£ÖÖ®Ö ¯Ö¸ü †¯Ö®ÖÖ ¸üÖê»Ö ®Ö´²Ö¸ü ×»Ö×ÜÖ‹ … this page. 2. ‡ÃÖ ¯ÖÏ¿®Ö-¯Ö¡Ö ´Öë ¯Ö“ÖÖÃÖ ²ÖÆãü×¾ÖÛú»¯ÖßµÖ ¯ÖÏ¿®Ö Æïü … 2. This paper consists of fifty multiple-choice type of questions. 3. ¯Ö¸üßõÖÖ ¯ÖÏÖ¸ü´³Ö ÆüÖê®Öê ¯Ö¸ü, ¯ÖÏ¿®Ö-¯Öã×ßÖÛúÖ †Ö¯ÖÛúÖê ¤êü ¤üß •ÖÖµÖêÝÖß … ¯ÖÆü»Öê 3. At the commencement of examination, the question booklet ¯ÖÖÑ“Ö ×´Ö®Ö™ü †Ö¯ÖÛúÖê ¯ÖÏ¿®Ö-¯Öã×ßÖÛúÖ ÜÖÖê»Ö®Öê ŸÖ£ÖÖ ˆÃÖÛúß ×®Ö´®Ö×»Ö×ÜÖŸÖ will be given to you. In the first 5 minutes, you are requested •ÖÖÑ“Ö Ûêú ×»Ö‹ פüµÖê •ÖÖµÖëÝÖê, וÖÃÖÛúß •ÖÖÑ“Ö †Ö¯ÖÛúÖê †¾Ö¿µÖ Ûú¸ü®Öß Æîü : to open the booklet and compulsorily examine it as below : (i) ¯ÖÏ¿®Ö-¯Öã×ßÖÛúÖ ÜÖÖê»Ö®Öê Ûêú ×»Ö‹ ˆÃÖÛêú Ûú¾Ö¸ü ¯Öê•Ö ¯Ö¸ü »ÖÝÖß ÛúÖÝÖ•Ö (i) To have access to the Question Booklet, tear off the paper Ûúß ÃÖᯙ ÛúÖê ±úÖ›Ìü »Öë … ÜÖã»Öß Æãü‡Ô µÖÖ ×²Ö®ÖÖ Ã™üßÛú¸ü-ÃÖᯙ Ûúß seal on the edge of this cover page.
    [Show full text]
  • JANAKI BALLAV PATNAIK the March to a Modern Odisha
    JANAKI BALLAV PATNAIK The March to a Modern Odisha SOUMYA RANJAN PATNAIK WASBIR HUSSAIN JANAKI BALLAV PATNAIK The March to a Modern Odisha SOUMYA RANJAN PATNAIK WASBIR HUSSAIN 4R ½, Unit-3, Kharavel Nagar, Bhubaneswar-751001 Phone : 0674-2391939 e-mail : [email protected] website: www.aamaodisha.org.in First Published 2013 (English Edition) Copyright © Aama Odisha 2013 The facts presented in this book are those of the different writers who have contributed for this compilation. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. ISBN: 978-81-89436-63-6 Cover Design: Geetali Baruah Cover Photo: Anupam Nath Layout: Binoy Baruah Printed in India at Genesis Printers & Publishers Pvt. Ltd. Borbari, Guwahati 781036 To the admirers and critics of Janaki Ballav Patnaik and all those who may like to know or understand contemporary Odisha. contents Publisher’s Note xiii Some Words, Some Dreams 1 J.B. Patnaik Shri Jagannath Temple aft er Independence 16 Sarat Chandra Mahapatra 20th Century’s Last Nabakalebara : Th e Only Successful One in 400 years 29 Asit Mohanty Th e Offi cial Language Jinx 46 Dr. Devi Prasanna Pattanayak Janaki Ballav Patnaik : Th e Essayist and Critic 56 Pathani Pattnaik Odia Literature and Janaki Ballav Patnaik 68 Barendra Krushna Dhal Janaki Ballav Patnaik & Publishing in Odia 80 Abhiram Mohapatra Janaki Ballav Patnaik’s Nirbachita Prabandha Sankalana 83 Rabi Singh Revival of Professional Odia Th eatre 89 Ananta Mahapatra Th e Odissi Research Centre 94 Kumkum Mohanty Contemporary Art in Odisha 100 Dr.
    [Show full text]
  • वागथः (An International Journal of Sanskrit Research)
    ISSN: 2456-9186, Vol. I, Issue. IV, March-2018 वागथः (An International Journal of Sanskrit Research) Journal Homepage: http://cphfs.in/research.php Abhijnānaśākuntalam on Modern Stage Prof. Radhavallabh Tripathi Former Vice Chancellor, Rashtriya Sanskrit Sansthan, New Delhi. Former Professor of Sanskrit, Dr. Harisingh Gour University, Sagar. [email protected] Sir William Jones started learning Sanskrit after his French scholar, Chézy sent him in Editio Princepts of arrival in Calcutta. He came to know that there were kāvyas Śakuntalā (1830) with translation and notes with the citation – poems and plays in Sanskrit, and studied Abhijñāśākutala of Goethe’s poem, Goethe, his enchantment for Śakuntalā, (AS) of Kālidāsa. In 1787, he started translating the AS in remaining undiminished even after forty years, thanked English completed the translation on August 17th in 1788; Chézy and wrote to him that ‘Śakuntalā has been a start for and in 1789 his edition of AS with the translation was him that made night more pleasant than day and it had published. This became an epoch-making event. It was marked an epoch in his life (The Reception of Asian reprinted five times in England between 1790 and 1807 Performing Arts in XVII-XX Century Europe – The Case of (India Inscribed: European and British Writing on India, France ).’ The AS, through this translation by William p.5). It was the dawn of a new era, ‘termed the Sacountala Jones, Foster and Chézy became in France an era by the French writer, Raymond Schwab in his Oriental exemplification
    [Show full text]