diary exhibitions

volume XXX. No. 2 March—April 2016

preceded by a talk by Dr. Homi Dhalla on Zoroastrianism Everlasting Flame and Ecology. He spoke at more than considerable length on FESTIVAL: Threads of Continuity: Zoroastrian Life and the state of ecology, stressed the fact that over fifty per cent Culture of the world's wildlife has disappeared in the last fifty years. He emphasised the references to ecology in the Zoroastrian Collaboration: Parzor; IGNCA; IIC; IHC Vayu Yashth 1 April to 27 May scriptures, for instance the , a hymn to the winds, and the Avan Yashth, a hymn to the waters. The Everlasting Flameexhibition from London, showcased Professor Rustom Bharucha of JNU moderated a panel in the National Museum—a panorama on the history of discussion on the curating of these exhibitions on 23rd April. the Zoroastrian faith—has acted like a magnet for other The other panelists were Dr. Shernaz Cama whose efforts on exhibitions at Jaipur House and IGNCA, primarily through behalf of Parzor were pivotal in bringing the exhibitions to the efforts of Parzor and Dr. Shernaz Cama. Exhibitions on Delhi, and poet Ranjit Hoskote and wife Nancy Adjania, both Parsi painters entitled ‘No Parsi is an Island’ curated by Ranjit famed art curators from Bombay. Bharucha gave an erudite Hoskote and Nancy Adjania, another on Parsi trade with talk on curating exhibitions—an assemblage of performances China in the nineteenth century, at Jaipur House, and ‘Threads and exhibits, and its multiple narratives. He talked of the Parsi of Continuity’ at IGNCA completed this constellation. communitarian identity with Zoroastrianism. Dr. Shernaz Cama talked of a movement to bring back Zoroastrian The IIC came to the party on 1st April, with the film discourse into world discourse, and resurrecting eminent Ferrari ki Sawari through Bollywood celebrity Boman Irani photographers and artists in the last twenty years. speaking on the film. The film stretched both imagination and verisimilitude a bit, but so what, so does the Parsi On the 26th of April, Professor Sabeena Gadihoke (Jamia community in any case! Milia) gave a crisp and excellent account of the career of the photographer Homai Vyarawalla who had snapped the On 2nd April, we again had Boman Irani singing away historic 1947 changeover and much else—the lives of the splendidly, and later the Iranian choir on the Fountain colonialists. This was followed by a long loose unstructured Lawns. It was a great evening and both the choir and Irani talk on Delhi Parsis by Rusi Sohrabji. But it brought out were given vociferous ovations. how people lived in the first half of the 20th century. On 8th April, an excellent documentary Outlines of Persian „„KEKI N. DARUWALLA History—the Achaemenian and Sassanian Empires, was screened at the Multipurpose Hall, followed by a talk by Justice Rohinton Nariman. A photographic exhibition by Shantanu Das on Udvada, which houses ‘Iranshah’ the sacred fire of the Parsis, was on show at the Annexe Art Gallery. On 15th April, a film from the Parzor Archives entitled Pir-e-Chak Chak was screened at the Multipurpose Hall, highlighting the legendary lost princess of the last Zoroastrian Emperor Yezdezard, who vanishes into some caves. A festival is held there with Iranian Zoroastrians congregating and having fun at the caves. The screening was Udvada

1 exhibition diary

A Flashing Weave EXHIBITION: Painted Weaves—Tapestries by S.G. Vasudev 1-9 March

Woven tapestry’s graphic pictorial role has been long- established in that five hundred years ago, the art was already extremely sophisticated in its development— esthetically, technically and in its diversity of purpose. S.G. Vasudev is a multifaceted artist who has explored Painted Weaves various mediums and art forms. Exposed to tapestry art the series. Collectivism, equality, acceptance and harmony during his travels in Europe, he wanted to do it in India. marked the entire gamut of works. After meeting master weaver Subbarayalu in 1995, there Each work exudes a collectivism replete with an imagery that was no looking back. Yarn dyes are watched scrupulously is commensurate with the artist’s open-armed acceptance of to maintain colour integrity with the original paintings. all beings, different cultures, and varying strata of life. Works for Painted Weaves at the Kamaladevi Complex were picked from—Tree of Life, Maithuna, Humanscape, Camaraderie of man and beast in Elephant & Man, the Earthscapes and Theatre of Life. saffron and green hues perhaps underlining the Indianness of Vasudev’s faith, the Blue Tree as a symbol of the universe, The first impression of the tapestries was of life bustling, the feminine Prakriti, sustainer of life, pervasive and and yet a sense of languid co-existence, with equal rights embracing, a vestibule of propagation, are the simple but for all! This inclusive stance of the artist, his all embracing profound truths that power S.G. Vasudev’s creations. propensity for treating flora, fauna, human life, and the universe with equal empathy remained the hallmark of „„ARUNA BHOWMICK

the seas surrounding Hong Kong have a considerably more Paintings about Ranikhet soothing effect. EXHIBITION: Ranikhet State of Mind Towards the end, a set of paintings of colourful Paintings by Manju Kak chrysanthemums, poppies, dahlias and lotuses portray 23 to 29 April flowers from her garden in Ranikhet. The exhibition evokes the spirit of Ranikhet with a video of the Manju Kak's exhibition Ranikhet State of Mind comprised sounds and silences from Kak’s garden in Ranikhet, and flower a series of oil and watercolour paintings inspired by the pots placed underneath it. Yet, the inclusion of a few paintings north Indian hill station where she has lived over the years. of the actual Kumaon hills surrounding Ranikhet would have As the title suggests, the show isn't literally about paintings been a fitting conclusion to the artist’s visions of the town. of Ranikhet, but rather a serene worldview that shapes Kak's vision of other cities. „„SONAM JOSHI In an opening note, Kak describes her family home Knock Fierna, that shares its name with a holy hill in Ireland, suggesting Ranikhet’s similarities with a quaint English village. This translates into a series of abstract landscapes of two very different places, Delhi and Hong Kong. There are paintings of the vast open barren spaces near the Yamuna riverbed and the Jahanapanah forest in Delhi, while an oil painting captures the movement of a peacock’s fluttering feathers. In contrast to these arid scenes, her waterscapes of Ranikhet State of Mind

2 diary exhibition

There is an interesting Vignettes of Goa medley of wall adver- EXHIBITION: Residues tisements, showing a Photographs by Monica Bhasin variety of fonts and other 6 to 12 April graphic elements that make for interesting viewing. There were photographs Monica Bhasin is a filmmaker, amongst other things. In this of stairs which had such exhibition, appropriately titled Residues, some photographs strong graphic elements… certainly are reminiscent of stills from a film of yesteryears. converting the mundane I am referring in particular to an old abandoned truck to a different point of view. and an old seat in a park with an overgrowth of vines and creepers…. giving it a melancholy, yet romantic old There was one particularly Residues world feel. I felt I had been transported to the sets of a beautiful photograph that Guru Dutt film! looked as if it had been taken when it was raining. Monica explained that early mornings in a Goan winter This exhibition showed us a Goa that we perhaps have never are often foggy and the photograph was a result of noticed! The doors that have been photographed are not that fog! extraordinary, and yet just in that, lies the extraordinariness. What a lot of character here. It is here that you see residues There was technique, there was experimentation, drama and of Goa…. of Goa hitherto unnoticed. There are no beaches, the mundane. I wonder where Monica will take us next. no shacks, no Portuguese architecture, in fact nothing that „„POONAM SAHI characterises the ‘regular’ Goa.

and controlled technique. Dilip Kumar (Devdas), Suchitra A Festival of Bimal Roy Sen (Paro), Vyjanthimala (Chandramukhi), Motilal Films (Chunni Babu) all excel in their roles. FILM FESTIVAL: Re-visiting Masters of Cinema: Sujata (1959), taken from a Subodh Ghosh story, addresses Bimal Roy the theme of untouchability most poignantly. Nutan as Sujata shines and Roy holds his audience through superior Collaboration: IIC Film Club, Shemaroo Entertainment Pvt. Ltd. And Anupam Productions, Delhi technique despite the film’s inordinate length. 11-22 April Madhumati (1957), written by Ritwik Ghatak, is a delightful piece of hokum featuring a rapacious landlord, a lovelorn Five films by Bimal Roy were screened, thanks to the hill maiden and an honest, romantic estate manager. It is a collaboration between Shemaroo Entertainment Pvt. Ltd., tale of rebirth and reincarnation and grips the viewer with Anupam Productions, Delhi and IIC Film Club. its expressive photography and lilting music. Do Bigha Zamin (1953) influenced by Italian neo-realism Bandini (1964), based on a Jarasandha novel, Tapasi, is is about the pauperisation of a poor farmer Shambhu and about the tragedy of an innocent postmaster’s daughter his family by a powerful village landlord. The film rings let down by a revolutionary during the Independence true even now because the lot of the Indian farmer remains struggle in the 1930s. Its reading of a stunted, hide-bound, tragic and Bimal Roy’s probing, humane camera brings male-dominated society is spot on and relevant today— alive the film despite a somewhat sketchy script. more so! Nutan as Kalyani, the wronged woman, is unforgettable. This is Bimal Roy’s most perceptive film. Devdas (1955) based on Sharat Chandra Chattopadhyay’s eponymous 1915 novel does not fall into the pit of „„PARTHA CHATTERJEE narcissism thanks to the director’s humanity, intelligence

3 film diary

Mixed Fare FILM FESTIVAL: IAWRT Asian Women’s Film Festival Collaboration: International Association of Women in Radio & Television, India Chapter; Max Muller Bhawan/ Goethe Institut; Korean Cultural Centre; Sanat South Asia; UNESCO, New Delhi Office; and others 3-5 March

The 12th IAWRT Asian Women’s Film Festival was held at the India International Centre from March 3-5, 2016 to mark International Women’s Day. Healings Healings The festival is organised by the members of the India festival resulting in many lively and thought-provoking chapter of the International Association of Women in post-screening Q and A sessions. Radio and Television who take time out from their busy Some of the highlights of this edition were Haunted, a professional schedules to put it together every year. From powerful documentary from Syria by Liwaa Yazji on the a two-day festival of documentaries, it has today grown plight of people who have had to abandon their homes into a four-day event across multiple venues, showcasing to avoid being killed; Song of the Horned Owl (by Manju the works of women directors of Asian origin on diverse Borah), a gentle film about Assamese people caught between themes and in a range of genres. The country in focus this the militants and the army; Daughters of Cordillera (by year was Palestine. In addition, the third edition of the Ilang-Ilang Quijano from Philippines), a film that looks at innovative segment Soundphiles, a curation of sound works three generations of women who have voiced their protests; was presented. Till then the Roads Carry Her, a poetic film on the women On the evening of 5 March, there was a felicitation living in Kashmir; The Deer, Tree and Me (by Teenaa Kaur ceremony organised to honour nonagenarian Dr. Vijaya Pasricha), a brilliant film on the Bishnois in Rajasthan and Mulay, who is an educationist, documentary filmmaker Mod, a wonderful documentary on boys by Pushpa Rawat. and writer. She was felicitated by Dr. Kapila Vatsyayan, There were some films of shorter duration too. and the ceremony was followed by a conversation with In addition to film screenings, there were two short Dr. Uma Chakravarti on her filmmaking experience. Two of seminars. Documenting the Women’s Movement on film—a her films, Ek Enek aur Ekta and Tidal Bore, were screened. seminar on recovering the history of the women’s movement Thirty-five films and sound works from 13 countries and that began to address the structural violence of patriarchy a special package of 11 films, Voices from Palestine were that had been assuming new forms in the 1980s and 90s. presented. 24 filmmakers and sound artists attended the The seminar showcased a few films made during those decades and was followed by a panel discussion with Deepa Dhanraj, Sheba Chhachhi, Saba Dewan and Pallavi Paul. Conflict, Gender and Mediawas the second seminar that considered Women Living in Conflict and Women Reporting from Conflict. There were two panels with Pamela Philipose, Iffat Fatima, Patricia Mukhim, Shahd Al Hindi, Samah Al Khwaja, Nupur Basu, Aunohita Mojumdar, Ellen Barry, Maya Mirchandani and Suhasini Haidar contributing. At the IIC Annexe gallery, there was an exhibition titled Healings by Dr. Iris Odyuo. Her paintings attempted to put faith in goodness in each one of us and try to heal each other’s worlds. Healings Healings „„UMA TANUKU

4 diary culture

Tribute to Kamaladeviji FESTIVAL: Kamaladevi Chattopadhyay and The Making of Modern India 17 to 26 April

The seminal and ground-breaking contribution of Kamaladevi Chattopadhyay to the building of modern India was presented at the Centre through a series of programmes and events that extended over a ten-day period. This much-needed acknowledgement of Kamaladevi’s pivotal achievements was elaborated through an excellent exhibition, scholarly papers and personal reminiscences. Performances that would not have survived without her of handicrafts. Usha Malik, current Chair of the Srinivas vital focus enlivened the evenings. Malliah Theatre Crafts Museum illuminated the audience At the exhibition, thoughtfully curated by Birad Rajaram on another of Kamaladevi’s passionate interests—that of Yajnik, archival photographs, newspaper reports and writings the performing arts. Herself an actress in film and theatre, by scholars and in Kamaladevi’s own pen were presented. Kamaladevi championed the cause of performers; her Historian Dr Aparna Basu introduced the audience to the persistent advocacy resulted in the setting up of a number many avatars of one of the most notable women of the of institutions and the rejuvenation of several performance times. Gurupada Chitrakar, a national award-winning forms that owe their existence to her today. Patachitra narrative scroll artist-performer delighted the On 22nd April, as part of the programme, the IIC hosted audience at the inauguration with a poetic rendering a Round Table that included in Bangla of his interpretation of Kamaladevi’s eventful eminent speakers from across life. Padmashree Gulshan Nanda, former Chairperson India. The morning session of the Central Cottage Industries Emporium spoke of moderated by the feminist Kamaladevi’s post-Independence involvement with economist Devaki Jain had the Indian Cooperative movement and the the former Governor of West setting up of the iconic store and the role Bengal, Gopal Gandhi speak it played in the revival of crafts and on the broader philosophical empowerment of craftspeople. notion of the deep underlying In the days that followed, difference between the use a keen audience was of power and the concept of regaled by eminent textile strength and how the latter lay historian Jasleen Dhamija’s not in positions and titles but in reminiscences of her early underlying beliefs, principals and working years at the All ideals. Titled ‘Power as Food’ — India Handicrafts Board Bhojanam Bhokta or the eater and under the Chairpersonship the eaten, he laid the foundation of Kamaladevi. Travelling for the talks that followed. In the across the length of the same session, Professor Mridula country, Kamaladevi met Mukherjee, former Director, with craftspeople, negotiating Nehru Memorial Museum and uncharted waters in her Library provided an erudite service to the cause of crafts perspective on Kamaladeviji’s place to be titled by them their in the firmament of the struggle for Hastkala Mata—the mother freedom. Contd… 5 culture diary

the Centre for Cultural Resource and Training brought a lump to the throat of many in the audience. In his summing up, Ashoke Chatterjee, former Executive Director, National Institute of Design invoked Gandhiji and Tagore with a stirring call to the audience to continue to ensure that the spirit of creativity, innovation, discussion and debate as represented by Kamaladevi and others remain alive for as he said ‘if we destroy that we strike at our very civilisational roots’. The seminar’s conclusive statements about the colossal force that was Kamaladevi, her strength and larger than life persona and her many dimensions that continue to live on through the institutions she set up and the many whose lives she helped were by Dr Kapila Vatsyayan, Trustee IIC. The evening programme set in the Gandhi-King Plaza was a solo presentation in Hindi by Bhagirathi Bai from the Seagull Theatre in Guwahati. The play based on Bharathiya Mahileyara Swathanthra Hortala, a translation of ‘Indian women’s freedom struggle’ written by Kamaladevi was a tour de force. The IIC and all those involved are to be congratulated on an excellently articulated series of programmes on one of the makers of modern India. Kamaladeviji „„RITU SETHI

The second session of the Round Table moderated by journalist Pamela Philipose had Dr Radha Kumar, the present Director-General of the Delhi Policy Group, talk about the seminal influence of Kamaladeviji on her life and the continuing significance of her work and the relevance of her ideals in today’s world in spite of generational differences. Senior journalist and former Chair, Prasar Bharati, Mrinal Pande spoke about the many other women involved in the freedom struggle whose lives remain unwritten and unsung and the need to tell their stories and the part they played in the fabric of the movement for Independence. The post-lunch session chaired by the educationist Professor Karuna Chanana had Dr Varsha Shenoy expand on her doctoral thesis on the Saraswat Brahmin community that Kamaladevi belonged to. The community’s liberal, forward-looking approach created other outstanding women who made their mark in the fields of education, politics, literature and medicine. The former CEO of the National Culture Fund, Dr Shobita Punja’s deeply moving reminiscences about her personal experiences of working with Kamaladevi in the formative years of the setting up of Gurupada Chitrakar

6 diary literature

Poetry and Dissent COLLOQUIUM: Palestine in India: A Writer’s Colloquium COLLABORATION: Women Unlimited 11 to 13 March

Palestine in India was a colloquium of writers like Ahdaf Soueif, Mourid Barghouti; and Suad Amiry who in her imitable tongue-in-cheek style did a hakkawati or storytelling performance as the grand finale with Soueif as the mistress of ceremonies comes from the women but expands beyond them into a The opening event was a film,The Time That Remainsby collective wound, which needs to be redeemed. the director Elia Suleiman who through the stories of his father and mother and his own life explores Palestinian life Sunday brought with it a mesmerising poetry reading and society through the lens of a ‘present absentee’, those jugalbandi between father and son poets, Mourid Barghouti Palestinians who had to leave or were expelled during the and Tamim Albarghouti, ‘My Country: Distant as My establishment of the State of Israel in 1948. Heart from Me.’ The iconic Mourid Barghouti needs no introduction; it’s important however to listen to him and The film was followed by a discussion on living under try and grasp his description of the Palestinian identity occupation in Gaza and the West Bank, and on writing as that of lost meanings, lost land, lost belongings, lost back to subvert the oppression. Laila El-Haddad and Adania rights and lost freedom. Mourid Barghouti had a moving Shibli read from their works as Ritu Menon of Women voice which could in very few words take you to intimate Unlimited introduced us to the challenges of publishing spaces like the pillow of a child who will never return to and selling Palestinian writing. Susan Abulhawa read from it again to convey the human tragedy of war. He said that her new book The Blue Between Sky and Waterwhich is a the answer to injustice is to be perfect in what you create, story of women, of relocation, separation, endurance and despite restrictions around you. Resistance and freedom are love carrying within the turmoil of four generations of a not abstract words, they lie scattered in details of life where Palestinian family. Susan depicts how from the politics with the deaths and jail-living—loving, generosity, beauty, of daily life, feminism is a force that always punches as it friendship in themselves become dissent. Tamim Albarghouti, the son of Mourid and Rudwa, an Egyptian writer, commands huge popularity today. Tamim says he wishes his poetry, even when it reflects the harsh realities and turmoil of the Middle East, can give his compatriots a message of hope for which they are desperate. He recited from his much lauded poem ‘In Jerusalem’ about his last visit to the occupied land with apartheid walls and soldiers denying Palestinians their basic freedoms and rights. The poem ends on a jubilant note as Tamim points at the crowd and recites in Arabic : ‘You shouldn’t cry, are you mad? have you forgotten the book’s text? In Jerusalem they have whoever is there in Jerusalem But I young Arab, have eyes for no one but you!’ „„SABA HASAN

7 music diary

Ashtapadis Lalitalavangalata and Chandanacharchita Celebrating Spring through portraying respectively spring effervescence and Krishna frolicking with Gopis, also glimpsed Radha and sakhis Guru’s Shishya watch with mixed feelings. FESTIVAL: Passing on a Tradition: Guru and Disciple— Trained under Jaya Rama Rao and Vanashree, Reddy IIC Spring Festival of Dance Lakshmi’s Kuchipudi recital showed true quality, evident 6 and 7 April right from the opening Annamacharya Keertanam Vandeham Jagat Vallabham in Hamsadhwani. Expressional The clamour for originality may have dimmed the halo elegance underlined vignettes from the ever-green Bhama around the time-honoured Guru/Shishya transmission Kalapam. Lekha in Arabhi visualised Satyabhama penning in traditional art. Even so, established dancers as teachers a passionate love letter to Krishna, in lilting poetry Srimat transmitting to the next generation what was imbibed from Ratnakara putrika... expressing anguish at separation from legendary Gurus, have ensured a measure of continuity, him. As the messenger departed, Satyabhama was overjoyed preserving core art identity. Saluting tradition’s teacher/ by scenes she read as good omens. Quality accompaniment taught pravaha, while celebrating spring, IIC’s two-day was a feature, led by Rama Rao’s nattuvangam with vocalist festival provided a platform for promising young talents Venkateshwar’s melodic prowess combining clarity of being groomed under dancer/ teachers. diction. The dancer excelled as the bitingly sarcastic jilted The curtain-raiser Odissi duet featured disciples of Madhavi khandita nayika rejecting the errant lover, in the Javali in Mudgal, Deepika and Shobha Bisht. Their fast-paced Saveri Mutta voddu ra. Swara Pallavi in Vasant concluded performance to recorded music, comprised Jagannath with the Tarangam brass plate rhythm. Ashtakam set to Sunanda Patnaik’s music, followed by Geeta Chandran’s fast-evolving Bharatanatyam disciple, nature’s spring effulgence describing Manmatha’s eloquent Sneha Chakradhar, entered welcoming spring’s bounty, entry with his flower-bedecked armoury, woven round based on Suryakanthi Tripathi Nirala’s Sakhi Vasant Aya, Kalidasa’s Ritusamhar verses set to Vasant. Pure nritta set to Basant Bahar score by Sudha Raghuraman, followed represented in the Pallavi and concluding Moksha in drut by a spirited nritta/abhinaya suite with convincing sancharis laya saw the tastefully attired winsome twosome, epitomise interpreting Swati Tirunal’s Karnataka Kapi varnam through movement silhouette and rhythmic correctness, Sumasaya. The sakhi, pleading with Lord Padmanabha the the Madhavi trademark of technical perfection. The case of her lovelorn friend waiting in vain for him, urges that he join her. Leading with authoritative punch was Geeta’s Nattuvangam in cymbal talam and Jati recitation. More leisurely paced singing sans flourishes in the abhinaya item Indenduvaccitivira in Surati, with the dancer savouring gestural interpretation, would have created more music/ dance coordination. The finale saw Tillanaa in Rageshwari. Now training under Prerana Shrimali, Shivalika’s well- groomed, slim form, with clean ang, made for a quiet presentation of Jaipur gharana’s Kathak intra-forms, her upaj and footwork showing impeccable laya. The gharana’s specialties of Kavit, Chakradhar, Gat, Paran Amad, Parmelu were all rendered with a beautifully straight stance. Naturally shy, the dancer’s quietly charming abhinaya, needs more assertion in the understated ched/chad in Chado chado Bihari dekhi Nari. Music with SamiullahKhan (vocal) and Yogeshgangani (tabla) and Prerna’s padhant needed better sound balancing.

Spring Festival „„LEELA VENKATARAMAN

8 diary music

which brought to mind a violin-like timbre to the concert, Heritage Series Concerts the artist presented an explorative array of taans that ranged PERFORMANCE: Mehfil from the oft heard sargam taans to the more intricate ‘aadha’ With Smt. Apoorva Gokhale tans, all of which was fused in a seamless integration. Her immense tayyari was visible in the taut exactitude COLLABORATION: Shri Harshvardhan Neotia, Jnana Pravaha and Naadsaagar Archives & Documentation of her compositional flair, contrasted with an alluring Society for South Asian Music and relaxed range of notes, all of them homing on to the 18 March ‘sam’ note with charming alacrity. Perhaps what made this concert so special was the singer’s The concert of Apoorva Gokhale, under the Heritage series capacity to exploit the core notes of her chosen ragas as of concerts, was a portrayal of true classicism, where the engines of moods so that the innate emotions of the lyric strains of the gharanas of Gwalior, Agra and Jaipur, exuded were integrated into the music through innovative behlawa. right from the curtain-raiser madhyalaya composition at The concluding tarana proved that the artist had worked the start. Indeed her talim as the granddaughter of the late towards making the evening’s presentation a complete Pandit Gajananbuwa Joshi, was a recall of memories for concert experience. The accompanists did full justice to the connoisseurs in the audience. Making comparisons and the presentation, giving listeners a chance to savour what is cherry picking gharana tenets sprinkled across her singing, integral to the music of her forebears. was easy as her presentation had blue-blood links with „„SUBHRA MAZUMDAR her heritage. Besides possessing a melodious singing style,

products of cultural mixing; some dances originated American Dance Styles in one country and travelled through several others TALK: Bojangles to Ballanchine and Beyond: A Century before infiltrating American culture. Some dances now of American Dance considered characteristically ‘American’ can be traced back to American Social Dance European roots. SPEAKER: Sharon Lowen Eminent Odissi dancer Sharon Lowen’s talk on a century 16 March of American social dance brought alive the wide varieties of American dance forms, and their historical influences. In Traditions of dance over the centuries have always been an extensive audio-visual presentation entitled ‘Bojangles to a forum for purposeful social activity, wherein elaborate Ballanchine and Beyond: A Century of American Dance,’ balls and private parties allowed friends and family to Lowen’s detail of American dance forms was interspersed share the new trends in music and dance. In the political with sepia-toned, black-and-white archival video footage sphere, dances provided a setting for politicians to exhibit of a variety of different American dance styles—from their wealth and standing by their knowledge of the most the tap dance, tango, and Charleston to modern day fashionable dances. The social institution of dance provided hip-hop and pop. She explained how these dances evolved, an arena for people to communicate with each other keeping in mind the influences of rapidly changing social through the use of non-verbal and culturally acceptable and environmental conditions in the early 20th century movements and gestures. in America. The effects of the Great Depression, and mass migrations of different cultures to the United States also As a cultural melting pot, America welcomed a variety resulted in a curious mix of varying dance styles, forms and of dances. The stately and ceremonial minuet came techniques. It was an enjoyable evening when one couldn’t from France, freewheeling country-dances arrived from help but ‘shake a leg!’ England, and lively hornpipes and reels flooded in from Scotland and Ireland. Countless other dances were the „„DEEPAK CASTELINO

9 music diary

languorous, but the second one, L'isle Joyeuse, was full of Piano Medley joy and delight. PERFORMANCE: Piano Recital After the intermission, the recital began with three preludes by By Dr. Raul M. Sunico Gershwin. Here, the pianist showed his mastery over the jazz COLLABORATION: Embassy of the Republic of the idiom and was appreciated by all. Dr. Sunico has composed Philippines piano arrangements of folk songs from the Philippines and 22 March the audience was presented with a sampling of this music. The recital concluded with music by Liszt. The most On 22 March, a packed auditorium enjoyed a brilliant famous and well-loved of his works, the Liebestraum, was piano recital by Dr. Raul M. Sunico, a pianist and composer given a sensuous rendering by the artist. The final piece of from the Philippines. the evening was the Vallee d'Obermann by Liszt. This was a The artist began his recital with three preludes by brilliant piece of music with the pianist pulling out all the Rachmaninoff. The Prelude in C sharp minor, op. 2 no. 3 is stops of his artistry. perhaps the best known and was given a superb rendering The thrilled audience clamoured for an encore and Raul by the pianist. Sunico treated us with a stunning medley from the musical In the three pieces by Chopin, in the Waltz in Eb, op.18, My Fair Lady and was given a standing ovation. the pianist was in his most rhythmic element. Two „„R.P. JAIN pieces by Debussy followed. The first one was slow and

the lead singer chosen the lesser known lyrics of these Sufi Traditions in a New saints, he would have veered away from comparisons with the renditions of the master musicians and professionals of Format the same numbers, with élan. This downslide in the quality PERFORMANCE: Sounds of the Sufis of the singing began to show through towards the end of Presented by the Looking Glass, Mumbai the concert, particularly with the Mira bhajan. However, 19 March the overall performance was laudable and the attempt to bring philosophy, history, musical traditions on a common The many-sidedness of Sufi mysticism has been an platform in a popular garb, was ably achieved by the trio. inspirational take-off point down the centuries. The „„SUBHRA MAZUMDAR experimental look at Sufi traditions at the IIC platform under the ‘Sounds of the Sufis’ programme was a charming take on this theme. The artists, who were dressed perfectly for the part, had gelled together a dialogue of the teachings of the ‘‘who’s who’’ of Sufism. Using a fictional ‘Dr Pande’ as the sutradhar, the presentation bore a hugely innovative appeal. That this ancient cult has modern relevance was brought forth by their choice of accompaniments, as a guitar replaced the rabab, or single-stringed ektara that was used by the Sufis of yore. The tabla exuded the spiritual mood through a plethora of beats that harked back to ancient drum beats. The compositions chosen for the evening were the oft-heard ones of these saint-composers sung with a fervour that had the audience foot-tapping and clapping, giving the evening a participatory flair. Introductions given by the narrator, linking the historicity of each saint bore authenticity. Had Sounds of the Sufis

10 diary media

We look daggers (albeit sometimes with good reason) Media and SAARC at those who appear to be hostile, and revel in ill- DISCUSSION: Covering South Asia: Media and the concealed schadenfreude or condescending sympathy when SAARC Region misfortune strikes them. Even our occasional gifts of PANELLISTS: Deb Mukharji, Nirupama Subramanian assistance tend to be wrapped in the unsightly paper of and Suhasini Haider self-congratulation. When such episodes and the transient CHAIR: Kishalay Bhattacharjee titillation they offer conclude, we return to our favourite 13 April serial: India. This is of course a somewhat exaggerated portrait, but only somewhat, and the media are partly to blame. Revenue trumps responsibility and reporters It’s a sad fact that though we belong to South Asia, the stationed in other South Asian countries and bringing us average Indian neither knows enough about our neighbouring general, informative news about them are the first to get countries nor is interested enough in acquiring that the axe. We don’t have a truly South Asian news agency knowledge. When we’re not navel-gazing, we’re usually gazing and depend on Western feeds. And thralldom to Foreign at the stars and stripes. And if our hyperopic westward focus Office guidelines is a sad reality. When you hear all this shifts at all, it is to a brief and profoundly myopic glance at the from experienced journalists and distinguished diplomats, neighbourhood. Our occasional peek through the printed it’s time to take notice. page or the pixellated window at our fellow South Asians is largely India-centric, and limited for the most part to those „„MAHADEVAN RAMASWAMY who form a contiguous parikramā of the motherland (for the rest we have a remarkably resilient indifference).

-there is a cost of development in the social environment Environment of the Environment and the pollution, contamination and degradation of air, THE MEDIA FOUNDATIONS’S B.G. VERGHESE water and land and its effects on morbidity and health, MEMORIAL LECTURE 2016: The Environment for -there is an increasingly deregulatory political environment. India’s Environment SPEAKER: Jairam Ramesh All of the above have a profound impact on the physical PANEL DISCUSSION: Darryl D’Monte; Bahar Dutt; and environment. Trade-offs are inevitable in balancing the Dr. Shibani Ghosh pressures of economic growth and development with conserving the physical and social environment. He COLLABORATION: The Media Foundation spoke of the fact that the lobbies supporting growth 17 March and development which mine the natural resources and displace tribal and rural peoples are frequently pitted The B.G. Verghese Memorial Lecture titled ‘The against those lobbies supporting the environment which Environment for India’s Environment’ was organised by are against growth and development. No easy solution the IIC and the Media Foundation on 17 March. Mrinal to this, it has allowed a general apathy to persist towards Pande introduced the panellists Shekhar Gupta, Smita India’s environment from both the society at large and the Gupta and Apoorv Anand. Shri Jairam Ramesh, former administration in power. Union Minister for Environment, spoke on the subject of the environment of the environment. Fondly recalling The same occasion marked the 35th Chameli Devi Jain his first meeting with B.G. Verghese, he mentioned the awards in memory of the veteran freedom fighter. The need for any growth and development process in India to Media Foundation awarded women journalists Priyanka incorporate the following : Kakodkar and Raksha Kumar. The finalists were selected from among 41 women journalists for their excellence -the Indian populace is exploding demographically. It in journalism and unbiased and independent reporting. is also a youthful populace. This has consumption and Mention was made of the pressures facing an independent emission consequences, journalist today, the threats and coercion coming from various corners. -the economic environment must push for high economic growth policies to support the above, „„MEKHALA SENGUPTA

11 discussion diary

of land fertility and proliferation of jungles and marsh Bengal and Popular Cults lands. The attitude of the Sultans too played a role in TALK: The Construction of the Hindu Identity in the first 300 years. In the east, in Sylhet, the sword was Medieval Western Bengal: The Role of Popular Cults used, and inducement in the west through sufi pirs, who SPEAKER: Jawhar Sircar ironically, were at logger heads with the state. CHAIR: Dipankar Gupta Different Sufi orders of the Chistiyas, Kadariyas, 29 March Suhravardis flourished, as did various Hindu cults like the version of Vaishnavism as propagated by Sri Chaitanya in Jawhar Sircar, CEO, Prasar Bharati gave an interesting and Nabadweep. ‘Chaitanya’s impact on a carnivorous race of very informative talk on the proliferation of certain Hindu Hindus is terrific’. The followers of Chaitanya were very religious cults in medieval Bengal and the perceived reasons largely from the upper castes. for their existence. The well-known political scientist How a community of fishermen, pastoralists over time, were Dipankar Gupta was in the Chair. absorbed into an agricultural society over 3 centuries; how Sircar’s talk embraced history, anthropology, sociology and to their lives were transformed due to changed political and a degree, statistics. He explained reasons for why ‘the Muslim natural conditions which affected the population density of identity in Bengal, after a time was a constructed one’, and each community in the East and West, and impacted thus how the Hindu identity there was a ‘response to it’. on the cultural and political climate of the time was the central idea of Sircar’s talk. The eastern part of Bengal had a largely Muslim population and the western part, Hindu. The reasons were many, „„PARTHA CHATTERJEE including rivers changing course over centuries, the quality

marvelous commentary on Kashmir going right back to an Pakistan’s Dilemma ancient age and to the present and brought up to a point BOOK DISCUSSION GROUP: A State in Denial: where he ends with some prescription.” While recalling the Pakistan’s Misguided and Dangerous Crusade by B.G. days of 2014 with Verghese, Shashi Tharoor found author Verghese (New Delhi: Rupa, 2016) B.G. Verghese a visionary with a robust common sense PANELLISTS: Shashi Tharoor, Shivshankar Menon, about Pakistan who accommodated concerns about climate Vijay Varghese, Prem Shankar Jha change in which he had become very interested in the last MODERATOR: Shekhar Gupta 10 years of his intellectual life. 28 March However, another prominent speaker Shivshankar Menon found this book very rational and powerful, which reflects Though the book was the posthumous work of veteran the integrity and passion of veteran journalist and author journalist B.G. Verghese, it differs from others on the B.G. Verghese. After an uncompromising introduction subject and is ultimately optimistic in outlook and has some about the (mostly self-inflicted) malaise Pakistan finds radical out-of the-box solutions on how the two countries itself in, he took us through a quick but incisive overview can dismantle and bury over six decades of acrimony. of historical events. During the discussion, MP Shashi Tharoor introduced the Even while analysing Pakistan’s present-day plunge into book as a first-person observation by veteran journalist internal dissent, provincial rivalry and military rule in the B.G. Verghese who suffered the effects of partition and tells book, Verghese offers a gentle way out of the nation’s self- the story in a very critical and emotional manner. made dilemmas by encouraging Pakistan to become more than the Indian ‘other’, and urging it to move away from He further added, “the book A State in Denial is not fundamentalism and embrace the syncretic, Sufi-infused incomplete, rather a well put together coherent volume. Islam it once knew. It’s very clear and readable as it goes through history, a certain amount of personal awareness and judgment. It’s a „„M SHAHID SIDDIQUI

12 diary discussion

the accumulated usage and change. Vandana highlighted The Man and his Works both the aesthetic and technical quality of the 120 hand- DISCUSSION: The Structure: Works Of Mahendra Raj made drawings selected for the book. PANELLISTS: Dr. Kirit Parikh; Professor Ram Sharma; Dr. Linus von Castelmur paid tribute to M. Raj referring to Shri Rajeev Lochan; and Professor Mahesh Tandon his work as humanistic engineering at its best and affirmed CHIEF GUEST: Dr. Kapila Vatsyayan the commitment of the Swiss embassy towards possible GUEST OF HONOUR: H.E. Dr. Linus von Castelmur areas of collaboration between Switzerland and India. 15 March Kirit Parekh highlighted that through good judgement and sound engineering, M. Raj has elevated architecture. Ram The release of the book —The Structure: Works of Mahendra pointed out that besides providing strength to the building, Raj, was followed by a discussion with a disparate set M. Raj is a rare engineer who studies the aesthetic quality of people about the man and his works, and the larger of spaces and forms by conceiving his structural design in context of structural design, architecture and the built 3D. Rajiv Lochan admired the sensibility of art and the environment. The monograph emerged through eight years embedded nature of artistic expression in the works of of collaborative effort by his son Rohit Raj Mehndiratta and M. Raj. Mahesh Tandon noted the numerous awards to Raj daughter-in-law, Vandana Mehta along with Ariel Huber. from professional bodies of structural engineers. Rohit shared the challenges of curating 28 projects out Dr. Kapila Vatsyayan highlighted the critical importance of a vast body of work that could suitably represent the of the relationship between architect and engineer which evolutionary history of man and his vision. Besides the leads to creative transformation by drawing an analogy selection of archival drawings, the book is supported by between singer and accompanist or a Bharatanatyam dancer technical perspective and collaborative processes that are and Mridangam player. She concluded the discussion by presented though essays and reproduction of conversations complimenting the book and its drawings that present both with architects. Many of Raj’s buildings were constructed the technical and aesthetic dimensions of M. Raj’s works. in the 60s and have changed over time, and Ariel presented the challenges to identify the structural character behind „„VIKRAM LALL

time. The artifacts, places of worship, memorabilia, forts, Preservation of Memory frescoes, buildings, memorials, etc., would be obliterated TALK: Lost Heritage—The Sikh Legacy in Pakistan with the passage of time, and if these were not resuscitated Illustrated lecture by Amardeep Singh now, they would be lost forever with the fading of memory. INTRODUCTION: Dr. J.S. Juneja So in the best of traditions set by explorers, record-keepers, CHAIR: Kuldip Nayar and chroniclers, Singh set upon his peregrinations through 7 March Pakistan and covered the extreme regions of the country, including Khyber Pakhtunkhwa and POK. It was a journey Yearning for the preservation of heritage is innate in of curiosity, devotion, and commitment to keep the revered every community. The visit to and reverence for such sites sites forever fresh in memory. He could visit the most remote confirms the urge to retain ties with the past. But first of parts of the country being a national of Singapore, a luxury all, one has to identify objects with which one is connected. denied to Indians who do visit some holy sites annually. His It was this quest for rootedness that propelled Amardeep labour of love culminated in a well-documented book, Lost Singh to search for the spots visited by the Sikh Gurus and Heritage—The Sikh Legacy in Pakistan. The book has sixty saints whose compositions are included in the holy texts of chapters, over 500 photographs with a passionate narrative the Sikhs. He was conscious of the fact that the generations and makes a case for preservation of memory either by state succeeding those who migrated to India after the partition support or through adoption. would be deprived of their heritage with the passage of „„P.S. BAWA

13 discussion diary

Sculptural representations extolling the roles of women Women and Monastic Life as mothers and wives co-exist with the sole representation INDIAN ARCHAEOLOGY: Women and Monastic of a bhikshuni (Soma) and also of Kujuttara, a lay patron Buddhism in Early South Asia: Rediscovering the who is the only woman to have orally transmitted a text Invisible Believers in its entirety. Only 27.7 per cent of the women identify SPEAKER: Dr. Garima Kaushik themselves as mothers or wives; the others by native place CHAIR: Dr. Himanshu Prabha Ray and personal names. 21 April Kanishka’s rule saw Nagadutta bhikkhu himself raising a staff for the lay upasika Balanandi and her mother, showing the Dr. Garima Kaushik’s fresh book deploys a ‘gender active participation of the monk fraternity in honouring framework to offer insights into the socio-cultural women patrons of the sangha. Stupas were erected for foundations of Buddhism.’ She aims at ‘‘reaffirming Buddhist women such as Mahamaya and Sujata and the house [women’s] agency’’ by re-reading inscriptional and of Amrapali was commemorated. Drawing upon monastic archaeological data from South Asia. rules to interpret architectural features (need for security, privacy, segregation), she reads them as gendered spaces. What were the structures associated with women? Were stupas erected for women? Who enjoyed this privilege? She The talk did not convince all in the audience, though answers these questions examining the proportion of male feminist historians will find the work interesting as it claims vs. women donors, finding women outnumbering men at to correct ideas about women as ‘polluters’ in Buddhist certain sites. She examines nuns (bhikshunis) and lay women narratives. practitioners (upasikas) and ‘real women’ and ‘legendary „„MAYA JOSHI women’ (Vishakha, Sujata, Amrapali, Mahaprajapati etc).

reiterated that problems like climate change and Keeping the Bandung nuclear disarmament could only be resolved through dynamic multilateralism in the world underpinned by a Spirit Alive strengthened UN. DISCUSSION: To Mark Bandung Day 2016: These thoughts were ratified by Professor Deepak Nayyar Symposium on Bandung Legacy and Global Future who spoke to an enthralled audience on the need of a SPEAKERS: Professor Muchkund Dubey; Professor multipolar world and global governance through the UN, Deepak Nayyar; and Dr. Kapila Vatsyayan as economics and trade become more global. He explained INTRODUCTION: Professor Manoranjan Mohanty how the Third World became autonomous during the COLLABORATION: Council for Social Development Cold War leading to the formation of the Non-Aligned 23 April Movement and, before that, the Bandung Conference.

The slides of the first Bandung Conference of 1955 Mr. Dalton Sembiring from the Embassy of the Republic shown at the beginning of the symposium brought home of Indonesia enumerated the 10 Point Declaration (Dasa the reality of how much the dynamics of the world have Shila) and reminded us of the pressing need to take the changed since. Bandung Spirit forward to keep the legacy alive and relevant. The very erudite and eloquent former Indian diplomat Professor Muchkund Dubey held forth on the importance From Mr Mohanty’s introduction to the conclusion by of the UN reinventing itself in an increasingly dystopian Dr Kapila Vatsyayan, the refrain was that if the future of world. He mapped a very comprehensive overview of the world was to be made safer, then democratisation is modern history and the events that led to the formation urgently needed, particularly to fight terrorism because of an alliance between formerly colonised Asian and terrorism thrives in failed states. And, this can be achieved African nations to promote democratisation and peace. by making the UN stronger and more respected again. The audience sat enraptured as the professor emphatically „„RIMA ZAHEER

14 diary review

television show were interpreted as Germany not being able Germany’s Refugee Crisis to secure its borders. TALK: A Rude Awakening: Germany,the Refugee Crisis, Though the conservative parties had enough ammunition and the Question of Identity to pose a serious challenge to the Chancellor’s politics, SPEAKER: Dr. Alexander Goerlach her popularity rankings were up again, after she sealed a CHAIR: Ronen Sen deal with Turkey on the refugees in the future. In fact, the COLLABORATION: Federation of Indo-German preferred Balkan route has been closed by all countries. Societies in India; and Friedrich-Ebert Stiftung, New Delhi But nothing has changed in Germany after this and the insecurity continues as AfD party (Alternative for 31 March Germany) started in 2013, a right-wing party which is anti-European Union, is exploiting the refugee problem for Dr. Alexander Goerlach, founder and publisher of the xenophobic purposes and reasons. debate magazine, The Europeanwas aptly introduced by Ronen Sen, President, FIGS, as a scholar of eminence. Dr. Goerlach stated that globally the same phenomenon Goerlach, who is currently teaching in Harvard, delved existed as there is a growing fear in the middle class. He deep into the twin crises confronting Germany and fielded questions from eminent journalists and thinkers Europe in entirety, that of the refugee influx and related regarding the right-wing opinion shaping across Europe, fallouts such as increasing xenophobia, political and social whether liberal democracies were under threat, and divisiveness, several prejudices and most importantly, also commented on Washington Post columnist, Anne the problem of social identities plaguing Europe Applebaum’s recent article talking of the end of the West at present. as a concept. Dr. Goerlach traced Germany’s current identity crisis To conclude, perhaps, former Ambassador Lambah very to 6 September last year, when 250,000 refugees arrived rightly commented that Dr. Alex Goerlach has given a very from Iraq, Syria and Afghanistan on trains from Hungary. good account of the Europe of today. Chancellor Merkel was applauded for this. But the mood „„GAURIKA KAPOOR soon changed in Germany. Merkel’s views during a popular

He was invited by the Harijans in his village to sing Miracle, Myths and Magic bhajans. His own caste shunned him, but he said that being POETRY: Celebrating Legendary Poets: Narsinh Mehta a Vaishnav meant being with anyone. He got married, had SPEAKER: Dr. Rajendra Mehta children, his son passed away. He got his daughter married. Her in-laws asked him for gifts. He invoked Lord Krishna CHAIR: Devkumar Trivedi and a chain of gifts and two stones of gold materialised. COLLABORATION: The Poetry Society, India 22 April Narsinh Mehta wrote padas, prabhatiyas, akhyans and bhajans. He created an amalgam of feeling and meaning The programme ‘Celebrating Legendary Poets: Narsinh that touched the hearts of the listeners. He gave many Mehta’ dealt with the poet saint of Gujarat, notable as philosophical insights. He understood the language of Abhakta, an exponent of Vaishnava poetry. He is especially shabda or primal sound. revered in Gujarati literature, where he is acclaimed as its Rajindra Mehta spoke about the miracle, magic and myths Adi Kavi. The programme began with the invocation of of Narsinh Mehta. He moved from poetry to politics. The the bhajan, Vaishnava Jana... written by Narsinh Mehta term Harijan he used was recovered by Mahatma Gandhi. and sung by Suparna Nandy on the occasion of the 602nd He has a very important role in Gujarati life. Anniversary of the legendary poet. „„RACHNA JOSHI Shri Dev Kumar Trivedi spoke about the legends surrounding Narsinh Mehta. He was a devotee of Krishna.

15 focus diary

Remembering Zohra FESTIVAL: The Zohra Segal Festival of the Arts 23 and 24 April

The Zohra Segal Festival of the Arts this year featured, among others, two traditional forms of art: Dastango, story- telling in Urdu, and a play with Nacha in Chhattisgarhi. Dastangoi is a Persian word which means to tell a tale (dastan). The stories are more often than not epics and speak of adventure, magic and warfare. Among the many stories recounted by the Dastangos, the story of Amir Hamza stands out early on. Originally recounted in Arabic, the Persian version of the story narrated the life Zohra Segal and adventures of Hamza, said to be an uncle of Prophet Mohammed. The centre of attraction of a dastangoi is the a story within a story, highlights social reality in a comic storyteller (dastango) who sits on a divan and modulates his and entertaining fashion. voice to narrate the story. Charandas Chor, a play in Chhattisgarhi also drives home Poonam Girdhani and Ankit Chadha recreated the story of the evils prévalent in today's society. The play was originally Chouboli. The Dastan-e-Chouboli is based on the version directed by Habib Tanvir and presented by his group, created by noted Rajasthani writer Vijaydan Detha and Naya Theatre of Bhopal. Habib Tanvir, in his quest for a centres on a princess named Chouboli who has vowed realistic and convincing play, brought in rural actors from that she would only marry a man who can make her speak Chhattisgarh which ensured a great deal of spontaneity four times in one night. After twenty-four princes failed, a and innovation, and the villagers were easily able to chauvinist Thakur, famed for shooting 108 arrows through improvise and adapt wherever and whenever required. This his wife’s nose ring each day, tries his luck. With hints of play used the technique of Nacha, a chorus that provided contemporary feminist overtures, this Dastangoi, weaving commentaries through songs. After Tanvir’s demise in 2009, Naya Theatre continues with his daughter Nagin Tanvir stepping into his shoes. Charandas Chor is a folk tale about a thief who goes to a guru for his blessings. He does not accept his Guru’s demand of reforming himself, saying that thieving is his only source of livelihood. He offers instead to take four other pledges: never to eat off a golden plate, never ride an elephant at the head of a procession, never marry a queen, and never consent to become the king of any country. But he does however promise to give up his bad habit of lying. A paradoxically honest thief with a strong sense of integrity, a havaldar who accepts bribes from thieves, sadhus lusting for money, the poor helping other poor villagers while the rich turn a blind eye, bumptious politicians and rulers who penalise honest citizens if they dare disobey orders, Charandas Chor has it all, satirically highlighting the evils of contemporary society. Zohra Segal „„SWATI DASGUPTA

16 diary exhibitions

A Mother’s Heart EXHIBITION: An Ethereal Journey of Five Decades— Paintings and Sculptures by Sheila Thadani INAUGURATION: Dr. Karan Singh 17 to 29 March

Who would not like to see an exhibition that showcases one artist’s journey over five decades? This painting exhibition included bronze images and many other wonderful creations that captured the intimate love between mother and child. An opportunity was presented for viewing eminent artist Sheela Thadani’s long artistic journey, at India International Centre’s Kamaladevi Complex. The exhibition included bronze images made by the artist, along with her paintings. In this exhibition titled ‘Journey of 5 Decades’ (1961 to 2016), Sheela had displayed her collection of art works that included pottery, batik, glass, mirror, wood and brass creations. She showcased a woman’s beauty in a wonderful

manner. Her collection showed a mother in different moods and poses. It displayed the various stages in a mother’s life. Sheela said that she loved children a lot. This love shows up in her artistic oeuvre. The artist felt that India was a heaven for artists and that is why despite being eighty she had not given up being an artist. In 1964, she had held her first exhibition. Many more exhibitions have been held by her after that. The dominant theme in her art has been ‘women’. An Indian background and the influence of its people was clearly shown in her art works.

17 membership diary

Notices

Members who have not paid the annual subscription so far are requested to immediately pay their annual subscription along with all previous dues. An extract of Rule 9 of the Memorandum of Association and Rules & Regulations is given below for information: “Subscriptions towards membership are payable in advance for each financial year and shall be due for payment on the 1st April of each year. It shall be the responsibility of the members to ensure due and timely payment of subscriptions.” Do please write your Membership number and ‘Annual Subscription for the year 2016-2017’ on the back of the cheque. In case you choose to deposit cash or make electronic/online payment, please inform accounts department that amount deposited is towards annual subscription for the year 2016-2017. Please keep your mailing address/email and mobile numbers updated.

Obituary

A-3093 Mrs. Kailash Ohri M-3866 Shri Suresh Kohli

A-5497 Smt. Madhavi R. Vyas M-3950 Shri Dev Raj Sharma Rai

M-1964 Shri Sanat M. Mehta M-2655 Shri P.A. Sangma

M-1350 Shri B. Sen M-3460 Mrs. Vimal Issar

Annual payment for IIC Quarterly 2016-2017

The IIC Quarterly (two single and one special double issue) addresses vital contemporary issues relating to governance, civic and international affairs, ethics and society, education, law, environment, indigenous knowledge systems, literature, cinema and the arts. The annual rates for the IIC Quarterly for the financial year 2016-2017 are: India (INR) Abroad (USD) Members (Individual) Rs. 350.00 $35 Non-Members (Individual) Rs. 500.00 $45 Member/Non-Member (Institutions) Rs. 750.00 $55 Bank charges for outstation cheques Rs. 50.00 $15

(*Note: Euros and GBP equivalent to US $ are accepted)

18 diary futures

Highlights for May-June-July 2016

Lectures 27 May 2016 at 6:30 pm in the Multipurpose Hall, Kamaladevi Complex Threads of Continuity Valedictory Address By Amitav Ghosh, well-known author

1 June 2016 at 6:30 pm in Conference Room I

Indian Archaeology Harappans and Their Contemporary Cultures and Preah Vihear, and the temple region of Prambanan Illustrated lecture by V.N. Prabhakar, Visiting Faculty at in Indonesia will be presented as an inter-linked chain of the Archaeological Sciences Centre, Indian Institute of temples, responsible for cultural cohesion between India Technology, Gandhinagar. and Southeast Asia. The presentation will travel through Southeast Asia, along its rivers and mountain chains to appreciate millennia of vibrant artistic traditions. The Harappan Civilization is one among the four Bronze Age Civilizations of the third millennium BCE that flourished nearly 700 years (c. 2600-1900 BCE) in the 14 July 2016 at 6:30 pm in Conference Room I river valleys of the Indus-Ghagger-Hakra in Modern India and Pakistan. In order to cater to their economic Indian Archaeology prospects, the Harappans interacted with different cultures Archaeology of Buddhism in Northeast India all around the Greater Indus Valley. The lecture focuses Illustrated lecture by Dr. S.S. Gupta on some of these contemporary cultures of the Harappans using illustrations and supported by distribution maps. North East India 6 June 2016 at 6:30 pm in Seminar Room II, comprising of Kamaladevi Complex seven states also called The World Heritage Temples of Southeast Asia: The the Seven Bhadreshvara Linkage Sisters is a vast geographical Illustrated lecture by Prof. Sachchidanand Sahai, Adviser terrain. The to Angkor Archaeological Park and Preah Vihear under region is the Royal Government of Cambodia. Author of the home to a recently published book Bhadreshvara: A Forgotten Form of large number of ethnic groups and in the religious beliefs, Shiva in India and Southeast Asia. Buddhism has played an important role which is reflected in their living and extant Buddhist remains including Prof. Sahai will present the temple art and architecture of stupas, chaityas, monasteries, temples and sculptural art Southeast Asia on the basis of his past ten years of field as revealed in a number of archaeological excavations at work in the region. Intricately designed world heritage Surya Pahar in Assam, Shyam Sundar Tila and Boxanagar temples of My-s’on (Vietnam), Wat Phu (Laos), Angkor in Tripura; and Bhaitbari in Meghalaya.

19 futures diary

Performances Patachitra Paintings From Bengal 4 June 2016 at 6:30 pm in C.D. Deshmukh An exhibition of traditional Auditorium Patachitra scrolls by Sahajan Chitrakar. Odissi Recital Sahajan Chitrakar will be By Sujata present at the gallery to Mohapatra, demonstrate and narrate the senior artist and stories depicted in the paintings. disciple of the late Guru Kelucharan 17 to 26 June 2016 at the Art Gallery, Kamaladevi Mohapatra. Complex, 11am to 7 pm

Recipient of the Kumarajiva: Philosopher Margaret Dhillon and Seer Annual Spirit of India Award 2016. Through photographs, texts, copies of manuscripts Summer Festival of Music and Dance: 15 and 16 June and pen and ink drawings, 2016 at 6:00 pm in C.D. Deshmukh Auditorium this exhibition presents the life and legacy of 15 June 2016 at 6:00 pm Kumarajiva. An Evening of Carnatic Music Keyboard Duet By R. Narayanan and R. Arjun Sambavisan from Chennai, disciples of Shri Chitraveen N. Ravikiran. Researched and curated by Dr. Shashibala

At 7:00 pm 1 to 8 July Vocal Recital 2016 at the By Charanya Lakshmikumaran from Delhi, disciple of Annexe Art Dr. K. Vageesh. Gallery, 11 am to 16 June 2016 at 6:00 pm 7 pm An Evening of Dance Into the Mohiniattam Duet Darkness By Manjula Murthy and Vinaya Narayanan from Delhi, An exhibition of photographs by Cyril Lucido Kuhn. disciples of Guru Bharati Shivaji. The exhibition presents photographs of the night skies across India. At 7:00 pm Sattriya and Kathak Duet By Anita Sharma from Guwahati, disciple of Guru Jatin This issue of the Diary has been assembled and edited by Omita Goyal, Chief Editor; Ritu Singh, Deputy Editor; Goswami; and Vidha Lal from Delhi, disciple of Rachna Joshi, Senior Asstt. Editor. Published by Ravinder Smt Geetanjali Lal. Datta, for the India International Centre, 40, Max Mueller Marg, Lodhi Estate, New Delhi-110 003. Ph.: 24619431. Exhibition Designed and printed by Shivam Printographics Private Limited, 163, DSIDC Shed, Okhla Phase I, 8 to 14 June 2016 at the Annexe Art Gallery, 11 am to New Delhi-110020; Phone: +91-11-26816964 7 pm

20