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IIC EXPERIENCE: A FESTIVAL OF THE ARTS, 2018

Elsewhere, they contemporised the familiar picks, like Chamber Choir Ajeeb dastaan hai… and the Tagore number Ekla chalo INAUGURATION OF THE FESTIVAL rey…, aptly dubbed Walk Alone. The tug at the heart came through in their signature rendition of Chhoti si by Shri N. N. Vohra, President, IIC asha… which they have individualised with simple actions, CONCERT by the Shillong Chamber Choir expressive of the sense of fragility the number evokes. Also, the brevity of the written content of their numbers CONDUCTOR: Neil Nongkynrih allowed for improvisation and musical inclusions, turning 27 October 2018 the performance into a true choir rendition.

The IIC Experience: A Festival of the Arts, has become a Veering from reinventing an oft heard cache of numbers, landmark in the capital’s cultural calendar. On 27th October was their ‘Indian train journey’ which recounted musically 2018, Shri N. N. Vohra, President, IIC, inaugurated the 15th the mundane side of travel, in ‘railway lingo’ homilies set edition of the festival, which focused on ‘Experiencing the to rhythm with chai…samosa…veg cutlets, bringing on a North East’. The evening opened to a packed audience in smile of recognition. Others, like the salsa number, made the Fountain Lawns, watching an ongoing film featuring for quicksilver changes in mood. But it was their rendition the geography, tribal heritage and lifestyle of the North of Dancing Queen in action-packed intensity that became East, to the accompaniment of a background commentary the lodestar presentation of the evening. On call was the and photographs of the area. background instrumentation accompanying the singing, the astute coordination of individual singing parts, and The evening’s performance was a much-awaited a strong grip on harmonisation that made the choir an concert by the Shillong Chamber Choir, conducted by experience that will keep alive the IIC Experience all Neil Nongkynrih. Living up to their formidable musical year round. reputation, it was befitting that the audience was given a round-up of their top achievements, including their ■ SUBHRA MAZUMDAR performance at Rashtrapati Bhavan before the visiting US President , as also their collaboration with the Vienna Chamber Orchestra, among others.

Their concert choices of the evening corroborated these honours with the opening number We Will Meet Again, their voices rising to a sensational crescendo, accompanied by a choice of instrumentation that revved up the mood. Other numbers were attention-grabbing, not because of their affiliation with the greats, such as Ustad Zakir Hussain, the tabla maestro, or their tryst with Amitabh Bachhan or Ehsan Loy, but each number was sheer musical genius. The staccato tabla rhythms transformed into a musical persona where the tabla wafted in the backdrop, while the lyricism of the music gripped one’s immediate attention. Shillong Chamber Choir performing at the Inauguration

1 Present, curated by M. K. Pragya Deb Burman, captured Juxtaposing Past and Present much of the spirit of the region. EXHIBITION What was particularly interesting was the juxtaposition of formula and touristy colour photographs of the present Tripura: Time Past and Time Present with the sepia tones of the 19th century: unlike most CURATED by M. K. Pragya Deb Burman states of , Tripura was particularly lucky in having INAUGURATION: Dr. (Mrs.) Kapila Vatsyayan a maharaja obsessed with photography. As early as the 1850s, Maharaja Bir Chandra Manikya had been taking 27 to 31 October 2018 daguerreotypes, graduating subsequently to the wet collodion process and the glass plate. By the time he It is perhaps a little known fact that the small state of started a Photographic Club in Agartala, and held annual Tripura was once a large and powerful empire. With photography competitions in the palace, Bir Chandra’s Independence, much of its territory went to what was then reputation as a talented photographer was widely known. East Pakistan (Bangladesh), He soon introduced the new invention to the women in the and today, only a single family. As few of these photographs have come into the national highway connects public domain, it was very interesting to see copies of a Tripura to the rest of our number of them displayed in the exhibition. country. Mentioned in If the overall number of images in the entire exhibition and significant religious texts their accompanying texts were at times a bit overwhelming, as well as in the edicts of the viewer had merely to remind herself that the exhibition Emperor Ashoka, the region brought alive a region and its rich culture in a far more is rich in cultural traditions effective manner than the written word ever can. and archaeological sites. A photographic exhibition ■ MALAVIKA KARLEKAR Maharani Prabha Devi from the Exhibition Tripura: Time Past and Time

Cultural Chronicle EXHIBITION The Monpas and Their Mountains. An exhibition of photographs on the Monpas of Arunachal Pradesh and the monastic world of Tawang PHOTOGRAPHS by Vinay Sheel Oberoi

27 to 31 October 2018 The Monpas and their Mountains on view at the Quadrangle Garden We hear the word Monpas, and perhaps we feel a yearning images, with intensely detailed captions, were split into for Arunachal Pradesh where this ethnic community, nine broad sections, covering themes such as Dwellings followers of Tibetan Buddhism, resides, and this is probably and Houses, Manifestations of Faith, Traditional as far as our knowledge goes. But through 79 simple Agriculture and Torgya Festival. and effective images, Vinay Sheel Oberoi dispelled this ignorance and introduced us to a confident, compassionate But the exhibition went beyond an aggregation of pixels; people, not quite familiar, but no strangers either. it provided a vital history lesson. The black-and-white image of the Republic Day salute taken in January 1963 The entry point to the exhibition was a clever collage, by an Indian Frontier Administrative officer was a unique the opening scene to photographs of immense authority document in itself. All the photographs were also a that followed: raw primary landscapes, the Tawang sociological homage by a passionate enthusiast to an Monastery, over three centuries old; construction of a underexposed region. Can such exhibitions create any dzong; women wearing yak hair hats; Brokpa herders; intimacy with unknown spaces? Yes, they expand horizons. young monks sparkling with delight; and yes, fluttering Buddhist prayer flags. Well thought out, the large format ■ MANNIKA CHOPRA

2 A Colourful Weaving Tradition EXHIBITION Unbroken Threads, Broadening Narratives CURATED by Sentila T. Yanger INAUGURATION: Shri Ram Muivah 27 to 31 October 2018

Handicrafts and fabrics from the Ao, Khiamniungan, Sumi, Chakhesang and Yimchungru of Nagaland; threads of divine myth from Manipur; heirloom shawls and textiles Display from Unbroken Threads, Broadening Narratives in the of the Mizos; and contemporary textiles and designer Gandhi–King Plaza couture from the North East—all these were on display at variety of fare from textiles, designer-wear garments; this exhibition. bead necklaces of different designs, most of them quite The textile weaving tradition of the region is a very heavy; clay pottery, cane and bamboo furniture; a variety old one, in most parts handed down from generation of bags; even an array of rather comfortable looking to generation, refined and developed over time. In bedroom slippers. Women sat working at looms specific spite of their recognisable character, the fabrics are to their regions. The Puanpuii quilt from Mizoram was a considerably diverse. special attraction, fluffy as woven snowflakes, an essential Natural fibres such as yak wool, nettle and tree barks are item in a bride’s trousseau. utilised where cotton is not grown. Silk attained distinction The choice is difficult—modernise/commercialise and with the earliest reference to the highly sophisticated silk taper these cultures to extinction; or resist, and let of Kamrupa, the ancient name for Assam, according to them thrive spontaneously; anything in-between is only texts from the 3rd century BC. wishful thinking.

A colourful and comprehensive display, it showcased a ■ ARUNA BHOWMICK

rioting and insurgencies; Plethora of Subjects empowerment of women; EXHIBITION dichotomies and binaries of old versus new; Blurred Perimeters conflicts and ironies INAUGURATION: Dr. (Smt.) Kapila Vatsyayan governing modern-day COLLABORATION: The Raza Foundation societies; etc. 27 to 10 November 2018 Expressed in a variety of forms and mediums including video pro- Contemporary art from Arunachal Pradesh, Assam, Manipur, jection and perfor- Meghalaya, Mizoram, Nagaland, Sikkim and Tripura, mance, paintings in curated by Waheeda Ahmed, was showcased as ‘Blurred various media, woodcuts Perimeters’ at the Art Gallery, Kamaladevi Complex. on fabric and rice paper, The art, culture and lifestyle of a region anywhere in the even a ring of barbed wire world manifests its geographical and ecological moorings. on a red cushion, and an The gradual introduction of industry creates huge chasms interesting installation Painting from Blurred Perimeters between existing socio-cultural milieus, and inevitable made of objects ancient transitions ushered in by the process of modernisation. and modern, the works stood unburdened by superfluity True to their ilk, the artists covered a plethora of subjects and overstatement. ranging from a sense of collective suppression and ■ ARUNA BHOWMICK isolation; disturbed personal psyche caused by bloody

3 Master of Subtle Expressions FILM FESTIVAL Aribam Syam Sharma Retrospective 27 to 31 October 2018

At the recently concluded Retrospective of Aribam Syam Sharma, it was a privilege to watch his internationally acclaimed films:Imagi Ningthem (My Son, My Precious; Aribam Shyam Sharma 1981); Sangai: The Dancing Deer of Manipur (1988); Ishanou successful commercial film,Olangthagee Wangmadasu, (The Chosen One; 1991), Asangba Nongjabi (Crimson which encouraged film producers to make Manipuri films. Rainclouds–2003). The films showcased an excellent partnership between a restrained filmmaker and his long- Sharma sees himself as a regional filmmaker, and feels term collaborator and well-known writer, Maharani Kumari that regional cinema is Indian cinema, just like the states Binodini Devi. in all their diversity and difference make up the Indian nation. Elaborating on differences, he mentioned that since Sharma’s first foray into films was to make music for the people from Manipur have mongoloid features, with small first Manipuri film,Matamgi Manipur (1972). His first feature eyes and flat noses (quite similar to other North-eastern film,Lamja Parshuram (1974), a huge commercial success, states), they have a different way of expressing emotions, paved the way for several seminal works of art. In 1980, which are not facial. Making actors imitate expressions of Olangthagee Wangmadasu (Even Beyond the Summer actors from Hindi or south Indian films was not going to Horizon), the first film with Binodini Devi, ran for 32 weeks, work. He talked about Raas Leela, a Manipuri dance form a landmark record. And then came Imagi Ningthem, a quite different from other classical dance forms in India. remarkable film based on a short story by Binodini Devi. There is movement, but there are no facial expressions— This film propelled Manipuri films onto the international the face is actually veiled. map. He has made 33 feature and non-fiction films. His most recent film,Raas Leelas of Manipur, was also In Imagi Ningthem, he tried to experiment with subtle screened at the retrospective. facial expressions and used a 16-mm Bolex camera to shoot the film. Camera height and angles became very In Conversation with L. Somi Roy, Sharma shared his important to capture emotions and expressions that were reasons for making his first film,Matamgi Manipur, a subtle. Aribam Sharma wanted to change the ways of formula film, to draw the attention of a Manipuri audience seeing grief. accustomed to Hindi films. Then came the immensely ■ UMA TANUKU

The main singer, Mangka Mayanglambam, with a powerful Experiencing Rasa voice, grace, mellifluous musicality and dance skills, PERFORMANCE broke age-old barriers when she began performing the Moirang Sai and Lai-Haraoba Songs languishing male-dominated art form, Moirang Sai, which is based on the traditional Manipuri ballad opera, Khamba- By Mangka Mayanglambam with Laihui Thoibi, particular to the Meiteis. When she performs, she Ensemble, Manipur sings, dances and plays the pena. With the act of playing the 28 October 2018 pena, she broke the glass ceiling, for initially women were not allowed to touch the pena, a fiddle-like folk instrument One of the stories that played out in this year’s The IIC capable of producing a haunting plaintive sound, much like Experience should be written about, both for its feminist the north Indian sarangi. quotient of breaking the glass ceiling, and for its brilliant Mangka Mayanglambam opened her performance with artistry. I refer to the programme of Lai Haraoba and the ballad of Khamba and Mangang, before going on to Moirang Sai songs. sing the Thoibi Lai Kaba, the song describing the return The Laihui Ensemble has spearheaded the endeavour of of Princess Thoibi after a three-month exile. She was revitalising traditional and indigenous art forms of Manipur, trained in this art by her father Mangangsana, who also and presenting them in India and overseas. accompanied her that morning. Her 18-year-old brother,

4 Marjing Mayanglambam, also accompanied her, on the pena, in the spoken-word parts and the balladic dialogue parts.

She concluded the concert with a selection of songs, typical of the ritual Lai Haraoba enactment of the myth of creation, as a result of the union of father Sky and mother Earth. She was joined in this piece by her disciple, the young but promising Lingjelthoibi Yumkham. Percussionists Elangbam Jayanta Singh on the dhulok and Ngangom Michael Singh on the langden accompanied her. The performance proved above all that experiencing of rasa is independent of the familiarity with language! Mangka Mayanglambam with Laihui Ensemble ■ ARSHIYA SETHI

Myriad Moods and Facets of Krishna PERFORMANCE Raas Leela of Manipur, presented by artists of the Jawaharlal Nehru Manipur Dance Academy, Imphal CHIEF GUEST: Dr. Jitendra Singh, Minister of State for the Ministry of Development of North Eastern Region 31 October 2018

Nowhere in India is the Raas-Leela (dance drama) tradition of the Srimad-Bhagwat as alive as it is in Manipur. Scenes from the Srimad-Bhagwat are recreated in these Raas Leelas, where the myriad moods and facets of the Krishna legend are presented in a fascinating manner. The dance style and the repertoire of the Raas in Manipuri dance are attributed to King Bhagyachandra (18th century), who, in a religious trance, saw Lord Krishna and the gopis performing the divine dance. Both the Raas dances and their exquisite costumes are attributed to the king’s dream. Raas Leela performance A living tradition in Manipur, the Raas Leela is, in fact, an extension of the Manipuri Nat Sankirtan. The Basanta Raas, revolving around the Sanyog-Viyog of the lovelorn Radha–Krishna and the mirth of the gopis in The opening Basanta-Varnan depicted nature’s bounty in the company of Krishna, concluded with the traditional spring, invoking Shringara Rasa as a preface to Samod ‘Radha–Krishna Aarati’ that brought devotional fervour Damodar, an amorous duet based on Jayadeva’s to the mesmerising Raas Leela. The delicate movements Ashtapadi Haririha mugdha-vadhu nikare and Chandan of Radha and the gopis in their glittering lehengas and charchita. The Manipuri folk song Thobi na came next as Krishna in his yellow attire and divine grace left the a sensitive solo performance with the theatrical Vachika audience spellbound. Abhinaya. The pathos-filled female voice, enhanced with the soul-stirring strains of the pensive pena, penetrated ■ MANJARI SINHA the hearts of rasikas.

5 VIGNETTES FROM THE FESTIVAL

TRADITIONAL BAMBOO HUT

President, IIC, Mr. N.N. Vohra inaugurating the Festival WRITINGS ON THE NORTH EAST WRITINGS ON THE NORTH

FOOD FESTIVAL

6 CULTURAL PERFORMANCES

Mr. N.N. Vohra, President, IIC, viewing the exhibition stalls along with Mr. Ram Muivah, Secretary, North Eastern, Council MUSIC IN THE GARDEN

RAAS LEELA

7 IIC VIEW

Visit by Dr. Jitendra Singh, Minister of State for the Ministry of Development of North Eastern Region, Chief Guest, on the closing night

8 IIC VIEW

HANDICRAFT DISPLAYS

9 An Evening of Pop Melody PERFORMANCE Jazz, Funk, R&B and Blues By Ronnie and the Band, from Nagaland Chief Guest: Shri Soli J. Sorabjee 28 October 2018

The slight chill in the Fountain Lawns was dispelled by the swinging music of Ronnie and the Band. From the Ronnie Odyuo with her band, Nagaland culturally evolved part of the North East, the vibrant state of The other members of the troupe included Meyasunep Nagaland, the Band performed an evening of riveting jazz. Imchen, a self-taught musician, who has been a part Ronnie and the Band, a quartet formed in 2016, has a of the church worship band in Dimapur, Nagaland for special accent on rock solid and simple tunes inspired quite a few years, and has won acclaim in national by jazz. The band leader, Ronnie Odyuo, focused on the and international competitions. Mhaseve Tetseo and numbers of Billie Holiday, Dianne Reeves, Nina Simone Bendangwati Longkumer mesmerised the audience with and a host of others. their performance on the guitar and drums, respectively. The essence of the gaiety of Naga life came alive as the The numbers which enthralled the audience included programme drew to a close. Waiting in Vain by Bob Marley, Holy by Jameela Woods, Loving You by Dianne Reeves, and some Bossa Nova music. ■ ARVINDAR SINGH

Rock and Roll PERFORMANCE A Night with GATC Concert by Girish N The Chronicles, Sikkim Chief Guest: Shri. Soli J. Sorabjee 30 October 2018

Thump ! Wham ! Wail !

How else can we successfully navigate this fragmented world but via heavy metal music? GATC provided just Concert by Girish N The Chronicles such an opportunity, opening with a faithful rendering softly waved tresses giving no hint that their nimble finger of Led Zeppelin’s Rock and Roll, ‘it’s been a long lonely movements created sounds of intense aggressive density. lonely lonely lonely time!’ making us once again aware Perfect accompaniment of amplified base rhythms was of primordial life forces, muscles and sinews throbbing. provided by drummer Nagen Sarki. GATC transmuted us to the energy of exuberance and Though they sang of the yearning, alienation and confidence, that the world will be a better place. existential problems most pop groups never touch, there Perhaps this is the secret alchemy of heavy metal rock was tangible camaraderie between them, a sense of bands: they see angst, and transmute it into harmony and the democratic endorsement of each band member’s joyous co-creation. The audience was singing and waving contribution. Many of their own compositions were torchlights throughout, standing and stomping with the presented, notably one about identity triggered by last few numbers. Syrian refugees: ‘Tell me who I am. Hey, do you even Girish Pradhan must be lauded for the sheer stamina of his know where I belong…’ At some level, each of us seeks vocal chords! Three young men accompanied on guitars these same answers. and keyboard, their Buddha-like faces and halos of ■ BHARATI MIRCHANDANI

10 Moveable Feast THE IIC EXPERIENCE IIC FESTIVAL OF THE ARTS: Food Festival 27 to 31 October

The Food Festival was a bonanza from North East India, carrying the flavours, exotic herbs and vegetables from that faraway magical land. Two chefs from Nagaland, Joel Basumatari and Imna Longkumer, prepared the opening and closing dinners. On 27 October, they created Food Festival an entirely unique dinner, drawing from the cuisines of all the states, a veritable ‘moveable feast’. Who in Delhi had heard and tasted crisply fried mong-mong, or a rice cake Khasi Kong is known for its variety of rice, and the with passion fruit coulis? popular dish, jadoh. Although it is not a spicy cuisine, onions, ginger and chillies are used, as also pork, whose On the second day was served Chak-len or lunch from popularity runs through the length and breadth of the the Metei people of Manipur, the temple food prepared North East. Particularly delicious were the pork balls, by the Bomans (Brahmins)—Gurumayum Sanatomba and radish salads and the fish chutney, thanks to Davidson Hindangmayum Saratchandra Sharma. Manipur, known Shangpliang. The Sikkimese dinner was prepared by for its dance and Vaishnavite rituals, has vegetarian Nimtho Restaurant, and the cuisine of the region draws cuisine, although chicken and fish are eaten too. The food from three sources: Lepcha, Bhutia and Nepali. is bland, but very flavoursome. Their star dish waschahao kheer, made with black sticky rice. On the closing night was the robust cuisine of Nagaland, which included vegetables cooked in bamboo vinegar and The Assamese thali, Baankaahi; prepared by Utpala smoked pork with Anishi sauce. The exciting vegetables, Mukherjee and her staff, was served at dinner. There were blandly cooked, balanced the exploding flavours of the flavours from the highlands and the Brahmaputra Valley non-vegetarian dishes. with a whiff of Bengal; the Assamese are largely non- vegetarian and their recipes are outstanding, especially ■ PREMOLA GHOSE the tenga curries.

An Opportunity to Look East IIC EXPERIENCE ‘These hills we come from…’ Voices from North East India Talks, readings, presentations, discussions and in-conversations CONCEPTUALISED by Ravi Singh, Speaking Tiger INTRODUCTION: Air Marshal (Retd.) Naresh Verma Voices from North East India 29 October 2018 man multi-tasking band, Apkyrmenskhem Tangsong, which played a variety of Khasi folk instruments, such A Being—Human; Being Human Human Beings. This was as maryngod, bisli and ksing. The play opened with a disturbing solo performance by actor–director, Lapdiang Syiem emerging from the audience, with sagging breasts Syiem from Meghalaya. She was supported by a one- provocatively stitched to her costume, screaming at

11 Reg. No. 28936/77 the top of her voice with the agonised delivery of an embryo, symbolised by a balloon emerging from her womb. Besides portraying angst about loss of identity, dislocation and violence, one also perceived reflections of real-life events being portrayed abstractly, but, at the same time, the finger pointing at the audience was also implied, though unobtrusively. It was as if they were accomplices in the death of a mother, Ka Likai, who, upon learning about the death of her daughter at the hands of her current husband, jumped over the waterfall, which is Voices from North East India named after her—Nohkalikai Falls. Then there is Sophia, Ramkinkar Baij (1906-1980), with whom she had studied the robot programmed to behave like a human being, who in Santiniketan, and who has left behind a collection of is a Saudi citizen, who also wants to bear a child without sculptures and paintings of Binodini. Born a princess, she a clue about the pangs of childbirth. It wasn’t as if she broke free, unhindered by her royal past, to live life to the was only challenging the ruling class; Syiem also had a hilt as a creative commoner, and evolved into an iconic dig at Khasi tribal society which disowned a woman who Manipuri modernist through her outstanding contributions married a non-Khasi. to poetry, the visual arts and dance. Finally, there was a heartwarming poetry reading session by Janice Pariat, Earlier on the same day, there was a presentation by Anjum Hasan, Mona Zote, Lalnunsanga Ralte, Mamang Somi Roy about a Manipuri play, Crimson Rainclouds, Dai and Guru T. Ladakhi. written by his own mother, Binodini Devi. The play draws on the playwright’s dialogues with the eminent sculptor, ■ MANOHAR KHUSHALANI

IIC Quarterly Launch Launch of the IIC Quarterly: Autumn 2018; and monograph Vedanta Today by Dr Karan Singh RELEASE: by Shri N. N. Vohra, President, IIC Edited by Omita Goyal 30 October 2018

The function commenced with a welcome address by Director of the IIC, Air Marshal (Retd.) Naresh Verma to the launch of the IIC Quarterly as well as a publication on IIC Quarterly Launch Vedanta by Dr. Karan Singh. The Chief Editor, Omita Goyal, highlighted the articles contained in this number of the say that the publication of Dr. Karan Singh’s speech on journal which included Gandhi’s Dialogue with Christian Vedanta was very relevant, as it sought to elucidate the concept of Vedanta in the present day. Missionaries, the Role of Chinese Diaspora in India, two photo essays and a set of three papers on the complex Dr. Karan Singh said that the edition of the IIC Quarterly issue of the Rohingya. The publication, Vedanta Today, by being released, contained a variety of subjects which was Dr. Karan Singh, was based on a highly illuminating talk a reflection of the versatility of the IIC Membership. He on the subject which he had given at the IIC, she added. said that over the years, the IIC Quarterly had impressively sustained its superiority as a publication, which was no President, IIC, Shri. N. N Vohra, said that right from its mean achievement. Shri Soli J. Sorabjee and Dr. (Mrs.) nascent days, the IIC Quarterly had symbolised what the Kapila Vatsayan, Life Trustees of the IIC, were also present Centre stood for, and the Autumn issue had some very during the launch. interesting articles of historical value. He went on to ■ ARVINDAR SINGH

This issue of the Diary has been assembled and edited by Omita Goyal, Chief Editor; Ritu Singh, Deputy Editor; Rachna Joshi, Senior Asstt. Editor. Published by Kanwal Wali, for the India International Centre, 40, Max Mueller Marg, Lodhi Estate, New Delhi - 110003. Ph.: 24619431. Designed and printed by Niyogi Offset Pvt. Ltd., D-78, Okhla Industrial Area, Phase 1, New Delhi-110020; Phone: 49327000.

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