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Central University of Karnataka
CENTRAL UNIVERSITY OF KARNATAKA Kadaganchi, Kalaburagi-585367 PROVISIONAL FIRST LIST OF CANDIDATES CALLED FOR THE OPEN COUNSELLING ON 14.07.2017 PROGRAMME: INTEGRATED B.Sc. & M.Sc. (NO. OF REMAINING VACANT SEATS 25 = GEN – 10, OBC – 08, SC –05, ST-02) SUPERNUMERARY SEATS: HKR – 3, NCC/NSS/SPORTS -1, WDP -1, PH – 01, KM - 01) CANDIDATE Q.E CUCET SL. NO. NAME OF THE CANDIDATE CATEGORY REMARKS ID MARKS % MARKS 1 124057 APARNA C OBC 96 76.25 2 110812 SOUGANDH K M GM 96.00 73.75 3 199762 SREELAKSHMI OBC 94.40 73.5 4 111795 AHMED SHANIB GM 92.00 73.25 5 187165 ABHIRAMI R K OBC 99.50 70.75 6 173724 PREET RANJAN OBC 69.75 7 102511 ABHIRAMI J J GM 94 69 8 154663 N SHRAVAN KUMAR SHETTY GM 69 9 177333 SNEHA RAJESH GM 94 68.75 10 100043 SHAURYA UPADHYAYA GM 68.5 11 104300 ADITYA RAJ GM 67.75 12 105061 KARTHIKA NAIR GM 87.60 67 13 193133 NASEEF KAMAL T OBC 96.25 67 14 186110 SAMBIT KUMAR BAL GM 77.00 66.5 15 170650 ATHIRA R GM 95.2 66.25 16 130025 JENITH RAJ GM 88.80 65.75 17 200235 SOURAV KARMAKAR OBC 65 18 137982 DEBASHIS ROUT GM 80.16 63.75 19 215090 MANIRATHINAM R OBC 93.8 63.75 20 118860 ARYA KRISHNA T OBC 86.20 63.75 21 143088 LAKSHYA SHARMA GM 75.8 63.5 22 134640 MUHAMMAD MURSHID P P OBC 90.25 63.5 23 101741 ROHIT P LAL GM 63.25 24 105774 MANAS DAS GM 94.80 63 25 213060 VENI KRISHNA A K GM 94 63 26 166667 SYED ALI RIZVI GM 57.8 62.75 27 144528 RISHIKESH P GM 62 28 134559 ASHMIL MUHAMMED ALI GM 93.4 61.5 29 160452 RAJNISH KAUR GM 96 61.5 30 184511 SHUBHAM RANKAWAT OBC 88.80 61.5 31 177542 ADITYA GYANASAGAR GM 89.2 61.25 32 156450 ARDHRA DAS -
Exploitation, Victimhood, and Gendered Performance in Rituparno Ghosh’S Bariwali
EXPLOITATION, VICTIMHOOD, AND GENDERED PERFORMANCE IN RITUPARNO GHOSH’S BARIWALI Rohit K. Dasgupta and Tanmayee Banerjee Rituparno Ghosh (1961—2013) was a filmmaker, lyricist, and writer who first emerged on the cultural scene in Bengal as a copywriter at Response, a Kolkata-based advertising firm in the eighties. He made a mark for himself in the world of commercials, winning several awards for his company be- fore directing two documentaries for Doordarshan (India’s national public television). He moved into narrative film- making with the critically acclaimed Hirer Angti (Diamond Ring, 1992) and the National Award–winning Unishe April (19th April, 1995). He is credited with changing the experi- ence of cinema for the middle-class Bengali bhadrolok and 1 thus opening a new chapter in the history of Indian cinema. Ghosh arrived at a time when Bengali cinema was going Rituparno Ghosh. ©SangeetaDatta,2013 through a dark phase. Satyajit Ray had passed away in 1992 , leaving a vacuum. Although filmmakers such as Mrinal Ghosh, clearly influenced by Ray and Sen, addressed the Sen, Goutam Ghose, Aparna Sen, and Buddhadeb Dasgupta Bengali middle-class nostalgia for the past and made films “ ” contributed significantly to his genre of intellectual cinema, that were distinctly “Bengali” yet transcended its parochialism. they did not have much command over the commercial mar- Ghosh’s films were widely appreciated for their challenging “ ” ket. The contrived plots, melodrama, and obligatory fight narratives. His stories explored such transgressive social codes sequences of the action-packed Hindi cinema, so appealing to as incest in Utsab (Festival, 1999), marital rape in Dahan the masses, had barely anything intelligible to offer to those in (Crossfire, 1997), polyamory in Shubho Muharat (First Shot, search of a higher quality cinema. -
Chapter 1 Uday Shankar and Locating Modernity
CHAPTER 1 UDAY SHANKAR AND LOCATING MODERNITY In 1920, a twenty year old, handsome Indian student arrived in London to study painting at the Royal College of Art. Three years later, he made his debut at Covent Garden alongside the legendary Russian ballet dancer, Anna Pavlova, although—quite remarkably—until a few months earlier, he had little to no dance experience. His audiences in England, France, and the United States nevertheless thought he was very talented at what he did. The dancer invented a new style of dance, which purportedly represented Indian culture; his dance looked “foreign” enough that nobody doubted his claim. In the late 1920s, the dancer returned to India, and demonstrated his new style to his fellow compatriots. Most of his compatriots did not care for this new style, but a few prominent figures encouraged him to continue with what he was doing. His family and friends also supported him; some of them even joined his dance troupe as dancers and musicians, including his youngest brother, twenty years his junior. The troupe then returned to Paris. Meanwhile, India was nearing the end of its dramatic transition from a British imperial colony to a newly independent nation. When the dancer returned to settle in India in the late 1930s, he immersed himself in the current debates over India’s future identity and culture. Most people, who believed the essence of Indian culture could be found in its ancient traditions, were looking to the past for the “real” definition of national culture and identity. The dancer, however, proposed that his invented style and eclectic approach to art defined India’s culture instead. -
India Dance Brochure
About the Mamata Shankar Ballet Troupe: Florence High School’s Creative Writing Program teaches students to write for The Group follows the style evolved by Uday Shankar, which has the inherent grammar of Classical Indian dance and yet is innovative, contemporary and not shackled with the moors of rigid classicism. publication. Students write poems, short stories, essays, and one-act plays which The graceful body movements are blended with the idiom of vibrant folk dances of India to attain a are entered into local, state, and national writing competitions. Creative Writing statuesque quality of lyricism. The group believes that dance inculcates the feeling of love & compassion, students also write, edit, design, and publish Signatures, Florence High School’s gives a meaningful dimension to human emotions, and binds the mind and heart of the youth to the award-winning literary-arts magazine. cultural heritage and tradition. About Mamata Shankar: The mission of the Bengali Association of Huntsville is to educate the communi- Mamata Shankar is the Principal of the institution. She is an accomplished dancer, choreographer, and an ty about the culture and heritage of Bengal and its neighboring regions through actress. She has trained in Bharatanatyam, Manipuri, Kathakali, and the Uday Shankar style of dance. She educational, cultural, and recreational activities. is the daughter of Uday and Amala Shankar, wife of Chandrodoy Ghosh, niece of Pt. Ravi Shankar and sister of Ananda Shankar. Shoals India & South Asian Association (SISAA) is a non-profit organization About Chandrodoy Ghosh: based in the Shoals. SISAA’s primary mission is to enhance awareness about Chandrodoy Ghose is the Founder-Director of MAMATA SHANKAR BALLET TROUPE. -
Annexure 1B 18416
Annexure 1 B List of taxpayers allotted to State having turnover of more than or equal to 1.5 Crore Sl.No Taxpayers Name GSTIN 1 BROTHERS OF ST.GABRIEL EDUCATION SOCIETY 36AAAAB0175C1ZE 2 BALAJI BEEDI PRODUCERS PRODUCTIVE INDUSTRIAL COOPERATIVE SOCIETY LIMITED 36AAAAB7475M1ZC 3 CENTRAL POWER RESEARCH INSTITUTE 36AAAAC0268P1ZK 4 CO OPERATIVE ELECTRIC SUPPLY SOCIETY LTD 36AAAAC0346G1Z8 5 CENTRE FOR MATERIALS FOR ELECTRONIC TECHNOLOGY 36AAAAC0801E1ZK 6 CYBER SPAZIO OWNERS WELFARE ASSOCIATION 36AAAAC5706G1Z2 7 DHANALAXMI DHANYA VITHANA RAITHU PARASPARA SAHAKARA PARIMITHA SANGHAM 36AAAAD2220N1ZZ 8 DSRB ASSOCIATES 36AAAAD7272Q1Z7 9 D S R EDUCATIONAL SOCIETY 36AAAAD7497D1ZN 10 DIRECTOR SAINIK WELFARE 36AAAAD9115E1Z2 11 GIRIJAN PRIMARY COOPE MARKETING SOCIETY LIMITED ADILABAD 36AAAAG4299E1ZO 12 GIRIJAN PRIMARY CO OP MARKETING SOCIETY LTD UTNOOR 36AAAAG4426D1Z5 13 GIRIJANA PRIMARY CO-OPERATIVE MARKETING SOCIETY LIMITED VENKATAPURAM 36AAAAG5461E1ZY 14 GANGA HITECH CITY 2 SOCIETY 36AAAAG6290R1Z2 15 GSK - VISHWA (JV) 36AAAAG8669E1ZI 16 HASSAN CO OPERATIVE MILK PRODUCERS SOCIETIES UNION LTD 36AAAAH0229B1ZF 17 HCC SEW MEIL JOINT VENTURE 36AAAAH3286Q1Z5 18 INDIAN FARMERS FERTILISER COOPERATIVE LIMITED 36AAAAI0050M1ZW 19 INDU FORTUNE FIELDS GARDENIA APARTMENT OWNERS ASSOCIATION 36AAAAI4338L1ZJ 20 INDUR INTIDEEPAM MUTUAL AIDED CO-OP THRIFT/CREDIT SOC FEDERATION LIMITED 36AAAAI5080P1ZA 21 INSURANCE INFORMATION BUREAU OF INDIA 36AAAAI6771M1Z8 22 INSTITUTE OF DEFENCE SCIENTISTS AND TECHNOLOGISTS 36AAAAI7233A1Z6 23 KARNATAKA CO-OPERATIVE MILK PRODUCER\S FEDERATION -
Mohanlal Filmography
Mohanlal filmography Mohanlal Viswanathan Nair (born May 21, 1960) is a four-time National Award-winning Indian actor, producer, singer and story writer who mainly works in Malayalam films, a part of Indian cinema. The following is a list of films in which he has played a role. 1970s [edit]1978 No Film Co-stars Director Role Other notes [1] 1 Thiranottam Sasi Kumar Ashok Kumar Kuttappan Released in one center. 2 Rantu Janmam Nagavally R. S. Kurup [edit]1980s [edit]1980 No Film Co-stars Director Role Other notes 1 Manjil Virinja Pookkal Poornima Jayaram Fazil Narendran Mohanlal portrays the antagonist [edit]1981 No Film Co-stars Director Role Other notes 1 Sanchari Prem Nazir, Jayan Boban Kunchacko Dr. Sekhar Antagonist 2 Thakilu Kottampuram Prem Nazir, Sukumaran Balu Kiriyath (Mohanlal) 3 Dhanya Jayan, Kunchacko Boban Fazil Mohanlal 4 Attimari Sukumaran Sasi Kumar Shan 5 Thenum Vayambum Prem Nazir Ashok Kumar Varma 6 Ahimsa Ratheesh, Mammootty I V Sasi Mohan [edit]1982 No Film Co-stars Director Role Other notes 1 Madrasile Mon Ravikumar Radhakrishnan Mohan Lal 2 Football Radhakrishnan (Guest Role) 3 Jambulingam Prem Nazir Sasikumar (as Mohanlal) 4 Kelkkatha Shabdam Balachandra Menon Balachandra Menon Babu 5 Padayottam Mammootty, Prem Nazir Jijo Kannan 6 Enikkum Oru Divasam Adoor Bhasi Sreekumaran Thambi (as Mohanlal) 7 Pooviriyum Pulari Mammootty, Shankar G.Premkumar (as Mohanlal) 8 Aakrosham Prem Nazir A. B. Raj Mohanachandran 9 Sree Ayyappanum Vavarum Prem Nazir Suresh Mohanlal 10 Enthino Pookkunna Pookkal Mammootty, Ratheesh Gopinath Babu Surendran 11 Sindoora Sandhyakku Mounam Ratheesh, Laxmi I V Sasi Kishor 12 Ente Mohangal Poovaninju Shankar, Menaka Bhadran Vinu 13 Njanonnu Parayatte K. -
Sr. No. Registration No Candidate Name POD Number 1 III-1072 Mr
Sr. No. Registration No Candidate Name POD Number 1 III-1072 Mr. RAJENDRA R GAIKWAD EM716864935IN 2 XVIII-35973 Miss. POONAM RAJESH JOGADAND EM717023614IN 3 XXVIII-36401 Miss. REKHA SURESH DHEBE EM716838652IN 4 XVIII-52781 Miss. SANGITA SHRIRANG JAGDHANE EM717019331IN 5 XXVIII-7440 Miss. GEETA VILAS MAHAJAN EM716874345IN 6 XXVIII-47949 Miss. SONALI SHIVAJI MORE EM716898497IN 7 XXVIII-22516 Miss. SUREKHA SUBHASH PINGALE EM716831844IN 8 XXVIII-15688 Miss. KAVITA SHRAVAN BARI EM716903909IN 9 XVIII-44964 Miss. SHITAL BALSHIRAM PHAPALE EM716857308IN 10 XVIII-8875 Miss. USHA LAXMAN JADHAV EM716893203IN 11 I-27990 Miss. SANDYADEVI DATTATRAYA JOSHI EM716847230IN 12 XXVIII-23140 Miss. ANITA BHAURAOJI INGALE EM716854142IN 13 XXVIII-26452 Miss. ROHINI UTTAM SHEWATE EM716911437IN 14 XVIII-27021 Miss. SONIYA MANUEL MIRPAGAR EM716919930IN 15 XVIII-45017 Miss. SUSHAMA LALA MORE EM716889067IN 16 XVIII-35339 Miss. KAVITA MADHUKAR YENDE EM716284732IN 17 I-38343 Miss. MANDA NARKAR EM716985253IN 18 I-33603 Miss. NILIMA CHANDRAKANT PRABHUDESAI EM717000397IN 19 I-28009 Miss. NASEEMBI HASAN SAYED EM716590383IN 20 I-17147 Miss. HARBOUR FLORENCE EM716624780IN 21 XXVIII-27376 Miss. ANITA NIMBA PARDESHI EM716623740IN 22 XVII-10640 Miss. KOSHY M ELSEE EM716280280IN 23 I-31997 Miss. VIMAL JYOTIRAM SURYAVANSHI EM716850097IN 24 XXVIII-11277 Miss. MAMATA KASHINATH GAWANDE EM716863396IN 25 XVIII-20337 Miss. VINITA VITTHAL MANDLE EM716872058IN 26 XXVIII-31112 Miss. TANUJA VASANT GAWADE EM716938735IN 27 XVIII-37951 Miss. SANGITA MADHUKAR GOSAVI EM716913631IN 28 XVIII-39254 Miss. GAYATRI PURUSHOTTAM SONALEKAR EM716986744IN 29 XVIII-29593 Miss. PRANITA CHANDRAKANT KHEDEKAR EM716969732IN 30 XVIII-26413 Miss. KALPANA JAGORAO VIRULKAR EM716942037IN 31 XXVIII-32052 Miss. PRADNYA PANDHARI GAVALE EM716303895IN 32 XVIII-46902 Miss. SHILPA BHARAT NAGARALE EM716964593IN 33 XXVIII-5610 Miss. -
Maharashtra Nursing Council,Mumbai
06/07/2017 MAHARASHTRA NURSING COUNCIL,MUMBAI Seat No. & Exam Center Allotted For REVISED GENERAL NURSING AND MIDWIFERY THIRD YEAR Exam held in August 2017 Centre Name : B.Y.L.NAIR CHA. HOSP, MUMBAI Institute Name: G.T. HOSPITAL, MUMBAI Centre Inst. Seat No. Name Exempted Subjects Sr.No. Sr. No. 1 1 1 MISS CHORGE AKANKSHA MANGESH 2 2 2 MISS DHOKE ASHWINI ARJUN 3 3 3 MISS DHUMAL DARSHANA KRISHNA 4 4 4 MISS DOIPHODE KUMUDINI MADHUKAR 5 5 5 MISS GANGURDE SONIYA RAJESH 6 6 6 MR GAVIT PRADIP CHANDAR 7 7 7 MISS JAISWAR REENA LOUTURAM 8 8 8 MISS KAMBLE SAYALI CHANDRAKANT 9 9 9 MISS KANOJA JAISHRI JANU 10 10 10 MISS KANOJIYA NEELAM GANGARAM 11 11 11 MISS KOLAPATE NAMITA GANPAT 12 12 12 MISS KOTKAR SHIVANI VILAS 13 13 13 MISS KSHIRSAGAR NIKITA GANAPAT 14 14 14 MISS NARKAR ANITA LAXMAN 15 15 15 MISS PALVANKAR PRIYANKA ANANT 16 16 16 MISS PATIL SHRUTIKA PRAMOD 17 17 17 MISS RAHATE SNEHA SHASHIKANT 18 18 18 MISS RAMANE YOGITA PRAKASH 19 19 19 MISS RANE SUSMITA KRISHNA Page 1 of 461 06/07/2017 MAHARASHTRA NURSING COUNCIL,MUMBAI Seat No. & Exam Center Allotted For REVISED GENERAL NURSING AND MIDWIFERY THIRD YEAR Exam held in August 2017 20 20 20 MISS RATHOD SHITAL RAMDHAN 21 21 21 MISS VALANJU PRITI MANGESH 22 22 22 MR VALVI NIRMAL AJIT 23 23 23 MISS WAGHMARE MONIKA VILAS NOTE : 'P' MEANS PROVISIONALLY PERMITTED ******************************************************************************************************************************************* if there is any mistake in the EXEMPTION of the Candidate it should be brought to the notice of the Council before the examination otherwise Councile will not be resposible for any Consequences. -
MESS BILL for OCTOBER 2013 Srno Roll No Name Mess Total 1 101111041 K
MESS BILL FOR OCTOBER 2013 srno Roll No Name Mess total 1 101111041 K. S. Kaushik A & B 2170 2 101113001 A J SUDHI A & B 2170 3 101113002 ADAPALA ARAVINDH BABU A & B 2170 4 101113004 AMIT KUMAR A & B 2170 5 101113005 AMITHVISHAL. P A & B 2470 6 101113007 ANGAMBA NAMEIRAKPAM A & B 2689 7 101113008 ANIRUDH DEORAH A & B 2365 8 101113010 ANWIN P S A & B 2545 9 101113011 ARUN. M.V A & B 2170 10 101113012 ASHISH RANJAN A & B 2170 11 101113014 CHANDU SAI TARUN A & B 2348 12 101113016 GUDALA DILEEP A & B 2170 13 101113017 HUKUMU RIO DEBBARMA A & B 2621 14 101113019 JULIAN DIVAKAR A A & B 2170 15 101113020 KARNIK N HEGDE A & B 2170 16 101113021 KOKKIRALA HARSHA VARDHAN RAO A & B 2170 17 101113022 KUMAVATH CHANDRA SHEKHAR NAIK A & B 2758 18 101113024 M GOKUL ANAND A & B 2170 19 101113025 MADAM MALLIKARJUN A & B 2170 20 101113026 MAHONRING SHAIZA A & B 2668 21 101113027 MOHAMMED SIRAJUDDIN A & B 2170 22 101113029 NIKHIL CHOPRA GALIMOTU A & B 2529 23 101113030 NILESH ROY A & B 2687 24 101113034 RAFAEL WILLIAMS MANNERS A & B 2170 25 101113035 RAHUL SOMARAJAN NAIR A & B 2170 26 101113036 RAVIPUDI SRIKANTH A & B 2170 27 101113037 S N MITHUN BALAJI A & B 2170 28 101113038 S P GANESHAN A & B 2170 29 101113039 S SANTHOSH A & B 2728 30 101113040 S SIDDHARTH A & B 2170 31 101113042 SHAHUL SHANAVAS S A & B 2170 32 101113043 SIDHARTH.K A & B 2170 33 101113045 SRIRAM R A & B 2425 34 101113048 YOKESHWAR ELANGOVAN A & B 2170 35 102111003 A. -
(In Rs) 1 2018006273 Davu Ambika Devi 1-399048571 ANDHRA A.A.N.M
Student wise details of the Scholarship released Name of the Scheme: Pragati Scholarship scheme (Degree+Diploma) Frequency of the Scholarship – Annual Amount released during the month of February 2021 S. No. Student ID Name of the Student Institute ID Institute State Institute Name Amount Released (in Rs) 1 2018006273 Davu Ambika Devi 1-399048571 ANDHRA A.A.N.M. & V.V.R.S.R. 20,000 PRADESH POLYTECHNIC 2 2018005266 Ede Harshitha 1-399048571 ANDHRA A.A.N.M. & V.V.R.S.R. 20,000 PRADESH POLYTECHNIC 3 2018001428 Gangula Veena Madhavi 1-399048571 ANDHRA A.A.N.M. & V.V.R.S.R. 20,000 PRADESH POLYTECHNIC 4 2018004012 Manne Vijaya Durga 1-399048571 ANDHRA A.A.N.M. & V.V.R.S.R. 20,000 PRADESH POLYTECHNIC 5 2018006786 Rashmitha Yalakurthi 1-399048571 ANDHRA A.A.N.M. & V.V.R.S.R. 20,000 PRADESH POLYTECHNIC 6 2018004203 Sai Keerthi Chavan 1-399048571 ANDHRA A.A.N.M. & V.V.R.S.R. 20,000 PRADESH POLYTECHNIC 7 2018001647 Somaraju Aswini 1-399048571 ANDHRA A.A.N.M. & V.V.R.S.R. 20,000 PRADESH POLYTECHNIC 8 2018005439 Sonti Sindhu 1-399048571 ANDHRA A.A.N.M. & V.V.R.S.R. 20,000 PRADESH POLYTECHNIC 9 2018004167 Sonti Yasasri 1-399048571 ANDHRA A.A.N.M. & V.V.R.S.R. 20,000 PRADESH POLYTECHNIC 10 2018001300 Veccha Naga Lakshmi 1-399048571 ANDHRA A.A.N.M. & V.V.R.S.R. 27,735 Annapurna PRADESH POLYTECHNIC 11 2018002991 Ghantasala Sowmya Sree 1-399048571 ANDHRA A.A.N.M. -
A Legacy of Innovation: Contextualising an International Creative Practice Project
COVER SHEET Stock, Cheryl F. (2006) A Legacy of Innovation: Contextualising an International Creative Practice Project. Kolkata, West Bengal. 2004. In Vella, Richard, Eds. Proceedings SPIN SPeculation and INnovation: Applying Practice Led Research in the Creative Industries, pages pp. 1- 16, Creative Industries Faculty, QUT, Brisbane. Copyright 2006 Cheryl F. Stock Accessed from http://eprints.qut.edu.au A LEGACY OF INNOVATION Contextualising an international creative practice project Kolkata, West Bengal, December 2004. Cheryl Stock Creative Industries Queensland University of Technology [email protected] Abstract Rabindranath Tagore and Uday Shankar, both 20 th century Indian cultural icons, used tradition as a basis for new theatre concepts and processes, which were innovative yet commercially and internationally successful. As with many innovators, their once fresh ideas now form the basis of a somewhat formulaic approach emulated by dance organisations in West Bengal . Understanding this context was crucial at the 2004 Kolkata International Choreographic Workshop in which three non-Indian choreographers worked with teams of 17-20 Indian dancers trained either in classical traditions or the ‘Uday Shankar' style. This paper speculates on differing interpretations of innovation and practice through problematising the expectations, actuality and outcomes of this workshop. Encoded with the cultural aesthetics and movement patterns of their training and beliefs, the dancers also subtly imbued the process and works with the underlying spiritual significance of Indian dance. Analysis of the creative processes of the workshop yields intermittent understandings of their complex cultural, political and social milieu. The paper also examines issues of content creation, form and function in a culture where commercialisation, tradition and spirituality exist side by side within a work, an ethos, a community. -
Bengal's Changing Cultural Scenario
Bengal's Changing Cultural Scenario Swapan Mullick Fluctuations on the Bengali cultural scene can be bewildering. Tollygunge seemed irretrievably doomed even in the last years of Uttam Kumar. But one smash hit caused a freak revival and Calcutta's little Tollywood is now roaring with activity. As were the theatre groups-but fifteen years ago. Today, they look back on their glorious past or on stalwarts who have either left the scene or have lost their old charisma. The jatra-the open-air opera-has. on the other hand. turned into a thriving industry and drawn away talent from films and theatre. There was a time when the recording companies flourished. Now Bengali music. both as an art and industry, has fallen on hard times. The total picture is more confusing than is good for the cultural scene which once prided itself on its vitality. The confusion promises to persist as long as some crucial questions remain unanswered. How are good films to be made now that the State Government has withdrawn from direct production of feature films? (Its experiment proved too expensive; it yielded awards but fetched few other satisfying results). Why have theatre groups failed singularly in offering original plays or even pleasing audiences with their new productions? Is the two-way traffic between films and theatre a means of cross-fertilisation or simply a very practical method of individual survival? Why has fresh musical talent failed to appear on the horizon now that the ageing stars of the disc are beginning to look-and sound-a tired lot? The answers are not easy to find partly because public taste seems so difficult to assess.