Dr. Prabha Atre, the Shining Star of Kirana Gharana, on the Value Of

Home , Abdul Karim Khan, Debu Chaudhuri, Kirana Gharana, Prabha Atre

Delhi • northern EDITION • JUNE 2, 2017

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INSIDE A nautch above!

Purva Naresh’s “Bandish 20- 20000Hz”, brings to fore restrictions on art and artistes down the ages P3 Feminine Mythique

For the Sangam era poetess Avvaiyar word was her weapon as she averted averted bloodshed with a verse P4 Evergreen hero

As artistes and students celebrate Kalamandalam Gopi’s 80th birthday, the grand old guru reflects on his long journey P9 Manto, once more!

On 105th birth A song for the soul anniversary of Saadat Hasan Manto, it is time to revisit ‘Dastavez’ that Dr. Prabha Atre, the shining star of Kirana gharana, on the value of sargam and introduced him to her creative streak in classical music Pages 6 & 7 Hindi readers P11 CCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCC

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TIME OUT Of training and temperament

The mercurial relationship between the two crucial elements of classical music and dance was on display at the UMAK Festival in New Delhi

Manjari Sinha DDDDDDDDDDDDD

o celebrate 106th birth anniversary of late TUstad Mushtaq Ali INDIA INTERNATIONAL CENTRE Sonorous voice Khan and 82nd birthday of JUNE 2 Rameshwar his devoted disciple Pandit Dange Devabrata Chaudhuri, pop- ANNEXE ART GALLERY ularly known as Pt. Debu 11 a.m. to 7 p.m. “Glimpses of Magic” a solo art Chaudhuri, the Ustad exhibition will present water colours and colour Mushtaq Ali Khan Centre pencil art works by artist Nita Banerji. for Culture in association JUNE 2 with the Indian Council for MULTIPURPOSE HALL, KAMALADEVI COMPLEX Cultural Relations organised UMAK Festival of Music & 3 p.m. Lalong Geeti will be presented by Farida Parveen, Bangladesh’s most well-known exponent Dance at the Azad Bhavan of the songs of Lalon Fakir. She will be singing in auditorium recently. Bengali and Hindi (translations by Muchkund Ustad Mushtaq Ali Khan Dubey) and also adhunik Bangla songs. belonged to the Jaipur Senia Gharana, formed by INDIAN COUNCIL FOR CULTURAL Masit Khan, originator of chiselled tabla nourished RELATIONS the Masitkhani Baaj. The the performance till the practitioners of this ghar- end. JUNE 2 ana play the 17 frets sitar ART GALLERY till date and follow the pur- Flavours of Dhrupad 11 a.m. to 6 p.m. “Vandevta-God of the Rain ity of the raga with the The Dhrupad recital by forest” a solo show of paintings by Dhananjay ‘Dhrupad style’ treatment, Ustad Wasifuddin Dagar Mukherjee will be presented which urge people to avoiding lighter adornments earlier in the evening, respect lora and fauna. like ‘Murki’ - ‘Fanda’, and opened with Yaman, the INDIA HABITAT CENTRE stick to the deeper ‘Meend’ most appropriate raga for like embellishments. that hour according to the JUNE 3 Adhering to this rule, time theory of Hindustani AMALTAS HALL Debu Chaudhuri, assisted music and also for the 7 p.m. India Habitat Centre will be presenting a by two of his disciple in meditative nature of the Hindustani vocal recital by Rameshwar Dange, Paushali Nandi (sitar) and genre. His reposeful and disciple of Sudhakar Chavan. Neel Ranjan Mukherjee detailed Alapchari of (slide guitar), followed the Dhrupad Ang paved the JUNE 3 tradition religiously and re- path for the Raskhan Pada CONVENTION CENTRE FOYER galed the audience with his “Adhar lagai…...Bansuri”, 10 a.m. to 8 p.m. “Desert Terrain” is a solo art impeccable performance. set to Chautal, where the exhibition displaying intricate darwazas and He chose the melodious dynamic delivery of the Showing the way Pandit Debu Chaudhuri; Ustad Wasifuddin jharokhas epitomising the lonely and mesmerizing evening raga Shyam Kalyan dhrupad adorned with the Dagar (below) Malini Awasthi* BHARAT TIWARI beauty of the desert state of Rajputana. and prefacing it with ap- rhythmic variations inspired propriate aalap-jod, created Praveen Arya on pakhawaj character of the particular the Patiala artistes. Surpris- INDIA INTERNATIONAL CENTRE the atmosphere for a Mas- for the sizzling sangat. composition. ingly, it was composed by JUNE 5 itkhani and a tightly con- Wasifuddin Dagar con- The reason is simple. her guru Vidushi Girija C.D. DESHMUKH AUDITORIUM ceived drut gat full of un- cluded his impressive re- There are two components Devi, who never sang it 6 p.m. India International Centre’s Summer Sonata derstated phrases and cital with an archaic ‘man- of any performance - ‘talim’ herself. Likewise came the - A Festival of Opera and Ballet Films will be gentle resolutions. He gave qabat’ composition of Baba (training) and ‘mijaz’ (tem- century old ‘Sawan’ com- screening “Guiseppe Verdi: Nabucco”, a 142- ample opportunity to his Behram Khan “Tum bin perament). After the initial posed by Ramuji, which minute ilm with English subtitles featuring well-trained disciples and kaun aiso dujo…” in raga glimpse of training, the rest was taught to her by her Metropolitan Opera Orchestra and Chorus the ace table player Ustad Malkauns set to Tevra tala of the performance was guru who never sings it conducted by James Levine. Akram Khan as and when of seven beats cycle. overshadowed with ‘mijaz, herself. She also regaled desired. The two-day festival had the ostentatious tempera- the rasikas with the famous INDIA HABITAT CENTRE Paushali maintained the opened with a Kuchipudi ment, the tezi-taiyari, the dadra, ‘Kaun albele ki JUNE 6 purity of sur. It was easy dance recital by the Padma repetitive ghaseet taans and nar…’ popularised by the to slide on guitar hence Bhushan awardees Dr. Raja- the dramatic pauses for the likes of Siddheshwari Devi AMALTAS HALL Neel Ranjan showcased flair Radha Reddy, after which claps. Abhishek gave an im- and Rasoolan Bai, before 7 p.m. India Habitat Centre will be hosting a for soot and ghaseet but he Prateek Chaudhuri, son and pressive account of his Ben- concluding with the Bhair- Hindustani classical music duet performance by often overshot the taar disciple of Debu Chaudhuri, arasi Baaj in his appropri- avi dadra, ‘Nayan ki mat Dhiman Chowdhury on vocals and Mohit Pal on Rishabh sounding beyond presented a sitar recital ac- ate repartees with utmost maro talvariya….” Malini en- sarod. the correct shruti. Akram’s companied on tabla by Ab- clarity. joys herself while singing INDIA INTERNATIONAL CENTRE hishek Mishra. He gave and her joyful relish was ample proof of his authen- Regaling connoisseurs reflected manifold in her JUNE 6 tic taalim during the brief There was hardly any time audience. C.D. DESHMUKH AUDITORIUM alap of Bihag, sketching left for Malini Awasthi’s The sensitive touches of 6.30 p.m. India International Centre’s Music contours of the raga, un- thumri-dadra treat, she was Pandit Dharm Nath Mishra’s Appreciation Promotion will present “The Waltz as derlining its salient swaras especially invited for. Malini harmonium enhanced the Remembrance” by Justin McCarthy. In this talk- with melodious meends. opened with a traditional emotions even though he cum-piano recital, the story of waltz will be traced The training was also evid- thumri in raga Tilak Kamod followed the etiquette of using music by Schubert, Schumann, Chopin, ent in the selection of the set to the typical confining himself within the Brahms and Ravel along with excerpts from compositions that followed Deepchandi Theka. Her boundary of swaras. The literature. McCarthy is a Bharatanatyam dancer in slow, medium and fast imaginative ‘bol-banav’, for vocalist had improvised, and plays piano and harpsichord. tempos, like the traditional instance, on ‘Ras ki boond whereas Murad Ali, not- Masitkhani gat, the Jhaptal padi…’ depicted the withstanding the melodious- INDIA HABITAT CENTRE gat, the compositions of his droplets of ‘rasa’ in myriad ness of Sarangi, was seen JUNE 7 guru Pt. Debu Chaudhuri hues with the varied ‘swar- jumping to the upper AMALTAS HALL and the old ‘taksali’ gat of sangatis’ she expressed it ‘gandhar’ or pancham while 7 p.m. There will be a Siddha veena (modiied slide Ustad Hamid Hussain Khan with. The dadra in Pahadi Malini had hardly reached guitar) recital by Sidhartha Banerjee from the of Lucknow taught to him was a rare one, in the the tar shadja. Ram Ku- Maihar gharana. by his guru, but their treat- sense that Pahadi is hardly mar’s enthralling laggis got ment was far from the ever used by others except him repeated applause. CCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCC

FRIDAYREVIEW NOIDA/DELHI FRIDAY, JUNE 2, 2017 REVIEW 3 CCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCC A nautch above!

Purva Naresh’s “Bandish 20-20000Hz”, a visually delightful production, brings to fore restrictions on art and artistes down the ages

Diwan Singh Bajeli DDDDDDDDDDDDD usic is the soul of Purva Naresh’s Moeuvre and it is has Inclusive approach Kishwar Desai * V.V. KRISHNAN been evident in her three plays staged in Delhi from time to time. In her latest of- People’s museum... fering, “Bandish 20- 20000Hz”, which was presented at Kamani auditor- In an insightful discussion, ium this past week as part of the Aadyam Theatre Festival, Kishwar Desai and Dr. Surajit she seeks to highlight how Sarkar explained what the great musical tradition evolved over the years by bais curatorship implies in today’s (nautch girls) and their lives context and times. Through the inter- actions between women sing- Madhur Tankha DDDDDDDDDDDDD ers of yore with modern sign- ers is revealed their art and o make museums across the country a des- life. tination for art lovers, it is important to fo- The play opens with the Tcus on storytelling, making them contem- hectic preparations being porary and inclusive wherein communities, made to celebrate the 70th an- particularly the young, are involved as custodians niversary of the Indian Inde- of our heritage. pendence Day. We meet two This is what curators of multiple museums elo- senior women singers of the quently emphasised in a panel discussion on “Ex- good old days who are invited panding Vision for Best Practices in Museums” at to be honoured on the occa- Preserving heritage Scenes from “Bandish 20-20000Hz”, (below) director Purva Naresh the National Museum in New Delhi. Chaired by sion. There is a middle-aged Prof. Amareswar Galla of International Institute man, looking after them and ation nothing seems to move duction remains conversa- of Inclusive Museums, the discussion assumed interacting with the harassed forward. The old women tional to reveal anecdotes — a significance in the light of the fact that a concer- organiser who finds himself singers reflect on their past. kind of interesting style of ted effort is being made by curators and museum unable to handle the messy The play ends without build- storytelling. But it provides experts to see the transition of grand buildings situation. The Nautanki ing tension. little scope for the growth of with treasure trove of souvenirs to people’s mu- singer finds the right occa- The play raises several is- dramatic conflict moving for- seum. sion to sing and other wo- sues — social media as the ward to a climax. Kishwar Desai, whose parents survived horrors man, once the heart throb of threat to artistic freedom, the Each issue in the play is so of Partition, explained how she set up the Parti- music lovers, is adamantly traditional system of guru- complex and needs intense tion Museum in Amritsar literally brick by brick opposed to sing to the relief shishya parampara versus in- dramatic exploration. What in association with youngsters, who voluntarily of the organiser who is de- stitutionalisation of imparting we watch is a sketchy script chipped in. Desai said: “What we are building is termined that they should training in classical art forms, which does offer some inter- essentially people’s museum which has many just receive their awards. The the place of high technology esting moments of hearing voices and connects generations. Instead of one young male, a star singer is in the field of modern arts as music rendered by sweet, curator we have collective curatives.Story telling specially invited to sing. an expressive means and the tender voices, as well as brief in contemporary context is the most important Keeping in view the violent gradual oblivion of singing art captivating dance sequences. thing you need in museum. What we are saying is protest by social media of bais. The music direction is by how truthful you can be to tell stories of the Parti- against him branding him as Shubha Mudgal. tion and how you tell this in today’s contempor- anti-national, he is persist- Defying imperialism The production does not DDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDD ary India. A lot of people feel that the museum ently asked not to sing and As the old women singers tell enlighten us with the need to would have pictures, videos of dead bodies. To accept the double amount of the young artists, we know The play raises several issues— protect and preserve the rich dispel this, we focused on lifestyle.” his fees. The organisers’ only about their heydays when social media as the threat to cultural heritage created by Desai said: “Without government funding, it artistic freedom, the traditional saving grace is the young they were patronised by nautch girls which was the was a difficult museum to set up. We got the system of guru-shishya param- singer but she expresses her feudal lords. As feudal lords artistic creation of specific so- building but were told that we would have to go para versus institutionalization utter inability to sing without cio-economic conditions and out and collect all the money within a specified of imparting training in classical high technological gadgets art forms, the place of high with changes new art forms time fame. It became a personal journey for each provided by modern studios technology in the ield of mod- are emerging. of us. We were contacting people, recording his- to singers. Despite hectic ern arts as an expressive means Manish Kansara’s ingeni- tories and simultaneously asking them did they activities, the system remains and the gradual oblivion of ously designed set aptly have any objects. Unlike other museums which dysfunctional. In such a situ- provides space for flashback have structure galleries, the Partition museum singingDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDD art of bais scenes upstage. The centre makes people get perplexed. Will it show dead stage and downstage are bodies in photographs. We dispelled some of came under the control of provided to those dramatis these notions.” British colonial rulers, their personae invited to receive capacity to patronise artists awards. Beautifully designed Manipur experience reduced and used women wooden frames are used en- Dr. Surajit Sarkar of Ambedkar University Delhi, singers to entertain colonial closures for change of scenes. explained how he discovered an ancient book in officers but these singers did The musical instruments are Imphal and put it in sync with present times. their best not to compromise placed upstage mostly be- “Eight years ago, it rained a lot in Imphal. As with their dignity and as hind enclosure, playing softly people were blocking the rain water the neigh- artists defied imperialism in as the accompaniment to bouring parts were getting flooded. One had to their own way. Some of them singers in nostalgic mood to create a public platform exchange programme to even refused to marry de- give the illusion that musical wriggle out of this. We needed songs that cut bauch feudal rulers. Their baithak was taking place in across the people and also information about the condition became more the past. Visually, the produc- neighbourhood that strikes people. I came across pathetic after Independence tion is colourful. The en- a 400-year-old handwritten book on how water when All India Radio Luc- semble performances are im- flows in the Imphal valley. This led to a month know banned the recitals by pressive indeed. Ipshita long performance series. We videographed the nautch girls as a result of pub- Chakraborty Singh in the role parts mentioned in the book and told women to lic protest. of modern singer creates a read out the text. For the locals this was the right Presented by Aarambh portrait remarkable for grace platform as they could see images of the past and Mumbai, the tone of the pro- and famine charm. relate it with voices of the present.” CCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCC

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Feminine Mythique ‘Prahlada Charitramu’ being Word was her weapon performed at Melattur Avvaiyar averted bloodshed with a verse

Samhita Arni ment, appointed her as a duta, an en- DDDDDDDDDDDDD voy, to the court of the Tondaiman at Some of the stories from Kanchi, to avert war. the Sangam era that I find Tondaiman of Kanchi takes most fascinating centre Avvaiyar to his well-stocked armoury, around the poetess to show off all his weapons of war. Avvaiyar. There appears to Avvaiyar responds to this with a poem be three distinct poetesses that on the surface appears to flatter who are referred to as Tondaiman, but in fact conceals a Avvaiyar, but the first Avvaiyar, from clever barb. She praises Tondaiman’s the Sangam era, was a great friend of beautiful, strong, shining weapons — the ruler Athiyaman Neduman Anji, but remarks that her king’s weapons who was also her main patron. are broken, having pierced their en- Avvaiyar’s poetry fascinates me for emies, and are found in the black- the glimpses of her remarkable life smith’s sheds — suggesting that Ath- On Tyagaraja’s Trail that it offers us. She was a woman, iyaman’s weapons have often seen and one of the few who is an ac- battle, and are in constant use. claimed poet. It is surprising for me to She might have been a woman, but read her poetry, her poems and life Avvaiyar uses her words in place of provide an intriguing exception to weapons, and returns home tri- An unusual take some of the prejudices and impres- umphant — Tondaiman is impressed sions that we have of women’s roles in by her words, and war and bloodshed ‘Prahlada Bhakti Vijayamu’ was inluenced by Marathi the past. are averted. But the most touching story about theatre and Melattur Bhagavata Mela tradition Poems on warfare Avvaiyar and her patron is found in Avvaiyar’s poems describe the rich another poem in Purunanuru. In one Sriram V for a female impersonator to many bhakti poets of the DDDDDDDDDDDDD taste of meat, liquor and are full of de- poem Avvaiyar berates her patron know of the true traits of a Marathi tradition (see Tyaga- scriptions of warfare. Many of her when he is slow to give her a gift, Surreal is the chaste woman?” asks Tyaga- raja and the Maratha Influ- poems are martial in nature, describ- while other poems praise his generos- word that first raja in his ‘Rama Niyeda’ (lis- ence in The Hindu dated Oc- ing her patron’s prowess at war, his ity — he gives her new clothes, good comes to mind ted as being set in Dilipakam tober 13, 2016). feats and strength on the battlefield. food, and toddy. when you go but now sung in that raga’s She compares Athiyaman, in one But the greatest gift he gives her is through the text mela Kharaharapriya). He Songs of the opera poem, to a crocodile in shallow wa- the rare nelli (amla) fruit, plucked and music of was probably referring to the Several of the opera’s songs ters where children play, but who can from the top of a mountain, which Tyagaraja’s Bhagavata Mela perform- have made it to the concert kill an elephant; suggesting that he is confers immortality, or at least, a very second opera, ‘Prahlada ances that took place in six platform as individual pieces. both fierce and gentle — ferocious long life, on the one who eats it. Ath- Bhakti Vijayamu,’ (the tri- villages of Thanjavur district Sri Ganapathini (Sauras- when it comes to his rivals, but a be- iyaman does not keep this fruit for umph of Prahlada’s devo- and of which the one at htram), Vasudevayani nevolent ruler to his subjects. himself, but gives it instead to his tion). The storyline is uncon- Melattur was best known. (Kalyani), Vandanamu But, Avvaiyar was more than a poetess. ventional for it deals with All the plays had an en- Raghunandana (Sahana), poet; she was also involved in the re- Not only does it strike me that this Prahlada’s life prior to the cli- tirely male ensemble, the Naradamuni (Pantuvarali), gional politics of her time, in matters gift is a generous one — but Ath- max of Narasimha bursting roles of women being en- Ennaga Manasukurani of war and peace. Some of her iyaman’s own legend and fame have forth from the pillar. Hiran- acted by men. The most fam- (Nilambari), Eti Janmamidi poems, preserved in Purananuru, are survived through the immortal words yakasipu is completely absent ous inhabitant of Melattur (Varali), Enati Nomu (Bhair- an evidence of this involvement. of Avvaiyar. though he is a looming mi- was Venkatarama Sastry, who avi), Dayarani (Mohanam), Adhiyaman Neduman Anji, who asma so to speak right as per Dr. S. Seetha’s Tanjore Nannu Vidachi (Ritigaula), trusted and greatly respected The writer is the author of ‘The Mahabharatha through the work. The bulk As A Seat Of Music was a Emani Vegintune (Huseni) Avvaiyar not merely for her poetry, — A Child’s View’; ‘Sita’s Ramayana’ and ‘The of the opera has to do with senior contemporary of and Ra Ra Ma Intidaka but also for her wisdom and judg- Missing Queen’ Prahlada seeking a vision of Tyagaraja. (Asaveri) are some of them. Vishnu, who appears and dis- Even the ubiquitous concert appears before finally grant- Bhagavata Mela closer — Ni Nama Rupamu- ing him assurance of succour. Melattur has kept its laku (better known as Strangely enough, Prahlada Bhagavata Mela going and Pavamana, in Saurashtram) is sings right through about central to its festival is Ven- from the ‘Prahlada Bhakti Vi- Rama, who technically speak- katarama Sastry’s ‘Prahlada jayamu.’ Among the prose ing was at least two incarna- Charitram’. sections is an extensive and tions away. Tyagaraja has no women tongue-twisting choornika, Rama was to Tyagaraja the characters in his ‘Prahlada which describes Vishnu in all Supreme Being, just as Bhakti Vijayamu.’ The struc- his glory. Krishna was to Jayadeva. He ture follows that of the The dialogue is a research- was therefore not just the sev- Bhagavata Mela though it er’s delight for they shed enth avatara but the Lord does not include the sheer much light on Tyagaraja’s who manifested as variety of song forms as dis- times. The performance was Narasimha and pervaded all played in Venkatarama staged with illumination from the incarnations. Tyagaraja Sastry’s work. The latter in- flaring torches, on a stage, undergoes all the mood cidentally, was itself inspired with actors wearing charm- swings that manifest through by the Kuchipudi tradition, ing costumes performing to Prahlada as the opera pro- said to have been brought to the accompaniment of drums gresses . All worldly troubles Thanjavur by Narayana Teer- and other musical instru- are viewed by Tyagaraja as tha. Sonti Venkatasubbayya, ments. The decorations in obstacles placed in his path the father of Tyagaraja’s guru Tyagaraja’s time for a holy of true devotion and that is Venkataramanayya, was a event were similar to ours — Prahlada’s opinion too. In disciple of Narayana Teertha with bunches of grape, jack- many ways, it is the triumph and so in a way, Tyagaraja too fruit and plantains. A gem for of Tyagaraja’s devotion, ex- belonged to the same tradi- etymologists is the word pressed as Prahlada’s. tion. It is therefore no sur- ‘Kimkapu’ in a dialogue in The storyline is almost cer- prise that the composer pays this opera. Meaning intric- tainly Tyagaraja’s own for homage to Narayana Teertha ately woven silk, it is of Per- there are no prior creations in the opening verses of sian origin and gave rise to that match it. But it is clearly ‘Prahlada Bhakti Vijayamu’. kincob in English. influenced by Marathi theatre He also offers his respects to and more importantly, the a whole host of others — The author is passionate about local Melattur Bhagavata Tulisdas, Purandara Dasa, Chennai history and Carnatic music SATWIK GADE SATWIK

* Mela tradition. “Is it possible Bhadrachala Ramadas and and has several books to his credit CCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCC

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This Thing Called Culture Assembly line artistes

Short-term workshops are unleashing more clones than real dancers

Ashish Khokar DDDDDDDDDDDDD Instant food to Ins- tagram. Now add instant dance learning. Workshops. More shops than work? Street This approach to Global Strains singers in dance learning started Tasmania* almost three-plus decades ago, as a one-off value addition but today it The beauty of busking is becoming the norm. In the 1980s, when many wished Never discount the street performers, to learn quickly from popular gurus — who couldn’t give all some of them brim with talent learners individual time — this mode of learning helped enhance a KRISHNARAJ IYENGAR Dublin, Istanbul, New York dancer’s data base or content. So, DDDDDDDDDDDDD and Sydney to name a few, when a Kelubabu set up a month- Pt. Pannalal are arenas for some of the long camp in Bombay or Calcutta Ghosh, the le- world’s most fascinating tal- those days, many well-known gendary patri- ents. Apart from innumerable Odissi artistes such as Protima Bedi arch of the Indian musicians from diverse back- and Daksha Mashruwala gained bansuri was once grounds, jugglery, fire-eating, from them . After initial exposure, travelling by train acrobatics and other breath- they could go to the guru’s abode New ways of learning Youngsters at a workshop and abhinaya exponent to Calcutta. A little girl (prob- taking performances draw and learn for a longer duration. Kalanidhi Narayanan who trained many dancers ably asking for alms) came by the crowds who generously and sang a Pahadi song. offer considerable sums of Facial abhinaya “Pannababu called her, gave money as rewards. Right In case of Kalanidhi Narayanan, javur, comes to her; she doesn’t go baked and half-ready dancer — her two rupees and learnt it from African drum en- whose forte was facial abhinaya, there to teach. Ditto Birju Maharaj, goes abroad and teaches the same from her. Here is what it sembles, Australian Didgeri- the idea of adding her name to a the king of Kathak, who has be- to unsuspecting foreigners or NRIs, was,” said Pt. Nityanand doos, Celtic bands, Arabic wannabe’s bio-data proved alluring come a final stamp, no matter who then become new dancers on Haldipur, an exponent of the Darbuka drummers, flamen- enough. It became fashionable to which gharana. the block. And so the evil circle of instrument and a direct dis- cos to country singers, fid- add, especially in scant bios: The original idea was good. To nothingness continues. ciple of the maestro, playing dlers and modern rock and Learnt from K & K. (Even if it was learn under compressed time- Students must stop learning at the moving composition at a blues, they contribute to the just a weekend class). frame and add to one’s knowledge weekend workshops if they are ser- recent concert marking his beauty of the surroundings Such condensed learning was a bank or repertoire. That was then. ious about a serious career in guru’s death anniversary. In- and a wholesome experience boon to NRIs too. Soon they star- Today, many students think learn- dance. Period. Did Alarmel Valli deed, the world of street per- for tourists despite being ted inviting these gurus abroad to ing items at various workshops is learn at workshops? Or Malavika formers, often called ‘busk- much in the background. teach at some length. the only learning required because Sarukkai. No. They learnt only ers,’ is as intriguing as is, While lack of opportunity Fortunately, these senior dan- if they know ten items , their lives from one Guru. And what that tragic. or money drive many to cer-gurus had enough material to in dance is made. Guru gave them, was enough for I remember the ‘Aftab e busk, some take to it for altru- pass on. next 30 years of their career to Sitar’ Ustad Vilayat Khan istic pleasure, to be heard by That’s why their students be- Readymade music teach, reach out and take their art telling me when I was 14, a larger crowd without both- nefited. Padma Subrahmanyam for Further more, these shops where forward. “stage koi Makkah, Madinah, ering about rewards. Natyashastra and Karanas became some work happens, often give In absence of real gurus one can Hrishikesh nahin hai ke a whole university course, and readymade music to go with it (of attach to, how to learn more is a tumhe mil hi jaaye. Aisa bhi Gypsy music now the Sastra University, Than- course for a hefty price — Rs. genuine question and concern. ho ke naa bhi mile ” (the stage The Romani Gypsies are syn- 25,000-Rs. 50,000 per item). And The answer is: attach to any one is not a place of pilgrimage onymous with busking. Apart thus, a student is all set to perform teacher, if a real guru can’t find like Mecca, Madinah or from the romanticism of here, there, everywhere. “Today’s you. Don’t fly or flit from class to Hrishikesh that one can go to. them travelling in caravans young dancers are like ‘item’ girls! class, teacher to teacher, workshop It may so happen that you from place to place, one can They can perform here, there, ten to workshop. A month’s workshop may not get to go up on it). find Romani bands on the to twenty minutes, not a full two- is minimum like Chetana Jyotishi Like it or not, in music, espe- streets of Europe playing on hour margam,” says senior Mohin- does in Kathak; a week or weekend cially in India, lineage works cimbaloms, cellos, violins iyattom dancer Gopika Varma. model like ‘learn abhinaya in two wonders. Being the child of a and accordions. So what’s the end-result? days’ is most suspect. stalwart or born in a musical Gypsies and street per- Substandard, incomplete It amounts to teaching how to fly family offers a ready plat- formers in India are no less dancers. They don’t have on a simulator. More clones are be- form. Playing on the street, gifted. They can be seen in re- basic foundation, stamina ing prepared. Can abhinaya be though not always con- gions like Rajasthan, Gujarat or maintain correct pos- taught in workshops? A life in art sidered a dignified way to ex- and even in megapolises like tures. Many may also not teaches that. Maybe the methodo- press music, has its stark Mumbai. know the core meaning logy of how to approach a subject reasons. In the plush Lokhandwala of a song, poet, context but not mimicry, which is what it is area of Mumbai, residents of- or content. One recent at such base workshops. Young stu- Talented musicians ten rejoice the arrival of a two-day focus festival in dents are searching and falling While tales of politicking and mendicant draped in saffron Bangalore wrongly prey to substandard teaching. favouritism plague the music with a tall conical, colourfully stated Geeta Govinda Dance malls. Pick ‘n choose.The world, desperation to make decorated hat, singing not Geet (song)(of ) pitfall lies ahead, if one wishes to ends meet leaves even some abhangs to the accompani- Govinda. Many don’t be a professional. Best to invest in of the talented musicians to ment of just a pair of know what’s a Pallavi or a quality product. perform at street corners for ‘manjira’ (cymbals). Walking a Padam they are cloning. National academies or even passers-by. Metro subways, past swanky cars parked in Worse still, such a week- state ones ought to have certifica- tourist areas, shopping hubs the narrow streets, they high- end-workshopped, often half- tion standards, akin to say, the and other populated areas of- light a world of stark con- ISTD in the U.K. ten buzz with their pleasant trasts and convey the mes- <> But our akademies are notional. sounds. sage of love and selfless National or notional? That’s up for While ancient India and devotion. Learning abhinaya from another debate. medieval Europe have seen Kalanidhi Narayanan lent an the culture of busking, the The writer, a multi-linguist, is an The author is a culture policy expert, streets of cities with an inter- international performer and edge to a dancer’s stature historian-critic, who edits attenDance national vibe like London, composer CCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCC CCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCC

NOIDA/DELHI FRIDAYREVIEW FRIDAYREVIEW NOIDA/DELHI ND-X 6 COVER STORY FRIDAY, JUNE 2, 2017 FRIDAY, JUNE 2, 2017 COVER STORY 7 CCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCC CCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCC

Shailaja Khanna Time line DDDDDDDDDDDDD Born in Pune in r Prabha Atre, the senior In the mehil 1932, Prabha most representative of the Atre started DKirana gharana, has a concert singing career of over 50 of life... learning music years. Recipient of several awards from 1943 including the Padma Shri, Padma onwards, from Bhushan and Sangeet Natak Aka- Dr. Prabha Atre on her demi awards, her brilliance is un- 1947 from Pt usual as her erudition in music is fastidious nature and her Sureshbabu as important a facet of her person- ality as her singing. She has writ- favourite colour Mane. She did ten several books on music, out of her Bachelors which “Swaramayee”, and From childhood, I was disciplined, respons- degree in “Suswaraalee” are compilation of ible, introvert, critical and crazy about beauty articles on music while of any kind. Whenever I saw, heard of or read Science from “Swaraanginee” and “Swaran- about anything nice, I felt that I should master Fergusson janee” are compilations of her it. One imbibes all good influences at a young College in 1952 compositions. “Enlightening the age and leads the rest of one’s life on the listener” and “Along the Path of strength of this accumulated treasure. Fortu- and then did a Music” capture her thoughts on nately, I have received all this in my childhood Masters in Law Indian musical tradition in Eng- — love, guidance, encouragement, blessings of lish. She has also written a book of my parents, elders and gurus. I have received in 1956. In 1974, poems. In addition, she has writ- so much of this wealth that it will last for my she did her PhD ten a doctoral thesis on sargam. lifetime. It is on the strength of this wealth from Akhil She speaks in the careful meas- that I am standing erect on my own feet. ured way of an academician yet It was not that I had decided not to marry, Bharatiya the enormous charm of a popular but I also did not feel a special urge that I have Gandharva concert artist shines through. to get married. My fastidious nature came in Mahavidyalaya Excerpts: the way. I have a family and a household just It is said you learnt from like others, except that I do not have a hus- Mandal. She was Sureshbabu Mane (son of Ustad band. I had to shoulder the responsibility of awarded Abdul Karim Khan) for only 6-7 my parents; Usha’s daughter has grown up years yet that learning has seen just like my daughter. Padmashri in you through a lifetime. Shades of radiance Is it that I have no 1990. In 1991, the ■ It was a very intensive train- Dr. Prabha Atre in ambition or I am too Sangeet Natak ing, which gave me a good performance much of an idealist? I grounding from which I could do not know for sure. Akademi award, walk myself without the help of This, however, is true Padma Bhushan others. I have been able to incor- that I am not willing to porate the training I received ‘Classical music has make a compromise in 2002, Kalidas totally in my singing. I also learnt with my principles. It Samman in from his sister Hirabai Barodekar is in my nature to 2004 and in 2011 ji after his death, for two years, to study in depth and in Tagore Akademi avail of a government scholarship. detail and execute per- But today your gayaki does to change’ fectly whenever I get Fellow’ (from not reflect only Kirana gayaki... involved in any pro- Sangeet Natak ■ The tonal quality of my voice ject. guided me to make changes in my A creative mind with a scholarly approach to music, Dr Prabha Atre says just because it’s classical, I have been abroad Akademi — to music. Variety in music is import- many times, but I have commemorate ant too – singing only “aaa” can it doesn’t mean you cannot change things in it neither tasted alcohol 150th birth get boring, so I bring in other ele- nor had non-veget- ments. Expression is very import- classical, it doesn’t mean you can- ing music today? and for conveying any emotional singing in his gayaki. The two arian food. Not that anniversary of ant in music. not change things in it. There have ■ The most important thing a or aesthetic feeling desired. maestros who studied sargam there is anything bad about it, but my Brah- Rabindranath Whatever good I find, I take it been changes throughout history. student of music has to have is pa- In spite of the manifold nature singing in depth and consciously min upbringing has penetrated so deep that it and make it my music. This hap- Audiences have changed, expecta- tience. Don’t start in this line with of sargam singing, its usage was included it in their presentations is just not possible to bring about a change at Tagore, a one- pens automatically, without my tions have changed, and presenta- expectations of starting a career strongly objected to by some were Ustad Amir Khan and Ustad this stage. time award even being conscious of it. Listen- tions have to change too. Of fast and sitting on a stage. You senior musicians, academicians Bade Ghulam Ali Khan. I have I am extremely fond of the colour white. I given to a few ing to me, you will not think that I course, one must keep the basic don’t get anything immediately. and critics, especially in Maha- been influenced by them a lot. am particular about wearing white for my pro- am singing Agra or Jaipur gayaki; identity intact. To listen to clas- Don’t be performance oriented. rashtra. Their objections were – After decades in the music grammes. One walks ahead in life all alone, personalities of definitely I sing the music of my sical music, the audience has to You have to devote a whole life- sargam singing shows the skeleton world, what do you feel is one experiences moments of success and fail- eminence for Kirana gharana but the exposure I have some exposure, some experi- time, 24 hours a day, have true of the musical phrases, note-syl- needed to take classical music ure with equanimity, one is neither inebriated their have had obviously has changed ence or they cannot appreciate it. ‘sadhana’ (discipline). There is lables are not sung at theirs pitch forward? by happiness nor is enfeebled by sorrow, one my music. It should be like this – Your views on the time the- never any end to learning. One to value, and it has been introduced ■ There is no conscious plan- is mentally detached, one starts seeing the contribution singing rigidly within one gharana ory in North Indian classical one training is very important; just for novelty’s sake. ning on how to take our music for- other shore and one is inwardly astounded (equivalent to today is not possible with so much music are controversial. Please you can’t have teaching in a class. The oldest recordings of sargam ward, efforts by the government that one has reached up to the point all alone exposure. I also like Carnatic mu- elaborate: You have to be taught to be very singing in a performance are to be are done sporadically. when one suddenly turns around and glances the ‘Fellow’ of sic a lot and have been influenced ■ The time or rasa theory in ra- conscious of what you are learning found in the recordings of Kirana I also feel sad that the media behind to see a crowd of well-wishers bidding the Akademi). by it. gas – I am not sure it applies to – you can’t copy blindly. Analysis maestro Ustad Abdul Karim Khan. does not cover classical concerts – good bye with tearful eyes and before one In honour of her I am very grateful to God for everyone. If you don’t know the of what you are learning is It is not clear why other senior it’s only about film shows. I find realises what is happening, the soul merges where I am here today as no one theory, do you still feel sad if a important. artists of that time did not pay any The Hindu is now the only English into the divine and that exhilarating moment contribution to in my family even heard music! raga is supposed to make you sad? Tell us about your academic attention to sargam singing. Did paper that regularly writes on clas- may prove to be the last moment of the mehfil Indian music, You are hugely creative. Tell It’s not necessary! Or take the time side they consciously avoid it or was sical music. No private TV channel of life. This is what I have ever been wishing Hridayesh Arts, us more about this aspect of theory, not everyone feels a morn- ■ I am a science and law gradu- sargam singing banned in concert has regular programmes. DD Bhar- for. your music ing raga should only be sung in ate, and then I did my Ph.D in mu- presentation? In those days, even ati is there, but there should be (Sourced from Prabha Atre’s “The Song of Mumbai has ■ Today, I tend to sing mainly the morning. Everybody should sic, on sargam (enunciating the while teaching a new student, the more. My Life”) been organising my own compositions. I try to feel the same but it’s not like that. name of each note). It remains the tendency was not to use sargam. BBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBB bring out the essence of the raga So what I say is – there is good only work done on sargam, and it In some cases students would not an annual music in my composition. For example, music and bad music. That’s it! took me three years to complete. know the sargam at all. One Speaking about Dr Prabha Atre, a singer with whom festival Gaan raga Sham Kalyan – many people What would you say is the Please elaborate on your reason for this could be that gurus he has a personal relationship – she has been to his Prabha’since tend to ignore the Kalyan aspect, most important thing in learn- work on sargam did not want their students to pick house, even when he lived in Kolkata – Pt Ulhas but I stress that it’s an integral ■ As against words, sargam has up anything immediately or re- 1993 and Basari part of the raga. Raga Madhur many advantages. Firstly, sargam member anything later. They did Kashalkar says she has very successfully created her Foundation, kauns which I created, has use of <> consists of single syllables and not want hard earned knowledge own style of singing. “Combining other inluences in Pune has started both “ga’s”; the komal ga only in secondly, it has no literary mean- to go easily to anyone — teaching avroha, but it’s a very catchy raga Did they consciously ing. Hence, the question of distor- sargam means throwing light on her gayeki of Ustad Amir Khan, Carnatic and others, Swar Prabha and reaches the audience very avoid it or was sargam tion of the word’s structure or the note movements and creating and being hugely creative, she made her style very Sangeet easily. singing banned in neglect of literary meaning does awareness of the musical activity. popular (‘lok priya’) without resorting to vocal Samaroh from Classical music has to change, it not arise. This makes it eminently In a later period, Ustad Amaan gimmickry. She is also an excellent poet in Marathi, should not be stagnant. Unless concert presentation? suitable for exploring complex Ali Khan of Bhendi-Bazar gharana 2015. you change, it will die. Because it’s rhythmic and melodic patterns gave prominence to sargam and creator of many many bandishes.” CCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCC CCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCC

NOIDA/DELHI FRIDAYREVIEW 8 STAGECRAFT FRIDAY, JUNE 2, 2017 CCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCC For the cause of dance

“The Dance We Dance” highlighted the need to preserve the Indian classical arts

Tapati Chowdurie atively designed piece, cers vocalising expressions DDDDDDDDDDDDD because the instrumentalists of endearment. “To be in- “Perhaps today, it is only were made to sit in the clusive, and yet remain through Indian classical centre while the performers within the form, within the dance, that the younger danced all around them. sensibilities of Odissi is generation can stay in touch The piece “Abahani”, probably the greatest lesson with all that is Indian. Clas- which was a welcome dance I learnt from my guruji, sical form is multidimen- was rendered by 12 upcom- Guru Kelucharan Mohapatra sional, and tries to create ing dancers. The composi- and this is what gives the opportunities for the stu- tion was rather rich and dance form the strength,” dents to learn many skills, unique in content. The dan- commented Biswas. Unifying and combine them with cers performed with the While the concept and Tagore, a world citizen humanity A dance. The festival ‘The ritualistic chanting of the guidance was entirely that performance Dance We Dance’ is dedic- traditional priests belonging of Biswas, the choreography during ated to this cause,” ex- to the temples of Odisha in for the group dances was “Tagore the Voyager” attempts to chart the moods “Tagore the plained Sharmila Biswas, their original voices. done by Jhunuk Nag and Tri Voyager” the Artistic Director of The abhinaya, on bal Paul. Monami Nandy, Ankita and situations during the poet’s journeys that Odissi Vision Movement leela ended with the dan- Kulabhi, Rohini Bannerjee, prompted him to compose Centre. The programme was Tri Pal and Nandagopal Jana held at the Tollygunge Club played the percussion in- NITA VIDYARTHI spontaneity of expressions after a in Kolkata. struments. The stage decor- DDDDDDDDDDDDD farewell dinner. The last song of this The first requisite of a ation by the very talented here is no phenomenon quite voyage to the West was a melodious dancer is to be able to sing Neelay Sengupta along with like the 2200 odd songs written passionate, “Noye Madhur Khela” even before she starts learn- Nandagopal Jana made for a Tby Rabindranath Tagore and (Puja) executed with ease by the Ma- ing to dance, or at best delectable evening. their rendition be it as solos, in dance nipuri dancer Rintu. Interestingly, both the performing art dramas or in chorus by stalwarts, ex- majority of the numbers chosen were forms (singing and dancing) Able disciple ponents and innumerable artists. Yet from the Puja section and the solo may be learnt simultan- Biswas has an added feather to present them with a new dimen- “Bhubanjoda Asankhani” sung by eously. What could make a in her cap this year. Her sion and appeal without sacrificing Sounak Chatterjee, a talented and better start than singing disciple Saswati Garai the sensibility and nuances of the po- seasoned singer by now brought out Saraswati Vandana, in raga Ghosh, who mastered the etry and style of the Bard needs deep the cerebral quality of the lyrics, sup- Shankarabharanam in praise Odissi form from her Guru understanding and ability to contain ported by Monojit’s Bharatanatyam. of the Goddess of learning became the recipient of tradition in an individualistic way. followed by swaramalikas Ustad Bismillah Khan Yuva Tollygunge Club, Kolkata, presen- Love songs and bandish in raga Kalyan, Puraskar 2017. The prom- ted the acclaimed Rabindra Sangeet The voyage to South America around Mukhari and Bihag. ising dancer who explores singer Pramita Mallick and the mem- the first half of 1924 saw Tagore com- Then the young aspirants, all possibilities to enhance bers of her institution “Bhawanipur posing the love song “Oh Unmind- the stars of tomorrow went her vision and has practised Baikali Association” together with ful”—“Aanmona, Aanmona” and all out for ‘Sur-Tal’, with the <> three bend line coupled four senior classical dancers from dif- Sourav’s Kathak abhinaya enhanced dancers dancing and singing with proper head, torso and ferent disciplines in a programme to the appeal of the poem. It was a pleas- the basic and very essential Perhaps today, it is lower limb movements told acquaint “Tagore the Voyager” to a ure to hear Pramita Mallick in the de- seven notes, involving chal- only through this writer that “Anga capacity audience in its auditorium as lightful composition “Taar Haatey Ch- lenging calculations of tala. Suddhi” was very important a homage on to Gurudev on his 156th hilo Hasshir Phullerohaar” from the Indian classical to her. birth anniversary. The attempt, with “Prem” section, the lyrics brought Innovative piece dance, that the She could not imagine chronological details of Tagore’s voy- alive by Manipuri dancers Purbita and The senior repertory dan- dancing without a prior ages in the West and the East during Rintu. A group Manipuri number “Ch- cers played rhythmic instru- younger work-out. Saswati not only 1912-1934, spoke of the moods and hutir Banshi Baajlo” (The Flute of ments like dhol, tasha, generation can performs her mentor’s cho- situations that prompted him to com- Freedom sounds there) sung by Pram- nishan, and jhanja, while reographic work like “Katha pose these numbers. An assortment ita was one of the most enjoyable item the others danced Sam- stay in touch with Surpanaka” and others but of 15 “Oceanic songs” selected out of with scintillating costume and good balpuri folk dance and Ch- also has a collection of her 40 composed by Tagore during his dancing as was Purbita’s solo “Diner hau dance. It was an innov- all that is Indian own choreographic work. voyages in different parts of the Belaye Banshi Tomar” (During the world, interspersed with dance and day you have played your flute) en- poetry was accompanied by their re- riched by her mother Pramita’s spective English translations by Pro- singing. The number was composed fessor Sugata Bose. in Budapest. Sounak brought out the The bilingual presentation nar- flavour of Desh raga with a short rated by Monojit Dasgupta began with aalap in “Ekada Ki Jaani” but Sourav the wonderful chorus “Prano bhoriye did not impress. In Stuttgart Tagore’s trisha horiye” (“Fill my heart, quench expression of entreaty was evident in my thirst...”) included in the “Puja “Madhuro Tomar Sheshh Je Na Payi” section”, that was composed by the (originally “Bhalobashar Shesh Je...)— poet after seeing the ocean on landing the famous “O, Beloved You Are End- in Glasgow on June 4, 1912. Six dan- less” sung in the romantic vein. cers, two each from Bharatanatyam, The programme concluded with a Kathak and Manipuri accompanied very popular vibrant number the number in their respective “Kharobayu Boye Begey” (“Hey Ho”) idioms. On arrival in Hampstead, Lon- written during a severe storm amidst don, on June 16, 1912, Tagore was a turbulent sea while Tagore was re- stunned with the beauty of Nature turning to Burma from the East. This there and composed the vibrant piece was the best in terms of execu- “Sundaro Botey Tobo Angadakhani tion, costumes and team work even Taraye Taraye Khochito” (from the though the singing overpowered the play “Aroopratan”), presented by dancing primarily due to the unavail- Bharatanatyam dancer Monojit Saha ability of adequate performance and Kathak dancer Sourav Roy follow- space for the dancers. Also,the light- ing the English translation “beautiful ing interfered with the colour of the is your bracelet”. dancers’ costumes as a result of “Praney Khushir Tufaan Uthech- which the movements lacked clarity ND-X hey” (A storm of joy has risen in my of forms especially for those other All in rhythm “The Dance We Dance” by Sharmila Biswas was a perfect synchrnoisation of the artistes heart), was a Kathak duet—a result of than the Manipuri dancers. CCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCC

FRIDAYREVIEW NOIDA/DELHI ND-X FRIDAY, JUNE 2, 2017 STATEWIDE 9 CCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCC Evergreen hero As artistes and students join to celebrate Kalamandalam Gopi’s 80th birthday, the grand old guru relects on his long journey K.K.GOPALAKRISHNAN dalam groomed him; sub- DDDDDDDDDDDDD sequently he scaled creative ince 1958, from the begin- heights and brought further ning of his career, fame to his alma mater. Ex- SVadakke Manalath cerpts from an interview. Govindan Nair, popularly known as Kalamandalam Your first encounter with Gopi, has been the favourite Kathakali. of the art form’s aficionados. ■ When in the third standard, From the early 1960s to the I was sent to learn Ottanthul- late 1970s, he was the ener- lal. This put an end to my giser on Kathakali stage for formal schooling. But the the young audience and training in Ottanthullal apostle among young artistes. stopped as the master left the It was at a time when masters place. So for about a year I The doyen Artiste Kalamandalam Gopi in a performance such as Vazhengata Kunju was wandering around doing Nair, Kalamandalam Krishnan nothing. I was then sent to a disciplined approach. One experience. Kathakali with its seriously look into these is- Nair and Ramankutty Nair train in Kathakali under incident that I can never for- complex and demanding tech- sues. Also, quality training dominated the mainstream Thekkinkattil Ravunni Nair, get is how on the first day, nique can be disseminated cannot be ensured with teach- performance arena of Kath- who stayed close by. Soon that when I entered the premises I only through regular performers appointed on a temporary akali. Soon, Kalamandalam too ended and I was back to asked for a beedi from a ances. basis. For the past two dec- Gopi became the evergreen wandering. The life of ordin- young man passing by enjoy- ades, no regular appointments hero of the art. ary people in a Kerala village ing his smoke. He stared at me Your view on the present have been made for reasons On completion of his in the pre-Independence era angrily and walked away. The status of the art form. best known. When I was a stu- formal lessons from the Kerala was quite different from what next morning when I reported ■ The current atmosphere dent, I was trained by two Kalamandalam in 1957, under it is today. The next year I was for my class, I was embar- is more generous and mutu- gurus during the entire course thespians Padmanabhan Nair admitted at the Kerala Kala- rassed to know that the man ally complementing to both period. So the guru-sishya and Ramankutty Nair, Gopi mandalam . was none other than Kalaman- performers and rasikas. The bond was firm. Every lesson is was appointed as a teacher dalam Padmanabhan. young actors and accompany- still fresh in my mind, though there by poet laureate Val- How was life as a student ing musicians are talented and the gurus are no more. When lathol Narayana Menon, one at Kalamandalam? About the training dedicated. As far as the view- I began to teach, due to the in- of the founders of the Kerala ■ Poet Vallathol personally au- process. ers are concerned, it’s heart- crease in the number of stu- Kalamandalam. In 1992, Gopi ditioned the applicants and ■ The first three years of train- ening to see quite a few dents and teachers, a student retired from Kalamandalam as selected only after a make-up ing under Padmanabhan Nair youngsters in the audience. had to undergo training under Principal. Today, he is the test , but exempted me from asan laid the foundation, fol- Not all of them may be aware minimum three teachers and only living artiste who was ap- it. Kalamandalam was more lowed by three years of train- of the intricacies of the form by the time I retired in 1992, it pointed directly by Vallathol like a joint family with Val- ing under Ramankutty Nair. but the joy of watching is as was raised to eight teachers. and is the superstar of the art lathol as the patriarch. Train- The next year I was appointed important. form. The transformation of ing was strict, strenuous and as an instructor. A great turn- Your favourite role? Vadakke Manalath Govindan painful . None dared to ques- ing point at the beginning of Does the change in the ■ I don’t know (laughs)! As Nair, fondly called Kalaman- tion any kind of punishment my career was the formation training system augur well you know, mostly I am com- dalam Gopi, is a significant from the asans. When I be- of a troupe of minor artistes at for the art? missioned to do pacha (pious) chapter in the history of Kath- came a performer I under- the Kalamandalam. It gave the ■ I can only speak about Ker- characters. Since the age of 21, akali. The Kerala Kalaman- stood the significance of such young artistes necessary stage ala Kalamandalam, which I I have been invited to perform know well and not about as Nala in the four Nalachar- other institutions that teach itam plays. Other roles I have Kathakali. Though with time played are Karna To the brink and back changes have crept into the (Karnasapadam), Rugmangada method of training, I strongly (Rugmangadacharitam), Ar- Life has been a roller coaster ride feel the disciplined school sys- juna (Kalakeyavadham, for Kalamandalam Gopi, some mo- tem, with emphasis on im- Subhadraharanam, Santhan- ments reading like a movie script. proving language skills, was agopalam), Bheema (Kalyana- Born in a poor family, he could based on a holistic approach. sougandhigam), Dharmapu- not complete even his primary Kalamandalam today is a thrar (Kirmeeravadham) and schooling as he was asked to un- deemed university with space Roudrabheema (Duryod- dergo training in Ottanthullal, for formal education. But the hanavadham). I have also oc- which stopped in a year. stress should not move away casionally performed as During the early stages of his from physical training, which Krishna (Kuchelavritham); all artistic life, frustration compelled is the core. Enough time pacha types. Padmanabhan him to attempt suicide — timely in- should be allotted to practical Asan used to say that my tervention by his guru Kalaman- training, besides learning lan- Keechaka (Keechakavadham) dalam Padmanabhan Nair saved guages. Being a deemed uni- ‘kathi’ (villainous) type was him. There were attempts to initiate versity now, the decisions on impressive. I am still a student a police case against him by the these aspects should come longing for perfection. After then Kalamandalam administrator from the UGC and the syllabus each performance, I feel it for “suicide attempt” but the restructured in consultation should have been better. private practitioner to whom he ment, including crucial surgeries ted with his entire savings. For a with experienced masters of was brought, refused to report the for tumour in the stomach and couple of years a friend provided the art. What one imbibes Your favourite heroine? matter. broken disk in 1991; for a few temporary accommodation for the from the training comes ■ The one and only Kottakal He was the most inspiring per- months he was able to move family in one side of his old ances- across on the stage, that too Shivaraman. After his demise, former of the 1970s-80s, and per- around only with the support of a tral home. A determined Gopi never in totality. Hence stage it has been Margi Vijayakumar. former number one since 1990. walking stick, making him and his made a comeback with the support experience hardly com- Vijayakumar is not my dis- Thanks to some of his ardent fans, family totally shattered and his foes of his family and a few close friends. pensates for missing ingredi- ciple; he is like a younger his life was in danger several times; write him off. “Hospitalisation He was able to purchase a decent ents in training. Flexibility, ef- friend. He exudes exemplary their influence upset his family and taught me the importance of discip- house, which he named Gurukripa. fortlessness in showcasing feminine grace in his he even lost his best friends with line in life. It showed me who my He believes that the blessings of mudras and abhinaya in tune portrayals. whom he later reconciled. Alcohol true friends are. Better late than Lord Guruvayoorappan and his with the aesthetics, etc., are threatened to ruin his career and never,” he said. guru have protected him. His auto- achieved only through phys- (The writer is the author of he was served liquor mixed with At the age of 57, he became pen- biography, Ormayile Pachakal ical training, which cannot be Kathakali Dance-Theatre: A poison but escaped. niless and was forced to leave the (2008), is a candid recollection of compromised. The Kalaman- Visual Narrative of Sacred In- He underwent prolonged treat- dream house that he had construc- his artistic and personal life. dalam administrators should dian Mime) CCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCC

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Many of the forts built to protect the erstwhile state of Travancore showcase the might and vision of past rulers

Sharat Sunder Rajeev DDDDDDDDDDDDD mong the many fortifications strewn across the southern Apart of the erstwhile princely state of Travancore, a large part of it is today a part of Tamil Nadu. The South Travancore Lines, Vattakotta, Padmanabhapuram Kotta, Marunnu Kotta (ammunition fort), Shava Kotta (cremation fort) and so on are some of the well-known forts in Kan- yakumari district in Tamil Nadu. Amongst the various forts, the one at ‘Palpanaveram (Padman- abhapuram) and Oodagherry (Uday- agiri) are among the most remarkable,’ writes V Nagam Aiya in his Travancore State Manual . Udayagiri Fort, unlike the forts in Padman- abhapuram and Thiruvananthapuram, was not constructed around a settlement, but as a garrison and a protected place for the manufacture of arms and am- munitions. The old records indicate the existence of a mud fortification in Puliyoorkurichi (later known as Udayagiri), constructed during the reign of Vira Ravi Varma (1595 and 1607 AD), which was rebuilt with stone during the reign of Anizham Tirunal Marthanda Varma.

Defending the territory The early purpose of the fort, it seems, was to defend expansive paddy fields and scattered settle- ments against marauding enemy forces. The strategic location of the fort is further enhanced by the fact that the earliest known palace of the Venad royals, which predates Pad- manabhapuram, was located in Veerakeralaeswaram (also known as Vintage glory (Clockwise from top) A view of De Lannoy’s Tomb circa 1900. The photograph is part of the Padmanabhapuram Palace Museum collection; a Muttalakurichi), not far from view of the tombs inside the church in the thirties; façade of the old church inside the fort at Udayagiri, circa 1930 Udayagiri. The old fort at Puliyoorkurichi nals of Travancore history due to its has an outstanding place in the an- association with Eustachius Bene- dictus De Lannoy (1715-1777 AD), the Valiya Kappithan (great general). He <> was a Flemish naval commander who had a great role in modernising De Lannoy’s tryst with the forces of Travancore. De Lannoy’s tryst with Travan- Travancore starts with core starts with the battle of the battle of Colachel Colachel (1741) in which Travancore defeated the Dutch fleet. De Lannoy (1741) and his men were taken as prisoners of war. Later, De Lannoy entered the service of the Travancore ruler and without much delay, was raised to the rank of general-in-chief.

Military strategist An exceptional military strategist, De Lannoy possessed sound knowledge of fortifications and Marthanda Varma made him re- sponsible for the construction and repair of fortifications. SHARAT SUNDER RAJEEV

The reconstruction of the old * mud fort at Padmanabhapuram was carried out under the direction of Thiruvananthapuram. De Lannoy noy and his family and other foreign tures gradually fell into ruins. How- De Lannoy. and his family settled in Udayagiri Catholic soldiers. Arsenals and units ever, historic records mention that According to popular tradition, fort, which he thoroughly rebuilt us- manufacturing arms were also con- subsequent rulers took care of the the General worked hand in hand ing stone. The fortification enclosed structed on the expansive grounds fort by means of periodic mainten- with Valiya Ejaman, a native army an area of about 85 acres and was of the fort. The tombs of De Lannoy ance. Today, the fort is a tourist des- chief who supervised the many strategically placed with a fine view and his family can be seen inside the tination maintained by the Archae- workers and elephants employed to of the approach roads from top of church. From the 19th century on- ology and Forest Departments of pull the massive stone blocks used the hill. Out of its ten bastions, five wards, the altered political scenario Tamil Nadu. for the construction. Donadi, De were installed with cannons and the reduced the importance of old forti- Lannoy’s lieutenant, was involved in rest with muskets. A Roman Cath- fications. The author is a conservation architect and

ND-X the renovation of the fort in olic church was built for for De Lan- The old church and other struc- history buf CCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCC

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Hindi Belt Telling Voices Manto, once more! As we celebrate Saadat Hasan Manto’s 105th birth anniversary, it is time to revisit ‘Dastavez’ that introduced him to Hindi readers

Kuldeep Kumar ten by his contemporaries DDDDDDDDDDDDD like Ismat Chughtai, Upendra hat can be more ap- Nath Ashq, Ali Sardar Jafri propriate than this and Mehdi Ali Siddiqui but Wthat actor Nandita also of noted Hindi writers Das’s “Manto” made waves at such as Asghar Wajahat, Teasing memory the Cannes Film Festival in Janaki Prasad Sharma and Ra- the same month when lovers jkumar Sharma. Janaki of Saadat Hasan Manto’s writ- Prasad Sharma has edited as a prod ings were busy celebrating this special number that also his 105th birth anniversary on offers poetic tributes paid by Author Penelope Lively May 11? One cannot but recall noted Urdu poets Shaharyar that when he died in 1955, and Majeed Amjad, besides a wonders whether ﬁction is “Mirza Ghalib”, a Sohrab few Hindi poets. Modi film that Manto had It’s really bitter irony that a memory recollected in written and in which Bharat pro-people writer like Manto imagination Bhushan and Suraiya had Profound thoughts Saadat Hasan Manto enjoyed a rather strained re- played leading roles, was lationship with the Commun- Sudhamahi Regunathan drawing record audiences in or he?” Taking a cue from metaphor of the insane world ist-dominated Progressive DDDDDDDDDDDDD cinema halls in India. It’s a this epitaph, Devendra Sat- for him. Writers’ Movement. Although t is often said that every book has some autobi- measure of Manto’s greatness yarthi wrote an article to they admired his writings ini- ographical element. How much of it is fiction as a writer that with each commemorate Manto’s sixth Questioning Partition tially, progressive Urdu and how much true? year passing, his fame and death anniversary and con- His masterpiece ‘Toba Tek writers like Sajjad Zahir, Ali I Penelope Lively, the British author who writes fan following continue to jured up an imaginary con- Singh’, whose mad protagon- Sardar Jafri and Faiz Ahmed both for children and adults says memory does grow and now, 62 years after versation between God and ist Bishan Singh cannot figure ‘Faiz’ became wary of them inform her fiction. “Try polishing a memory. his death, he appears as a co- Manto. After God patron- out how a country could be by 1945 because they con- Place it in a context; what else do you know about lossus on the Urdu-Hindi lit- isingly speaks to Manto and divided into two overnight fused the stark portraits of that time or place or person?” And so she ex- erary scene of the sub-contin- forgives all his sins, this is and keeps asking other in- reality offered by Manto with claims,”I think memory is very important in old ent. what Manto says of Him: mates of the lunatic asylum, decadence and obscenity. In age for there is an awful lot of it by now!” Like Mirza Ghalib, Manto “What does He think of Him- is one of the most powerful 1945, at a Progressive Writers’ Lively says most of us are a combination of too had to face many per- self? He is trying to frighten short stories ever written on Association conference held what we were and what we are...with this state- sonal and literary attacks, me! He loaned me only forty- the Partition. in Hyderabad, Zahir, in fact, ment she reveals the layers in her book as she and like him, he too was two years, eight months and The late Balraj Menra, a proposed a resolution attack- says if two characters have known each other for acutely conscious of his seven days, but I have given highly regarded Urdu fiction ing Manto but he drew sup- long, they know each other as they are in the genius. Exactly five months centuries to Saugandhi.” writer, and television veteran port from unexpected quar- present as well have a ‘memory knowledge’ of the before he died, he himself Satyarthi hit the nail on its Sharad Dutt, an award win- ters. Maulana Hasrat Mohani other. “There is a curious sense of presence in the wrote his own epitaph: “In head as Saugandhi in ‘Hatak’ ning documentary maker as stoutly opposed the resolu- novel of the past as well. There is a great deal of the name of God, the Com- and so many of the other well as a celebrated writer of tion and it could not be adop- the past of the characters and the action, the nar- passionate, the Merciful. characters created by Manto- music director Anil Biswas’s ted. rative, however, resides in the present. And I Here lies Saadat Hasan Manto Bishan Singh (“Toba Tek biography, teamed up to in- Manto was very clear have always wanted to make that clear to sort of buried, and buried with him Singh”), Sultana (“Kali Shal- troduce Manto to the Hindi about his world view, literary play with that and use that.” lie all the secrets of the art of war”), Ishar Singh and Kul- world and edited his collec- style and artistic goal. “If you In order to be able to juxtapose a hidden past storytelling in his breast. want Kaur (“Thanda Gosht”), ted writings with critical cannot bear these stories, in the articulated present Lively says, “The opera- Weighed down by maunds of Bholu (“Nangi Awazen”), notes and introductions. then the society is unbear- tion of memory comes rather more into novels earth, he wonders still: Who Sirajuddin and Saqeena Titled “Dastavez”, this five- able. Who am I to remove the than short stories. A short story is a curious is the greater storyteller, God (“Khol Do”), to name only a volume edition was pub- clothes of this society which thing...it almost always has an immediate few have become nearly lished by Rajkamal Prakashan itself is naked,” he wrote in prompt: it arises from something seen, overheard immortal. in 1993 and was the first au- his defence. Even while he or you have heard somebody say...a narrative that Manto wrote about the thoritative edition of Manto’s was grappling with his men- will probably have less to do with memory...Fic- working class, prostitutes and writings in Hindi. This edition tal illness, Manto was presci- tion can be concerned with absolutely anything- other oppressed women be- played a very significant role ent enough to see the famed ...depends on the novelist. I am far from the only longing to lower classes, and in making the Hindi literary Allah-America-Army alliance novelist interested in memory and the use of others who lived on the mar- world familiar with the writ- emerging in Pakistan as is memory.” gins of society. He was pro- ings of the great Urdu writer. evident in the nine letters secuted on the charge of ob- Manto’s popularity today can that he wrote between 1951 Conflicting memories scenity four times in be gauged by the fact that a and 1954 to Uncle Sam. His But, just last week we saw memory could be false. undivided India and once in number of Hindi literary playfulness, biting sarcasm Lively counters that saying, “Evidence is ex- Pakistan where he had journals have brought out and political far-sightedness tremely interesting and conflicting. After all there moved after the Partition, a their special numbers on are in full display in these would be multiple evidences of the same event. tragedy he could never recon- Manto in the past five years. marvellous letters. Of course this is particularly true of historical cile with. His disappoint- Of them, the Manto number evidences. History is not so much memory as it is ments, wayward lifestyle and of “Udbhavana” merits a spe- The writer is a senior literary an examination of conflicting memories. This is alcoholism took him to lun- cial mention. It not only con- critic the same for fictional purposes in any scene. atic asylum, which became a tains articles on Manto writ- DDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDD There would be as many accounts of the scene as there were people present. I have tried to use this IN SHORTS idea, particularly in a novel (of mine) called ‘The Musafir Cafe including three relationships. These involved a Moon Tiger’, where in several places the same This is Divya Prakash’s third book after having true love, another was just flirting while the scene is shown through the eyes of different written bestsellers like “Masala Chai” and last involved a live in relationship. He now participant.” “Terms and Conditions Apply”. wants to have a perfect life. Lively does not mean history when she refers The writer describes the book as a collection This Westland-Hindi Yugm publication gives us to memory, “There is a huge difference, of of his dreams spread over several nights which a peep into the lives of people like Chander course, between history and fiction. History tries finally one day assumed a single form in the and Sudha who like millions others are trying to make sense of conflicting evidences and will al- shape of a story. to make their dreams come true while aiming ways suggest the bias of the historian as well. The All of us have a wish list which includes things for that elusive perfect life. novelist can make choices...a novelist can choose which we are desirous of and those which we Interestingly, the writer starts each chapter of which evidence to project and which not to. His- dream of. This list also includes small pleasure the book with an alphabet of Hindi. Like the torians have to present what is available but a first is “Ka Se Kahani” while the second is “Ba and joys of life too. Just like others Sudha the novelist very deliberately makes choices...cheats Se Beta Shaadi Kar Le” while the next is “Ae protagonist too has a list which she is trying in fact, after the novelist is making it all up!” Se Ek Din Ki Baat”. to fulfil slowly and steadily. On the other hand In effect can one say fiction is memory recol- Author: Divya Prakash Dubey there is Chander, a young man who who has lected in imagination? Little more conservative Price: ₹150 managed to fulfil all that he wished to than saying all memory is fiction in recollection. CCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCC

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TUBEWATCH Blast From The Past Zindagi Total Dreamer Carolina is shocked and Toote Khilone (1978) devastated on learning about Arthur’s vasectomy, and Ranjan Das Gupta confronts him DDDDDDDDDDDDD half. regarding the same. fter completing his The screenplay and dia- Arthur’s mother asks Agraduation with His- logues by Suraj Sanim render him to make it up to tory honours from St. the film unimpressive. While Carolina for hurting her sentiments. Will Arthur realise Stephen’s College, Ketan Ketan Anand tries his best, his mistake? Anand assisted his father the lacunae in the script * SATURDAY, 2 P.M. AND 9 P.M. Chetan Anand in directing keep coming in the way.He “Heer Ranjha”. He also as- lacks the sensitivity required sisted uncle, Vijay Anand in for such an emotional theme. Zindagi “Tere Mere Sapne” while Dev Cinematography by B. A Love Story Anand introduced him as an V.Ratra is noteworthy while Ceylan is heartbroken and actor in a cameo in “Hare editing by Yadav Rao is not cannot accept the fact Rama Hare Krishna”. bad either. that she might have to Chetan Anand never gave Shekhar Kapoor lacks the live without Korkut, the his elder son a break as a dir- histrionic perfection and love of her life. On the other hand, Gonul ector. Ketan moved on his does not impress as an actor. accepts an offer from an own to prove his worth in Shabana Azmi, Utpal Dutt, unknown person to save Tolga’s life. Is Gonul getting filmmaking. He did not pos- Urmila Bhatt perform with herself in trouble? sess the depth and technical conviction while Bharat Ka- * MONDAY, 1 P.M. AND 8 P.M. expertise of his more illustri- poor has little to add to the ous father or uncle yet, in his proceedings. Zee Cafe first film “Toote Khilone”. House Of Cards However, he did show flashes Songs to rescue The channel brings the of promise as a director. Lyrics by Kaifi Azmi tuned by world television premiere Karan (Master Ravi Vale- Shackled childhood Ketan Anand’s ilm “Toote Khilone” starring Bappi Lahiri save “Toote Khi- of House of Cards Season cha) the only son of rich Shekhar Kapur, Shabana Azmi and Master Ravi Valecha, deals lone” from breakdown. The 5 with a weekend Bhanu Pratap (Utpal Dutt) is with a sensitive subject; (below) music director Bappi Lahiri songs “Nanha Sa Panchi”, marathon. Crafting fake a lonely child. His father is “Mana Ho Tum Behat” and narratives and throwing more interested in his busi- Bhanu Pratap brings home a his manager (Bharat Kapur). “Kya Jane Yeh Duniya” away long-time allies are ness, earning money and so- set of new toys and throws The story takes a different rendered by Kishore Kumar, all part of the game for the Underwoods. Their thirst for cial status. Karan receives away the old ones. It hurts turn when Karan bids good- Yesudas, Amit Kumar and Su- power is unquenchable. After the roaring success of the motherly affection from his young Karan who is emotion- bye to his father and spends lakshana Pandit still haunt. first four seasons, in Season 5, the homemade terror will nanny (Urmila Bhatt) whom ally attached to them. Bhanu a right in a compound which With a better screenplay, take over the world. he addresses as Ma. Pratap sees Karan only as an turns out to be a hub of cot- “Toote Khilone” could have * SATURDAY, 5 P.M. ONWARDS Karan is hurt the day extension of himself and his ton trading activity. On sheer been a memorable film. ambitions. impulse, Karan involves him- Karan grows up (Shekhar self in trading and earns Sony BBC Earth Kapur) to become a sensitive, ₹50,000. Life In The Air handsome young man who is He comes across Shobha “Life in The Air” lets afraid of his autocratic father. (Shabana Azmi) a reserved you witness the experience of ‘flying’ He applies for the merchant lady working in a typing through animals that navy while his father using pool. When Shobha puts up hunt, travel, sleep, live his influence prevents him a fight to save herself from and die in the air. From from pursuing his ambition her licentious boss, he cats to kangaroos, and expects him to marry his throws her out of his car. squirrels to spiders, rich friend Jain’s daughter. Rescued by Karan, they de- frogs to fish, and birds velop an emotional bonding. to bats, unearth the exceptional, never-seen-before Coming of age Based on Erich Segal’s secrets behind the flying techniques of animals and birds. Karan finally gathers courage “Tale Of Tiger”, the story * SATURDAY, 9 P.M. ONWARDS to break free from the carries on with many twists shackles of his father. A new and turns. The climax how- drama is thus created in- ever goes weird while the volving Karan’s father and film loses grip in the second Quick Five Out of the shadow

ATIF KHAN (Sen Sharma) since my teens ate in singing and dancing at other hand, plays in a wider DDDDDDDDDDDDD and always wanted to work school and community level arena which gives space for fter starting his acting with her and I enjoyed each and used to think of myself as creativity with a specific time Acareer with popular TV and every moment of shoot- a star which led me to act. I line. serials including ing. It had a shoe string was spotted by a casting dir- Tell us about your debut “Qubool Hai” and “Balika budget but the best talent ector for a Star TV serial film “Lootera” Vadhu”, Vikrant Massey is from the industry which which never went on air. Atul Mongia asked me for a making his presence felt in makes it a unique film. It Most of my learning screen test for Vikramaditya films like “Dil Dhadakne Do” talks of mental health which I happened on TV sets only. Motwane’s film and I was so and the recent “Half Girl- think is a neglected topic in Your experience of excited as I am a big fan of friend”. Happy to be part of our country and I am happy working in “Balika Vadhu” “Udaan” which is a cult film smaller films with big content through this film we have and how different is work- for our generation and later I like “A Death In The Gunj” managed to shed light on this ing in films? even signed the film without and “Lipstick Under My major issue. My character Colors came up with “Ba- even knowing the script of Burkha”, he feels great work- Shuttu in the film taught me a lika Vadhu” to send a mes- the film. During the shoot, I On a learning curve Vikrant Massey ing with women directors. In lot of things including giving sage across the country about realised that working with a chat, he talks about TV respect to each person and the menace of child marriage him is a learning process as over prepare. I still carry that and tours which is enriching shows, his debut film and never bully anyone as Shuttu and I was very fortunate to be he always gives space for an lesson as it made my acting as you work with big stars what’s keeping him busy. is bullied in the film. a part of it for so long. actor to grow with the char- smooth and natural. and travel around. Smaller Excerpts: After a long career in TV is a day-to-day medium acter. I still remember when I Your experience of films, on the other hand, give How was the experience dancing when did you de- and has time and budget con- was stuck with a scene. After working in small and big character artists their space working in “A Death In The cide to become an actor? straints. It works under the about fifteen retakes and feel- films to explore the characters and

ND-X Gunj”? I was one of those 90s kids parameters of delivery than ing broken, he took me to a Working in a bigger film people get to know about I am a big fan of Konkona who always used to particip- creativity. Cinema, on the corner and told me not to comes with a lot of exposure them through these films.