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15558
|
yago
|
2
| 6
|
https://www.timeout.com/movies/dance-of-the-wind
|
en
|
Dance of the Wind
|
https://www.timeout.com/static/images/favicon.ico
|
https://www.timeout.com/static/images/favicon.ico
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2012-05-23T02:37:19+01:00
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Though visually arresting and making beautiful use of classical Indian music, this film by British-based Rajan Khosa never opts for a picture postcard view of l
|
en
|
/static/images/favicon.ico
|
Time Out Worldwide
|
https://www.timeout.com/movies/dance-of-the-wind
|
Enter email address
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15558
|
yago
|
2
| 50
|
https://knowwhy.wordpress.com/2017/04/26/practice-of-metronome/
|
en
|
Practice of Metronome
|
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2017-04-26T00:00:00
|
The image at the header of this post is an illustration of a large female figure and a small girl figure, face to face with each other. Disclaimer :Metronome , by definition(1) is a mechanical or electrical instrument that makes repeated clicking sounds at an adjustable pace,used for marking rhythm, especially in practicing music. While practicing indian classical…
|
en
|
https://s1.wp.com/i/favicon.ico
|
knowwhy
|
https://knowwhy.wordpress.com/2017/04/26/practice-of-metronome/
|
The image at the header of this post is an illustration of a large female figure and a small girl figure, face to face with each other.
Disclaimer :Metronome , by definition(1) is a mechanical or electrical instrument that makes repeated clicking sounds at an adjustable pace,used for marking rhythm, especially in practicing music. While practicing indian classical music, one uses a device called electronic Tanpura or a Shruti-box which produces a drone-like background, similar to that of an actual instrument, Tanpura. A smart phone can also have an application called Tanpura Droid, a digital replacement for the electronic version. One can change the scale,pace, volume and notes according to the preference. The sound of Tanpura is very powerful and forms a ‘canvas’, as my teacher Anjali Malkar puts it, for what comes later, your musical expression. But if one is to look at it as a sound, it is monotonous and repetitive in nature. There is a similar device for practicing rhythm (lay and taal) simulating the supportive role of tabla during practice. Metronomic devices such as these are considered the most essential for practice (riyaz) and well as performance. The role of these devices is to provide a background of a particular sound that helps the singer stay in pitch and maintain rhythm. The metronome of beats, by offering a form of continous rhythm adds the dimension of time, within the composition. In this series of arguments, I look at the idea of metronome,as a metaphor for repetition, tradition and convention.
In Practice of Metronome I examine the method of using and teaching metronome and argue that the method, in spite of being instructive gives rise to innovation in an improvisational* framework of practice of hindustani classical music. I argue this with the intention of concluding that the repetition has a role to play in learning of an art form through the examples from practice. During this process I build on some of the ideas of intuition, understanding and learning from classics that came up during the discussion forum, reading circle and classroom discussions with my peer and students.
The tuning of the instrument that assists the singing is considered very crucial. The tabla artist gently hammer the sides of the tabla to stretch the leather surface which will in turn result in a particular pitch and tone when drummed with fingers. This is done to match the pitch of the tabla with the pitch of the singer and the Taanpura ( the tonal drone). The musicians spend considerable amount of time tuning the instrument. One can watch demonstration of Taanpura tuning by Shri. Ajay Chakravarty and Tabla Tuning by Sandeep Banerjee. The videos demonstrate a very intricate process that needs listening and engagement of the entire body. The similar engagement of mind and body continues into the performance.
The videos also demonstrate the instructive nature of this process. The student is not given the instrument until one observes the teacher tuning the instrument. The student then slowly takes over the task as and when one feels ready for it. The meaning of instruction according to the dictionary (2) is – Instruction is vital for education, as it is the transfer of learning from one person to another. Any time you are given directions or told how to do something you are receiving instruction.
The noun instruction is related to the word structure; both share the Latin root structus, “built.” The use of the word as we know it today appeared in the early 15th century from the Old French. Today it refers to the action of teaching and the job of a teacher. It can also be used to denote the directions themselves. Consider the word’s connection with structure: effective instruction is presented in an orderly, structured manner.
In case of learning practice of hindustani classical music, the idea of instruction goes closer to the word’s latin origin, ‘built’, which in turn is closer to the idea of structure or construction. It is interesting that instruction shares a root with the idea of construction because much of instructive learning in case of hindustani classical music is supposed to give rise to constructive knowledge. I will try to elaborate upon the irony in this fact by looking at both the words from the pedagogical lens.
According to modern cognitive theories, learner does not construct knowledge by absorbing information transmitted by external sources such as teacher or textbook. The learner constructs experiences or participates in an experience to construct knowledge for himself/herself(3). In case of classical music, the learner repeats after the teacher not only in initial stages but also at higher stages of learning. The teacher transmits the information (and knowledge) to the student. In case of learning music, this transmission although has a dimension of musical experience. Watch the initial part of this clip from the film, ‘Dance of the Wind’ by Rajan Khosa here. Although it is a sensory experience, the learning of the craft of this experience is as repetitive as chanting of the religeous texts.
The act of repetition after instruction, as my colleague Riya Banik (4) pointed out, is actually an act of creating understanding of an understanding. She says, “A metronome is not mindless, it is a very conscious effort to embody your learnings, be one with it to create the foundation of learning hence it is not copying without understanding, it is very much creating the understanding while you absorb the process.” She also refers to Gregory Bateson’s ‘learning to learn’ theory which describes repetition in learning as levels that describe orders of recursion, a hierarchy of logical types not a hierarchy of contents (Keeney 1983; Woodsmall [no date]). As orders of recursion, the levels are like nested loops or Russian dolls.(5) Riya elaborates further saying, “He says the idea of`learning to learn’ is a more sophisticated form of learning, orders of recursion can only be `generative’.
I extend this argument in context of recognising patterns in the transmission and trying to repeat them in order to understand them, much like a child who is learning to write words by recognising phonetics in them. I support my view by rephrasing Christopher Alexander’s argument about Pattern language. He says that one of the timeless ways of learning is by recognising patterns. In case of a music that I am taking about, these patterns are ‘shown’ by the teacher to a student and student repeats them, to understand them. That understanding is assumed to give rise to student’s own recognition of patterns.
The concept of laya is completely subjective and the pace of laya can change into Vilambit (slow), Madhya (moderate) and Drut (fast) during the performance, each having its own purpose in the unfolding of raga. The matras (beats) divide the rhythm at timely intervals that can change according to the composition.
(image curtesy: http://chandrakantha.com/tala_taal/jhoomra/jhumra.html)
The aspect that is considered subjective from the western lens, is actually an adaptation of pace of things in the Universe. The connection of self,(pulse and beat of the body) to this pace and to the life of it is what is demonstrated in a performance. The subjectivity contributes to the improvisational nature of the music.
The nature of this music is such that it thrives on improvisation over a framework. The improvisation happens in real time in front of the audience unlike in the western classical music, where the entire music is written down and performed. It could be this nature of the music that requires an extensive internalsiation of patterns only to be built upon later. There is a sense of immidiecy to this method of learning. There is not much time between the teacher’s singing and the student’s imitation when the session is going on. If I may borrow from Francisco Varela where his proposition of understanding ( and knowledge ) as something residing in the relationship between body and mind and not only a storage of reasonings in the brain cells (6). I think the involvement of the body in teaching and understanding the concept makes a difference to the otherwise linear perception of instruction making it ‘three dimensional’ even at its reception.
My colleague Riya asks me what if the repetition becomes a harmful drill? yes, there is a possibility that the ritualistic repetition can make someone leave learning music during the initial period even if one has an inclination for the art form. The encouragement at such moments become crucial for someone to cross that bridge between repetition and enjoyment. Benjamin Zander, a musician in his TED talk (7)calls the aspect of enjoyment, one buttock playing in context of Piano. He talks about understanding impulse inherent in the music and recognising it while playing the piano. He is essentially talking about the role of feeling in making and learning of art and its indispensibility in the scheme of things. The aspect of feeling is again, something that happens in the entire body.
I henceforth tend to conclude that the practice of repetition and imitation in ‘metronome’ is a design to ‘tune’ the body and mind of a learner by nurturing skill, that grows alongside one’s practice, in fact its inseparable from the practice. The ‘skill’ will hold the ‘thought’ , is an undercurrent of this traditional learning system.
~
(1) https://www.vocabulary.com/dictionary/metronome
(2)https://www.vocabulary.com/dictionary/instruction
(3)Johar, Anat, Two Possible Pedagogies for Teaching Higher Order Thinking: Transmission of Information Versus Knowledge Construction, Higher Order Thinking in Science Classrooms: Students’ Learning and Teachers’ Professional Development,Volume 22 of the series Science & Technology Education Library pp 121-137
(4)Riya Banik is an educator, my colleague and co-learner in the MA class
(5)https://epubs.surrey.ac.uk/1198/1/fulltext.pdf
(6)Francisco J. Varela, Ethical Know-How: Action, Wisdom, and Cognition (Writing Science) Paperback – June 1, 1999
(7)https://www.ted.com/talks/benjamin_zander_on_music_and_passion
|
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15558
|
yago
|
2
| 46
|
https://issuu.com/towerlmu/docs/the_tower_yearbook_2020
|
en
|
2020 LMU Yearbook
|
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[] |
[] |
[
""
] | null |
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2020-11-12T00:00:00+00:00
|
Read 2020 LMU Yearbook by The Tower yearbook (LMU) on Issuu and browse thousands of other publications on our platform. Start here!
|
en
|
/favicon.ico
|
Issuu
|
https://issuu.com/towerlmu/docs/the_tower_yearbook_2020
|
Welcome to Issuu’s blog: home to product news, tips, resources, interviews (and more) related to content marketing and publishing.
Here you'll find an answer to your question.
|
||||
15558
|
yago
|
2
| 11
|
https://en.wikipedia.org/wiki/Rajan_Khosa
|
en
|
Rajan Khosa
|
https://en.wikipedia.org/static/favicon/wikipedia.ico
|
https://en.wikipedia.org/static/favicon/wikipedia.ico
|
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[
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] | null |
[
"Contributors to Wikimedia projects"
] |
2008-02-24T17:17:37+00:00
|
en
|
/static/apple-touch/wikipedia.png
|
https://en.wikipedia.org/wiki/Rajan_Khosa
|
Indian writer-director-producer
Rajan Khosa is an Indian writer-director-producer who has worked between the UK, Europe and India for much of his career.
He is best known for his directorial venture Gattu, which won at Berlin Film Festival. It won a Screen Award in India and 20 other international awards. Rajan came into the limelight with his debut feature film Dance of the Wind (1997),[1] which was a co-production between six countries, the very first of its kind in India, and was sold worldwide. It premiered at Venice and won awards at Rotterdam, Chicago, London, and Nantes, to name a few. In 2015-17, Rajan was creative director on animation project Selfie With Bajrangi a 104 episode series now on Amazon.
In 2014–16, he developed a large scale feature film with Disney-UTV. Rajan has been a recipient of the Huber Bals Award in Rotterdam & Montecinemaverite Award in Locarno. His half-hour Indian diploma Bodh-Vriksha (Wisdom Tree), which released in 1987, garnered him a National Award and three Oberhausen Awards. Along with being a voting member of BAFTA Awards, he's also an alumnus of the Royal College of Arts London, FTII Pune, and NID Ahmedabad. Rajan is founder of Elephant Eye Productions that not only makes feature films but also produces spatial experiences with story, multiple projections and holography.
Biography
[edit]
Rajan Khosa started his professional education at Film and Television Institute of India (FTII), Pune, and Royal College of Art (RCA) London and also spend a few years at National Institute of Design, Ahmedabad.[2][3]
Filmography
[edit]
Gattu (2012)
Dance of the Wind (1997)
Bodh-Vriksha (Wisdom Tree) (1987)
Selfie With Bajrangi (series) (2015-2017)
Awards
[edit]
1985: National Film Award for Best Short Fiction Film: Wisdom Tree[4]
1997: London Film Festival: Audience Award: Dance of the Wind.
1997: Festival of Three Continents: Audience Award: Dance of the Wind.
1998: Chicago International Film Festival: Gold Plaque, Best Music: Dance of the Wind (1997)
1998: International Film Festival Rotterdam: Netpac Award: Dance of the Wind (1997)[5]
2012: 62nd Berlin International Film Festival- Special Mention - Best Film: Grand Prix of the Deutsches Kinderhilfswerk: Gattu [6]
2012: Asia Pacific Screen Awards: Nomination for Best Children's film: Gattu
2012: Colors Screen Award: Best Child Artist: Gattu
2012: Los Angeles International Film Festival: Audience Award for Best Feature: Gattu
2012: Tel Aviv International Children's Film Festival - Israel: Citation of Excellence Award: Gattu
2012: Castellinaria Film Festival - Switzerland: Bronze Castle Award: Gattu
2012: Castellinaria Film Festival - Switzerland: Pemio ASPI Award: Gattu
2012: Seoul International Youth Film Festival - South Korea: Audience Award: Gattu
2012: New York Indian Film Festival: Best Feature Film: Gattu
2012: New York Indian Film Festival: Best Young Actor: Gattu
2013: 42nd Roshd Int.Film Festival - Tehran-Iran: Diploma of Honor: Gattu
2013: China International Children's Film Festival: Best Performance by a Child Actor: Gattu
References
[edit]
Official website
Rajan Khosa at IMDb
Further reading
[edit]
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15558
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yago
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2
| 85
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https://www.eyeforfilm.co.uk/festivals/berlin/2012/biff-2012-generation
|
en
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Eye for Film: Berlin International Film Festival 2012
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https://www.eyeforfilm.co.uk/images/favicon.ico
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https://www.eyeforfilm.co.uk/images/favicon.ico
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/images/favicon.ico
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59th New York Film Festival early bird highlights Futura, Jane By Charlotte, James Baldwin: From Another Place and The Velvet Underground
More news and features
Eye For Film continues to support festivals both locally and across the world. At the moment, we're covering:
FrightFest
Edinburgh International Film Festival
The world's longest continuously running film festival
Locarno Film Festival
Fantasia International Film Festival
Karlovy Vary International Film Festival
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15558
|
yago
|
0
| 73
|
https://www.academia.edu/35836593/THE_ENDS_OF_THE_POEM_THE_ENDS_OF_CINEMA_RETHINKING_POETIC_CINEMA_A_PANEL_DEDICATED_TO_THE_MEMORY_OF_ABBAS_KIAROSTAMI_
|
en
|
THE ENDS OF THE POEM/THE ENDS OF CINEMA: RETHINKING POETIC CINEMA (A PANEL DEDICATED TO THE MEMORY OF ABBAS KIAROSTAMI)
|
http://a.academia-assets.com/images/open-graph-icons/fb-paper.gif
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[
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[
"Maziyar Faridi",
"clemson.academia.edu"
] |
2018-02-04T00:00:00
|
In the total darkness, poetry is still there, and it is there for you. Abbas Kiarostami (1940-2016) The work of mourning involves an interiorization of the one who has passed away, a turning of the dead to an appropriated image. Derrida thus reminds
|
https://www.academia.edu/35836593/THE_ENDS_OF_THE_POEM_THE_ENDS_OF_CINEMA_RETHINKING_POETIC_CINEMA_A_PANEL_DEDICATED_TO_THE_MEMORY_OF_ABBAS_KIAROSTAMI_
|
In the total darkness, poetry is still there, and it is there for you. Abbas Kiarostami (1940-2016) The work of mourning involves an interiorization of the one who has passed away, a turning of the dead to an appropriated image. Derrida thus reminds us of the ethics of an impossible mourning in which the dead remains within and at the same time beyond us. The gaze of the dead addresses us from within but remains unappropriated. In 2016, world cinema lost Abbas Kiarostami (1940-2016), one of its most influential auteurs—a filmmaker who has been credited as one of the poets of cinema in the twentieth century, along with Ozu, Rossellini, and Tarkovsky. With the impossible mourning and unassimilable gaze of Kiarostami in mind, this panel invites contributions that reflect on his rich cinematic legacy and, more broadly, on the relation between cinema and poetry. What is the border, if any, between the so-called poetry and prose cinema? What are the limits and potentials of thinking cinema through linguistic terms? Whither poetic cinema in the 21st century? Interested participants are invited to share their thoughts along the following lines: • The Ends of the Poem / The Ends of Cinema • Rethinking Pasolini’s “Cinema of Poetry” • Poetic Gaze/Cinematic Gaze • Intersemiotic Translation between Poetry and Cinema • Impossible Mourning between Poetry and Cinema • Poetic Critiques of Sovereignty and the Question of Cinematic Life (and Nothing More) • Poetic Indeterminacy and Cinema • Rhythm and Poetic Temporality in Cinema • Experimental Cinema and Poetic Techniques • Poetry and the New Wave Cinemas across the World • Modernist Poetry and Cinema • Digital Technology and Poetic Cinema • Kiarostami’s Legacy in Iran and Beyond While contributions in dialogue with Kiarostami’s cinema are encouraged, works invoking other filmmakers and poets are welcome as well.
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15558
|
yago
|
0
| 24
|
https://theinkbrain.wordpress.com/tag/dance-of-the-wind/
|
en
|
Dance of the Wind
|
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Posts about Dance of the Wind written by theinkbrain
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https://s1.wp.com/i/favicon.ico
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theinkbrain
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https://theinkbrain.wordpress.com/tag/dance-of-the-wind/
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These are the only two clips I could find from this currently unobtainable DVD. The story is about a daughter who is the student of her musician mother – and the story of how a musical tradition comes to be transmitted.
These are the notes which accompanied the Youtube clips:
A few excerpts from ‘Dance of the wind’ (1997), a film by Rajan Khosa.
Karuna Devi, mother of the female singer Pallavi, is at the end of her life. Karuna has been a great and celebrated singer, while her daughter Pallavi -though already succesfull- is still at the beginning of her career. When Karuna dies, Pallavi -played by the famous Indian actress Kitu Gidwani- feels she has not completed her mother’s training and still lacks a voice of her own, a voice she can maybe find by learning from the guru of her mother, an old man her mother never talked about and who might be still alive. The death of her mother deeply traumatizes Pallavi, so much that she literally loses her voice and is unable to sing for a long time. When she finally finds the guru of her mother – through a very young streetgirl who learns from him and sings marvellously – Pallavi regains her voice and from here she’ll be able to continue her career and tradition with a voice of her own.
Noted Hindustani classical singer, Shubha Mudgal composed the music, while playback was given by ‘Shweta Jhaveri’, Shanti Hirannand, and Brinda Roy Choudhuri. Other noted artists, who worked on soundtrack were, Sarangi performer, Ustad Sultan Khan, and noted flautist, Ronu Majumdar, and the film went on to win the ‘Gold Plaque for Music’ at the 1998 Chicago International Film Festival
The beautiful soundrack of the film is by Shubha Mudgal (composer here, but also a renowned raga singer). Shweta Jhaveri sings the music of Pallavi.
These are some classical compositions in Raga Bhairavi performed by one of my very favourite Hindustani Classical singers Shweta Javeri.
Dance of the Wind
https://theinkbrain.wordpress.com/wp-content/uploads/2012/01/2-02-dance-of-the-wind-1.mp3
Niranjani Narayani – In praise of the Goddess
https://theinkbrain.wordpress.com/wp-content/uploads/2012/01/05-niranjani-narayani_bhairavi.mp3
Devotional song (Bhajan) #1
https://theinkbrain.wordpress.com/wp-content/uploads/2012/01/04-bhajan-bhairavi.mp3
Devotional song #2
https://theinkbrain.wordpress.com/wp-content/uploads/2012/01/05-bhajan-bhairavi-2.mp3
Bhairavi is a female Raga. This is the Hindustani version of Bhairavi. The Bhairavi of the Carnatic (South Indian) system is a different raga.
Solfage in the Indian system is as follows.
Sa, Re, Ga, Ma, Pa Dha, Ni Sa.
My compendium of ragas which claims to provide the Western note equivalent for Bhairavi Raga gives the scale as
C , D flat, E flat, F, G, A flat, B flat, (or A# which on a keyboard are represented by the same note) C
However, I noticed that the harmonium player in the clip provided to demonstrate Bhairavi Raga does not begin his scale on a natural note.
This of course does nothing to clear up the general confusion which appears as soon as the Indian system is described in terms of the Western.
Sot is better, in my view, to just think of the notes by name, and to recognise their groupings in terms of their intervals and ‘groupings’ in the ‘Pakad’.
But this is how Bhairavi is described in the Hindustani system.
Thaat – meaning something equivalent to genus) – Bhairavi
This is the sofage scale of the Hindustani Bhairavi.
As was determined earlier, the sounds of the notes themselves vary, though their names do not!
Aaroh (ascending scale) Sa Re Ga Ma Pa Dha Ni Sa
Avroh (descending scale) Sa Ni Dha Pa Ma Ga Re Sa
Pakad (or Pakar, the “signature phrase” of the raga) Ni Re Ga Ma Pa Ma Ga Re Sa
Vaadi: Ma
Samvaadi: Sa
But elsewhere the vadi is given as Ga and the samvadi as Ni.
I can think of no explanation for this…..
There are also some other variations of Pakad as follows.
The commas separate the recognisable groupings of notes which appear in these variations.
g S r S, ‘n S g m P d P, g m r S
g m P d P, g m r S, ‘d ‘n S, S r g r S
Bhairavi is considered a complete (Sampoorna) raga because it uses all seven notes in both ascending (Aroh) and descending (Avroh) scales.
It is a symmetrical raga, because its ascending scale descends in the same order.
Indian music is modal and microtonal. It uses 22 microtones within the octave, and it has uncountable ragas or modes arranged under the ten major categories or ‘thaats’.
The notes in a raga might or might not always be fixed. In what may be a terribly confusing system to western listeners, the solfage or sargam (sargam is a contraction of sa ri ga ma) may be retained while the ‘key’* is changed.
The resulting raga might then be referred to by its original name, or assume another identity! In other words, a raga might retain its identity while changing its manner of expression! So in the end, it is the characteristics of the Pakad (cognitive phrase) and swara sanchar (familiar note sequences) which make a raga recognisable.
As if it couldn’t get worse, some expressions of musical virtuosity (tirobhav/ahirbhav) use ‘camouflage’ to carry the raga into a series of variations,
before bringing in shades of other ragas, before taking it back ‘home’.
Properly speaking, the western system of fixed-note tuning does not permit microtones – since in a piano for instance, a C sharp and a D flat will make the same sound, whereas in the Indian system they will have different frequencies, therefore though raga swaras (notes) are ascribed western music equivalents, they might be tonally different.
Bhairavi is technically an early morning raga but it is usually played at the end of long evening/night recitals. It is intended to exalt and soothe and uplift the soul, but it can also be sad.
Ragas are believed to possess mood-inducing musical potency, and are said to have the power of ability and generating emotions and emotional archetypes. This is of course not an objective phenomenon, but one that is experienced within its cultural context. In the case of Bhairavi, it is the image of a woman who, filled with longing, awaits the arrival of her lover. So the feelings of devotion, separation and nostalgia can also be added to the list of evocations.
*
I use the word ‘key’ loosely here, because Indian music does not recognise key changes, and it does not have key signatures. Sargam/solfage alone is the equivalent of ‘key’.
One possible explanation of Bhairavi raga.
A more extensive demonstration in the form of a devotional song…
As in Medieval music, harmony did not have a place in Indian music, but that is beginning to change, and with it the purity of the form – however Western ears might find this fusion to their liking…..
The word Alaap refers to the open unbroken sound (with no meter or rhythmic accompaniment) used to express the ‘mood’ of a raga. It usually comes at the very beginning of a musical performance, as an explication of what is to follow.
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https://nettv4u.com/celebrity/hindi/director/rajan-khosa
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Bollywood Director Rajan Khosa Biography, News, Photos, Videos
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Rajan Khosa is a writer, director, and a producer by profession who works in the Indian film industry. He has also worked in the films of UK and Eu..
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en
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https://nettv4u.com/uploads/img/favicon.ico
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nettv4u
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https://nettv4u.com/celebrity/hindi/director/rajan-khosa
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Rajan Khosa is a writer, director, and a producer by profession who works in the Indian film industry. He has also worked in the films of UK and Europe. He completed his professional studies from “Film and Television Institute of India (FTII) which is situated in Pune, and he also did a course from Royal College of Art (RCA) which is in London. After that, he studied for few tears in the National Institute of Design which is in Ahmedabad, India. His most successful films were Dance of the Wind and Gattu . In his film “Dance of the Wind” in which Kittu Gidwani played the lead role. Its producer was Karl Baumgartner. This film made him won a large number of National and International awards. It released in 25 different countries of the world and received major success everywhere.
His next most successful film “Gattu” was an Indian film that was made under the production of Children’s Film Society, India. Its writer was K. D. Satyam. The lead roles of the film were played by Naresh Kumar , Jayanta Das , Mohammad Samad , Sarvasva Singh Pundir, Zoya Arshad, and Harshit Kaushik. It released into the Indian theatres on 20 April 2012 but premiered at the International Children’s Festival on children’s day that is 14 November 2011. It showed the story of an orphan boy named Gattu who is nine years of age and works in garbage recycling business run by his uncle. The film was a big blockbuster hit of the box office. It was a major success for his career as a film director.
He received a large number of prestigious awards during his lifetime. In 1985, he got the “National Film Award for Best Short Fiction Film” for his film titled Wisdom Tree. In 1997, he won the audience award at London Film Festival and Festival of Three Continents for his film Dance of the Wind. Then in 1998, he was honored with Gold Plaque award at the Chicago International Film Festival in the category of Best Music and Netpac award at the International Film Festival Rotterdam for the same film. For his film Gattu, he received many awards such as Colors Screen Award, audience award at Los Angeles International Film Festival, New York Indian Film Festival award, Bronze Castle Award and Pemio ASPI Award at Castellinaria Film Festival – Switzerland, audience award at Seoul International Youth Film Festival – South Korea, and many more.
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https://knowwhy.wordpress.com/2017/04/26/practice-of-metronome/
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en
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Practice of Metronome
|
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2017-04-26T00:00:00
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The image at the header of this post is an illustration of a large female figure and a small girl figure, face to face with each other. Disclaimer :Metronome , by definition(1) is a mechanical or electrical instrument that makes repeated clicking sounds at an adjustable pace,used for marking rhythm, especially in practicing music. While practicing indian classical…
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en
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https://s1.wp.com/i/favicon.ico
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knowwhy
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https://knowwhy.wordpress.com/2017/04/26/practice-of-metronome/
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The image at the header of this post is an illustration of a large female figure and a small girl figure, face to face with each other.
Disclaimer :Metronome , by definition(1) is a mechanical or electrical instrument that makes repeated clicking sounds at an adjustable pace,used for marking rhythm, especially in practicing music. While practicing indian classical music, one uses a device called electronic Tanpura or a Shruti-box which produces a drone-like background, similar to that of an actual instrument, Tanpura. A smart phone can also have an application called Tanpura Droid, a digital replacement for the electronic version. One can change the scale,pace, volume and notes according to the preference. The sound of Tanpura is very powerful and forms a ‘canvas’, as my teacher Anjali Malkar puts it, for what comes later, your musical expression. But if one is to look at it as a sound, it is monotonous and repetitive in nature. There is a similar device for practicing rhythm (lay and taal) simulating the supportive role of tabla during practice. Metronomic devices such as these are considered the most essential for practice (riyaz) and well as performance. The role of these devices is to provide a background of a particular sound that helps the singer stay in pitch and maintain rhythm. The metronome of beats, by offering a form of continous rhythm adds the dimension of time, within the composition. In this series of arguments, I look at the idea of metronome,as a metaphor for repetition, tradition and convention.
In Practice of Metronome I examine the method of using and teaching metronome and argue that the method, in spite of being instructive gives rise to innovation in an improvisational* framework of practice of hindustani classical music. I argue this with the intention of concluding that the repetition has a role to play in learning of an art form through the examples from practice. During this process I build on some of the ideas of intuition, understanding and learning from classics that came up during the discussion forum, reading circle and classroom discussions with my peer and students.
The tuning of the instrument that assists the singing is considered very crucial. The tabla artist gently hammer the sides of the tabla to stretch the leather surface which will in turn result in a particular pitch and tone when drummed with fingers. This is done to match the pitch of the tabla with the pitch of the singer and the Taanpura ( the tonal drone). The musicians spend considerable amount of time tuning the instrument. One can watch demonstration of Taanpura tuning by Shri. Ajay Chakravarty and Tabla Tuning by Sandeep Banerjee. The videos demonstrate a very intricate process that needs listening and engagement of the entire body. The similar engagement of mind and body continues into the performance.
The videos also demonstrate the instructive nature of this process. The student is not given the instrument until one observes the teacher tuning the instrument. The student then slowly takes over the task as and when one feels ready for it. The meaning of instruction according to the dictionary (2) is – Instruction is vital for education, as it is the transfer of learning from one person to another. Any time you are given directions or told how to do something you are receiving instruction.
The noun instruction is related to the word structure; both share the Latin root structus, “built.” The use of the word as we know it today appeared in the early 15th century from the Old French. Today it refers to the action of teaching and the job of a teacher. It can also be used to denote the directions themselves. Consider the word’s connection with structure: effective instruction is presented in an orderly, structured manner.
In case of learning practice of hindustani classical music, the idea of instruction goes closer to the word’s latin origin, ‘built’, which in turn is closer to the idea of structure or construction. It is interesting that instruction shares a root with the idea of construction because much of instructive learning in case of hindustani classical music is supposed to give rise to constructive knowledge. I will try to elaborate upon the irony in this fact by looking at both the words from the pedagogical lens.
According to modern cognitive theories, learner does not construct knowledge by absorbing information transmitted by external sources such as teacher or textbook. The learner constructs experiences or participates in an experience to construct knowledge for himself/herself(3). In case of classical music, the learner repeats after the teacher not only in initial stages but also at higher stages of learning. The teacher transmits the information (and knowledge) to the student. In case of learning music, this transmission although has a dimension of musical experience. Watch the initial part of this clip from the film, ‘Dance of the Wind’ by Rajan Khosa here. Although it is a sensory experience, the learning of the craft of this experience is as repetitive as chanting of the religeous texts.
The act of repetition after instruction, as my colleague Riya Banik (4) pointed out, is actually an act of creating understanding of an understanding. She says, “A metronome is not mindless, it is a very conscious effort to embody your learnings, be one with it to create the foundation of learning hence it is not copying without understanding, it is very much creating the understanding while you absorb the process.” She also refers to Gregory Bateson’s ‘learning to learn’ theory which describes repetition in learning as levels that describe orders of recursion, a hierarchy of logical types not a hierarchy of contents (Keeney 1983; Woodsmall [no date]). As orders of recursion, the levels are like nested loops or Russian dolls.(5) Riya elaborates further saying, “He says the idea of`learning to learn’ is a more sophisticated form of learning, orders of recursion can only be `generative’.
I extend this argument in context of recognising patterns in the transmission and trying to repeat them in order to understand them, much like a child who is learning to write words by recognising phonetics in them. I support my view by rephrasing Christopher Alexander’s argument about Pattern language. He says that one of the timeless ways of learning is by recognising patterns. In case of a music that I am taking about, these patterns are ‘shown’ by the teacher to a student and student repeats them, to understand them. That understanding is assumed to give rise to student’s own recognition of patterns.
The concept of laya is completely subjective and the pace of laya can change into Vilambit (slow), Madhya (moderate) and Drut (fast) during the performance, each having its own purpose in the unfolding of raga. The matras (beats) divide the rhythm at timely intervals that can change according to the composition.
(image curtesy: http://chandrakantha.com/tala_taal/jhoomra/jhumra.html)
The aspect that is considered subjective from the western lens, is actually an adaptation of pace of things in the Universe. The connection of self,(pulse and beat of the body) to this pace and to the life of it is what is demonstrated in a performance. The subjectivity contributes to the improvisational nature of the music.
The nature of this music is such that it thrives on improvisation over a framework. The improvisation happens in real time in front of the audience unlike in the western classical music, where the entire music is written down and performed. It could be this nature of the music that requires an extensive internalsiation of patterns only to be built upon later. There is a sense of immidiecy to this method of learning. There is not much time between the teacher’s singing and the student’s imitation when the session is going on. If I may borrow from Francisco Varela where his proposition of understanding ( and knowledge ) as something residing in the relationship between body and mind and not only a storage of reasonings in the brain cells (6). I think the involvement of the body in teaching and understanding the concept makes a difference to the otherwise linear perception of instruction making it ‘three dimensional’ even at its reception.
My colleague Riya asks me what if the repetition becomes a harmful drill? yes, there is a possibility that the ritualistic repetition can make someone leave learning music during the initial period even if one has an inclination for the art form. The encouragement at such moments become crucial for someone to cross that bridge between repetition and enjoyment. Benjamin Zander, a musician in his TED talk (7)calls the aspect of enjoyment, one buttock playing in context of Piano. He talks about understanding impulse inherent in the music and recognising it while playing the piano. He is essentially talking about the role of feeling in making and learning of art and its indispensibility in the scheme of things. The aspect of feeling is again, something that happens in the entire body.
I henceforth tend to conclude that the practice of repetition and imitation in ‘metronome’ is a design to ‘tune’ the body and mind of a learner by nurturing skill, that grows alongside one’s practice, in fact its inseparable from the practice. The ‘skill’ will hold the ‘thought’ , is an undercurrent of this traditional learning system.
~
(1) https://www.vocabulary.com/dictionary/metronome
(2)https://www.vocabulary.com/dictionary/instruction
(3)Johar, Anat, Two Possible Pedagogies for Teaching Higher Order Thinking: Transmission of Information Versus Knowledge Construction, Higher Order Thinking in Science Classrooms: Students’ Learning and Teachers’ Professional Development,Volume 22 of the series Science & Technology Education Library pp 121-137
(4)Riya Banik is an educator, my colleague and co-learner in the MA class
(5)https://epubs.surrey.ac.uk/1198/1/fulltext.pdf
(6)Francisco J. Varela, Ethical Know-How: Action, Wisdom, and Cognition (Writing Science) Paperback – June 1, 1999
(7)https://www.ted.com/talks/benjamin_zander_on_music_and_passion
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https://www.rediff.com/movies/report/in-india-street-kids-are-sometimes-the-happiest-people/20120720.htm
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en
|
'In India, street kids are sometimes the happiest people'
|
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"Roorkee",
"Gattu",
"Mohammad Samad",
"north India",
"Ankur Tewari",
"Rajan Khosa",
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] | null |
[
"Aseem Chhabra"
] |
2012-07-20T14:05:07+05:30
|
Rajan Khosa and Ankur Tewari tell us about what went into making the children's film, Gattu.
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en
|
Rediff
|
https://www.rediff.com/movies/report/in-india-street-kids-are-sometimes-the-happiest-people/20120720.htm
|
This year's Berlin International Film Festival featured only two Indian films. The first was Don 2, because Shah Rukh Khan has a huge following in Germany.
The other film, Gattu, was shown in the Generation section -- catered mostly for families with young and teenage children.
Directed by Rajan Khosa (Dance of the Wind, 1977) and co-written with Ankur Tewari (director, writer and musician in a Mumbai-based band called Ankur the Ghalat Family), Gattu is a heartwarming tale of a nine-year-old orphan who lives to fly kites.
Gattu, played by Mohammad Samad, makes an elaborate plan to enter a school so he can fly kites from its roof.
The film was a tremendous success at Berlinale, playing to a couple of thousand schools kids and adults in some of Berlin's largest theatres. It opens in theatres this Friday.
Khosa and Tewari tell Aseem Chhabra about what went into making a children's film.
Why a children's film?
Rajan Khosa: We weren't really making a children's film. It so happens that the protagonist is nine. We were making a film for everyone, a family film. And we know that kids come with parents. So, we wanted the film to appeal to all ages.
Why set it in Roorkee, Uttarakhand?
RK: Ankur grew up there.
So, you were familiar with the kite flying tradition there?
Ankur Tewari: The kite flying tradition is all over north India. I have flown so many kites in my childhood. When Rajan came to me with the premise, we talked about keeping the film within budget. I suggested we set it in Roorkee, since I know the city very well. And with my family (his father is a professor at the Indian Institute of Technology there) being there, one could also get logistical support. It is a small place where one knows everyone.
How was the kite flying element added to the story?
RK: Initially, the story was written by a writer who didn't have access to education. He had dreams that one day he would be able to attend the school. His name is Satyam. Nandita Das (who heads the Children's Film Society in India, the producer of the film) brought the story to me. That was the core story, but not a screenplay. Ankur and I brought in the kite flying, gave it a purpose, structure.
What I like about the film is that while there is a message about education, it is not preachy...
AT: That was very important when we were discussing the project in the initial phases of writing. Rajan and I talked about what the school would be like... I always used to say that I went to school not for education, but to meet friends and have a good time.
Rajan shared similar views.
So, we knew from the very beginning that we weren't making a film saying you should get education. But it should happen when the character doesn't realise.
RK: We had a fourth writer Dilip Shukla, who wrote Dabangg.
AT: Rajan was very clear that the flavour Dilip brought in should have an earthy element, not the cheap dialogues, which is common in mainstream Bollywood films that lack a good story. Dilip also wrote the dialogues for Andaz Apna Apna, Damini, Ghayal and Mohra.
One of things I was concerned about while watching the film with the German kids was how in India adults sometime hit children or punish them by pulling their ears, or say kind of abusive things. This is not done in the West.
RK: I was concerned about that, too. The other day one kid asked, 'Why were they holding their ears?'
AT: I was concerned; I didn't want to project India in a certain way. Like today there was a question about why there is poverty in India. And the thing is that here everything is measured in terms of money. But if you go to India, you will see that the street kids are sometimes the happiest people.
Yes, and I noticed that your response was they may be poor, but they are rich in their dreams. So, how did you go about casting the film? Are there any professional actors?
RK: Ninety percent are locals who had never acted before.
AT: My mom is in the film. She plays the Hindi teacher. She's been teaching Hindi for 29 years. The whole idea was if we are making a film in Roorkee then we should make it a family affair and use all the resources.
RK: And the school we shot is where Samad studies and those are all his friends. The locals kept saying to us, 'Hamare ghar main shoot kar lo (Shoot in our homes).'
How did you cast Mohammad as Gattu?
RK: We visited most of the schools in Roorkee and auditioned many kids. It was a two-month process.
What were you looking for in Gattu's character?
RK: When we started the process, Gattu was supposed to be a very reticent, seething character. But when I went in search of the actor, I found this kid -- he was mischievous, a brat. He would fly kites, and he reminded me of my childhood. He was so smart.
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https://iffr.com/en/iffr/1998/films/dance-of-the-wind
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en
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Dance of the Wind
|
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2024-05-31T13:17:41+00:00
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Poetic, beautifully filmed and very accessible drama about a singer of classical Hindu music who loses her voice and finds herself in a personal crisi
|
en
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IFFR EN
|
https://iffr.com/en/iffr/1998/films/dance-of-the-wind
|
Pallavi, a successful singer of classical Hindi music, watches with great concern as her ageing mother and teacher approaches the end of her life. This Karuna Devi was a legendary and – as is clear in a wonderful scene – a much better singer than her daughter. Before her mother dies, her death is announced by the appearance of an old man and a small poor girl. Then Pallavi loses her voice. Her career gets bogged down and she loses her students. Pallavi becomes increasingly confused and at last even her understanding husband can’t get through to her. In despair Pallavi goes in search of the little girl who announced her mother’s death. When she finds her, she also meets her mother’s guru, Munir Baba. Through the girl, Tara, who unlike Pallavi does have a natural talent for singing, Pallavi will get her voice back.îDance of the Wind is a beautiful combination of Western and Indian cinema. Despite the subject matter that is unknown to many Europeans, Khosa’s drama is very accessible. The quest for her own voice, also a metaphor for the position of the director, is beautifully designed; the film makes the best possible use of the exotic setting.
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https://www.tiktok.com/%40vkrecordingstudio/video/7358157383576685830
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Make Your Day
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http://film-directory.britishcouncil.org/dance-of-the-wind
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en
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British Council Film: Dance of the Wind
|
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Set in contemporary New Delhi, Dance of the Wind follows a young singer, Pallavi Sehgel, whose succe
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Synopsis
Set in contemporary New Delhi, Dance of the Wind follows a young singer, Pallavi Sehgel, whose successful professional life comes to a sudden halt at the death of the woman and musician who was both her mother and teacher. She loses her voice and with that her career, students, and finally, it seems, her husband. At first it appears that she is simply grief-stricken. But her silence persists. The efforts of those closest to her to discover the reason fail.
The answer lies in her own desire for the pure music she once heard as a child, in the veiled past of her mother's death and in the laws of the sacred tradition itself... A strange old mendicant appears at the hour of her mother's death, accompanied by a young girl, Tara, who sings with a voice of angelic beauty. Pallavi is haunted by the child's voice, but she proves to be as elusive as she is entrancing. The only acknowledgement she offers Pallavi is to disappear into the shadows from whence she came.
And the old man, is he her mother's teacher, who renounced the world for mysterious reasons many years ago? Or is he just another wandering madman? If he is truly 'Baba', of whom her mother rarely spoke, then perhaps he also holds the key to her voice.
With perseverance, however, and with help of the young girl, Pallavi comes to learn that the old man communicates his knowledge in dreams and visions.
Pallavi's downfall sees everything she holds dear stripped away. While her husband, a usurping pupil and a ferocious critic all have a part to play in her journey through silence and near madness in the nightmare of a market place, Pallavi somehow finds the strength to reconstruct herself as a link in the ancient chain.
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https://muntpunt.be/bibliotheek/en/catalog/rajan-khosa/dance-wind/dvd/library-marc-vlacc_8026995
|
en
|
Dance of the wind
|
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By Rajan Khosa
|
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|
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https://bibliotheek.be/bibliotheek/en/catalog/rajan-khosa/dance-wind/dvd/library-marc-vlacc_8026995
|
Rajan Khosa is an Indian writer-director-producer who has worked between the UK, Europe and India for much of his career.
He is best known for his directorial venture Gattu, which won at Berlin Film Festival. It won a Screen Award in India and 20 other international awards. Rajan came into the limelight with his debut feature film Dance of the Wind (1997), which was a co-production between six countries, the very first of its kind in India, and was sold worldwide. It premiered at Venice and won awards at Rotterdam, Chicago, London, and Nantes, to name a few. In 2015-17, Rajan was creative director on animation project Selfie With Bajrangi a 104 episode series now on Amazon.
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| 45
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https://timesofindia.indiatimes.com/entertainment/events/cinema-on-a-platter/articleshow/2749145.cms
|
en
|
Cinema on a platter
|
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[] |
[] |
[
"Entertainment News",
"Entertainment Latest News",
"News",
"Times Of India",
"Latest news"
] | null |
[
"TNN"
] |
2008-02-02T00:00:00+05:30
|
The NFDC started a theatre festival with Rajan Khosa's 'Dance of the Wind'.
|
en
|
The Times of India
|
https://timesofindia.indiatimes.com/entertainment/events/cinema-on-a-platter/articleshow/2749145.cms
|
Disha Patani raises the glam bar in a brown sheer corset gown
Lifestyle
From Border to Shershaah: Bollywood movies to watch on Independence Day on OTT
Entertainment
|
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https://theinkbrain.wordpress.com/2012/01/12/raga-bhairav-a-mode-and-a-mood-in-hindustani-music/
|
en
|
Raga Bhairavi: A Mode and a Mood in Hindustani Music.
|
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] |
[] |
[
""
] | null |
[] |
2012-01-12T00:00:00
|
These are the only two clips I could find from this currently unobtainable DVD. The story is about a daughter who is the student of her musician mother - and the story of how a musical tradition comes to be transmitted. These are the notes which accompanied the Youtube clips: A few excerpts from 'Dance…
|
en
|
https://s1.wp.com/i/favicon.ico
|
theinkbrain
|
https://theinkbrain.wordpress.com/2012/01/12/raga-bhairav-a-mode-and-a-mood-in-hindustani-music/
|
These are the only two clips I could find from this currently unobtainable DVD. The story is about a daughter who is the student of her musician mother – and the story of how a musical tradition comes to be transmitted.
These are the notes which accompanied the Youtube clips:
A few excerpts from ‘Dance of the wind’ (1997), a film by Rajan Khosa.
Karuna Devi, mother of the female singer Pallavi, is at the end of her life. Karuna has been a great and celebrated singer, while her daughter Pallavi -though already succesfull- is still at the beginning of her career. When Karuna dies, Pallavi -played by the famous Indian actress Kitu Gidwani- feels she has not completed her mother’s training and still lacks a voice of her own, a voice she can maybe find by learning from the guru of her mother, an old man her mother never talked about and who might be still alive. The death of her mother deeply traumatizes Pallavi, so much that she literally loses her voice and is unable to sing for a long time. When she finally finds the guru of her mother – through a very young streetgirl who learns from him and sings marvellously – Pallavi regains her voice and from here she’ll be able to continue her career and tradition with a voice of her own.
Noted Hindustani classical singer, Shubha Mudgal composed the music, while playback was given by ‘Shweta Jhaveri’, Shanti Hirannand, and Brinda Roy Choudhuri. Other noted artists, who worked on soundtrack were, Sarangi performer, Ustad Sultan Khan, and noted flautist, Ronu Majumdar, and the film went on to win the ‘Gold Plaque for Music’ at the 1998 Chicago International Film Festival
The beautiful soundrack of the film is by Shubha Mudgal (composer here, but also a renowned raga singer). Shweta Jhaveri sings the music of Pallavi.
These are some classical compositions in Raga Bhairavi performed by one of my very favourite Hindustani Classical singers Shweta Javeri.
Dance of the Wind
https://theinkbrain.wordpress.com/wp-content/uploads/2012/01/2-02-dance-of-the-wind-1.mp3
Niranjani Narayani – In praise of the Goddess
https://theinkbrain.wordpress.com/wp-content/uploads/2012/01/05-niranjani-narayani_bhairavi.mp3
Devotional song (Bhajan) #1
https://theinkbrain.wordpress.com/wp-content/uploads/2012/01/04-bhajan-bhairavi.mp3
Devotional song #2
https://theinkbrain.wordpress.com/wp-content/uploads/2012/01/05-bhajan-bhairavi-2.mp3
Bhairavi is a female Raga. This is the Hindustani version of Bhairavi. The Bhairavi of the Carnatic (South Indian) system is a different raga.
Solfage in the Indian system is as follows.
Sa, Re, Ga, Ma, Pa Dha, Ni Sa.
My compendium of ragas which claims to provide the Western note equivalent for Bhairavi Raga gives the scale as
C , D flat, E flat, F, G, A flat, B flat, (or A# which on a keyboard are represented by the same note) C
However, I noticed that the harmonium player in the clip provided to demonstrate Bhairavi Raga does not begin his scale on a natural note.
This of course does nothing to clear up the general confusion which appears as soon as the Indian system is described in terms of the Western.
Sot is better, in my view, to just think of the notes by name, and to recognise their groupings in terms of their intervals and ‘groupings’ in the ‘Pakad’.
But this is how Bhairavi is described in the Hindustani system.
Thaat – meaning something equivalent to genus) – Bhairavi
This is the sofage scale of the Hindustani Bhairavi.
As was determined earlier, the sounds of the notes themselves vary, though their names do not!
Aaroh (ascending scale) Sa Re Ga Ma Pa Dha Ni Sa
Avroh (descending scale) Sa Ni Dha Pa Ma Ga Re Sa
Pakad (or Pakar, the “signature phrase” of the raga) Ni Re Ga Ma Pa Ma Ga Re Sa
Vaadi: Ma
Samvaadi: Sa
But elsewhere the vadi is given as Ga and the samvadi as Ni.
I can think of no explanation for this…..
There are also some other variations of Pakad as follows.
The commas separate the recognisable groupings of notes which appear in these variations.
g S r S, ‘n S g m P d P, g m r S
g m P d P, g m r S, ‘d ‘n S, S r g r S
Bhairavi is considered a complete (Sampoorna) raga because it uses all seven notes in both ascending (Aroh) and descending (Avroh) scales.
It is a symmetrical raga, because its ascending scale descends in the same order.
Indian music is modal and microtonal. It uses 22 microtones within the octave, and it has uncountable ragas or modes arranged under the ten major categories or ‘thaats’.
The notes in a raga might or might not always be fixed. In what may be a terribly confusing system to western listeners, the solfage or sargam (sargam is a contraction of sa ri ga ma) may be retained while the ‘key’* is changed.
The resulting raga might then be referred to by its original name, or assume another identity! In other words, a raga might retain its identity while changing its manner of expression! So in the end, it is the characteristics of the Pakad (cognitive phrase) and swara sanchar (familiar note sequences) which make a raga recognisable.
As if it couldn’t get worse, some expressions of musical virtuosity (tirobhav/ahirbhav) use ‘camouflage’ to carry the raga into a series of variations,
before bringing in shades of other ragas, before taking it back ‘home’.
Properly speaking, the western system of fixed-note tuning does not permit microtones – since in a piano for instance, a C sharp and a D flat will make the same sound, whereas in the Indian system they will have different frequencies, therefore though raga swaras (notes) are ascribed western music equivalents, they might be tonally different.
Bhairavi is technically an early morning raga but it is usually played at the end of long evening/night recitals. It is intended to exalt and soothe and uplift the soul, but it can also be sad.
Ragas are believed to possess mood-inducing musical potency, and are said to have the power of ability and generating emotions and emotional archetypes. This is of course not an objective phenomenon, but one that is experienced within its cultural context. In the case of Bhairavi, it is the image of a woman who, filled with longing, awaits the arrival of her lover. So the feelings of devotion, separation and nostalgia can also be added to the list of evocations.
*
I use the word ‘key’ loosely here, because Indian music does not recognise key changes, and it does not have key signatures. Sargam/solfage alone is the equivalent of ‘key’.
One possible explanation of Bhairavi raga.
A more extensive demonstration in the form of a devotional song…
As in Medieval music, harmony did not have a place in Indian music, but that is beginning to change, and with it the purity of the form – however Western ears might find this fusion to their liking…..
|
||||
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|
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2
| 66
|
https://www.ranker.com/list/famous-royal-college-of-art-alumni-and-students/reference%3Fpage%3D4
|
en
|
Famous Royal College Of Art Alumni
|
https://imgix.ranker.com/list_img_v2/9515/889515/original/famous-royal-college-of-art-alumni-and-students-u3
|
https://imgix.ranker.com/list_img_v2/9515/889515/original/famous-royal-college-of-art-alumni-and-students-u3
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[] |
[] |
[
""
] | null |
[
"Reference"
] |
2013-07-02T00:00:00
|
List of famous alumni from Royal College of Art, with photos when available. Prominent graduates from Royal College of Art include celebrities, politicians, ...
|
en
|
/img/icons/touch-icon-iphone.png
|
Ranker
|
https://www.ranker.com/list/famous-royal-college-of-art-alumni-and-students/reference
|
Alan Rickman, an accomplished British actor and director, was born on February 21, 1946, in London, England. Born into a working-class family, Rickman's love for drama sparked during his school years, leading him to attend the prestigious Royal Academy of Dramatic Art (RADA). His performance in Les Liaisons Dangereuses earned him a Tony Award nomination, launching his career into the stratosphere. However, he is most recognized for his iconic roles in film, particularly that of Professor Severus Snape in the globally acclaimed Harry Potter series. Rickman's acting prowess extended beyond the magical realms of Hogwarts. He showcased his versatility by playing an array of diverse characters. In Die Hard, he played the villainous Hans Gruber, setting a benchmark for Hollywood villains. His portrayal of Colonel Brandon in Sense and Sensibility showcased his ability to embody the romantic hero, while his role in Love Actually further solidified his status as a beloved figure in British cinema. His unique voice, coupled with his nuanced performances, earned him a place among the most respected actors of his generation. Away from the camera, Rickman was also known for his directing endeavors. His directorial debut, The Winter Guest, received critical acclaim and paved the way for future projects. As an active patron of the arts, he supported numerous charities and served on the board of the Royal Academy of Dramatic Art, nurturing the next generation of talent. Alan Rickman's enduring legacy continues to inspire and influence artists worldwide, proving he was more than just a man behind the characters; he was a true embodiment of the arts.
David Hockney, (born 9 July 1937) is an English painter, draftsman, printmaker, stage designer, and photographer. As an important contributor to the pop art movement of the 1960s, he is considered one of the most influential British artists of the 20th century.Hockney has owned a home and studio in Bridlington and London, and two residences in California, where he has lived on and off since 1964: one in the Hollywood Hills, one in Malibu, and an office and archives on Santa Monica Boulevard in West Hollywood, California.On 15 November 2018, Hockney's 1972 work Portrait of an Artist (Pool with Two Figures) sold at Christie's auction house in New York City for $90 million (£70 million), becoming the most expensive work by a living artist sold at auction. This broke the previous record, set by the 2013 sale of Jeff Koons' Balloon Dog (Orange) for $58.4 million. Hockney held this record until 15 May 2019, Jeff Koons reclaimed the honour when his Rabbit sold for more than $91 million dollars at Christie's in New York.
|
||
15558
|
yago
|
0
| 3
|
https://en.wikipedia.org/wiki/Rajan_Khosa
|
en
|
Rajan Khosa
|
https://en.wikipedia.org/static/favicon/wikipedia.ico
|
https://en.wikipedia.org/static/favicon/wikipedia.ico
|
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[] |
[
""
] | null |
[
"Contributors to Wikimedia projects"
] |
2008-02-24T17:17:37+00:00
|
en
|
/static/apple-touch/wikipedia.png
|
https://en.wikipedia.org/wiki/Rajan_Khosa
|
Indian writer-director-producer
Rajan Khosa is an Indian writer-director-producer who has worked between the UK, Europe and India for much of his career.
He is best known for his directorial venture Gattu, which won at Berlin Film Festival. It won a Screen Award in India and 20 other international awards. Rajan came into the limelight with his debut feature film Dance of the Wind (1997),[1] which was a co-production between six countries, the very first of its kind in India, and was sold worldwide. It premiered at Venice and won awards at Rotterdam, Chicago, London, and Nantes, to name a few. In 2015-17, Rajan was creative director on animation project Selfie With Bajrangi a 104 episode series now on Amazon.
In 2014–16, he developed a large scale feature film with Disney-UTV. Rajan has been a recipient of the Huber Bals Award in Rotterdam & Montecinemaverite Award in Locarno. His half-hour Indian diploma Bodh-Vriksha (Wisdom Tree), which released in 1987, garnered him a National Award and three Oberhausen Awards. Along with being a voting member of BAFTA Awards, he's also an alumnus of the Royal College of Arts London, FTII Pune, and NID Ahmedabad. Rajan is founder of Elephant Eye Productions that not only makes feature films but also produces spatial experiences with story, multiple projections and holography.
Biography
[edit]
Rajan Khosa started his professional education at Film and Television Institute of India (FTII), Pune, and Royal College of Art (RCA) London and also spend a few years at National Institute of Design, Ahmedabad.[2][3]
Filmography
[edit]
Gattu (2012)
Dance of the Wind (1997)
Bodh-Vriksha (Wisdom Tree) (1987)
Selfie With Bajrangi (series) (2015-2017)
Awards
[edit]
1985: National Film Award for Best Short Fiction Film: Wisdom Tree[4]
1997: London Film Festival: Audience Award: Dance of the Wind.
1997: Festival of Three Continents: Audience Award: Dance of the Wind.
1998: Chicago International Film Festival: Gold Plaque, Best Music: Dance of the Wind (1997)
1998: International Film Festival Rotterdam: Netpac Award: Dance of the Wind (1997)[5]
2012: 62nd Berlin International Film Festival- Special Mention - Best Film: Grand Prix of the Deutsches Kinderhilfswerk: Gattu [6]
2012: Asia Pacific Screen Awards: Nomination for Best Children's film: Gattu
2012: Colors Screen Award: Best Child Artist: Gattu
2012: Los Angeles International Film Festival: Audience Award for Best Feature: Gattu
2012: Tel Aviv International Children's Film Festival - Israel: Citation of Excellence Award: Gattu
2012: Castellinaria Film Festival - Switzerland: Bronze Castle Award: Gattu
2012: Castellinaria Film Festival - Switzerland: Pemio ASPI Award: Gattu
2012: Seoul International Youth Film Festival - South Korea: Audience Award: Gattu
2012: New York Indian Film Festival: Best Feature Film: Gattu
2012: New York Indian Film Festival: Best Young Actor: Gattu
2013: 42nd Roshd Int.Film Festival - Tehran-Iran: Diploma of Honor: Gattu
2013: China International Children's Film Festival: Best Performance by a Child Actor: Gattu
References
[edit]
Official website
Rajan Khosa at IMDb
Further reading
[edit]
|
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|
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| 8
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https://twitter.com/rajankhosa%3Flang%3Den
|
en
|
x.com
|
[] |
[] |
[] |
[
""
] | null |
[] | null |
X (formerly Twitter)
| null | ||||||||
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|
https://livingtotellatale.wordpress.com/2020/04/22/with-padmashri-shanti-hiranands-going-india-loses-its-last-link-to-begum-akhtar/
|
en
|
With Padmashri Shanti Hiranand’s going, India loses its last link to Begum Akhtar
|
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] | null |
[
"Arijit Bose"
] |
2020-04-22T00:00:00
|
Carrying forward the legacy of Begum Akhtar, Shanti Hiranand's passing brings an end to the Begum Akhtar era.
|
en
|
Living Tales
|
https://livingtotellatale.wordpress.com/2020/04/22/with-padmashri-shanti-hiranands-going-india-loses-its-last-link-to-begum-akhtar/
|
It is not for nothing that Akhtari Bai Faizabadi and Padmashri Shanti Hiranand shared a very cordial bond throughout their respective lives. Akhtaribai Faizabadi was born in 1914 in Gulaab Baari in Faizabad to a courtesan named Mushtari Bai. She made Hiranand her “gandaband shagird.”
A story goes that Shanti and Begum Akhtar were in Pakistan. When they reached the neighbouring nation for a show, the immigration officials started acting pricy. Spotting a Hindu and Muslim name, the inquisitiveness peaked, but Akhtar immediately intervened and said that she is my daughter. She also said that. “This is very common in our country. Must be unusual for you people.”
In the city of Lucknow, Sadatganj is home to the tomb of Akhtar, one of India’s most iconic artists who mesmerized the world with her mellifluous voice. A place which had virtually turned into a jungle with petty localites either abusing drugs, indulging in sex or urinating and defacating. Moved by the plight of the place, it was Akhtari Bai Faizabadi aka Begum Akhtar’s most trusted disciple who was as good as a daughter Shanti Hiranand who once again with help restored the place in loving memory of the classical doyen. Interestingly the restoration work by the Sanatkada trust, saw equal participation by Hiranand and others with exquisite pietra dura work on both graves.
Protected by a brick boundary wall, now the place is marked by a signboard that clearly spells out the significance of the place. This with a small mention of the people behind the restoration.
Hiranand each year had been part of a number of classical thespians paying rich tribute to the legend on her birth anniversary on 7 October.
Moving to Lahore, Hiranand had continued her training in Lahore. Post partition she was back in India and trained under Ustad Aijaz Hussain Khan and, later, with great Begum Akhtar in 1957 under whom she learnt thumri, dadra and ghazal. She gave her first performance in All India Radio in 1947.
Life for Hiranand completely changed after she came in contact with Begum Akhtar. As the only two pupils who were accepted by the legend, it was interestingly Begum Akhtar who had once remarked at a concert that after her death, her musical legacy will be best carried foward by Shanti Hiranand.
Known to have very effectively picked up the gayaki style of her guru, Shanti picked up the basics and then improvised in a disciplined manner. Most importantly she created her own unique signature, steering clear of imitation in strict averment of her guru. Henceforth ensuring individuality, imagination and a gamut of emotions which brought something fresh to the table.
Shanti Hiranand was so much in awe of her teacher that she would call Begum Akhtar her Ammi. Starting early in life, she took music very seriously. Unlike the business roots in the family, she was pushed to hone her craft as a singer, which she took very seriously. She trained at the city’s Marris College of Music (now the Bhatkande Music Institute Deemed Univesity).
Not just a dedicated artist, but Shanti Hiranand devoted equal time to training up youngsters, passing on the precious legacy to deserving students. She was a regular at New Delhi’s Triveni Kala Sangam. A Begum Akhtar disciple unlike any other for over two decades, she devoted her life to her “Ammi” singing range of thumris, bhajans and dadras, with ghazal.
Anjali Banerjee is the other disciple, but she didn’t take up music professionally. Hiranand has also authored a biography of her guru, Begum Akhtar: The Story of My Ammi. In 2010, her first ever album, Jo Aaj Tak Na Keh Saki, was released containing ghazals. One of the ghazals, ‘Tumhara Aqs Hoon’, describes her feelings for her Ammi. Not a great one for film songs, she recorded a song for the Indo-American co-production Siddhartha (1972), directed by Conrad Rooks. In addition to singing for the film, Shanti Hiranand played the role of Kapoor’s mother in Siddhartha. She also sang for Rajan Khosa’s Swara Mandal or Dance Of The Wind (1997).
Padmashri Shanti Hiranand died in Gurugram at the age of 87 on April 10. With her passing away, the world has lost its last link to the Begum Akhtar legacy. She will always be remembered as the true inheritor of Begum Akhtar’s gayaki (singing style).
|
|||||
15558
|
yago
|
2
| 27
|
https://www.imdb.com/title/tt0118924/
|
en
|
Tanz des Windes (1997)
|
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1998-10-01T00:00:00
|
Tanz des Windes: Directed by Rajan Khosa. With Ami Arora, Roshan Bano, Kitu Gidwani, Bhaveen Gosain. A classical Indian singer (Kitu Gidwani) loses her voice but regains it after copying a child's intonation.
|
en
|
IMDb
|
https://www.imdb.com/title/tt0118924/
|
Meditative film set in Delhi. A singer trained by her mother is forced by her mother's death to consider her place in a tradition of music-making. For the most part it seems to explore the idea of this tradition with subtlety. Beautifully shot and acts as a sort of homage to the music which fills the soundtrack.
|
|||||
15558
|
yago
|
0
| 86
|
https://en-academic.com/dic.nsf/enwiki/11609258
|
en
|
Dance India Dance
|
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The promotional logo image of Dance India Dance Format Reality, dance Created by UTV Software Co
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en
|
https://en-academic.com/favicon.ico
|
Academic Dictionaries and Encyclopedias
|
https://en-academic.com/dic.nsf/enwiki/11609258
|
The promotional logo image of Dance India Dance Format Reality, dance Created by UTV Software Communications Opening theme Dance India Dance title song composed by Adil Prashant Country of origin India Production Running time 90 min (approximately) Broadcast Original channel Zee TV Picture format 480i and 720i (SDTV) Original run January 30, 2009 ( ) – April 23, 2010 (2010-04-23) External links Website
LUX Dance India Dance is a reality dance show that airs on the Indian satellite television channel Zee TV. The show has been produced by UTV Software Communications and has become India's largest dance-based reality show. The show is choreographed by some of the most popular Indian choreographers, such as Terence Lewis, Remo D'Souza and Geeta Kapoor. Bollywood actor Mithun Chakraborty is the grandmaster of the show. The show's title track was composed by Adil and Prashant and the title was inspired by Kannada film Dance Raja Dance. The show airs every Friday and Saturday. The winner of the first season was Salman Khan (Mohammed Y. K. Ghouse) from Bangalore, representing Remo's team; the winner for the second season was Shakti Mohan from Mumbai, representing Terence's team.
Contents
1 Concept
2 Auditions
2.1 Offline Auditions
2.2 Online Auditions
3 Seasons
3.1 Finalists
3.2 Season 1
3.3 Season 2
3.4 Season 3
4 Dance India Dance Li'l Masters
5 Dance India Dance Doubles
6 See also
7 References
8 External links
Concept
The show gathers raw talent aged 15 to 25 from all over India. Once chosen, the contestants are trained by professional Bollywood choreographers. Thereafter the participants compete against each other. Some of the dance forms that are taught to the contestants are ballet, acrobatics, shadow dancing, mid-air dancing, Broadway theatre, contemporary, Bollywood, Latin, ballroom, and hip-hop. The Grand Finale of the first season was on Saturday, May 30, 2009.
So far, there have been several series of Dance India Dance:
Dance India Dance (season 1) - solo contestants
Dance India Dance (season 2) - solo contestants
Dance India Dance Li'l Masters - for young dancers
Dance India Dance Doubles - for paired dancers
Dance Ke Superstars - contestants from season 1 competing against contestants from season 2
Auditions
The contestants get a chance to perform before the talented panel of judges composed of Master Terrence Lewis, Master Remo d'souza and Master Geeta Kapur. The mega auditions are held before the grand master Mithun Chakraborty who will select top 18 contestants for the show. Top 3 contestants who will receive maximum number of votes will get a chance to participate in mega auditions.
Offline Auditions
Auditions for Dance India Dance Season 3 will be held as a multi-city auditions from October and all through November, dancers across India can come to their nearest centre / cities - Mumbai, Delhi, Kolkata, Baroda, Raipur, Indore, Patna, Lucknow, Jaipur, Chandigarh, Dehradun, Guwahati, Bhubaneshwar, Hyderabad, Dehradun, Chennai, Kolhapur, Imphal, Rajkot and Bangalore.
Online Auditions
Dancers can also participate in the auditions online via the Official DID 3 Website. This website has been created to help and enable dancers in every part of the country to upload videos of their performances. Participants can then share their performances online to get maximum votes and get shortlisted for the mega auditions.
Seasons
Finalists
Male contestants: Salman Khan (Remo Ke Rangeelay), Siddhesh Pai (Geeta Ki Gang), Jai Kumar Nair (Terence Ki Toli), Dharmesh Yelande(Geeta Ki Gang) and Punit Pathak (Remo Ke Rangeelay) Female contestants: Alisha Singh (Terence Ki Toli), Shakti Mohan (Terence Ki Toli) and Binny Sharma (Geeta Ki Gang)
Season 1
The final show aired on May 30, 2009. The winner was Salman Khan (from Remo Ke Rangeelay). Alisha Singh (from Terence Ki Toli) was named first runner-up. Siddhesh Pai (from Geeta Ki Gang) was named second runner-up. Jai Kumar Nair (from Terence Ki Toli) was third runner-up in this season.
Season 2
Season 3
Zee TV announced the return of the Dance India Dance Season 3. DID 3 auditions will be held across 21 cities in India.[1]
Dance India Dance Li'l Masters
Thousands of dancing wonders from the age group 5-13 were auditioned for DID L'il Masters by Remo D'Souza, Geeta Kapoor, Terence Lewis and Sandip Soparrkar. The auditions were held in Delhi, Lucknow, Chandigarh, Jaipur, Nagpur, Guwahati, Kolkatta, Patna, Vadodara and Mumbai. From these, 100 stars were selected by the jury for the mega auditions in Mumbai.
Jeetumoni was declared winner of DID L'il Masters after the finale.
The judges of DID L'il Masters are Bollywood's director-producer Farah Khan and India's ballroom sensation Sandip Soparrkar.
Dance India Dance Doubles
Main article: Dance India Dance Doubles
12 finalist couples were chosen out of thousands aspirants purely based on talent and performances. The judges of this season were Grandmaster Mithun Chakraborty, Geeta Kapoor, Marzi Pestonji and Rajeev Surti.The winner of this season are Amit and Falon.
See also
Sa Re Ga Ma Pa
References
|
||||
15558
|
yago
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0
| 69
|
https://prabook.com/web/kitu.gidwani/2138260
|
en
|
Kitu Gidwani
|
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[
"Kitu Gidwani profile Mumbai",
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"India Actor model"
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[] | null |
Kitu Gidwani is an Indian actress and model.
|
en
|
https://prabook.com/web/kitu.gidwani/2138260
| |||||||
15558
|
yago
|
0
| 87
|
https://ajournalistreveals.com/my-mother-is-my-first-guru-brinda-roy-chowdhury/
|
en
|
My Mother is my First Guru-Brinda Roy Chowdhury
|
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[
""
] | null |
[
"Gayatri T Rao",
"+Gayatri T Rao",
"www.facebook.com"
] |
2015-12-26T04:20:40+00:00
|
She wants to learn instrumental music as well after conquering the vocal category. That’s the classi...
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en
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https://ajournalistreveals.com/wp-content/themes/wdf/favicon.ico
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A Journalist Reveals
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https://ajournalistreveals.com/my-mother-is-my-first-guru-brinda-roy-chowdhury/
|
She wants to learn instrumental music as well after conquering the vocal category. That’s the classical singer Brinda Roy Chowdhury for you. Having had her Taalim on various forms of music like Rabindra Sangeet, Nazrulgeeti, Atulprasadi, Rajanikanto, Geet and pure classical from Ms. Krishna Dasgupta, she was also trained in Hindusthani Classical music by Pt. Rajan and Sajan Mishra in Delhi. They spotted her when she won the All India Music competition organized by Sangam Kala Group in Delhi since they had judged the event. Later she won the competition for three consecutive years in both film and non-film category. Currently, she is learning from Ramanuj Dasgupta in Kolkata. She also won Zee’s TVS Sa Re Ga Ma in 1999.
Born in New Delhi, Brinda graduated in Chemistry from Sri Venkateswara College, University of Delhi. She has derived her inspiration from her father. She gives him the credit discovering her musical talent and she considers him highly responsible for all the little or big musical achievements. Even today, when she sings or achieves anything in music, she knows that he is the happiest. She considers her mother is her first ‘guru’. Her mother was herself trained in classical and light music. She adds, “She was a brilliant singer in her youth but with family responsibilities, her music had taken a back-seat. But she made sure that I do it sincerely and she has always guided me with my singing, selection of songs and knows my strength and weaknesses throughout.”
Brinda’s sister, Dhriti, a post graduate in classical music, inspired her to take up music. She adds about her sister, “She made me keen and interested in music. I was just 3 or 4 years old when she would practice ‘tarana’, ‘bandish’ etc. and I would silently observe her and pick them up. One day I started singing them and my parents and relatives were surprised that the singing was flawless. It was then; that my father had taken to me to Ms. Krishna Dasgupta for learning music. I was 5 years old then.”
Brinda married a very good friend of hers of 5 years, Saswata Ray in 2010. Regarding him, she says, “He has been the most loving, caring and supportive husband. And I am very lucky to have him in my life.”
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Childhood: Brinda was a very quiet and disciplined child. She reminisces, “Actually, both of us were much disciplined as our mother has always been very careful of the way we were brought up. I have never given too much trouble to anybody and was loved by everyone. Sometimes I would try to get a little stubborn but that would be rectified by my mom very quickly! My teachers in school were all in love with me and I have had the good fortune to get their blessings and love all the time. I would be invited to sing, give solo performances at many places in Delhi all round the year and I would manage my studies and singing together. I won several music competitions that would be held at various pandals during the Durga Puja and I appeared on Doordarshan, radio program of AIR in and around 1991-92 which gave me a lot of recognition in Delhi. I was just 8 or 9 years old then. I was also a recipient of CCRT (Govt. of India) scholarship holder in music till the age of 18. Since then, the journey has continued and I enjoy performing on stage as well as in the studios. Singing was the first thing that happened to me after I started learning things around as a child. My mother says that singing happened first and after that I started talking. So from the time I’m into singing I feel happy, content and very peaceful! It’s the only thing I should be doing.”
Bollywood Beckoning: When she was 12, she sang for a film called Dance of the Wind, directed by Mr. Rajan Khosa and its music was given by Shubha Mudgal ji. The folk song was Na ko tara, kou na raat… The movie went to a lot of film festivals and bagged many international awards. Later in her college days, she sang for a couple of Punjabi and Bhojpuri movies. But she emphasizes, “I am yet to get my big Bollywood break. I am still waiting for it.”
Problems Faced by Newcomers: The main problem in music field today is that people, who can make stars are themselves not too enlightened in music, according to her. In her opinion, “Be it the TV channel people or the program organizers, music company owners or a film or a TV producer. And these are the people who decide who will sing or who will be given the chance to make an album or do TV shows. The music directors (except a few) do not have much say in this regard. So how does a new and deserving singer make his/her entry? But I am sure, if one has to become successful, he/she will make it irrespective of all the odds. I believe in destiny.”
Importance of Godfather: She opines that the success story of each and every individual artist is different. She adds, “But I think there is one such person, who brings an artist on the right track and after that the singer does not have to look back. To me, he is a godfather. He is also someone who has been in the profession for long, knows every bit of it and has his confidence in you. That itself is very inspiring, encouraging and of course very important to get through.”
Future Projects: She became an empanelled vocalist of ICCR, Govt. Of India in 2008 and she is also planning some shows abroad. She says, “I am also planning an album which will have some of my favourite yesteryears’ Hindi and Bengali movies songs. 2007 and 2009 saw Prime Music And Cozmik Harmony (music companies of Kolkata) releasing two solo albums of mine consisting of new Bengali modern songs, namely, Jhirijhiri and Meghe Meghe. It had great reviews and response, especially among the Bengalis in Delhi. I look forward to perform playback in Bangla and Hindi films. I want to give a direction to all the hard work, teaching and blessings that my music gurus and parents have given me. Also, it is important that people who have learnt and practiced for so many years should be tried in the studios now. It is nice to have a good voice and sing professionally but besides that, knowledge and learning experience of years shall always have an edge over.”
This article was first published in Eve’s Times and has been reproduced here with the permission of the editor Swati Amar.
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[
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2022-11-29T10:22:25+05:30
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Suresh Jindal, who produced films directed by Basu Chatterjee, Satyajit Ray, Sai Paranjpye, Rajan Khosa, Mani Kaul and Kyentse Norbu, was a luminous personality who gave up cinema for his spiritual calling. He made a brief return to cinema as an act of service towards his guru.
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Firstpost
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https://www.firstpost.com/entertainment/remembering-suresh-jindal-the-film-producer-who-left-cinema-to-pursue-a-spiritual-path-11714631.html
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Film producer Suresh Jindal , who passed away at the age of 80 in New Delhi on November 24, will be remembered for his stellar contributions to Indian cinema and world cinema. This Punjabi man, who studied electrical engineering at the University of California, Los Angeles (UCLA) and went on to work as an engineer in Californiaâs aerospace and electronics industry for four years, has been associated with some of the most memorable films ever made.
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Jindal produced Basu Chatterjeeâs film Rajnigandha (1974) starring Amol Palekar , Vidya Sinha, and Dinesh Thakur. This love triangle is adapted from Mannu Bhandariâs short story Yahi Sach Hai. He also produced Satyajit Ray âs film Shatranj Ke Khilari (1977), based on a short story with the same title written by Premchand. It happens to be Rayâs first Hindi film. Set in Awadh in 1856, it has Amjad Khan, Sanjeev Kumar, Shabana Azmi, and Saeed Jaffrey in the star cast.
Jindal has left behind a rich and insightful documentation of the process that went into making this film. His book My Adventures with Satyajit Ray: The Making of Shatranj Ke Khilari (2017), published by HarperCollins India, is a must-read for cinephiles and film scholars who are curious about Rayâs first non-Bengali film that is best known for Khanâs flamboyant portrayal of Mirza Wajid Ali Shah â a man that Ray despised for his debauchery. Khan was lucky to get this role of a lifetime soon after playing the dreaded dacoit Gabbar Singh in Ramesh Sippyâs Sholay (1975).
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The book places on record how Jindal met Ray when the latter was 57 and the former was just about to turn 33. Jindal writes, âI was 5â6â tall and he was 6â2â, a veritable giant by Indian standards I was from a well-to-do, non-intellectual, conservative, vegetarian Jain-Bania family from Punjabâ¦Ray was from a distinguished family of Bengal â half a continent away from my home â that was aristocratic, highly accomplished both academically and artistically and progressive.â While Jindal looked up to Ray, working together also had its share of hurt and disappointment. The book features letters exchanged between the producer and the director.
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Tinnu Anand, who worked with Ray as an assistant director on films such as Goopy Gyne Bagha Byne (1969), Aranyer Dir Ratri (1970), and Pratidwandi (1970), introduced Jindal to Ray. When Jindal went to meet Ray for the first time, he thought that Rayâs study âlooked like a combination of a Renaissance atelier and an alchemistâs labâ. Jindal was mesmerized by this work space. He happened to be at the right place at the right time because Ray was thinking of making a Hindi film. He warned Jindal that it would be âat least four or five times more expensiveâ than his Bengali films, and said, âYou may not want to spend so much on my first Hindi film.â
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When Jindal made a request for an English translation of Premchandâs story, Ray told him that he had one published by the United Nations Educational, Scientific and Cultural Organization (UNESCO) but would share it only if Jindal promised to return the copy after reading it. Jindal soon learnt that they had slightly different ways of working. In fact, later when Jindal gave Ray an envelope containing âa signing amountâ as per the conventions of the Bombay film industry, Ray said, âNo, I donât work that way. And if we are to work together, you will have to work my way. First, I will write a draft of the screenplay, and if it is satisfactory, we can discuss money.â
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As a student in the United States of America, Jindal had watched Rayâs films and hoped to meet him someday. He had no clue that they would work together in the near future. Jindal was in sheer awe of the genius who âwrote his original scripts in traditional clothbound notebooks called khatasâ¦they were more like a research scientistâs lab notes than ordinary scriptsâ¦he would draw the frames of the shots on the left-hand side and write the dialogues on the right.â
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While Shatranj Ke Khilari did not taste the kind of commercial success that Rajnigandha enjoyed, it played an important role in ensuring that Jindal got associated with director Richard Attenboroughâs film Gandhi (1982) as an associate producer. Attenborough acted in Shatranj Ke Khilari before he produced the award-winning Gandhi starring Ben Kingsley. Rohini Hattangadi, Roshan Seth, Alyque Padamsee, Amrish Puri , Supriya Pathak, and many other wonderful actors. While many films have been made about the life of M. K. Gandhi, this one remains unsurpassed.
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After this, Jindal produced Sai Paranjpyeâs film Katha (1983) depicting life in a Mumbai chawl. Based on S. G. Sathyeâs play Sasa Aani Kasav, it has Deepti Naval, Farooq Sheikh and Naseeruddin Shah in the star cast. Jindalâs trajectory of working on films that drew inspiration from literary texts continued with Sturla Gunnarssonâs film Such A Long Journey (1998) based on Rohinton Mistryâs novel with the same title that explores the life of a Parsi family in 1971 under the leadership of Prime Minister Indira Gandhi. Jindal co-produced this film that managed a casting coup â Roshan Seth, Om Puri, Soni Razdan, Naseeruddin Shah and Irrfan Khan.
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Jindal was a supervising producer of the film Dance of the Wind (1997) directed by Rajan Khosa and with Kitu Gidwani and Kapila Vatsyayan playing key roles. It revolves around the travails of a classical singer who loses her voice when her mother, who is also her guru, dies. Shubha Mudgal composed the music for this film. Later, Jindal worked as an executive producer on Naukar Ki Kameez (1999) directed by Mani Kaul. Adapted from Vinod Kumar Shuklaâs novel with the same title, it features Pankaj Sudhir Mishra, Anu Joseph and Om Prakash Dwivedi.
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It is worth noting that Jindalâs films won National Awards in India and Oscars on the international stage. He served as the Vice President of the Indian Motion Picture Producers Association and a member of the Academic Council of the Film and Television Institute of India. He was honoured as Chevalier des Ordre des Arts et des Lettres by the Government of France.
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Jindalâs work in cinema reduced considerably after spiritual practice became the mainstay of his life. He became a student of Dzongsar Jamyang Khyentse Rinpoche aka Khyentse Norbu in 2004, and later an advisor to the board of the Khyentse Foundation. However, he encountered Buddhism much earlier when he spent a year studying at the University of California, Berkeley.
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In his book on Ray, Jindal also recalls his own life in the US in the 1960s. He was exposed to âthe headiest experiences of the 21st centuryâ which included âthe space race to the moon, the computer explosion, freedom rides against segreation in the south, flower power, psychedelic drugs, love-ins, environmental protection, gay liberation, hippiesâ and the anti-Vietnam War protests by pacifists. Zen Buddhism was becoming popular in the US around this time.
In an interview with Noa Jones for the Buddhist quarterly Tricycle in 2011, Jindal spoke at length about encountering Buddhism in the US thanks to teachers like D. T. Suzuki and Alan Watts. He took refuge in the Buddha, Dharma and Sangha with the Dalai Lama in Dharamsala soon after he was hired by industrialist B.K. Modi in 1994 to work on a film about the life of Gautama Buddha. In the interview with Jones, Jindal shared, âThe first real teaching I went to was âMind Training Like the Rays of the Sunâ in 1998, and I decided from there that this is serious businessâ¦For 10 years, I went to every teaching of His Holiness (the Dalai Lama) except four, all over India. I was fed up with the film business; the career was okay, but I was tired of it.â
Jindal made a brief return to films when his guru Dzongsar Khyentse Jamyang Rinpoche aka Khyentse Norbu â who is also a film director â asked him to be the executive producer for Vara: A Blessing (2013). This film about forbidden love â with actors Shahana Goswami, Devesh Ranjan, Swaroopa Ghosh, Mohamed Adamaly and others â is based on Sunil Gangopadhyayâs short story Rakta Aar Kanna. Working on this film was different from his previous experiences because it was not only a creative project but also an act of service towards his beloved teacher.
Chintan Girish Modi is a writer, journalist and educator who tweets @chintanwriting
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https://alchetron.com/Rajan-Khosa
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en
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Alchetron, The Free Social Encyclopedia
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2017-08-18T08:30:48+00:00
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Rajan Khosa is an Indian writerdirectorproducer who has worked between the UK, Europe and India for much of his career. His most noteworthy film, Dance of the Wind (1997), starring Kitu Gidwani in the lead role, won many national and International film awards, including Audience Award London Film
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en
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Alchetron.com
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https://alchetron.com/Rajan-Khosa
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Rajan Khosa is an Indian writer-director-producer who has worked between the UK, Europe and India for much of his career.
Contents
Excerpts from rajan khosa films
Dont Know If Gattu Can Take An Interval Rajan Khosa
Biography
Awards
References
His most noteworthy film, Dance of the Wind (1997), starring Kitu Gidwani in the lead role, won many national and International film awards, including Audience Award London Film Festival 1997, Public Prize & Best Actress Festival of 3 Continents 1997, Gold Plaque Chicago Festival 1998, Critics Week Venice Film Festival 1997, NETPAC Award Rotterdam Film Festival 1998, and Best Director British Asian Film Festival 1998. The film was theatrically released in twenty five countries in 1998-2001 However, it was commercially released in India, only in February 2008.
His latest film Gattu, won praise and special mention from the children's jury at the 2012 Berlinale and was named Best film at New York Indian Film Festival 2012
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Asia Pacific Screen Awards
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2017-08-28T01:42:23+00:00
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en
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Asia Pacific Screen Awards
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https://www.asiapacificscreenawards.com/apsa-academy-members/rajan-khosa
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The Asia Pacific Screen Academy expresses its respect for and acknowledgement of the South East Queensland Aboriginal and Torres Strait Islander communities. We pay our respects to the Traditional Owners of country, including the custodial communities on whose land works are created and celebrated by the Asia Pacific Screen Awards. We acknowledge the continuing connection to land, waters and communities. We also pay our respects to Elders, past and emerging. We recognise the integral role Aboriginal and Torres Strait Islander and First Nations peoples continue to play in storytelling and celebration spaces.
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https://aiyushmandutta.wordpress.com/tag/aiyushman-dutta/page/18/
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Aiyushman Dutta
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Posts about Aiyushman Dutta written by Aiyushman Dutta
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en
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https://secure.gravatar.com/blavatar/779fe66f9e3084331a676a176114944760f108cb1dc22e7a58825bc0f1f6c686?s=32
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Northeast Beats
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https://aiyushmandutta.wordpress.com/tag/aiyushman-dutta/
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ALBUM REVIEW: HUWORONI
I recently got my hands on Huworoni – the debut offering of Assamese rock band Artha. Made up of talented musicians from the State, Artha is a multi-genre outfit based in the capital. Huworoni was released earlier this year at Gauri Sadan in Guwahati by veteran guitarist Utpal Barsaikia along with a host of other guests.
Artha comprises of Rahul Buragohain (vocals and rhythm), Shivaji Bora (bass), Pranjal Gogoi (lead), Fredi Roy (rhythm and keyboard) and Prashanta Talukdar on drums. Based on contemporary themes, most of their compositions and lyrics would appeal to the present-day youth, especially those living outside the State. Huworoni – the title track of their debut album is a case in point. Drawing on strong emotive lyrics, the song dwells on the longing of people who live outside their native place for their homelands.
The album begins with the track Hontrakhbadir Kahini which dwells on the realization of a terrorist of his mistakes and his desire to return back to lead a normal life. The title track, Huworoni, which is divided into two parts follows up next. The other compositions are all based on contemporary themes like love, longing and frustration which I am sure would find a lot of takers amongst the younger lot. Jodi Xodai, for instance, dwells on the feeling of frustration which besieges people at periodic intervals, while Loi Juwa and Najanu Kiyo are both love songs. Based on melodic tunes, what attracted me the most about the majority of the tracks was the smart acoustic manoeuvring that is a predominant feature in the entire album.
Talking about their debut offering, Artha vocalist Rahul Buragohain says, “Assam has a rich and diverse culture and we have put in efforts to reflect our culture in our music. Our songs are catchy and melodious for we want to connect to the people through them. At the same time, we have tried to focus a lot on the emotive content in our lyrics.”
Artha was formed in the summer of 2006 by Rahul, Shivaji and Prashanta while they were pursuing their studies in engineering, says Rahul. He adds, “We performed at various college fests all across the country such as IIT Kanpur, amongst others. Soon after completing our graduation in 2009, two new members, Fredi and Pranjal, joined the band as guitarists. We have been playing mainly in Delhi and other parts of Northern India.”
All the tracks in the album have been written and composed by Artha along with Arunjyoti Gohain and Rishi. While four songs were recorded in The Quivers Studio in Dibrugarh, the other four were recorded in the Noisegate studio in Guwahati. The songs have been edited and mixed by Arunjyoti Gohain in Quivers studio, Dibrugarh.
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Jessie Sparks wins Musicbizbro’s search for best artist;
India’s Mayuresh Kelkar follows a close second
The results for online Indian music business consultants Musicbizbro’s online contest for artists and bands which ran through the months of September and October were declared recently. Melbourne-born singer, songwriter, pianist Jessie Sparks was adjudged the winner of the Artist/Band contest, while the runners-up are Mayuresh Kelkar (India) and Jackson Church (USA). The winner of the lyric writing contest is Jamie Meyer (Sweden) while the runner up is Sal Belloise (USA). Jessie, who had released her debut Indie album in 2007, had been a serious contender and with her seductive and intelligent music, she is all set to make a mark in the global arena.
Talking with The Sentinel, Musicbizpro CEO Neli Kools said, “The contest received an overwhelming response with well over 500 entries from all over the world. Sponsored by Hollywood Music in Media Awards (HMMA) and Music Connection in the USA, the contest has been quite a success. Moreover Musicbizpro’s partnership with Music2Q has helped the winner pitch their work for a Canadian movie come next spring.”
The songs under Artist & Band contest were judged on its vocal performance, song selection, originality, uniqueness and artistic merit. The lyrics writer contest were judged on its song structure, composition of melody and harmony, scansion (rhythm/meter) and content of the song.
Kools further said, “For this contest, MusicbizPro brought together an exceptional panel of judges. The competition was judged by a team of experts comprising of professional artists, songwriters, journalists, publishers, session players, producers and other distinguished professionals. The contest was promoted on a massive scale at Music colleges & Universities, performance venues and music retail shops in the USA and in India and all over the web. In India the promotion was done in the cities of Mumbai, Jaipur, Ahmedabad, Indore, Bangalore, Chennai, Hyderabad and Kolkata.”
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Nature in its varied aspects is the predominant aspect in the works of artist Upasana Bora, whose debut solo art exhibition got underway in the State Art Gallery last week. A familiar face in the art fraternity of the State, having participated in a number of workshops and group exhibitions, this was her first solo art exhibition. The exhibition was inaugurated by noted singer Sudakshina Sharma.
A post-graduate degree holder in graphic arts from Vishwa Bharati University Kala Bhavana Shantineketan in West Bengal, Upasana’s debut solo exhibition has around 42 of her artworks being displayed. “The artworks exhibited have been done over a period of eight years. I started working on graphic arts since I the time I joined the Government College of Arts and Crafts in 2008 for my graduations,” says the artist.
Talking about her art, Upasana says, “Nature, which is the source of all inspirations, is the medium I use to express myself in my art. It’s only through nature that I can feel pleasure, pain, despair, delight besides logic between other sensations. I find a lot of similarity between the female form and nature since both are responsible for the existence of life forms as well as for living pleasure.”
Animals like the deer and butterfly and natural forms like mountains, leaves are some of the recurring elements in her artworks. “I have been fascinated by the deer since I was a child. But in my works, the deer does not stand for an animal but for a man.”
The female torso is another theme which the artist uses to express her ideas. “Out of all my works, I have tried to explore my ideas with a female torso, indicating that in spite of getting all liberties there still exists bindings, restrictions and barriers around the familiar ambit of nature. The same applies to all human beings who are all embedded within the ambit of nature.”
The exhibition concludes today.
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Rock outfits of the country, especially the Northeast, have long had to grapple with the lack of opportunities – be it a platform to showcase their abilities or a medium through which they can reach out to the populace. Practitioners of the genre would say this is nothing new but given the immense pool of talent here, it is indeed sad that nothing much has changed over the past couple of decades. Despite the dreary scenario, however, the enthusiasm and efforts of a few people still manage to bring a smile to one’s face, proving that when it comes to rock the spirit is all that is required, is all that it matters.
Meet Sanjib Kalita – a rock enthusiast who has combined his love for music and his expertise over the World Wide Web to create http://www.indianmusicmug.com/ – one of the most sought after music portals of the country, and even abroad. Witnessing hits from people in various parts of the world who all want a slice of the music scene of the region, the IndianMusicMug blog is a perfect example of how determination can move the greatest of obstacles.
Sanjib, a final year graduation student in a city college, says that the desire to provide his friends and fellow musicians with a platform to reach out to people was the sole objective behind starting his blog. As he says, “Given the lack of shows on television and space in the print media, I decided to start the web portal to promote the local talents by publishing their band profiles and reviewing their albums and singles. Since the web is not limited to any country or area, bands have been able to reach out to people all across the globe.”
The web portal has recently released an audio compilation, Metal Hangover 0.1, which has a number of Northeastern bands sharing space with other Indian and international outfits. The compilation was prepared with the basic objective of promoting the regional bands throughout the globe, says Sanjib.
The tracklist of the audio compilation includes the likes of Demonic Resurrection (Mumbai, India), Shift (Melbourne, Australia), Devoid (Mumbai, India), Testing Tomorrow (Los Angeles, California), Slain (Bangalore, India), Albatross (Mumbai, India), Phobia (Delhi, India), Shades Of Retribution (Duliajan, India), Weeping Roses (Guwahati, India), Violent Edge (Guwahati, India), Asylum (Mumbai, India) and Doorstep Casket (Guwahati, India). More than 200 copies of the album was downloaded across the globe on the day of its release.
The going, however, has not been easy for Sanjib who lacked the resources to launch and maintain a website. “Though I had nurtured the idea of launching a website for a long time I was not able to proceed because I didn’t have much technical expertise in the subject. I finally gathered enough money to register the domain name and include some appealing designs with a new server very soon.”
The young music promoter also feels that the overall rock scene in the region needs to undergo a major makeover if it has to win the favour of musicians, youth and guardians alike. “A number of gigs are organized in pubs these days but many youngsters and their parents are hesitant because of the use of alcohol and other narcotic substances there. As such, I feel that more gigs and concerts should be organized in open spaces, parks and other recreation areas.”
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In a commendable initiative to promote our age-old folklores among the younger generation, a compilation of folk stories from the Northeast was recently released in Dimapur. The book, which has folktales from all the eight States of the Northeast, is also marked by vivid and highly attractive illustrations. Folktales from the North East of India has been edited by Hekali Zhimomi, Lanusangla Tzudir and Akanito G Assumi. The illustrations were also done by Assumi. The book was released by NEZCC director Som Kamei.
During her tenure at NEZCC, Zhimomi worked tirelessly for the promotion and development of the art and culture of Northeast India. The recently released book is one such endeavour. Talking about the book, she says, “The folklore of a group of people carry their history, beliefs and creative imagination. The North East is a rich storehouse of folklores told and retold from generation to generation. To many communities of the Northeast, folktales are not just stories but a vital link to their past, enabling them to make sense of who they are as a people helping them preserve their unique cultural identity. With rapid changes and external influences fast affecting the communities of the Northeast, the stories have been silenced in many places and homes, particularly in the urban areas. This book, which is a compilation of folk stories from the north east, aims to reach out at children and help them connect to their roots, understand their history and identify with their cultural environment.”
The book has a total of forty folktales, five from each state. So while youngsters can now read the mythical tales of Tejimola and Queen Komola KOnwari of Assam, they can also at the same time learn about the origin of the Kwai eating habit of the people of Meghalaya. From the invention of the pena (a traditional music instrument of the Meiteis of Manipur) to how the Nagas stumbled across the procedure of making rice beer – the book truly touches upon a host of myriad topics that is bound to bring the reader closer to his cultural environs and appreciate his or her roots.
Lanusangla Tzudir has a doctorate in history from Jawaharlal Nehru University while Akanito G Assumi, who is a pass-out of the National Institute of Design, is an animation film designer, illustrator and photographer. Recalling how the project started, the editors said they had to travel a lot to gather materials for the book. Starting with a shaky foundation, the project took about a year to complete.
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This year, the prestigious Shilp Award was handed over to noted music composer-director duo Jitu-Tapan for their enormous contributions to the field of music in Assam. The Shilp Award was instituted by the Government of Assam to honour people who have contributed significantly to the cultural world. The award is bestowed every year during Shilp Utsav, the death anniversary of Assamese cultural icon Jyoti Prasad Agarwalla.
In a career spanning more than four decades, Jitu and Tapan (Jitu Sharma and Tapan Bhattacharya) literally gave a makeover to the Assamese music industry. Inspired and guided by stalwarts like Mohammad Rafi and Lata Mangeshkar, the duo were also one of the first representatives of Assam to Bollywood, having worked as music directors in as many as 35 Hindi movies and around 7 television serials. Anutaap, Morisika, Tyag, Deuta Dia Bidai, Manab aru Danab, etc are some of the Assamese films where they have worked.
One of their most memorable achievements would be the creation of the song, Asomire sotalote rodalire senehote – one of the most popular and memorable songs in Assamese – which they created in association with Mohammad Rafi.
Both Jitu Sharma and Tapan Bhattacharya, who are related to each other by blood, grew up in Jorhat district of Assam. Having begun their early lesions in music under Darpanath Sharma and Shyam Sunder, both were deeply engrossed in the world of music from a very early age. Receiving the award from Chief Minister Tarun Gogoi, soft-spoken Jitu said that the recognition had made him the happiest person in the world.
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In a country with over a billion people, countless languages and multitude of musical influences, it takes special talent to stand out from the crowd as an entertainer. Luckily talent is what Assam’s Kalpana has sacks full of.
One of the most popular Bhojpuri singers in India right now, Kalpana came to attention in 2002 with her breakout hit album, Gawan wa leja Rajaji. Since then she has become a household name having performed on over 150 Bhojpuri film soundtracks, 100 Hindi film songs sung ,recorded more than 400 radio and television jingles and presented Sur Sangram’s season 1 & 2 and other TV shows.
Kalpana has been finalized as the judge for the upcoming show Nehle pe dehla “ Nan he Suron Ka Maha Sangraam” on Mahua Tv. The show will showcase the singing prowess of children from both UP & Bihar. In an age where talent coupled with great looks gives one the extra edge, the versatile singer is leaving no stone unturned as she gets ready to make a smashing appearance as one of the judges on Mahua Tv’s childrens music reality show NEHLE PE DEHLA. Apparently, Kalpana has been meticulously planning her looks as she wants to look young and contemporary. New hairdo, revamped wardrobe, a chiselled body… Kalpana can give even the Bollywood heroines a run for their money.
‘Let’s get innocent hearts closer. The show will bring together raw talented kids from all over UP & Bihar. The participants will be in the 8-13 years age group. Nehle pe dehla is a musical forum and opportunity for budding talent for children from UP & Bihar, says Kalpana, and adds, “Mahua channel came up with this unique concept, something different – a show that will have kids from all over UP & Bihar teaming up in a singing reality show where boys will be competing with girls. The girl’s team is boosted by Kalpana whereas the boy’s team is goofed by Pawan Singh.”
Kalpana believes that only those who sings well and performs well should win the show. But she also adds, “On a personal note, I support the girls as participants because when I entered the Bhojpuri industry, girl singers were not seen with very good eyes. Achhe Ghar Ki Ladkiya Nahi Gati Hai –the so-called society said. I entered the industry with bhajans, modern songs and even hot item numbers – but proved that singing can also be a professional career for girls. The scenario has changed and I am lucky to have set the trend.”
Kalpana is an amazing mentors and she has personally handpicked every contestants by indoor and outdoor selection rounds in Patna, Lucknow, Banaras and other places. At present she is busy with her world music project THE LEGACY OF BHIKHARI THAKUR to be released from Times Music, trying to relive the country’s long-forgotten treasure of Bhojpuri folk music.
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Dance of the Wind (Rajan Khosa) 1997 – Indiancine.ma
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Director: Rajan Khosa; Writer: Rajan Khosa, Robin Mukherjee; Producer: Karl Baumgartner, Jacques Bidou, Raimond Goebel, Keith Griffiths, Suresh Jindal, Pan Nalin, Phil van der Linden; Cinematographer: Piyush Shah; Editor: Emma Matthews; Cast: Ami Arora, Roshan Bano, Kitu Gidwani, Bhaveen Gosain, B.C. Sanyal, Abbas Tyrewala, Paakhi A. Tyrewala, Kapila Vatsyayan; Duration: 01:22:13; Aspect Ratio: 1.750:1; Hue: 15.119; Saturation: 0.166; Lightness: 0.199; Volume: 0.145; Cuts per Minute: 5.752; Summary: The mother of the Indian female singer Pallavi (Kitu Gidwani) is at the end of her life. She was master and teacher for her daughter for the art of Indian singing. But she will not be able to complete her lessons. So Pallavi experiences the lack of the guru of her mother. Finally she finds him in a very young street-girl who is able to sing marvelously. But this girl keeps disappearing again and again...
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Director: Rajan Khosa; Writer: Rajan Khosa, Robin Mukherjee; Producer: Karl Baumgartner, Jacques Bidou, Raimond Goebel, Keith Griffiths, Suresh Jindal, Pan Nalin, Phil van der Linden; Cinematographer: Piyush Shah; Editor: Emma Matthews; Cast: Ami Arora, Roshan Bano, Kitu Gidwani, Bhaveen Gosain, B.C. Sanyal, Abbas Tyrewala, Paakhi A. Tyrewala, Kapila Vatsyayan
Duration: 01:22:13; Aspect Ratio: 1.750:1; Hue: 15.119; Saturation: 0.166; Lightness: 0.199; Volume: 0.145; Cuts per Minute: 5.752
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Dance of the Wind
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Swara MandalDirected byRajan KhosaWritten byRobin Mukherjee
Rajan KhosaStory byRajan KhosaProduced byKarl Baumgartner,[1] NFDC, Elephant EyeStarringKitu Gidwani
Bhaveen GosainCinematographyPiyush ShahEdited byEmma MatthewsMusic byShubha Mudgal
Release dates
Running time
85 minutesCountryIndiaLanguagesHindi
English
Swara Mandal or Dance of the Wind is a 1997 Hindi[2] drama, film co-written and directed by Rajan Khosa. It was his feature film debut. It starred Kitu Gidwani and Bhaveen Gosain in lead roles. The film was a co-production between five countries, including UK, Germany and India.[3]
Synopsis
[edit]
Pallavi (Kitu Gidwani), a budding Indian classical singer, is the daughter and student of celebrated classical singer, Karuna Devi (Kapila Vatsyayan). While she was still gaining her confidence, her mother dies suddenly; due this shock Pallavi loses not just her bearings, but also her voice. Subsequently, she also loses her career, her students, and her husband (Bhaveen Gosain).[4]
It is only after she meets a young street urchin, Tara (Roshan Bano) and start teaching her, following the guru-shishya parampara (Master-student tradition) of Indian classical music, as her mother once did with her, does she begin to finds herself again, and also her voice.[5]
Cast
[edit]
Kitu Gidwani as Pallavi Sehgal
Bhaveen Gossain as Ranmal
B.C. Sanyal as Munir Baba
Roshan Bano as Tara
Kapila Vatsyayan as Karuna Devi
Vinod Nagpal as Mr Thakkar
Punarnava Mehta as Shabda
Ami Arora as Janaki
Bhunvar Lal as Trader at the Market
Ibrahim Ahmed as Monkey Man
Soundtrack
[edit]
Noted Hindustani classical singer, Shubha Mudgal composed the music, while playback was given by 'Shweta Jhaveri', Shanti Hirannand, and Brinda Roy Choudhuri. Other noted artists, who worked on soundtrack were, Sarangi performer, Ustad Sultan Khan, and noted flautist, Ronu Majumdar, and the film went on to win the 'Gold Plaque for Music' at the 1998 Chicago International Film Festival.[6]
Reception
[edit]
The film was premiered at the Critics' Week, at 1997 Venice Film Festival,[2] and became India's official entry at the Karlovy Vary International Film Festival, Melbourne International Film Festival, Jerusalem Film Festival and International Film Festival of India (IFFI) in 1998. The film went on to win several national and international awards in the following years,[7] as it was theatrically released in twenty five countries in 1998-2001 [3][8] However, it was commercially released in India, only in February 2008.[9]
Channel 4 reviewed the film as, "A celebration of the classical singing tradition set in contemporary New Delhi, Rajan Khosa's film captures the beauty of ancient Indian music and the culture from which it emanates."[10]
Awards
[edit]
1997: London Film Festival: Audience Award
1997: Festival of Three Continents: Audience Award.
1997: Festival of Three Continents: Best Actress: Kitu Gidwani[2]
1998: Chicago International Film Festival: Gold Plaque, Best Music: Rajan Khosa
1998: International Film Festival Rotterdam: Netpac Award [11]
1998: British Asian Film Festival: Best Director: Rajan Khosa[2]
References
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Remembering Suresh Jindal, the film producer who left cinema to pursue a spiritual path
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Suresh Jindal, who produced films directed by Basu Chatterjee, Satyajit Ray, Sai Paranjpye, Rajan Khosa, Mani Kaul and Kyentse Norbu, was a luminous personality who gave up cinema for his spiritual calling. He made a brief return to cinema as an act of service towards his guru.
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Film producer Suresh Jindal , who passed away at the age of 80 in New Delhi on November 24, will be remembered for his stellar contributions to Indian cinema and world cinema. This Punjabi man, who studied electrical engineering at the University of California, Los Angeles (UCLA) and went on to work as an engineer in Californiaâs aerospace and electronics industry for four years, has been associated with some of the most memorable films ever made.
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Jindal produced Basu Chatterjeeâs film Rajnigandha (1974) starring Amol Palekar , Vidya Sinha, and Dinesh Thakur. This love triangle is adapted from Mannu Bhandariâs short story Yahi Sach Hai. He also produced Satyajit Ray âs film Shatranj Ke Khilari (1977), based on a short story with the same title written by Premchand. It happens to be Rayâs first Hindi film. Set in Awadh in 1856, it has Amjad Khan, Sanjeev Kumar, Shabana Azmi, and Saeed Jaffrey in the star cast.
Jindal has left behind a rich and insightful documentation of the process that went into making this film. His book My Adventures with Satyajit Ray: The Making of Shatranj Ke Khilari (2017), published by HarperCollins India, is a must-read for cinephiles and film scholars who are curious about Rayâs first non-Bengali film that is best known for Khanâs flamboyant portrayal of Mirza Wajid Ali Shah â a man that Ray despised for his debauchery. Khan was lucky to get this role of a lifetime soon after playing the dreaded dacoit Gabbar Singh in Ramesh Sippyâs Sholay (1975).
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The book places on record how Jindal met Ray when the latter was 57 and the former was just about to turn 33. Jindal writes, âI was 5â6â tall and he was 6â2â, a veritable giant by Indian standards I was from a well-to-do, non-intellectual, conservative, vegetarian Jain-Bania family from Punjabâ¦Ray was from a distinguished family of Bengal â half a continent away from my home â that was aristocratic, highly accomplished both academically and artistically and progressive.â While Jindal looked up to Ray, working together also had its share of hurt and disappointment. The book features letters exchanged between the producer and the director.
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Tinnu Anand, who worked with Ray as an assistant director on films such as Goopy Gyne Bagha Byne (1969), Aranyer Dir Ratri (1970), and Pratidwandi (1970), introduced Jindal to Ray. When Jindal went to meet Ray for the first time, he thought that Rayâs study âlooked like a combination of a Renaissance atelier and an alchemistâs labâ. Jindal was mesmerized by this work space. He happened to be at the right place at the right time because Ray was thinking of making a Hindi film. He warned Jindal that it would be âat least four or five times more expensiveâ than his Bengali films, and said, âYou may not want to spend so much on my first Hindi film.â
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When Jindal made a request for an English translation of Premchandâs story, Ray told him that he had one published by the United Nations Educational, Scientific and Cultural Organization (UNESCO) but would share it only if Jindal promised to return the copy after reading it. Jindal soon learnt that they had slightly different ways of working. In fact, later when Jindal gave Ray an envelope containing âa signing amountâ as per the conventions of the Bombay film industry, Ray said, âNo, I donât work that way. And if we are to work together, you will have to work my way. First, I will write a draft of the screenplay, and if it is satisfactory, we can discuss money.â
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As a student in the United States of America, Jindal had watched Rayâs films and hoped to meet him someday. He had no clue that they would work together in the near future. Jindal was in sheer awe of the genius who âwrote his original scripts in traditional clothbound notebooks called khatasâ¦they were more like a research scientistâs lab notes than ordinary scriptsâ¦he would draw the frames of the shots on the left-hand side and write the dialogues on the right.â
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While Shatranj Ke Khilari did not taste the kind of commercial success that Rajnigandha enjoyed, it played an important role in ensuring that Jindal got associated with director Richard Attenboroughâs film Gandhi (1982) as an associate producer. Attenborough acted in Shatranj Ke Khilari before he produced the award-winning Gandhi starring Ben Kingsley. Rohini Hattangadi, Roshan Seth, Alyque Padamsee, Amrish Puri , Supriya Pathak, and many other wonderful actors. While many films have been made about the life of M. K. Gandhi, this one remains unsurpassed.
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After this, Jindal produced Sai Paranjpyeâs film Katha (1983) depicting life in a Mumbai chawl. Based on S. G. Sathyeâs play Sasa Aani Kasav, it has Deepti Naval, Farooq Sheikh and Naseeruddin Shah in the star cast. Jindalâs trajectory of working on films that drew inspiration from literary texts continued with Sturla Gunnarssonâs film Such A Long Journey (1998) based on Rohinton Mistryâs novel with the same title that explores the life of a Parsi family in 1971 under the leadership of Prime Minister Indira Gandhi. Jindal co-produced this film that managed a casting coup â Roshan Seth, Om Puri, Soni Razdan, Naseeruddin Shah and Irrfan Khan.
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Jindal was a supervising producer of the film Dance of the Wind (1997) directed by Rajan Khosa and with Kitu Gidwani and Kapila Vatsyayan playing key roles. It revolves around the travails of a classical singer who loses her voice when her mother, who is also her guru, dies. Shubha Mudgal composed the music for this film. Later, Jindal worked as an executive producer on Naukar Ki Kameez (1999) directed by Mani Kaul. Adapted from Vinod Kumar Shuklaâs novel with the same title, it features Pankaj Sudhir Mishra, Anu Joseph and Om Prakash Dwivedi.
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It is worth noting that Jindalâs films won National Awards in India and Oscars on the international stage. He served as the Vice President of the Indian Motion Picture Producers Association and a member of the Academic Council of the Film and Television Institute of India. He was honoured as Chevalier des Ordre des Arts et des Lettres by the Government of France.
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Jindalâs work in cinema reduced considerably after spiritual practice became the mainstay of his life. He became a student of Dzongsar Jamyang Khyentse Rinpoche aka Khyentse Norbu in 2004, and later an advisor to the board of the Khyentse Foundation. However, he encountered Buddhism much earlier when he spent a year studying at the University of California, Berkeley.
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In his book on Ray, Jindal also recalls his own life in the US in the 1960s. He was exposed to âthe headiest experiences of the 21st centuryâ which included âthe space race to the moon, the computer explosion, freedom rides against segreation in the south, flower power, psychedelic drugs, love-ins, environmental protection, gay liberation, hippiesâ and the anti-Vietnam War protests by pacifists. Zen Buddhism was becoming popular in the US around this time.
In an interview with Noa Jones for the Buddhist quarterly Tricycle in 2011, Jindal spoke at length about encountering Buddhism in the US thanks to teachers like D. T. Suzuki and Alan Watts. He took refuge in the Buddha, Dharma and Sangha with the Dalai Lama in Dharamsala soon after he was hired by industrialist B.K. Modi in 1994 to work on a film about the life of Gautama Buddha. In the interview with Jones, Jindal shared, âThe first real teaching I went to was âMind Training Like the Rays of the Sunâ in 1998, and I decided from there that this is serious businessâ¦For 10 years, I went to every teaching of His Holiness (the Dalai Lama) except four, all over India. I was fed up with the film business; the career was okay, but I was tired of it.â
Jindal made a brief return to films when his guru Dzongsar Khyentse Jamyang Rinpoche aka Khyentse Norbu â who is also a film director â asked him to be the executive producer for Vara: A Blessing (2013). This film about forbidden love â with actors Shahana Goswami, Devesh Ranjan, Swaroopa Ghosh, Mohamed Adamaly and others â is based on Sunil Gangopadhyayâs short story Rakta Aar Kanna. Working on this film was different from his previous experiences because it was not only a creative project but also an act of service towards his beloved teacher.
Chintan Girish Modi is a writer, journalist and educator who tweets @chintanwriting
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I am dyslexic: Pakhi Tyrewala
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[
"Pakhi Tyrewala",
"John Abraham"
] | null |
[
"Garima Sharma"
] |
2010-12-18T00:00:00+05:30
|
From Saket to the suburbs of Mumbai, Pakhi Tyrewala says her journey is that of a true blue Dilli ki kudi finding a foothold in Tinseltown.
|
en
|
The Times of India
|
https://timesofindia.indiatimes.com/entertainment/hindi/bollywood/news/i-am-dyslexic-pakhi-tyrewala/articleshow/7116523.cms
|
Garima Sharma is a correspondent at Delhi Times. She covers Bollywood and fashion. She likes to eat out and shop, and has a special weakness for earrings. She also loves to travel. She likes to watch the masala movies she writes about.
|
|||||
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|
yago
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2
| 92
|
https://www.ranker.com/list/famous-writers-from-india/reference%3Fpage%3D12
|
en
|
Famous Writers from India
|
https://imgix.ranker.com/list_img_v2/10851/350851/original/famous-writers-from-india-u4
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https://imgix.ranker.com/list_img_v2/10851/350851/original/famous-writers-from-india-u4
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[
"Reference"
] |
2011-07-28T00:00:00
|
List of famous writers from India, listed alphabetically with photos when available. India is home to many prolific writers, including those who write ...
|
en
|
/img/icons/touch-icon-iphone.png
|
Ranker
|
https://www.ranker.com/list/famous-writers-from-india/reference
|
Sir Ahmed Salman Rushdie (born 19 June 1947) is a British Indian novelist and essayist. His second novel, Midnight's Children (1981), won the Booker Prize in 1981 and was deemed to be "the best novel of all winners" on two separate occasions, marking the 25th and the 40th anniversary of the prize. Much of his fiction is set on the Indian subcontinent. He combines magical realism with historical fiction; his work is concerned with the many connections, disruptions, and migrations between Eastern and Western civilizations. His fourth novel, The Satanic Verses (1988), was the subject of a major controversy, provoking protests from Muslims in several countries. Death threats were made against him, including a fatwā calling for his assassination issued by Ayatollah Ruhollah Khomeini, the Supreme Leader of Iran, on 14 February 1989. The British government put Rushdie under police protection. In 1983 Rushdie was elected a fellow of the Royal Society of Literature, the UK's senior literary organisation. He was appointed Commandeur de l'Ordre des Arts et des Lettres of France in January 1999. In June 2007, Queen Elizabeth II knighted him for his services to literature. In 2008, The Times ranked him thirteenth on its list of the 50 greatest British writers since 1945.Since 2000, Rushdie has lived in the United States. He was named Distinguished Writer in Residence at the Arthur L. Carter Journalism Institute of New York University in 2015. Earlier, he taught at Emory University. He was elected to the American Academy of Arts and Letters. In 2012, he published Joseph Anton: A Memoir, an account of his life in the wake of the controversy over The Satanic Verses.
Mohanlal Viswanathan, universally known as Mohanlal, is a seminal figure in Indian cinema. Born on May 21, 1960, in Kerala, India, he nurtured an early passion for acting that would quickly evolve into an illustrious career spanning over four decades. A versatile performer, Mohanlal has collaborated with filmmakers across different genres and generations, injecting his unique essence into each role. His cinematic journey began in 1980 when he made his debut in the Malayalam film Manjil Virinja Pookkal. Since then, Mohanlal has acted in more than 300 films, primarily in Malayalam, but also in other languages like Hindi, Tamil, and Telugu. His transformative performances have been consistently recognized at both national and international levels. He has received multiple National Film Awards in India, along with an honorary Padma Shri and Padma Bhushan from the government for his contributions to Indian cinema. More than just an actor, Mohanlal has also proven his mettle as a producer and playback singer, further demonstrating his multi-faceted talent. He was bestowed with the title of Lieutenant Colonel in the Territorial Army of India, becoming the first actor to be awarded such an honor. Yet, despite his many accomplishments, Mohanlal remains a humble and dedicated artist, revered by many but only truly known by few.
Kader Khan was an illustrious figure in the Indian film industry, known for being as an actor, screenwriter, comedian, and director. Born on October 22, 1937, in Kabul, Afghanistan, he moved to Mumbai, India, during his early childhood. His humble beginnings saw him working as a professor of civil engineering at M.H. Saboo Siddik College of Engineering before fate led him to the world of cinema. Khan's cinematic journey commenced in 1971 with his debut in the film Daag, marking the beginning of a career that spanned over three decades. He demonstrated his versatility by effortlessly switching between roles, from villainous characters to comedic roles, earning him critical acclaim. His exceptional contribution to Indian cinema comprised over 300 films, with notable performances in Amar Akbar Anthony, Muqaddar Ka Sikandar, and Coolie. Moreover, his talent was not confined to acting alone; he penned dialogues for more than 250 movies, showcasing his flair for writing. Despite his successful film career, Kader Khan didn't shy away from his commitment to education. He established an acting school named Kader Khan's Academy of Cinema in Dubai, aiming to nurture young talents. His dedication to both cinema and education contributed significantly to his legacy. Khan passed away on December 31, 2018, leaving behind a rich body of work that continues to inspire generations of actors and writers.
Kamal Haasan, a name synonymous with the Indian film industry, was born on November 7, 1954, in Paramakudi, Tamil Nadu, India. His journey in cinema began at an early age of six with the film Kalathur Kannamma, for which he received the President's Gold Medal. Haasan's versatility and dedication to his craft have seen him excel in various roles as an actor, director, producer, and playback singer. His notable performances span across five different languages - Tamil, Telugu, Malayalam, Kannada, and Hindi, marking him as a truly pan-Indian artist. Haasan is known for his pioneering efforts in pushing the boundaries of Indian cinema. His commitment to realism and strong social narratives have been a constant throughout his career. Films like Nayakan, Indian, and Anbe Sivam have not only garnered critical acclaim but have also made a significant impact on society. These films are celebrated for their nuanced storytelling, complex characters, and Haasan's riveting performances. His directorial ventures, such as Hey Ram and Virumaandi, are equally lauded for their innovative storytelling and technical brilliance. Throughout his illustrious career, Haasan has been honored with numerous awards and recognitions. He has four National Film Awards to his credit and has been nominated for the prestigious Filmfare Awards 19 times, out of which he won 16. In 1990, he was awarded the Padma Shri and later the Padma Bhushan in 2014 by the Government of India for his contributions to Indian Cinema. Kamal Haasan's life and work serve as an inspiration, encapsulating the spirit of artistry, innovation, and relentless pursuit of excellence.
Ilaiyaraaja (born Gnanathesikan; 2 June 1943) is an Indian film composer, singer, songwriter, instrumentalist, orchestrator, conductor-arranger and lyricist who works in the Indian Film Industry, predominantly in Tamil. Widely regarded as one of the greatest Indian music composers, he is credited for introducing western musical sensibilities in the Indian musical mainstream. Reputed to be the world's most prolific composer, he has composed over 7000 songs, provided film scores for more than 1000 movies and performed in more than 20,000 concerts. Being the first Asian to compose a full symphony with the Royal Philharmonic Orchestra in London, Ilaiyaraaja is known to have written the entire symphony in less than a month. He is also a gold medalist in classical guitar from Trinity College of Music, London, Distance Learning Channel. In a poll conducted by CNN-IBN celebrating 100 years of Indian cinema in 2013, Ilaiyaraaja was voted as the all-time greatest film-music director of India. US-based world cinema portal "Taste of Cinema" placed Ilaiyaraaja at the 9th position in its list of 25 greatest film composers in the history of cinema and he is the only Indian composer in that list.Ilaiyaraaja is known for integrating Indian folk music and traditional Indian instrumentation with western classical music techniques. His scores are often performed by the Budapest Symphony Orchestra. He is a recipient of five Indian National Film Awards – three for Best Music Direction and two for Best Background Score. In 2010, he was awarded the Padma Bhushan, the third-highest civilian honour in India and the Padma Vibhushan in 2018, the second-highest civilian award by the government of India. In 2012, he received the Sangeet Natak Akademi Award, the highest Indian recognition given to practising artists, for his creative and experimental works in the music field.In 2003, according to an international poll conducted by BBC, more than half-a million people from 165 countries voted his composition Rakkamma Kaiya Thattu from the 1991 film Thalapathi as the fourth in the world's top 10 most popular songs of all time. According to Achille Forler, board member of the Indian Performing Right Society, the kind of stellar body of work that Ilaiyaraaja has created in the last 40 years should have placed him among the world's Top 10 richest composers, somewhere between Andrew Lloyd Webber ($1.2 billion) and Mick Jagger (over $300 million).Ilaiyaraaja is nicknamed Isaignani (The musical genius in English) and often referred as Maestro, the prestigious title conferred by the Royal Philharmonic Orchestra, London. The critically acclaimed Thiruvasagam (2006) is the first Indian oratorio composed by Ilaiyaraaja. Winner of numerous accolades, one of his compositions was part of the playlist for the opening ceremony of the 2012 London Olympics, directed by acclaimed Oscar-winning filmmaker Danny Boyle of Slumdog Millionaire fame.
|
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| 66
|
https://www.tiktok.com/%40vkrecordingstudio/video/7373701090782612741
|
en
|
Make Your Day
|
[] |
[] |
[] |
[
""
] | null |
[] | null |
en
| null | ||||||||
15558
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yago
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| 5
|
https://en.wikipedia.org/wiki/Dance_of_the_Wind
|
en
|
Dance of the Wind
|
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2008-02-25T13:15:08+00:00
|
en
|
/static/apple-touch/wikipedia.png
|
https://en.wikipedia.org/wiki/Dance_of_the_Wind
|
Swara MandalDirected byRajan KhosaWritten byRobin Mukherjee
Rajan KhosaStory byRajan KhosaProduced byKarl Baumgartner,[1] NFDC, Elephant EyeStarringKitu Gidwani
Bhaveen GosainCinematographyPiyush ShahEdited byEmma MatthewsMusic byShubha Mudgal
Release dates
Running time
85 minutesCountryIndiaLanguagesHindi
English
Swara Mandal or Dance of the Wind is a 1997 Hindi[2] drama, film co-written and directed by Rajan Khosa. It was his feature film debut. It starred Kitu Gidwani and Bhaveen Gosain in lead roles. The film was a co-production between five countries, including UK, Germany and India.[3]
Synopsis
[edit]
Pallavi (Kitu Gidwani), a budding Indian classical singer, is the daughter and student of celebrated classical singer, Karuna Devi (Kapila Vatsyayan). While she was still gaining her confidence, her mother dies suddenly; due this shock Pallavi loses not just her bearings, but also her voice. Subsequently, she also loses her career, her students, and her husband (Bhaveen Gosain).[4]
It is only after she meets a young street urchin, Tara (Roshan Bano) and start teaching her, following the guru-shishya parampara (Master-student tradition) of Indian classical music, as her mother once did with her, does she begin to finds herself again, and also her voice.[5]
Cast
[edit]
Kitu Gidwani as Pallavi Sehgal
Bhaveen Gossain as Ranmal
B.C. Sanyal as Munir Baba
Roshan Bano as Tara
Kapila Vatsyayan as Karuna Devi
Vinod Nagpal as Mr Thakkar
Punarnava Mehta as Shabda
Ami Arora as Janaki
Bhunvar Lal as Trader at the Market
Ibrahim Ahmed as Monkey Man
Soundtrack
[edit]
Noted Hindustani classical singer, Shubha Mudgal composed the music, while playback was given by 'Shweta Jhaveri', Shanti Hirannand, and Brinda Roy Choudhuri. Other noted artists, who worked on soundtrack were, Sarangi performer, Ustad Sultan Khan, and noted flautist, Ronu Majumdar, and the film went on to win the 'Gold Plaque for Music' at the 1998 Chicago International Film Festival.[6]
Reception
[edit]
The film was premiered at the Critics' Week, at 1997 Venice Film Festival,[2] and became India's official entry at the Karlovy Vary International Film Festival, Melbourne International Film Festival, Jerusalem Film Festival and International Film Festival of India (IFFI) in 1998. The film went on to win several national and international awards in the following years,[7] as it was theatrically released in twenty five countries in 1998-2001 [3][8] However, it was commercially released in India, only in February 2008.[9]
Channel 4 reviewed the film as, "A celebration of the classical singing tradition set in contemporary New Delhi, Rajan Khosa's film captures the beauty of ancient Indian music and the culture from which it emanates."[10]
Awards
[edit]
1997: London Film Festival: Audience Award
1997: Festival of Three Continents: Audience Award.
1997: Festival of Three Continents: Best Actress: Kitu Gidwani[2]
1998: Chicago International Film Festival: Gold Plaque, Best Music: Rajan Khosa
1998: International Film Festival Rotterdam: Netpac Award [11]
1998: British Asian Film Festival: Best Director: Rajan Khosa[2]
References
[edit]
|
||||||
15558
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https://miff.com.au/festival-archive/films/21597/dance-of-the-wind
|
en
|
MIFF Film Archive
|
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|
MIFF 2024
|
https://miff.com.au/festival-archive/films
|
Voted audience favourite at both the London and Nantes Film Festivals, Rajan Khosa's magnificent debut, Dance of the Wind, probes the dynamics of the Indian oral tradition. Pallavi, a successful singer of classical Hindi music, observes with immense concern and distress as her aging mother and mentor, Karuna Devi, approaches the end of her life. A legendary performer in her time, with voice skills far superior to her daughter, Karuna Devi's imminent death is presaged by the appearance of an impoverished old man and a small girl, Tara.
Grief at the death of her mother and the ensuing emotional turmoil results in Pallavi losing her voice. Subsequently her career stalls, she loses her own students, alienates her stoic husband and falls into confusion. Searching for Tara, who announced her mother's death, Pallavi encounters her mother's guru, Munir Baba, and commences a quest to regain her talents and set her life in order once more.
"For my first feature film I was bent upon pushing the boundaries of cinema; while using sparse dialogue I tried to touch silence and the beauty of pure music. It was in my search for a cinematographic narrative, instead of a literary one, that I stuck to this approach. Also I decided to use a large number of non-professional actors to retain the authenticity of Indian culture and milieu. Like the singer, for me too it was an attempt at searching for my own voice. " - Rajan Khosa
|
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https://www.thehindu.com/news/cities/Delhi/lending-voice-to-the-overlooked/article2963107.ece
|
en
|
Lending voice to the overlooked...
|
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[] |
[] |
[
"deprived street children"
] | null |
[
"Madhur Tankha"
] |
2012-03-05T07:32:18+00:00
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Delhi News:Lending voice to the overlooked...
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en
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https://www.thehindu.com/favicon.ico
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The Hindu
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https://www.thehindu.com/news/cities/Delhi/lending-voice-to-the-overlooked/article2963107.ece
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Having made ‘ Gattu' on the plight of deprived street children, director Rajan Khosa talks to Madhur Tankha about his journey from filming to promoting it.
In the genre of I am Kalam , another feature film will now seek to raise awareness about education of underprivileged children. Film-maker Rajan Khosa's Gattu is about a street child who in his quest to fulfil his dream realises the significance of education.
Like I am Kalam , the film is travelling to international film festivals before its release in the country.
“Films like ours have to first make a name for themselves at international film festivals. Thankfully, Gattu was able to woo the audience at the recently held 62 Berlin Film Festival and got a special mention because all its shows were sold out. Our protagonist was fondly described as an endearing little rascal at the festival,” says Rajan, an alumnus of Film and Television Institute of India and Royal College of Art (London).
Two years ago, Children's Film Society, India, chairperson Nandita Das approached the film-maker to make a sensitive film on education, particularly the need for underprivileged children to become literate.
“So I worked on the script along with four writers for a year. We then presented the script to Nandita, who apart from being a talented actor is also a sensitive director ( Firaaq ). She went through the script and incorporated some changes. So CFSI is producing this film. We were clear that the film has to motivate children living on streets about the importance of education. Ideally, we would like philanthropists to provide funds for their education. But we have conveyed the message in a subtle way,” says Rajan.
Since Rajan's co-writer Ankur Tiwari hails from Roorkee, he recommended the city saying it would be an ideal venue for shooting.
Visiting Roorkee was an unbelievable experience for Rajan. The city resembles the Walled City of Delhi where he grew up. “The people were friendly and the atmosphere was contagious. When the locals came to know that our film was being made for a noble cause, they in their large-heartedness volunteered to vacate their homes. Some even sent their children to act in the film. Since we wanted to retain the local flavour, we took child actors and the local people.”
The movie stars Mohammad Samad as Gattu, a little street urchin. He was selected only after umpteen auditions and workshops. Naresh Kumar is playing the role of Anees Bhai and Sandesh Shandilya has composed the music.
Gattu will take film buffs to a town where children and grown-ups are equally obsessed with kite-flying. The airspace is dominated by a black kite called Kali with mysterious origins. “Gattu is keen to emerge a winner against Kali but he fails. Not the one to give up, he discovers that the local school has a roof that will give him a vantage point. Impersonating as a student, Gattu sneaks into the school but has to rely on his street-smartness to survive. The only problem is that Gattu is unlettered. Instead of quitting, the little boy takes up the challenge of emerging victorious against Kali. Slowly but gradually, he realises the significance of education.”
The character of Gattu has been played by Samad Mohammad, who is a natural kite flyer. “In almost every small town in the country, you see street kids, selling trinkets, playing pranks and begging. You either ignore them or dole out a coin or two but they are far too smart to be wasted like this. So in Gattu , we deliberately chose a small town,” adds Rajan.
The film belongs to the community of Sati Mohallah in Roorkee where Rajan shot mostly with local actors barring a few theatre artistes. “We scanned the streets and schools for child actors, inviting them to join our film workshop. The film also talks about Hindu-Muslim unity and captures the environment around the Sati Mohallah which is inhabited predominantly by Muslims. We told the locals that the film will communicate the need to educate street children and they were enthusiastic about it. We plan to release the film across the country towards the end of April.”
Rajan came into the limelight when he wrote and directed Dance of the Wind which captured the beauty of ancient Indian music and dance. He had in the cast the learned and articulate scholar of Indian dance Kapila Vatsyayan and the music was provided by Hindustani classical singer Shubha Mudgal. “I was able to convince Kapilaji to do the film because I knew her since my childhood days. She played mother to Kitu Gidwani, who did the part of an Indian classical singer, whose career comes to an abrupt end after her mother expires. The singer, who studied under the guidance of her mother, also loses her voice and career.”
The prize-winning film was acclaimed at various international film festivals but was not a commercially viable project in the country.
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https://www.firstpost.com/entertainment/remembering-suresh-jindal-the-film-producer-who-left-cinema-to-pursue-a-spiritual-path-11714631.html
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en
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Remembering Suresh Jindal, the film producer who left cinema to pursue a spiritual path
|
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[
"Gandhi",
"BuzzPatrol",
"Buzz Patrol",
"Shatranj Ke Khilari",
"Suresh Jindal",
"Rajnigandha"
] | null |
[
"Chintan Girish Modi"
] |
2022-11-29T10:22:25+05:30
|
Suresh Jindal, who produced films directed by Basu Chatterjee, Satyajit Ray, Sai Paranjpye, Rajan Khosa, Mani Kaul and Kyentse Norbu, was a luminous personality who gave up cinema for his spiritual calling. He made a brief return to cinema as an act of service towards his guru.
|
en
|
https://images.firstpost.com/dlxczavtqcctuei/news18/static/images/fp/favicon.ico
|
Firstpost
|
https://www.firstpost.com/entertainment/remembering-suresh-jindal-the-film-producer-who-left-cinema-to-pursue-a-spiritual-path-11714631.html
|
Film producer Suresh Jindal , who passed away at the age of 80 in New Delhi on November 24, will be remembered for his stellar contributions to Indian cinema and world cinema. This Punjabi man, who studied electrical engineering at the University of California, Los Angeles (UCLA) and went on to work as an engineer in Californiaâs aerospace and electronics industry for four years, has been associated with some of the most memorable films ever made.
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Jindal produced Basu Chatterjeeâs film Rajnigandha (1974) starring Amol Palekar , Vidya Sinha, and Dinesh Thakur. This love triangle is adapted from Mannu Bhandariâs short story Yahi Sach Hai. He also produced Satyajit Ray âs film Shatranj Ke Khilari (1977), based on a short story with the same title written by Premchand. It happens to be Rayâs first Hindi film. Set in Awadh in 1856, it has Amjad Khan, Sanjeev Kumar, Shabana Azmi, and Saeed Jaffrey in the star cast.
Jindal has left behind a rich and insightful documentation of the process that went into making this film. His book My Adventures with Satyajit Ray: The Making of Shatranj Ke Khilari (2017), published by HarperCollins India, is a must-read for cinephiles and film scholars who are curious about Rayâs first non-Bengali film that is best known for Khanâs flamboyant portrayal of Mirza Wajid Ali Shah â a man that Ray despised for his debauchery. Khan was lucky to get this role of a lifetime soon after playing the dreaded dacoit Gabbar Singh in Ramesh Sippyâs Sholay (1975).
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The book places on record how Jindal met Ray when the latter was 57 and the former was just about to turn 33. Jindal writes, âI was 5â6â tall and he was 6â2â, a veritable giant by Indian standards I was from a well-to-do, non-intellectual, conservative, vegetarian Jain-Bania family from Punjabâ¦Ray was from a distinguished family of Bengal â half a continent away from my home â that was aristocratic, highly accomplished both academically and artistically and progressive.â While Jindal looked up to Ray, working together also had its share of hurt and disappointment. The book features letters exchanged between the producer and the director.
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Tinnu Anand, who worked with Ray as an assistant director on films such as Goopy Gyne Bagha Byne (1969), Aranyer Dir Ratri (1970), and Pratidwandi (1970), introduced Jindal to Ray. When Jindal went to meet Ray for the first time, he thought that Rayâs study âlooked like a combination of a Renaissance atelier and an alchemistâs labâ. Jindal was mesmerized by this work space. He happened to be at the right place at the right time because Ray was thinking of making a Hindi film. He warned Jindal that it would be âat least four or five times more expensiveâ than his Bengali films, and said, âYou may not want to spend so much on my first Hindi film.â
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When Jindal made a request for an English translation of Premchandâs story, Ray told him that he had one published by the United Nations Educational, Scientific and Cultural Organization (UNESCO) but would share it only if Jindal promised to return the copy after reading it. Jindal soon learnt that they had slightly different ways of working. In fact, later when Jindal gave Ray an envelope containing âa signing amountâ as per the conventions of the Bombay film industry, Ray said, âNo, I donât work that way. And if we are to work together, you will have to work my way. First, I will write a draft of the screenplay, and if it is satisfactory, we can discuss money.â
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As a student in the United States of America, Jindal had watched Rayâs films and hoped to meet him someday. He had no clue that they would work together in the near future. Jindal was in sheer awe of the genius who âwrote his original scripts in traditional clothbound notebooks called khatasâ¦they were more like a research scientistâs lab notes than ordinary scriptsâ¦he would draw the frames of the shots on the left-hand side and write the dialogues on the right.â
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While Shatranj Ke Khilari did not taste the kind of commercial success that Rajnigandha enjoyed, it played an important role in ensuring that Jindal got associated with director Richard Attenboroughâs film Gandhi (1982) as an associate producer. Attenborough acted in Shatranj Ke Khilari before he produced the award-winning Gandhi starring Ben Kingsley. Rohini Hattangadi, Roshan Seth, Alyque Padamsee, Amrish Puri , Supriya Pathak, and many other wonderful actors. While many films have been made about the life of M. K. Gandhi, this one remains unsurpassed.
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After this, Jindal produced Sai Paranjpyeâs film Katha (1983) depicting life in a Mumbai chawl. Based on S. G. Sathyeâs play Sasa Aani Kasav, it has Deepti Naval, Farooq Sheikh and Naseeruddin Shah in the star cast. Jindalâs trajectory of working on films that drew inspiration from literary texts continued with Sturla Gunnarssonâs film Such A Long Journey (1998) based on Rohinton Mistryâs novel with the same title that explores the life of a Parsi family in 1971 under the leadership of Prime Minister Indira Gandhi. Jindal co-produced this film that managed a casting coup â Roshan Seth, Om Puri, Soni Razdan, Naseeruddin Shah and Irrfan Khan.
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Jindal was a supervising producer of the film Dance of the Wind (1997) directed by Rajan Khosa and with Kitu Gidwani and Kapila Vatsyayan playing key roles. It revolves around the travails of a classical singer who loses her voice when her mother, who is also her guru, dies. Shubha Mudgal composed the music for this film. Later, Jindal worked as an executive producer on Naukar Ki Kameez (1999) directed by Mani Kaul. Adapted from Vinod Kumar Shuklaâs novel with the same title, it features Pankaj Sudhir Mishra, Anu Joseph and Om Prakash Dwivedi.
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It is worth noting that Jindalâs films won National Awards in India and Oscars on the international stage. He served as the Vice President of the Indian Motion Picture Producers Association and a member of the Academic Council of the Film and Television Institute of India. He was honoured as Chevalier des Ordre des Arts et des Lettres by the Government of France.
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Jindalâs work in cinema reduced considerably after spiritual practice became the mainstay of his life. He became a student of Dzongsar Jamyang Khyentse Rinpoche aka Khyentse Norbu in 2004, and later an advisor to the board of the Khyentse Foundation. However, he encountered Buddhism much earlier when he spent a year studying at the University of California, Berkeley.
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In his book on Ray, Jindal also recalls his own life in the US in the 1960s. He was exposed to âthe headiest experiences of the 21st centuryâ which included âthe space race to the moon, the computer explosion, freedom rides against segreation in the south, flower power, psychedelic drugs, love-ins, environmental protection, gay liberation, hippiesâ and the anti-Vietnam War protests by pacifists. Zen Buddhism was becoming popular in the US around this time.
In an interview with Noa Jones for the Buddhist quarterly Tricycle in 2011, Jindal spoke at length about encountering Buddhism in the US thanks to teachers like D. T. Suzuki and Alan Watts. He took refuge in the Buddha, Dharma and Sangha with the Dalai Lama in Dharamsala soon after he was hired by industrialist B.K. Modi in 1994 to work on a film about the life of Gautama Buddha. In the interview with Jones, Jindal shared, âThe first real teaching I went to was âMind Training Like the Rays of the Sunâ in 1998, and I decided from there that this is serious businessâ¦For 10 years, I went to every teaching of His Holiness (the Dalai Lama) except four, all over India. I was fed up with the film business; the career was okay, but I was tired of it.â
Jindal made a brief return to films when his guru Dzongsar Khyentse Jamyang Rinpoche aka Khyentse Norbu â who is also a film director â asked him to be the executive producer for Vara: A Blessing (2013). This film about forbidden love â with actors Shahana Goswami, Devesh Ranjan, Swaroopa Ghosh, Mohamed Adamaly and others â is based on Sunil Gangopadhyayâs short story Rakta Aar Kanna. Working on this film was different from his previous experiences because it was not only a creative project but also an act of service towards his beloved teacher.
Chintan Girish Modi is a writer, journalist and educator who tweets @chintanwriting
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FamousFix.com
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[] | null |
https://static.famousfix.com/img/ff/favicon.ico
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FamousFix.com
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https://www.famousfix.com/topic/rajan-khosa-3943464
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Rajan Khosa is known for his role in the TV series Selfie with Bajrangi (2017) as (342 episodes, 2017-2021).
He is also known for his role in the film Rang Rasiya (2008) as Main Bidder 1.
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https://dghosh269.com/tag/indian-hindi-cinema/
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Indian (Hindi) CINEMA – debarshithecinemaniac
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[
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[
"Author debarshicinemaniac"
] |
2018-08-18T20:55:43+00:00
|
Posts about Indian (Hindi) CINEMA written by debarshicinemaniac
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en
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https://secure.gravatar.com/blavatar/a1354a092bee63654416a0f7423d3bed4522d68f6d78fba346416137865616e2?s=32
|
debarshithecinemaniac
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https://dghosh269.com/tag/indian-hindi-cinema/
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Perhaps my most favourite Gulzar film is Namkeen. It is a very simple story actually. A mother and her three sisters are caught in the simple troubles of life. These are poor people and their daily concern is winning bread. The oldest daughter Nimki (Sharmila Tagore) takes care of the most household activities . Voiceless Mitthu (Shabana Azmi) expresses her words in poetry while their mother Jyoti (Waheeda Rehman) is at work all day. Gerulal (Sanjeev Kumar) brings a pleasant change to their lives. Or does he? It has a lyrical feel to it and the landscape (Darjeeling of 80s) is breathtaking. The way Gulzar uses nature to depict the complexities of relationships is extraordinary. The story is simple yet the nature of relationships are not. Gerulal loved Nimki while Mitthu loved Gerulal yet there is no sibling rivalry between them to get their desired man. Well, the film is not without it’s flaws. They were missing a male figure in their family. Gerulal fulfilled that position. In a way,it is implied that women need a better male figure in their lives. However the positive aspects (nuances of relationships,psychology of female characters) overshadow the flaws. And if one pays more attention, there is a spiritual angle as well. Sanjeev Kumar never needed to act. He just became the characters he played. Namkeen is no exception either. Even in a female-dominated film ,his performance scores over others. Sharmila always did well in Gulzar’s films. As expected, Waheeda and Shabana don’t disappoint in their roles. But most importantly, it is the touch of Gulzar which makes this film so special to me. The song “Phir se aiyo badra bidesi” where Mithu romances the mists of Darjeeling is so dreamlike and misty it moves us into a world where pain, anger, frustration and bitterness take a backseat. The song “Raah Pe Rahte Hai” aptly captures the pain and anguish of the lead character Gerulal when he leaves the village.
Pallavi (Kitu Gidwani) , a successful classical singer trains with her mother to carry forward the Hindustani musical tradition. She is good but not as much skilled as her mother is. Her mother Karuna took training from an old man. He never performed on stage but used to give lessons to his students. When Karuna started to perform on stage , he cut off all contacts with her. He detested glamour world. The trauma of Karuna’s death, announced by the appearance of the old man and a little girl, causes Pallavi’s voice to disappear. Slowly her relationship with her husband (Bhaveen Gosain) becomes strained. She slowly loses her students and her career takes a backseat. Retreating into solitude, she finds the little girl Tara (Roshan Bano) again. Much of the music was composed by Shubha Mudgal, a classical singer who studied in the guru-disciple tradition. Director Rajan Khosa used music in crucial points to capture the essence and mood of the film. The film is spiritual but it is extremely honest in it’s approach. In other words,it located in Indian culture. Khosa didn’t opt for any dishonest trick to make it global.
Yet, it has an universal appeal. He is aided by fine technical work all around, from Piyush Shah’s soft-hued lensing to Amardeep Behl’s quietly refined production design. I always liked to watch KItu Gidwani. She has been an extremely talented actress. Instinct affects her acting more than anything else. Bhaveen Gosain is known in theatre circuits. He just did this film only. Here, he gives a very convincing performance as a caring husband. Vinod Nagpal shines in a very short role.
In 70s and 80s, plenty of Indian directors made social-realistic films. Some of the notable directors were Shyam Benegal, Govind nihalani, Nabyendu chatterjee and Utpalendu Chakraborty. Utpalendu Chakrabarty made very few films in his career. His last film was 25 years ago. Even then, not all of his films are available. But if one watches Chokh and Debshishu , he/she will be convinced about his great skills and mastery over the medium. In the opening scene, we see a middle-aged guy announcing arrival of a debshishu (child god) in a remote village. The child god fulfils wishes of people. A couple Raghubir and Seeta (Sadhu Meher and Smita patil) arrive at the village with their only child. They have lost everything in flood. Seeta comes to stay at her brother’s house for few days. However,brother’s wife (Rohini Hattagandi) turns out to be very cruel and insensitive towards them. Still, they manage to get a room in their house. Raghubir realises that he can’t stay here for long. Soon,he has to find a job and a house of his own. One day, while going to market, he hears about debshishu (child-god). He visits there hoping that his wishes will be fulfilled. There he sees a magician (Om Puri). He remembers him showing magic in his village. When Raghubir and Seeta’s deformed bay was born, he went to his house to ask for help. The villagers warned Raghubir that if his baby is not killed,they will force them to leave the village. According to them, the baby will bring bad luck to the village. The magician told him to sell the baby to them and he will compensate it by giving good money in return. Raghubir follows his order. Raghubir realises that the child god is his deformed baby.
Let me tell you, this film is much different in content and form than other good social-realist films belonging to that particular period. Caste system,poverty,religion all are mixed here in a bizarre (important word) manner. While i do like most social-realist films of that period,very few of them did display the complexity of oppression. It isn’t just limited to landlords or wealthy ,powerful people oppressing others. The reality is bizarre and that is what this film is. The film highlighted how gods are born and how the poor people are forced to believe on its existence more. Sadhu Meher has been exceptional. Smita Patil and Om Puri are dependable. Utpalendu was a gem of a director and to me one of the most important ones along With Shyam Benegal and Govind Nihalani. He used two flashbacks in the film. One of them was done in black and white to capture image of the rain more realistically. Another one was in colour when Sadhu Meher will visit Om Puri’s house.
Nashu (Dilip Kumar) is an idealist young man who works for a small newspaper run by Ghosh babu. He lives with his brother Bani (Romesh Thapar) and sister-in-law Meena (Achla Sachdev). Nashu loves Mala (Meena Kumari) who lives nearby his house. Times change and slowly it becomes difficult for Nashu to sustain his living by working in that small newspaper. Though his brother Bani cares for him, his sister-in-law does not. In the home, he had to bear a lot of humiliation from her. Out of desperation, he enters the world of black-marketing. From here, the story takes a dramatic twist. He becomes the most trusted associate of Ram Babu (Anwar Hussain). Being aware of this, Mala maintains a safe distance from him. At the same time, his elder brother suffers from poverty. His comfort-loving wife Meena deserts him. The entire film looks into the psyche of a man who failed to earn money by honest means.
The problem with the film is that it does make the point by repeating it often. On the positive side, the film gives a glimpse of the black-market world. Also, the mood of the film is extremely dark. This mood wasn’t common in Hindi films back then. Director Zia Sarhadi showed a lot of promise and eye for detail. The sequences shot indoors as well as in the black-marketing den shot in natural light by N. Raiaram are really convincing. However, keeping with the trend during that period, the villains look unconvincing. On the whole, the music score of the film leaves a lot more to be desired, considering that the film carries the Khayyam stamp. However, the film boasts of one of the most memorable Talat Mehmood songs “Shaam-e-Gham Ki Kasam”.It is clear that Zia Sarhadi was heavily influenced by neo-realism. Dilip Kumar does well in the lead role. Low pitched modulated dialogue delivery and great use of right arm were his acting hallmarks. However, at times, his low pitched delivery looks unconvincing. He did well but this is not among his best works. Meena kumari gives a very restrained performance. In this film, she is shown taking a bath. Such a scene was uncommon back then.
Newton (Rajkummar Rao) is sent off for election duty in a Naxal- heavy area. He is an honest and idealist person. But his idealism is his limitations as well. In Dandakaranya, he meets a sharp but little ill-tempered commander Aatma Singh (Pankaj Tripathi). From the moment, Newton and his fellow officers Loknath (Raghubir Yadav) and Shamboo land in the location, there is friction. A local booth-level officer Malko (Anjali Patil) joins them there. Newton is honest and he wants a fair election. But how does it matter when things won’t change? how does it matter when the locals don’t have a clear idea about the candidates?
When Newton tries to tell an officer how the entire day of voting didn’t make sense, Officer asks him “was there any instance of fake voting”? U will end up feeling for the character Newton but he is also guilty of such a situation. He is at-the-end ” by-the-book-idealist”. And here lies the brilliance of the script. In one scene, Malko (Anjali Patil) tells Newton ” The history of the jungle is older than the history of democracy”. Loknath (Raghubir Yadav) is an adjusting ever-practical public. He is also a writer. Aatma Singh (Pankaj Tripathi) tells Newton that no one cares about the election. He is only concerned about finishing the voting process early. I did like the slow-paced narrative in the first half. U will wait for something to happen but ultimately nothing happens. This isn’t a radical film as such. It makes a mockery of democracy, state, and the lead character but it refuses to take any stand. I did like the melodramatic approach at the ending. It was needed to make Newton look ridiculous. Rajkummar Rao is brilliant as the main protagonist of this film. It was good to see Raghubir Yadav getting a good role after a long time. I have always been his fan. He is such a natural actor. Anjali Patil was brilliant in the role of a local officer. But the best performer in the film is Pankaj Tripathi. Tripathi is such a brilliant actor that his mere presence brings a character alive on screen.
Hamraaz is a BR Films production and a fine example of the high entertainment value that characterizes BR Chopra’s films. Meena (Vimi) married a military officer Rajesh (Raj Kumar). Rajesh is sent to the China border and is declared killed. In the meantime, Meena’s father (Manmohan Krishnan) discovers that her daughter is pregnant. Fate is at play. Popular stage actor Kumar (Sunil Dutt) from Bombay visits Darjeeling. Kumar and Meena fall in love, get married and move to Bombay. After four years, Meena’s past returns to haunt her. Kumar gets suspicious as she begins to avoid him. During the turn of events, Meena gets killed and inspector Ashok (Balraj Sahni) suspects Kumar’s involvement. Saahir Ludhianvi has written five songs for this film and Ravi has composed music for them. I loved two songs, one of them is- “Tum Agar Saath Dene Ka Vaada Karo, Main Yun Hi Mast Naghme Lutaata Rahoon ” and the other one is “Na Munh Chhupa Ke Jiyo Aur Na Sar Jhuka Ke Jiyo”. All these five songs are over within the first hour of the film and immediately thereafter we find ourselves enveloped in a suspense thriller lasting till the end.
The white-shoes of the mysterious person whose identity is revealed just before the climax is something unforgettable for the viewers. The style is heavily influenced by classic Hollywood films but for a Hollywood lover like me, it’s a great experience. Here is a thriller where songs don’t impede the growth of suspense as the songs take the narrative forward, a quality we miss these days. I consider Sunil Dutt an average actor at best. But in this film, he gets most screen-time and he does justice to it. He was persuasive as an insecure husband. I guess male actors are capable of depicting insecure lovers more often than not. Raj Kumar’s stylized acting fits in this film. Balraj Sahni was excellent as inspector Ashok. Unfortunately, Vimi was the weakest link in that film. If u love thrillers with a touch of melodrama, u will enjoy it.
Some films want to buy classic status with massive budgets and crumple under the pressure of their own spectacle. Pakeezah is lavish in its treatment of a courtesan’s turbulent story, but its splendor fills the eye, stirs the senses. The story begins with the elopement of a tawaif, Nargis (Meena Kumari) with her lover, the Nawab Shahabuddin (Ashok Kumar). Shahabuddin takes Nargis to his household, where she is rejected by his honorable family. Nargis flees to a graveyard, where she spends the next 10 months of her life, giving birth to a daughter in the interim. Nargis dies in the graveyard, and her older sister Nawabjaan (Veena), on receiving this news, reaches there and takes the baby away. 17 years later Sahabuddin has received a letter written by Nargis on her deathbed. He comes to know about his daughter through this letter. Shahabuddin rushes to Nawabjaan’s Kotha and asks for his daughter Sahibjaan (Meena Kumari). A furious Nawabjaan tells him to come tomorrow morning. Nawabjaan takes her to some other place. They travel overnight by train and while both of them are asleep in their compartment, a fellow passenger climbs into their compartment by mistake. He is Salim (Raj Kumar). Enchanted by her feet, he leaves a note “Aap ke paon dekhe, bahut haseen hai. Inhe zameen par mat utariyega — maile ho jayenge”.
There is grandeur in Amrohi’s filmmaking – an epic magnitude of treatment. The evocative songs and the background music create the right period mood and Amrohi’s eye for details brings great depth to the lavish sets. The film’s main merit in spite of its flaws, its at times disjointed flow, its stock situations and an overextended plot, lies in its euphoric romanticism. Pakeezah is filled with symbols. There is, for instance, the oft-used symbol of the bird in a cage. Trains themselves form an important motif throughout the film. A train is where Sahibjaan’s and Salim’s paths first cross, and ever after, trains continue to haunt Sahibjaan. Kamal Amrohi uses actions, expressions, little details to convey far more than dialogues do, and often in much less time. The script is memorable in the hands of Meena, Ashok, Raaj Kumar, Veena etc to name a few. Personally, I was most impressed by the regal-looking Kamal Kapoor. Meena Kumari lives the tragedy of Nargis and Sahib Jaan like her own. Coupled, with a captivating screenplay is a beautiful musical score, enhanced by the protagonist displaying notable command of classical Indian dance (kathak).
I noticed that I had not reviewed a single film of Guru Dutt on my blog. In order to make amends, I decided to review one of his films. Kalu (Guru Dutt), a taxi driver who was sentenced to prison for speeding, is released two months before his term for good conduct. Wandering the streets, Kalu helps a young woman Nikki (Shyama) to fix her car. He gets a job at Nikki’s father’s garage and love blossoms between Nikki and him. When her father finds out, he kicks Kalu out. An encounter with the mysterious Captain results in a brand new job for Kalu. Captain is planning a Bank robbery and thinks Kalu would be useful in driving the car. Kalu joins with the captain’s gang which includes a dancer (Shakila) and a guy named Rustom (Johnny Walker). In Aar Paar, Guru Dutt took his talent for song picturization to several notches above the commonplace. Songs in his films often take place in locations occupied by the characters in his films. A fine example here is the romantic duet Sun Sun Sun Sun Zalima. The song is set in the stark and unromantic atmosphere of a garage with a car providing the center-piece but the way two lovers circle around each other within this space is a brilliant piece of choreography.
The other song whose picturisation deserves a special mention is- “babuji dheere chalna pyaar mein zara sambhalna” (Shakila’s great entry). Aar Paar was a significant turning point in the life of composer OP Nayyar who went on to become an extremely successful music director. Songs like Babuji Dheere Chalna, Yeh lo Main Hari Piya, Mohabbat Karlo, Ja Ja Ja Ja Bewafa, all sung brilliantly by Geeta Dutt, are remembered and hummed to this day. The plot of Aar Paar may now seem formulaic but scores in its treatment. The narrative flow is pacy and engaging, merging the elements of thrills, romance, action, and comedy rightly. Aar Paar is a noir film that is infused with humor. Dutt’s friend and collaborator, VK Murthy, was behind the camera as usual, and the Dutt-Murthy combination’s play with light and shade was nothing short of magical. Guru Dutt plays his part of the streetsmart driver with ease. Shyama was ok. Shakila is excellent as a femme fatale.
Raman Raghav was a psychopathic serial killer who operated in the city of Mumbai in the mid 1960s. His real name was Sindhi Dalwai. All the murders took place at night and were committed using a hard object. He also raped his sister before killing her. This film is not about him. The electrifying atmosphere at the night club that follows instantly takes the audiences in the trance for a gut wrenching, dark, intense thriller about a killer and a policeman that brings in different shades of evil and inhumanity. Nawaz, who plays the notorious serial-killer Raman, is inspired by the real-life serial-killer, Raman Raghav. The screenplay follows his exploits as he steers the bylanes, slums, and rundown apartments of Mumbai, piling on the bodies and indulging his dark fantasies. Vicky Kaushal (Raghav) plays the DCP of the Mumbai Police Force . Kaushal is as emotionally bare as Nawaz, with the only difference being that they emotional voids are targeted at the opposite spectrums of the law. He’s an addict to the core, and has no apologies about being one just like Nawaz has none about his murderous wrongdoings.
Raman calls himself Sindhi Dalwai and finds a partner in Raghav. Through eight chapters- Locked Man, The Sister, The Policeman, The Hunter, The Hunted, The Son, The Fallen and Soulmates – Kashyap builds his characters to a tall dark shadow that scares us out of our wits. Nowhere does the camera focus on a smashed, bloodied head yet the way with which Nawaz carries out each murder is gory and makes you want shut your eyes. The camera work is also crisp as it travels to murky bylanes of Mumbai with as much ease as it captures the city’s impressive skyline at night. Siddiqiui is appropriately creepy as Raman, a long scar running down his forehead, an unmistakable glitter in his eyes. While not as spine-chilling as his more counterpart, Kaushal holds up his end impressively. Both Ramanna and Raghav are also creatures bred and brought up in patriarchy, are victims of it ( Raghav’s submissive equation with his dad for instance) yet preserving its deep misogyny. Some sequences stand out. Ramanna holding his sister’s family hostage brings out his sick mind in an anxious way possible. Raman Raghav 2.0 is a taut thriller, full of energy and overflowing with tension.
Gumrah is a 1963 Hindi film produced and directed by B.R.Chopra. Meena (Mala Sinha) and Kamla (Nirupa Roy) are two daughters of a wealthy Nainital resident. Meena is in love with artist-singer Rajendra (Sunil Dutt). Things take a turn when Kamla and her two kids come to visit them from Bombay. Meena’s father (Nana Palsikar) suggests Meena marry her sister’s husband Barrister Ashok (Ashok Kumar) since a new woman might not take to the kids. Meena ultimately agrees to marry Ashok and then moves down with him to Bombay. All this happens without her even informing Rajendra. After some time, she meets Rajendra again, and this brings to a renewed relationship. Gumrah was one of the earliest hindi films which tackle the issue of extra-marital affair. B.R. Chopra’s Gumrah must have been perceived then as a bold and forward film of the times. But then again,some aspects of this film can be regarded as sexist. The film makes the point of the woman being the moral centre point of the family. It treats extra-marital affair as crime especially when it is done by women. Beside that ,the film is well-made. The music was composed by Ravi while the lyrics were by Sahir Ludhianvi. All the songs are hauntingly beautiful, ‘chalo ek baar phir se’, the beautiful arrangements and melodies in ‘aap aaye’ the haunting ‘aa bhi ja’ wonderful kiddies song ‘Ek thi Ladki and my favourite one ‘tujhko mera pyar pukare’ where we’re treated to lovely shots of Nainital. Gumrah is overall Mala Sinha’s show, and she is plain excellent in a demanding part which requires her to work a lot with her inner self. Ashok Kumar is competent in the role of the happy-go-lucky husband who is far more sophisticated than it seems to be. Sunil Dutt was strictly average as tormented lover. Gumrah is overall an enjoyable film. It could have been a great film if it was devoid of apparent sexism.
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https://www.thequint.com/entertainment/indian-cinema/sardari-begum-at-25-shyam-benegal-ode-to-thumri-the-disciple
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en
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Sardari Begum at 25: Benegal's Lyrical Ode to the Thumri Legend
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[
"sardari begum",
"sardari begum 25",
"the disciple",
"kirron kher",
"shyam benegal",
"thumri",
"chaitanya tamhane",
"aditya modak"
] | null |
[
"Arun A.K"
] |
2021-05-23T12:58:48+05:30
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For many people, Chaitanya Tamhane's The Disciple (2021) might be their first-ever experience with Hindustani (Indian) classical music in a feature film. Sardari Begum focuses more on the tumultuous personal life of its titular singer.
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en
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TheQuint
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https://www.thequint.com/entertainment/indian-cinema/sardari-begum-at-25-shyam-benegal-ode-to-thumri-the-disciple
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For many people, Chaitanya Tamhane's The Disciple (2021) might be their first-ever experience with Hindustani (Indian) classical music in a feature film. Even this has been possible owing to the Marathi film's global release on the biggest OTT platform, else, it could have also ended up as one of the many overlooked regional films.
Undoubtedly, there has been a lacuna in the authentic representation of pure classical music in Indian cinema, especially, since the turn of the century. But the previous century did witness sporadic bouts of films drenched in the traditions of our classical music. The most acclaimed ones among these are Mani Kaul's Dhrupad (1983) and Siddheshwari (1989), Kumar Shahini's Khayal Gatha (1989), and Shyam Benegal's Sardari Begum (1996).
Unlike the aforementioned films of Kaul and Shahini, Benegal's film, which turns 25 today, focuses more on the tumultuous personal life of its titular singer than diving deep into the intricacies of her thumri music. In that sense, it can be likened more to The Disciple which also explores its artist more than the art. Moreover, Tamhane's brilliant film seems to have taken some inspiration from Sardari Begum.
For instance, a pivotal scene in The Disciple shows a veteran journalist debunking the myths created around some revered classical singers. He reveals to the protagonist Sharad that Maai's (idolised by Sharad) overbearing nature damaged her daughter's career. Also, one highly-acclaimed singer initially used to be a mistress of a wealthy businessman. Both these references perhaps allude to Sardari Begum.
The National Award-winning Sardari Begum chronicles the life of its eponymous real-life thumri singer through several flashback sequences. It opens with the accidental death of Sardari (Kirron Kher) due to a rioting mob outside her house in Delhi. Tehzeeb Abbasi (Rajina Raj Bisaria), a young reporter, is assigned by her editor/lover to cover the story. On learning that Sardari was her father's estranged sister, Tehzeeb becomes curious to know more about her aunt.
Thus, she conducts a series of interviews with people who were associated with Sardari as they recount their experiences with the singer. Screenwriters Khalid Mohamed and Shama Zaidi unfold Sardari's story in Rashomon-style as the different characters flesh out her personality from their memories, thereby, building an enigma around her.
Sardari Begum was a woman of contradictions. While she constantly rebelled against the patriarchal attitude of men and lived life on her own terms, when it came to her daughter Sakina (played by Rajeshwari Sachdev in the film), Sardari exercised complete control over her life. She didn't allow Sakina to pursue education and also prevented her from having a romantic relationship or getting married. Without caring for Sakina's desires and ambitions, Sardari wanted Sakina to devote her life to music.
This led to a strained relationship between the two. Despite being flawed, Sardari was a golden-hearted woman. She was generous, affectionate, and always tried to help her brother and father monetarily even after being disowned by them for becoming the mistress of a landlord. Later, in her marriage too, Sardari let her husband handle her money matters while she focused solely on singing. She would regret it later as her husband swindled a lot of money.
They expected her to adhere to their notions of how a woman should lead her life. In Sardari Begum, Tehzeeb perfectly points out to her father (Sardari's brother) that society expects women to essay the 'bhumika' (role— an obedient girl to her parents, an ideal wife to her husband, and a sacrificing mother to her child.
If a woman tries to break free from these conventions and live differently, she gets condemned by the moral custodians of society. Even in her illegitimate relationship with the landlord Hemraj (Amrish Puri), Sardari never gained total freedom as she was restricted to performing only at his home and could never sing at concerts.
The narrative of Sardari Begum cannot be complete without highlighting the most famous aspect of Sardari's life - music. The deceased Vanraj Bhatia created some wonderful thumri compositions which were penned by Javed Akhtar and rendered by Arati Ankalikar-Tikekar, Asha Bhosle, and Shubha Joshi.
One of my favourite songs in the films is 'Raah Mein Bichhi Hai Palke', which is a 'jugalbandi' between the younger Sardari (Smriti Mishra) and her concubine guru Iddan Bai (Surekha Sikri). Years later, Sardari comes into her own and becomes one of the foremost exponents of thumri music. But without the tutelage of Iddan Bai, Sardari would not have gained mastery over her craft. It is this guru-shishya tradition, the bedrock of Indian classical music, that Sardari wished to pass on to her daughter.
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Dance of the wind = Wara Mandel | Rajan Khosa | 1997 | ACMI collection
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Pallavi is the daughter of a renowned Indian singer who is continuing in her mother’s footsteps as a classical singer, concert performer and teacher. Af..
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Pallavi is the daughter of a renowned Indian singer who is continuing in her mother’s footsteps as a classical singer, concert performer and teacher. After the death of her mother, she is saddened and loses her confidence and ability to perform. She develops a friendship with an elusive street urchin with a beautiful singing voice, and embarks on a journey of self-discovery and healing. An award winning film by Rajan Khosa which captures the beauty of Indian classical music. Cast includes Kitu Gidwani, Bhaveen Gosain and B.C. Sanyal. In Hindi and English with English subtitles.
Our collection comprises over 40,000 moving image works, acquired and catalogued between the 1940s and early 2000s. As a result, some items may reflect outdated, offensive and possibly harmful views and opinions. ACMI is working to identify and redress such usages.
Learn more about our collection and our collection policy here. If you come across harmful content on our website that you would like to report, let us know.
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Cite this work on Wikipedia
If you would like to cite this item, please use the following template: {{cite web |url=https://acmi.net.au/works/90024--dance-of-the-wind-wara-mandel/ |title=Dance of the wind = Wara Mandel |author=Australian Centre for the Moving Image |access-date=23 August 2024 |publisher=Australian Centre for the Moving Image}}
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A Message To Our Fans
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MY ESSAY HAS BEEN PUBLISHED BY THE QUIVER REVIEW.
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Read MY ESSAY HAS BEEN PUBLISHED BY THE QUIVER REVIEW. from the story A LETTERED SOUL, BOOK 2- MUSINGS ON ART AND CULTURE by MadMenWearingFedora (Prithvijeet)...
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TREASURE TROVE OF CLASSICAL MUSIC IN MODERN INDIAN CINEMA
BY PRITHVIJEET SINHA
PRITHVIJEET SINHA from Lucknow, India, is a post graduate in MPhil from the University of Lucknow, having launched his writing career by self publishing on the worldwide community Wattpad since 2015 and on his WordPress blog AN AWADH BOY'S PANORAMA besides having his works published in several varied publications as CAFE DISSENSUS, THE MEDLEY, SCREEN QUEENS, BORDERLESS JOURNAL, ASPIRING WRITERS' SOCIETY, LOTHLORIEN POETRY JOURNAL, CHAMBER MAGAZINE, LIVE WIRE, RHETORICA QUARTERLY, DREICH MAGAZINE, THE EKPHRASTIC REVIEW and in the children's anthology NURSERY RHYMES AND CHILDREN'S POEMS FROM AROUND THE WORLD ( AuthorsPress, February 2021)
His life force resides in writing.
***
Treasure Trove of Classical Music in Modern Indian Cinema
It all begins with our recent exposure to the stirring musical ambience revived by Chaitanya Tamhane's THE DISCIPLE. It is a cinematic work that has percolated to the cultural consciousness in its painstaking examination of artistic pursuit, making that timeless issue echo throughout the world. But above narrow definitions of any given category, it has liberated viewers to capture the essence of classical Indian music canon.
For this afficianado, the film was a point of reference to remind viewers and readers of the treasure trove of Indian filmmaking that has dabbled with classical music and dance to exemplary degrees. However, there's a clear pattern marking most of them. They are different from the mainstream, often relegated to being arthouse classics or left-field works boasting of commercially successful performers. It is a welcome parallel to the state of classical arts in general; it is hence not just a case of making the issue one of selective taste or classes alone.
Fact remains that classical music remains to be a huge part of our cultural understanding of the ancient gifts which we have miraculously preserved to this day and age. Indian cinema, a more dynamic and versatile entity than we give it credit for, has beautifully enabled that cultural revival through the decades.
Hence, the idea behind this rich treasure trove brings me to one of the most underrated works that pays tribute to the beauty of Indian classical singing like very few can.
DANCE OF THE WIND(1997), an international co-production, is a labour of love by its writer – director Rajan Khosa to his land and its people. In its prologue, he beautifully lays down its purpose of paying tribute to the ancient Guru – Shishya parampara ( teacher to disciple tradition) that has been constructively ingrained in Indian annals of recollection and exemplification. That is what makes the sentiment personal and relevant, at a cultural crossroad where those values are rapidly eroding and self- centered individualism has overtaken the counsel of elders and their overall wisdom per se.
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Shubha Mudgal
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I said ’I will’ to music much before I said it to anyone else. Kaveta’s note: Shubha Mudgal said to me during this interview that when she was young she would try to imitate Lata Mangeshkar’s voice…
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https://www.kavitachhibber.com/2014/05/19/shubha-mudgal/
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I said ’I will’ to music much before I said it to anyone else.
Kaveta’s note: Shubha Mudgal said to me during this interview that when she was young she would try to imitate Lata Mangeshkar’s voice and fail miserably. I can now confess that for the longest time I’ve tried to imitate Shubha Mudgal’s voice and failed equally miserably. I feel an uncanny kinship with her – from our fondness for literature, and for dogs (though hers are obviously much more musically inclined than mine, and either sang with her or made her sing) to our obsession for fountain pens.
I was also touched by her self-deprecating sense of humor, her ability to fearlessly speak her mind about things that she does not like but never without courtesy. Seeing artists like her and other women coming up in the creative arts, it’s heartening to see the kind of diverse work that is coming their way today.
From Sukanya Shankar to Sonu Nigam, I’ve only heard really wonderful things about Shubha ji’s humility, warmth and of her remaining untouched by fame. Hers is perhaps that rare website where she spends more time blogging about other singers, many who are up and coming or unknown, than about herself. Thanks to reading that blog, I was introduced to a very diverse range of music and musicians. But what has inspired me most about Shubha ji is how she remains so positive, and also deeply offers her immense gratitude for all the abundance that life has given her.
In this exclusive interview done a little before her trip to perform in what is going to be A MUST WATCH Jugal Bandi concert, hosted by the nonprofit organization SAMAA on 31st May in New York, with the equally amazing Bombay Jayashri, Shubha Mudgal talks about her musical journey, her life as an empowered woman, her involvement in social issues, and why gratitude is an integral part of her philosophy.
In a land where women are considered second rate citizens, you come from a family of very empowered women. How has that shaped you?
My grandmother was born in 1900 and was very progressive. She did not complete her degree but she was in the midst of doing a Master’s degree in Mathematics. She was highly educated, a working woman and very very fond of the arts. But when she told her father that she wanted to learn Hindustani music he said there was absolutely no chance of that because that was not the kind of music girls from respectable families studied. However, he did encourage her to learn the piano and western music. Though I never saw her play any instrument, I see her posing with several Indian instruments very proudly standing in her garden in our family album. My grandmother lost her husband who was a water color artist very early on, so she raised her three daughters as a single parent and worked all her life.
My parents were classmates and I always saw them treat each other as equals. Having been classmates there was a special companionship and camaraderie between them. So I did not grow up in a place where women had to be hidden or were not decision makers. I also saw my father respect the women he worked with. So I was very fortunate.
I also understand that it is really not so ideal everywhere in the world and certainly not so in India. I think India is so diverse that the status and stature of women is also quite diverse. There are areas where men and women really know how to respect each other and areas where women are the decision makers and live life on their own terms. And yet you could travel a few kilometers and find another household where it isn’t so.
I think fortunate women like me need to ensure that the women we interact with, we also treat them with respect and share our experiences with them without hoisting our independence or activism on them. I think the right thing will be to share our experiences and let them decide how they would want to negotiate their own way across society.
My mother Jaya was the oldest and my grandmother gave her and my aunts every opportunity to engage with the arts, to learn music and dance, to go to the theater. They lived in the hills and I remember my mother saying that the great Uday Shankar was making a center in the Almora Hills and my mother would keep trying to peer into their courtyard and see what was happening. She would watch their rehearsals from her home and so it was a vibrant atmosphere. But again when it came to deciding about a profession my grandmother didn’t feel that music would be an appropriate profession for my mother so she never became a professional musician. Both my parents were Professors of English Literature.
But then my mother gave my sister Ragini and me abundant opportunities to learn music, dance, to read poetry, and to really be involved with the creative arts. It was an unconditional encouragement but not the doting kind. We were encouraged to take part in all kinds of artistic activities but were never really asked to prove ourselves.
There was never a question of “When are you going to start performing? When are you going to be on radio?”
It was after I graduated from Allahabad University that my mother sat me down and said, “You need to take a decision whether or not you want to make a commitment to music because till now it has been a serious hobby.”
You learnt Kathak for many years and switched to vocal music at a relatively late age of 16. What made you switch?
When I was learning Kathak, as I got older, I realized I could hold a tune, had quite a fantastic oral memory and could memorize the songs quickly. My mom pointed that out to me and said, “You must learn vocal music if you really want to learn about Abhinaya (enactment). Look at Birju Maharaj ji. He sings and does Abhinaya.” Once I started learning music I was completely fascinated. I would also at times chafe at the dependence of the dancer on the extra aspects of the performance, the singer, the clothing, lighting and the need for an orchestra. Compared to that, singing seemed to be a much easier world. So I was just consumed by the idea of learning music.
Do you think Kathak training helped you as a musician?
Studying something like dance or any creative art definitely enriches you to a great extent and having studied Kathak under some very eminent people certainly impacted my music. I may not be able to place my finger on a particular aspect of my music and say this is what I learnt from dance, but there is no doubt about the fact that it enriched my understanding of music and continues to do so. Also today when we talk about being a performer in India, often it means you should be ready to do cartwheels on stage, with the mike in hand and sing alongside. I know I’ll cause quite an earthquake if I dance now… but dance has taught me the right posture, the way you take the stage, the way you gesticulate and that is very evident when I perform. We all borrow from dance movements but we can also learn how to treat rhythm and metric space in music from dance. Learning Kathak was a lovely period in my life.
It took some tough teachers – both human and canine – to get you to toe the line! I read about a Terrier who was quite a task master and you even have a Dalmatian who copies both your higher and lower octaves in sync.
Yes there are some very funny anecdotes but one that has left a lasting memory happened at a point in time when I had started learning music from Pandit Ramashreya Jha Ji in Allahabad. He would permit his students to come to his home every Sunday and you had to leave really early to be there on time because there were many senior musicians who would also come to learn from him.
If they got there before you, there was no chance of you getting a lesson from him. So my parents would wake me up at the crack of dawn and I, a typical teenager would sulk and say “Nooo, I don’t want to go!” But my father would drive me over to Pandit ji’s house. It was a humble home, there was not even a pucca (concrete) floor. And when we reached his home we could hear him practicing by himself
One of the things that he used to give me to learn were these very fast taans (a virtuoso technique used in the vocal performance of a raga in Hindustani classical music. It involves the singing of very rapid melodic passages using vowels). And you really had to work on them and I wouldn’t and then I would get a sound scolding. I would protest on the way back. I would tell my father, “I’m feeling so humiliated being scolded in front of everybody.” And my father would say, “But it was your fault. You didn’t prepare and he was absolutely right to tell you off. If you still want to go back, you’d better be practicing.”
One day I told myself I’m either going to practice and get this right or I am going to stop going for my lessons. So I wouldn’t stop doing my riyaaz (disciplined practice). I whipped up and down the scales, did my paltas (a kind of scale that comes back in the same pattern) and on Sunday I triumphantly sailed forth for my lesson. As I entered, the senior musicians also looked at me with pity and started getting frightened when the taan section came around because they knew I would get a big mouthful. But there I was smiling arrogantly. My Guruji then said “Okay come on let us get started,” and I did. With every perfect taan I would look more and more smug. He narrowed his eyes and when I was done he gave me paltas and patterns that were different from the ones he had given me earlier and sure enough I fell felt on my face, And he looked at me in the eye and said Ab kahaan gayi Chaturai? (“Now where is that smart-aleck attitude?”)
And then I had this little Terrier. She was lovely. Her name was Poil or Pearl after a comic strip character. Pearl, who was the girlfriend of Spooky, the tough little ghost with a Brooklyn accent who called his girlfriend and fellow ghost Pearl, “Poil”.
She was very fond of music and would bark at me until I got out of bed, brushed my teeth and sat down with my tanpura. Till I tuned my tanpura and started singing, there would be nonstop barking. Then she would lie down like a furry little rug in front of me and would be my companion during my hours of practice.
I remember reading that your Guruji made you practice the same raga for 2 years?
I remember my Guruji every single day for doing that. As a young teenager, there were so many things I hated about my lessons at that time which now I cherish more than anything else. What he taught me was to hold a mirror up to one’s work and accept one’s imperfections. It is only when you accept your imperfections that you are able to think about improving. Till then it is not possible. You think you can get by. But this holding the mirror and recognizing what is happening to your voice, to your ability to concentrate, to express – these are nuances he taught me with great patience and generosity many years ago, but those aspects of my lessons are very relevant even today and I am very fortunate to have had such a generous teacher.
You also trained under Pandit Vinay Chandra Maudgalya and Kumar Gandharv ji.
Pandit Vinay Chandra Maudgalya was a tireless and wonderful teacher and I knew that as a founder of the Gandharva Mahavidalaya there were a lot of administrative duties that he also had to take care of. He and his wife were tireless when it came to looking after the Vidalaya and that kind of almost missionary zeal came from their association with the Vishnu Paluskar parampara. I think they were really and truly very exceptional in their tireless devotion to music and music education. He was called Bhaiji by everyone.
There are a lot of teachers who intimidate you but with Bhaiji it was very different. He was always encouraging and would make you feel you could do anything. He would say to me, “Beta, tum yeh ga logi. (You will be able to sing this) I have total faith you will.” And lo and behold you would find yourself singing a new raga that was not familiar to you, or a new composition without any problem because the confidence he gave you was really amazing.
There are a lot of his students who had the opportunity to learn from Kumar Gandharva ji for years. I only got 2 years of occasional meetings and lessons with him. He used to come to Allahabad once a year and Allahabad was where I was born and brought up and the entire music loving city would come and congregate to listen to him. It was like a big event of the year so I had the opportunity to listen to him many times as I was growing up.
If he had been alive he would be 90 this year and I think for me to get the opportunity to learn from him was something I could never have imagined in my wildest, most optimistic dreams. So again for many years I tried to sound just like him and discovered again, that was not going to happen. But for me he stands out as one of those great musicians whose vision whether it was in the rendition of raagdari music or whether it was in the rendition of sargun or nirgun devotional poetry – came with a certain profound quality that left a deep impact on me. I am not a blind follower but I remain devoted to his genius and I feel truly blessed to have learnt even for a short while from him.
“Stories in a Song” is a very interesting concept that your husband, tabla player Dr. Aneesh Pradhan and you created.
I had been talking about a theatrical production where you could tell stories about different kinds of music, not just classical music. So it is not a lecture demonstration. Over the years Aneesh and I had come across anecdotes, historical facts and even some fascinating fiction and I started seeing how it was all happening in visuals. And I would say to myself, I wonder how it would be to see it all enacted and also give information about the songs.
So we went to Sunil Shanbag and he said “Let me see. I am not sure but send me some of the stories.” So we did. He selected some that he thought could be dramatized. He worked with several writers. And he worked with us to audition actors who could also sing. All the music in the production is presented live. It was quite wonderful to see actors ready to rehearse and learn a form of music, which they had not learnt earlier, even though they may have heard it somewhere or were familiar with it. But to actually internalize it to the point of being able to sing it, was wonderful to see. We either chose old compositions that could be rendered by the actors or we created new compositions where we felt we needed to create a new one for that particular production or actor.
It has been 3-4 years since we started doing Stories in a Song. They’ve done about 75 shows all over India. Almost all have been successful. We continue to ply Sunil with even more stories and music and he has been kind enough to accept some of them so more stories are being added. And now it is not the question of which story to present in which show. I hope people abroad also get a chance to see it.
Baaja Gaaja was another project very close to your heart.
You’ve now touched a very painful chord. It was an ambitious project. We saw that so many of the big festivals focus on one kind of music here and host them very nicely. They are great festivals and have been held for over 50 years. But what about the diversity of music in India? This project was started to showcase the diversity of Indian music and to be able to create a panorama of all kind of music, have meaningful conversations about patronage to musicians and support to their art. There were diverse things happening in those 3 days. From 10 am in the morning to 10 pm in the evening we were really talking, listening and celebrating music.
The experience was unforgettable for Aneesh and me. It grew from strength to strength in terms of the good will it generated but sadly we could not generate the funds. Maybe we were not able to market it properly. But we also didn’t want to change the nature of the festival because if you are going to have a celebrity driven festival, there already are many and they are being organized beautifully. Why replicate that?
We had to stop Baaja Gaaja because we could not find funding for it. We put in whatever we could from our pocket and there were people who helped us, We had a supportive venue partner but something like this requires funding – not necessarily a lot of extravagance but we were unable to raise that. So we had to stop at the risk of facing bankruptcy, in 2012.
Tell me about Underscore Records? That has been a great platform for the diversity of music you both want to support.
In 2003 we set up Underscore records. Aneesh and I decided that it would give us an opportunity to communicate with music lovers across the world as that was the time that we started to use the internet. There was such an ease of communication long before online shopping became quite the rage. We also felt it was one way we could help distribute music which was diverse, came from India, and yet was not getting due recognition in the mainstream music industry.
So without any experience of entrepreneurship, we jumped right in and we linked it to one of the largest payment gateways. We also started on a very auspicious note. We were felicitating Pandit Ramashreya Jha on his 75th birthday and a good friend of ours Rajan Parrikar who lives in the United States told me “Shubha why don’t you record Ramashreya ji?” And I said, “I don’t have the guts to go to him and ask him please would you let us record you?” And Rajan said “I’ll do the talking and you do everything else.” Rajan managed to get 2 CDs worth of Guruji’s music and so we started Underscrore Records by distributing the first of the records by Guruji on the occasion of his 75th birthday
A whole lot of our musicians, friends, colleagues and film makers thought it was a good idea but they were unable to understand the medium because they were still not familiar with the internet. So we would spend hours explaining the website to them. We managed to fund it ourselves but we were very fortunate that 4-5 years later we received a Ford Foundation Grant for 3 years and that really was a big support. We had a wonderful program officer and she guided us in a very astute way. Many of the videos that you see where we are spending time and are calling professionals to teach musicians how to use different applications like Twitter or LinkedIn or Facebook, which we otherwise would not have been able to do due to paucity of funds was possible only due to the Ford Foundation.
It also helped us reach many many diverse musicians like this young Maharashtrian priest singing folk music and Marathi devotional music in a small temple in Pune. That kind of project would not have been possible without the support of the Ford Foundation.
Underscore has been around for almost ten years and our policy is very simple. We would like the artist’s music to be everywhere. We never ask for exclusivity and we have never said that the only place you can distribute is at Underscore. Baaja Gaaja was Aneesh’s idea of five years of Underscore. He felt what is the point of celebrating this amazing diverse music alone? We should celebrate it with the musicians. That’s how Baaja Gaaja came into being.
I think internet technology has empowered us to share our work on our own terms and conditions and I am grateful that we live in an era where this is possible. It’s a good medium of communication but a lot of the applications need to be customized for Indian music. I think one of the important things about the internet is that you can get like-minded people to form a network. Unfortunately we are also using social media as a 16 year old girl would – to connect with people to meet at Starbucks. Now that may not be the way you will find an audience for Indian classical music. And really speaking traditional Indian music has not been able to communicate using all the internet tools yet. As you said earlier websites are more about talking about oneself, one’s schedule rather than getting information about diverse kinds of music.
But musicians have always been very adaptable and have used their own strategies to get along with a changing world. So as we evolve we will find a way but right now I don’t think wholesome use is being made of the internet to reach the masses.
“No Stranger Here” is another fascinating album. I had as much fun hearing you sing Kabir’s Sai Bina on it as I have had listening to Ustad Rashid Khan sing it the traditional way.
I really wish “No Stranger Here” would have done better than it has. Earthsync, the label that produced and distributed it, was the first label we collaborated with when we set up Underscore. They were doing brilliant production work. The first album they sent us to be distributed was called Laaya and it was beautiful. It was a video they had recorded after the tsunami had hit various Asian countries.
They have their own recording studio in Chennai and were doing very high quality productions so we requested them to distribute their work on Underscore records. And they agreed.
They have been a part of Baaja Gaaja and collaborated with us on very many occasions.
I remember when we used to do a Baaja Gaaja compilation where we would request artists to donate one track and we would put it in this compilation and distribute free one of the people to give us their track were Earthsync and they were also kind enough to manufacture the CD and the cover for us.
So we’ve been collaborators and had wanted to work together for a long time.
I had heard some of their tracks on a very interesting album called Business Class Refugees and so one day I said let’s meet at your recording studio in Chennai and they laid down a few tracks and that’s when it started happening. I decided to choose pieces from Kabir. All the arrangements were largely done by them and all the compositions I sang were done by me.
They have really done a beautiful production and I’ve really enjoyed the new way of walking into a studio and then try to create something.
For fans of Sonu Nigam and Indian Ocean as well as Anoushka Shankar, I have to ask you how has it been working with them?
I’ve known Bickram (Ghosh) longer than I’ve known Sonu ji. For someone who is so incredibly competent at what he does and is very celebrated singer,Sonu Nigam is incredibly patient and down to earth. I only dub occasionally. My work is not to go to the studio to dub three songs a day. So I have some amount of experience but still not the ease with which a professional playback singer really manages to do the dubbing. Each time it’s a new learning experience and I take time to get used to the whole experience. I have to say for as big a star as he is and as accomplished a singer, not for a minute did Sonu give me the feeling that he was irritable, or that he was trying to teach me a thing or two or that there was one-upmanship. I do hope he composes more. He is a very gifted composer.
Indian Ocean band members, the older ones Rahul, Aushim have been old friends, so when Rahul invited me to be part of their new album and sing Gar Ho Sake, I knew it will be a really wonderful easy relationship. I’ve now also met some of the newer members of the band at close quarters and they are also very committed, and very easy going musicians and easy going people. There is no pretense, no hypocrisy. With that kind of easy going vibe it is very easy to collaborate. That very collaboration can start hissing and spitting when everybody is tense about how much importance is going to be given to each person or how much video time each person is getting. There was no question of there being any kind of tension on that issue. They always have a very healthy kind of viewpoint that if you don’t like a part of the collaboration it doesn’t mean that you turn into enemies.
Indian Ocean began doing the kind of music they believed in many years ago before all this independent music, bands and everything else became popular in India. So in a sense they have stood by their conviction for a long time and have built a huge audience, which they richly deserve, The idea of recording independently and distributing on their own terms I think is fantastic. Whether they collaborate with me or not I have always had tremendous respect and admiration for the way they have made the kind of music they believed in.
Anoushka and I didn’t really meet. She had sent me the material. She was not working in India at that time and the Midival Punditz made their studio available for recording in Bombay. We’ve all been huge admirers of Pandit Ravi Shankar and when she asked me to sing a Bangla song written by him, I was honored. I took a Bengali student with me and that is how we collaborated. I guess that is the power of the internet now. But singing that song made me feel that I was connected some way with Pandit ji and Anoushka is very talented.
What have been your own most creative challenges?
Challenges come at every opportunity. The moment you feel you can sing anything, you are proved wrong. Music is a hard task master and the first lesson it teaches you is never to take yourself too seriously. I am constantly challenged by a lot of the music I have to sing but especially some of the compositions Aneesh has asked me to sing . They can be very difficult. Then I have to tell him that I need time for this composition and I will get back to you. He is a far more daring composer than I am and he gives me these very challenging compositions. I then try to work on them; sometimes it works and sometimes I have to work very hard.
How do you work together when he composes for you? Is the structure rigid or is there scope for improvisation? And where does the husband or wife end and musician begin?
I primarily compose for vocalists and particularly for the forms that I am familiar with, like khayal, dadra or popular music but Aneesh composes for a variety of musicians. His Guru Pandit Nikhil Ghosh was of the opinion that a table player must of course specialize in rhythm and Tabla but must also try to be a complete musician. He must listen to a lot of music. Added to that Aneesh has his own interests and he is a very keen listener. He has had the chance to accompany so many performers including many senior musicians and great scholars so he really can compose for a variety of situations and not just only vocalists in Khayal and thumri.
I recall one project he did years ago where he composed for another percussionist from the Mumbai film industry, a gentleman called Pratap Rath who plays many types of percussion instruments. Aneesh composed for Pratap ji and asked him to play several tracks. The project is called Tarana-e-percussion. And as part of that project, he had composed a very beautiful, sparse, melancholy piece written for voice and he asked me to sing it. He chose what I believe is a whole tone scale in Jazz and because it is very unfamiliar to a Hindustani classical musician I actually told him to find someone else to sing it.,
It was quite a challenge and I rehearsed many times before actually singing it. He uses percussion in it like a bit of coloring, it doesn’t have any groove to it, but is used in a way to create a lonely, sparse quality to it. The lyrics are also very beautiful, written by a young poet Alok Shrivastav.
I think we have been colleagues before we became partners and married each other so I think we have a healthy respect for each other’s work . If it is his composition I will take due care to not try and make it my composition and he will give me the freedom if the piece needs elaboration. I will learn the composition from him but the improvisation will be my interpretation.
I think if there are suggestions on how it should be interpreted I am quite open to it and not only from him but any composer that I work with. I think that give and take is part of any wholesome experience.
I have learnt several things from Aneesh. One that he is always very analytical about his own work and encourages everyone including me to do the same. There is no getting away from yourself if something doesn’t work. Even if was to fool myself and say you know it wasn’t too bad-he isn’t going to let me get away with it, It is good to have a companion who is a very accomplished musician himself and who is also able to understand both vocal and instrumental music but he is not a person who forces his views on anyone.
He makes a suggestion and it is up to me really to see what he is trying to say and if I want to heed it, But there are no ego hassles. My family, Aneesh are all very happy with any success that comes my way. They are complimentary and comforting and yet they will not mince words to tell me if I did not do as well as I should have. As a musician Aneesh is very secure. I cannot even think of a time if we walked down the road and somebody recognizes me and doesn’t know who he is, that he would not be happy for me. It is not going to create a wedge in our lives at all and it comes from being secure people who are enjoying the fact that we care about each other.
You lived on your own in Delhi after your first marriage ended. How easy has it been to be a woman musician or composer then and now?
When I look back at all the trials and tribulations that women performers and artists have had to undergo in the past, I feel my own trials and tribulations were nothing in comparison.
Perhaps for me the biggest struggle was to just understand that I have been taught by some fine musicians and had to now find my own voice in music and that I continued to do.
I think it would be difficult for any woman to live alone, even if it wasn’t a single woman, but a married woman musician or even a musician couple; it would be difficult for them to rent a home in the city because people don’t feel a musician would be a good person to rent their home to.
I think it’s because of the trials and tribulations of woman musicians in history and their immense sacrifices that we have had it very easy. Whether they were professional songstresses who came much earlier or whether it was the women who came from gharanedaar families but did not become professional musicians-it is because of them that it was easier for me to become a full time musician and to gain respect in society. So taking that into account I feel it would be callous of me to glorify my own trials and tribulations.
And today I believe there is respect for women composers. There always has been. If you listen to Gauhar Jaan even in the first recording that was made in India, her pen name is there in the composition. In Hindustani classical music many of the women performers and singers have also been composers. For some reason they have not felt the need – and this is an interesting point- to insert a pen name. But when you meet people who have learnt from the great Mogu Bai Kurdikar, they will tell you that this is Mai Mogu Bai’s composition, or if you speak to Shruti Sadolikar or Ashwini Bhide Deshpande, all of them are composing and people are singing their compositions.
So it is not difficult to be a woman composer today. I think what is important for the artist is to follow their artistic compulsion, not blindly, but again in that analytical way in which tradition teaches us. I think it is important.
I worry about the need artists feel sometimes to be accepted and that need becomes a trap. I think it is wonderful to go out on the street and have someone walk up to you and say – “Can I give you a hug because I loved this popular song that you’ve sung,” or “I have heard you sing raag Purya Dhanashri so many years ago and I really loved it.”
It’s a wonderful feeling but at the same time I cannot start making music with the idea that everybody around would accept what I am doing.
I feel I have been well taught, I feel I am sincere in the way I study music and I will continue to be a student of music all my life. If there is approval and acceptance- wonderful. But if not then I ask myself what would I do? And I have only one answer-I will still do the same thing.
I think it is very important for artists to feel that they can follow whatever their artistic urgings tell them to do and not be somebody else.
I think I was steered in my journey in a particular direction because of my parents and my family and because of my teachers. But as I was growing I wanted to sing everything. I would listen to Lata ji and sing what she had sung so beautifully and memorize the songs, sing them and then I would listen to myself and say “My God how horrid I sound and how beautiful she sounds’.
Now in a sense learning those songs and trying to negotiate those wonderful trills and glides that she did so effortlessly was a training in itself but it was also a realization that it is pointless trying to be Lataji because there is no other Lataji.
Similarly when you think of Kumar Gandharviji or Jitendra Abisheki ji – when you are learning from them, you try to imitate and assimilate but you realize no sooner that my God I don’t even sound like a good carbon copy so the lesson and the inspiration I draw from each master, some of whom I’ve learnt from and some whom I’ve never seen, only heard their records, that they were all people who were themselves musically.
This is the centenary year of Begum Akhtar and everybody under the sun is massacring compositions so beautifully rendered by her. I am a great admirer of Begum Akhtar yet I cannot be like Begum Akhtar, so I can’t even try to present a bad copy of compositions that she presented so beautifully but yes I listen again and again to the expressions, the deep understanding of Urdu poetry. All that is a lesson in itself.
The guru can only give you generously-you have to have the comfort level to create the delicate balance and that also comes from the training. For musicians it is important that we must continue to learn the rules and then hope to transcend them one day. That is the journey.
Websites are talking about self-promotion and gurukuls are… fill in the blanks for me. Hari ji (Hari Prasad Chaurasia) has one, Suresh Wadkar ji has one and there are others, but the common allegation is that many of the musicians with gurukuls aren’t following the guru shishya parampara.
You are going to get me into trouble now! Well I have been to Hari ji’s gurukul once and he was very much there. He is known across the world amongst musicians for his immense commitment to riyaaz.
For me gurukul is the guru’s home, whatever condition it may be in. It was there that you went and learned. No one had designer gurukuls and there is no harm in your having a designer gurukul if you’ve been fortunate enough to raise the resources. It should not always have to be a rundown, shabby space. But I think when you set up an institution there has to be a vision and a certain detachment from it. You will own it in principle and you will own the vision but you will need to give it to other people, to run it for you if needs be and you need to review your work again and again. For example a lot of institutes have come up in India and they have certainly served the cause of Indian music but 50 years down the line is there a review of even the syllabus or are all the institutions looking at the same syllabus, rearranged so that the sequence of ragas may be tweaked a little for one institution and tweaked a little for another institution without trying to see how can we make music education more vibrant? Surely that is not an unreasonable thing to ask of a gurukul?
You’ve taken deeksha from a particular Krishna sect? They look at music in a very unusual way.
As a musician, the entire tradition and the association of Krishna mythology is around you. You are exposed to it in every turn you take in your journey as a musician. A lot of musicians go to Brindavan to perform seva.
A friend Veena Modi came to me many years ago-she was not a friend then and she wanted to learn music from me. I said you know I am learning myself so why don’t you learn from Bhaiji? But she was adamant and then she started bringing some pieces of Krishna poetry to me and would ask me to compose. Again I said I don’t know how to compose please go to Bhaiji and she said “No you just take a look at it.” Finally I asked her, “Why do you want to learn music?” And she said, “Hum kuch aur nahin karna chahtey hain – hum siraf raag seva karna chahtey hain.” (I don’t want to do anything else. I just want to serve the raga). That word aroused my curiosity. I asked what that meant. So she said, “Why don’t you come and meet my guru?” There were several pieces where I did not understand the context of the reference and she said her guru would also explain it to me.
So I went and met her Guru. His name was Acharya Purshottam Goswami and he said, “You know when you make this offering of music to the Lord, do it without focusing on technique or trying to impress anyone. Bhav se kariye, kala paksh chod dijiye.” (Forget the craft, think of the offering that you are making with emotion.) And I was saying to myself, “I am a trained musician and this gentleman is asking me to forget about technique?” I found that so strange. The gentleman spent many hours with me explaining the poetry and the much deeper philosophy behind seemingly simple lines. I got a glimpse of the ethos in which this tradition flourished. It was very fascinating and I would go back again and again to Brindavan.
I was fortunate to be accepted as a disciple by his son Acharya Shrivat Goswami. That poetry is the kind that the more you delve into it, the more it offers you. It is a different world. I can’t even begin to tell you. It has given me a great deal of peace and solace.
Pandit Ravi Shankar said in an interview with me, “What most people don’t realize is that before the outside influences came into India, both systems of music followed the same Bharat natya shastra and we had no problems understanding and developing our music, or keeping the same tempo or counting beats on our fingers. Even the old Pakhawaj players from the south maintained the same system and we had so much in common technically. But with the advent of the emperors came the gold coins and the musical wrestling matches where the tabla player was pitted against the vocalist, and people started playing to the galleries. As a result the two styles of music became more and more distant from each other, and today it’s more of a competition, rather than appreciation for each other.”
So when you collaborate with someone like Bombay Jayashri how does it work? And in your opinion do you see it more as a fusion of two distinct styles or a remarriage of styles that have more in common than we are led to believe these days?What should we expect on May 31st?
Well the basic vocabulary and grammar are indeed similar and there is a lot that is shared between the two traditions. But in the jugalbandi we haven’t really tried to create comparisons or contrast in the conventional way. We haven’t really tried finding a scale that is common to both systems of music. We are celebrating the diversities so we have tried to do that by creating presentations driven by various ideas.
For example, in one item we may present sahitya which is saying similar things. If the song text is talking of longing, then both the Carnatic piece and the Hindustani piece will talk of that. In some we may say let us do something which actually creates a contrast. So Jayashri ji may sing something in Adi Taal and I may sing something in Rupak taal.
There is a great deal of security among all the musicians and celebration of each other’s skill and scholarship, craft, technique and art. So what is interesting is that in all the reviews we have received in India, people have always talked about “good teamwork” when speaking of our collaboration. I think that is a compliment I really cherish. Jayashri ji is accompanied by two very accomplished musicians, J. Vaidyanathan on Mridangam and Embar Kannan on Violin and I have Aneesh on Tabla and Sudhir Nayak on harmonium.
The jugalbandi that you will see and hear is not only between Jayashri ji and me but a collaboration that is happening on all levels. So you will see a jugalbandi between the instruments as well. There will be a piece where Jayashri ji and I will not start the jugalbandi – the musicians will.
It is very important to highlight all these areas, where we share something and where we are diverse and try to create a collage where all this can be enjoyed.
I have really enjoyed working with Jayashri ji and her musicians each time. I have never done a jugalbandi with anyone and the first time we performed together was several years ago in Chennai.
We realized there was not enough time to rehearse and we did not want it to be a sort of on the spot jam session. So we decided we would do just two pieces together – one that I sort of brought into the collaboration and one that was suggested by her. That is how we started performing together.
But over the years we have created an entire repertoire where we actually collaborate on all of the tracks we present.
She has studied both Hindustani and Carnatic music and she speaks very good Hindi as well. She is very good with braj bhasha and all the song text that my repertoire contains. So it’s a pleasure to work with her and the fine musicianship from the entire team.
It’s cool that you also appreciate other singers and give opportunity to the right singers to sing your compositions instead of hogging every song for yourself. These days every composer is singing their own songs, especially in films. Yet we didn’t hear your voice in the film Dance with the Wind, even though you were the music composer.
I think we chose the right voices for the characters in Dance with the Wind. Rajan Khosa also knew what he wanted so I think it was a good choice. I don’t sing a lot in films but I’ve had the pleasure of working with Debojyoti Mishra for Raincoat and I have sung for him later as well. Recently I sang for Aparna Sen’s Goynar Baksho and he had done the music again, and of course for Sonu Nigam and Bickram Ghosh in “Jal.” But yes I don’t have the kind of wonderful voice and skills that someone like Sonu Nigam or Shankar Mahadevan have to be able to take a song that belongs to someone else and make it your own and sing it as if you’ve known it forever. That is a very special gift. My voice suits very specific situations.
For me, my gift is different. It’s the gift of music I have been given in my life and that has been my biggest milestone.
What is on your iPad/phone and what kind of literature are you reading?
I’ve been lately listening to a lot of archival music – a lot of Siddeshwari Devi and also this album called Gifted Women of the World, I’ve also been listening to a lot of qawali and to all sort of music the kind of work that is happening today, collaboration in the Coke studio etc.
A lot of my reading has been around literature that I am working on to set to music or that I have been thinking of composing.
Of late I have been looking at Hindi poetry from the chaayavad period – works of the poets Nirala and Mahadevi Verma. We have been working on some compositions.
Aneesh and I were saying why does thumri and dadra only have to be in braj bhasha. Today we are not speaking braj bhasha so why can’t we perform it in Hindi as it is spoken today or academic kind of khadi boli.
Aneesh also came up with this lovely composition from Nirala ji’s epic poem “Sandhya Sundari” where he personifies the evening as a very beautiful young woman. It’s an epic poem but he took some lines from it and composed it like a dadra. I am also working on another piece by Nirala ji and on one of the most beautiful nazms written by Sahir Ludhianvi set to music by Aneesh, “Aao ke koi khayal buney kal ke vaastey.”
I was recently invited to sing at the Wajid Ali Shah festival curated by Muzzafar Ali and I took poetry written by Wajid Ali Shah and composed the pieces. Both Aneesh and I have a very large collection of music and we are avid listeners. So wherever we go, we look for the opportunity to listen to other musicians. I think it’s such a great thing to be able to sit back and listen to somebody.
I want to mention Saida Begum, a singer from Punjab who took my breath away. In her track Dum Dhola, there was something so poignant about it, that quality called-taseer-a certain ability to move the heart and mind of listeners, that anguish in her voice , it speaks to me in way that I couldn’t help writing about her on my blog. I’m hoping we will hear more about her. She doesn’t perform outside of Punjab too much, but how wonderful that the record label that recorded her has made her accessible to those outside of Punjab.
You have been very aware of social issues in India. Do you think the lot of women is going to change at all with the Modi government?
I was one of the artists who actually signed a petition some weeks ago just before the elections saying that apart from governance and corruption which are very important issues, people must make their electoral choices based on people who they feel will not be corrupt. Secularism is a very important thing, and immediately abuses were hurled at us for being pseudo secularists. I have never had any qualms in stating that I detest violence of any kind particularly when it is aimed against a community or a race. No one will ever find me saying that what happened in Delhi in 1984 was less of a problem than what happened in 2002 in Gujarat.
Whatever abuses people may want to hurl at us I do know that whatever the pseudo secularists-as they call us, may say, we certainly speak in a more civilized fashion than a lot of them. It was ugly, the kind of language that was used. In a democracy it is necessary that diverse and contrary opinions must co-exist so I condemn the fact that when Lata ji said she hopes Narendra Modi becomes Prime Minister, people started saying the most ugly things about her. I think one Congress MP even said “You got the Bharat Ratna during the Congress regime, so return it”. It was so petty . I’m glad I’m among those people who has made my reservations very public but I believe in democracy.
Today the nation has voted BJP into power. Everybody is going gaga about the magic wand that Mr. Modi will wield. I have a difference of opinion and if I am proved wrong I would be very happy to admit that,
As far as women are concerned I don’t think women are safe anywhere in India today. This is a very complex issue that has festered in society for centuries so to make a change there has to be a commitment not only from the government or any NGO working in this area but from every one of us. A commitment that we will try and bring about the change in every way possible. I am not a grass roots social activist but I will be willing to do whatever I can in my own humble way.
I don’t see changes, on the faces of women, in the air, or in the course of the elections, as of now.
After the tragic Nirbhaya incident, we had people from every political party say the most horrible things about women. So I can’t be euphoric and say the lot of women is going to change with the new government when only 11 percent of people who have been elected are women and 34 percent of elected politicians have criminal records.
When you look back any special memories that you cherish?
I think the first was when my mother sat me down and gave me the freedom to take a year off after my graduation and decide if I wanted to make a full time commitment to music. That changed the course of my life. I really cannot thank her enough for having had that conversation with me, to make me aware of the commitment, the majesty and dignity of music. It took me just a month to commit but my parents readily accepted my decision, not knowing what the future held and continued to support me emotionally and every other way as long as they were around. They are no longer with me but I know I would not be either the musician or the person that I am without their support.
The second was when I received a letter from my Guruji Pandit Ramashreya Jha ji. I had sung for the Radio Sangeet Sammelan which was broadcast on the radio every year. I didn’t have the guts to call him and say “I am singing and would you listen to my broadcast?”
But then I get this lovely letter from him and it said “I listened to your broadcast and I liked it. Despite the fact that you have not been in Allahabad I can see that the manner in which I have taught you has continued to influence you.” Now that is a certificate I truly cherish. So that is a very important moment in my life.
The third was a sad but poignant one. I had a dear friend, Anita Kalra who passed away from throat cancer. In her last moments I got a call from her daughter that in her hoarse voice mom is asking for you. I was not in Delhi but reaching back the next day, I went straight from the airport to the hospital
And there standing in that dismal hospital room I sang one of her favorite chaitis for her, barely 48 hours before she breathed her last.
I stood there and I sang, and she smiled through her pain mouthing those words silently with me. It was very sad and yet a very poignant moment for me. It showed me how fortunate I am to have the gift of music to give to someone and how deeply music can impact a person. You take it almost for granted, this part of you but then it can be such a companion for someone in so much pain, this divine quality of music. The companionship of music never lets you feel alone or sorry for yourself. You know I said “I will” to music before I said it to anyone else. And I realized what a wise thing it had been and how blessed one is to be able to learn music. It’s hard to describe, but it taught me a lot… that moment.
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Kashyap, Nair among film-makers selected for Film Bazaar
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Nair, who picked up Cannes' Camera d'Or award in 1999 for Throne Of Death, will present Hindi-Chinese drama Simply Love to potential investors and partners later this month (see details below). Karun, who was awarded with a Camera d'Or - Special Mention for The Birth (Piravi) in 1988, has Malayalam ...
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https://www.screendaily.com/kashyap-nair-among-film-makers-selected-for-film-bazaar/4041791.article
|
Camera d'Or winners Murali Nair and Shaji Karun and hot up-and-coming writer-director Anurap Kashyap are among the filmmakers who have had projects selected for the second edition of India's Film Bazaar co-production market (Nov 26-29).
Nair, who picked up Cannes' Camera d'Or award in 1999 for Throne Of Death, will present Hindi-Chinese drama Simply Love to potential investors and partners later this month (see details below). Karun, who was awarded with a Camera d'Or - Special Mention for The Birth (Piravi) in 1988, has Malayalam and Hindi-language drama Legend at the market.
Kashyap, whose credits include acclaimed documentary Black Friday and drama No Smoking which premiered at the Rome film festival last year, will present suspense thriller Happy Ending, about the culmination of a girl's life-long search for her father.
Other cutting edge filmmakers to have projects selected for the market include Ashim Ahluwalia (John & Jane) and Rajan Khosa (Dance Of The Wind). In addition, UK director Michael Anderson will present an adaptation of Indra Sinha's Booker Prize-nominated novel Animal's People.
Organised by India's National Film Development Corp (NFDC) and held at the same time as the International Film Festival of India in Goa (Nov 22-Dec 2), Film Bazaar aims to encourage the diverse cinemas of India through international co-production and collaboration.
A total of 12 feature films have been selected along with ten documentary projects, tackling subjects such as environmental issues, the choices facing young Indians and the winners and losers of global trade practices (see below).
In addition to the NFDC-selected projects, the European Producers Club is also bringing a slate of India-centric projects that are looking for partners in India. These include an adaptation of Vikas Swarups' novel Six Suspects, to be produced by Paul Raphael, and producer Leslee Udwin's sequel to East Is East, entitled West Is West.
Indian Panorama features and non-feature films that are being showcased by this year's IFFI are also being promoted at the market.
Other features of Film Bazaar include a Work-In-Progress Workshop; a Screenwriters Lab, held in association with Amsterdam-based Binger Filmlab; a series of seminars co-hosted by Screen International, and a master class held by eminent Indian filmmaker Shyam Benegal.
Screenwriters Lab mentors include Philippa Campbell, Sooni Taraporevala, Franz Rodenkirchen and Udayan Prasad. Advisors for the Work-In-Progress workshop include Arclight Films' Gary Hamilton, critic Derek Malcolm and editor Molly Stensgaard (Dancer In The Dark).
Other international guests set to attend the market include Fortissimo Films' Michael Werner, Distant Horizon's Anant Singh and the UK Film Council's Emma Clarke. In addition, former Cinemart director Ido Abram is acting as a consultant to this year's Film Bazaar.
FILM BAZAAR FEATURE PROJECTS
1. Animal's People
Dir/prod: Michael Anderson
Prod co: Quadrapedal Films
Language: English
Synopsis: Derived from the Booker Prize-nominated novel by Indra Sinha about a boy living with the consequences of an explosion in a chemical factory.
2. Bandra Fair
Director: Judith Varma
Producer: Sudhir Mishra
Production Company: Cineraas Entertainment
Language: English
Synopsis: A former Catholic priest returns home from to Mumbai to break the news to his mother that not only has he left the priesthood, but is married with two daughters.
3. A Different Childhood
Director: Brahmanand Singh
Producers: Joy Sengupta / Rajesh Pavithran
Production Company: Born Free Cine Paradise
Language: Hindi
Synopsis: Drama exploring the issues surrounding, and possible solutions to, the global problem of child labour.
4. Happy Ending
Dir/prod: Anurag Kashyap
Production Company: Anurag Kashyap Productions
Language: English / Hindi / French
Synopsis: Suspenseful thriller that plays out over four days in Mumbai and narrates the culmination of a girl's life-long search for her father.
5. Hero
Dir/prod: Mangesh Joshi
Production Company: Pravah Nirmitee
Language: Hindi
Synopsis: A young shoe-shine boy cannot believe his luck when he is chosen to be the hero of a film. But when time passes and nothing is heard of the project, he starts to search for the filmmakers.
6. The Breakers
Director: Rajan Khosa
Producer: Rajan Khosa
Production Company: Elephant Eye
7. Miss Lovely
Director: Ashim Ahluwalia
Producers: Shumona Goel & Ashim Ahluwalia
Production Company: Future East
Language: Hindi
Synopsis: Drama revolving around two brothers who produce sleazy C-grade films, and the innocent, baby-faced beauty who mysteriously appears in their lives.
8. Most Wanted
Director: Manu Gautam
Producer: Ashutosh Deshmukh
Production Company: Freeze Frame
Language: Hindi
Synopsis: The tables are turned against the flashy anchor of a sensational live TV show that brings to the public the country's worst criminals for them to condemn.
9. Samuel Karthikeya
Director: Prakash Kovelamudi
Producer: Prakash Kovelamudi & Suresh Babu
Production Company: A Bellyful of Dreams & Suresh Productions
Language: Tamil / Hindi
Synopsis: A Christian boy of Hindu birth develops an angry alter-ego, named Karthikeya, which seeks justice in the night.
10. Simply Love
Director: Murali Nair
Producer: Elliot Tong
Production Company: Foxy Brown Entertainment
Language: Hindi / Chinese
Synopsis: A software engineer realises his dreams and secures a job in Hong Kong, but his happiness is complicated by the fact that he is engaged to marry a girl in India.
11. Legend
Dir/prod: Shaji Karun
Language: Malayalam & Hindi
Synopsis: A young woman's studies are interrupted when she is brought home by her father at the behest of her mother whom she hasn't seen for 16 years.
12. This Is Not A Love Story
Director: Anahata Menon
Producer: Dushyant Singh
Production Company: Back 2 Back Entertainment & Mesmer
Language: Hindi
Synopsis: Drama following the real-life experiences of a young Indian man who undergoes a sex change.
DOCUMENTARY PROJECTS:
1. Breaking Into Bollywood
Director: Adam Dow
Producer: Ruchika Muchhala
Production Company: Thirdkulture Films
2. Desperate In The Desert
Director: Geeta Singh
Producer: Avinash Kumar Singh
Production Company: I Stylus
3. The Disappearing World: Bees In A Crisis
Director: Mike Pandey
Producer: Gautam Pandey & Arjun Pandey
Production Company: Riverbank Studios
4. Fifty Years Apart: Tales From Sarbatwalla Chowk
Director: Kaevan Umrigar
Producer: Kaevan Umrigar & Vinoo Krishnan
Production Company: Floating Weeds
5. Gang Of Seven
Director: Nitin K
Producer: Nitin K
Production Company: Dissolve Studio
6. The Glacial Tragedy
Director: Pramod Mathur
Producer: Neelima Mathur
Production Company: Spotfilms
7. Killer Punch
Director: Sudhesh Unniraman
Producer: Iqbal Malhotra
Production Company: AIM Television Pvt. Ltd
8. Mad About IIT - JEE
Director: Preeti Mankar
Producer: Preeti Mankar & Suri Gopalan
Production Company: 517 Productions & 1947 Films
9. Of Many Lives
Director: Bidyut Kotoky
Producer: Bidyut Kotoky
Production Company: Dhruv Creative Production
10. Travels Of My T-shirt
Director: Ranjan Kamath
Producer: Ranjan Kamath
Production Company: RKO Moving Media Pvt. Ltd
|
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15558
|
yago
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3
| 69
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https://www.opensubtitles.org/en/subtitles/12580225/dance-of-the-wind-en
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en
|
subtitles english 1CD srt (eng)
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2024-08-07T09:02:27+02:00
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Subtitles Dance of the Wind - subtitles english. Dance of the Wind (1997) Hindi.1080p.EpicOn.WEB-DL.x264.AAC.ESub-ReapeR.By.Juleyano, 1CD (eng). Uploaded 2024-08-07, downloaded 8x.
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en
|
//static.opensubtitles.org/favicon.ico
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To download our subtitles, install Chrome extension; click on
1. "Add to Chrome"
2. "Add Extension"
If you install our extension you will remove all ads and waiting time on this website
Thank you !
To download our subtitles, install Firefox add-on; click on
1. "Add to Firefox"
2. "Add"
If you install our extension you will remove all ads and waiting time on this website
Thank you !
|
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15558
|
yago
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2
| 33
|
https://eng.umd.edu/clark/faculty/1839/Ang-Li
|
en
|
A. James Clark School of Engineering, University of Maryland
|
[
"https://faculty.eng.umd.edu/sites/faculty.eng.umd.edu/files/profile_images/IMG_1193.JPG"
] |
[] |
[] |
[
""
] | null |
[] | null |
en
|
https://eng.umd.edu/sites/clark.umd.edu/files/favicon-umd.ico
|
https://eng.umd.edu/clark/faculty/1839/Ang-Li
|
Dr. Li joined the University of Maryland, College Park as a tenure-track Assistant Professor in Aug. 2023. During the deferral time before joining, he was a research associate at Qualcomm AI Research.
Dr. Li received his Ph.D. in 2022 from the Department of Electrical and Computer Engineering (ECE) at Duke University. Li has also earned a Ph.D. in Computer Science from the University of Arkansas. He has an MS in Management of Innovation and Venture Capital from Peking University, and a BS in Computer Science from Henan University in China.
His research interests lie in the intersection of machine learning and edge computing, with a focus on building large-scale networked and trustworthy intelligent systems to solve practical problems in a collaborative, scalable, secure, and ubiquitous manner. Dr. Li has been recognized with a variety of awards, including the IEEE TCCPS Outstanding Ph.D. Dissertation Award, ACM KDD Best Student Paper Award in 2020, and the 2022-2023 Duke ECE Department Outstanding Dissertation Award.
|
||||||
15558
|
yago
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0
| 1
|
https://letterboxd.com/film/dance-of-the-wind/
|
en
|
Swara Mandal (1997)
|
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The mother of the Indian female singer Pallavi (Kitu Gidwani) is at the end of her life. She was master and teacher for her daughter for the art of Indian singing. But she will not be able to complete her lessons. So Pallavi experiences the lack of the guru of her mother. Finally she finds him in a very young street-girl who is able to sing marvelously. But this girl keeps disappearing again and again...
|
en
|
https://letterboxd.com/film/swara-mandal/
|
A meditation on the eternal flow of Indian classical music and the everlasting tradition of guru-shishya(teacher-student) relationship, Dance of The Wind takes you through an arduous journey that requires patience and viewer's strenuous effort which is oddly satisfying and rewarding at the end. Rajan Khosa, in his debut feature traces the emotional suffocation and partial recovery of Pallavi, a classical singer and daughter of the legendary vocalist Karuna Devi, who fails miserably to keep up with the expectations. Inferiority complex strikes hard and unknowingly a void of self loathing takes birth inside her and Kitu Gidwani's body language channels down Pallavi's inner turmoil that only amplifies the weight of this grief stricken drama about self realization, her screen presence was…
|
||||||
15558
|
yago
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3
| 28
|
https://alchetron.com/Rajan-Khosa
|
en
|
Alchetron, The Free Social Encyclopedia
|
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[] |
[
""
] | null |
[] |
2017-08-18T08:30:48+00:00
|
Rajan Khosa is an Indian writerdirectorproducer who has worked between the UK, Europe and India for much of his career. His most noteworthy film, Dance of the Wind (1997), starring Kitu Gidwani in the lead role, won many national and International film awards, including Audience Award London Film
|
en
|
/favicon.ico
|
Alchetron.com
|
https://alchetron.com/Rajan-Khosa
|
Rajan Khosa is an Indian writer-director-producer who has worked between the UK, Europe and India for much of his career.
Contents
Excerpts from rajan khosa films
Dont Know If Gattu Can Take An Interval Rajan Khosa
Biography
Awards
References
His most noteworthy film, Dance of the Wind (1997), starring Kitu Gidwani in the lead role, won many national and International film awards, including Audience Award London Film Festival 1997, Public Prize & Best Actress Festival of 3 Continents 1997, Gold Plaque Chicago Festival 1998, Critics Week Venice Film Festival 1997, NETPAC Award Rotterdam Film Festival 1998, and Best Director British Asian Film Festival 1998. The film was theatrically released in twenty five countries in 1998-2001 However, it was commercially released in India, only in February 2008.
His latest film Gattu, won praise and special mention from the children's jury at the 2012 Berlinale and was named Best film at New York Indian Film Festival 2012
|
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15558
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3
| 53
|
https://www.news18.com/news/india/gattu-1st-cfsi-film-to-be-released-commercially-486207.html
|
en
|
'Gattu' 1st CFSI film to be released commercially
|
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] |
[] |
[] |
[
"gattu",
"nandita das",
"rajan khosa"
] | null |
[] |
2012-07-06T19:37:47+05:30
|
The film, starring Mohammad Samad as Gattu, has been directed by Rajan Khosa of 'Dance of the Wind' fame.
|
en
|
https://images.news18.com/static_news18/pix/ibnhome/news18/favicon.ico
|
News18
|
https://www.news18.com/news/india/gattu-1st-cfsi-film-to-be-released-commercially-486207.html
|
Mumbai: Nandita Das says that 'Gattu' is the first work by Children's Film Society, India to be released commercially.
"Gattu is the first film that CFSI is releasing commercially. We also have a Kannada and an animation film coming up. 'Gattu' will be a gate opener for all of them," Nandita told reporters Friday at the launch of Gattu's promotional song - 'Laga le pech'.
The film, starring Mohammad Samad as Gattu, has been directed by Rajan Khosa of 'Dance of the Wind' fame.
Revealing the story, Khosa said that the film is about a nine-year-old street boy who is obsessed with flying kites. "He wants to cut this black kite called Kali and for this he needs a high roof. He realises that the school has one and pretends to go to the school and wins the heart of all children," he added.
Director-producer Rakeysh Omprakash Mehra is supporting 'Gattu' and says that the entertaining and wonderful story will take viewers back to their childhood days.
"I am proud that I am associated with 'Gattu'. I will do whatever I can to support the film," said Mehra.
"The film is about the have and have-not and the right to education. It is about all of us. I am sure it will be a lovely movie and I want to give it my entire support. Lower the budget, more are the challenges. The film seems entertaining and the story is wonderful. Let's revisit our childhood through this film," he added.
'Laga le pech' has been sung by Shubha Mudgal and child artists of 'Gattu'. Lyrics are by Khosa and Ankur Tiwari and Sandesh Shandilya has composed it.
|
||||
15558
|
yago
|
0
| 51
|
https://www.theguardian.com/film/2007/aug/02/letters.features
|
en
|
Cinema beyond Hollywood
|
[
"https://sb.scorecardresearch.com/p?c1=2&c2=6035250&cv=2.0&cj=1&cs_ucfr=0&comscorekw=Film%2CCulture%2CIngmar+Bergman"
] |
[] |
[] |
[
""
] | null |
[
"Guardian Staff"
] |
2007-08-02T00:00:00
|
<p><strong>Letters: </strong> Peter Bradshaw's tribute to Ingmar Bergman (July 31) was marred by unthoughtful nostalgia. While it is arguable that in Britain commercial and institutional support for a cinema of ideas is at a low ebb, there never was a golden age when it was generous.</p>
|
en
|
the Guardian
|
https://www.theguardian.com/film/2007/aug/02/letters.features
|
Peter Bradshaw's tribute to Ingmar Bergman (July 31) was marred by unthoughtful nostalgia. While it is arguable that in Britain commercial and institutional support for a cinema of ideas is at a low ebb, there never was a golden age when it was generous. Nor is it true that film-makers, outside Africa and Iran, fail to tackle serious moral issues. In my view, examples of some who do would include, to mention a few at random, Laurent Cantet (L'Emploi du Temps) Aki Kaurismaki (Drifting Clouds), Rajan Khosa (Dance of the Wind) and Andrey Zvyagintsev (The Return).
In most countries, including Britain, there are audiences for thoughtful films and film makers who try to make them, but in Britain both have been frustrated by perverse policies which have increased subsidy to film via the tax regime, but cut or reduced funding for the fringes of the business which struggle in a market dominated by multinationals. The market by itself did not sustain the career which led to Winter Light and in Britain Bergman's films were not launched and made famous by cinemas controlled by multinationals.
Margaret Dickinson
London
The death of Bergman reminds me that in my youth the BBC would actually show an Ingmar Bergman or an Akira Kurosawa season, but these days such adventurous programming is beyond them. It is where I learned that cinema was more than Hollywood.
Henry Girling
London
|
|||||
15558
|
yago
|
3
| 12
|
https://letterboxd.com/film/dance-of-the-wind/genres/
|
en
|
Swara Mandal (1997)
|
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The mother of the Indian female singer Pallavi (Kitu Gidwani) is at the end of her life. She was master and teacher for her daughter for the art of Indian singing. But she will not be able to complete her lessons. So Pallavi experiences the lack of the guru of her mother. Finally she finds him in a very young street-girl who is able to sing marvelously. But this girl keeps disappearing again and again...
|
en
|
https://letterboxd.com/film/swara-mandal/genres/
|
A meditation on the eternal flow of Indian classical music and the everlasting tradition of guru-shishya(teacher-student) relationship, Dance of The Wind takes you through an arduous journey that requires patience and viewer's strenuous effort which is oddly satisfying and rewarding at the end. Rajan Khosa, in his debut feature traces the emotional suffocation and partial recovery of Pallavi, a classical singer and daughter of the legendary vocalist Karuna Devi, who fails miserably to keep up with the expectations. Inferiority complex strikes hard and unknowingly a void of self loathing takes birth inside her and Kitu Gidwani's body language channels down Pallavi's inner turmoil that only amplifies the weight of this grief stricken drama about self realization, her screen presence was…
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15558
|
yago
|
0
| 10
|
https://indiancine.ma/APJU
|
en
|
Dance of the Wind (Rajan Khosa) 1997 – Indiancine.ma
|
[
"https://indiancine.ma/APJU/poster128.jpg"
] |
[] |
[] |
[
""
] | null |
[] | null |
Director: Rajan Khosa; Writer: Rajan Khosa, Robin Mukherjee; Producer: Karl Baumgartner, Jacques Bidou, Raimond Goebel, Keith Griffiths, Suresh Jindal, Pan Nalin, Phil van der Linden; Cinematographer: Piyush Shah; Editor: Emma Matthews; Cast: Ami Arora, Roshan Bano, Kitu Gidwani, Bhaveen Gosain, B.C. Sanyal, Abbas Tyrewala, Paakhi A. Tyrewala, Kapila Vatsyayan; Duration: 01:22:13; Aspect Ratio: 1.750:1; Hue: 15.119; Saturation: 0.166; Lightness: 0.199; Volume: 0.145; Cuts per Minute: 5.752; Summary: The mother of the Indian female singer Pallavi (Kitu Gidwani) is at the end of her life. She was master and teacher for her daughter for the art of Indian singing. But she will not be able to complete her lessons. So Pallavi experiences the lack of the guru of her mother. Finally she finds him in a very young street-girl who is able to sing marvelously. But this girl keeps disappearing again and again...
|
/static/png/icon.png
|
Indiancine.ma
|
https://indiancine.ma/APJU
|
Director: Rajan Khosa; Writer: Rajan Khosa, Robin Mukherjee; Producer: Karl Baumgartner, Jacques Bidou, Raimond Goebel, Keith Griffiths, Suresh Jindal, Pan Nalin, Phil van der Linden; Cinematographer: Piyush Shah; Editor: Emma Matthews; Cast: Ami Arora, Roshan Bano, Kitu Gidwani, Bhaveen Gosain, B.C. Sanyal, Abbas Tyrewala, Paakhi A. Tyrewala, Kapila Vatsyayan
Duration: 01:22:13; Aspect Ratio: 1.750:1; Hue: 15.119; Saturation: 0.166; Lightness: 0.199; Volume: 0.145; Cuts per Minute: 5.752
|
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15558
|
yago
|
2
| 3
|
https://dghosh269.com/2018/05/08/dance-of-the-wind/
|
en
|
Dance Of The Wind – debarshithecinemaniac
|
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[
"Author debarshicinemaniac"
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2018-05-08T00:00:00
|
Pallavi (Kitu Gidwani) , a successful classical singer trains with her mother to carry forward the Hindustani musical tradition. She is good but not as much skilled as her mother is. Her mother Karuna took training from an old man. He never performed on stage but used to give lessons to his students. When Karuna…
|
en
|
https://secure.gravatar.com/blavatar/a1354a092bee63654416a0f7423d3bed4522d68f6d78fba346416137865616e2?s=32
|
debarshithecinemaniac
|
https://dghosh269.com/2018/05/08/dance-of-the-wind/
|
Pallavi (Kitu Gidwani) , a successful classical singer trains with her mother to carry forward the Hindustani musical tradition. She is good but not as much skilled as her mother is. Her mother Karuna took training from an old man. He never performed on stage but used to give lessons to his students. When Karuna started to perform on stage , he cut off all contacts with her. He detested glamour world. The trauma of Karuna’s death, announced by the appearance of the old man and a little girl, causes Pallavi’s voice to disappear. Slowly her relationship with her husband (Bhaveen Gosain) becomes strained. She slowly loses her students and her career takes a backseat. Retreating into solitude, she finds the little girl Tara (Roshan Bano) again. Much of the music was composed by Shubha Mudgal, a classical singer who studied in the guru-disciple tradition. Director Rajan Khosa used music in crucial points to capture the essence and mood of the film. The film is spiritual but it is extremely honest in it’s approach. In other words,it located in Indian culture. Khosa didn’t opt for any dishonest trick to make it global.
Yet, it has an universal appeal. He is aided by fine technical work all around, from Piyush Shah’s soft-hued lensing to Amardeep Behl’s quietly refined production design. I always liked to watch KItu Gidwani. She has been an extremely talented actress. Instinct affects her acting more than anything else. Bhaveen Gosain is known in theatre circuits. He just did this film only. Here, he gives a very convincing performance as a caring husband. Vinod Nagpal shines in a very short role.
|
||||
15558
|
yago
|
3
| 44
|
https://prodkeyshub.com/pmdb/titles/320180/dance-of-the-wind
|
en
|
Cast, Trailer, Reviews, OTT, Watch Online, Budget, Release date
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The mother of the Indian female singer Pallavi (Kitu Gidwani) is at the end of her life. She was master and teacher for her daughter for the art of Indian singing. But she will not be able to complete her lessons. So Pallavi experiences the lack of the guru of her mother. Finally she finds him in a very young street-girl who is able to sing marvelously. But this girl keeps disappearing again and again...
|
en
|
favicon/icon-144x144.png
|
PMDB
|
https://prodkeyshub.com/pmdb/titles/320180/swara-mandal
| |||||
15558
|
yago
|
2
| 2
|
https://variety.com/1997/film/reviews/dance-of-the-wind-2-1200451597/
|
en
|
Dance of the Wind
|
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[
"Deborah Young"
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1997-10-13T08:00:00+00:00
|
(Hindi dialogue)
|
en
|
Variety
|
https://variety.com/1997/film/reviews/dance-of-the-wind-2-1200451597/
|
(Hindi dialogue)
Aclassical Indian singer loses her voice and finds it again only after finding herself in “Dance of the Wind,” a highly Westernized production that utilizes an entirely Indian cast and setting. Story’s predictability is the chief minus in this beautifully wrought, exotic voyage into the rarefied realms of Indian music. Mystical elements add a further attraction for Western auds, who could find the characters a little on the cold side. With its co-producers covering most of Western Europe, pic should find its path to selected arthouses brightly lit, followed by TV sales to other territories.
Pallavi (Kaushalya Gidwani), a successful classical singer, is preparing with trepidation for separation from her aged mother and teacher, the legendary singer Karuna Devi (Kapila Vatsyayan.) In an exquisite scene showing mother and daughter exchanging musical phrases, Karuna coaches her less-gifted daughter in the Hindi musical tradition.
The trauma of Karuna’s death, announced by the appearance of an old man and a ragged little girl, causes Pallavi’s voice to disappear. In short order she loses her career, her students and her husband (Bhaveen Gosain). Retreating into solitude and close to madness, she finds the little girl Tara (Roshan Bano) again, and through her meets her mother’s guru, Munir Baba (B.C. Sanyal). In an eerie scene mirroring the earlier one, Pallavi learns to sing again by copying Tara’s haunting intonation. It is actually Munir Baba’s voice, channeled through the child, that will lead her to a more profound understanding of her art.
Though the drama of the artist’s crisis has been overexposed in movies, along with the idea that an artist must sacrifice all to achieve excellence, pic’s exotic setting gives it a bit of a new spin.
In the lead role, top Indian TV star Gidwani is a chilly Pallavi whose dedication to her work seems to cut her off from life. As her mother, non-pro Vatsyayan is even more glacial. Compared with their cold professionalism, Bano’s delightful Tara embodies the natural wisdom that equates singing with play, and draws the childless Pallavi into a warmly human relationship.
There is a magical quality to the three women’s voices and their songs. Much of the music was composed by Shubha Mudgal, a classical singer who studied in the guru-disciple tradition. As unfamiliar as the Hindi music idiom is, director Rajan Khosa (making his feature bow) manages to make its beauty leap off the screen. His understated approach, which leaves nothing unsaid or unexplained, creates an ideal bridge for Western viewers to the other culture. He is aided by fine technical work all around, from Piyush Shah’s soft-hued lensing to Amardeep Behl’s quietly refined production design.
|
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15558
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yago
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3
| 13
|
http://autarmota.blogspot.com/2020/09/rajan-khosa-brilliant-film-maker-from.html
|
en
|
CHINAR SHADE : RAJAN KHOSA , A BRILLIANT FILM MAKER FROM KASHMIR
|
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(Rajan Khosa arrives at the 10th Annual Indian Film Festival Of Los Angeles,, California. April10, 2012.)
((LAL BAHADUR SHASTRI JI INAUGURATING PAINTING EXHIBITION OF SOM NATH KHOSA IN NEW DELHI.1958.....LEFT TO RIGHT .. INDIRA JI, SHASTRI JI , PREM NATH DAR AND S N KHOSA ...... )
(Gandhi Ji visiting political prisoners lodged in Dum Dum Jail in 1947... A painting by Som Nath Khosa grandfather of Rajan Khosa)
(Mahatma Shambhunath caves Hampi . Statue of Mahatama Shambhunath great -grandfather of Rajan Khosa)
(Sir David Lean shooting near Fateh Kadal, Srinagar ,Kashmir)
(Transcendence 50x65 in. by Kashmiri Khosa father of Rajan Khosa .)
(Anjali Khosa Kaul's abstract painting )
WELL DONE RAJAN KHOSA
“Hum Parvarish e lauh o qalam karte rahenge
Jo dil pe guzarti hai raqam karte rahenge
Ek tarz e taghaful hai so voh un ko mubarak
Ek arz e tamanna hai so hum karte rahenge ”
( Faiz Ahmed Faiz )
( Forever will I nurture pen and paper,
forever express whatever my heart undergoes.
This posture of indifference, let it be their prerogative –
For me, it will always be my desire’s entreaty .)
Some days back, I read in a newspaper that ‘Gattu’, a 2012 feature film directed and co-written by Rajan Khosa has been declared one among top ten
internationally recognized Indian films along with ‘Aawara’, 1955 and ‘Lagaan’, 2001. Gattu was premiered at Berlin Film Festival (2012 ), winning a Special Mention - Best Film, and between the years 2012-13, this film alone
had received fourteen plus international awards with many honours following these awards.
Rajan Khosa’s another film , Dance of the Wind (1997 ) which was a co-production between six countries, the very first of its kind in India was distributed worldwide winning accolades and awards. The film was premiered at Venice Film Festival and won major awards (Best Director, Best Actor, Audience Award etc.) at the various festivals including Rotterdam, Chicago, London and Nantes . The film is based on Guru-Shishya Parampara of Indian classical music. Renowned artist B.C. Sanyal, Kapila Vatsayan (scholar of Indian classical dance, art, architecture and art history), Kitu Gidwani and some well-known names acted in this film.
In 2009-10, Rajan created India’s first feature-length multi-media biopic, combining film and holography, on Sadhu Vaswani, the well-know social worker and spiritualist who worked for upliftment of the mankind. And in 2014-16, he developed a large scale feature film with Disney based on a Satyajit Ray’s novella.
Rajan has also several short films to his credit including half-hour film ‘Bodh-Vriksha’ (Wisdom Tree) that deals with the theme of nursing and caring for the old people. It brought him a National Award and three Oberhausen Awards in 1987.
His latest directorial venture is a biopic on tribal leader Bhagwan Birsa Munda (2020 ).
Trained at FTII, Pune and Royal College of Arts, London, Rajan spent his formative years at the National Institute of Design, Ahmedabad. He practiced filmmaking in the UK for fifteen years (1990 to 2005) and finally moved back to India. Presently , he lives in Mumbai with his wife and son.
But then who is Rajan Khosa? Let us know him.
ORIGIN AND ANCESTRY OF RAJAN KHOSA
Khosa is the surname of a sect of Saraswat Brahmins from Kashmir who trace their roots to Rig-Vedic sage Gautama (Gautam Maharishi). The Gotra of this sect is ‘ Swamin Gautama ’. In Srinagar city, Khosas were living in Rainawari, Habba Kadal, Syed Ali Akbar locality and some more areas of the downtown.
Ancestors of Rajan Khosa were from Syed Ali Akbar locality, an area close to Fateh Kadal, Srinagar . This locality is close to Sri Raghunath Ji Temple, Kali Temple, Sri Ram Trikha Ashram , Ziyarat of Shahi Hamdan, all situated on the banks of the river Jhelum. This is the locality where the *European missionaries established the first school for imparting modern education to Kashmiris. A vibrant locality that used to breathe centuries-old composite culture and peaceful co-existence. In 1983, David Lean selected this area for shooting sequences for his film ‘A Passage to India’.
Rajan’s great grandfather, Pandit Shambhu Nath Khosa was a well-known saint and a spiritual personality who moved to Hampi caves in Karnataka around 1920s, and did penance renouncing Grihistha ( householder’s life ) until he passed away in 1939. He became famous in that area for healing people with the ashes from his ‘Hawan-Kunda’ or sacred fire . His devotees of local Vaish community donated two hills for his ‘Sadhana’ and discourses. Mahatma Shambhunatha Guhe is a place of pilgrimage today, and people climb the hill to pay respect to his life size black granite sculpture.
Shambhu Nath’s son Som Nath Khosa, who was left in the care of his mother
in Srinagar, studied Art at Sir Amar Singh Technical Institute, Srinagar where his teachers included F. H. Andrews and J. C. Mukerjee. Inspired by Mahatama Gandhi’s freedom movement, Som Nath Khosa started doing realistic paintings depicting Gandhi Ji on his mission. As a young man, in 1937, he took his would be bride to Hampi caves and got married in the presence of his father. After the partition of the country , he moved to Delhi in 1950 with a desire to paint monumental scenes form Gandhi’s life and exhibit them to masses. As his work became popular , his studio in Delhi was frequented by several dignitaries. Mrs. Indira Gandhi, Lal Bahadur Shastri and Babu Jagjivan Ram supported his mission, and his exhibitions travelled extensively until the end of his life in 1983. Som Nath Khosa’s paintings are still on display in several Gandhian institutions in India and abroad.
Rajan Khosa’s father, Kashmiri Khosa is a well-known artist based in Delhi
. Inspired by the family tradition, he reflects Indian philosophy in his language of modern art, which won him a ‘National Award’ in 1981 and President of India’s silver plaque in 1974. His paintings are on display in many national and international art galleries, and also in the significant collections of the National Gallery of Modern Art, Lalit Kala Akademi and Sahitya Kala Parishad. A documentary on his life and art was released by Doordarshan in 2003-2004.
Rajan’s sister, Anjali Khosa Kaul is a sculptor and a painter whose works can be found in the National Gallery of Modern Art , New Delhi and with many private collectors world over. She is a recipient of AIFACS Award and Ministry of Culture fellowship. Ashok Kaul , husband of Anjali Khosa Kaul practices industrial photography and art photography.
Rajan Khosa knows and understands Kashmiri in spite of the fact that he was
born and brought up outside Kashmir. A search for roots brought him to Kashmir where he lived for two years ( between 1988-1990 ) with **Swami Lakshman Joo (renowned Shaiva Scholar) studying Kashmir’s treasured Shaiva-Darshana . During this time , he built strong association with Shaiva scholar ***Dr. Bettina Baumer . At this period of his stay in Kashmir , he saw armed militancy arriving in the beautiful valley. Tragically , he also witnessed his relatives being forced to flee along with half a million Kashmiri Pandits who were exiled from their homeland .
( Rajan Khosa being awarded in Children Film Festival held in Macau on 13th December, 2023.)
About his family influence , Rajan Khosa informs this :-
‘Visual language gets embedded in you when you grow up with painters. My father would show me a painting and then ask me, ‘Why isn’t the composition working?’ ‘What is negative space?’ ‘What is balance?’ ‘What do these colours do?’ As there was this dialogue going on all the time I was taught these things early in life. Painting was therefore always in my blood. It was the first thing I did as a kid. I went to a my father’s studio when I was sixteen or seventeen, learned still life, and was very good at it. It helped me later on when unconsciously I would translate these things into films, drawing frames, for example.’
About resurgent India , Rajan Khosa informs this :-
‘India is changing as well, and is becoming more Western, but I would also say that mystical values persist. The final goal of life is to surrender to that presence and to constantly reaffirm its value in a material world. It is such an intangible thing and of course intangibility does not have much place in western culture. Only what is verifiable, quantifiable or tangible has a place and is given a value.’
About feeling the Cultural gap while living in the western society , Rajan Khosa informs this :-
“ You can’t really penetrate a culture. You get a very different view of it when you are an outsider. You can admire it, you can love it, you may embrace it, but you will never get to know its nuances. The rituals of any one culture are tied to emotions and feelings. When I was given my Brahmanical thread there was a ceremony for it. I went around and touched the feet of the 200-odd people who were there. You wear this thread and an orange garment. The colour orange signifies the burning of the ego, the sunset … the Upanishadic poems are all about walking into the sunset. It is symbolic of 20,000 different things, which your mother or grandparents had told you about in your folklore. You can never really leave your culture and you can never communicate it.”
ABOUT GATTU
Gattu is a film about a street kid’s ambition to become a kite-flying champion.Made on a tight budget, the movie was shot in and around the streets of Roorkee in the Himalayan foothills. The aerial scenes were taken from a Para glider . The lead character, Gattu, is played by newcomer Mohammad Samad, who was given the role after attending a local workshop held by the production. In India, Gattu is now free to watch on YouTube channel.
This is what Gautaman Bhaskaran wrote about Gattu in the ‘Hindustan Times’ of February 12, 2012:-
“The movie is a fascinating portrayal of India's have-nots and the dreams of children living in want. However, unlike Danny Boyle in his Slumdog Millionaire, Khosa is subtle in his presentation, and chooses to train his camera on smile and optimism. There is no garbage and dirt in Gattu, and the school song that celebrates India is not conveyed as a pun or ridicule. In the end, Samad's Gattu, despite his uncle's unfairness that keeps the boy in the crevices of illiteracy, radiates a kind of joy that one often sees in some of India's gloomiest slums. Using humour, Khosa builds a script which is beautifully balanced, and without the usual clichéd pitfalls.”
This is what Preeti Arora wrote in ‘India Forums ’ on July 20, 2012:-
"
Khosa's skill as a director is evident in the manner the screenplay unfolds, without preachiness or stilted dialogues, just a few small town folk scraping an existence without giving much thought to the helpless kids who are an integral but irrelevant part of the landscape. The stray dogs, the garbage, the buzzing flies are the reality of Gattu's life, not props engineered by a scheming director who wishes to endear himself to a western audience. The film runs for 82 minutes and the pace doesn't flag even for a single minute. The other children in the film have small insubstantial roles; Gattu carries the film on his slender shoulders alone. Gattu is a must watch for all but most especially cynics who believe 'there is no hope for any of us'. It took Gattu just a little less than two hours to prove"
And some of the awards won by Gattu could be listed as under:-
* Special Mention - Best Film; Grand Prix of the Deutsches kinderhifswerk
Berlin International Film Festival 2012.
* Nomination for Best Children’s Film (APSA - Asia Pacific Screen Awards)
2012.
* Colors Screen Award for Best Child Artist (India) 2012.
* Audience Choice Award for Best Feature (International Film Festival of Los
Angeles) 2012.
* Honourable Mention of the Jury (International Film Festival of Los Angeles) 2012.
* Citation of Excellence Award (Tel Aviv International Children’s Film Festival - Israel) 2012.
* Bronze Castle Award (Castellinaria Film Festival - Switzerland) 2012.
* Pemio ASPI Award (Castellinaria Film Festival - Switzerland) 2012.
* Audience Award (Seoul International youth Film Festval - South Korea) 2012.
* Diploma of Honour (42nd Roshd Int.Film Festival, Tehran-Iran) 2013.
* Best Performance by a Child Actor (China International Children’s Film Festival) 2013.
* Best Feature Film (New York Indian Film Festival) 2012.
* Best Young Actor (New York Indian Film Festival) 2012.
Driven by the market and business considerations, a general fall in the quality, themes and standard of our cinema may be true to some extent. The loud music and foot-tapping dance sequences may have also brought some repetitive boredom to serious viewers. But then men like Rajan Khosa are a
real hope. Driven by a passion, these filmmakers have changed the form, content and brought much needed human reality and simplicity in our cinema.
"Nahin hai na-umeed 'Iqbal' apni kisht-e-veeran se,
Zara nam ho to ye mitti bahut zarkhaiz nai Saqi"
( Iqbal )
(Iqbal does l not despair the present barrenness of his land ,
A little rain and this land shall bear grand harvest once again .)
(Avtar Mota)
3Footnotes.
*
Founded by Rev J. H, Knowles during the last quarter if 19th century , Fateh Kadal Mission School was the first school opened in Kashmir valley to impart modern education to kashmiris . Before this , Maktabs and Paath-Shalas run by Molvis and Pandits were imparting education in the Kashmir valley. The Fateh Kadal school was followed by other ‘Mission Schools’ opened by European missionaries at Rainawari, Nawa-Kadal, Habba-Kadal, Amira-kadal and a high school at Anantnaag in Kashmir .
**
Swami Lakshman Joo ( 1907-1991 ) was a world renowned mystic, author and scholar of Kashmir Shaiv Darshana. His Ashram is located at Ishber locality on the banks of Dal lake in Srinagar , Kashmir . Swami Ji had many disciples both within the country and abroad.
***
Dr Bettina Sharada Baumer (born 1940 ) is a renowned Indologist and one of the foremost expounders of Kashmir Shaivism . Born at Salzburg in Austria, she was awarded the ‘Austrian Decoration for Science and Art ‘ by Government of Austria in 2012 and ‘Padma Shri ‘ by Government of India in 2015 .
CHINAR SHADE by Autarmota is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 2.5 India License.
Based on a work at http:\\autarmota.blogspot.com\.
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Watch Dance of the Wind Online. Dance of the Wind the 1997 Movie, Trailers, Videos and more at Yidio.
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Dance of the Wind, a 1997 Indian drama, is a breathtaking cinematic experience that tells the story of Mallika (played by Ami Arora), a young woman torn between her passion for classical Indian music and her traditional family values. Mallika's mother, Janaki (played by Kitu Gidwani), is a talented singer and musician who had to give up her dreams to get married and raise a family. However, she sees potential in her daughter's musical talent and encourages her to pursue it. Mallika's father, on the other hand, opposes her interest in music, believing that it will lead her astray and go against their family's reputation.
Despite her father's objections, Mallika becomes a student of the renowned music teacher Tara Bai (played by Roshan Bano). Tara Bai is a strict, no-nonsense teacher who believes that success in music requires determination, hard work, and sacrifice. Her teaching methods often put her students to the test, but Mallika perseveres and eventually earns her teacher's approval and admiration.
As Mallika's musical talents grow, so does her confidence and determination to pursue a career in music. However, her family's disapproval hangs over her like a dark cloud, and she feels torn between her love for her family and her passion for music. Her struggle to reconcile these conflicting feelings forms the heart of the film.
Dance of the Wind is a stunningly beautiful film that captures the intricacies and nuances of Indian classical music. The music itself is a character in the film, and the performances are breathtaking. The camera work is superb, creating an immersive and captivating experience that draws the viewer into Mallika's world.
The film also explores themes of identity, cultural heritage, and the tension between tradition and modernity. Mallika's struggle to reconcile her passion for music with her family's strict traditions speaks to the universal experience of young people grappling with the expectations and values of their families and communities.
Overall, Dance of the Wind is a powerful and moving film that captures the beauty and complexity of Indian classical music and the human experience. The performances are outstanding, and the cinematography is breathtaking. The film is a must-see for anyone interested in Indian culture, music, or coming-of-age stories.
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Poster THE DANCE OF THE WIND Rajan Khosa FRIEND ARORA Roshan Bano 40x60cm *
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ORIGINAL FRENCH POSTER ORIGINAL FRENCH VINTAGE MOVIE POSTER THE DANCE OF THE WIND (1997) Director / Director: RAJAN KHOSA Acteurs / Actors: AMI ARORA, ROSHAN BANO Format: 40x60cm / Size: 15x23 inches Folded in very good condition Folded in very good condition
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ORIGINAL FRENCH POSTER
ORIGINAL FRENCH VINTAGE MOVIE POSTER
THE DANCE OF THE WIND (1997)
Director / Director: RAJAN KHOSA
Acteurs / Actors: AMI ARORA, ROSHAN BANO
Format: 40x60cm / Size: 15x23 inches
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Rajan Khosa
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Rajan Khosa is an Indian writer-director-producer who has worked between the UK, Europe and India for much of his career.
He is best known for his directorial venture Gattu, which won at Berlin Film Festival...
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https://en.bharatpedia.org/wiki/Rajan_Khosa
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Rajan Khosa is an Indian writer-director-producer who has worked between the UK, Europe and India for much of his career.
He is best known for his directorial venture Gattu, which won at Berlin Film Festival. It won a Screen Award in India and 20 other international awards. Rajan came into the limelight with his debut feature film Dance of the Wind (1997),[1] which was a co-production between six countries, the very first of its kind in India, and was sold worldwide. It premiered at Venice and won awards at Rotterdam, Chicago, London, and Nantes, to name a few. In 2015-17, Rajan was creative director on animation project Selfie With Bajrangi a 104 episode series now on Amazon.
In 2014–16, he developed a large scale feature film with Disney-UTV. Rajan has been a recipient of the Huber Bals Award in Rotterdam & Montecinemaverite Award in Locarno. His half-hour Indian diploma Bodh-Vriksha (Wisdom Tree), which released in 1987, garnered him a National Award and three Oberhausen Awards. Along with being a voting member of BAFTA Awards, he’s also an alumnus of the Royal College of Arts London, FTII Pune, and NID Ahmedabad. Rajan is founder of Elephant Eye Productions that not only makes feature films but also produces spatial experiences with story, multiple projections and holography.
Biography[edit]
Rajan Khosa started his professional education at Film and Television Institute of India (FTII), Pune, and Royal College of Art (RCA) London and also spend a few years at National Institute of Design, Ahmedabad.[2][3]
Awards[edit]
1985: National Film Award for Best Short Fiction Film: Wisdom Tree[4]
1997: London Film Festival: Audience Award: Dance of the Wind.
1997: Festival of Three Continents: Audience Award: Dance of the Wind.
1998: Chicago International Film Festival: Gold Plaque, Best Music: Dance of the Wind (1997)
1998: International Film Festival Rotterdam: Netpac Award: Dance of the Wind (1997)[5]
2012: 62nd Berlin International Film Festival- Special Mention - Best Film: Grand Prix of the Deutsches Kinderhilfswerk: Gattu [6]
2012: Asia Pacific Screen Awards: Nomination for Best Children's film: Gattu
2012: Colors Screen Award: Best Child Artist: Gattu
2012: Los Angeles International Film Festival: Audience Award for Best Feature: Gattu
2012: Tel Aviv International Children's Film Festival - Israel: Citation of Excellence Award: Gattu
2012: Castellinaria Film Festival - Switzerland: Bronze Castle Award: Gattu
2012: Castellinaria Film Festival - Switzerland: Pemio ASPI Award: Gattu
2012: Seoul International Youth Film Festival - South Korea: Audience Award: Gattu
2012: New York Indian Film Festival: Best Feature Film: Gattu
2012: New York Indian Film Festival: Best Young Actor: Gattu
2013: 42nd Roshd Int.Film Festival - Tehran-Iran: Diploma of Honor: Gattu
2013: China International Children's Film Festival: Best Performance by a Child Actor: Gattu
References[edit]
[edit]
Official website
Rajan Khosa on IMDb
Further reading[edit]
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https://thedailyeye.info/thought-box/the-romance-of-kites/affd250050cbabad
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en
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THE ROMANCE OF KITES
|
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http://thedailyeye.info/dailyeye_cms/Image/2015/01/1455802234k-f-original.jpg
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[] |
[] |
[
"Acee",
"Benjamin Franklin",
"Boer War",
"Canada",
"Capricorn",
"Capt Baden-Powell",
"Douglas Archibald",
"entertainment education",
"Gattu",
"General Han Sin",
"Gujarat",
"Han dynasty",
"Homan Walsh",
"Kite Festival",
"Maharashtra",
"Makker Sankranti",
"Orville",
"Piroj Wadi",
"Rajan Khosa",
""
] | null |
[] | null |
In mid January, the skies over Gujarat and Maharashtra are gaily speckled with kites, diving, soa...
|
en
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images/TheDailyfevicon.png
|
https://thedailyeye.info/thought-box/the-romance-of-kites/affd250050cbabad
|
In mid January, the skies over Gujarat and Maharashtra are gaily speckled with kites, diving, soaring and getting at each other. This day marks the solar ingress into Capricorn. In the north, the advent of spring is also celebrated with kite contests. To be acclaimed the victor, the flier must ‘kill’ nine kites. The victorious kite or Naushervan is then cut loose, and is the most sought after souvenir among kite chasers. Also, by tying the vanquished kite to your own, you can fly two kites simultaneously.
In my childhood memory, Makker Sankranti was assocated with three things – kite flying, til laddus and a chilly wind in the air. Some schools declared Makker Sankranti as a holiday, so it was common to see groups of youngsters and some adults collect on terraces of their buildings to fly kites. They would pose challenges to each other to cut down the kite. This is beautifully rendered in Rajan Khosa’s film Gattu, with the excitement of bringing down the big one. Gujaratis would head for their home towns in Gujarat just for that day of flying kites. Soon the Gujarat Government capitalized on the kite craze and introduced a Kite Festival.
Kites are a tribute to man’s genius for they are the most versatile of all his inventions. Kite flying can be a pastime and a national sport; kites have been used for espionage; they have enabled scientists to study weather conditions and wind velocity, in the nascency of scientific development. They have also been regarded as weapons to ward off evil spirits.
Some historians maintain that the kite was invented in 5th century BC by a Greek, Archytes of Tarentum. But the Chinese claim that it originated in their country in 206 BC. It was then that General Han Sin of the Western Han dynasty routed his enemy by creating an eerie image of his foe in the sky with the use of kites. During the Boer War, Capt Baden-Powell of the Scottish Guards lofted a spy on a kite over enemy territory. While Lord Hastings used it as a battle signal.
In the late 1840s, a young boy named Homan Walsh sailed a kite across the Niagara Falls making it possible to lay a thicker line and a cable. This helped in making the first railroad suspension bridge between the United States and Canada. Walsh was paid $10. In 1901, Marconi used a kite to hoist an antenna on the receiving station in Newfoundland to send radio signals across the Atlantic.
The Wright Brothers – Orville and Wilbur – would never have been aviators had they not been kite enthusiasts.Benjamin Franklin used a kite and key to prove that electricity in lightning was the same as that produced in laboratories. In 1983, Douglas Archibald, an Englishman, flew a kite with an anemometer and measured wind velocity at 1,200 ft.
During the early 20th century, the US Weather Bureau (now National Weather Service) used kites for weather forecasts. They used the Hargrave or Box kite – flying three or more kites strung in a row along a piano wire. The kite at the highest altitude recorded barometric pressure, temperature, wind velocity and humidity by means of a meterograph.
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https://timesofindia.indiatimes.com/entertainment/hindi/bollywood/news/i-am-dyslexic-pakhi-tyrewala/articleshow/7116523.cms
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en
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I am dyslexic: Pakhi Tyrewala
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[] |
[
"Pakhi Tyrewala",
"John Abraham"
] | null |
[
"Garima Sharma"
] |
2010-12-18T00:00:00+05:30
|
From Saket to the suburbs of Mumbai, Pakhi Tyrewala says her journey is that of a true blue Dilli ki kudi finding a foothold in Tinseltown.
|
en
|
The Times of India
|
https://timesofindia.indiatimes.com/entertainment/hindi/bollywood/news/i-am-dyslexic-pakhi-tyrewala/articleshow/7116523.cms
|
Garima Sharma is a correspondent at Delhi Times. She covers Bollywood and fashion. She likes to eat out and shop, and has a special weakness for earrings. She also loves to travel. She likes to watch the masala movies she writes about.
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https://www.india-instruments.com/newsletter-archive-details/newsletter-april-august-2021.html
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en
|
India Instruments
|
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Small is Beautiful (Harmoniums for on the Move) – Service (Tanpura Price Reduction, Harmonium Bonus, Vegan Instruments) – Teaching Material (Harmonium & Sitar) – Covid-19 Pandemic …
|
en
| null |
Content
1. Small is Beautiful - Harmoniums for on the Move
2. Service – Tanpura Price Reduction, Harmonium Bonus, Vegan Instruments
3. Teaching Material - Harmonium & Sitar
4. Covid-19 Pandemic - Problems for Indian Instrument Makers
5. Ideal and Reality - Film Review The Disciple
6. Brief News: Covid Victims, Random Raga Player, Raga Streaming
7. How to Make (Indian) Music? (26) - Balance
8. Workshops - September to November
9. Concerts - September to November
1. Small is Beautiful – Harmoniums for on the Move
- New in our Assortment -
- Harmonium Sarang Mini Pro – 549 €
The Sarang Mini Pro is a perfect companion for mantras and kirtans on the road and at home - light, compact, robust, pleasant to handle and yet a full-fledged harmonium with a powerful, round sound. The Sarang Mini Pro offers particularly fine quality, but thanks to its simple Delhi-style construction, it is considerably cheaper than the similarly small Paloma and Pakrashi models. The 27 notes from f to g range over 2 1/4 octaves and thus cover the tonal range of common mantras and kirtans. High-quality double reeds ensure good response and a powerful, rich sound. The transparent varnish brings out the wood grain beautifully. The precise workmanship ensures that the keys work smoothly and the air chambers remain tight.
More info, pictures & sound sample Sarang Mini Pro
- Harmonium Tirupati Kirtan Premium Mini - 549 €
The collapsible Tirupati Kirtan Premium Mini is a smaller version of the Kirtan Premium model and therefore especially suitable for travelling. The simple construction makes it inexpensive and robust, high-quality double reeds provide a full, warm sound and for the small format it has an amazingly good sustain. A good choice for beginners as well as for ambitious kirtan singers. The outer bellows of the Kirtan Premium Mini is firmly attached and does not have to be unfolded and secured with hooks. This makes the entire folding mechanism much less sensitive and easier to use. When folded, the instrument is protected in an integrated sturdy wooden case. With a range of 32 tones, it is a bit smaller and lighter than our Bina Kirtan Premium Mini.
Further info, pictures& sound sample Tirupati Kirtan Premium Mini
2. Service – Tanpura Price Reduction, Harmonium Bonus, Vegan Instruments
- Company News -
Price Reduction – Male Tanpuras Calcutta Standard 100 € Cheaper
Today, traditional tanpuras are being replaced more and more by apps and electronic devices. Digital sounds, however, always remain sterile imitations of the originals. We want to make the lively sound of acoustic tanpuras more accessible for beginners and have therefore reduced the price of male tanpuras Calcutta Standard by 100 € - they now cost only 589 €! Experience the unique richness and fullness of the true tanpura sound! Ideal for Nada Yoga, overtone singing, meditation and chanting.
Pictures, info & sound sample male tanpura Calcutta Standard.
***************************************
Harmonium Purchase – Bonus: Free Teaching Material
To help you get started, you will now get free introductory harmonium videos by American kirtan and harmonium teacher Daniel Tucker with every harmonium purchase - very helpful for beginners. The videos also include access to what is probably the best and most comprehensive teaching material available online for harmonium today: the Bhakti Breakfast Club. Exclusively through this access, the first month of membership with full access to all the teaching material is free.
Info about the Bhakti Breakfast Club and regular membership.
***************************************
Vegan Indian Instruments Overview - Tradition and Innovation
Animal materials such as skins, leather, horn and bone parts are used for many Indian instruments. The traditional materials shellac and water-soluble hot glue are also of animal origin. However, there are also Indian instruments without animal materials that meet strict vegan requirements: traditional percussion, flutes made of bamboo, wind instruments made of wood and reeds - and innovative new instruments like the bamboo tanpura or the drums with synthetic skins by Karunya. We now have a separate webpage for all vegan instruments!
Overwiev vegan Indian instruments.
3. Teaching Material – Harmonium & Sitar
- New in our Assortment -
Vaisnava Harmonium - Book & 2 CDs @ 24 €
Vaisnava Harmonium is based on the classical North Indian music system and presents 43 Vaisnava Bhajans. It goes step by step from very simple to more advanced melodies. Instead of Western notation, the easy-to-read Indian letter notation is used. The pitch of the basic tone can be determined by the student to suit his/her own singing voice. Apart from the 43 bhajans, the book also deals with different voice ranges, special features of Indian raga music, characteristics of 58 well-known ragas, drone notes, harmonies and chords.
Further info & order Vaisnava Harmonium.
Hal Leonard Sitar Method – Deluxe Edition with Book, Audio & Video @ 24.90 €
Hal Leonard Sitar Method by Josh Feinberg is a comprehensive and accessible introduction to the sitar and its technique, as well as to the practice, theory and history of raga music. In addition to the Standard Edition as a book with online access to 42 audio tracks, there is now also a Deluxe Edition. It includes all the material of the Standard Edition plus 2 hours of videos for demonstration and play-along. Recommended for beginners as well as for sitar players who want to refine their technique and/or go deeper into the world of ragas.
Further info & order Hal Leonard Sitar Method.
4. Covid-19 Pandemic - Problems for Indian Instrument Makers
- Background Report by Yogendra -
European media have reported on the devastating wave of new Covid-19 infections in India this spring. The number of severe cases rose so suddenly and sharply that the Indian health system was no longer able to adequately care for all those who fell ill. Inadequate or completely absent treatment options led to countless deaths. New sharp lockdowns paralysed the economy and public life. What consequences does all this have for instrument manufacturers in India? We have asked our Indian partners. Conclusion: The situation for instrument makers in India remains difficult.
There are disruptions and obstructions everywhere - raw materials and components from suppliers have become considerably more expensive or are no longer available at all, local ordinances restrict working hours, employees have to go into quarantine, stay at home for fear of infection or can not come to the workshops because of curfews or the breakdown of public transport. Finished instruments can not be exported because packaging material or transport capacity is not available. Our supplier Haribhau Vishwanath (Paloma) in Mumbai, for example, had to stop production completely for months because skilled workers for crucial steps in the highly specialised manufacturing process had stayed with their families in the countryside. At Amaanshi (Sarang harmoniums) in Delhi, the whole team had to be quarantined because of positive corona tests. There were also reports of demands for bribes from corrupt police officers.
In order to be able to deliver at all, quality standards are sometimes neglected. And since our independent local quality controllers can only work to a limited extent, more and more instruments with defects slip through to us in Germany and block our workshop with the necessary repairs. This results in domino effects of delays, bottlenecks and quality problems, which pose a great challenge to our Indian suppliers as well as to our team in Berlin. In addition to the health hazards, the massive drop in income is also putting instrument makers under severe financial pressure. A number of component suppliers and small businesses have given up and closed down because of this. The good news amidst all these difficulties: Many of our Indian partners and their employees have now been vaccinated. For some of our partners, we have been able to alleviate the financial hardship somewhat with advance payments. And at the moment it looks like all our partners are flexible and resilient enough to survive the crisis period!
5. Ideal und Reality - The Disciple
- Film Review by Yogendra -
Internationally successful feature films in which classical Indian music plays a central role only occur every few decades. In Jalsaghar (The Music Room, 1958), Oscar winner Satyajit Ray presented an elegiac swan song to the declining Indian aristocratic patronage of music and dance. The classical Indian music tradition itself, on the other hand, had already successfully made its way from courtly patronage to the democratic public sphere and was flourishing. With Begum Akhtar, Roshan Kumari, Wahid Khan and Bismillah Khan, outstanding artists of that time could be seen and heard in Jalsaghar with phenomenal performances. When Rajan Khosa's film Dance of the Wind was released in 1997, Indian classical music had taken a breathtaking flight of instrumental styles while gaining astonishing global popularity. In Dance of the Wind, a young classical Indian singer refuses to ritually become a disciple of her mother and teacher in the sense of the ancient Guru-Shishya-Parampara tradition. After the death of her mother, the young singer loses her voice - and finds it again by becoming a singing teacher herself for a street girl. The film narrated Indian classical music as a medium of mental and spiritual healing through a renewed connection to the ancient tradition.
In The Disciple, on Netflix since April 2021 and shown at international film festivals before that, Chaitanya Tamhane now depicts the life of fictional khyal singer Sharad Nerulkar in four interlocking time levels over about 30 years. As a young boy, Sharad is forced by his father to learn vocal compositions instead of playing outside with his friends. In his early 20s, he is one of three students of a renowned classical vocal guru. A few years later, he ekes out a living as a singing teacher and with small concerts. And in the end we see him as a family man and press spokesman for a music publishing company. In Sharad's struggle with himself, with his family environment and with the noble old ideals of the classical music tradition, and finally in his failure under the conditions of the commercial concert business, the film paints a mercilessly realistic picture of the classical North Indian music tradition in modern India.
We see the singing student Sharad practicing, in class, as an inhibited accompanist to his guru in a concert and as an unsuccessful participant in a singing competition. He has fallen out with his mother and found shelter with his grandmother. He sees his singing studies as a life task that does not allow him to have a normal job on the side. His only concession is working for a small record company that digitises historical tape recordings of old masters. There, he admiringly delves into the lost teachings of the legendary ascetic singer Maai, with sentences like "Through this music, the path to the divine is revealed to us" or "If you want to walk this path, learn to be hungry and lonely.“
The radical sternness of Maai's teachings is in sharp contrast to Sharad's experienced reality. People are interested in current stars, not old masters. The audience for classical concerts is sparse and mostly of retirement age. Sharad's students would rather sing rock music than ragas. He himself lacks creativity - he meets neither his own nor his guru's expectations and is dismissed as a bore in comments on his YouTube channel. He has to go door to door as a supplicant for performance opportunities. He lives his sexuality masturbating to internet porn. His revered guru is hardly doing better – he is old, sick and penniless, depends on his students, has to keep performing despite his frailty and is cheated out of his fee by concert organisers. A music critic with insider knowledge exposes Sharad‘s revered old masters as hypocrites. Glamour and recognition can only be found on television for the winner of a casting show. Loneliness, disappointment and self-doubt finally culminate in a raga performance that Sharad finds so disintegrating that he breaks it off and walks silently off the stage. His artistic ambitions have thus finally failed. Sharad only appears cheerful and relaxed afterwards, for the first and only time, in a scene near the end of the film: travelling on a train with a happy girl on his lap and a pretty woman next to him. Happiness seems only possible for him outside the gruelling world of classical music.
The Disciple shows the classical North Indian music tradition in the midst of a complicated transformation process. After the very dynamic period with worldwide success in the second half of the 20th century, a congealment and musealisation has crept in. The spiritual and ascetic ideals have become increasingly difficult to reconcile with the modern world. Profanisation, digitalisation and commercialisation are eating away at the substance of tradition. The deprivation-laden apprenticeship for musicians still lasts decades, but the career prospects are bleak. Only very few succeed in first mastering the traditional repertoire with virtuosity, then creatively enriching it, and finally inspiring both the professional world and a wider audience. On the one hand, tradition demands to be faithful to it, and on the other hand, it thrives on constantly renewing itself with innovations. All these are contradictions that are difficult to resolve. It might be helpful to reflect on the essence of raga music though: Ananda - bliss. Those who forget this essence and strive for recognition and material gain through music are on the wrong track. But if you look for emotional depth, beauty and refinement in the ragas, you may find fulfillment again and again.
The Disciple is available on Netflix and through mega.nz.
6. Brief News: Covid Victims, Random Raga Player, Raga Streaming
- Scene-Info -
Covid-19 Pandemic – Renowned Musicians Among the Victims
The escalated Covid-19 pandemic in India this spring has led to partly chaotic conditions in the health system, to which several renowned Indian musicians have also fallen victim. The best known was probably the khyal singer Rajan Mishra, who had enjoyed worldwide success for decades in a duo with his younger brother Sajan and had received the high order Padma Bhushan in 2007. Rajan Mishra died on April 21st at the age of 70 in a Delhi hospital - reportedly because a ventilator could not be procured in time for the covid-19 complications that had arisen. Also due to Covid-19 complications, Debu Chaudhuri, recipient of the Padma Shri and one of the defining sitarists of the 1970s - 90s, died in Delhi on May 1st at the age of 85. Tragically, his son and disciple Prateek Chaudhuri also died of Covid-19 in Delhi just a few days later, on May 6th. Prateek had followed in his father's footsteps and made a name for himself as both a sitarist and a musicologist. He lived to be only 49 years old. The latest in the line of prominent Covid-19 victims so far is tabla player Ananda Gopal Bandopadhyay, deceased at the age of 79 in Kolkata on May 7th.
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NeckarGanga Reloaded – Endless Digital Raga Variations
With funding from the German Federal Cultural Foundation, the Indo-German band NeckarGanga has developed a virtual music player that is freely accessible online. The player has been fed with more than 240 short pieces of music in the ragas Kirwani and Hansadhwani, in free rhythm or in 41, 82 or 164 bpm, recorded individually by the musicians of NeckarGanga and various guests. These set pieces are independently recombined by the player in almost infinite combinations with a mixture of programmed rules and chance. Instead of repeatable pieces, the player thus offers a slightly different listening experience each time. By clicking on 6 buttons, listeners can choose whether they want to hear Kirwani or Hansadhwani or both, and whether the music should be more or less rhythmic. By foregoing a conscious design of larger contexts, there is neither beginning nor end nor development in the music - and thus neither tension nor meaning. Everything always fits together somehow nicely and thus ultimately blurs into arbitrariness. NeckarGanga Reloaded has neither the lively processuality of improvised classical Indian raga music nor the product character of composed works - but as pleasant background music with original exotic ingredients, the player is certainly wonderful to use for relaxation at home, in Indian restaurants or in yoga studios.
Music-Player NeckarGanga Reloaded
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Ragya – Classical Indian Music Streaming
Ragya is a new streaming service for hardcore fans of classical Indian music. The service is still under construction and so far only offers classical North Indian music - but in good technical and artistic quality. World-famous stars as well as lesser-known masters from the second row are represented. The spectrum of recordings ranges from historical material to relatively recent live recordings and is sorted according to the traditional assignment to times of day. At night, for example, only supplementary recordings can be played. This limitation can be circumvented with the mobile app by creating your own playlist that can be played at any time. The selection is very limited in the free version, but quite sufficient for testing. With the premium version for just under 4 € per month, it can be expanded to over 1000 hours of music and enriched with background information on ragas and artists. So far, it is not possible to search for specific ragas or artists. This can be seen as an invitation to broaden one's horizons and make new discoveries. In the future, however, a specific search function, a constantly expanding repertoire and the integration of classical South Indian music are planned.
Ragya Website.
7. How to Make (Indian) Music? (26) - Balance
- Quote by Lü Buwei -
The series "How to Make (Indian) Music?" presents thought-provoking, inspiring or controversial quotes from artists and intellectuals.
When the world is at peace, when all things are at rest, then music can be perfected. When the desires and passions do not go on wrong courses, then music can be perfected. Perfect music has its cause. It arises from balance. The balance arises from the right, the right arises from the sense of the world. Music is based on the harmony between heaven and earth, on the agreement of the dark and the light.
Lu Buwei (ca. 300 - 235 BC) was a Chinese merchant, politician and philosopher. As a patron of the arts, he initiated the writing of "Spring and Autumn Annals of Lu Buwei". Quote from: Hermann Hesse: Das Glasperlenspiel, p. 27 f., licensed edition RM Buch und Medien Vetrieb 2002
7. Workshops - September to November
- Scene-Info -
We are relaunching the workshop calendar after the corona break. Like a good notice board, it is limited to short, essential information with links to the respective websites for more info. Here is the overview:
03-05.09. BAD MEINBERG: Harmonium Advanced Seminar with Devadas Mark Janku
17-19.09. FRANKFURT: Bhakti Yoga Immersion with Aleah and Jess
24-26.09. BAD MEINBERG: Advanced Harmonium Seminar with Michael Bier
01-03 Oct. OBERLAHR: Harmonium learning seminar with Marco Büscher
08-10.10. ULM: Bhakti Yoga Immersion with Aleah and Jess
08-10.10. OY-MITTELBERG: Harmonium learning seminar with Jürgen Wade
15-17.10. OY-MITTELBERG: Harmonium Advanced Seminar with Jürgen Wade
17-22.10. BAD MEINBERG: Harmonium Intensive with Sarada Drautzburg
22-24.10. BAD MEINBERG: Indian Dance with Anna Grover
05-07.11. EICHSTÄTT: Bhakti Yoga Immersion with Aleah and Jess
05-07.11. BAD MEINBERG: Harmonium learning seminar with Jürgen Wade
12-14.11. BERLIN: Bhakti Yoga Teacher Training Begins
12-14.11. WANGERLAND: Harmonium learning seminar with Jürgen Wade
19-21.11. RATINGEN: Bhakti Yoga Immersion with Aleah and Jess
More information about all offers and further dates on our workshop page.
7. Concerts - September to November
- Scene-Info -
After a long Corona break, our concert calendar is back!
01.09. BONN: Pulsar Trio - Sitar, Piano, Drums
03.09. COLOGNE: Pulsar Trio - Sitar, Piano, Drums
04.09. HAMBURG: Ek Minute Baba - Rag ‘n‘ Roll
11.09. FALKENSEE: Pulsar Trio - Sitar, Piano, Drums
11.09. A - VIENNA: Kaveri Sageder - Kathak Dance
16.09. B - BRUSSELS: Joachim Lacrosse - Sitar
30.09. A - REIGEN: Once In A Blue Moon - Sitar & Accordion
01.10. A - TRAUN: Once In A Blue Moon - Sitar & Accordion
01.10. SCHWERIN: Pulsar Trio - Sitar, Piano, Drums
03.10. BAD MEINBERG: Ananda Caitanya Das - Kirtan
15.10. BERLIN: Dave Stringer - Kirtan
02.11. BAD MEINBERG: The Love Keys - Aleah G. & Friends
06.11. CH - ZURICH: Satyaa & Pari - Mantras
12.11. COLOGNE: The Love Keys - Aleah G. & Friends
26.11. FULDA: Pulsar Trio - Sitar, Piano, Drums
30.11. BAD MEINBERG: The Love Keys - Aleah G. & Friends
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[
"CHINAR SHADE",
"View my complete profile"
] | null |
Literary and Cultural Writeups .
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http://autarmota.blogspot.com/favicon.ico
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http://autarmota.blogspot.com/2020/
|
JAGAN NATH , INCHARGE WURA ( MARRIAGE KITCHEN)
In Kashmir , marriages were labour intensive . The marriage halls and the buffet system were nowhere to be seen .The families had to collect and store the foodgrains , spices , edible oil , timber ,cooking utensils ,bedding, flooring and anything and everything needed for the marriage . The relations and the neighbours would send young volunteers who were the much needed workers for the marriage functions essentially feasts . These workers would also help in the collection of major items like bedding and utensils from relations and neighbours . The neighbours would readily offer accomodation to the guests of the family marrying their son or daughter. Even Muslim neighbours would readily provide all possible help to Pandits during such events.This help was reciprocated by Pandits .The young workers would willingly work as waiters on the feast days. They would be available to the family for any work before and after the marriage .Everything was done without any remuneration. It was the practice . So was the culture and the tradition .
During marriage functions, some trusted acquaintance or a close member of the family would be made incharge of the Wura or the marriage kitchen . The person had to be experienced apart from being firm . Custody and control over provisions ,vegetables, spices, and edible oil would be entrusted to him. He would sit near the Wura as the cooks arrived . Quite often he would sleep on the Voguv ( hay mat) near the Wura. He would be there til the cooking and eating was over. He would ensure proper discipline and order in the cooking and distribution of food to the invited guests. He would gossip with the cooks and keep them in good humour to ensure that cooking was done to perfection. The cooks or Wazas would go to him for anything and everything they needed. He would be asked to taste dishes once they were ready. The cooks demanded some money from him as Zang ( a sort of Baksheesh) if everything was perfect.
A long hearth was erected with bricks and mud . This hearth was known as Wura in Kashmiri. Wura or the huge makeshift Chulha ( hearth) was created in open for large-scale cooking during marriages in the Kashmir valley. Timber ,generally from the willow trees was burnt in Wura for cooking many dishes simultaneously. Wura or the marriage kitchen was erected on an auspicious day as per Bikrami calender. The cook would come to erect Wura using mud and bricks. This cook had to be given' Zang ' comprising of rice, salt, and cash.
Cooking was done in big Degchas( brass pots ) that were usually collected from neighbours and relations . Special identification marks of these Degchas were noted in a diary to facilitate return. We would see marks like KN( for Kashi Nath) or MLR ( for Mohan Lal Razdan) or KKK ( Kanwal Krishen Kaul) engraved on the rim of the Degcha. Metal tubs, Kadaais , drums (for storing water) ,Samovars and Dullus were also collected from neighbours or relations who demonstrated unprecedented soldarity and support during such functions. Thalis (plates) ,glasses and khasus( bronze tea cups) were available on payment of nominal rent . In Rainawari , we would rent a boat ( demba naav) for these collections . It meant boating and a great entertainment. This activity would create new friends and newer bonds amongst the volunteers and workers who would be Mohalla boys and young relations of the family( solmenizing the marriage). A spirit of camaraderie was starkly visible amongst these volunteers and workers.
While procuring provisions for the marriage and storing them, every Kashmiri Pandit family would buy three or more bottles of Rum for the cooks. This was done through friends or acquaintances who had some source or link in CSD outlets . The head cook would always bring three or more assistants for cooking food for the marriage guests .The feasts would have a variety in vegetarian or non vegetarian food . Food was served to guests in a Shamiyana .They were made to sit in rows .Before serving the food , some volunteers would carry water , soap and towels so that guests washed their hands . Therafter plates were laid in all the rows . It was followed by serving the dishes . Rice with some gravy dish was the last item. One could see the wotrkers and volunteers busy inside the Shamiyana carrying dishes and refilling their serving bowls . On an average 400 to 500 guests were invited . It could be more also
I Knew one Jagan Nath whom I saw in many marriages . He was always assigned the task of looking after the marriage kitchen. These assignments had created his popularity amongst the cooks ( Wazas ) . I have keenly observed Jagan Nath’s role in many marriages .I quote the communication between Jagan Nath and the head cook that I heard once in the marriage of a relation . In our recent past , we lived this culture and communication .
The head cook:-
“ Nath Ji , cigerrette aav na kehn. Aeiss moklaavav ye krai-paak ta aeiss karav nendri ganta . Rum katie chhe, tseir guv na . Kyoothh chhus noon. Yathh thav zang. “
( Jagan Nath Ji , get some cigarettes . We will finish this deep frying work and take rest for an hour or so. Where is the XXX Rum? We are late . Are the dishes tasty ?Put some Zang (currency notes ) into the plate .”
Jagan Nath ( Incharge Wura) :-
“ Yim gayi cigerrette . Chaav me ti akha. Ye gayi XXX Rum. Yin zyada chakh. Vaeni chhuyi kaar aeti. Baraat iya subhas saada aath baje. Daftar valen gatchhi tayaar aasun. Akh gilaas thavizi me baapat tal kun. Noon ta maza chhukh zabar . Zang diyi yezman paanai . Ma he gham.“
( Keep these cigarettes . Light a cigarette for me as well. This is your XXX Rum bottle. Don’t drink beyond limits . You have to cook some more dishes .The Baraat will be here at 8.30 in the morning .You have to keep food ready for those Baraatis who have to attend their offices . Make a drink for me as well and keep it hidden over there .The dishes that I tasted are well cooked . The Yajmaan ( family head ) will himself put currency notes in your plate . Why do you worry ?”
Jahgan Nath , the Wura incharge also had some sleep after gulping the glass of XXX Rum. I conclude this write up with some couplets from a Gazal of modern Urdu poet Zubair Rizvi. "Hai dhoop kabhi saaya
shola hai kabhi shabnam,
Lagta hai mujhe tum sa
dil ka to har ikk mausam.
Beete huve lamhon ki
ḳhushboo hai meray ghar mein,
Book-rack pe rakkhe hain
yaadon ke kayi album ......"
( sometime,it feels like sunshine
Sometime like shade ,
sometime i feel it like a fireball,
And sometime it feels like cool dew.
Every season within my heart,
Looks and feels like you only.
The fragrance of time spent ,
lingers in my house,
And my book shelf is decorated by
Many albums of memories alone .. )
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https://www.tiktok.com/discover/Wisdom-Tree%3Flang%3Den
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en
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Make Your Day
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https://prabook.com/web/kitu.gidwani/2138260
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en
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Kitu Gidwani
|
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"Kitu Gidwani profile Mumbai",
"Maharashtra",
"India Actor model"
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[] | null |
Kitu Gidwani is an Indian actress and model.
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en
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https://prabook.com/web/kitu.gidwani/2138260
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https://www.thehindu.com/news/cities/Delhi/lending-voice-to-the-overlooked/article2963107.ece
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en
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Lending voice to the overlooked...
|
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[
"deprived street children"
] | null |
[
"Madhur Tankha"
] |
2012-03-05T07:32:18+00:00
|
Delhi News:Lending voice to the overlooked...
|
en
|
https://www.thehindu.com/favicon.ico
|
The Hindu
|
https://www.thehindu.com/news/cities/Delhi/lending-voice-to-the-overlooked/article2963107.ece
|
Having made ‘ Gattu' on the plight of deprived street children, director Rajan Khosa talks to Madhur Tankha about his journey from filming to promoting it.
In the genre of I am Kalam , another feature film will now seek to raise awareness about education of underprivileged children. Film-maker Rajan Khosa's Gattu is about a street child who in his quest to fulfil his dream realises the significance of education.
Like I am Kalam , the film is travelling to international film festivals before its release in the country.
“Films like ours have to first make a name for themselves at international film festivals. Thankfully, Gattu was able to woo the audience at the recently held 62 Berlin Film Festival and got a special mention because all its shows were sold out. Our protagonist was fondly described as an endearing little rascal at the festival,” says Rajan, an alumnus of Film and Television Institute of India and Royal College of Art (London).
Two years ago, Children's Film Society, India, chairperson Nandita Das approached the film-maker to make a sensitive film on education, particularly the need for underprivileged children to become literate.
“So I worked on the script along with four writers for a year. We then presented the script to Nandita, who apart from being a talented actor is also a sensitive director ( Firaaq ). She went through the script and incorporated some changes. So CFSI is producing this film. We were clear that the film has to motivate children living on streets about the importance of education. Ideally, we would like philanthropists to provide funds for their education. But we have conveyed the message in a subtle way,” says Rajan.
Since Rajan's co-writer Ankur Tiwari hails from Roorkee, he recommended the city saying it would be an ideal venue for shooting.
Visiting Roorkee was an unbelievable experience for Rajan. The city resembles the Walled City of Delhi where he grew up. “The people were friendly and the atmosphere was contagious. When the locals came to know that our film was being made for a noble cause, they in their large-heartedness volunteered to vacate their homes. Some even sent their children to act in the film. Since we wanted to retain the local flavour, we took child actors and the local people.”
The movie stars Mohammad Samad as Gattu, a little street urchin. He was selected only after umpteen auditions and workshops. Naresh Kumar is playing the role of Anees Bhai and Sandesh Shandilya has composed the music.
Gattu will take film buffs to a town where children and grown-ups are equally obsessed with kite-flying. The airspace is dominated by a black kite called Kali with mysterious origins. “Gattu is keen to emerge a winner against Kali but he fails. Not the one to give up, he discovers that the local school has a roof that will give him a vantage point. Impersonating as a student, Gattu sneaks into the school but has to rely on his street-smartness to survive. The only problem is that Gattu is unlettered. Instead of quitting, the little boy takes up the challenge of emerging victorious against Kali. Slowly but gradually, he realises the significance of education.”
The character of Gattu has been played by Samad Mohammad, who is a natural kite flyer. “In almost every small town in the country, you see street kids, selling trinkets, playing pranks and begging. You either ignore them or dole out a coin or two but they are far too smart to be wasted like this. So in Gattu , we deliberately chose a small town,” adds Rajan.
The film belongs to the community of Sati Mohallah in Roorkee where Rajan shot mostly with local actors barring a few theatre artistes. “We scanned the streets and schools for child actors, inviting them to join our film workshop. The film also talks about Hindu-Muslim unity and captures the environment around the Sati Mohallah which is inhabited predominantly by Muslims. We told the locals that the film will communicate the need to educate street children and they were enthusiastic about it. We plan to release the film across the country towards the end of April.”
Rajan came into the limelight when he wrote and directed Dance of the Wind which captured the beauty of ancient Indian music and dance. He had in the cast the learned and articulate scholar of Indian dance Kapila Vatsyayan and the music was provided by Hindustani classical singer Shubha Mudgal. “I was able to convince Kapilaji to do the film because I knew her since my childhood days. She played mother to Kitu Gidwani, who did the part of an Indian classical singer, whose career comes to an abrupt end after her mother expires. The singer, who studied under the guidance of her mother, also loses her voice and career.”
The prize-winning film was acclaimed at various international film festivals but was not a commercially viable project in the country.
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https://rajankhosa.com/project/dance-of-the-wind/
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en
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Dance of the Wind – RAJAN KHOSA
|
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en
|
https://rajankhosa.com/project/dance-of-the-wind/
|
Synopsis:
The professional life of Pallavi Sehgel, a young singer, comes to a sudden halt at the death of the woman who was both her mother and teacher. We follow her downfall and recovery through the help of her mother’s guru, Baba, and a mysterious young girl, Tara, who appears as if from nowhere.
Credits:
Original Story and Direction: Rajan Khosa, Cinematography: Piyush Shah, Sound Design: Vikram Joglekar, Music Composer: Shuba Mudgal, Production Design: Amardeep Behl, Producer: Karl Baumgartner, Financiers: The European Co-Production Fund, Filmstiftung NRW, Hessischer Rundfunk Filmforderung, ARTE and WDR, The French Ministry of Culture and French, Ministry of Foreign Affairs, National Committee for International, Cooperation and Sustainable Development, Hubert Bals Fund – The International Film Festival Rotterdam, National Film Development Corporation of India, Fondatione Montecinemaverita, Distribution: UK (Artificial Eye) July 98, Germany (Pegasos Film) Oct. 98, France (Pierre Grisse) April 98, The Netherlands (Cinemien) April 98, Switzerland (Trigon Films) Feb. 98. Also released in Spain, Belgium, Norway, Sweden etc in 99, 00.
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https://picfblog.wordpress.com/author/picfblog/
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PICF
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2021-11-14T11:57:22+00:00
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Read all of the posts by PICF on Project Indian Children's Films
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Project Indian Children's Films
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Language: Hindi
Starring: Mohammad Samad, Naresh Sharma, Jayanta Das
Director: Rajan Khosa
An illiterate orphan boy dreams of becoming the town’s top kite flyer and will take an unusual path to achieve his goal.
Ten years ago when Rajan Khosa’s Gattu opened at the International Children’s Film Festival in Hyderabad, it created an instant buzz. The goodwill carried on at a global level — it won awards and accolades alike at various film fests. The universal appeal of this little film about kids, steeped in the local milieu of a small North-Indian city, is not difficult to see. Gattu is an endearing story of a disadvantaged child who achieves his dream with wit, a little luck, and lots of pluck. And Khosa tells it with great humanity and candour.
Gattu (Mohammad Samad) is an illiterate orphan fostered by Anees (Naresh Sharma), a stern but well-intentioned scrap dealer who trains him with a firm hand. Like Gattu, Anees is kinless and together they make an unlikely unit. Anees never misses a chance to remind Gattu of how better off he is compared to other street children — with a roof over his head, earning his daily bread and a vocational skill to learn. “Humaari toh zindagi hi aisey nikal gayi, humein nahin seekhaya kisine kaam. Yahaan wahaan bhatak bhatak ke kaam seekha,” he reflects hoping the young boy would pay heed and secure his future. But the cheeky, quick-witted Gattu, who cooks up excuses and makes up stories on the fly, has other motivations: flying kites and beating Kali — the enigmatic owner of a black kite that soars high in the skies of Roorkee trouncing every patang that crosses its path.
Having lost seven kites to Kali and constantly ridiculed by neighbourhood’s bigger players, Gattu’s resolve grows stronger. What our pint-sized protagonist lacks is not the craft or tools of kite-flying but access to the terrace of tall building to fly his kite from that will level him up with Kali. As it so happens, it’s the primary school that’s the tallest building in the area and Gattu would have to make an audacious move to approach it.
Luckily for him, the school hosts a student exchange programme, so Gattu flicks a uniform, a schoolbag and sneaks in. Biding his time to get to the roof, he mingles with students, devices clever ways to deflect attention off his illiterate status while discovering classroom bonhomie and the joys of learning new things such as science, stories, and colouring. But when his ruse is uncovered by three classmates, Gattu pretends to be an undercover agent assigned to thwart a terror attack on the school. To do so he needs to fly a kite from the school rooftop which would be a “secret signal” to his bosses. The trio join the quest fully convinced they are a part of a secret plan to save their alma mater with ‘Agent Gattu’ as their commander. Whether they succeed in their mission and does Gattu manage to defeat Kali forms the rest of the story.
Set in Roorkee the film offers a contrasting and crucial depiction of the educational hub — through the perspective of the children living on the margins — ragpickers, child labourers struggling to survive. A sheltered existence and access to proper education for them is an unattainable privilege. Neither sensational nor patronising, the film views their harsh realities with a conscious and empathetic gaze. For instance, Gattu’s awareness of his circumstances and lack of opportunities is such that the thought of attending school doesn’t occur to him until he goes to one. In a most affecting scene, the young boy enquires about his past to Anees and wonders if his father is still around only to be advised to not harbour any such hopes. Despite his precociousness, a moment of vulnerability such as this is a reminder that Gattu is merely a child.
The film creates a faithful portrait of small city life: teeming houses, narrow lanes bustling with shops and small businesses, rooftops occupied with kite flyers, children running around in the streets, and people going about their daily affairs. Every now and then, the duelling kites cause traffic bottlenecks — bystanders await the patangbaazi’s outcome and eager kids wait to claim the fallen prize.
Khosa captures the communal experience of kite flying evocatively. The images of bright kites swirling in the skies, the crackling sound of maanja-laced thread unrolling from the spool, the struggle to find a favourable flying spot, players trading insults across terraces, and quick alliances being struck to take on a common adversary are greatly immersive.
Furthermore, the filmmaker makes a brilliant use of humour and matter-of-fact observations for the sarkaari school infrastructure running on a strapped-but-functional philosophy. The school building that forms the central setting is an average rundown structure with faded walls, crammed classrooms and dingy toilets but is of great significance to the committed teachers and staff who run it and the boisterous bunch of kids who spend their day here learning, playing and sharing tiffins.
Most of the children featuring in the film are non actors and bring an element of naturalism in their performances led by a winsome Samad suitably cast as Gattu. His gait, body language, and dialogue delivery in playing the mischievous minor is perfectly effortless and a precursor to the promising career (Tumbadd, ’18; Selection Day, ’18, Chhichhore, ’19) this spontaneous young actor would have in showbiz.
Like a majority of the children’s cinema in India, Gattu, too, found backing with the Children’s Film Society of India, the government body behind some the most significant children’s programming like Bal Doot, Potli Baba Ki, Jadoo Ka Shankh, Halo, Karamati Coat among others. Children’s cinema is a particularly difficult genre to navigate as budget constraints and audience reach remains a struggle. Moreover, children’s films are expected to have moral values which often results in them being unnecessarily didactic. Gattu manages this expectation tremendously well without compromising on the craft and storytelling thereby opening itself to a wider set of audience. It is a great example of cinema for children without infantilizing them. In the end, everyone has something to learn — both kids and the adults — with a lovely surprise thrown in and some pleasant outcomes.
Watch: Gattu
Language: Hindi
Starring: Master Raju, Master Tito, Vidya Sinha, Uttam Kumar
Director: Gulzar
Babla moves away from his village and mother to study in a city where his sister and brother-in-law reside. His aversion to studies and constant reprimanding from teachers and family forces Babla to run away from his new home.
Somewhere in Gulzar’s Kitaab (1977) is a scene where the film’s protagonist, a school-going boy called Babla (Master Raju), has fallen sick and the doctor indicates stress as the cause. “Itne se bachche ko kya tension ho sakta hai,” wonders Babla’s elder sister Komal (Vidya Sinha) who along with her husband are his guardians. The stress kids feel is both overwhelming and intensive, the doctor explains. Komal then makes a casual remark about Babla’s inability to deal with pressure would impact his future prospects. Worried by her lack of understanding of a child’s psyche, the doctor points out how the system of raising children based on intimidation and control benefits none. “Zindagi kya hauvva hai ya rakshash hai jisse bada ho kar muqabla karna hoga? Hum yeh kyun nahin kehte zindagi enjoy karne ke liye hai… padh likh kar taiyyar ho jaao?”
It is this dissonance between the worlds of children and the grownups and the latter’s dismissiveness that Gulzar so competently illustrates in Kitaab. Based on Bengali author Samaresh Basu’s story Pathik, the film explores the ways of the world from a child’s perspective. It does so in an honest, humorous, and heartfelt manner making it a milestone children’s film in Indian cinema.
Gulzar’s mastery at addressing the complexities of human relationships is well-known. He is also a rare writer-filmmaker whose repertoire has a respectable amount of work dedicated to young viewers. Right from his sophomore film Parichay (1972) which had four belligerent children and their older sister as the focal point, Gulzar established his flair at grasping the sensibilities of the young. Kitaab was his next significant project in this category. This time the story centres around a curious, playful boy with the knack for getting into trouble much to the chagrin of the grownups around him. Devoid of the usual tropes associated with children’s films — an element of fantasy, mythology or the supernatural — Kitaab sets itself up for real life experiences where the whims and insecurities of childhood run concurrent to the complications of the adult world.
Babla moves away from his village and mother to study in a city where his sister and brother-in-law reside. Academics doesn’t interest the boy; he is more keen on observing the routine life around him and the variety of people in it. His aversion to studies and the constant reprimanding from teachers and family leaves Babla with a sense of alienation. He feels the sole person who ‘gets’ him is his classmate Pappu (Master Tito). Together they play pranks, bunk classes, and roam the streets looking for things to engage with. One day it’s the street magician who piques their interest, then there’s the sweet-maker who they feel is better off without the troubles of school and homework. The idea of being an adult and having the power to decide for oneself is a coveted concept to them. “Pataa nahin kab bade honge. Badon ki sabko zaroorat hoti hai aur badon ko kisi ki bhi nahin,” they wonder in anticipation.
Stuck between the school’s terrifyingly unfriendly atmosphere and the tense situation at home owing to his sister and brother-in-law’s marital strife, Babla feels unwelcome everywhere. “Yeh duniya humaari mushkil nahin samajhti. Kabhi kabhi jee chaahta hai ki bhaag jaaun,” he confides in Pappu. And one day when things spiral out of control, he does run away, desperate to get back to his mother. Travelling ticktet-less on a train, it’s this journey home where Babla is finally on his own. The different kinds of individuals he meets and the adventures he undertakes during the course, make a transformative impact on the young boy.
Kitaab unfolds in a leisurely pace mirroring the un-hurriedness of its young characters but nowhere does it get dull thanks to Gulzar’s expert penmanship. The film comes alive with warm, observational humour, witty conversations, and offbeat songs like the joyous Masterji ki aa gayi chitthi and the deliciously trippy and more popular Dhanno ki aankhon mein. Babla’s thoughts while journaling, his interactions with Pappu about the futility of childhood, and his comments about the wily ways in which grownups deal with children are both amusing and profound.
The film has a remarkable mix of secondary characters led by an effortless Uttam Kumar who plays Babla’s sympathetic brother-in-law, Shreeram Lagoo as the fakeer Babla befriends along the way and who teaches him a thing or two about survival with wisdom and generosity. Ram Mohan is the cheerful engine driver with a song on his lips and Indrani Mukherjee as Babla’s doting caretaker, Kusum.
The beating heart of the film is, of course, Master Raju. His portrayal of Babla is the right amount of candour, cleverness and charm proving why he was among the most beloved child artists of that era. Kitaab is Raju’s show and he runs it without a misstep. He is excellently supported by Master Tito – another popular child actor from the ’70s – as Babla’s street-smart buddy Pappu.
Kitaab neither patronises kids nor does it depict childhood in a cloying fashion. It is an uncontrived and empathetic ode to growing up and views children as they really are – vulnerable and also exasperating, wise and also impulsive. And it is for this attentiveness and relatability that the film allows its central theme that the appeal of Kitaab endures.
The article was first published in Yahoo! India on November 14, 2020.
Watch: Kitaab
Language: Kannada
Starring: Manohara Bhat, Aboobakar Siddik
Director: Prithvi Konanur
At nine, life looks unkind to Basu and Putta — two school going boys residing in a small fishing village in coastal Karnataka. So they decide to row to an island to meet a fabled spirit, who may have the solution to their problems.
In an endearing and uncomplicated world of childhood, failing a test, facing the teacher’s ire or confessing a lie to parents are high-stake crises. Kids, often dreading the wrath of the grown-ups, cook up lame excuses or resort to unbelievable antics to avoid facing the music. Prithvi Konanur’s debut feature Alegalu tells one such heartwarming story about the trials of growing up where two young boys set out on an adventure hoping it holds the key to their problems.
Basu (Bhat), a petite nine-year-old, is having a tough time accepting his widowed mother’s decision to remarry. He has failed a class test and made the matter worse for himself by forging his mother’s signature on the report card. His best friend, Putta (Siddik) unhappy with his father’s gambling ways, spends his time playing in the water and creating miniature models with erasers. In order to buy new rubber pieces, Putta steals money from home but is caught and chastised by his mother.
Dejected by their circumstances, the boys turn to Basu’s grandma’s stories for comfort. Ajji tells them about a fabled Panjurli (spirit) residing on an island in the midst of the sea. Anyone who makes the perilous trip to the island and offers a prized possession to the holy spirit will have their wishes come true. Hoping to turn their luck around, Putta and Basu decide to undertake this mission in their small rowboat.
Instead of evoking the usual drama and suspense associated with two children alone in the sea, the film assumes a comically self-aware tone. The truth isn’t lost on the boys that they have set out on unpredictable journey that may not end favourably. In doing so, they weigh their chances at survival and worry about immediate concerns like what to eat or how to relieve themselves. Or imagine far-fetched scenarios like on losing their oar mid-sea, Basu fears the wind may push them in the direction of Pakistan and Putta is convinced they’d spend rest of their lives in jail.
From being foolhardy to realizing and regretting their folly, the child actors are a delight to watch, and their chemistry is humorous and natural. The film also triumphs in portraying the relaxed and close-knit milieu of coastal Karnataka. And with a major chunk of action set at sea, the tonality is well captured by the film’s slow, languorous camerawork.
Alegalu addresses the apprehensions and insecurities of kids with its wonderful, slice-of-life moments and conveys many moral messages in the subtlest ways. Suffice it to say, this lovely little movie will uplift you.
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Awards
Osian’s Cinefan Film Festival, India (2012)
Roshd International Educational Film, Iran (2012)
Toronto Kids International Film Festival, Canada (2013)
Indian Film Festival, Germany (2013)
Watch: Alegalu (Waves)
Language: Hindi
Starring: Manohar Mahajan, Master Ankur Javeri, Surbhi Javeri
Director: K Gopal Krishnan
Kailash Dutta, an amateur astronomer, joins hands with international scientists to avert a comet on a collision course with earth. However, when a nefarious gang steals his research, Dutta’s tenacious grandkids set out to recover the documents that would save the world from an apocalyptic fate.
In the early Eighties, as Doordarshan went national and colour television entered the Indian market, it opened up new vistas of communication and education. For a developing nation striving for economical stability and technological progress, television became the perfect tool for connecting with the masses. Along with health, family planning and other contemporary issues, DD’s programming also emphasized on the popularization of science. Developing a scientific mindset was the only way to alleviate a country grappling with age-old superstitions and social backwardness.
Despite its nascent status, DD engaged some of the best minds to come up with science-driven content. While Ank Ajoobe demystified mathematics, Indradhanush piqued curiosity about computers, and UGC Presents made learning science affordable and accessible. Gopal Krishan’s Dhoomketu, too, was made during this period to foster scientific temperament. The film is based on astrophysicist Jayant Vishnu Narlikar’s 1976 story by the same name. Incidentally, those growing up in the Nineties would remember Narlikar from Brahmand — a Cosmos like series created by him that aired on Doordarshan.
Produced by the Children’s Film Society India, Dhoomketu aims to educate and bust myths surrounding celestial bodies — all while building up an adventure on the side. Narlikar, a prolific science fiction writer, weaves an absorbing story of an impending doom with astronomy at its centre. The director, a science graduate himself, understands the writer’s vision and adapts the story where complex scientific phenomena are explained in simple terms using graphics and images — but nowhere do they overpower the story.
An amateur Indian astronomer, Kailash Dutta loves researching about comets. His grandkids Bittu and Jhumki share his enthusiasm for astronomy unlike his superstitious wife who considers Dutta’s hobby inauspicious. Dutta discovers a comet headed earth’s way and it triggers a global wave of panic among scientists. Together they work towards averting the catastrophe. However, when a nefarious gang steals Dutta’s research, his tenacious grand kids set out to recover the documents that would save the world from an apocalyptic fate.
In this age of cutting-edge VFX and snazzy CGI effects, Dhoomketu‘s visual storytelling may look amateurish and its graphics undeniably basic. But to a young viewer growing up in the Eighties in the pre-internet days with no access to world entertainment, this modest production was probably the closest representation of space and the heavenly bodies orbiting in it.
The film brings vivid memories of growing up in a pre-liberalisation era — in humble surroundings where life unfolded in a leisurely fashion. The excitement of the family as they discussed Dutta’s invitation to Geneva or when the whole neighbourhood gathers to watch the comet signify the mood of small-town India where the smallest as well as the grandest events attracted participation from all corners.
The whiff of nostalgia gets only stronger with the presence of several familiar faces. Real life siblings Master Ankur Javeri and Surbhi Javeri feature as the brother-sister duo. Ankur had a successful run as a child artiste and featured in several well-known shows during that decade. Surbhi went on to star in south Indian films and remains active in the Hindi TV serial circuit. Another sibling pair — actresses Fatima Sheikh (Sau Crore) and Mahru Sheikh (Jassi Jaisi Koi Nahin, Singh Is Bliing) too featured in it.
However, the most interesting casting is veteran radio announcer Manohar Mahajan as Kailash Dutta. Old timers and radio enthusiasts would recall Mahajan’s deep, silky voice from Radio Ceylon’s Hindi Service in the late Sixties. It is most delightful to watch the former star of airwaves as the star-gazing patriarch.
The one area Dhoomketu severely falters in is its sexist commentary. For a film that slams outdated practices and promotes rationale, it is most jarring to find a woman shamed for her appearance and for smoking. The bad girls dress and behave a certain way trope becomes all the more problematic when such opinions are propagated in a children’s film. One can argue that it’s a product of its time — Eighties’ cinema was notoriously sexist — and no stereotypical content of that period would pass muster in today’s calling out culture. That said and done, we must examine the effects of such messages in our cultural lives. It should have been done then. It must be done now.
Watch: Dhoomketu
The article was originally published in The Hindu on May 26, 2018.
Halo (1996), cinematographer Santosh Sivan’s directorial debut, produced by Children’s Film Society of India (CFSI), is a little-known film. But it is a fine example of what children’s cinema should be — entertaining, empathetic and educative without being sermonising. It tells the story of Sasha, a seven-year-old girl without a mother, who will stop at nothing to find her missing puppy, Halo. During her search through the streets of Mumbai, Sasha encounters a variety of people.
The inspiration for Halo is Raakh (1989) — the cinematographer’s first Hindi feature. It so happened that director Aditya Bhattacharya’s younger sister, Anwesha’s dog went missing during the filming. “Here was this young girl trying to find where her dog had disappeared. I thought it was a very interesting story from her point of view,” says Sivan. Most of the characters in his film are inspired by people he met during that period.
The genre was a natural choice for Sivan’s first feature film. He had previously directed Story of Tiblu (1988), a short for the Films Division, about a child going to school in Arunachal Pradesh.
Sivan’s other two films, Malli (1998) and Tahaan (2008), too are globally acclaimed and widely screened. Children, he says are easy to work with. “I like to observe them, and make it as easy, natural and casual as they are.” During the making of Halo, he had the kids clap, shout ‘action’ and ‘cut’.
Sivan feels children’s films do not really do well in the Indian market, though they may win awards at foreign film festivals. Halo, for instance, got a theatre release five years after it was made. “This too was thanks to distributor, Shringar Films. And I had people like Sanjana Kapoor and Shah Rukh Khan promoting it initially with the preview.” Sivan explains that there’s little funding for such films and plenty of interference.
An endearing story about human-animal companionship, Halo is also an ode to the city of Mumbai (then Bombay) and its pluralism. The megapolis is captured with all its exquisite contrasts — sea-splashed rocks and concrete columns, cosy little parks nestled between jammed roads. “As an outsider I thought it was interesting to observe these contrasts. I guess that reflected in the movie.” Shot during the monsoon, Sivan’s masterful camerawork makes the city look almost bucolic.
Sivan uses his camera angles meticulously in Halo. A low-angle shot of adults talking into the camera portrays a child’s perspective, or how they view an authority figure; wide-angle shots of Mumbai signal the daunting task that lies ahead of Sasha.
What really works for Halo is a thoughtful story and its array of quirky characters. There’s a bald and bespectacled father-son duo discussing the state of affairs, a local ‘talk show host’ kid eagerly capturing the ongoings in his video camera, two bumbling luckless cops, a mute smuggler with a penchant for Mickey Mouse print ties, and a Gabbar Singh-inspired urchin operating a network of street kids.
And then, there’s Sasha’s inner world: her upright criminal lawyer father who deals with goons with unusual calm but is a basket case around the little mutt, her love-smitten cousin, and a food-crazy house help doling out advice and ditties in equal measure. The dialogues are simple and witty. Humour is well-used to address poignancy. Sample this:
“Riots man-made hote hain ya god-made?”
“Man made, but for god.”
A cherubic Benaf Dadachanji as Sasha is brilliant. Her scenes with the little puppy, especially their first meeting, bring unbridled joy. Their camaraderie moves you even more when Sivan reveals the young actress was scared of dogs. Benaf’s performance is the emotional core of the movie, and she keeps you invested in her vulnerability and resolve.
The standout is filmmaker Rajkumar Santoshi as Sasha’s father. Speaking about this unusual choice of actor Sivan says, “I always felt he is a very good actor. It’s interesting the way he would enact a scene before a shot.”
Halo is made of many charming moments and images. Sivan does employ the usual children’s cinema tropes and sentimentality, but helmed by some heartwarming performances and a bittersweet ending, Halo is ultimately an intimate coming-of-age tale.
Watch: Halo
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PS: Halo‘s credits boast some interesting names — promising talents that were still in focus at the turn of the millennium. The lyricist and dialogue writer Sanjay Chhel went on to direct Sanjay Dutt-Urmila Matondkar starrer Khoobsurat (1999) and continues with screenplay and dialogue writing to date. Govind Menon handled Halo’s production design and played the smuggling gang’s top henchman. He would later be known for directing Khwahish (2003) – the film that shot Mallika Sherawat to fame.
Language: Manipuri / Meitei
Starring: RK Surchandra, Salam Birendra
Director: Aribam Syam Sharma
When young Sanathoi plays the role of of a Sangai fawn in a dance drama, he discovers the world of this rare, endemic deer species in Manipur.
Manipur’s Keibul Lamjao National Park is truly unique. It is the only natural floating park in the world, and it is home to the famed Sangai — the once endangered subspecies of brow-antlered deer endemic to the state.
A medium-sized deer with great antlers, the Sangai walks deftly on the marshy wetlands, earning the appellation ‘the Dancing Deer’. It is intrinsic to Manipuri culture and folklore and is considered the hallowed connection between man and nature. In its more than 200 years of known history, Sangai was assumed to be almost extinct by 1950. In 1953, six deers were spotted in its natural habitat and since then the state government, wildlife bodies and locals have taken extraordinary measures for its conservation. In the 2016 census, the Sangai population stands at 260. Wildlife filmmaker George Thengummoottil’s short documentary The Return of Sangai gives an excellent rundown on the issue.
A unique combination of aquatic, marshland and terrestrial, Keibul Lamjao is home to a variety of flora and fauna. Even as the authorities work aggressively to sustain this fragile ecosystem, they are constantly presented with threats — both natural and man-made — against their conservation efforts. The park is facing twin challenges of poaching and habitat degradation. The constant flooding of the Loktak river on which the national park stands, caused due to the artificial reservoir, results in steady habitat degeneration. With Paari, veteran filmmaker Aribam Syam Sharma highlights these threats and their repercussions for Keibul Lamjao’s inhabitants, especially the Sangai.
In Syam Sharma’s story, to prepare for a dance drama on the wildlife of Keibul Lamjao, Sanathoi (Surchandra) and his friends join their teacher on a trip to the park. The young boy is deeply impacted when they come across an injured Sangai fawn, and later shares his concern with his grandfather (Birendra). With Idhou’s (grandfather) fascinating stories about Sangai and new learnings about the species, Sanathoi starts imagining himself as Paari, the fawn he plays in the drama.
As a filmmaker, Aribam Syam Sharma has continuously focused on Manipur’s environmental issues. In Paari, he uses a young boy’s heartwarming guilelessness to make a passionate appeal against man’s interference in nature’s balance. As Sanathoi believes the Sangai he plays in the drama is the same injured fawn who was separated from his parents, he sets out for an audience with the Sangai king in the jungle. The film captures the interplay of imagination and consciousness in a child’s mind beautifully. How folklore and bedtime stories inspire the young to empathise with other beings. For example,when Sanathoi hears the story of the ancient connection between Sangai and Keibul Lamjao, the gravity of their habitat displacement hits him harder.
Aribam Syam Sharma is a pioneering figure of Manipuri cinema credited for placing this fledgling film industry on the world map. Manipuri cinema began in the Seventies and Syam Sharma is one of its founding fathers. His directorial debut Lamja Parshuram (1974) is considered a classic. In a career spanning four decades, this octogenarian has directed 13 features films and several shorts and documentaries. He shot into international recognition with his 1981 film Imagi Ningthem (My Son, My Precious) that received the grand prix at Festival des Trios Continents, Nantes, France. The biggest highlight of his career would be Ishanou (The Chosen One) screened in the Un Certain Regard section at the 1991 Cannes Film Festival. A son of the soil, Syam Sharma’s films are evocative, deeply embedded in the Manipuri socio-cultural milieu and emotionally rich. Most of his non features (Indigenous Games of Manipur/1990, Meitei Pung/ 1991) are based on subjects inherent to the hill state but have remained largely undiscovered in the mainstream.
Having studied at Santiniketan in his youth, Syam Sharma would have a lifelong association with classical music, theatre and dance. It influenced his career trajectory as a filmmaker, actor and music composer. Paari is a story largely dependent on music and dance forms, and under Syam Sharma’s expert understanding of the subject, it soars. The message — children as the sentinels of nature — is neither didactic nor does it require sloganeering. A simple collaborative art form does the trick.
Watch: Paari (in Manipuri) | Paari (In Hindi)
Language: Hindi
Starring: Master Romi, Daisy Irani, Jagdeep, Mohan Choti, Murad, Maruti
Director: PL Santoshi
Rajan, son of a wealthy aristocrat, wishes to experience life without the privileges he was born into. His overbearing father doesn’t like him mingling with his working-class school friends. But separating this tenacious bunch of kids isn’t going to be easy.
The Fifties was a remarkable period for Indian cinema. For a newly liberated country committed to self reliance and nation building, themes like idealism, secularism and democracy permeated in its cinema as well. Rightly called the Golden Age, the decade produced some of the greatest reformist films in Hindi cinema history: Do Bigha Zamin (1953), Jagriti (1954), Shri 420 (1955), Naya Daur (1957), Do Aankhen Barah Haath (1957), Mother India (1957) and Dhool Ka Phool (1959).
In Hindi cinema, the year 1957 stands out for its distinct depiction of emerging India. Along with the empowering troika of Naya Daur, Do Aankhen Barah Haath and Mother India, there was Guru Dutt’s subversive Pyaasa, RK Films’ Ab Dilli Dur Nahin questioning injustice, and writer-director PL Santoshi’s Hum Panchhi Ek Daal Ke that espoused the Nehruvian philosophy of socialism and unity.
In 1954, the I&B Ministry established the National Film Award for Best Children’s Film. Three years later, Hum Panchhi Ek Daal Ke became the first Hindi film winner of the Best Children’s Film.
The film celebrates the spirit of unity through the story about a group of school-goers determined to stick together, come what may. Rajan (Master Romi), the only child of a wealthy aristocrat, is influenced by his school friends’ freedom and self sufficiency. However, his elitist father Rai Bahadur Kailashnath (Murad) is still entrenched in their erstwhile nobility. He doesn’t appreciate Rajan’s fraternizing with working-class boys. The young boy draws his father’s ire when he secretly goes on an excursion with his friends. A furious Kailashnath decides to put an end to this association, but separating these tenacious kids isn’t going to be easy.
Hum Panchhi Ek Daal Ke is in no way monumental, especially when pitted against trailblazers like Pyaasa, Mother India and Naya Daur. Unlike these films, it isn’t as arresting or technically sharp but what worked for the film, and still does, is the endearing story at the centre of it and some delightful performances steering it. The film reminds you of a time, not so long ago, when the enthusiasm for hard work and social responsibility was infectious. For example, when the boys discuss their excursion itinerary, it includes a stopover at a nearby village for shram-daan (voluntary labour). To watch an era when the children and youth of the country were fired up with optimism and hopeful of endless possibilities is refreshing.
Director PL Santoshi’s stint in the industry began with dialogue and screenplay writing. He was also an accomplished lyricist and tasted success early on with hits like Jhoola (1941), Shehnai (1947) and Sargam (1950). His biggest outing would be the 1960 musical hit Barsaat Ki Raat starring Madhubala and Bharat Bhusan. All the songs of Hum Panchhi are written by Santoshi. With N Dutta’s well-matched music, it has some fine outcomes like the leisurely lullaby Bahe Hawa Mand Mand, the peppy road trip number Ek se bhale do — both by Asha Bhosle, and Rafi’s upbeat title track.
The mainstream cinema of the Fifties offered tremendous scope to child artists. They headlined several big banner films like RK Films’ Boot Polish (1954) and Ab Dilli Dur Nahin (1957), Filmistan’s Jagriti (1954), V Shantaram’s Toofan Aur Deeya (1956) and Silver Wings’ Do Phool (1958). Similarly, Hum Panchhi Ek Daal Ke has some of the most notable child actors of the era — Mater Romi, Satish Vyas, Daisy Irani — leading the pack. The ensemble cast also includes veterans like Murad, Maruti (actress Guddi Maruti’s father), David Abraham and Achala Sachdev.
Young actor Satish Vyas, who had previously won accolades as the protagonist in Toofan Aur Deeya, plays Nandu — the conscientious head of the group. As Rajan, the rich scion eager to prove his mettle, Romi is both amiable and sincere. The cherubic actor had broken out with the titular role in KA Abbas’ Munna (1954) and later gained prominence with author-backed roles in Ab Dilli Dur Nahin and Yahudi (1958). The film also features and a very young Jagdeep and Mohan Choti; the duo’s spirited acting is a precursor of the great entertainers they would evolve into. Jagdeep would even go on to be a frequent collaborator with Santoshi’s son, Rajkumar Santoshi’s in films like Andaz Apna Apna (1994), China Gate (1998) and Ajab Prem Ki Gazab Kahani (2009).
Even with the presence of industry stalwarts and promising young talent, the highlight of Hum Panchhi… however is Daisy Irani. One of the most beloved child artists and a star in her own right, Irani was famous for enacting little boy roles and billed as Roop Kumar. As Chatpat, the precocious prankster and the youngest of the pack, she is a riot. Her wildly expressive face and natural charm makes it hard to pay attention to anyone else when she is on screen. Watching this lovely, uninhibited performance now, in the light of Irani’s recent revelation that she was sexually abused (she was just six) by her guardian during the film’s outdoor shoot, is just heartbreaking.
One is just left with an odd poignancy about a film that speaks of everything fair and noble but has such a dark history — that too for its youngest and brightest star.
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Watch: Hum Panchhi Ek Daal Ke
Language: Hindi
Starring: Shammi, Master Ankur, Paintal
Director: Mukesh Sharma
Gagan loves visiting Amma, his conservationist grandmother who also runs a veterinary hospital. What sets her establishment apart is that over the years, animals have familiarized themselves with the hospital, and when sick or injured, they would often check in on their own.
Anokha Aspatal’s opening credits are most delightful. A series of cartoons serve as a curtain-raiser to this charming little story. There’s a rabbit in a wheelchair admitting himself into the hospital, a crocodile, an elephant and a lion recovering in a ward, and a deer’s watching eagerly as its cast is being taken off. Based on Hindi writer Saroj Mukherjee’s short story by the same name, Anokha Aspatal sensitizes young viewers to the idea of coexistence and rallies for preservation of nature and wildlife.
Amma lives in a village by the forest. The film begins in lush wilderness with the majestic sights and sounds of inhabiting birds and beasts. And here at the end of the jungle nestled in a leafy canopy stands Amma’s quaint bungalow. Its premises: a sanctuary for the sick and wounded creatures where Amma along with her helper Ramdhani run a hands-on little hospital. They feed the birds, nurse the injured and provide basic healthcare to the village’s livestock. For serious medical issues, Amma seeks her doctor son’s help who lives in the nearby city with his family.
Amma’s dedication to her hospital doesn’t allow her to travel often. She misses her grandson Gagan and sends for him during summer vacation. The young boy, too like his granny, is greatly inspired by nature. During his stay, he helps in tending a wounded sheep called Raja and befriends a rabbit named Bhola. Gagan also learns the importance of animals thriving in their natural habitat and conserving the same.
The peace of the jungle is threatened with the arrival of a group of poachers. Gun shots are heard, trapping pits are discovered and injured animals are found. It is now for Amma to find a way to defend her forest friends.
With her child-like eagerness and effortless ease around animals, Shammi aunty’s casting as Amma, the sage sentinel of nature is perfect. Playing her grandson Gagan is Master Ankur — one of the most recognizable faces of the ’80s and ’90s telly scene (Buniyaad, Mahabharat and Stone Boy). And as Amma’s trusted helper Ramdhani, Paintal’s skillful interaction with the four-footed compeers is a delight to watch.
Anokha Aspatal works well in its conversations about empathy, coexistence and animal rights, and brings attention to the horrors of hunting. It is, however, the latter whose treatment looks shallow. The poachers, projected in the most facile manner, are toothless and theatrical. A film for children doesn’t have to be childish, and that’s where Anokha Aspatal borders in its climax.
It’s understandable for a children’s film to not be stark or graphic, but offering a little depth to an issue as grave as poaching would have added to an otherwise decent film’s weight.
Language: Hindi
Starring: Aiman Mukhtiar, Anushka Panvala, Manoj Goyal
Director: Batul Mukhtiar
Lilkee, a poor girl from the hills, moves to Mumbai to care for a working couple’s infant son. Reticent and homesick, she eventually becomes friends with some kids in her building. However, they cast Lilkee out when they learn about her house worker status.
The issue of class prejudice makes Indian middle class squeamish. Earlier this year the social media sizzled over a viral photo that depicted urban India’s apparent class inequality. While the veracity of the story was debated, the larger issue of class divide and ensuing discrimination is an uncomfortable truth staring the priggish Indian society in its face.
In Lilkee we have a heartwarming story of a poor immigrant domestic worker with the subject of class prejudice at its centre. The titular character is a bright young girl living with her mother and younger sister in Nainital. Like many children who are forced to join the domestic workforce owing to their impoverished backgrounds, Lilkee’s academic pursuit is cut short, and she is packed off to Mumbai to babysit for a working couple’s infant son.
A reticent and homesick Lilkee struggles to embrace her new life in the city. A life where she misses the freedom and familiarity of her old world. The one where people know so little about her that being served brinjal — something Lilkee strongly dislikes — in her first meal brims her eyes with tears. Her employers are kind, conscientious folks who know her family and feel Lilkee is too young for the job. The film uses meaningful conversations and actions to establish the wretched cycle of poverty and child labour, and how even the well-meaning people end up abetting it — even in the most benign manner. So while Lilkee’s employer, Bela (played by a luminous Anushka Panvala) has a strict policy of not engaging the minor in any other domestic chore, she is constantly troubled by Lilkee’s situation.
As filmmaker Batul Mukhtiar’s debut venture, Lilkee is admirable in both intent and execution. The lead character is played by Mukhtiar’s pleasant-faced daughter, Aiman. The film has one of the most empathetic employer-domestic worker relationship portrayed in Hindi cinema — notorious for its stereotypical and tone deaf representation of domestic helps.
In our burgeoning cities awash with massive residential complexes and townships, the (upper) middle class thrives on vast manpower for its survival. Every housing society, big or small, has a system in place with maids, drivers, cooks, security guards, nannies keeping the domestic lives up and running. Lilkee looks at the workers of these gated communities with fresh eyes and perspective. The ubiquitous faces shunting from one tower to another, spending significant time in the premises and running households, and yet as one character in the film succinctly puts, “you have no rights here.”
Lilkee‘s biggest win is in the analysis of class bias and peer pressure through the eyes of children. Some of the prejudices that the young minds grow up with are ingrained — adopted from the kind of environment they are raised in. So a casual comment from an adult like servants are dirty, low-witted and shouldn’t be socialized with, becomes a caveat for the child and clouds their judgement. As Chimamanda Adichie says, “Show a people as one thing, as only one thing, over and over again and that is what they become.”
So when Lilkee’s friends in the building discover her for who she really is — a fair, compassionate and intelligent girl — they are forced to question the biases fed to them, and learn the essential lesson of looking beyond the stereotype.
—
Watch: Lilkee
Language: Hindi
Starring: Arjun Jaykrishna, Naseeruddin Shah, Tom Alter
Director: Virendra Saini
Foto, an introverted 11-year-old boy, prefers to dwell in his world of imagination. When a film crew arrives in town, Foto’s creativity takes wings.
In her now legendary TED talk, The Power of Introverts, Susan Cain speaks about the dominant culture predisposed to undervalue introverts. Our principal establishments like offices, educational and religious institutions are designed for extroverts. Cain recalled her time at a school summer camp where her not being chatty and outgoing was considered NOT okay. Introversion is often misconstrued as a personality disorder, and introverts are made to feel inadequate and prompted to come out of their shells.
In Virendra Saini’s Foto, the eponymous character (Krishna) is a soft-spoken, reserved boy with a vivid imagination, who struggles with studies and at making friends. Amidst admonitions and snickers, the young boy finds encouragement from his mother, Shefali (played graciously by Geeta Agarwal Sharma), who has the prudence to identify his creativity. In fact, she names her boy so for his penchant for imagery.
Saini had greatly emphasized support and positive reinforcement as the essentials of good parenting in his maiden venture Kabhi Paas, Kabhi Fail (1999). Foto, his sophomore outing, too, reiterates it. In the film, when Foto’s teachers raise concern about something being “wrong” with him, Shefali shuts down the discussion politely. Instead she has an interesting conversation with her son about his ideas and suggests a pragmatic way to channel his thoughts.
When a film crew arrives in his town for a shoot, Foto’s imagination finds a footing. He is dazzled by the world of props, colors, sets, sound and music, and the miracle workers who make it thunder and rain in a jiffy.
Armed with a copy of David Robinson’s The History of World Cinema and guidance from his ‘magician’ friend, Foto learns about cinema history, landmark films, and the various aspects of filmmaking. Foto’s flight of fantasy is often disrupted by a skeptic from the Imagination Detection & Prevention Squad, but the young learner chugs along.
As the shy, inventive Foto, Arjun Jaykrishna is a natural. The twinkle in his eyes and sweet-sounding voice reminds me of the adorable Jugal Hansraj. Interestingly, Foto’s magician friend here is played by Naseeruddin Shah. Ambling around in the idyllic Ranikhet, his delightful conversations with Arjun are strangely reminiscent of the ones in Masoom (1983). The warmth and charming effortlessness Shah brings to his unnamed character is a reminder of the gifted actor he is. The film is also peppered with cameos from several familiar faces with a special mention to theatre veteran Uday Chandra playing the skeptic.
Foto gives a dreamy and whimsical aura to the arduous process of filmmaking and in doing so tips its hat to cinema pioneers who dared to create the magical world of motion picture. The film’s wholehearted admiration for the craft and conviction needed to pursue it would resonate with anyone who has a love affair with the movies.
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Awards
National Film Award for Best Children’s Film (Year 2007)
Watch: Foto
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Thumbing through a Satyajit Ray script: Paris Diary (1)
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2013-04-05T00:00:00
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[In 1998, Goethe Institute invited me for an extended 3-week long “Contact and Information tour” through Germany. Since I was going to be right next-door, I requested the French embassy for an additional week in Paris visiting their film schools and related facilities. This brief visit turned out to be a rich, memorable experience. For…
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Surendar Chawdhary Times
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https://surendarchawdhary.wordpress.com/2013/04/05/thumbing-through-a-satyajit-ray-script-paris-diary-1/
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[In 1998, Goethe Institute invited me for an extended 3-week long “Contact and Information tour” through Germany. Since I was going to be right next-door, I requested the French embassy for an additional week in Paris visiting their film schools and related facilities. This brief visit turned out to be a rich, memorable experience. For one, I got to spend an hour with Satyajit Ray’s ‘red book’ on Apur Sansar and second, I got a chance to meet Roman Polanski while shooting his latest The Ninth Gate.
The following two-part extract of my Paris diary captures the magic of these and other adventures.]
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I was in France—in fact just Paris—between June 24 and 30 [1998]. Thanks to Xavier Guerard of the French embassy, whom I had met briefly at the inaugural day of Raoul Coutard’s workshop [November 1997; also see my article Coutard of the Godard Fame], and whom I later wrote to seeking a week’s hospitality in Paris mainly to visit FEMIS and the famous Cinematheque, my hosts in Paris were their Ministry of External Affairs, no less! Which, it turned out, meant that in addition to booking me a hotel room at a prime location, they also provided invaluable assistance of a man who daily picked me up in a car, drove me around various addresses and also work as interpreter. Without this man—Monsieur Bertrand de Lorgeril—I wouldn’t have made it to half the number of people and places that I eventually did.
Apart from the two film schools—FEMIS and a polytechnic—my schedule in Paris consisted of visits to mainly the government establishments dealing with cinema, talks with their officials and on the basis of these talks if I found another place worth a visit, quickly fixing an appointment and visiting there. Thrown in on the intervening Saturday was a visit to a historic chateau outside Paris and on Sunday, what can be better than visiting one of the famous museums—tickets are much cheaper there on Sundays—the best known of which were within walking distance from my hotel? I had been through Louvre on an earlier visit; so this time I spent the whole day in the company of the impressionists at a much more compact Musee D’orsay.
A Bengladeshi ex-student of FTII, Anwar Hossain, who is married and settled in Paris, called on me one evening. I had written and directed his diploma film Vidhwans while he was at the Institute in 1978.
Anwar handed me for our library two volumes of collection of his still photographs. He also expressed a desire to give a weeklong workshop for our cinematography students while on his way to or from Bangladesh and would write to us when such an occasion came.
Discovering FEMIS is a story by itself. On reaching their Pathe Studio address, we found construction work going on there and a notice which said that the school was temporarily shifted to another premises while its new building came up!
It turned out that Monsieur Lorgeril had been given the old address in the perfectly reasonable assumption that film schools don’t change addresses all that often! The route to the new address was very confusing and took time, so that by the time we were there, we had just one hour to go round and wrap up the place.
Philippe Coutant, the English speaking “International Relation” in-charge of the school received us and showed us around. A classroom encounter with the students, which he and I had been in correspondence about, was now out of the question. Instead I had brief exchanges with the students wherever we found them—in the cafeteria, at the Steenbeck or Avid, or just in the corridors. Coutant and I talked about students of our two institutions who had spent time in each others’ school—our Kartikeyan who he recalled had not completed the course at FEMIS, and one of their girl students who spent a semester at FTII designing and constructing a set for one of the diploma films on the basis of which she got her own diploma. Coutant did not know Dilip Padgaonkar, that the eminent Times of India editor had been a student decades back, not at FEMIS but its earlier avatar, OEDEC. He however dug up the name from a directory of the ex-students much in the manner of our own Mehboob sahib at FTII.
At present FEMIS is scattered among hired spaces of a commercial studio, which itself is a scattered establishment among blocks housing all kinds of other businesses, like godowns, warehouses, transport company offices etc. The place is such an amalgam that a casual visitor would see neither the atmosphere of a studio, nor a film school. Next year the building would be ready and the school would find a permanent home “for at least ten years” at its Pathe Studio address “where Renoir once shot.”
The other school I went to was Ecole Nationale Superieure Louis Lumiere where its director Georges Dadoun gave a brief background to the activities of the school. Housed in its own 3-4 storied single block building on the outskirts of Paris, the school offers courses in Still Photography, Cinematography and Sound Recording. When asked why with all the necessary equipment and production facilities they don’t offer Direction courses as well—after all they need directors for their diploma films and other exercises—I was given a rather strange reason. The school cannot afford the extra faculty positions which will be needed for an additional course! Teachers’ salaries, it was made out, constitute a major expense of running a film school.
Centre National de la Cinematography, CNC, is the French equivalent of our NFDC where we were briefed by their Director of Public Relation, Monsieur Decaudaveine. Apart from running film festivals, funding productions and handling distribution too, CNC takes pride in a scheme under which they subsidise foreign productions. The Indian list of films produced under this scheme starts from Mrinal Sen’s Genesis, Ketan Mehta’s Maya Memsahib, Dev Benegal’s English August, Vijay Singh’s Jai Ganga and our own Rajan Khosa’s Dance of the Wind. Mani Kaul and Farida Mehta (with their Naukar ki kameez and Kali shalwaar), among others, are in the pipeline.
None of the French institutions is perhaps as much loved and admired—as also visually referred to in their films—by the directors of the nouvelle vague as the one where they were all virtually raised, the Cinematheque Francaise. On my first visit to Paris in mid-eighties, passing casually in front of a building on my way back from seeing the Eiffel Tower (what else?), I was struck by a strange familiarity. Wasn’t it the same staircase that you descended in order to get into a basement projection theatre? That was an image from Trauffaut’s Stolen Kisses, and this indeed was the frontage of the famous premises. So this is where they all gathered evening after evening to get their diet of films, you said. You even saw in your mind’s eye the portly, rotund figure of its legendary director Henri Langlois conducting the vibrant place. Henri Langlois would be France’s PK Nair.
Regrettably, I was told that those premises of the Cinematheque have since burnt down in a fire and its functions have been shifted to different locations. On my schedule was a visit to its main office at rue de Longchamp where one Monsieur Marchand advised us to visit their film archive outside Paris. An appointment was made and the next day Monsieur Lorgeril and I drove to the place following a map.
There is a whole tradition in Europe of converting old buildings to modern use by keeping the exterior intact. If Musee L’Orsay housing the work of impressionists was originally a railway station next to the Louvre, the film archive where we were now going, Les Archives du Film, had been a castle which during the II world war was used for stocking all kinds of war ammunition. Camouflaged as it is by grass covered mounds and dense greenery, the approach to the place is quaint. The check post at the entry looks as though gun-toting, metal-stud booted soldiers would walk in any time.
The small built but intense, extremely energetic curator of the place, Madame Michelle Aubert received us at the check post and aided by an assistant immediately began to tell us about the place and show us the vaults. The concealed space of the castle had been put to ingenious use aiding temperature and humidity regulations so necessary for film storage. She showed us a whole range of weird sprocket holes on strange gauges of film from the origins of cinema, some of which I photographed.
Further inside in the middle of the compound is a modern, double-storied building specially designed for office space, restoration work space, projection hall and the like. Back in her office, Madame Aubert, who is also the president of FIFA, presented me with brochures, two VHS cassettes and a CD-ROM on Lumiere Brothers, all as it turned out in French.
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My last day in Paris, 30th June, was full of surprises—all pleasant—and even a bit of a live chase sequence. I had been enquiring whereabouts of the original screenplay books of Satyajit Ray’s Pather Panchali (the famous ink-wash sketches which have been reproduced in various books) which I knew had been gifted by the master to the Cinematheque. The search brought us to CNC’s Bibliotheque du Film, BIFI, where the young “Directrice de la Mediatheque” Fortunee Sellam received us. After a moment’s pause, she clicked on a computer, spoke on the phone and smiled. “I think Mr Chawdhary it would be easy for us to satisfy you,” she said.
After coffee, Fortunee Sellam showed us around the ultra modern, high tech, skylight lit reading hall. A couple of cardboard models of landscape on two tables caught my eye. These were representations of the two film sets that were designed and used by Alain Resnais for his iconic twin films Smoking/ No Smoking.
We had recently seen this strange film in the Institute. Taking place all outdoors but shot exclusively on two elaborate studio sets, we never realised that all the characters there (5 males and 4 females) had been played by just two actors! The action flowed so smoothly the impression came all 9 were free to walk in the frame any moment!
Finally an assistant brought what I was after. Wrapped carefully in a red cloth, this appeared to be 2-3 volumes. But when placed on a reading table and opened, this was one single notebook wrapped in layers of paper. Also, instead of Pather Panchali, this turned out to be the Apur Sansar screenplay. Red cloth covered and stitch bound—traditional account books called Khero Khata—this was about a hundred page unruled journal with sketches drawn in Ray’s known hand. I spent about an hour with the book, took pictures of some interesting pages and asked a sequence over 5-6 pages photocopied.
On the left are his doodles of Satyajit Ray Production logo. Apur Sansar was the first film produced by Ray.
These frames refer to the humorous moment when Apu reads snatches of his wife’s letter in a crowded bus. A sweaty dark man ogles.
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These pages cover the entire morning sequence where Aparna lights up coal fire as Apu watches from the bed. Shot numbers run from 1 to 29. The famous hair pin shot is here, as is a close up of the cigarette packet (Scissors brand) where he sees her warning note. At the end can be seen Apu playing flute.
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The chase I refer to pertains to locating Roman Polanski who happened to be shooting his latest in Paris…
[Continued]
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Literary and Cultural Writeups .
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http://autarmota.blogspot.com/2020/09/
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THE SACRED GEOMETRY OF GHULAM RASOOL SANTOSH (1929-1997 )
It was N S Bendre, the doyen of modern art in India who took G R Santosh under his tutelage when he arrived at Baroda in 1954 on a scholarship granted by the J&K government. It was Bendre’s teaching that exposed young Santosh to many forms and genres of modern art including cubism, surrealism and abstractions. At Baroda, Santosh also learnt the technique of colour application to create luminosity on canvas. Starting his journey with a deep fascination for Cezanne and the Cubist treatment of his canvases, Santosh did some wonderful landscapes, portraits, ink sketches, pencil sketches, pure abstracts and figurative abstracts. He also drew many impressive portraits, especially of poet Dina Nath Nadim, artist Triloke Kaul, Sharon Lowen ( Odissi dancer from the US) and Yashorajya Lakshmi (wife of Dr Karan Singh). He also drew some self-portraits in the moulds of Pablo Picasso and Salvador Dali. However deep inside his heart, a yearning had already taken birth to arrive at something that was rooted in his land. Some fringe elements of this yearning can be seen in some sketches or paintings of his early period.
Suddenly, something strange happened in his life. A visit to the holy Amaranth cave of Lord Shiva in 1964 was a great turning point in his art. Santosh describes this spiritual experience as under:-
“I was overwhelmed by a joy that I cannot describe in words. I wished I had wings so that I could soar like a bird all around and absorb all this purity in me, to wash away all the stains of my inner self. I felt that the Supreme Lord, in the form of Shiva, was divulging his ever-benevolent presence there. The next night was spent surrounded by the mystique of the full moon over Panchtarni, the meadow of five shimmering rivulets. And finally, the cave revealing the majestic crystal white ice Shivaling. That was spectacular. The fluorescent light emitting from it was heavenly...... After I returned from the Amarnath Yatra, a distinct change came in me.”
( Source: ‘ A Monograph on Writer, Poet and Painter, Ghulam Rasool Santosh’ by Padamshri Pran Kishore Kaul published by Sahitya Akademi, New Delhi )
After he visited Amarnath Shrine, Santosh did some serious work on Swayambhoo Sri-Yantra that he found on ancient Shila inside Chakreshwari Shrine at Hari Parbat, Srinagar. He learnt the Sharda script and kept visiting Shaivacharya Swami Lakshman Joo and Prof T N Ganju to study some ancient scriptures, Shaiv Darshana and Rishi Vasugupta’s Shiv-Sutras. In his monograph on the artist, Padamshri Pran Kishore Kaul writes that during this period, Santosh practised meditation, took Deeksha from his spiritual Guru and got engrossed in creating a world in which one sees, through line and colour, the countless manifestations of Supreme Spirit embodied in the union of Shiva and Shakti. This was the period when Santosh moved permanently to geometric forms of the ancient Indic civilization and became synonymous with the school that came to be known as "Neo-Tantra". And from 1964, we find 'Sacred Geometry ' appearing in his work.
WHAT IS NEO-TANTRA?
The terror unleashed by the Chinese communist authorities upon Tibetans in 1959, which drove the Dalai Lama and other religious leaders into exile in India and the west, provided the world with first-time access to the mysterious traditions of Tibetan Buddhism, paintings and sculptures. The sacred paintings and metal sculptures that the fleeing Tibetan refugees brought with them had esoteric symbols and elements of Tantra. Later, the Tantric teachings of Tibetan Buddhists in exile found a receptive audience among the avant-garde artists from the western world, many of whom already had long-standing interests in Hinduism, Zen Buddhism and other Asian spiritual and philosophical traditions and beliefs. The western world identified this new tradition with Sexual liberation, mysticism and countercultural movement. The western world tried to use Tantric art to fill the spiritual and cultural vacuum created by world wars, machines and runaway technology. The post-war American painters Ad Reinhardt, Mark Rothko, Barnett Newman, Robert Rauschenberg and Jasper Johns have referred to their indebtedness to the universal and timeless aesthetic of Tantric Art.
In her article on Neo-Tantrism, cultural journalist, Rebecca M. Brown wrote that "the ‘Neo-Tantric’ art movement looked to Buddhist and Hindu Tantrism for its esoteric, abstract symbols and re-made this Tantric language into contemporary Indian Modernism. Neo-Tantrism appealed not only to Indian contemporaries but also to western audiences, as it represented an ‘authentic’ art form that escaped purely formalistic aspects of 1960s western art."
G R SANTOSH AND NEO-TANTRA
In India, it was Dr L P Sihare, the then Director General of the National Gallery of Modern Art who coined the word ‘Neo –Tantra’ to describe the work of some artists who were inspired by the sacred geometry of Tantra and used it on canvas. And KCS Paniker ( 1911-1977 ) was probably the first artist to use these symbols, forms and elements in his work “ Words and Symbols “ that he exhibited. S H Raza (1922-2016 ), the doyen of modern art was also fascinated by Tantric symbols and forms and so were G R Santosh (1929-1997 ), Biren De ( 1926-2011), Sohan Qadri ( 1932-2011 ), Mahirwan Mamtani ( born 1935 ) and many more. Raza, Santosh and Sohan Qadri moved to this elite group in the sixties of the last century. These artists represented a movement that began in the 1960s in which a new turn towards finding a universal visual language arose in modernist Indian art through an engagement with the geometric abstraction of Tantric Yantras and Mandalas.
What sets G R Santosh apart from others in the Neo-Tantra tribe is the overwhelming influence of Kashmir’s rich Shaiv Darshana or Shaivism on his work. This influence makes him unique and the foremost artist of this genre. Quite often he comes up with an abstract human figure that is central to many of his paintings done in Neo-Tantra style. This figure may appear like Yogi in deep meditation. It may look like an abstracted Ardhnarishwara representing the union of male and female energies or what is generally known as Purusha and Prakriti or Shiva and Shakti. There are intricate geometrical formations surrounding this torso in Samadhi or Padamasana. The divine colours that illuminate his canvases, leave a soothing visual impact. His paintings done in the Neo-Tantra genre are deeply rooted in the indigenous identity while simultaneously appearing like modern abstractions.
Inspired by some deeply personal and spiritual vision, Santosh’s art appears to represent evocative responses to an inner transformation. His Neo–Tantric art is also an attempt to illuminate the link between an individual and the Brahmanda ( Universe ). Looking at the meditative art of G R Santosh, a serious viewer is inspired to introspect upon his place in this Brahmanda or cosmos. He becomes doubly sure that he is a part of it and can’t act, think and live in isolation. He may accept the idea of everything being premeditated or a quest may drive him to look for something that may have been left out.
About the Neo-Tantric art of G R Santosh, Shantiveer Kaul writes this:-
“ Viewed from a certain perspective most of Santosh’s Neo-Tantric paintings look like stylised portraits of the female form, seated in Padmasana ( the lotus position ). This is no mere coincidence. There is a definite suggestion of the female torso in the placement of geometric elements within the composition. This stylisation is symptomatic of the devotion of Santosh to Shakti, the Divine Mother. Santosh wrote Shakti Vichara in 1980, a long poem in the hallowed tradition of the epic Bhavani Sahasranama, dwelling exclusively on Shakti in her various manifestations.”
( Source: ‘The art of G R Santosh ‘ by Shantiveer Kaul )
THE SACRED GEOMETRY IN THE ART OF G R SANTOSH
Created in luminous colours that are radiant and unique, the paintings of G R Santosh have Bindus, triangles, circles /Mandalas, squares, semicircles, oval shapes, hexagons, Yantras, Lotus flowers and other geometrical formations surrounding a torso in Samadhi or Padamasana with waves of clouds. What do the geometrical formations in his art represent? Let us examine some features of his Tantric geometry.
A Bindu is the centre of the Brahmanda or the cosmos. In Tantra, it is symbolic of both Shiva and Shakti. A Bindu is the source of creation. According to Tantra, all creation is preceded by Bindu, the focal tension which becomes the centre of everything.
A circle represents the Brahmanda or the cosmos. This circle can be referred to as both Prakriti, or nature, and the Brahmanda, the circular world of the Brahman ( ultimate reality ). The circle also refers to the horizon or the world we live in. A circle is a symbol of a deeper connection of the self with the universe.
A triangle with an apex upward is Purusha or male or Shiva. A triangle with an apex down facing the earth is Prakriti or female or Shakti. A Kali Yantra, for example, shows only downward pointing triangles, because, in Kali worship, nature is the ultimate reality before which man has to surrender. Shiva Yantra shows only an upward-pointing triangle. In a Sri-Yantra, there are four upward triangles but five downward triangles. Five represent Shakti or female strength and point down while four point up and signify Shiva or male strength.
A square represents the space charged with spiritual energy. The outside of a Yantra often includes a square representing the four cardinal directions with doors to each of them or four gates, one in each of the cardinal directions. They are known as cosmic doors because it is through these gates that the aspirant symbolically enters the Yantra. The square can represent basics, structure and balance. It can represent the four main directions; north, east, south, and west. The intersecting squares create Ashta-Kona or eight corners, the eight-petal lotus. The eight-petal square around one circle and within another circle is one more common feature of all Yantras. Sometimes the Brahmanda( cosmos, is also represented by drawing a square in a circle.
A rectangle is very important in the ancient Shilpashastra (iconography). A worship place has an Antarala or vestibule that is always rectangular. This is the foundation of the temple architecture or the space leading to the inner sanctum sanctorum. It is the first spot of Dhyan Yoga or the first place for a serious worshipper to arrive at.
An oval shape ( Sanskrit Andam or egg or symbol of fertility and creation ) symbolises fertility, creation and the genesis of life. According to the Chandogya Upanishad (3:19), in the beginning, there was nothing when the primal egg (Andam) manifested. The Vedas declare that creation began with the appearance of a golden cosmic egg (Hiranyagarbha) in the ocean of life (Prana). Symbolically, the egg constitutes the womb of the universe from which everything originates.
A Hexagon is created when two triangles penetrate each other. It symbolises the fusion of polarities, the union of Shiva and Shakti or male and female. This union is the cause of the manifested universe. As the hexagon is found throughout nature, organized religions insist it is a symbol of harmony and balance.
The lotus flower is also visible in many Neo-Tantric paintings of G. R. Santosh. Though the lotus is associated with Brahma, Vishnu and Lakshmi, in Tantra, the lotus is a symbol of the expanding consciousness. This expansion ultimately dispels the dark clouds of ignorance and brings light and radiance. The lotus flower represents the highest level of consciousness in search of enlightenment and purity. Padmasana (the lotus position) is assumed by those determined to reach for the ultimate highest level of consciousness which can be found in the lotus chakra at the top of the head. It is also the normal pedestal for divine figures in Buddhist and Hindu art.
The Cloud patterns or wave patterns in the Neo-Tantric art of G R Santosh may represent Param-Gyana ( supreme knowledge ). These cloud patterns are also seen in the 'Buddhist Thangka Art'. It is found throughout Buddhist imagery or from Thangka to wall paintings /murals in monasteries’.The Param- Gyana clouds are intensely visible in the upper part (mind) of Santosh’s paintings when an abstract image is shown in Padmasana. In some paintings of Santosh, these clouds also move like waves near the Chakras of an abstracted human figure in deep meditation.
Apart from geometry, Santosh also uses luminous and radiant colours to represent his Tantric imagery on the canvas. The colours used by Santosh are like Mantras that have their interpretations. Red or the colour of Shakti, is also the colour of sacred Agni (fire). In Tantra, it is oriented towards the ecstatic experience of the divine union of the male and female principle. Similarly green symbolises life and happiness. The white colour symbolises peace, truth and purity while the blue colour represents vastness and depth like the blue sky and the blue ocean. In Tantric art, white colour is also used to describe a spiritual path which incorporates meditation, breath work, sounds, and postures. The colours perceived by the human eye result from a very narrow range of light waves. The entire scale of light's radiant energy is not visible as colour. In tantric thought, a wider concept of colour also exists in which every vibrating sound has a certain colour.
Apart from painting, Santosh wrote short stories, operas, dramas and poems. If his paintings represent spiritual verses on canvas, his poems also represent canvases in spirituality. Invoking Shakti, the supreme power that keeps everything in constant motion, evolving and destroying, Santosh muses:-
“Light manifest, truth revealed O Shakti,
You are the axis of time and space,
You are the infinite revealed in me,
You are the field of love and action,
Consuming universe back unto you.
Every flowing stream of nectar,
You are dispelling darkness in me.
Every spreading primaeval sound,
You are my mother;
you are Bhawani, O Shakti.”
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Dance of the Wind ( Wara Mendel ) [ NON-USA FORMAT, India
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Shop Dance of the Wind DVD at Ubuy France, a India. PAL/Region 0 format. Hindi language, English & French subtitles. Special features: Interactive Menu, Scene Access.
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https://indianraga.wordpress.com/tag/shweta-jhaveri/
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shweta jhaveri
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Posts about shweta jhaveri written by indianraga
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https://secure.gravatar.com/blavatar/88a9d2330c31978b533ceebf4450f1e16155eef96dd0c1fc4bbb72407e03a46c?s=32
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Indian Raga
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https://indianraga.wordpress.com/tag/shweta-jhaveri/
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Very few films have featured Hindustani classical music as their central theme. Dance of the Wind (or Swara Mandal) is a 1997 Hindi film, written and directed by Rajan Khosa. The film was a co-production between five countries, including UK, Germany and India. A celebration of classical music traditions, the film captures the beauty of ancient Indian music and the culture from which it emanates.
Pallavi (Kitu Gidwani), a budding Indian classical singer, is the daughter and student of celebrated classical singer, Karuna Devi (Kapila Vatsyayan). While she was still gaining her confidence, her mother expires suddenly. Due to this shock Pallavi lost not just her bearings but also her voice, subsequently she also loses her career, her students, and her husband. It is only after she meets a young street urchin, Tara and start teaching her, following the guru-shishya parampara (master-student tradition) of Indian classical music, as her mother once did with her, does she begin to find herself again, and also her voice.
The beautiful soundtrack of the film is by Shubha Mudgal, while playback was given by Shweta Jhaveri (for Pallavi), Shanti Hiranand (for Karuna Devi), and Brinda Roy Choudhuri (for Tara). Other noted artists, who worked on the soundtrack were, Sarangi maestro, Ustad Sultan Khan, and noted flautist, Ronu Majumdar.
The Concert – Shweta Jhaveri : (Download)
http://www.fileden.com/files/2009/5/21/2450334/dance-of-the-wind-02-the-concert-shweta-jhaveri.mp3
Tara’s Song – Brinda Roy Choudhuri : (Download)
http://www.fileden.com/files/2009/5/21/2450334/dance-of-the-wind-03-taras-song-brinda-roy-choudhuri.mp3
I recently met Brinda Roy Choudhuri on eSnips.com and she was surprised that I remembered her name. She did not have copies of the songs she sang for this film (she was 11 years old then). I was too glad to oblige. She is a 25 year old, highly talented singer now. Shweta Jhaveri, as we all know, is a well known classical vocalist of today. Shanti Hiranand is better known for a biography of her guru, the legendary Begum Akhtar: The Story of my Ammi. She also played a miniscule role of Siddhartha’s mother in Conrad Rooks’ 1972 movie Siddhartha. She is a superb singer and I wonder why more of her songs are not available today.
Echoes in Time 1 – Shanti Hiranand : (Download)
http://www.fileden.com/files/2009/5/21/2450334/dance-of-the-wind-04-echoes-in-time-1-shanti-hiranand.mp3
Heart of Darkness – Shweta Jhaveri : (Download)
http://www.fileden.com/files/2009/5/21/2450334/dance-of-the-wind-05-heart-of-darkness-shweta-jhaveri.mp3
Echoes in Time 2 – Shanti Hiranand : (Download)
http://www.fileden.com/files/2009/5/21/2450334/dance-of-the-wind-06-echoes-in-time-2-shanti-hiranand.mp3
The film was premiered at 1997 Venice Film Festival, and became India’s official entry at the Karlovy Vary Film Festival, Melbourne Film Festival, Jerusalem Film Festival and International Film Festival of India (IFFI) in 1998. The film went on to win the ‘Gold Plaque for Music’ at the 1998 Chicago Film Festival. However, it was commercially released in India, only in February 2008.
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Shubha Mudgal
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"Author Kavita Chhibber"
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2014-05-19T00:00:00
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I said ’I will’ to music much before I said it to anyone else. Kaveta’s note: Shubha Mudgal said to me during this interview that when she was young she would try to imitate Lata Mangeshkar’s voice…
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en
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KavitaChhibber.com
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https://www.kavitachhibber.com/2014/05/19/shubha-mudgal/
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I said ’I will’ to music much before I said it to anyone else.
Kaveta’s note: Shubha Mudgal said to me during this interview that when she was young she would try to imitate Lata Mangeshkar’s voice and fail miserably. I can now confess that for the longest time I’ve tried to imitate Shubha Mudgal’s voice and failed equally miserably. I feel an uncanny kinship with her – from our fondness for literature, and for dogs (though hers are obviously much more musically inclined than mine, and either sang with her or made her sing) to our obsession for fountain pens.
I was also touched by her self-deprecating sense of humor, her ability to fearlessly speak her mind about things that she does not like but never without courtesy. Seeing artists like her and other women coming up in the creative arts, it’s heartening to see the kind of diverse work that is coming their way today.
From Sukanya Shankar to Sonu Nigam, I’ve only heard really wonderful things about Shubha ji’s humility, warmth and of her remaining untouched by fame. Hers is perhaps that rare website where she spends more time blogging about other singers, many who are up and coming or unknown, than about herself. Thanks to reading that blog, I was introduced to a very diverse range of music and musicians. But what has inspired me most about Shubha ji is how she remains so positive, and also deeply offers her immense gratitude for all the abundance that life has given her.
In this exclusive interview done a little before her trip to perform in what is going to be A MUST WATCH Jugal Bandi concert, hosted by the nonprofit organization SAMAA on 31st May in New York, with the equally amazing Bombay Jayashri, Shubha Mudgal talks about her musical journey, her life as an empowered woman, her involvement in social issues, and why gratitude is an integral part of her philosophy.
In a land where women are considered second rate citizens, you come from a family of very empowered women. How has that shaped you?
My grandmother was born in 1900 and was very progressive. She did not complete her degree but she was in the midst of doing a Master’s degree in Mathematics. She was highly educated, a working woman and very very fond of the arts. But when she told her father that she wanted to learn Hindustani music he said there was absolutely no chance of that because that was not the kind of music girls from respectable families studied. However, he did encourage her to learn the piano and western music. Though I never saw her play any instrument, I see her posing with several Indian instruments very proudly standing in her garden in our family album. My grandmother lost her husband who was a water color artist very early on, so she raised her three daughters as a single parent and worked all her life.
My parents were classmates and I always saw them treat each other as equals. Having been classmates there was a special companionship and camaraderie between them. So I did not grow up in a place where women had to be hidden or were not decision makers. I also saw my father respect the women he worked with. So I was very fortunate.
I also understand that it is really not so ideal everywhere in the world and certainly not so in India. I think India is so diverse that the status and stature of women is also quite diverse. There are areas where men and women really know how to respect each other and areas where women are the decision makers and live life on their own terms. And yet you could travel a few kilometers and find another household where it isn’t so.
I think fortunate women like me need to ensure that the women we interact with, we also treat them with respect and share our experiences with them without hoisting our independence or activism on them. I think the right thing will be to share our experiences and let them decide how they would want to negotiate their own way across society.
My mother Jaya was the oldest and my grandmother gave her and my aunts every opportunity to engage with the arts, to learn music and dance, to go to the theater. They lived in the hills and I remember my mother saying that the great Uday Shankar was making a center in the Almora Hills and my mother would keep trying to peer into their courtyard and see what was happening. She would watch their rehearsals from her home and so it was a vibrant atmosphere. But again when it came to deciding about a profession my grandmother didn’t feel that music would be an appropriate profession for my mother so she never became a professional musician. Both my parents were Professors of English Literature.
But then my mother gave my sister Ragini and me abundant opportunities to learn music, dance, to read poetry, and to really be involved with the creative arts. It was an unconditional encouragement but not the doting kind. We were encouraged to take part in all kinds of artistic activities but were never really asked to prove ourselves.
There was never a question of “When are you going to start performing? When are you going to be on radio?”
It was after I graduated from Allahabad University that my mother sat me down and said, “You need to take a decision whether or not you want to make a commitment to music because till now it has been a serious hobby.”
You learnt Kathak for many years and switched to vocal music at a relatively late age of 16. What made you switch?
When I was learning Kathak, as I got older, I realized I could hold a tune, had quite a fantastic oral memory and could memorize the songs quickly. My mom pointed that out to me and said, “You must learn vocal music if you really want to learn about Abhinaya (enactment). Look at Birju Maharaj ji. He sings and does Abhinaya.” Once I started learning music I was completely fascinated. I would also at times chafe at the dependence of the dancer on the extra aspects of the performance, the singer, the clothing, lighting and the need for an orchestra. Compared to that, singing seemed to be a much easier world. So I was just consumed by the idea of learning music.
Do you think Kathak training helped you as a musician?
Studying something like dance or any creative art definitely enriches you to a great extent and having studied Kathak under some very eminent people certainly impacted my music. I may not be able to place my finger on a particular aspect of my music and say this is what I learnt from dance, but there is no doubt about the fact that it enriched my understanding of music and continues to do so. Also today when we talk about being a performer in India, often it means you should be ready to do cartwheels on stage, with the mike in hand and sing alongside. I know I’ll cause quite an earthquake if I dance now… but dance has taught me the right posture, the way you take the stage, the way you gesticulate and that is very evident when I perform. We all borrow from dance movements but we can also learn how to treat rhythm and metric space in music from dance. Learning Kathak was a lovely period in my life.
It took some tough teachers – both human and canine – to get you to toe the line! I read about a Terrier who was quite a task master and you even have a Dalmatian who copies both your higher and lower octaves in sync.
Yes there are some very funny anecdotes but one that has left a lasting memory happened at a point in time when I had started learning music from Pandit Ramashreya Jha Ji in Allahabad. He would permit his students to come to his home every Sunday and you had to leave really early to be there on time because there were many senior musicians who would also come to learn from him.
If they got there before you, there was no chance of you getting a lesson from him. So my parents would wake me up at the crack of dawn and I, a typical teenager would sulk and say “Nooo, I don’t want to go!” But my father would drive me over to Pandit ji’s house. It was a humble home, there was not even a pucca (concrete) floor. And when we reached his home we could hear him practicing by himself
One of the things that he used to give me to learn were these very fast taans (a virtuoso technique used in the vocal performance of a raga in Hindustani classical music. It involves the singing of very rapid melodic passages using vowels). And you really had to work on them and I wouldn’t and then I would get a sound scolding. I would protest on the way back. I would tell my father, “I’m feeling so humiliated being scolded in front of everybody.” And my father would say, “But it was your fault. You didn’t prepare and he was absolutely right to tell you off. If you still want to go back, you’d better be practicing.”
One day I told myself I’m either going to practice and get this right or I am going to stop going for my lessons. So I wouldn’t stop doing my riyaaz (disciplined practice). I whipped up and down the scales, did my paltas (a kind of scale that comes back in the same pattern) and on Sunday I triumphantly sailed forth for my lesson. As I entered, the senior musicians also looked at me with pity and started getting frightened when the taan section came around because they knew I would get a big mouthful. But there I was smiling arrogantly. My Guruji then said “Okay come on let us get started,” and I did. With every perfect taan I would look more and more smug. He narrowed his eyes and when I was done he gave me paltas and patterns that were different from the ones he had given me earlier and sure enough I fell felt on my face, And he looked at me in the eye and said Ab kahaan gayi Chaturai? (“Now where is that smart-aleck attitude?”)
And then I had this little Terrier. She was lovely. Her name was Poil or Pearl after a comic strip character. Pearl, who was the girlfriend of Spooky, the tough little ghost with a Brooklyn accent who called his girlfriend and fellow ghost Pearl, “Poil”.
She was very fond of music and would bark at me until I got out of bed, brushed my teeth and sat down with my tanpura. Till I tuned my tanpura and started singing, there would be nonstop barking. Then she would lie down like a furry little rug in front of me and would be my companion during my hours of practice.
I remember reading that your Guruji made you practice the same raga for 2 years?
I remember my Guruji every single day for doing that. As a young teenager, there were so many things I hated about my lessons at that time which now I cherish more than anything else. What he taught me was to hold a mirror up to one’s work and accept one’s imperfections. It is only when you accept your imperfections that you are able to think about improving. Till then it is not possible. You think you can get by. But this holding the mirror and recognizing what is happening to your voice, to your ability to concentrate, to express – these are nuances he taught me with great patience and generosity many years ago, but those aspects of my lessons are very relevant even today and I am very fortunate to have had such a generous teacher.
You also trained under Pandit Vinay Chandra Maudgalya and Kumar Gandharv ji.
Pandit Vinay Chandra Maudgalya was a tireless and wonderful teacher and I knew that as a founder of the Gandharva Mahavidalaya there were a lot of administrative duties that he also had to take care of. He and his wife were tireless when it came to looking after the Vidalaya and that kind of almost missionary zeal came from their association with the Vishnu Paluskar parampara. I think they were really and truly very exceptional in their tireless devotion to music and music education. He was called Bhaiji by everyone.
There are a lot of teachers who intimidate you but with Bhaiji it was very different. He was always encouraging and would make you feel you could do anything. He would say to me, “Beta, tum yeh ga logi. (You will be able to sing this) I have total faith you will.” And lo and behold you would find yourself singing a new raga that was not familiar to you, or a new composition without any problem because the confidence he gave you was really amazing.
There are a lot of his students who had the opportunity to learn from Kumar Gandharva ji for years. I only got 2 years of occasional meetings and lessons with him. He used to come to Allahabad once a year and Allahabad was where I was born and brought up and the entire music loving city would come and congregate to listen to him. It was like a big event of the year so I had the opportunity to listen to him many times as I was growing up.
If he had been alive he would be 90 this year and I think for me to get the opportunity to learn from him was something I could never have imagined in my wildest, most optimistic dreams. So again for many years I tried to sound just like him and discovered again, that was not going to happen. But for me he stands out as one of those great musicians whose vision whether it was in the rendition of raagdari music or whether it was in the rendition of sargun or nirgun devotional poetry – came with a certain profound quality that left a deep impact on me. I am not a blind follower but I remain devoted to his genius and I feel truly blessed to have learnt even for a short while from him.
“Stories in a Song” is a very interesting concept that your husband, tabla player Dr. Aneesh Pradhan and you created.
I had been talking about a theatrical production where you could tell stories about different kinds of music, not just classical music. So it is not a lecture demonstration. Over the years Aneesh and I had come across anecdotes, historical facts and even some fascinating fiction and I started seeing how it was all happening in visuals. And I would say to myself, I wonder how it would be to see it all enacted and also give information about the songs.
So we went to Sunil Shanbag and he said “Let me see. I am not sure but send me some of the stories.” So we did. He selected some that he thought could be dramatized. He worked with several writers. And he worked with us to audition actors who could also sing. All the music in the production is presented live. It was quite wonderful to see actors ready to rehearse and learn a form of music, which they had not learnt earlier, even though they may have heard it somewhere or were familiar with it. But to actually internalize it to the point of being able to sing it, was wonderful to see. We either chose old compositions that could be rendered by the actors or we created new compositions where we felt we needed to create a new one for that particular production or actor.
It has been 3-4 years since we started doing Stories in a Song. They’ve done about 75 shows all over India. Almost all have been successful. We continue to ply Sunil with even more stories and music and he has been kind enough to accept some of them so more stories are being added. And now it is not the question of which story to present in which show. I hope people abroad also get a chance to see it.
Baaja Gaaja was another project very close to your heart.
You’ve now touched a very painful chord. It was an ambitious project. We saw that so many of the big festivals focus on one kind of music here and host them very nicely. They are great festivals and have been held for over 50 years. But what about the diversity of music in India? This project was started to showcase the diversity of Indian music and to be able to create a panorama of all kind of music, have meaningful conversations about patronage to musicians and support to their art. There were diverse things happening in those 3 days. From 10 am in the morning to 10 pm in the evening we were really talking, listening and celebrating music.
The experience was unforgettable for Aneesh and me. It grew from strength to strength in terms of the good will it generated but sadly we could not generate the funds. Maybe we were not able to market it properly. But we also didn’t want to change the nature of the festival because if you are going to have a celebrity driven festival, there already are many and they are being organized beautifully. Why replicate that?
We had to stop Baaja Gaaja because we could not find funding for it. We put in whatever we could from our pocket and there were people who helped us, We had a supportive venue partner but something like this requires funding – not necessarily a lot of extravagance but we were unable to raise that. So we had to stop at the risk of facing bankruptcy, in 2012.
Tell me about Underscore Records? That has been a great platform for the diversity of music you both want to support.
In 2003 we set up Underscore records. Aneesh and I decided that it would give us an opportunity to communicate with music lovers across the world as that was the time that we started to use the internet. There was such an ease of communication long before online shopping became quite the rage. We also felt it was one way we could help distribute music which was diverse, came from India, and yet was not getting due recognition in the mainstream music industry.
So without any experience of entrepreneurship, we jumped right in and we linked it to one of the largest payment gateways. We also started on a very auspicious note. We were felicitating Pandit Ramashreya Jha on his 75th birthday and a good friend of ours Rajan Parrikar who lives in the United States told me “Shubha why don’t you record Ramashreya ji?” And I said, “I don’t have the guts to go to him and ask him please would you let us record you?” And Rajan said “I’ll do the talking and you do everything else.” Rajan managed to get 2 CDs worth of Guruji’s music and so we started Underscrore Records by distributing the first of the records by Guruji on the occasion of his 75th birthday
A whole lot of our musicians, friends, colleagues and film makers thought it was a good idea but they were unable to understand the medium because they were still not familiar with the internet. So we would spend hours explaining the website to them. We managed to fund it ourselves but we were very fortunate that 4-5 years later we received a Ford Foundation Grant for 3 years and that really was a big support. We had a wonderful program officer and she guided us in a very astute way. Many of the videos that you see where we are spending time and are calling professionals to teach musicians how to use different applications like Twitter or LinkedIn or Facebook, which we otherwise would not have been able to do due to paucity of funds was possible only due to the Ford Foundation.
It also helped us reach many many diverse musicians like this young Maharashtrian priest singing folk music and Marathi devotional music in a small temple in Pune. That kind of project would not have been possible without the support of the Ford Foundation.
Underscore has been around for almost ten years and our policy is very simple. We would like the artist’s music to be everywhere. We never ask for exclusivity and we have never said that the only place you can distribute is at Underscore. Baaja Gaaja was Aneesh’s idea of five years of Underscore. He felt what is the point of celebrating this amazing diverse music alone? We should celebrate it with the musicians. That’s how Baaja Gaaja came into being.
I think internet technology has empowered us to share our work on our own terms and conditions and I am grateful that we live in an era where this is possible. It’s a good medium of communication but a lot of the applications need to be customized for Indian music. I think one of the important things about the internet is that you can get like-minded people to form a network. Unfortunately we are also using social media as a 16 year old girl would – to connect with people to meet at Starbucks. Now that may not be the way you will find an audience for Indian classical music. And really speaking traditional Indian music has not been able to communicate using all the internet tools yet. As you said earlier websites are more about talking about oneself, one’s schedule rather than getting information about diverse kinds of music.
But musicians have always been very adaptable and have used their own strategies to get along with a changing world. So as we evolve we will find a way but right now I don’t think wholesome use is being made of the internet to reach the masses.
“No Stranger Here” is another fascinating album. I had as much fun hearing you sing Kabir’s Sai Bina on it as I have had listening to Ustad Rashid Khan sing it the traditional way.
I really wish “No Stranger Here” would have done better than it has. Earthsync, the label that produced and distributed it, was the first label we collaborated with when we set up Underscore. They were doing brilliant production work. The first album they sent us to be distributed was called Laaya and it was beautiful. It was a video they had recorded after the tsunami had hit various Asian countries.
They have their own recording studio in Chennai and were doing very high quality productions so we requested them to distribute their work on Underscore records. And they agreed.
They have been a part of Baaja Gaaja and collaborated with us on very many occasions.
I remember when we used to do a Baaja Gaaja compilation where we would request artists to donate one track and we would put it in this compilation and distribute free one of the people to give us their track were Earthsync and they were also kind enough to manufacture the CD and the cover for us.
So we’ve been collaborators and had wanted to work together for a long time.
I had heard some of their tracks on a very interesting album called Business Class Refugees and so one day I said let’s meet at your recording studio in Chennai and they laid down a few tracks and that’s when it started happening. I decided to choose pieces from Kabir. All the arrangements were largely done by them and all the compositions I sang were done by me.
They have really done a beautiful production and I’ve really enjoyed the new way of walking into a studio and then try to create something.
For fans of Sonu Nigam and Indian Ocean as well as Anoushka Shankar, I have to ask you how has it been working with them?
I’ve known Bickram (Ghosh) longer than I’ve known Sonu ji. For someone who is so incredibly competent at what he does and is very celebrated singer,Sonu Nigam is incredibly patient and down to earth. I only dub occasionally. My work is not to go to the studio to dub three songs a day. So I have some amount of experience but still not the ease with which a professional playback singer really manages to do the dubbing. Each time it’s a new learning experience and I take time to get used to the whole experience. I have to say for as big a star as he is and as accomplished a singer, not for a minute did Sonu give me the feeling that he was irritable, or that he was trying to teach me a thing or two or that there was one-upmanship. I do hope he composes more. He is a very gifted composer.
Indian Ocean band members, the older ones Rahul, Aushim have been old friends, so when Rahul invited me to be part of their new album and sing Gar Ho Sake, I knew it will be a really wonderful easy relationship. I’ve now also met some of the newer members of the band at close quarters and they are also very committed, and very easy going musicians and easy going people. There is no pretense, no hypocrisy. With that kind of easy going vibe it is very easy to collaborate. That very collaboration can start hissing and spitting when everybody is tense about how much importance is going to be given to each person or how much video time each person is getting. There was no question of there being any kind of tension on that issue. They always have a very healthy kind of viewpoint that if you don’t like a part of the collaboration it doesn’t mean that you turn into enemies.
Indian Ocean began doing the kind of music they believed in many years ago before all this independent music, bands and everything else became popular in India. So in a sense they have stood by their conviction for a long time and have built a huge audience, which they richly deserve, The idea of recording independently and distributing on their own terms I think is fantastic. Whether they collaborate with me or not I have always had tremendous respect and admiration for the way they have made the kind of music they believed in.
Anoushka and I didn’t really meet. She had sent me the material. She was not working in India at that time and the Midival Punditz made their studio available for recording in Bombay. We’ve all been huge admirers of Pandit Ravi Shankar and when she asked me to sing a Bangla song written by him, I was honored. I took a Bengali student with me and that is how we collaborated. I guess that is the power of the internet now. But singing that song made me feel that I was connected some way with Pandit ji and Anoushka is very talented.
What have been your own most creative challenges?
Challenges come at every opportunity. The moment you feel you can sing anything, you are proved wrong. Music is a hard task master and the first lesson it teaches you is never to take yourself too seriously. I am constantly challenged by a lot of the music I have to sing but especially some of the compositions Aneesh has asked me to sing . They can be very difficult. Then I have to tell him that I need time for this composition and I will get back to you. He is a far more daring composer than I am and he gives me these very challenging compositions. I then try to work on them; sometimes it works and sometimes I have to work very hard.
How do you work together when he composes for you? Is the structure rigid or is there scope for improvisation? And where does the husband or wife end and musician begin?
I primarily compose for vocalists and particularly for the forms that I am familiar with, like khayal, dadra or popular music but Aneesh composes for a variety of musicians. His Guru Pandit Nikhil Ghosh was of the opinion that a table player must of course specialize in rhythm and Tabla but must also try to be a complete musician. He must listen to a lot of music. Added to that Aneesh has his own interests and he is a very keen listener. He has had the chance to accompany so many performers including many senior musicians and great scholars so he really can compose for a variety of situations and not just only vocalists in Khayal and thumri.
I recall one project he did years ago where he composed for another percussionist from the Mumbai film industry, a gentleman called Pratap Rath who plays many types of percussion instruments. Aneesh composed for Pratap ji and asked him to play several tracks. The project is called Tarana-e-percussion. And as part of that project, he had composed a very beautiful, sparse, melancholy piece written for voice and he asked me to sing it. He chose what I believe is a whole tone scale in Jazz and because it is very unfamiliar to a Hindustani classical musician I actually told him to find someone else to sing it.,
It was quite a challenge and I rehearsed many times before actually singing it. He uses percussion in it like a bit of coloring, it doesn’t have any groove to it, but is used in a way to create a lonely, sparse quality to it. The lyrics are also very beautiful, written by a young poet Alok Shrivastav.
I think we have been colleagues before we became partners and married each other so I think we have a healthy respect for each other’s work . If it is his composition I will take due care to not try and make it my composition and he will give me the freedom if the piece needs elaboration. I will learn the composition from him but the improvisation will be my interpretation.
I think if there are suggestions on how it should be interpreted I am quite open to it and not only from him but any composer that I work with. I think that give and take is part of any wholesome experience.
I have learnt several things from Aneesh. One that he is always very analytical about his own work and encourages everyone including me to do the same. There is no getting away from yourself if something doesn’t work. Even if was to fool myself and say you know it wasn’t too bad-he isn’t going to let me get away with it, It is good to have a companion who is a very accomplished musician himself and who is also able to understand both vocal and instrumental music but he is not a person who forces his views on anyone.
He makes a suggestion and it is up to me really to see what he is trying to say and if I want to heed it, But there are no ego hassles. My family, Aneesh are all very happy with any success that comes my way. They are complimentary and comforting and yet they will not mince words to tell me if I did not do as well as I should have. As a musician Aneesh is very secure. I cannot even think of a time if we walked down the road and somebody recognizes me and doesn’t know who he is, that he would not be happy for me. It is not going to create a wedge in our lives at all and it comes from being secure people who are enjoying the fact that we care about each other.
You lived on your own in Delhi after your first marriage ended. How easy has it been to be a woman musician or composer then and now?
When I look back at all the trials and tribulations that women performers and artists have had to undergo in the past, I feel my own trials and tribulations were nothing in comparison.
Perhaps for me the biggest struggle was to just understand that I have been taught by some fine musicians and had to now find my own voice in music and that I continued to do.
I think it would be difficult for any woman to live alone, even if it wasn’t a single woman, but a married woman musician or even a musician couple; it would be difficult for them to rent a home in the city because people don’t feel a musician would be a good person to rent their home to.
I think it’s because of the trials and tribulations of woman musicians in history and their immense sacrifices that we have had it very easy. Whether they were professional songstresses who came much earlier or whether it was the women who came from gharanedaar families but did not become professional musicians-it is because of them that it was easier for me to become a full time musician and to gain respect in society. So taking that into account I feel it would be callous of me to glorify my own trials and tribulations.
And today I believe there is respect for women composers. There always has been. If you listen to Gauhar Jaan even in the first recording that was made in India, her pen name is there in the composition. In Hindustani classical music many of the women performers and singers have also been composers. For some reason they have not felt the need – and this is an interesting point- to insert a pen name. But when you meet people who have learnt from the great Mogu Bai Kurdikar, they will tell you that this is Mai Mogu Bai’s composition, or if you speak to Shruti Sadolikar or Ashwini Bhide Deshpande, all of them are composing and people are singing their compositions.
So it is not difficult to be a woman composer today. I think what is important for the artist is to follow their artistic compulsion, not blindly, but again in that analytical way in which tradition teaches us. I think it is important.
I worry about the need artists feel sometimes to be accepted and that need becomes a trap. I think it is wonderful to go out on the street and have someone walk up to you and say – “Can I give you a hug because I loved this popular song that you’ve sung,” or “I have heard you sing raag Purya Dhanashri so many years ago and I really loved it.”
It’s a wonderful feeling but at the same time I cannot start making music with the idea that everybody around would accept what I am doing.
I feel I have been well taught, I feel I am sincere in the way I study music and I will continue to be a student of music all my life. If there is approval and acceptance- wonderful. But if not then I ask myself what would I do? And I have only one answer-I will still do the same thing.
I think it is very important for artists to feel that they can follow whatever their artistic urgings tell them to do and not be somebody else.
I think I was steered in my journey in a particular direction because of my parents and my family and because of my teachers. But as I was growing I wanted to sing everything. I would listen to Lata ji and sing what she had sung so beautifully and memorize the songs, sing them and then I would listen to myself and say “My God how horrid I sound and how beautiful she sounds’.
Now in a sense learning those songs and trying to negotiate those wonderful trills and glides that she did so effortlessly was a training in itself but it was also a realization that it is pointless trying to be Lataji because there is no other Lataji.
Similarly when you think of Kumar Gandharviji or Jitendra Abisheki ji – when you are learning from them, you try to imitate and assimilate but you realize no sooner that my God I don’t even sound like a good carbon copy so the lesson and the inspiration I draw from each master, some of whom I’ve learnt from and some whom I’ve never seen, only heard their records, that they were all people who were themselves musically.
This is the centenary year of Begum Akhtar and everybody under the sun is massacring compositions so beautifully rendered by her. I am a great admirer of Begum Akhtar yet I cannot be like Begum Akhtar, so I can’t even try to present a bad copy of compositions that she presented so beautifully but yes I listen again and again to the expressions, the deep understanding of Urdu poetry. All that is a lesson in itself.
The guru can only give you generously-you have to have the comfort level to create the delicate balance and that also comes from the training. For musicians it is important that we must continue to learn the rules and then hope to transcend them one day. That is the journey.
Websites are talking about self-promotion and gurukuls are… fill in the blanks for me. Hari ji (Hari Prasad Chaurasia) has one, Suresh Wadkar ji has one and there are others, but the common allegation is that many of the musicians with gurukuls aren’t following the guru shishya parampara.
You are going to get me into trouble now! Well I have been to Hari ji’s gurukul once and he was very much there. He is known across the world amongst musicians for his immense commitment to riyaaz.
For me gurukul is the guru’s home, whatever condition it may be in. It was there that you went and learned. No one had designer gurukuls and there is no harm in your having a designer gurukul if you’ve been fortunate enough to raise the resources. It should not always have to be a rundown, shabby space. But I think when you set up an institution there has to be a vision and a certain detachment from it. You will own it in principle and you will own the vision but you will need to give it to other people, to run it for you if needs be and you need to review your work again and again. For example a lot of institutes have come up in India and they have certainly served the cause of Indian music but 50 years down the line is there a review of even the syllabus or are all the institutions looking at the same syllabus, rearranged so that the sequence of ragas may be tweaked a little for one institution and tweaked a little for another institution without trying to see how can we make music education more vibrant? Surely that is not an unreasonable thing to ask of a gurukul?
You’ve taken deeksha from a particular Krishna sect? They look at music in a very unusual way.
As a musician, the entire tradition and the association of Krishna mythology is around you. You are exposed to it in every turn you take in your journey as a musician. A lot of musicians go to Brindavan to perform seva.
A friend Veena Modi came to me many years ago-she was not a friend then and she wanted to learn music from me. I said you know I am learning myself so why don’t you learn from Bhaiji? But she was adamant and then she started bringing some pieces of Krishna poetry to me and would ask me to compose. Again I said I don’t know how to compose please go to Bhaiji and she said “No you just take a look at it.” Finally I asked her, “Why do you want to learn music?” And she said, “Hum kuch aur nahin karna chahtey hain – hum siraf raag seva karna chahtey hain.” (I don’t want to do anything else. I just want to serve the raga). That word aroused my curiosity. I asked what that meant. So she said, “Why don’t you come and meet my guru?” There were several pieces where I did not understand the context of the reference and she said her guru would also explain it to me.
So I went and met her Guru. His name was Acharya Purshottam Goswami and he said, “You know when you make this offering of music to the Lord, do it without focusing on technique or trying to impress anyone. Bhav se kariye, kala paksh chod dijiye.” (Forget the craft, think of the offering that you are making with emotion.) And I was saying to myself, “I am a trained musician and this gentleman is asking me to forget about technique?” I found that so strange. The gentleman spent many hours with me explaining the poetry and the much deeper philosophy behind seemingly simple lines. I got a glimpse of the ethos in which this tradition flourished. It was very fascinating and I would go back again and again to Brindavan.
I was fortunate to be accepted as a disciple by his son Acharya Shrivat Goswami. That poetry is the kind that the more you delve into it, the more it offers you. It is a different world. I can’t even begin to tell you. It has given me a great deal of peace and solace.
Pandit Ravi Shankar said in an interview with me, “What most people don’t realize is that before the outside influences came into India, both systems of music followed the same Bharat natya shastra and we had no problems understanding and developing our music, or keeping the same tempo or counting beats on our fingers. Even the old Pakhawaj players from the south maintained the same system and we had so much in common technically. But with the advent of the emperors came the gold coins and the musical wrestling matches where the tabla player was pitted against the vocalist, and people started playing to the galleries. As a result the two styles of music became more and more distant from each other, and today it’s more of a competition, rather than appreciation for each other.”
So when you collaborate with someone like Bombay Jayashri how does it work? And in your opinion do you see it more as a fusion of two distinct styles or a remarriage of styles that have more in common than we are led to believe these days?What should we expect on May 31st?
Well the basic vocabulary and grammar are indeed similar and there is a lot that is shared between the two traditions. But in the jugalbandi we haven’t really tried to create comparisons or contrast in the conventional way. We haven’t really tried finding a scale that is common to both systems of music. We are celebrating the diversities so we have tried to do that by creating presentations driven by various ideas.
For example, in one item we may present sahitya which is saying similar things. If the song text is talking of longing, then both the Carnatic piece and the Hindustani piece will talk of that. In some we may say let us do something which actually creates a contrast. So Jayashri ji may sing something in Adi Taal and I may sing something in Rupak taal.
There is a great deal of security among all the musicians and celebration of each other’s skill and scholarship, craft, technique and art. So what is interesting is that in all the reviews we have received in India, people have always talked about “good teamwork” when speaking of our collaboration. I think that is a compliment I really cherish. Jayashri ji is accompanied by two very accomplished musicians, J. Vaidyanathan on Mridangam and Embar Kannan on Violin and I have Aneesh on Tabla and Sudhir Nayak on harmonium.
The jugalbandi that you will see and hear is not only between Jayashri ji and me but a collaboration that is happening on all levels. So you will see a jugalbandi between the instruments as well. There will be a piece where Jayashri ji and I will not start the jugalbandi – the musicians will.
It is very important to highlight all these areas, where we share something and where we are diverse and try to create a collage where all this can be enjoyed.
I have really enjoyed working with Jayashri ji and her musicians each time. I have never done a jugalbandi with anyone and the first time we performed together was several years ago in Chennai.
We realized there was not enough time to rehearse and we did not want it to be a sort of on the spot jam session. So we decided we would do just two pieces together – one that I sort of brought into the collaboration and one that was suggested by her. That is how we started performing together.
But over the years we have created an entire repertoire where we actually collaborate on all of the tracks we present.
She has studied both Hindustani and Carnatic music and she speaks very good Hindi as well. She is very good with braj bhasha and all the song text that my repertoire contains. So it’s a pleasure to work with her and the fine musicianship from the entire team.
It’s cool that you also appreciate other singers and give opportunity to the right singers to sing your compositions instead of hogging every song for yourself. These days every composer is singing their own songs, especially in films. Yet we didn’t hear your voice in the film Dance with the Wind, even though you were the music composer.
I think we chose the right voices for the characters in Dance with the Wind. Rajan Khosa also knew what he wanted so I think it was a good choice. I don’t sing a lot in films but I’ve had the pleasure of working with Debojyoti Mishra for Raincoat and I have sung for him later as well. Recently I sang for Aparna Sen’s Goynar Baksho and he had done the music again, and of course for Sonu Nigam and Bickram Ghosh in “Jal.” But yes I don’t have the kind of wonderful voice and skills that someone like Sonu Nigam or Shankar Mahadevan have to be able to take a song that belongs to someone else and make it your own and sing it as if you’ve known it forever. That is a very special gift. My voice suits very specific situations.
For me, my gift is different. It’s the gift of music I have been given in my life and that has been my biggest milestone.
What is on your iPad/phone and what kind of literature are you reading?
I’ve been lately listening to a lot of archival music – a lot of Siddeshwari Devi and also this album called Gifted Women of the World, I’ve also been listening to a lot of qawali and to all sort of music the kind of work that is happening today, collaboration in the Coke studio etc.
A lot of my reading has been around literature that I am working on to set to music or that I have been thinking of composing.
Of late I have been looking at Hindi poetry from the chaayavad period – works of the poets Nirala and Mahadevi Verma. We have been working on some compositions.
Aneesh and I were saying why does thumri and dadra only have to be in braj bhasha. Today we are not speaking braj bhasha so why can’t we perform it in Hindi as it is spoken today or academic kind of khadi boli.
Aneesh also came up with this lovely composition from Nirala ji’s epic poem “Sandhya Sundari” where he personifies the evening as a very beautiful young woman. It’s an epic poem but he took some lines from it and composed it like a dadra. I am also working on another piece by Nirala ji and on one of the most beautiful nazms written by Sahir Ludhianvi set to music by Aneesh, “Aao ke koi khayal buney kal ke vaastey.”
I was recently invited to sing at the Wajid Ali Shah festival curated by Muzzafar Ali and I took poetry written by Wajid Ali Shah and composed the pieces. Both Aneesh and I have a very large collection of music and we are avid listeners. So wherever we go, we look for the opportunity to listen to other musicians. I think it’s such a great thing to be able to sit back and listen to somebody.
I want to mention Saida Begum, a singer from Punjab who took my breath away. In her track Dum Dhola, there was something so poignant about it, that quality called-taseer-a certain ability to move the heart and mind of listeners, that anguish in her voice , it speaks to me in way that I couldn’t help writing about her on my blog. I’m hoping we will hear more about her. She doesn’t perform outside of Punjab too much, but how wonderful that the record label that recorded her has made her accessible to those outside of Punjab.
You have been very aware of social issues in India. Do you think the lot of women is going to change at all with the Modi government?
I was one of the artists who actually signed a petition some weeks ago just before the elections saying that apart from governance and corruption which are very important issues, people must make their electoral choices based on people who they feel will not be corrupt. Secularism is a very important thing, and immediately abuses were hurled at us for being pseudo secularists. I have never had any qualms in stating that I detest violence of any kind particularly when it is aimed against a community or a race. No one will ever find me saying that what happened in Delhi in 1984 was less of a problem than what happened in 2002 in Gujarat.
Whatever abuses people may want to hurl at us I do know that whatever the pseudo secularists-as they call us, may say, we certainly speak in a more civilized fashion than a lot of them. It was ugly, the kind of language that was used. In a democracy it is necessary that diverse and contrary opinions must co-exist so I condemn the fact that when Lata ji said she hopes Narendra Modi becomes Prime Minister, people started saying the most ugly things about her. I think one Congress MP even said “You got the Bharat Ratna during the Congress regime, so return it”. It was so petty . I’m glad I’m among those people who has made my reservations very public but I believe in democracy.
Today the nation has voted BJP into power. Everybody is going gaga about the magic wand that Mr. Modi will wield. I have a difference of opinion and if I am proved wrong I would be very happy to admit that,
As far as women are concerned I don’t think women are safe anywhere in India today. This is a very complex issue that has festered in society for centuries so to make a change there has to be a commitment not only from the government or any NGO working in this area but from every one of us. A commitment that we will try and bring about the change in every way possible. I am not a grass roots social activist but I will be willing to do whatever I can in my own humble way.
I don’t see changes, on the faces of women, in the air, or in the course of the elections, as of now.
After the tragic Nirbhaya incident, we had people from every political party say the most horrible things about women. So I can’t be euphoric and say the lot of women is going to change with the new government when only 11 percent of people who have been elected are women and 34 percent of elected politicians have criminal records.
When you look back any special memories that you cherish?
I think the first was when my mother sat me down and gave me the freedom to take a year off after my graduation and decide if I wanted to make a full time commitment to music. That changed the course of my life. I really cannot thank her enough for having had that conversation with me, to make me aware of the commitment, the majesty and dignity of music. It took me just a month to commit but my parents readily accepted my decision, not knowing what the future held and continued to support me emotionally and every other way as long as they were around. They are no longer with me but I know I would not be either the musician or the person that I am without their support.
The second was when I received a letter from my Guruji Pandit Ramashreya Jha ji. I had sung for the Radio Sangeet Sammelan which was broadcast on the radio every year. I didn’t have the guts to call him and say “I am singing and would you listen to my broadcast?”
But then I get this lovely letter from him and it said “I listened to your broadcast and I liked it. Despite the fact that you have not been in Allahabad I can see that the manner in which I have taught you has continued to influence you.” Now that is a certificate I truly cherish. So that is a very important moment in my life.
The third was a sad but poignant one. I had a dear friend, Anita Kalra who passed away from throat cancer. In her last moments I got a call from her daughter that in her hoarse voice mom is asking for you. I was not in Delhi but reaching back the next day, I went straight from the airport to the hospital
And there standing in that dismal hospital room I sang one of her favorite chaitis for her, barely 48 hours before she breathed her last.
I stood there and I sang, and she smiled through her pain mouthing those words silently with me. It was very sad and yet a very poignant moment for me. It showed me how fortunate I am to have the gift of music to give to someone and how deeply music can impact a person. You take it almost for granted, this part of you but then it can be such a companion for someone in so much pain, this divine quality of music. The companionship of music never lets you feel alone or sorry for yourself. You know I said “I will” to music before I said it to anyone else. And I realized what a wise thing it had been and how blessed one is to be able to learn music. It’s hard to describe, but it taught me a lot… that moment.
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https://dghosh269.com/2018/05/08/dance-of-the-wind/
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Dance Of The Wind – debarshithecinemaniac
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2018-05-08T00:00:00
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Pallavi (Kitu Gidwani) , a successful classical singer trains with her mother to carry forward the Hindustani musical tradition. She is good but not as much skilled as her mother is. Her mother Karuna took training from an old man. He never performed on stage but used to give lessons to his students. When Karuna…
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en
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https://secure.gravatar.com/blavatar/a1354a092bee63654416a0f7423d3bed4522d68f6d78fba346416137865616e2?s=32
|
debarshithecinemaniac
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https://dghosh269.com/2018/05/08/dance-of-the-wind/
|
Pallavi (Kitu Gidwani) , a successful classical singer trains with her mother to carry forward the Hindustani musical tradition. She is good but not as much skilled as her mother is. Her mother Karuna took training from an old man. He never performed on stage but used to give lessons to his students. When Karuna started to perform on stage , he cut off all contacts with her. He detested glamour world. The trauma of Karuna’s death, announced by the appearance of the old man and a little girl, causes Pallavi’s voice to disappear. Slowly her relationship with her husband (Bhaveen Gosain) becomes strained. She slowly loses her students and her career takes a backseat. Retreating into solitude, she finds the little girl Tara (Roshan Bano) again. Much of the music was composed by Shubha Mudgal, a classical singer who studied in the guru-disciple tradition. Director Rajan Khosa used music in crucial points to capture the essence and mood of the film. The film is spiritual but it is extremely honest in it’s approach. In other words,it located in Indian culture. Khosa didn’t opt for any dishonest trick to make it global.
Yet, it has an universal appeal. He is aided by fine technical work all around, from Piyush Shah’s soft-hued lensing to Amardeep Behl’s quietly refined production design. I always liked to watch KItu Gidwani. She has been an extremely talented actress. Instinct affects her acting more than anything else. Bhaveen Gosain is known in theatre circuits. He just did this film only. Here, he gives a very convincing performance as a caring husband. Vinod Nagpal shines in a very short role.
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15558
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yago
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https://www.illuminationsmedia.co.uk/our-history/
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en
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Illuminations
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2016-03-22T14:59:41+00:00
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Our History In the Beginning Illuminations was one of the independent production companies formed in 1982 alongside the creation of Britain’s Channel 4. The new channel was in part set up to develop producers working outside the main broadcasters. With a company name from a Walter Bejamin book (and a nod to Blackpool), Geoff Dunlop […]
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en
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Illuminations
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https://www.illuminationsmedia.co.uk/our-history/
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Our History
In the Beginning
Illuminations was one of the independent production companies formed in 1982 alongside the creation of Britain’s Channel 4. The new channel was in part set up to develop producers working outside the main broadcasters.
With a company name from a Walter Bejamin book (and a nod to Blackpool), Geoff Dunlop (previously a producer/director with ITV’s The South Bank Show) and John Wyver (Time Out’s Television Editor) established Illuminations “to make distinctive programmes about contemporary culture”. Funding, technologies, distribution and much else have changed over the past 25 years but this aim is still central to our work.
Our first productions for Channel 4 were two programmes of dance with Siobhan Davies’ Second Stride (1983 and 1984) company, followed by Once in a Lifetime (1984), a collaboration with David Byrne on a concert-plus-archive film of Talking Heads. In 1986 and again in 1988 Illuminations produced the influential series Ghosts in the Machine (1985-1988), British television’s first showcase for international artists working with video.
The Work of Art in the Age of Television
The company’s first documentary about the visual arts was the Channel 4/Arts Council co-production Just What Is It…?(1984) about contemporary sculptors. This lead to Illuminations’ major project of the 1980s, the six-part State of the Art (1987, released on DVD in 2006), funded by Channel 4 and WDR Koln. Written by curator Sandy Nairne, this controversial and formally distinctive examination of “ideas and images in the 1980s” introduced many key figures to British television, including Joseph Beuys, Antony Gormley and Cindy Sherman. The series was accompanied by a book, a travelling exhibition and extensive educational activities.
From 1993 to 2005 Illuminations produced Channel 4’s live coverage of the Turner Prize from the Tate Gallery. We witnessed Madonna swearing before the watershed, Damien Hirst’s acceptance speech cut off in mid-flow by Channel 4, and in our follow-up discussion Is Painting Dead? (1987) we saw a somewhat worse-for-wear Tracey Emin pull off her mike on-air and walk out.
Television documentaries about contemporary art have included Shooting Star (1990), a profile of Jean-Michel Basquiat, and a reflective essay on media and representation, L’objet d’art à l’age éléctronique (1987) with French television channel La Sept and philosophers Jean Baudrillard and Paul Virilio.
Historical broadcast films about the arts have included The Two Belles (1993), about two versions of Leonardo’s painting La Belle Ferronière; an elegant film with painter Eric Fischl looking at the work of Pierre Bonnard; and The King Meets the President (1994), the story of the famous photograph of Elvis’ meeting with Nixon in the Oval Office in December 1970. The three-part series Journeys into the Outside (1998), presented by Jarvis Cocker, journeyed across Europe and the USA in search of outsider art.
Working with the BBC
From 1990 it became possible to produce as an independent for the BBC, and this new opportunity coincided with Illuminations’ re-structuring. Since then the company has been jointly owned by John Wyver and producer Linda Zuck. More or less at the same time we moved into our present offices in Islington, north London.
The first Illuminations production for the BBC was another series of artists’ videos and films, White Noise (1990). Single documentaries followed including Arena: Chi-Chi the Panda(1992), about the famed animal star at London Zoo in the 1960s, and Horizon: Signs of Life (1990), television’s first exploration of the developing discipline of “artificial life”. Other work included TV Degree Zero(1990), a television tribute to the late French philosopher Roland Barthes, made for The Late Show to mark the 10th anniversary of his death.
The Future of Television…
Another commission for The Late Show was MeTV: The Future of Television (1993), a film examining the impact on television of network systems and what was then known as the “information superhighway”. The programme contained one of the very first uses of the word “internet” in British television. This film led to winning a BBC commission for what were eventually four series of The Net (1994-98), which dealt with many aspects of digital communications and pioneered innovative link-ups between television and the internet.
The Net was the first series to feature an e-mail address in its closing credits, and the first to have an accompanying web site. Alongside the third series an interactive on-line shared virtual world, called The Mirror, ran on the Web. The Mirror (1997) won a Royal Television Society Multimedia Award. Developing these interests and the forms of “inhabited television”, the company also produced Heaven and Hell – Live (1997), the first live television broadcast from inside a shared 3D virtual world, and was a key participant in the EC-supported eRENA research project, from 1997 to 2000.
… and Television’s Past
In the 1980s Illuminations provided an office and sympathetic environment for the group WTVA (Wider Television Access) and its magazine Primetime. WTVA was dedicated to getting television’s past seen and discussed more widely, and from this tie-up came television films like Six into One: “The Prisoner” File (1984), which includes a rare interview with the star of The Prisoner series Patrick McGoohan, A more serious look at the history of television’s relationship with Presidential elections was the two-hour film Campaign! (1998), made for Channel 4 and WETA, Washington.
In the early 1990s, Illuminations pioneered popular shows about television history with the three-hour extravaganzas The A-Z of Television(1990) and 1,001 Nights of Television(1991), and then the hugely popular 13-week archive showcase on Saturday nights for Channel 4, TV Heaven (1992).
Alongside this work, Illuminations has made a number of films and series about the cinema, including The Last Machine (1992), a five-part series about the beginnings of cinema hosted by Terry Gilliam, and All About Desire (2001), a profile of Pedro Almodovar. Three series of the Channel 4 series Dope Sheet (1997-99) looked at all aspects of international animation.
Creative Television and Tx.
Between 1994 and 1999 Illuminations edited BBC2’s strand of innovative cultural films Tx. and the company’s productions for the series included Ian Macmillan’s film The Scholte Affair (1998) and Marc Karlin’s exceptional reflection on the art of Cy Twombly, The Outrage (1995).
The series showcased the work of many of the most distinctive and creative documentary filmmakers in Britain, including David Hinton, whose film Children of the Revolution (1995) was honoured with a BAFTA award, and Chris Petit, who made Negative Space (1999) for the series. Illuminations’ Tx. films also included striking films about contemporary photography, including documentaries by Nick Waplington,Nothing (1999), and Richard Billingham,Fishtank (1998), as well as films about the work of Nan Goldin and Guy Bourdin.
Factual Programmes
The 1990s provided the opportunity to produce a number of social documentaries and science programmes, including Good ‘n’ Gone (1997), which demonstrates how easy it is to produce a false identity from scratch. Controversially, it’s far easier than you might think. Spending the Kids’ Inheritance (1995) visits the annual gathering at Quarzsite, Arizona, of a community of 200,000 elderly travellers who spend their time crossing the United States in luxurious Winnebagos, and Winds of Change (1994) is a film reflecting on the 1950s and the early years of apartheid through the photographic archives of South Africa’s first black magazine, Drum.
The company’s science output includes two programmes for Channel 4’s Equinox series: Mindreaders (1997), a documentary about the links that exist between autism and social intelligence, and Women: The Inside Story (1996), about female sexuality and evolution theory.
Performance
In 1996 the Tx. production of T.S. Eliot’s poem The Waste Land (1995), directed by Deborah Warner and featuring Fiona Shaw, was an Official Selection for the Cannes Film Festival. Following on from this Illuminations produced a full-length performance for television of Shakespeare’s Richard II (1997), again with Deborah Warner and Fiona Shaw
Gloriana, A Film (2000) is drawn from stage production by Phyllida Lloyd (who also directed for the screen) for Opera North of Benjamin Britten’s Gloriana. This film, released on DVD by OpusArte in summer 2006, was awarded the International Emmy for Best Performing Arts Programme in 2000. A third large-scale drama was Gregory Doran’s Macbeth (2001), starring Tony Sher and Harriet Walter, and made for Channel 4 and the RSC.
Dance films from Illuminations include The Late Michael Clark (2000) and works with Wendy Houston, Shobana Jeyasingh and the American duo Bill T. Jones and Arnie Zane. In 2005 Illuminations produced for the BBC and Arts Council England the half-hour There Will Be Something Later (2005), choreographed and directed by Magali Charrier and Lucy Baldwyn.
New Millennium, New Illuminations
At different times in its history Illuminations has explored developing new interests and spin-off companies. Illuminations Interactive (now braunarts), set up with Terry Braun, did pioneering work with laserdiscs and early interactive technologies in the 1990s. Illumina (now Illumina Digital) developed low-cost production strategies and new forms of interactive production. Illuminations Films, set up to produce feature-length drama and documentaries, retains close links with Illuminations. Notable productions include London Orbital (2002) and Unrequited Love (2006), both directed by Chris Petit, Dance of the Wind (1997), directed by Rajan Khosa, and Jan Svankmajer’s Little Otik (2001).
Building on the work done with The Net, Illuminations also developed production skills for web-based media, and was for three years the UK production partner for Columbia University’s fathom.com on-line learning project.
Early in the 2000s it became clear that the new pressures on mainstream broadcasters, mostly a result of the proliferation and fragmentation of channels, meant that the opportunities for making arts programming through the BBC, Channel 4 and others were reduced. We saw this as an opportunity to begin to work in new ways, especially since new production methods were being facilitated by new cameras, desk-top editing and graphics, and also by the new possibilities of distribution.
|
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15558
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| 5
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https://variety.com/1997/film/reviews/dance-of-the-wind-1200451457/
|
en
|
Dance of the Wind
|
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[
"Deborah Young"
] |
1997-10-19T08:00:00+00:00
|
A classical Indian singer loses her voice and finds it again only after finding herself in "Dance of the Wind," a highly Westernized production that utilizes an entirely Indian cast and setting. Story's predictability is the chief minus in this beautifully wrought, exotic voyage into the rarefied realms of Indian music. Mystical elements add a further attraction for Western auds, who could find the characters a little on the cold side. With its co-producers covering most of Western Europe, pic should find its path to selected arthouses brightly lit, followed by TV sales to other territories. Pallavi (Kaushalya Gidwani), a successful classical singer, is preparing with trepidation for separation from her aged mother and teacher, the legendary singer Karuna Devi (Kapila Vatsyayan.) In an exquisite scene showing mother and daughter exchanging musical phrases, Karuna coaches her less-gifted daughter in the Hindi musical tradition.
|
en
|
Variety
|
https://variety.com/1997/film/reviews/dance-of-the-wind-1200451457/
|
A classical Indian singer loses her voice and finds it again only after finding herself in “Dance of the Wind,” a highly Westernized production that utilizes an entirely Indian cast and setting. Story’s predictability is the chief minus in this beautifully wrought, exotic voyage into the rarefied realms of Indian music. Mystical elements add a further attraction for Western auds, who could find the characters a little on the cold side. With its co-producers covering most of Western Europe, pic should find its path to selected arthouses brightly lit, followed by TV sales to other territories.
Pallavi (Kaushalya Gidwani), a successful classical singer, is preparing with trepidation for separation from her aged mother and teacher, the legendary singer Karuna Devi (Kapila Vatsyayan.) In an exquisite scene showing mother and daughter exchanging musical phrases, Karuna coaches her less-gifted daughter in the Hindi musical tradition.
The trauma of Karuna’s death, announced by the appearance of an old man and a ragged little girl, causes Pallavi’s voice to disappear. In short order she loses her career, her students and her husband (Bhaveen Gosain). Retreating into solitude and close to madness, she finds the little girl Tara (Roshan Bano) again, and through her meets her mother’s guru, Munir Baba (B.C. Sanyal). In an eerie scene mirroring the earlier one, Pallavi learns to sing again by copying Tara’s haunting intonation. It is actually Munir Baba’s voice, channeled through the child, that will lead her to a more profound understanding of her art.
Though the drama of the artist’s crisis has been overexposed in movies, along with the idea that an artist must sacrifice all to achieve excellence, pic’s exotic setting gives it a bit of a new spin.
In the lead role, top Indian TV star Gidwani is a chilly Pallavi whose dedication to her work seems to cut her off from life. As her mother, non-pro Vatsyayan is even more glacial. Compared with their cold professionalism, Bano’s delightful Tara embodies the natural wisdom that equates singing with play, and draws the childless Pallavi into a warmly human relationship.
There is a magical quality to the three women’s voices and their songs. Much of the music was composed by Shubha Mudgal, a classical singer who studied in the guru-disciple tradition. As unfamiliar as the Hindi music idiom is, director Rajan Khosa (making his feature bow) manages to make its beauty leap off the screen. His understated approach, which leaves nothing unsaid or unexplained, creates an ideal bridge for Western viewers to the other culture. He is aided by fine technical work all around, from Piyush Shah’s soft-hued lensing to Amardeep Behl’s quietly refined production design.
|
|||||
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|
yago
|
3
| 34
|
https://www.thehindu.com/features/cinema/the-kite-runner/article2633115.ece
|
en
|
The kite runner
|
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[] |
[
"Rajan Khosa",
"Ghattu",
"17th International Children's Film Festival of India",
"kite flying"
] | null |
[
"Sangeetha Devi Dundoo"
] |
2011-11-16T13:14:30+00:00
|
Rajan Khosa shows how the sheer joy of flying a kite can transform a child
|
en
|
https://www.thehindu.com/favicon.ico
|
The Hindu
|
https://www.thehindu.com/features/cinema/the-kite-runner/article2633115.ece
|
Unlike the dark, brooding tale of Khaled Hosseini's The Kite Runner , the young boy who flies kites in Gattu , the opening film of the 17th International Children's Film Festival of India, discovers that flying a kite ultimately makes him want to join a school.
Filmmaker Rajan Khosa is an alumnus of Film and Television Institute of India, Pune, Royal College of Arts, London, and the National School of Drama. The haloed portals have ensured that he didn't take the mainstream route to make movies. “I didn't grow up watching and identifying myself with Bollywood,” he says.
Talking about how he came to be part of Gattu , he shares, “The story was written by four writers and it took a year to develop it. The Children's Film Society of India liked the idea and took up the project. Only then I came on board. One of the writers drew references from his own experience; he didn't have access to good education and used to look at children attending classes from outside. Gattu , similarly, is the story of a boy who doesn't go to school.”
Shot in Roorkee, the narrative leads you into the life of Gattu who sets his eyes on the big kite, Kaali, which no one has managed to cut till now. “This boy, coming from an ordinary background, doesn't have access to a high roof. His only option is to get hold of a school uniform and get to the roof of the school posing as a student. The story reveals how he happens to listen to a teacher explaining the science behind gravity-defying kites and how the boy ultimately gets interested in education,” says Khosa.
Khosa's earlier film, Dance of the Wind starring Kitu Gidwani, was an international co-production and fetched him recognition in the festival circuit. But Gattu is his first children's film and he says the experience is unique. “We conducted an acting workshop for two months at a school in Roorkee and selected one of the children to be the hero.” Gattu was completed in time for the children's film festival and will see a mainstream release in 2012.
Rajan Khosa is now working on a biopic on Sadhu Vaswani.
|
||||
15558
|
yago
|
0
| 61
|
https://www.wattpad.com/1111932928-a-lettered-soul-book-2-musings-on-art-and-culture
|
en
|
MY ESSAY HAS BEEN PUBLISHED BY THE QUIVER REVIEW.
|
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[
"cinema",
"culture",
"essays",
"music",
"Non-Fiction",
"eBooks",
"reading",
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] | null |
[] | null |
Read MY ESSAY HAS BEEN PUBLISHED BY THE QUIVER REVIEW. from the story A LETTERED SOUL, BOOK 2- MUSINGS ON ART AND CULTURE by MadMenWearingFedora (Prithvijeet)...
|
en
|
//static.wattpad.com/favicon.ico
|
https://www.wattpad.com/1111932928-a-lettered-soul-book-2-musings-on-art-and-culture
|
TREASURE TROVE OF CLASSICAL MUSIC IN MODERN INDIAN CINEMA
BY PRITHVIJEET SINHA
PRITHVIJEET SINHA from Lucknow, India, is a post graduate in MPhil from the University of Lucknow, having launched his writing career by self publishing on the worldwide community Wattpad since 2015 and on his WordPress blog AN AWADH BOY'S PANORAMA besides having his works published in several varied publications as CAFE DISSENSUS, THE MEDLEY, SCREEN QUEENS, BORDERLESS JOURNAL, ASPIRING WRITERS' SOCIETY, LOTHLORIEN POETRY JOURNAL, CHAMBER MAGAZINE, LIVE WIRE, RHETORICA QUARTERLY, DREICH MAGAZINE, THE EKPHRASTIC REVIEW and in the children's anthology NURSERY RHYMES AND CHILDREN'S POEMS FROM AROUND THE WORLD ( AuthorsPress, February 2021)
His life force resides in writing.
***
Treasure Trove of Classical Music in Modern Indian Cinema
It all begins with our recent exposure to the stirring musical ambience revived by Chaitanya Tamhane's THE DISCIPLE. It is a cinematic work that has percolated to the cultural consciousness in its painstaking examination of artistic pursuit, making that timeless issue echo throughout the world. But above narrow definitions of any given category, it has liberated viewers to capture the essence of classical Indian music canon.
For this afficianado, the film was a point of reference to remind viewers and readers of the treasure trove of Indian filmmaking that has dabbled with classical music and dance to exemplary degrees. However, there's a clear pattern marking most of them. They are different from the mainstream, often relegated to being arthouse classics or left-field works boasting of commercially successful performers. It is a welcome parallel to the state of classical arts in general; it is hence not just a case of making the issue one of selective taste or classes alone.
Fact remains that classical music remains to be a huge part of our cultural understanding of the ancient gifts which we have miraculously preserved to this day and age. Indian cinema, a more dynamic and versatile entity than we give it credit for, has beautifully enabled that cultural revival through the decades.
Hence, the idea behind this rich treasure trove brings me to one of the most underrated works that pays tribute to the beauty of Indian classical singing like very few can.
DANCE OF THE WIND(1997), an international co-production, is a labour of love by its writer – director Rajan Khosa to his land and its people. In its prologue, he beautifully lays down its purpose of paying tribute to the ancient Guru – Shishya parampara ( teacher to disciple tradition) that has been constructively ingrained in Indian annals of recollection and exemplification. That is what makes the sentiment personal and relevant, at a cultural crossroad where those values are rapidly eroding and self- centered individualism has overtaken the counsel of elders and their overall wisdom per se.
|
|||||
15558
|
yago
|
3
| 63
|
https://dghosh269.com/tag/indian-hindi-cinema/
|
en
|
Indian (Hindi) CINEMA – debarshithecinemaniac
|
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[] |
[] |
[
""
] | null |
[
"Author debarshicinemaniac"
] |
2018-08-18T20:55:43+00:00
|
Posts about Indian (Hindi) CINEMA written by debarshicinemaniac
|
en
|
https://secure.gravatar.com/blavatar/a1354a092bee63654416a0f7423d3bed4522d68f6d78fba346416137865616e2?s=32
|
debarshithecinemaniac
|
https://dghosh269.com/tag/indian-hindi-cinema/
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Perhaps my most favourite Gulzar film is Namkeen. It is a very simple story actually. A mother and her three sisters are caught in the simple troubles of life. These are poor people and their daily concern is winning bread. The oldest daughter Nimki (Sharmila Tagore) takes care of the most household activities . Voiceless Mitthu (Shabana Azmi) expresses her words in poetry while their mother Jyoti (Waheeda Rehman) is at work all day. Gerulal (Sanjeev Kumar) brings a pleasant change to their lives. Or does he? It has a lyrical feel to it and the landscape (Darjeeling of 80s) is breathtaking. The way Gulzar uses nature to depict the complexities of relationships is extraordinary. The story is simple yet the nature of relationships are not. Gerulal loved Nimki while Mitthu loved Gerulal yet there is no sibling rivalry between them to get their desired man. Well, the film is not without it’s flaws. They were missing a male figure in their family. Gerulal fulfilled that position. In a way,it is implied that women need a better male figure in their lives. However the positive aspects (nuances of relationships,psychology of female characters) overshadow the flaws. And if one pays more attention, there is a spiritual angle as well. Sanjeev Kumar never needed to act. He just became the characters he played. Namkeen is no exception either. Even in a female-dominated film ,his performance scores over others. Sharmila always did well in Gulzar’s films. As expected, Waheeda and Shabana don’t disappoint in their roles. But most importantly, it is the touch of Gulzar which makes this film so special to me. The song “Phir se aiyo badra bidesi” where Mithu romances the mists of Darjeeling is so dreamlike and misty it moves us into a world where pain, anger, frustration and bitterness take a backseat. The song “Raah Pe Rahte Hai” aptly captures the pain and anguish of the lead character Gerulal when he leaves the village.
Pallavi (Kitu Gidwani) , a successful classical singer trains with her mother to carry forward the Hindustani musical tradition. She is good but not as much skilled as her mother is. Her mother Karuna took training from an old man. He never performed on stage but used to give lessons to his students. When Karuna started to perform on stage , he cut off all contacts with her. He detested glamour world. The trauma of Karuna’s death, announced by the appearance of the old man and a little girl, causes Pallavi’s voice to disappear. Slowly her relationship with her husband (Bhaveen Gosain) becomes strained. She slowly loses her students and her career takes a backseat. Retreating into solitude, she finds the little girl Tara (Roshan Bano) again. Much of the music was composed by Shubha Mudgal, a classical singer who studied in the guru-disciple tradition. Director Rajan Khosa used music in crucial points to capture the essence and mood of the film. The film is spiritual but it is extremely honest in it’s approach. In other words,it located in Indian culture. Khosa didn’t opt for any dishonest trick to make it global.
Yet, it has an universal appeal. He is aided by fine technical work all around, from Piyush Shah’s soft-hued lensing to Amardeep Behl’s quietly refined production design. I always liked to watch KItu Gidwani. She has been an extremely talented actress. Instinct affects her acting more than anything else. Bhaveen Gosain is known in theatre circuits. He just did this film only. Here, he gives a very convincing performance as a caring husband. Vinod Nagpal shines in a very short role.
In 70s and 80s, plenty of Indian directors made social-realistic films. Some of the notable directors were Shyam Benegal, Govind nihalani, Nabyendu chatterjee and Utpalendu Chakraborty. Utpalendu Chakrabarty made very few films in his career. His last film was 25 years ago. Even then, not all of his films are available. But if one watches Chokh and Debshishu , he/she will be convinced about his great skills and mastery over the medium. In the opening scene, we see a middle-aged guy announcing arrival of a debshishu (child god) in a remote village. The child god fulfils wishes of people. A couple Raghubir and Seeta (Sadhu Meher and Smita patil) arrive at the village with their only child. They have lost everything in flood. Seeta comes to stay at her brother’s house for few days. However,brother’s wife (Rohini Hattagandi) turns out to be very cruel and insensitive towards them. Still, they manage to get a room in their house. Raghubir realises that he can’t stay here for long. Soon,he has to find a job and a house of his own. One day, while going to market, he hears about debshishu (child-god). He visits there hoping that his wishes will be fulfilled. There he sees a magician (Om Puri). He remembers him showing magic in his village. When Raghubir and Seeta’s deformed bay was born, he went to his house to ask for help. The villagers warned Raghubir that if his baby is not killed,they will force them to leave the village. According to them, the baby will bring bad luck to the village. The magician told him to sell the baby to them and he will compensate it by giving good money in return. Raghubir follows his order. Raghubir realises that the child god is his deformed baby.
Let me tell you, this film is much different in content and form than other good social-realist films belonging to that particular period. Caste system,poverty,religion all are mixed here in a bizarre (important word) manner. While i do like most social-realist films of that period,very few of them did display the complexity of oppression. It isn’t just limited to landlords or wealthy ,powerful people oppressing others. The reality is bizarre and that is what this film is. The film highlighted how gods are born and how the poor people are forced to believe on its existence more. Sadhu Meher has been exceptional. Smita Patil and Om Puri are dependable. Utpalendu was a gem of a director and to me one of the most important ones along With Shyam Benegal and Govind Nihalani. He used two flashbacks in the film. One of them was done in black and white to capture image of the rain more realistically. Another one was in colour when Sadhu Meher will visit Om Puri’s house.
Nashu (Dilip Kumar) is an idealist young man who works for a small newspaper run by Ghosh babu. He lives with his brother Bani (Romesh Thapar) and sister-in-law Meena (Achla Sachdev). Nashu loves Mala (Meena Kumari) who lives nearby his house. Times change and slowly it becomes difficult for Nashu to sustain his living by working in that small newspaper. Though his brother Bani cares for him, his sister-in-law does not. In the home, he had to bear a lot of humiliation from her. Out of desperation, he enters the world of black-marketing. From here, the story takes a dramatic twist. He becomes the most trusted associate of Ram Babu (Anwar Hussain). Being aware of this, Mala maintains a safe distance from him. At the same time, his elder brother suffers from poverty. His comfort-loving wife Meena deserts him. The entire film looks into the psyche of a man who failed to earn money by honest means.
The problem with the film is that it does make the point by repeating it often. On the positive side, the film gives a glimpse of the black-market world. Also, the mood of the film is extremely dark. This mood wasn’t common in Hindi films back then. Director Zia Sarhadi showed a lot of promise and eye for detail. The sequences shot indoors as well as in the black-marketing den shot in natural light by N. Raiaram are really convincing. However, keeping with the trend during that period, the villains look unconvincing. On the whole, the music score of the film leaves a lot more to be desired, considering that the film carries the Khayyam stamp. However, the film boasts of one of the most memorable Talat Mehmood songs “Shaam-e-Gham Ki Kasam”.It is clear that Zia Sarhadi was heavily influenced by neo-realism. Dilip Kumar does well in the lead role. Low pitched modulated dialogue delivery and great use of right arm were his acting hallmarks. However, at times, his low pitched delivery looks unconvincing. He did well but this is not among his best works. Meena kumari gives a very restrained performance. In this film, she is shown taking a bath. Such a scene was uncommon back then.
Newton (Rajkummar Rao) is sent off for election duty in a Naxal- heavy area. He is an honest and idealist person. But his idealism is his limitations as well. In Dandakaranya, he meets a sharp but little ill-tempered commander Aatma Singh (Pankaj Tripathi). From the moment, Newton and his fellow officers Loknath (Raghubir Yadav) and Shamboo land in the location, there is friction. A local booth-level officer Malko (Anjali Patil) joins them there. Newton is honest and he wants a fair election. But how does it matter when things won’t change? how does it matter when the locals don’t have a clear idea about the candidates?
When Newton tries to tell an officer how the entire day of voting didn’t make sense, Officer asks him “was there any instance of fake voting”? U will end up feeling for the character Newton but he is also guilty of such a situation. He is at-the-end ” by-the-book-idealist”. And here lies the brilliance of the script. In one scene, Malko (Anjali Patil) tells Newton ” The history of the jungle is older than the history of democracy”. Loknath (Raghubir Yadav) is an adjusting ever-practical public. He is also a writer. Aatma Singh (Pankaj Tripathi) tells Newton that no one cares about the election. He is only concerned about finishing the voting process early. I did like the slow-paced narrative in the first half. U will wait for something to happen but ultimately nothing happens. This isn’t a radical film as such. It makes a mockery of democracy, state, and the lead character but it refuses to take any stand. I did like the melodramatic approach at the ending. It was needed to make Newton look ridiculous. Rajkummar Rao is brilliant as the main protagonist of this film. It was good to see Raghubir Yadav getting a good role after a long time. I have always been his fan. He is such a natural actor. Anjali Patil was brilliant in the role of a local officer. But the best performer in the film is Pankaj Tripathi. Tripathi is such a brilliant actor that his mere presence brings a character alive on screen.
Hamraaz is a BR Films production and a fine example of the high entertainment value that characterizes BR Chopra’s films. Meena (Vimi) married a military officer Rajesh (Raj Kumar). Rajesh is sent to the China border and is declared killed. In the meantime, Meena’s father (Manmohan Krishnan) discovers that her daughter is pregnant. Fate is at play. Popular stage actor Kumar (Sunil Dutt) from Bombay visits Darjeeling. Kumar and Meena fall in love, get married and move to Bombay. After four years, Meena’s past returns to haunt her. Kumar gets suspicious as she begins to avoid him. During the turn of events, Meena gets killed and inspector Ashok (Balraj Sahni) suspects Kumar’s involvement. Saahir Ludhianvi has written five songs for this film and Ravi has composed music for them. I loved two songs, one of them is- “Tum Agar Saath Dene Ka Vaada Karo, Main Yun Hi Mast Naghme Lutaata Rahoon ” and the other one is “Na Munh Chhupa Ke Jiyo Aur Na Sar Jhuka Ke Jiyo”. All these five songs are over within the first hour of the film and immediately thereafter we find ourselves enveloped in a suspense thriller lasting till the end.
The white-shoes of the mysterious person whose identity is revealed just before the climax is something unforgettable for the viewers. The style is heavily influenced by classic Hollywood films but for a Hollywood lover like me, it’s a great experience. Here is a thriller where songs don’t impede the growth of suspense as the songs take the narrative forward, a quality we miss these days. I consider Sunil Dutt an average actor at best. But in this film, he gets most screen-time and he does justice to it. He was persuasive as an insecure husband. I guess male actors are capable of depicting insecure lovers more often than not. Raj Kumar’s stylized acting fits in this film. Balraj Sahni was excellent as inspector Ashok. Unfortunately, Vimi was the weakest link in that film. If u love thrillers with a touch of melodrama, u will enjoy it.
Some films want to buy classic status with massive budgets and crumple under the pressure of their own spectacle. Pakeezah is lavish in its treatment of a courtesan’s turbulent story, but its splendor fills the eye, stirs the senses. The story begins with the elopement of a tawaif, Nargis (Meena Kumari) with her lover, the Nawab Shahabuddin (Ashok Kumar). Shahabuddin takes Nargis to his household, where she is rejected by his honorable family. Nargis flees to a graveyard, where she spends the next 10 months of her life, giving birth to a daughter in the interim. Nargis dies in the graveyard, and her older sister Nawabjaan (Veena), on receiving this news, reaches there and takes the baby away. 17 years later Sahabuddin has received a letter written by Nargis on her deathbed. He comes to know about his daughter through this letter. Shahabuddin rushes to Nawabjaan’s Kotha and asks for his daughter Sahibjaan (Meena Kumari). A furious Nawabjaan tells him to come tomorrow morning. Nawabjaan takes her to some other place. They travel overnight by train and while both of them are asleep in their compartment, a fellow passenger climbs into their compartment by mistake. He is Salim (Raj Kumar). Enchanted by her feet, he leaves a note “Aap ke paon dekhe, bahut haseen hai. Inhe zameen par mat utariyega — maile ho jayenge”.
There is grandeur in Amrohi’s filmmaking – an epic magnitude of treatment. The evocative songs and the background music create the right period mood and Amrohi’s eye for details brings great depth to the lavish sets. The film’s main merit in spite of its flaws, its at times disjointed flow, its stock situations and an overextended plot, lies in its euphoric romanticism. Pakeezah is filled with symbols. There is, for instance, the oft-used symbol of the bird in a cage. Trains themselves form an important motif throughout the film. A train is where Sahibjaan’s and Salim’s paths first cross, and ever after, trains continue to haunt Sahibjaan. Kamal Amrohi uses actions, expressions, little details to convey far more than dialogues do, and often in much less time. The script is memorable in the hands of Meena, Ashok, Raaj Kumar, Veena etc to name a few. Personally, I was most impressed by the regal-looking Kamal Kapoor. Meena Kumari lives the tragedy of Nargis and Sahib Jaan like her own. Coupled, with a captivating screenplay is a beautiful musical score, enhanced by the protagonist displaying notable command of classical Indian dance (kathak).
I noticed that I had not reviewed a single film of Guru Dutt on my blog. In order to make amends, I decided to review one of his films. Kalu (Guru Dutt), a taxi driver who was sentenced to prison for speeding, is released two months before his term for good conduct. Wandering the streets, Kalu helps a young woman Nikki (Shyama) to fix her car. He gets a job at Nikki’s father’s garage and love blossoms between Nikki and him. When her father finds out, he kicks Kalu out. An encounter with the mysterious Captain results in a brand new job for Kalu. Captain is planning a Bank robbery and thinks Kalu would be useful in driving the car. Kalu joins with the captain’s gang which includes a dancer (Shakila) and a guy named Rustom (Johnny Walker). In Aar Paar, Guru Dutt took his talent for song picturization to several notches above the commonplace. Songs in his films often take place in locations occupied by the characters in his films. A fine example here is the romantic duet Sun Sun Sun Sun Zalima. The song is set in the stark and unromantic atmosphere of a garage with a car providing the center-piece but the way two lovers circle around each other within this space is a brilliant piece of choreography.
The other song whose picturisation deserves a special mention is- “babuji dheere chalna pyaar mein zara sambhalna” (Shakila’s great entry). Aar Paar was a significant turning point in the life of composer OP Nayyar who went on to become an extremely successful music director. Songs like Babuji Dheere Chalna, Yeh lo Main Hari Piya, Mohabbat Karlo, Ja Ja Ja Ja Bewafa, all sung brilliantly by Geeta Dutt, are remembered and hummed to this day. The plot of Aar Paar may now seem formulaic but scores in its treatment. The narrative flow is pacy and engaging, merging the elements of thrills, romance, action, and comedy rightly. Aar Paar is a noir film that is infused with humor. Dutt’s friend and collaborator, VK Murthy, was behind the camera as usual, and the Dutt-Murthy combination’s play with light and shade was nothing short of magical. Guru Dutt plays his part of the streetsmart driver with ease. Shyama was ok. Shakila is excellent as a femme fatale.
Raman Raghav was a psychopathic serial killer who operated in the city of Mumbai in the mid 1960s. His real name was Sindhi Dalwai. All the murders took place at night and were committed using a hard object. He also raped his sister before killing her. This film is not about him. The electrifying atmosphere at the night club that follows instantly takes the audiences in the trance for a gut wrenching, dark, intense thriller about a killer and a policeman that brings in different shades of evil and inhumanity. Nawaz, who plays the notorious serial-killer Raman, is inspired by the real-life serial-killer, Raman Raghav. The screenplay follows his exploits as he steers the bylanes, slums, and rundown apartments of Mumbai, piling on the bodies and indulging his dark fantasies. Vicky Kaushal (Raghav) plays the DCP of the Mumbai Police Force . Kaushal is as emotionally bare as Nawaz, with the only difference being that they emotional voids are targeted at the opposite spectrums of the law. He’s an addict to the core, and has no apologies about being one just like Nawaz has none about his murderous wrongdoings.
Raman calls himself Sindhi Dalwai and finds a partner in Raghav. Through eight chapters- Locked Man, The Sister, The Policeman, The Hunter, The Hunted, The Son, The Fallen and Soulmates – Kashyap builds his characters to a tall dark shadow that scares us out of our wits. Nowhere does the camera focus on a smashed, bloodied head yet the way with which Nawaz carries out each murder is gory and makes you want shut your eyes. The camera work is also crisp as it travels to murky bylanes of Mumbai with as much ease as it captures the city’s impressive skyline at night. Siddiqiui is appropriately creepy as Raman, a long scar running down his forehead, an unmistakable glitter in his eyes. While not as spine-chilling as his more counterpart, Kaushal holds up his end impressively. Both Ramanna and Raghav are also creatures bred and brought up in patriarchy, are victims of it ( Raghav’s submissive equation with his dad for instance) yet preserving its deep misogyny. Some sequences stand out. Ramanna holding his sister’s family hostage brings out his sick mind in an anxious way possible. Raman Raghav 2.0 is a taut thriller, full of energy and overflowing with tension.
Gumrah is a 1963 Hindi film produced and directed by B.R.Chopra. Meena (Mala Sinha) and Kamla (Nirupa Roy) are two daughters of a wealthy Nainital resident. Meena is in love with artist-singer Rajendra (Sunil Dutt). Things take a turn when Kamla and her two kids come to visit them from Bombay. Meena’s father (Nana Palsikar) suggests Meena marry her sister’s husband Barrister Ashok (Ashok Kumar) since a new woman might not take to the kids. Meena ultimately agrees to marry Ashok and then moves down with him to Bombay. All this happens without her even informing Rajendra. After some time, she meets Rajendra again, and this brings to a renewed relationship. Gumrah was one of the earliest hindi films which tackle the issue of extra-marital affair. B.R. Chopra’s Gumrah must have been perceived then as a bold and forward film of the times. But then again,some aspects of this film can be regarded as sexist. The film makes the point of the woman being the moral centre point of the family. It treats extra-marital affair as crime especially when it is done by women. Beside that ,the film is well-made. The music was composed by Ravi while the lyrics were by Sahir Ludhianvi. All the songs are hauntingly beautiful, ‘chalo ek baar phir se’, the beautiful arrangements and melodies in ‘aap aaye’ the haunting ‘aa bhi ja’ wonderful kiddies song ‘Ek thi Ladki and my favourite one ‘tujhko mera pyar pukare’ where we’re treated to lovely shots of Nainital. Gumrah is overall Mala Sinha’s show, and she is plain excellent in a demanding part which requires her to work a lot with her inner self. Ashok Kumar is competent in the role of the happy-go-lucky husband who is far more sophisticated than it seems to be. Sunil Dutt was strictly average as tormented lover. Gumrah is overall an enjoyable film. It could have been a great film if it was devoid of apparent sexism.
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https://www.imdb.com/name/nm0451835/
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Rajan Khosa
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Rajan Khosa. Director: Gattu. Rajan's most well-known directorial venture is Gattu, which won at Berlin Film Festival. It won a Screen Award in India and 20 other international awards. Rajan came into the limelight with his debut feature film Dance Of The Wind which was a co-production between six countries, the very first of its kind in India, and was sold worldwide. It premiered at Venice and won awards at...
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IMDb
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https://www.imdb.com/name/nm0451835/
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Rajan's most well-known directorial venture is Gattu, which won at Berlin Film Festival. It won a Screen Award in India and 20 other international awards. Rajan came into the limelight with his debut feature film Dance Of The Wind which was a co-production between six countries, the very first of its kind in India, and was sold worldwide. It premiered at Venice and won awards at Rotterdam, Chicago, London, and Nantes, to name a few. In 2015-17, Rajan was creative director on animation project Selfie With Bajrangi a 104 episode series now on Amazon. In 2014-16, he developed a large scale feature film with Disney-UTV. Rajan has been a recipient of the Huber Bals Award in Rotterdam & Montecinemaverite Award in Locarno. His half-hour Indian diploma Bodh-Vriksha (Wisdom Tree), which released in 1987, garnered him a National Award and three Oberhausen Awards. Along with being a voting member of BAFTA Awards, he's also an alumnus of the Royal College of Arts London, FTII Pune, and NID Ahmedabad. Rajan is founder of Elephant Eye Productions that not only makes feature films but also produces spatial experiences with story, multiple projections and holography.
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http://autarmota.blogspot.com/2020/09/rajan-khosa-brilliant-film-maker-from.html
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CHINAR SHADE : RAJAN KHOSA , A BRILLIANT FILM MAKER FROM KASHMIR
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[
"CHINAR SHADE",
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...
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http://autarmota.blogspot.com/favicon.ico
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http://autarmota.blogspot.com/2020/09/rajan-khosa-brilliant-film-maker-from.html
|
(Rajan Khosa arrives at the 10th Annual Indian Film Festival Of Los Angeles,, California. April10, 2012.)
((LAL BAHADUR SHASTRI JI INAUGURATING PAINTING EXHIBITION OF SOM NATH KHOSA IN NEW DELHI.1958.....LEFT TO RIGHT .. INDIRA JI, SHASTRI JI , PREM NATH DAR AND S N KHOSA ...... )
(Gandhi Ji visiting political prisoners lodged in Dum Dum Jail in 1947... A painting by Som Nath Khosa grandfather of Rajan Khosa)
(Mahatma Shambhunath caves Hampi . Statue of Mahatama Shambhunath great -grandfather of Rajan Khosa)
(Sir David Lean shooting near Fateh Kadal, Srinagar ,Kashmir)
(Transcendence 50x65 in. by Kashmiri Khosa father of Rajan Khosa .)
(Anjali Khosa Kaul's abstract painting )
WELL DONE RAJAN KHOSA
“Hum Parvarish e lauh o qalam karte rahenge
Jo dil pe guzarti hai raqam karte rahenge
Ek tarz e taghaful hai so voh un ko mubarak
Ek arz e tamanna hai so hum karte rahenge ”
( Faiz Ahmed Faiz )
( Forever will I nurture pen and paper,
forever express whatever my heart undergoes.
This posture of indifference, let it be their prerogative –
For me, it will always be my desire’s entreaty .)
Some days back, I read in a newspaper that ‘Gattu’, a 2012 feature film directed and co-written by Rajan Khosa has been declared one among top ten
internationally recognized Indian films along with ‘Aawara’, 1955 and ‘Lagaan’, 2001. Gattu was premiered at Berlin Film Festival (2012 ), winning a Special Mention - Best Film, and between the years 2012-13, this film alone
had received fourteen plus international awards with many honours following these awards.
Rajan Khosa’s another film , Dance of the Wind (1997 ) which was a co-production between six countries, the very first of its kind in India was distributed worldwide winning accolades and awards. The film was premiered at Venice Film Festival and won major awards (Best Director, Best Actor, Audience Award etc.) at the various festivals including Rotterdam, Chicago, London and Nantes . The film is based on Guru-Shishya Parampara of Indian classical music. Renowned artist B.C. Sanyal, Kapila Vatsayan (scholar of Indian classical dance, art, architecture and art history), Kitu Gidwani and some well-known names acted in this film.
In 2009-10, Rajan created India’s first feature-length multi-media biopic, combining film and holography, on Sadhu Vaswani, the well-know social worker and spiritualist who worked for upliftment of the mankind. And in 2014-16, he developed a large scale feature film with Disney based on a Satyajit Ray’s novella.
Rajan has also several short films to his credit including half-hour film ‘Bodh-Vriksha’ (Wisdom Tree) that deals with the theme of nursing and caring for the old people. It brought him a National Award and three Oberhausen Awards in 1987.
His latest directorial venture is a biopic on tribal leader Bhagwan Birsa Munda (2020 ).
Trained at FTII, Pune and Royal College of Arts, London, Rajan spent his formative years at the National Institute of Design, Ahmedabad. He practiced filmmaking in the UK for fifteen years (1990 to 2005) and finally moved back to India. Presently , he lives in Mumbai with his wife and son.
But then who is Rajan Khosa? Let us know him.
ORIGIN AND ANCESTRY OF RAJAN KHOSA
Khosa is the surname of a sect of Saraswat Brahmins from Kashmir who trace their roots to Rig-Vedic sage Gautama (Gautam Maharishi). The Gotra of this sect is ‘ Swamin Gautama ’. In Srinagar city, Khosas were living in Rainawari, Habba Kadal, Syed Ali Akbar locality and some more areas of the downtown.
Ancestors of Rajan Khosa were from Syed Ali Akbar locality, an area close to Fateh Kadal, Srinagar . This locality is close to Sri Raghunath Ji Temple, Kali Temple, Sri Ram Trikha Ashram , Ziyarat of Shahi Hamdan, all situated on the banks of the river Jhelum. This is the locality where the *European missionaries established the first school for imparting modern education to Kashmiris. A vibrant locality that used to breathe centuries-old composite culture and peaceful co-existence. In 1983, David Lean selected this area for shooting sequences for his film ‘A Passage to India’.
Rajan’s great grandfather, Pandit Shambhu Nath Khosa was a well-known saint and a spiritual personality who moved to Hampi caves in Karnataka around 1920s, and did penance renouncing Grihistha ( householder’s life ) until he passed away in 1939. He became famous in that area for healing people with the ashes from his ‘Hawan-Kunda’ or sacred fire . His devotees of local Vaish community donated two hills for his ‘Sadhana’ and discourses. Mahatma Shambhunatha Guhe is a place of pilgrimage today, and people climb the hill to pay respect to his life size black granite sculpture.
Shambhu Nath’s son Som Nath Khosa, who was left in the care of his mother
in Srinagar, studied Art at Sir Amar Singh Technical Institute, Srinagar where his teachers included F. H. Andrews and J. C. Mukerjee. Inspired by Mahatama Gandhi’s freedom movement, Som Nath Khosa started doing realistic paintings depicting Gandhi Ji on his mission. As a young man, in 1937, he took his would be bride to Hampi caves and got married in the presence of his father. After the partition of the country , he moved to Delhi in 1950 with a desire to paint monumental scenes form Gandhi’s life and exhibit them to masses. As his work became popular , his studio in Delhi was frequented by several dignitaries. Mrs. Indira Gandhi, Lal Bahadur Shastri and Babu Jagjivan Ram supported his mission, and his exhibitions travelled extensively until the end of his life in 1983. Som Nath Khosa’s paintings are still on display in several Gandhian institutions in India and abroad.
Rajan Khosa’s father, Kashmiri Khosa is a well-known artist based in Delhi
. Inspired by the family tradition, he reflects Indian philosophy in his language of modern art, which won him a ‘National Award’ in 1981 and President of India’s silver plaque in 1974. His paintings are on display in many national and international art galleries, and also in the significant collections of the National Gallery of Modern Art, Lalit Kala Akademi and Sahitya Kala Parishad. A documentary on his life and art was released by Doordarshan in 2003-2004.
Rajan’s sister, Anjali Khosa Kaul is a sculptor and a painter whose works can be found in the National Gallery of Modern Art , New Delhi and with many private collectors world over. She is a recipient of AIFACS Award and Ministry of Culture fellowship. Ashok Kaul , husband of Anjali Khosa Kaul practices industrial photography and art photography.
Rajan Khosa knows and understands Kashmiri in spite of the fact that he was
born and brought up outside Kashmir. A search for roots brought him to Kashmir where he lived for two years ( between 1988-1990 ) with **Swami Lakshman Joo (renowned Shaiva Scholar) studying Kashmir’s treasured Shaiva-Darshana . During this time , he built strong association with Shaiva scholar ***Dr. Bettina Baumer . At this period of his stay in Kashmir , he saw armed militancy arriving in the beautiful valley. Tragically , he also witnessed his relatives being forced to flee along with half a million Kashmiri Pandits who were exiled from their homeland .
( Rajan Khosa being awarded in Children Film Festival held in Macau on 13th December, 2023.)
About his family influence , Rajan Khosa informs this :-
‘Visual language gets embedded in you when you grow up with painters. My father would show me a painting and then ask me, ‘Why isn’t the composition working?’ ‘What is negative space?’ ‘What is balance?’ ‘What do these colours do?’ As there was this dialogue going on all the time I was taught these things early in life. Painting was therefore always in my blood. It was the first thing I did as a kid. I went to a my father’s studio when I was sixteen or seventeen, learned still life, and was very good at it. It helped me later on when unconsciously I would translate these things into films, drawing frames, for example.’
About resurgent India , Rajan Khosa informs this :-
‘India is changing as well, and is becoming more Western, but I would also say that mystical values persist. The final goal of life is to surrender to that presence and to constantly reaffirm its value in a material world. It is such an intangible thing and of course intangibility does not have much place in western culture. Only what is verifiable, quantifiable or tangible has a place and is given a value.’
About feeling the Cultural gap while living in the western society , Rajan Khosa informs this :-
“ You can’t really penetrate a culture. You get a very different view of it when you are an outsider. You can admire it, you can love it, you may embrace it, but you will never get to know its nuances. The rituals of any one culture are tied to emotions and feelings. When I was given my Brahmanical thread there was a ceremony for it. I went around and touched the feet of the 200-odd people who were there. You wear this thread and an orange garment. The colour orange signifies the burning of the ego, the sunset … the Upanishadic poems are all about walking into the sunset. It is symbolic of 20,000 different things, which your mother or grandparents had told you about in your folklore. You can never really leave your culture and you can never communicate it.”
ABOUT GATTU
Gattu is a film about a street kid’s ambition to become a kite-flying champion.Made on a tight budget, the movie was shot in and around the streets of Roorkee in the Himalayan foothills. The aerial scenes were taken from a Para glider . The lead character, Gattu, is played by newcomer Mohammad Samad, who was given the role after attending a local workshop held by the production. In India, Gattu is now free to watch on YouTube channel.
This is what Gautaman Bhaskaran wrote about Gattu in the ‘Hindustan Times’ of February 12, 2012:-
“The movie is a fascinating portrayal of India's have-nots and the dreams of children living in want. However, unlike Danny Boyle in his Slumdog Millionaire, Khosa is subtle in his presentation, and chooses to train his camera on smile and optimism. There is no garbage and dirt in Gattu, and the school song that celebrates India is not conveyed as a pun or ridicule. In the end, Samad's Gattu, despite his uncle's unfairness that keeps the boy in the crevices of illiteracy, radiates a kind of joy that one often sees in some of India's gloomiest slums. Using humour, Khosa builds a script which is beautifully balanced, and without the usual clichéd pitfalls.”
This is what Preeti Arora wrote in ‘India Forums ’ on July 20, 2012:-
"
Khosa's skill as a director is evident in the manner the screenplay unfolds, without preachiness or stilted dialogues, just a few small town folk scraping an existence without giving much thought to the helpless kids who are an integral but irrelevant part of the landscape. The stray dogs, the garbage, the buzzing flies are the reality of Gattu's life, not props engineered by a scheming director who wishes to endear himself to a western audience. The film runs for 82 minutes and the pace doesn't flag even for a single minute. The other children in the film have small insubstantial roles; Gattu carries the film on his slender shoulders alone. Gattu is a must watch for all but most especially cynics who believe 'there is no hope for any of us'. It took Gattu just a little less than two hours to prove"
And some of the awards won by Gattu could be listed as under:-
* Special Mention - Best Film; Grand Prix of the Deutsches kinderhifswerk
Berlin International Film Festival 2012.
* Nomination for Best Children’s Film (APSA - Asia Pacific Screen Awards)
2012.
* Colors Screen Award for Best Child Artist (India) 2012.
* Audience Choice Award for Best Feature (International Film Festival of Los
Angeles) 2012.
* Honourable Mention of the Jury (International Film Festival of Los Angeles) 2012.
* Citation of Excellence Award (Tel Aviv International Children’s Film Festival - Israel) 2012.
* Bronze Castle Award (Castellinaria Film Festival - Switzerland) 2012.
* Pemio ASPI Award (Castellinaria Film Festival - Switzerland) 2012.
* Audience Award (Seoul International youth Film Festval - South Korea) 2012.
* Diploma of Honour (42nd Roshd Int.Film Festival, Tehran-Iran) 2013.
* Best Performance by a Child Actor (China International Children’s Film Festival) 2013.
* Best Feature Film (New York Indian Film Festival) 2012.
* Best Young Actor (New York Indian Film Festival) 2012.
Driven by the market and business considerations, a general fall in the quality, themes and standard of our cinema may be true to some extent. The loud music and foot-tapping dance sequences may have also brought some repetitive boredom to serious viewers. But then men like Rajan Khosa are a
real hope. Driven by a passion, these filmmakers have changed the form, content and brought much needed human reality and simplicity in our cinema.
"Nahin hai na-umeed 'Iqbal' apni kisht-e-veeran se,
Zara nam ho to ye mitti bahut zarkhaiz nai Saqi"
( Iqbal )
(Iqbal does l not despair the present barrenness of his land ,
A little rain and this land shall bear grand harvest once again .)
(Avtar Mota)
3Footnotes.
*
Founded by Rev J. H, Knowles during the last quarter if 19th century , Fateh Kadal Mission School was the first school opened in Kashmir valley to impart modern education to kashmiris . Before this , Maktabs and Paath-Shalas run by Molvis and Pandits were imparting education in the Kashmir valley. The Fateh Kadal school was followed by other ‘Mission Schools’ opened by European missionaries at Rainawari, Nawa-Kadal, Habba-Kadal, Amira-kadal and a high school at Anantnaag in Kashmir .
**
Swami Lakshman Joo ( 1907-1991 ) was a world renowned mystic, author and scholar of Kashmir Shaiv Darshana. His Ashram is located at Ishber locality on the banks of Dal lake in Srinagar , Kashmir . Swami Ji had many disciples both within the country and abroad.
***
Dr Bettina Sharada Baumer (born 1940 ) is a renowned Indologist and one of the foremost expounders of Kashmir Shaivism . Born at Salzburg in Austria, she was awarded the ‘Austrian Decoration for Science and Art ‘ by Government of Austria in 2012 and ‘Padma Shri ‘ by Government of India in 2015 .
CHINAR SHADE by Autarmota is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 2.5 India License.
Based on a work at http:\\autarmota.blogspot.com\.
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May 2018 – debarshithecinemaniac
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2018-05-29T01:20:30+00:00
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3 posts published by debarshicinemaniac during May 2018
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https://secure.gravatar.com/blavatar/a1354a092bee63654416a0f7423d3bed4522d68f6d78fba346416137865616e2?s=32
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debarshithecinemaniac
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Baisers volés is the third installment in François Truffaut’s wonderful cycle of films concerning his cinematic alter ego, Antoine Doinel. Played memorably by Jean-Pierre Léaud, Antoine remains one of film history’s most enduring characters, a hopeless romantic who longs for perfection in his affairs with women and work, while finding it difficult to balance both. Here, he gets discharged from the army and then he takes few other jobs before getting finally settled as a private detective. The character of Antoine Doinel is an autobiographical extension of Truffaut. When Antoine Doinel gets discharged from the army, he laughs at the face of commanding officers. it is based on Truffaut’s own disastrous military experiences in the 1950s when he was jailed as a deserter and eventually thrown out of the army.
Doinel celebrates his freedom by running immediately to a bordello. He tries to woo a young woman (Jade) who is initially indifferent to him but warms up when he shows signs of losing interest. He takes the job as a private detective of Blady’s, which puts him as a planted spy in Monsieur Tobard’s Shoe Shop. He gets attracted to his wife Mrs Tobard (Delphine Seyrig). When Antoine loves Fabienne (the shoe shop’s owner’s wife), Christine is in love with Antoine. Every character is immersed in a love triangle.
Mrs Tobard also gets attracted to Antoine as well but for a very short period. She finds her husband unromantic and boring yet she has sympathy for him. Antoine likes to fall in love but he feels awkward in relationships. Like his previous work, this film has remarkable fluid camera movements as he gives us a breathtaking view of the eternal city and the journey Antoine is on in hopes of discovering his place. Léaud is always brilliant playing the director’s alter ego, he’s very funny, charming, very good looking.
Delphine Seyrig is brilliant in a short but very important role. She has a beautiful deep voice. During this period, May 68 revolution was taking place in Paris. In that situation, Antoine was trying to find his own feet. It is charming in its carefree tempo and disarming in its frankness about whimsical triviality.
In a prologue, we see blonde Katja (Diane Kruger) marrying jailed drug dealer Nuri Şekerci (Numan Acar). After returning from jail, Nuri corrected himself and he did set up a business. They had a happy family with a son. One day, Katja goes to a spa with her friend. While returning, she finds police barricades and learns that a bomb killed her loved ones. She is devastated totally. She tries to get back to her normal life but she couldn’t. From the investigation, it is learned that a neo-nazi group is involved in this murder. Since last few years, neo-nazi groups are creating terror in Germany. They are mostly violent towards Muslims. Katja’s friend Danilo Fava (Denis Moschitto) is prosecuting attorney, pitted against nasty defense lawyer Haberbeck (Johannes Krisch). Kruger convincingly conveys Katja’s anguish, fragility and fierce determination as a woman who has lost everything yet single-minded in a pursuit of justice that eventually turns to vengeance. The first half of the film deals with the tragedy of Katja. 2nd half deals with the court procedures. In the 3rd half, we witness the rage of a woman. The film just doesn’t focus on the terrorism issue. It also deals with the rage of a woman. Beside that, it deals with the grief of survivors. Court scenes were cleverly shot. We felt bored while watching that part. But that is how justice system works. The film cleverly used silence in crucial moments. One might hope for some action, but that is not going to happen.
Pallavi (Kitu Gidwani) , a successful classical singer trains with her mother to carry forward the Hindustani musical tradition. She is good but not as much skilled as her mother is. Her mother Karuna took training from an old man. He never performed on stage but used to give lessons to his students. When Karuna started to perform on stage , he cut off all contacts with her. He detested glamour world. The trauma of Karuna’s death, announced by the appearance of the old man and a little girl, causes Pallavi’s voice to disappear. Slowly her relationship with her husband (Bhaveen Gosain) becomes strained. She slowly loses her students and her career takes a backseat. Retreating into solitude, she finds the little girl Tara (Roshan Bano) again. Much of the music was composed by Shubha Mudgal, a classical singer who studied in the guru-disciple tradition. Director Rajan Khosa used music in crucial points to capture the essence and mood of the film. The film is spiritual but it is extremely honest in it’s approach. In other words,it located in Indian culture. Khosa didn’t opt for any dishonest trick to make it global.
Yet, it has an universal appeal. He is aided by fine technical work all around, from Piyush Shah’s soft-hued lensing to Amardeep Behl’s quietly refined production design. I always liked to watch KItu Gidwani. She has been an extremely talented actress. Instinct affects her acting more than anything else. Bhaveen Gosain is known in theatre circuits. He just did this film only. Here, he gives a very convincing performance as a caring husband. Vinod Nagpal shines in a very short role.
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https://www.tiktok.com/%40vkrecordingstudio/video/7343667015867043077
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Make Your Day
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https://www.imdb.com/title/tt2156785/reviews
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Gattu (2011)
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Gattu (2011) on IMDb: Movies, TV, Celebs, and more...
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IMDb
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https://www.imdb.com/title/tt2156785/reviews
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https://about.muse.jhu.edu/lib/metadata%3Fformat%3Dkbart%26content%3Dbook%26include%3Doa%26filename%3Dopen_access_books%26no_auth%3D1
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en
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Document Not Found
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/favicon.ico
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https://theinkbrain.wordpress.com/tag/dance-of-the-wind/
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en
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Dance of the Wind
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Posts about Dance of the Wind written by theinkbrain
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en
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https://s1.wp.com/i/favicon.ico
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theinkbrain
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https://theinkbrain.wordpress.com/tag/dance-of-the-wind/
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These are the only two clips I could find from this currently unobtainable DVD. The story is about a daughter who is the student of her musician mother – and the story of how a musical tradition comes to be transmitted.
These are the notes which accompanied the Youtube clips:
A few excerpts from ‘Dance of the wind’ (1997), a film by Rajan Khosa.
Karuna Devi, mother of the female singer Pallavi, is at the end of her life. Karuna has been a great and celebrated singer, while her daughter Pallavi -though already succesfull- is still at the beginning of her career. When Karuna dies, Pallavi -played by the famous Indian actress Kitu Gidwani- feels she has not completed her mother’s training and still lacks a voice of her own, a voice she can maybe find by learning from the guru of her mother, an old man her mother never talked about and who might be still alive. The death of her mother deeply traumatizes Pallavi, so much that she literally loses her voice and is unable to sing for a long time. When she finally finds the guru of her mother – through a very young streetgirl who learns from him and sings marvellously – Pallavi regains her voice and from here she’ll be able to continue her career and tradition with a voice of her own.
Noted Hindustani classical singer, Shubha Mudgal composed the music, while playback was given by ‘Shweta Jhaveri’, Shanti Hirannand, and Brinda Roy Choudhuri. Other noted artists, who worked on soundtrack were, Sarangi performer, Ustad Sultan Khan, and noted flautist, Ronu Majumdar, and the film went on to win the ‘Gold Plaque for Music’ at the 1998 Chicago International Film Festival
The beautiful soundrack of the film is by Shubha Mudgal (composer here, but also a renowned raga singer). Shweta Jhaveri sings the music of Pallavi.
These are some classical compositions in Raga Bhairavi performed by one of my very favourite Hindustani Classical singers Shweta Javeri.
Dance of the Wind
https://theinkbrain.wordpress.com/wp-content/uploads/2012/01/2-02-dance-of-the-wind-1.mp3
Niranjani Narayani – In praise of the Goddess
https://theinkbrain.wordpress.com/wp-content/uploads/2012/01/05-niranjani-narayani_bhairavi.mp3
Devotional song (Bhajan) #1
https://theinkbrain.wordpress.com/wp-content/uploads/2012/01/04-bhajan-bhairavi.mp3
Devotional song #2
https://theinkbrain.wordpress.com/wp-content/uploads/2012/01/05-bhajan-bhairavi-2.mp3
Bhairavi is a female Raga. This is the Hindustani version of Bhairavi. The Bhairavi of the Carnatic (South Indian) system is a different raga.
Solfage in the Indian system is as follows.
Sa, Re, Ga, Ma, Pa Dha, Ni Sa.
My compendium of ragas which claims to provide the Western note equivalent for Bhairavi Raga gives the scale as
C , D flat, E flat, F, G, A flat, B flat, (or A# which on a keyboard are represented by the same note) C
However, I noticed that the harmonium player in the clip provided to demonstrate Bhairavi Raga does not begin his scale on a natural note.
This of course does nothing to clear up the general confusion which appears as soon as the Indian system is described in terms of the Western.
Sot is better, in my view, to just think of the notes by name, and to recognise their groupings in terms of their intervals and ‘groupings’ in the ‘Pakad’.
But this is how Bhairavi is described in the Hindustani system.
Thaat – meaning something equivalent to genus) – Bhairavi
This is the sofage scale of the Hindustani Bhairavi.
As was determined earlier, the sounds of the notes themselves vary, though their names do not!
Aaroh (ascending scale) Sa Re Ga Ma Pa Dha Ni Sa
Avroh (descending scale) Sa Ni Dha Pa Ma Ga Re Sa
Pakad (or Pakar, the “signature phrase” of the raga) Ni Re Ga Ma Pa Ma Ga Re Sa
Vaadi: Ma
Samvaadi: Sa
But elsewhere the vadi is given as Ga and the samvadi as Ni.
I can think of no explanation for this…..
There are also some other variations of Pakad as follows.
The commas separate the recognisable groupings of notes which appear in these variations.
g S r S, ‘n S g m P d P, g m r S
g m P d P, g m r S, ‘d ‘n S, S r g r S
Bhairavi is considered a complete (Sampoorna) raga because it uses all seven notes in both ascending (Aroh) and descending (Avroh) scales.
It is a symmetrical raga, because its ascending scale descends in the same order.
Indian music is modal and microtonal. It uses 22 microtones within the octave, and it has uncountable ragas or modes arranged under the ten major categories or ‘thaats’.
The notes in a raga might or might not always be fixed. In what may be a terribly confusing system to western listeners, the solfage or sargam (sargam is a contraction of sa ri ga ma) may be retained while the ‘key’* is changed.
The resulting raga might then be referred to by its original name, or assume another identity! In other words, a raga might retain its identity while changing its manner of expression! So in the end, it is the characteristics of the Pakad (cognitive phrase) and swara sanchar (familiar note sequences) which make a raga recognisable.
As if it couldn’t get worse, some expressions of musical virtuosity (tirobhav/ahirbhav) use ‘camouflage’ to carry the raga into a series of variations,
before bringing in shades of other ragas, before taking it back ‘home’.
Properly speaking, the western system of fixed-note tuning does not permit microtones – since in a piano for instance, a C sharp and a D flat will make the same sound, whereas in the Indian system they will have different frequencies, therefore though raga swaras (notes) are ascribed western music equivalents, they might be tonally different.
Bhairavi is technically an early morning raga but it is usually played at the end of long evening/night recitals. It is intended to exalt and soothe and uplift the soul, but it can also be sad.
Ragas are believed to possess mood-inducing musical potency, and are said to have the power of ability and generating emotions and emotional archetypes. This is of course not an objective phenomenon, but one that is experienced within its cultural context. In the case of Bhairavi, it is the image of a woman who, filled with longing, awaits the arrival of her lover. So the feelings of devotion, separation and nostalgia can also be added to the list of evocations.
*
I use the word ‘key’ loosely here, because Indian music does not recognise key changes, and it does not have key signatures. Sargam/solfage alone is the equivalent of ‘key’.
One possible explanation of Bhairavi raga.
A more extensive demonstration in the form of a devotional song…
As in Medieval music, harmony did not have a place in Indian music, but that is beginning to change, and with it the purity of the form – however Western ears might find this fusion to their liking…..
The word Alaap refers to the open unbroken sound (with no meter or rhythmic accompaniment) used to express the ‘mood’ of a raga. It usually comes at the very beginning of a musical performance, as an explication of what is to follow.
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https://miff.com.au/festival-archive/films/21597/dance-of-the-wind
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MIFF Film Archive
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MIFF 2024
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https://miff.com.au/festival-archive/films
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Voted audience favourite at both the London and Nantes Film Festivals, Rajan Khosa's magnificent debut, Dance of the Wind, probes the dynamics of the Indian oral tradition. Pallavi, a successful singer of classical Hindi music, observes with immense concern and distress as her aging mother and mentor, Karuna Devi, approaches the end of her life. A legendary performer in her time, with voice skills far superior to her daughter, Karuna Devi's imminent death is presaged by the appearance of an impoverished old man and a small girl, Tara.
Grief at the death of her mother and the ensuing emotional turmoil results in Pallavi losing her voice. Subsequently her career stalls, she loses her own students, alienates her stoic husband and falls into confusion. Searching for Tara, who announced her mother's death, Pallavi encounters her mother's guru, Munir Baba, and commences a quest to regain her talents and set her life in order once more.
"For my first feature film I was bent upon pushing the boundaries of cinema; while using sparse dialogue I tried to touch silence and the beauty of pure music. It was in my search for a cinematographic narrative, instead of a literary one, that I stuck to this approach. Also I decided to use a large number of non-professional actors to retain the authenticity of Indian culture and milieu. Like the singer, for me too it was an attempt at searching for my own voice. " - Rajan Khosa
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https://www.indianetzone.com/2/shubha_mudgal.htm
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Shubha Mudgal
|
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Shubha Mudgal is a well-known Indian singer of Hindustani classical music, Khayal, Thumri, Dadra and popular Indian Pop music. She has received the Padma Shri Award in 2000.
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https://www.indianetzone.com/images_test/inz_small_icon.ico
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IndiaNetzone.com
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Shubha Mudgal is a celebrated Indian classical vocalist who is known for her unique voice. Her music includes mainly Khayal, Thumri and Dadra and also Indian Pop. Her voice in the song âAb Ke Sawanâ had created a music label in 2003 to distribute the work of independent musicians. Shubha Mudgal is also involved with several projects related to music education in India. Though, professionally, she is a classical singer, but she has adapted her voice to sing all genres of music like Rock, Blues, Samba, Jazz and Folk.
Early Life of Shubha Mudgal
Shubha Mudgal was born in Allahabad, in 1959 in an academic family to Skand Gupta and Jaya Gupta, who embraced literature as well as Hindustani Classical Music and Kathak. As a young girl she started learning Kathak in Allahabad following the footsteps of her sister. She later switched to Hindustani Classical Music and her first traditional teacher was Pandit Ramashreya Jha in Allahabad. Later, Shubha Mudgal moved to New Delhi, and continued her musical education under Pandit Vinaya Chandra Mudgalya and Pandit Vasant Thakar.
Shubha Mudgal went to Pandit Jitendra Abhishekiand Pandit Kumar Gandharva to polish her stylistic techniques in singing. Her association with Pandit Kumar Gandharva however changed her style of music, as his eclectic approach resounds in Shubha Mudgalâs performances, especially renditions of Bhakti and Sufi poetry. Shubha Mudgal has also received training in Thumri from Guru Smt. Naina Devi and she is considered as a part of the new generation of Hindustani musicians.
Career of Shubha Mudgal
Shubha Mudgal started performing as a Hindustani classical singer in the 1980s, and gained a certain reputation as a talented singer. In the 1990s, she started experimenting with other forms of music, including pop and fusion varieties. Her album âAli More Anganaâ was a big hit, especially amongst the youngsters. Shubha Mudgal briefly ran websites called âraagsangeet.comâ aimed at lovers of Classical Indian Music, âUnderscoreRecords.comâ; an online distribution platform for musicians which specializes in several forms of Indian music and âSangeetKosh.netâ which aims to preserve the rich Indian musical heritage.
In addition to being a performer, Shubha Mudgal is also recognized as a composer. She did the soundtrack for Mira Nair's film âKamasutraâ and also gave the score for Rajan Khosa's âDance of the Windâ. She has composed for dancers like Aditi Mangaldas and Sonal Mansingh and for ballets like âMeera and Krishna Kathaâ of the "Shri Ram Bharatiya Kala Kendra".
Shubha Mudgal composed and sang the title track of Star Plusâs serial âDiya Aur Baati Humâ along with Kailash Kher. It is a very soulful, classical-based Rajasthani folk song.
Awards and Recognition by Shubha Mudgal
Shubha Mudgal has been honoured with various awards and recognitions which are as follows:
⢠The 1996 National Film Award for Best Non-Feature Film Music Direction for âAmrit Beejâ.
⢠The 1998 Gold Plaque Award for Special Achievement in Music, at the 34th Chicago International Film Festival, for her music in the film âDance of the Windâ (1997).
⢠Padma Shri in 2000.
⢠She is also close to progressive movements like ANHAD and SAHMAT
Personal Life of Shubha Mudgal
After graduating from University of Delhi, Shubha Mudgal married Pt. Mudgalayaâs son Mukul Mudgal who was a talented lawyer by profession. She got divorced from her first husband, and married again to Aneesh Pradhan. She has one son from her previous marriage, Dhawal, who is a member of Half Step Down, a Delhi-based music band.
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