Tuesday, January 3, 2017

Google Doodle for Savitribai Phule

Born on 3 January 1831, Savitribai Phule was a social reformer and poet. Many of her poems were against discrimination and advised people to get educated. She is regarded as an important figure of the social reform movement in Maharashtra. Along with her husband, Jyotirao Phule, she played a major role in improving women's rights in India during the British Raj.
Savitribai Phule take a bow! Interestingly, today's Google doodle is a tribute to her.

Ways of Seeing, John Berger dead at 90.

"It is seeing which establishes our place in the surrounding world,"
----- John Berger, the British art critic, Marxist intellectual and prodigious author whose pioneering 1972 book and the BBC series it spawned, "Ways of Seeing," ushered in a political perspective to art criticism, died Monday, 2nd Jan '2017. He was 90. 
(Image Courtesy: Austin Kleon, https://www.flickr.com/photos/deathtogutenberg/2956342918/)

The BBC Documentary on Ways of Seeing!


The book can also be accessed at http://waysofseeingwaysofseeing.com/ways-of-seeing-john-ber…
Dear John Berger travel well........
Well, this is the End of an Era... which means we need to see beyond 'Ways of Seeing' now!- newer Ways of Seeing!

Tuesday, November 12, 2013

Performance on sexual abuse turns ugly

LETTER FROM CHINA

Artist’s Take on Sexual Abuse Turns Ugly

On the limits of performance and how close we are to our daily existence and the representation on stage? How far can we push the interactiveness of the contemporary performance art? 

On one hand it seems to be correct that the kind of intervention on the part of the fellow performers were necessary, however, on the other hand interpretation on the part of the performer who initiated the performance should also be valued. 

Thursday, April 5, 2012

Rang Bayaar: JNU Theatre Festival



Rang Bayaar: JNU Theatre Festival

31st March : Khatra by IPTA1st April : Sawaal Apna Apna by Bahroop2nd April : Ashadh Ka Ek Din Bela Theatre Group6th April : Gandhi Park by Wings Cultural Society7th April : Jee Hume to Natak Karna Hai by Sehar theatre Group. 


01.04.2012: Khatra
About The Play: Khatra is a collage of poems, Daro and Sweekaar by Vishnu Khare, Apni Asuraksha Se by Avtaar Singh Pash, Bail by Shamsher Bahadur Singh and Thakur Ka Kuan by Omprakash Valmiki. The dramatic recitation of these poems is interspersed with the statement of ideals of the democratic republic that India is.. The recitation and statements together with a symbolic design present a picture of suppression, resistance and struggle for the people’s rights and human dignity against the structures of power. 

About The Group :
IPTA – JNU is one of the many chapters of a tradition that started in 1943 with the formation of the Indian People’s Theatre Association. In the past, the group has organized various workshops on design, craft, acting, playwriting and choreography with people like Anamika Haskar, Asghar Wajahat, Saumyabrat Chaudhury, Neelam Gupta, Amitabh Pandey, Savi Savarkar, Rajneej Bisht, Satyajit, Subodh Kumar, Rajesh Singh, Prakash Gaud. The group has produced many original plays like Maare Jayenge, Hamri Jaat, Meerut Express, Ba-Izzat Bari Kiya Jata Hei, Halt, Ve Musalman Hein, Sarkari Tsunami, Jo Hap pa Lok Tantra, Jab Tak Ekalavya Ka Angootha Kata Hua Hai Halt, Gayi bhains paai mein along with other plays like Nimitta, Woh Kaun Tha, Tendua, Chainpur Ki Dastaan , Mohandas, Glasscase, Inspector Matadin Chand Par, Girgit, Baki Itihas, Bhukh Aag Hai,  Yours Faithfully, and Juloos.

On Stage
Sudhanshu, Madhura, Rahul, Oyndrila, Neha

Off Stage
Design and Director: Manish
Properties: Praveen
Costume: Rohit
Lights: Vagesh
Music: Lakshmikant, Shruti, Manish, Jitendra, Sandeep, Rohit

01.04.2012: Sawaal Apna Apna
About The Play: The play by Abhiram Bhadkamkar attempts to portray the conflicts and confusions of the present times – especially in a ‘society-in-transition’ governed by the laws of the market where the modern or the new is forcing itself to get established and the traditional is trying to hold its ground, reluctant to give way. The playwright tries to depict the lives of different classes in such a contemporary society, the problems faced by these classes, the emerging conflicts between aspirations and ethical values, and people struggling to find a way through all this chaos. This realistic portrayal tries to take up cudgels against, or challenges the fallacies and superstitions prevalent in the Indian society. At the same time it also exposes the opportunism of the believers when the issue is that of success, be it through any means.
The play does not have one protagonist, but characters each of whom symbolise a different way of thinking and dealing with things. Amidst life’s potpourri is the perpetual optimism that the evils in the society will be fought and defeated, that voices shall be raised for rationality and against injustice and that reason take precedence over everything. The hope that things would change is still alive.  
About The Group :







Bahroop came into existence in 1996 when a group of people from different walks of life decided to share their experience with a larger section of the society. Bahroop has also organised talks, seminars and workshops with eminent personalities like Habib Tanvir, J.N. Kaushal, G.P. Deshpande, Satish Anand, D.R.Ankur, Vinit Kumar, Chittaranjan Tripathi, Shrikant Kishore, Piyush Mishra, KS Rajendran, Suman Kumar, HS Shiva Prakash and Mushtaq Kak. It publishes a theatre magazine, Bahroop Theatre Digest.                             On Stage
Runjhun,  Benil,  Himanshu, Razi, Hadi Sarmadi, Rahul Kumar
Renu Singh, Sahana, Neeraj, Punit , Himalaya, Punit Tiwari, Goldy,  Akanksha                          Off Stage
Coordinator                              :Runjhun, Goldy
Costumes                                  :Shahana, Renu, Soni
Properties                                  :Goldy, Punit,Amin
Set                                            :Niraj, Punit, Madhu
Music                                       :Akanksha, Richa, Vipul
Lights                                       :Govind Yadav
Play Writer                               :Abhiram Bhadkamkar
Design                             :Vandana Vashisht, Asif Ali
Directorial Assistance                 : Rajesh Singh
Direction                         :K. S. Rajendran

02.04.2012: Asadh Ka Ek Din
About the Play: Ashadh Ka Ek Din is a hindi play by “Mohan Rakesh and is considered to be the first modern hindi play. The play is divided into three acts and is centered around “Kalidas’s” life somewhere in 100-400BC period. Kalidas is leading a peaceful life and is romantically involved with the village belle – Mallika. Mallika wants best for the man she loves, so she insisits him to go to Ujjaiyni . Kalidas goes to Ujjaiyni and become known and famous. The pangs of separation from Mallika finds outlet in the great works of literature Kalidas creates. Mallika remains in Village waiting for her love to return. Kalidas does return to Mallika but as a broken and destitute man, to start life afresh and to amend the mistakes of allowing himself to be separated from Mallika’s life. But till then Mallika’s life has been completely changed.
About The Group:-  Bela Theatre needs no introduction for its original and meaningful contribution in promoting and enriching theatre for over 12years. Its productions have been acclaimed not only in Delhi but also in almost all major cities and even remote areas of the country. Probably ours is the only group which has experimented with  original plays in three languages Urdu, Hindi and Bhojpuri. The themes of our plays deals with human problems, the sorrows and joys and frustrations of human beings form a large canvas of our group.
ON STAGE
(अम्बिका)                                                       CHANDRA KALA                                    .
(मल्लिका)                                                       FARAH ANWAR                                   
(कालिदास)                  ARUN JINDAL                                     
(दंतुल)                                                              SANJAY  MAKHIJA /JITENDER NAGAR
(मातुल)                                                           AMIT RAMAJI KUMAR/ABHINAV GOSWAMI
(निक्षेप)                                                            MOHIT BAISLA /SACHIN PAHWA
(विलोम)                   AMAR SAH
(रंगीनी)                    HIMANSHI  MAKHIJA
(संगिनी)                    MEENU SINGH
(अनुस्वार)                  MOHD.YUNUS
(अनुनासिक)                                                 LASIM/ASHWIN  KUMAR
(प्रियुन्गुमंजिरी)                                           SONALI PAL
OFF STAGE
SETS & PROPS                                                  JITENDER NAGAR & SANAD MISHRA
COSTUME                                                         MOHIT BAISLA
LIGHT                                                                MOHD.IJIAL
SOUND                                                              ABHINAV GOSWAMI
MAKE UP                                                           NEIL ARYA
PUBLICITY                                                        MEENU SINGH,TUSHAR MADAN
PLAY DESIGN                                                   MOHD.WASEEM AZAD
DIRECTION                                                      ARUN JINDAL

06.04.2012: Gandhi  Park
About the Play: Manav Kaul’s Park revolves around three people in a park, their fight over three benches and their conversations with each other. Their conversational debate makes one laugh and forces one to think about what it is that counts as a mark of territorial entitlement – caste, region or religion?
This play explores the issue of eventual displacement of human beings due to socio-economic, socio-political and cultural reasons, the issue of identity and the sense of belonging. It initiates a debate over these issues in the light of several examples from across the world. The play also takes a dig at the normative rules that people adhere to in order to get accepted by the society and often forget to reflect upon their consciousness. Is the mark of all these issues tied to questions of caste, region and religion only, or is it something more ephemeral?
About the Group: Wings Cultural Society has been conceived with the idea of translating social issues through meaningful theatre and cultural activities. It aims to spread awareness in society through exchange of ideas, and through raising debates relevant to our times. We endeavour to do socially relevant theatre and conduct workshops, seminars, debates and audio-visual shows in order to be involved in the ongoing social and intellectual churning.
Cast & Crew
Hussain                                    :Suraj Kumar
Uday                                        :Neelesh Singh / Premjish Achari
Iti                                             : Farha Noor
Nawaz                                       :Raj Kumar
Madan                                      : Manish Kumar / Tarique Hameed
Costume                                   :Greeny Francis
Set and Properties                      :Manoj Kumar, Uday  Bhardwaj
Music and Choreography           : Aparna Eswaran, A.P.Rajaram, Ankush Gupta
Poem                                        : Faiz Ahmed Faiz
Brochure and Poster                   : Anurima, Farha
Publicity                                   : Ghufran Raghib, Sujay, Laxmi, Ved, Violina, Mousumi,      Anurima, Suchetna
Coordinators                             : Ghufran Raghib, Anurima Chanda
Playwright                                 :Manav Kaul
07.03.2012: Jee! Hume to Natak karna hai
About the play
‘Jee, Hume to Natak Karna Hai’ is a play about an amateur theatre group striving hard to come out with a theatre performance which can cater its social responsibility. Most of them are new ones in theatre and they live in their own dreamland where social commitment and responsibility like words are forbidden. The director always stresses for a play which could be socially relevant but the actors want to be trained in acting so that they can use this training in media industry in future. They never come across an issue where they could cement there differences. The contradiction between the old school and the new continues and finally the director chooses to walk out from the group. At the end of the play the actors asks from the audience itself to suggests some issues which could be used as a subject for performance as they are mere actors.

About the Group

‘Sehar’ is a dynamic group, composed of different sections of society i.e., intellectuals, academicians, journalists, social scientists, activists, research scholars, art practitioners, & students, aiming for the change required in time. We have come together out of our concern for the society in which we are placed. The group takes off with the basic need of expressing and communicating for the problems of the marginalized and underprivileged section of our society.On Stage
Ramendra Chakarwarti, Akanksha Bansal, Priyansh Sharma, Jyotikant Bhoi, Pratiksha Kumar, Pooja Sinha, Ashish
Off Stage
Rehearsal Cordinator – Pratiksha Kumar
Sound –                         Anjana Ghosal, Divya Padmanabhan
Actor’s Trainer -           Pankaj Rathod
Concept & Direction -  Mrityunjay Prabhakar





Friday, October 21, 2011

Andha Yug-- The Dark Age

The sun slowly slowly went down on to the horizon behind the sky-crappers driving past CP market, popularly known as the Rajiv Chowk in the post liberalized India. The evening chill was flowing down on one's self like a the melting Chocolate Smoothy. There you find your self through a long queue of art ...sorry spectacle enthusiasts, ...mind you you are right beside Kotla Firoz Shah Stadium, where the roar of Dhoni and the wounds of Brit caption is still fresh..infact it was just yesterday.well so we were at Spectacle enthusiast...ahem...!!
walking past the queue you just enter and find yourself amidst the sentinels of history..the Massive ruins of Kotla Firoz Shah... giving you a sense of you being a part of this legacy of  understanding how delhi as a capital as a nerve center of action for a whole community , kngdom, nation..etc...what Delhi is now, what it was? i a fraction of seconds you envisages everything right from the birth of civilization till the end of it.... you become that sakhshi bhava,  which otherwise even you long to become and understand but repeatedly you fail and know you will once again fails while it deliberately try it the next time....

so you become one with the ruins, which is specially-strategically lit up to highlight those sections of history.... the ravaged, torn, devasted contours of the wall. it is lit up in these sections to specificaally highlight how civiclizations, ideas go on to their pinnacle and reminds you of Marx' famous declaration of Mors Immortalis.


you live though that experience and with a consciousness of ever changing change and imminent fall, you enter the The DARK AGE with awe and wait in silence, watching helpless all around you at the spectacle hungry lot. they all are but you, to some extent or other. they all are your aspirations to some extent or other...a balmy piece of ethnic Indian music numbs your sense and perspiration that came out of this realization

Wednesday, June 1, 2011

site for Students of Literature in English


site for students of literature in english

all informations regarding English Hons. course and and online multimedia platform for other concurrent students too.

Tuesday, April 6, 2010

Cultural Diversity, Linguistic Plurality & Literary Traditions in India

Attaching house exam paper as i dont have the earlier samples in soft copy. but as my friend went through all the Quetion papers since the course first got offered- which is not very long ago and the basic instructions and paper structure has been the same throughout.

special thanks to a friend of mine, Radhika Baruah (Guest Faculty, IP college) for her efforts to put this material together

the annual exam instructions to the candidates regarding word limit and choice has been retained as is in the paper i m sending you.

unit 1 compulsory other units are optional and within them are internal options.

In a normal annual paper,

unit 1 is as is it is.

in the other units the internal structure is: students have to answer two questions from their chosen unit, the two questions being

a) a reference to context from the poems (two choices are provided n the questions are in 2+2+2 division)

b) an essay type answer (again with an internal choice) from the prose parts of that unit for 4 marks

at times, there can be questions on
1. verses from the lessons for Reference to the Context
2. Essay type questions on the poetry section 
3. There can inter unit choices instead of from the accompanying prose 

 but otherwise the 7 remaining sections in the question paper correspond to the 7 remaining units in the course. there is no inter-unit choice within the subsections.
i am also attaching the mid term paper so to give you a broad idea..

B.A. / B.Com (Hons) Programme

(A)

Discipline Centred Concurrent Course

(English)

(Cultural Diversity, Linguistic Plurality and Literary Traditions in India)



Time: 2 Hours Maximum Marks: 50



Attempt Four questions in all.

Question no. 1 is compulsory.

Attempt any three questions from the rest.



Note: - Questions carrying 3 marks must be answered in not more than 50 words and those carrying 5-5.5 marks in not more than 100 words.



1. Attempt any two of the following:



(a) Trace the passage of any two literary forms as they moved from their original languages and regional locations within India.



(b) Should a literary historian of Indian literature concern herself only with works in our particular language? Give reasons for your answer.



(c) Why is it incorrect to assess Tulsidas primarily as Hindi poet?



(d) “The author is not a divine creator,” says Sujit Mukherjee. Comment.



(e) What does Sujit Mukherjee mean by ‘the Ramayana tradition’? Give at least two examples to support your answer. (5.5 +5.5= 11)



2. (a) Is the reaching the shore a greater prize than losing myself with you?

If you are only the haven, as they say, then what is the sea?



(i) In which language has the poem been composed?

(ii) Explain the metaphor of the boatman and the sea.

(iii) How is losing oneself a greater prize than reaching the safety of the shore? (2+3+3= 8)



(b) Write a short note on Baul as an expression of Bhakti. (5)



3. (a) Long as tresses the night of parting.

The day of love is short as life,

If i see not my love, O friend,

How can I spend the dark nights of grief?



(i) Identify the poet and the original language of the poem.

(ii) Who is the friend that the poet is referring to?

(iii) Why is the period of separation from the beloved considered longer than span of life? (2+3+3=8)



(b) Write a short note on Tuti-i Hind. (5)



4. (a) I am neither a believer going to a mosque,

Nor am I given to non-believers, [sic] ways.

I am neither clean nor unclean.

Neither a Moses nor a Pharaoh.

I know not who I am.



(i) Identify the poet and the original language of the poem.

(ii) How is someone neither clean and nor unclean?

(iv) Explain the story of Moses and Pharaoh? (2+3+3=8)



(b) Write a short note on Sufi tradition. (5)



5. (a) All the time I went to work for the Naikers, I knew I should not touch their goods or chattels; I should never come close to where they were, I should always stand away to one side.



(i) Identify the author.

(ii) Give the name of this work and the original language in which it was written.

(iv) Who are Naikers and why was the speaker supposed to stay away from them? (2+3+3=8)



(b) Do you agree with the view that Dalit narrative is not just about identity oppression, but something more? Discuss with reference to “Karukku”. (5)