Mallikarjun always led a simple life and humble life. He worshipped music and wanted to share its purity and joy with all his listeners. Worldly success meant little to him. Even in the semi-coma condition he was in, before he bid adieu to the mortal world in September 1992, he would ask his son Rajasekhar to sing and guide him as to what he should improve.
I didn’t grow up with Kiarostami’s films. I discovered Abbas Kiarostami long after he’d become Kiarostami, during the same time that I began devouring everything having to do with Iranian culture. I vaguely remember visiting the Film Museum off of Vali-ye Asr Avenue in Tehran with my friend one hot summer’s day, when I was around 16 years old. I had no idea who the man in the sunglasses was, only that he was of significance where Iranian cinema was concerned.
बंगाल के सांस्कृतिक इतिहास में ऐसे अनेक व्यक्ति हुए हैं, जिन्होंने न सिर्फ उस इलाके के, बल्कि पूरे देश की चेतना पर गहरा असर डाला है. महाश्वेता देवी इस सिलसिले का संभवतः अंतिम नाम है.
मुंबई फिल्म उद्योग में भी बीते सालों में प्रयोगधर्मिता का सिलसिला शुरू हुआ है तथा दक्षिण से भी कुछ उम्दा फिल्में आई हैं, पर उनका मुख्य स्वर अब भी मुनाफे और सतही मनोरंजन को ही संबोधित है. इन इलाकों में फिल्मों से जुड़े लोग मराठी से सीख रहे हैं और उन्हें सीखना भी चाहिए. इतिहास में ऐसे अवसर बार-बार नहीं आते हैं, जब कलात्मक निराशा के दौर में उम्मीद की बिजलियां लगातार चमकती हों.
“Praatohkrityo” is a dance-theatre production that originates from the urban rituals lying beneath the surface of everyday life. The pre-designed structure of repeated actions, movements, behaviour, feelings, pushes us to look for newer signs, codes, and movements. These codes of movement have been determined by different overlapping systems of oppression such as patriarchy, fundamentalism, the State etc. It takes cue from urban ritual because our movements essentially emerge from life we live and that is our point of departure of this dance theatre. The work raises questions regarding the perfect body type expected of a dancer and dance belonging only to traditionally schooled dancers.
On the occasion of India’s 61st Republic Day in 2011, this silent rendition of India’s National Anthem, interpreted through the sign language and gestures, was created by the Mudra Group.
To best understand the roots of Iranian cinema, one must perhaps travel back to the early 20th century, when the Qajar monarch Mozaffareddin Shah was shown cinematographic footage during a visit to France.
Motorcycle Shayaries – Holi hai
Write a letter: Your voice matters. Spread the word: The simplest and most effective response to censorship is to spread the word.
“Your voice matters.”
चले चलो दिलों में घाव ले के भी चले चलो…
India’s national anthem is only one of the five stanzas, composed and penned by Rabindranath Tagore. The remaining four stanzas can be heard here. This video is from a Bangla film Rajkahini (Srijit… Continue reading