May 15, 2021

āĻŽāĻ˛ā§āϞāĻŋāĻ•āĻž āϏāĻžāϰāĻžāĻ­āĻžāχ āĻ“ āϰ⧇āĻŦāĻ¨ā§āϤ āϏāĻžāϰāĻžāĻ­āĻžāχ (Mallika Sarabhai and Revanta Sarabhai)

Interview: Mallika Sarabhai and Revanta Sarabhai: Part 1

What does it take to be a missionary of the arts? What is needed to create a culture-scape? How can cultural practitioners make the arts more accessible to audiences? Mallika Sarabhai and Revanta Sarabhai speak to Vikram Iyengar.

āωāĻĒāϞ āϏ⧇āύāϗ⧁āĻĒā§āϤ, āϚāĻ¨ā§āĻĻā§āϰāĻŋāϞ āĻ­āĻŸā§āϟāĻžāϚāĻžāĻ°ā§āϝ

āĻāĻ•āϟāĻž āĻ—āĻ˛ā§āĻĒ āĻāĻ•āϟāĻž āĻ—āĻžāύ: āĻĒāĻ°ā§āĻŦ ā§Š

āĻšā§āϝāĻžāĻŽā§‡āϞāĻŋāύ⧇āϰ āĻŦāĻžāρāĻļāĻŋāĻ“āϝāĻŧāĻžāϞāĻž āĻĒāĻžāĻšāĻžāĻĄāĻŧ⧇āϰ āĻŽāĻ§ā§āϝ⧇ āĻŦāĻžāĻšā§āϚāĻžāϗ⧁āϞ⧋āϕ⧇ āĻ—āĻžāϝāĻŧ⧇āĻŦ āĻ•āϰ⧇, āĻ›āĻĻā§āĻŽāĻŦ⧇āĻļ⧇ āĻ–ā§‹āρāϜ āύāĻŋāϤ⧇ āφāϏ⧇, āĻļāĻšāϰ⧇āϰ āϞ⧋āĻ•āϗ⧁āϞ⧋ āĻāĻ–āύ āϕ⧇āĻŽāύ āϰ⧋āϞāĻžāϰ⧁āϞāĻŋ āĻ•āϰāϛ⧇āĨ¤ āϤāĻžāϰ āĻŽāϤāϞāĻŦ, āĻŦ⧇āĻļāĻŋ āĻĒāϝāĻŧāϏāĻž āϚāĻžāχāĻŦ⧇, āĻŦāĻžāĻšā§āϚāĻž āĻĢ⧇āϰāϤ āĻĻ⧇āĻ“ā§ŸāĻžāϰ āϜāĻ¨ā§āϝāĨ¤ āφāϰ āĻ—āĻžāύ⧇, āĻāĻ•āϜāύ⧇āϰ āĻĒ⧇āĻŸā§‡āϰ āĻĢ⧁āĻŸā§‹, āĻĒāĻŋāϠ⧇āϰ āĻĢ⧁āĻŸā§‹ āϏ⧇ āĻŦāĻžāϰāĻŦāĻžāϰ āĻŦ⧁āϜāĻŋāϝāĻŧ⧇ āϰāĻžāϖ⧇ āϏ⧇āϞ⧋āĻŸā§‡āĻĒ⧇āĨ¤

āĻŦāĻŋāĻ•ā§āϰāĻŽ āĻ†ā§Ÿā§‡āĻ™ā§āĻ—āĻžāϰ (Vikram Iyengar)

āύāϤ⧁āύ āϜāĻžā§āϜāĻžāϞ

‘āύāĻžāϟāϕ⧇āϰ āĻĒā§āϰāĻžāĻŖāĻŦāĻ¨ā§āϤ āϏāĻ‚āĻ¸ā§āĻ•ā§ƒāϤāĻŋāϟāĻžāϕ⧇ āĻāĻ—āĻŋāϝāĻŧ⧇ āύāĻŋāϝāĻŧ⧇ āϝ⧇āϤ⧇ āĻĒāĻžāϰ⧇, āĻāĻŽāύ āĻĒ⧇āĻļāĻžāĻĻāĻžāϰāĻŋ āĻŦāĻž āĻĒāϰ⧀āĻ•ā§āώāĻžāĻŽā§‚āϞāĻ• āĻĨāĻŋāϝāĻŧ⧇āϟāĻžāϰ āφāĻšāĻŽā§‡āĻĻāĻžāĻŦāĻžāĻĻ⧇ āĻšāĻšā§āĻ›āĻŋāϞ āύāĻžāĨ¤ āĻ āĻ›āĻžāĻĄāĻŧāĻžāĻ“ āϰāĻžāϜāύ⧈āϤāĻŋāĻ• āĻŦāĻž āĻĒā§āϰāϤāĻŋāĻˇā§āĻ āĻžāύāĻŦāĻŋāϰ⧋āϧ⧀ āύāĻžāϟāĻ• āĻ•āϰāĻžāϰ āϜāĻ¨ā§āϝ āϝ⧇ āϏ⧁āϰāĻ•ā§āώāĻžāϟāĻž āĻĻāϰāĻ•āĻžāϰ, āϏ⧇āϟāĻžāĻ“ āĻ›āĻŋāϞ āĻ…āĻ¤ā§āϝāĻ¨ā§āϤ āϏ⧀āĻŽāĻŋāϤāĨ¤ āĻāχ āĻ…āĻ­āĻžāĻŦāϗ⧁āϞ⧋ āĻĻā§‚āϰ āĻ•āϰāĻžāϰ āĻĒā§āϰāĻšā§‡āĻˇā§āϟāĻžāχ āĻ•āϰ⧇ āĻ¸ā§āĻ•ā§āĻ°ā§āϝāĻžāĻĒāχāϝāĻŧāĻžāĻ°ā§āĻĄāĨ¤â€™ āύāϤ⧁āύ āĻĨāĻŋā§Ÿā§‡āϟāĻžāϰ⧇āϰ āĻ—āĻ˛ā§āĻĒāĨ¤

āĻļā§€āĻ°ā§āώ⧇āĻ¨ā§āĻĻ⧁ āĻŽā§āĻ–ā§‹āĻĒāĻžāĻ§ā§āϝāĻžā§Ÿ

āύ⧀āϞ āϕ⧇āϟāϞāĻŋ: āĻĒāĻ°ā§āĻŦ ā§Ē

‘āϚāĻžāĻ•āϰāĻŋ āύāĻŋāϝāĻŧ⧇ āĻŦāĻžāĻŦāĻž āĻ•āϞāĻ•āĻžāϤāĻžāϝāĻŧ āϚāϞ⧇ āϝāĻžāĻ“āϝāĻŧāĻžāϰ āĻŦ⧇āĻļ āĻ•āĻŋāϛ⧁āĻĻāĻŋāύ āĻĒāϰ⧇ āφāĻŽāϰāĻž, āĻ…āĻ°ā§āĻĨāĻžā§Ž āĻŽāĻž, āĻĻāĻŋāĻĻāĻŋ āφāϰ āφāĻŽāĻŋ āĻ•āϞāĻ•āĻžāϤāĻžāϝāĻŧ āϝāĻžāχāĨ¤ āϤāĻžāϰ āφāϗ⧇ āĻ…āĻŦāĻļā§āϝ āĻŦāĻŋāĻ¸ā§āϤāϰ āĻ•āĻžāĻ¨ā§āύāĻžāĻ•āĻžāϟāĻŋ, āĻšāĻž-āĻšā§āϤāĻžāĻļ⧇āϰ āĻŦā§āϝāĻžāĻĒāĻžāϰ āĻ›āĻŋāϞāĨ¤ āĻŦāĻŋāĻļ⧇āώ āĻ•āϰ⧇ āφāĻŽāĻžāϰ āϜāĻ¨ā§āϝ āĻĻāĻžāĻĻ⧁āϰ āĻšāĻžāĻšāĻžāĻ•āĻžāϰāĨ¤ āφāϰ āφāĻŽāĻžāϰ āĻŦā§āϝāĻ•ā§āϤāĻŋāĻ—āϤ āĻŦāĻŋāϰāĻš āĻ›āĻŋāϞ āĻŽāϝāĻŧāĻŽāύāϏāĻŋāĻ‚āĻšā§‡āϰ āϜāĻ¨ā§āϝāĨ¤â€™ āĻŽā§ŸāĻŽāύāϏāĻŋāĻ‚āĻš āĻĨ⧇āϕ⧇ āĻ•āϞāĻ•āĻžāϤāĻžāĨ¤

āĻ…ā§āϝāĻžāĻ¨ā§āĻĄā§āϰ⧁ āϰāĻŦāĻŋāύāϏāύ (Andrew Robinson)

āϏāĻŋāύ⧇āĻŽāĻžāϰ āĻŽā§‹ā§ŽāϜāĻžāĻ°ā§āϟ

‘āĻĒā§āϰāĻžāĻšā§āϝ-āĻĒāĻžāĻļā§āϚāĻžāĻ¤ā§āϝ⧇āϰ āϏāĻ‚āĻŽāĻŋāĻļā§āϰāϪ⧇āϰ āĻ•āĻžāϰāϪ⧇ āĻ…āύāĻŋāĻŦāĻžāĻ°ā§āϝāĻ­āĻžāĻŦ⧇āχ āϏāĻ¤ā§āϝāϜāĻŋāϤ⧇āϰ āϏāĻŋāύ⧇āĻŽāĻžāϰ āĻŦāĻšā§ āĻĻāĻŋāĻ•āχ āĻ­āĻžāϰāϤ⧇āϰ āĻŦāĻžāχāϰ⧇āϰ āĻĻāĻ°ā§āĻļāϕ⧇āϰ āĻ•āĻžāϛ⧇ āĻ…āĻšā§‡āύāĻž āĻŦāĻž āĻĻ⧁āĻ°ā§āĻŦā§‹āĻ§ā§āϝ āĻšāϝāĻŧ⧇ āĻĒāĻĄāĻŧ⧇āĨ¤ āϏāĻ¤ā§āϝāϜāĻŋāϤ⧇āϰ āĻĻāĻ°ā§āĻļāύāĻŽāύāĻ¸ā§āĻ• āĻ…āĻ¨ā§āϤāĻŋāĻŽ āϏāĻŋāύ⧇āĻŽāĻž ‘āφāĻ—āĻ¨ā§āϤ⧁āĻ•â€™-āĻ ‘āύāĻžāϏāĻžâ€™āϰ āϏāĻ™ā§āϗ⧇ ‘āύ⧇āĻļāĻžâ€™-āϰ āϝ⧇ ‘āĻĒāĻžāĻ¨â€™, āϤāĻžāϰ āĻŽāĻ°ā§āĻŽ āĻ•āϤāϜāύ āφāĻ¨ā§āϤāĻ°ā§āϜāĻžāϤāĻŋāĻ• āĻĻāĻ°ā§āĻļāĻ• āĻŦ⧁āĻāĻŦ⧇āύ?’ āĻĒāĻžāĻļā§āϚāĻžāĻ¤ā§āϝ āφāϰ āϏāĻ¤ā§āϝāϜāĻŋā§ŽāĨ¤

āĻŦ⧁āĻĻā§āϧāĻĻ⧇āĻŦ āĻĻāĻžāĻļāϗ⧁āĻĒā§āϤ

āĻāϞ⧇āĻŦ⧇āϞ⧇: āĻĒāĻ°ā§āĻŦ ā§Š

‘āĻļ⧇āώ⧇ āϝāĻ–āύ āĻšāĻžāϞ āϛ⧇āĻĄāĻŧ⧇ āĻĻ⧇āĻ“āϝāĻŧāĻžāϰ āĻ…āĻŦāĻ¸ā§āĻĨāĻž, āĻ…āϰ⧁āĻŖāĻŦāĻžāĻŦ⧁ āĻŦāϞāϞ⧇āĻ¨â€” ‘āĻāĻ•āϟāĻž āϞāĻžāĻ¸ā§āϟ āĻŸā§āϰāĻžāχ āύ⧇āĻ“āϝāĻŧāĻž āϝāĻžāĻ•, āφāĻŽāĻžāϕ⧇ āĻāĻ•āϟāĻž āĻŸā§‡āĻŦāĻŋāϞ āĻœā§‹āĻ—āĻžāĻĄāĻŧ āĻ•āϰ⧇ āĻĻ⧇āĨ¤â€™ āĻŸā§‡āĻŦāĻŋāϞ āĻāϞ, āϤāĻžāϤ⧇ āϚāĻĄāĻŧ⧇ āĻ…āϰ⧁āĻŖāĻŦāĻžāĻŦ⧁āϰ āϏ⧇ āϕ⧀ āύāĻžāϚ āφāϰ āĻ—āĻžāύ! āϏāĻ™ā§āϗ⧇ āύāĻžāύāĻž āϰāĻ•āĻŽ āĻ…āĻ™ā§āĻ—āĻ­āĻ™ā§āĻ—āĻŋāĨ¤ āϞ⧋āĻ•āĻžāϞ āφāĻ°ā§āϟāĻŋāĻ¸ā§āϟāϰāĻž āĻšā§‡āϏ⧇ āϖ⧁āύ, āĻšāĻžāϤāϤāĻžāϞāĻŋāϰ āĻšāϰāϰāĻž, āĻ“āϕ⧇ āĻŸā§‡āĻ•āĨ¤â€™ āĻ…ā§āϝāĻžāϏāĻŋāĻ¸ā§āĻŸā§āϝāĻžāĻ¨ā§āĻŸā§‡āϰ āĻ•āĻĨāĻžāĨ¤

āĻŦāĻŋāĻ•ā§āϰāĻŽ āĻ†ā§Ÿā§‡āĻ™ā§āĻ—āĻžāϰ (Vikram Iyengar)

Scrap Mettle

‘…There was no healthy commercial or experimental theatre happening in Ahmedabad to take forward this energy. Most of those who continued moved to Bombay. Additionally, there was very little safe space to create political and anti-establishment theatre. This is the vacuum that Scrapyard attempts to fill.’ The story of new theatre.

āĻ…ā§āϝāĻžāĻ¨ā§āĻĄā§āϰ⧁ āϰāĻŦāĻŋāύāϏāύ (Andrew Robinson)

The Mozart of Cinema

‘…Ray was, of course, famously fluent in both Bengali and English. This fusion inevitably means that many aspects of Ray films are unfamiliar, offputting and sometimes incomprehensible to audiences outside India. How many international viewers will follow Ray’s pivotal pun on NASA as nesa, Bengali for ‘addiction’, in his philosophical final film, ‘Agantuk’? The relevance of Satyajit Ray.

āĻ…āĻ°ā§āĻ• āĻĻāĻžāĻļ (Arka Das)

Restructuring History

‘The book offers an interesting structuralist perspective into feminism in India via the cultural space, specifically the cultural space of Santiniketan, which had a far-reaching impact on Bengali, and broadly speaking, Indian society, in the early to mid-20th century.’ A review of ‘Transcending the Glass Case: The Women Artists of Early 20th Century Bengal and the Gendered Indigenous Modernism’ by Dr Aparna Roy Baliga

āĻ…āĻ°ā§āĻ• āĻĻāĻžāĻļ (Arka Das)

āχāϤāĻŋāĻšāĻžāϏ⧇āϰ āĻĒ⧁āύāĻ°ā§āύāĻŋāĻ°ā§āĻŽāĻžāĻŖ

‘āφāϧ⧁āύāĻŋāĻ• āĻ­āĻžāϰāϤ⧇āϰ āĻ…āĻ¨ā§āϝāϤāĻŽ āϏāĻŦāĻšā§‡āϝāĻŧ⧇ āϗ⧁āϰ⧁āĻ¤ā§āĻŦāĻĒā§‚āĻ°ā§āĻŖ āĻļāĻŋāĻ˛ā§āĻĒ āϧāĻžāϰāĻžāϰ āϝ⧇ āĻŽā§‚āϞāϤ āĻĒ⧁āϰ⧁āώāϕ⧇āĻ¨ā§āĻĻā§āϰāĻŋāĻ• āχāϤāĻŋāĻšāĻžāϏ, āϤāĻžāϰ āĻāĻ•āϟāĻŋ āϏāĻŽāĻžāĻ¨ā§āϤāϰāĻžāϞ āχāϤāĻŋāĻšāĻžāϏāĻ¸ā§āĻĨāĻžāĻĒāύ āφāĻŽāϰāĻž …āĻāχ āĻŦāχāϤ⧇ āĻĒāĻžāχāĨ¤’ āĻĄāĻ•ā§āϟāϰ āĻ…āĻĒāĻ°ā§āĻŖāĻž āϰāĻžāϝāĻŧ āĻŦāĻžāϞāĻŋāĻ—āĻžāϰ ‘āĻŸā§āϰāĻžāĻ¨ā§āϏ⧇āĻ¨ā§āĻĄāĻŋāĻ‚ āĻĻā§āϝ āĻ—ā§āϞāĻžāϏ āϕ⧇āϏ’-āĻāϰ āĻāĻ•āϟāĻŋ āϏāĻŽāĻžāϞ⧋āϚāύāĻžāĨ¤