May 22, 2021

āϰāĻžāĻ¸ā§â€ŒāĻ•āĻŋāύ āĻŦāĻ¨ā§āĻĄ (Ruskin Bond)

āĻĻ⧇āĻ“āϝāĻŧāĻžāϞ⧇ āĻ“ āĻ•āĻžāϰ āĻ›āĻžāϝāĻŧāĻž?

‘āĻāĻ•āϟāĻž āĻ¸ā§āĻŦāĻĒā§āύ⧇ āĻĒā§āϰāĻžāϝāĻŧ āĻĄā§āĻŦ⧇ āϝāĻžāĻšā§āĻ›āĻŋāϞāĻžāĻŽ, āĻāχ āϏāĻŽāϝāĻŧ⧇ āĻ•āĻžāρāϧ⧇ āĻ āĻŋāĻ• āϏ⧇āχ āύāϰāĻŽ āĻšāĻžāϤ⧇āϰ āϛ⧋āρāϝāĻŧāĻž āĻĒ⧇āϞāĻžāĻŽāĨ¤ āĻāϰ āĻĒāϰ, āϤāĻžāϰ āĻ…āĻ¨ā§āϝ āĻšāĻžāϤāϟāĻžāĻ“ āφāĻŽāĻžāϕ⧇ āϛ⧁āρāϞāĨ¤ āĻ­āϝāĻŧ⧇ āĻāĻŦāĻ‚ āϤāĻžāϰ āωāĻĒāĻ¸ā§āĻĨāĻŋāϤāĻŋāϰ āωāĻ¤ā§āϤ⧇āϜāύāĻžāϝāĻŧ āφāĻŽāĻŋ āϕ⧇āρāĻĒ⧇ āωāĻ āϞāĻžāĻŽāĨ¤ āĻĻ⧁āĻŸā§‹ āĻšāĻžāϤāχ āφāĻŽāĻžāϰ āĻŦ⧁āϕ⧇āϰ āωāĻĒāϰ āĻāĻŦāĻ‚ āφāĻŽāĻžāϰ āĻšāĻžāϤ⧇āϰ āωāĻĒāϰ āĻ˜ā§‹āϰāĻžāĻĢ⧇āϰāĻž āĻ•āϰāϞāĨ¤â€™ āύāϤ⧁āύ āĻ—āĻ˛ā§āĻĒāĨ¤

āĻļāĻ°ā§āĻŽāĻŋāϞāĻž āĻ āĻžāϕ⧁āϰ (Sharmila Tagore)

‘āύāĻžāϝāĻŧāĻ•â€™ āφāϰ āφāĻŽāĻŋ

‘āĻ•āϞāĻ•āĻžāϤāĻžāϝāĻŧ āĻĢāĻŋāĻ˛ā§āĻŽ āϤ⧈āϰāĻŋ āĻ•āϰāĻž āϏāĻŦāϏāĻŽāϝāĻŧāχ āĻāĻ•āϰāĻ•āĻŽ āϝ⧁āĻĻā§āϧāĨ¤ āφāĻŽāĻžāϰ āĻŽāύ⧇ āφāϛ⧇, āϞāĻžāĻžā§āϚ-āĻŦā§āϰ⧇āϕ⧇āϰ āϏāĻŽāϝāĻŧ, āĻŽāĻžāύāĻŋāĻ•āĻĻāĻž āĻ•ā§āϝāĻžāĻŽā§‡āϰāĻžāϰ āĻĒāĻžāĻļ⧇ āĻŦāϏ⧇ āĻĨāĻžāĻ•āϤ⧇āύ, āφāϰ āύāĻŋāĻœā§‡āϰ āϰ⧁āĻŽāĻžāϞāϟāĻž āϚāĻŋāĻŦā§‹āϤ⧇āύ! āĻĒā§āϰāĻžāϝāĻŧ āĻĒā§āϰāϤāĻŋāĻĻāĻŋāύ āĻāĻ•āϟāĻž āĻ•āϰ⧇ āϰ⧁āĻŽāĻžāϞ āύāĻˇā§āϟ āĻ•āϰāϤ⧇āύ, āφāϰ āϤāĻžāρāϰ āĻ¸ā§āĻ¤ā§āϰ⧀ āĻŽāĻ™ā§āϕ⧁āĻĻāĻŋ āϤāĻž āύāĻŋāϝāĻŧ⧇ āϰāĻžāĻ—āĻžāϰāĻžāĻ—āĻŋ āĻ•āϰāϤ⧇āύ!’ āϏāĻŋāύ⧇āĻŽāĻžāϰ āĻ—āĻ˛ā§āĻĒāĨ¤

āĻļ⧁āĻ­āĻž āĻŽā§āĻĻā§āĻ—āϞ (Shubha Mudgal)

āĻļ⧁āĻ­āĻžāϰāĻŽā§āĻ­: āĻĒāĻ°ā§āĻŦ ā§Ģ

‘āĻ—ā§‹āĻĄāĻŧāĻžāϞāĻŋāϤ⧇ āϘ⧁āĻ‚āϰ⧁āϰ āύāĻŋāĻšā§‡ āĻ“āχ āĻāĻ•āχ āĻĒā§āϝāĻžāϟāĻžāĻ°ā§āύ⧇āϰ āϚāĻ“āĻĄāĻŧāĻž āύ⧁āĻĒā§‚āϰ, āĻāĻŦāĻ‚ āĻšāĻžāϤ⧇ āĻ“ āĻĒāĻžāϝāĻŧ⧇ āϜāϟāĻŋāϞ āύāĻ•āĻļāĻžāϝāĻŧ āφāϞāϤāĻžāϰ āϚāĻŋāĻšā§āύāĨ¤ āϤāĻžāρāϰ āĻĒā§āϰāϤāĻŋāϟāĻŋ āĻĒāĻĻāĻ•ā§āώ⧇āĻĒ⧇, āϕ⧋āĻŽāϰāĻŦāĻ¨ā§āϧ-āύ⧁āĻĒā§‚āϰ-āϘ⧁āĻ‚āϰ⧁-āĻŦāĻžāϞāĻž-āϚ⧁āĻĄāĻŧāĻŋ āϏāĻŦ āĻāϕ⧇ āĻ…āĻĒāϰ⧇āϰ āϏāĻ™ā§āϗ⧇ āϞ⧇āϗ⧇ āĻāύāĻžā§Ž-āĻāύāĻžā§Ž āφāĻ“āϝāĻŧāĻžāϜ āϤ⧁āϞāϤ⧇ āϞāĻžāĻ—āϞ, āϝ⧇āύ āĻŦā§āϝāĻžāĻ¨ā§āĻĄāĻĒāĻžāĻ°ā§āϟāĻŋ!’ āωāĻĻā§āĻ­āϟ āύāĻžāϚāĨ¤

āϚāĻ¨ā§āĻĻā§āϰāĻŋāϞ āĻ­āĻŸā§āϟāĻžāϚāĻžāĻ°ā§āϝ

āϏāĻžāĻŽāĻĨāĻŋāĻ‚ āϏāĻžāĻŽāĻĨāĻŋāĻ‚: āĻĒāĻ°ā§āĻŦ ā§­

āĻ•āϰ⧋āύāĻžā§Ÿ āĻŽā§ƒāĻ¤ā§āϝ⧁ āĻšā§Ÿā§‡ āϜāϞ⧇ āĻ­āĻžāϏāϛ⧇ āĻāĻ•-āĻāĻ•āϟāĻž āϞāĻžāĻļāĨ¤ āφāϰ āϏ⧇āϏāĻŦ āĻĻ⧇āĻ–āϛ⧇ āĻ›āĻžāύāĻž-āĻŽāĻžāĻ›, āĻŦāĻžāĻŦāĻž-āĻŽāĻžāĻ›, āĻŽāĻž-āĻŽāĻžāĻ› āĻāĻŦāĻ‚ āϤāĻžāĻĻ⧇āϰ āφāĻ¤ā§āĻŽā§€ā§ŸāĻ¸ā§āĻŦāϜāύāϰāĻžāĨ¤ āĻ›āĻžāύāĻžāϰ āφāύāĻ¨ā§āĻĻ, āĻ•āĻŋāĻ¨ā§āϤ⧁ āĻŦ⧜āĻĻ⧇āϰ āϭ⧟, āϝāĻĻāĻŋ āĻ“āϤ⧇ āĻŦāĻŋāώ āĻĨāĻžāϕ⧇? āϏ⧇āχ āϏ⧂āĻ¤ā§āϰ āϧāϰ⧇āχ āĻŽāĻžāϛ⧇āĻĻ⧇āϰ āĻ•āĻĨāĻžāϞāĻžāĻĒ āĻļ⧁āϰ⧁ āĻšā§ŸāĨ¤ āωāϠ⧇ āφāϏ⧇ āĻŽāĻžāύ⧁āώ⧇āϰ āĻĻ⧇āĻļ-āĻ•āĻžāϞ-āϏāĻ‚āĻ¸ā§āĻ•ā§ƒāϤāĻŋāϰ āύāĻžāύāĻž āϘāϟāύāĻžāĨ¤

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

Interview: Mallika Sarabhai and Revanta Sarabhai: Part 2

Mallika Sarabhai and Revanta Sarabhai speak to Vikram Iyengar about the conflict between the traditional and the contemporary – both in dance and in life.

āĻŽāĻžāϞāĻŦāĻŋāĻ•āĻž āĻŦā§āϝāĻžāύāĻžāĻ°ā§āϜāĻŋ (Malavika Banerjee)

āφāĻļāĻž āφāϰ āĻĒ⧁āύāĻ°ā§āϜāĻ¨ā§āĻŽ

‘āĻ—āϤ āĻŦāĻ›āϰ āφāĻŽāĻĢāĻžāύ āĻ āĻŋāĻ• āĻāχ āϏāĻŽāϝāĻŧ⧇ āĻ•āϞāĻ•āĻžāϤāĻžāϕ⧇āχ āωāĻĒāĻĄāĻŧ⧇ āĻĢ⧇āϞ⧇āĻ›āĻŋāϞ, āϗ⧁āρāĻĄāĻŧāĻŋ āϏāĻŽā§‡āϤ āĻ—āĻžāĻ›, āĻŦāĻžāĻĄāĻŧāĻŋ āĻĨ⧇āϕ⧇ āϜāĻžāύāϞāĻž āωāĻĄāĻŧāĻŋāϝāĻŧ⧇ āύāĻŋāϝāĻŧ⧇ āĻ—āĻŋāϝāĻŧ⧇āĻ›āĻŋāϞ, āφāϰ āύāĻžāύāĻžāĻŦāĻŋāϧ āϗ⧁āĻŽāϟāĻŋ āφāϰ āĻŦāĻĄāĻŧ āĻŦāĻĄāĻŧ āĻšā§‹āĻ°ā§āĻĄāĻŋāĻ‚āϕ⧇ āĻĻ⧁āĻŽāĻĄāĻŧ⧇-āĻŽā§āϚāĻĄāĻŧ⧇ āĻāĻŽāύ āϛ⧁āĻĄāĻŧ⧇ āĻĻāĻŋāϝāĻŧ⧇āĻ›āĻŋāϞ, āϝāĻž āĻĒā§āϰāĻžāϝāĻŧ āĻĒā§āϰāĻžāĻŖāϘāĻžāϤ⧀ āĻāĻ• āĻāĻ•āϟāĻŋ āϛ⧋āϟ āĻŽāĻŋāϏāĻžāχāϞ⧇ āĻĒāϰāĻŋāĻŖāϤ āĻšāϝāĻŧ⧇āĻ›āĻŋāϞāĨ¤â€™ āĻā§œā§‡āϰ āĻ¸ā§āĻŽā§ƒāϤāĻŋāĨ¤

āϏāĻžāĻ•āĻŋāĻŦ āφāϞ āĻšāĻžāϏāĻžāύ

āĻ…āϞāϰāĻžāωāĻ¨ā§āĻĄāĻžāϰ: āĻĒāĻ°ā§āĻŦ ā§Š

‘āĻ—āϤ āĻŦāĻ›āϰ āĻĻāĻ°ā§āĻļāĻ•āĻļā§‚āĻ¨ā§āϝ āĻŽāĻžāĻ , āĻ āĻŦāĻ›āϰ āĻŦāĻžāϝāĻŧā§‹āĻŦāĻžāĻŦāϞ⧇ āφāϟāϕ⧇ āĻĨ⧇āϕ⧇ āύāĻŋāĻœā§‡āĻĻ⧇āϰ āĻĒā§āϰāĻ¸ā§āϤ⧁āϤ āĻ•āϰāĻžāĨ¤ āϖ⧇āϞāĻž āĻļ⧇āώ⧇ āĻāĻ•āĻž āĻŽāĻžāχāĻ• āϧāϰ⧇ āχāĻ¨ā§āϟāĻžāϰāĻ­āĻŋāω āĻĻ⧇āĻ“āϝāĻŧāĻž, āĻ­āĻžāĻ°ā§āϚ⧁āϝāĻŧāĻžāϞ āϏāĻžāĻ‚āĻŦāĻžāĻĻāĻŋāĻ• āϏāĻŽā§āĻŽā§‡āϞāύāĨ¤ āϏāĻžāϝāĻŧ⧇āĻ¨ā§āϏ āĻĢāĻŋāĻ•āĻļāύ⧇āϰ āĻšā§‡āϝāĻŧ⧇ āĻ•āĻŽ āϕ⧀! āϕ⧇ āĻŦāϞāϤ⧇ āĻĒāĻžāϰ⧇, āĻāϰ āĻĒāϰ āϕ⧀ āύāϤ⧁āύ āϧāϰāύ āφāϏāϤ⧇ āϚāϞ⧇āϛ⧇āĨ¤â€™ āĻ•ā§āϰāĻŋāϕ⧇āĻŸā§‡ āĻŦāĻĻāϞāĨ¤

āĻ‹āϤāĻŦā§āϰāϤ āĻŽā§āĻ–ā§‹āĻĒāĻžāĻ§ā§āϝāĻžā§Ÿ

āĻŽā§āĻ–āĻ‹āϤ: āĻĒāĻ°ā§āĻŦ ā§Ŧ

â€˜ā§¨ā§Ļ⧍⧧ āϏāĻžāϞ⧇ āĻĻāĻžāρāĻĄāĻŧāĻŋāϝāĻŧ⧇ āφāĻŦāĻžāϰ āύāĻŋāĻœā§‡āĻĻ⧇āϰ āĻāĻ•āϟāĻž āĻ…āĻšā§‡āύāĻž āϞāĻĄāĻŧāĻžāχāϝāĻŧ⧇ āϝ⧋āĻ—āĻĻāĻžāύ āĻ•āϰāϤ⧇ āĻšāϝāĻŧ⧇āϛ⧇āĨ¤ āϏ⧇āχ āϝ⧁āĻĻā§āϧ āφāĻŽāϰāĻžāχ āĻĄā§‡āϕ⧇ āĻāύ⧇āĻ›āĻŋ āĻšāϝāĻŧāϤ⧋āĨ¤ āϤāĻŦ⧇ āϝ⧁āĻĻā§āϧ⧇āϰ āĻŽāϝāĻŧāĻĻāĻžāύ⧇ āϝāĻžāρāĻĻ⧇āϰ āϏāĻžāĻŽāύ⧇ āĻĨ⧇āϕ⧇ āφāĻļā§āĻŦāĻžāϏ āϜāĻžāĻ—āĻžāύ⧋āϰ āĻ•āĻĨāĻž āĻ›āĻŋāϞ, āϤāĻžāρāϰāĻž āύāĻŋāϭ⧃āϤ⧇, āύāĻŋāϰāĻžāĻĒāĻĻ⧇āĨ¤ āĻļ⧁āϧ⧁ āύāĻŋāσāĻļā§āĻŦāĻžāϏ āύ⧇āĻ“āϝāĻŧāĻžāϰ āϜāĻ¨ā§āϝ āφāϜ āĻāχ āϚāĻŋā§ŽāĻ•āĻžāϰ āĻ•āϰ⧇ āĻ—āϞāĻž āĻĢ⧇āĻŸā§‡ āϝāĻžāĻšā§āϛ⧇āĨ¤â€™ āĻ…āĻšā§‡āύāĻž āϞ⧜āĻžāχāĨ¤

āĻļāĻ°ā§āĻŽāĻŋāϞāĻž āĻ āĻžāϕ⧁āϰ (Sharmila Tagore)

‘The Hero’ and I

‘Filmmaking in Calcutta has always been a sort of technical battle, mainly as I said due to lack of funds. I am sure this added to the overall stress of filmmaking and I wouldn’t be surprised if this was the cause of Ray’s poor heart condition. I remember him sitting next to the camera during our lunch break, chewing on his handkerchief. He ruined one hankie daily much to Monku Di, his wife’s chagrin.’ The story of a film.

āĻŽāĻžāϞāĻŦāĻŋāĻ•āĻž āĻŦā§āϝāĻžāύāĻžāĻ°ā§āϜāĻŋ (Malavika Banerjee)

Hope and Resurrection

‘Looking back at Amphan a year after it howled across Kolkata – felling trees, plucking out windows and morphing kiosks and hoardings into deadly projectiles – two stories emerge.’ Memories of a super-cyclone.

āĻļ⧁āĻ­āĻž āĻŽā§āĻĻā§āĻ—āϞ (Shubha Mudgal)

Shubharambh: Part 5

‘A large waist ornament with several loops and lacy patterns was secured over her hips and waist tightly. On her ankles, under the ghungroos, were similar lace-patterned broad anklets and her feet and hands had elaborate patterns painted on them with organic red dye called alta. As she walked, her waist ornament, anklets, ghungroos and bangles and bracelets clinked and clanged like a kitchen band.’ Dance macabre.

āϰāĻžāĻ¸ā§â€ŒāĻ•āĻŋāύ āĻŦāĻ¨ā§āĻĄ (Ruskin Bond)

The Shadow on the Wall

I was slipping into a dream when I felt that soft hand on my shoulder. Then the other hand touched me. I shivered with fright and apprehension. The hands moved across my chest and arms, there was nothing disembodied about them. I lay perfectly still… That soft, warm, plump hand brushed against my cheek. I put out my own hand to touch her face.’ A brand new story.