July 17, 2021

āĻŽā§āϕ⧁āϞ āϕ⧇āϏāĻŦāύ (Mukul Kesavan)

āϝāĻŽāϜ: āφāϧ⧁āύāĻŋāĻ• āĻ•ā§āϰ⧀āĻĄāĻŧāĻž āĻ“ āϰāĻžāĻˇā§āĻŸā§āϰ

‘āϜāĻžāϤ⧀āϝāĻŧāϤāĻžāĻŦāĻžāĻĻ āĻāĻŦāĻ‚ āϖ⧇āϞāĻžāϧ⧁āϞ⧋āϰ āĻŽāĻ§ā§āϝ⧇ āϝ⧇ āĻŦāĻ°ā§āϧāĻŽāĻžāύ āϏāĻŽā§āĻĒāĻ°ā§āĻ•, āϤāĻžāϰ āϏāĻŦāĻšā§‡āϝāĻŧ⧇ āϗ⧁āϰ⧁āĻ¤ā§āĻŦāĻĒā§‚āĻ°ā§āĻŖ āĻ…āĻ™ā§āĻ— āĻ›āĻŋāϞ āĻ…āϞāĻŋāĻŽā§āĻĒāĻŋāĻ•ā§āϏāϕ⧇ āϜāĻžāϤ⧀āϝāĻŧ āϰ⧂āĻĒ āĻĻ⧇āĻ“āϝāĻŧāĻžāϰ āĻĒā§āϰāĻ•ā§āϰāĻŋāϝāĻŧāĻžāĨ¤ āĻĒāĻŋāϝāĻŧ⧇āϰ āĻĻā§āϝ⧇ āϕ⧁āĻŦ⧇āĻ°ā§āϤāρ āϝāĻ–āύ āĻāχ āĻĒā§āϰāĻžāĻšā§€āύ āϖ⧇āϞāĻžāϰ āφāϏāϰāϟāĻŋāϕ⧇ āύāĻŦāĻœā§€āĻŦāύ āĻĻāĻžāύ āĻ•āϰāϤ⧇ āĻšā§‡āϝāĻŧ⧇āĻ›āĻŋāϞ⧇āύ, āϤāĻ–āύ āϤāĻžāρāϰ āĻ¸ā§āĻŦāĻĒā§āύ āĻ›āĻŋāϞ āĻāχ āĻ…āϞāĻŋāĻŽā§āĻĒāĻŋāĻ•ā§āϏ āĻšāϝāĻŧ⧇ āωāĻ āĻŦ⧇ āĻĒāĻžāϰāĻ¸ā§āĻĒāϰāĻŋāĻ• āĻ­ā§āϰāĻžāϤ⧃āĻ¤ā§āĻŦ⧇āϰ āĻŽāĻšā§‹ā§ŽāϏāĻŦāĨ¤â€™ āĻ¸ā§āĻŦāĻĒā§āύ⧇āϰ āĻ…āϞāĻŋāĻŽā§āĻĒāĻŋāĻ•ā§āϏāĨ¤

āĻĒ⧃āĻĨā§āĻŦā§€ āĻŦāϏ⧁

‌āĻŽā§āϝāĻžāϜāĻŋāϕ⧇āϰ āĻ…āĻĒ⧇āĻ•ā§āώāĻž

āĻŸā§‹āĻ•āĻŋāĻ“ āĻ…āϞāĻŋāĻŽā§āĻĒāĻŋāĻ•ā§āϏāĻ•ā§‡â€Œ ‌āϕ⧇āĻ¨ā§āĻĻā§āϰ ‌āĻ•āϰ⧇ â€Œā§§ā§§â€Œ ‌āϜ⧁āϞāĻžāĻ‡â€Œ ‌āĻĻ⧁āϟāĻŋ āϏāĻ‚āĻ¸ā§āĻĨāĻžāϰ ‌āϝ⧌āĻĨ‌ ‌āωāĻĻā§āϝ⧋āĻ—ā§‡â€Œ ‌āφāϝāĻŧā§‹āϜāĻŋāĻ¤â€Œ ‌āĻšāϝāĻŧ‌ ‌āĻāĻ•āϟāĻŋ‌ ‌āĻ…āύāϞāĻžāχāĻ¨â€Œ ‌āĻ…āύ⧁āĻˇā§āĻ āĻžāύāĨ¤â€Œ āφāϞ⧋āϚāύāĻžā§Ÿ ‌āĻ…āĻ‚āĻļāĻ—ā§āϰāĻšāĻŖâ€Œ ‌āĻ•āϰ⧇āĻ›āĻŋāϞ⧇āύ,‌ ‌āĻ…āϞāĻŋāĻŽā§āĻĒāĻŋāĻ•ā§āĻ¸ā§‡â€Œ ‌āĻ¸ā§āĻŦāĻ°ā§āĻŖāĻĒāĻĻāĻ•â€Œ ‌āϜāϝāĻŧā§€â€Œ ‌āĻ­āĻžāϰāϤ⧀āϝāĻŧ‌ ‌āĻļ⧁āϟāĻžāĻ°â€Œ ‌āĻ…āĻ­āĻŋāύāĻŦ‌ ‌āĻŦāĻŋāĻ¨ā§āĻĻā§āϰāĻžâ€Œ ‌āĻ“â€Œ ‌āĻĒā§āϰāĻ–ā§āϝāĻžāĻ¤â€Œ ‌āĻ•ā§āϰ⧀āĻĄāĻŧāĻž-āϏāĻžāĻ‚āĻŦāĻžāĻĻāĻŋāĻ•â€Œ ‌āϰ⧋āĻšāĻŋāĻ¤â€Œ ‌āĻŦā§āϰāĻŋāϜāύāĻžāĻĨāĨ¤â€Œ āϏāĻžā§āϚāĻžāϞāĻ• āĻ›āĻŋāϞ⧇āύ ‌āϗ⧇āĻŽāĻĒā§āĻ˛ā§āϝāĻžāĻ¨â€Œ ‌āĻ•ā§āϰ⧀āĻĄāĻŧāĻž-āĻŦāĻŋāĻĒāĻŖāĻ¨â€Œ ‌āϏāĻ‚āĻ¸ā§āĻĨāĻžāĻ°â€Œ ‌āĻ•āĻ°ā§āĻŖāϧāĻžāĻ°â€Œ ‌āϜāĻŋā§Žâ€Œ ‌āĻŦā§āϝāĻžāύāĻžāĻ°ā§āϜāĻŋāĨ¤â€Œâ€Œ

āϜāĻžāĻĢāϰ āχāĻ•āĻŦāĻžāϞ (Zafar Iqbal)

āĻšāĻ•āĻŋāϤ⧇ āϏ⧋āύāĻžāϰ āϏ⧁āϝ⧋āĻ—

‘…āĻāχ āĻ­āĻžāϰāϤ āĻĻāϞāϟāĻžāϝāĻŧ āĻĒā§āϰāϤāĻŋāĻ­āĻž āĻ“ āϤāĻžāϰ⧁āĻŖā§āϝ⧇āϰ āĻāĻ•āϟāĻž āϚāĻŽā§ŽāĻ•āĻžāϰ āĻŽāĻŋāĻļ⧇āϞ āϰāϝāĻŧ⧇āϛ⧇āĨ¤ āĻ—āϤ āĻŦāĻŋāĻļā§āĻŦāĻ•āĻžāĻĒ⧇ āĻ­āĻžāϰāϤ āϕ⧋āϝāĻŧāĻžāĻ°ā§āϟāĻžāϰ āĻĢāĻžāχāύāĻžāϞ⧇ āωāϠ⧇āĻ›āĻŋāϞ… āϏ⧇āχ āĻ¸ā§āϤāϰ⧇āϰ āϖ⧇āϞāĻž āĻŸā§‹āĻ•āĻŋāĻ“āϤ⧇ āϖ⧇āϞāϤ⧇ āĻĒāĻžāϰāϞ⧇, āĻāĻ•āϟāĻž āĻĒāĻĻāĻ• āĻĒāĻžāĻ“āϝāĻŧāĻž āφāĻļā§āϚāĻ°ā§āϝ āĻ•āĻŋāϛ⧁ āύāϝāĻŧāĨ¤’ āĻŽāĻ¸ā§āϕ⧋ ā§§ā§¯ā§Žā§¨-āĻāϰ āĻĒāϰ āĻ­āĻžāϰāĻ¤ā§€ā§Ÿ āĻšāĻ•āĻŋ āĻ…āύ⧁āϰāĻžāĻ—ā§€āĻĻ⧇āϰ āĻ¸ā§āĻŦāĻĒā§āύ āĻĻ⧇āĻ–āĻžāϰ āϏāĻžāĻšāϏāĨ¤

āϏāĻžāϰāύāĻžāĻĨ āĻŦāĻ¨ā§āĻĻā§āϝ⧋āĻĒāĻžāĻ§ā§āϝāĻžā§Ÿ

āϏāĻžāĻ•ā§āώāĻžā§ŽāĻ•āĻžāϰ: āϏāĻžāϰāύāĻžāĻĨ āĻŦāĻ¨ā§āĻĻā§āϝ⧋āĻĒāĻžāĻ§ā§āϝāĻžā§Ÿ

‘āĻĒā§āϝāĻžāĻ¸ā§āĻŸā§‹āϰāĻžāϞ’ āϜ⧁āĻĄā§‹, ‘āĻĻā§āϝ āφāĻ°ā§āϟ āĻ…āĻāĻĢ āĻĢāϞāĻŋāĻ‚’ āĻāĻŦāĻ‚ āϜāĻŋāϤ⧇āĻ“ āĻšāĻžāϰ– āĻāχ āϏāĻžāĻ•ā§āώāĻžā§ŽāĻ•āĻžāϰ⧇ āωāϠ⧇ āĻāϞ⧋ ⧍ā§Ļ⧧⧍ āϞāĻ¨ā§āĻĄāύ āĻ…āϞāĻŋāĻŽā§āĻĒāĻŋāĻ•ā§āϏ-āĻ āĻļāĻšāϰ āĻœā§ā§œā§‡ āĻ…āϏāĻžāĻŽāĻžāĻ¨ā§āϝ ‘āĻ—ā§āϝāĻžāϞāĻžāϰāĻŋ āĻ…āĻĢ āϞ⧁āϜāĻžāϰāϏ’-āĻāϰ āύ⧇āĻĒāĻĨā§āϝ⧇ āĻĨāĻžāĻ•āĻž āĻāĻ• āĻļāĻŋāĻ˛ā§āĻĒā§€āϰ āϏ⧃āĻˇā§āϟāĻŋāϜāĻ—ā§ŽāĨ¤ āĻ•āĻĨā§‹āĻĒāĻ•āĻĨāύ⧇ āϏāĻžā§āϚāĻžāϰ⧀ āĻŽā§āĻ–ā§‹āĻĒāĻžāĻ§ā§āϝāĻžā§ŸāĨ¤

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

āĻ…āĻ¸ā§Ž āĻ…āϞāĻŋāĻŽā§āĻĒāĻŋāĻ•ā§āϏ

‘āφāϰāĻ­āĻŋāύ⧇āϰ āĻšā§‹āϖ⧇āϰ āĻ“āĻĒāϰ āĻ­ā§āϝāĻžāϞ⧇āĻ¨ā§āϤāĻŋāύ āĻĒā§āϰāϚāĻŖā§āĻĄ āĻœā§‹āϰ⧇ āĻŽāĻžāϰāϞ⧇āύ, āĻĻāϰāĻĻāϰ āĻ•āϰ⧇ āϰāĻ•ā§āϤ āĻŦ⧇āϰāĻŋāϝāĻŧ⧇ āĻĒ⧁āϞ⧇āϰ āϜāϞ āϞāĻžāϞ āĻšāϝāĻŧ⧇ āϗ⧇āϞāĨ¤ āĻĻā§â€™āĻĻāϞ⧇āϰ āϏāĻŽāĻ°ā§āĻĨāĻ•āϰāĻž āĻ•ā§āώāĻŋāĻĒā§āϤāĻ­āĻžāĻŦ⧇ āĻāĻ—āĻŋāϝāĻŧ⧇ āϝāĻžāϝāĻŧ āĻĒ⧁āϞ⧇āϰ āĻĻāĻŋāϕ⧇, āĻ…āĻĢāĻŋāĻļāĻŋāϝāĻŧāĻžāϞāϰāĻž āĻĒāϰāĻŋāĻ¸ā§āĻĨāĻŋāϤāĻŋ āύāĻŋāϝāĻŧāĻ¨ā§āĻ¤ā§āϰāϪ⧇ āφāύāϤ⧇ āĻšāĻŋāĻŽāĻļāĻŋāĻŽ āϖ⧇āϝāĻŧ⧇ āϝāĻžāύāĨ¤â€™ āϰāĻ•ā§āϤāĻžāĻ•ā§āϤ āĻ…āϞāĻŋāĻŽā§āĻĒāĻŋāĻ•ā§āϏāĨ¤

āĻŦā§‹āϰāĻŋ⧟āĻž āĻŽāϜ⧁āĻŽāĻĻāĻžāϰ (Boria Majumder)

āĻĻāĻļ⧇āϰ āĻŦ⧇āĻļāĻŋ āĻĒāĻĻāĻ•!

‘āĻŦāϜāϰāĻ‚ āĻĒ⧁āύāĻŋāϝāĻŧāĻž āĻšā§‹āύ āĻŦāĻž āĻ­āĻŋāύ⧇āĻļ āĻĢā§‹āĻ—āĻžāϤ, āφāĻŽāĻžāĻĻ⧇āϰ āĻāχ āĻ…ā§āϝāĻžāĻĨāϞāĻŋāϟāĻĻ⧇āϰ āĻĒāĻ•ā§āώ⧇ āύāĻž-āĻœā§‡āϤāĻžāϟāĻžāχ āĻ–āĻŦāϰ āĻšāϝāĻŧ⧇ āωāĻ āĻŦ⧇āĨ¤ āĻ…āϞāĻŋāĻŽā§āĻĒāĻŋāĻ•ā§āϏ⧇ āĻ­āĻžāϰāϤ⧀āϝāĻŧ āϜāϝāĻŧ āĻāĻ–āύ āφāϰ ‘āĻŽāĻŋāϰāĻžāĻ•āĻ˛â€™ āύāϝāĻŧāĨ¤ āĻŦāϰāĻ‚ āωāĻ˛ā§āĻŸā§‹āϟāĻžāχ āϏāĻ¤ā§āϝāĻŋ, āφāĻŽāϰāĻž āϜāĻžāύāĻŋ āϝ⧇ āφāĻŽāĻžāĻĻ⧇āϰ āĻ…ā§āϝāĻžāĻĨāϞāĻŋāϟāϰāĻž āϜāϝāĻŧ āĻ›āĻŋāύāĻŋāϝāĻŧ⧇ āφāύāϤ⧇ āϏāĻ•ā§āώāĻŽāĨ¤â€™ āĻŸā§‹āĻ•āĻŋāĻ“ āĻ…āϞāĻŋāĻŽā§āĻĒāĻŋāĻ•ā§āϏ⧇ āĻ­āĻžāϰāϤ⧇āϰ āĻĒāĻĻāĻ•āĻĒā§āϰāĻžāĻĒā§āϤāĻŋāϰ āϏāĻŽā§āĻ­āĻžāĻŦāύāĻžāĨ¤

āϜ⧟ āĻ­āĻŸā§āϟāĻžāϚāĻžāĻ°ā§āϝ (Joy Bhattacharjya)

āϜāĻ¨ā§āĻŽāĻ¸ā§āĻĨāĻžāύ āĻ•āϞāĻ•āĻžāϤāĻž: āύāĻ°ā§āĻŽā§āϝāĻžāύ āĻĒā§āϰāĻŋāϚāĻžāĻ°ā§āĻĄ

āύāĻ°ā§āĻŽā§āϝāĻžāύ āĻĒā§āϰāĻŋāϚāĻžāĻ°ā§āĻĄ āϜāĻ¨ā§āĻŽā§‡āĻ›āĻŋāϞ⧇āύ āĻ•āϞāĻ•āĻžāϤāĻžāϰ āφāϞāĻŋāĻĒ⧁āϰ āĻ…āĻžā§āϚāϞ⧇āĨ¤ āĻŦāϝāĻŧāσāϏāĻ¨ā§āϧāĻŋāϰ āĻļ⧁āϰ⧁ āĻĨ⧇āϕ⧇āχ āύāĻ°ā§āĻŽā§āϝāĻžāύ āĻ›āĻŋāϞ⧇āύ āϖ⧇āϞāĻžāϰ āϜāĻ—āϤ⧇āϰ āĻŦāĻŋāĻ¸ā§āĻŽāϝāĻŧāĨ¤ āϝ⧇āĻŽāύ āĻ­āĻžāϞ āĻ›āĻŋāϞ⧇āύ āĻĢ⧁āϟāĻŦāϞ, āϰāĻžāĻ—āĻŦāĻŋāϤ⧇, āϤ⧇āĻŽāύāχ āĻ­āĻžāϞ āĻ›āĻŋāϞ⧇āύ āĻ…ā§āϝāĻžāĻĨāϞ⧇āϟāĻŋāĻ•ā§āϏ⧇āĨ¤ āĻŦāĻžāĻ‚āϞāĻžāϰ āĻ¸ā§āĻĒā§āϰāĻŋāĻ¨ā§āϟ āĻšā§āϝāĻžāĻŽā§āĻĒāĻŋāϝāĻŧāύ āĻšāϝāĻŧ⧇āĻ›āĻŋāϞ⧇āύ āϟāĻžāύāĻž āϏāĻžāϤāĻŦāĻžāϰāĨ¤ āφāĻŦāĻžāϰ āϤāĻŋāύāĻŋāχ āĻ­āĻžāϰāϤ⧇āϰ āĻĒā§āϰāĻĨāĻŽ āĻ…āϞāĻŋāĻŽā§āĻĒāĻŋāĻ• āĻĒāĻĻāĻ•āϜāϝāĻŧā§€āĨ¤

āĻĄāĻžāĻ•āĻŦāĻžāĻ‚āϞāĻž.āĻ•āĻŽ

āĻ…āϞāĻŋāĻŽā§āĻĒāĻŋāĻ•ā§āϏ āϕ⧁āχāϜ

āĻ…āϞāĻŋāĻŽā§āĻĒāĻŋāĻ•ā§āϏ āφāϏāϛ⧇, āĻŦāĻžāĻĄāĻŧāϛ⧇ āϤāĻž āύāĻŋā§Ÿā§‡ āĻ•ā§ŒāϤ⧂āĻšāϞāĻ“āĨ¤ āφāĻĒāύāĻŋ āĻ•āϤāϟāĻž āĻ–āĻŦāϰ āϰāĻžāϖ⧇āύ āĻ…āϞāĻŋāĻŽā§āĻĒāĻŋāĻ•ā§āϏ⧇āϰ āĻāĻŦāĻ‚ āϤāĻžāϰ āχāϤāĻŋāĻšāĻžāϏ⧇āϰ? āϤāĻžāχ āύāĻŋā§Ÿā§‡ āϰāχāϞ āϏāĻžāϤāϟāĻž āĻĒā§āϰāĻļā§āύāĨ¤ āφāĻĒāύāĻžāϰ āĻ…āϞāĻŋāĻŽā§āĻĒāĻŋāĻ•ā§āϏ-āĻœā§āĻžāĻžāύ āφāĻĒāύāĻžāϰ āĻšāĻžāϤ⧇ āĻāύ⧇ āĻĻāĻŋāϤ⧇ āĻĒāĻžāϰ⧇ āĻĒ⧁āϰāĻ¸ā§āĻ•āĻžāϰ, āĻ…ā§āϝāĻžāĻĨāϞāĻŋāϟāĻĻ⧇āϰ āφāϗ⧇āχ āφāĻĒāύāĻŋ āĻĒ⧇āϤ⧇ āĻĒāĻžāϰ⧇āύ āϏāĻžāĻĢāĻ˛ā§āϝ⧇āϰ āĻ¸ā§āĻŦāĻžāĻĻ!

āĻŽā§āϕ⧁āϞ āϕ⧇āϏāĻŦāύ (Mukul Kesavan)

Twins: Modern Sport and the Nation State

‘…The Olympics, more than any other sporting event, has pioneered this non-stop identification of sport and the nation. As early as 1908, athletes at the Olympics became representatives of their nations as opposed to individual competitors.’ Nationalism and the Olympic Games.

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

Hunger Games

‘…Every now and then the Olympics reveals a darker side, where the blood, sweat and tears of honest discipline mutate dangerously into conspiracy, sabotage, even violence.’ The murk that lies beneath the glory.

āĻŦā§‹āϰāĻŋ⧟āĻž āĻŽāϜ⧁āĻŽāĻĻāĻžāϰ (Boria Majumder)

The Show Must Go On

‘…With billions of dollars already spent and with the global ecosystem of sport including funding of multiple federations overwhelmingly dependant on the Olympics, there are very strong reasons for the Games to happen. For athletes who have spent five years of their lives getting ready, cancellation would have been tragic.’ Why the Tokyo Olympics was bound to happen.

āϜ⧟ āĻ­āĻŸā§āϟāĻžāϚāĻžāĻ°ā§āϝ (Joy Bhattacharjya)

Born in Kolkata: Norman Pritchard

‘… Pritchard was arguably the first sporting star to make it in Broadway and then films, years before Johnny Weissmuller and Sonja Henie. He assumed the screen name of Norman Trevor and appeared in 28 Hollywood films, often with leading roles.’ The fascinating story of India’s first Olympics medal winner.