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other saints apart from the tradi
tional lineage of the Warsi broth
‘Sufi
ers. “Mystical traditions of va
rious languages and regions draw
me, for instance the Punjabi Sufi
kalams are very diff erent in
thought and music and go deep
music
into social and cultural life.”
For Bellur life changed dramat
ically in 2016 as she adopted Su
fi sm into her everyday life. “To
quit my job and move to another
city in the pursuit of music was an
impulsive and inspired decision,” Common concern KishwarNaheed
is a way
she refl ects. “I almost dismantled
Stages of bias
a comfortable and fi nancially sta
ble life for this and rationally it
would probably not appear a
good idea. But it felt natural, and I
just took a leap. Sufi sm, after all,
is a way of life.”
Indian and Pakistani societies, two
bastions of Urdu poetry, infl ict subtle
of life’
Embracing change
Balancing major changes in
discrimination on women poets
daily life has also been accompa
nied by transformations in the ANJANA RAJAN
CCCCCCCCCCCCCCC
aesthetics of music presentation.
W
Bellur points out that traditional e are living in times when “Dadis (grandmas) of
instruments have given way to Shaheen Bagh” daily shatter all manner of glass
Ahead of her performance in Delhi, newage arrangement in the Sufi
music sphere. “It is quite com
ceilings and barriers, yet some stereotypes refuse
to go away. Take the case of women poets in Urdu. While Ur
Smita Rao Bellur talks about her mon now to use the keyboard, du poetry itself attracts enthusiastic mixed audiences across
transition from Khayal to Sufi music drums, programmed rhythms. I
try and stick with acoustic or In
the Hindustani speaking regions, a curious gender divide
trips up women poets.
diansounding arrangements Delhibased poet Ameeta Parsuram ‘Meeta’ is known for
SHRINKHLA SAHAI though some changes are re her ghazal writing and her annual event “Bazm” in the Cap
CCCCCCCCCCCCCCC
quired to present a sound that ital, an evening she describes as aimed at preserving the tra
F
or vocalist Smita Rao connects with young people al ditional form of ghazal gayaki. Pointing out “subtle discrim
Bellur, transition is the so.” ination”, she says that for every 10 male poets at a given
song of life. Moving As one of the few women qaw mushaira (festival of Urdu poetry), there would be on aver
through life choices wals, she believes that the entry age “two or three or fewer” women. “And it’s not as if there
marked by shifts, from of more women in the Sufi genre are not enough women poets!”
Bengaluru to Mumbai, Hindusta subtly challenges the social struc
ni classical music to Sufi kalam ture. “I was accepted easily into Harder time
and from a lucrative corporate the musical tradition where few Gauhar Raza, another successful Delhibased poet,
profi le to being a musician, she women have been allowed ear agrees that women have a harder time than their male coun
believes in going with the fl ow of lier, times and attitudes have terparts in getting recognised for their literary skills. “Yes,
artistic impulse. Slated to per changed now and there is accep creating space in any fi eld of art and literature is far more
form over the weekend in Delhi at tance and less gender bias.” diffi cult for women in a male dominated world,” he says.
the World Sufi Music Festival ‘Ja Colours of hope Smita Rao Bellur * G_RAMAKRISHNA Curating themebased presen “Urdu poetry world is not free of this exclusivity.”
haneKhusrau’, the artist refl ect tation is the way ahead for Bellur Over years of observation, Ameeta fi nds that audience
ed seamlessly on Sufi music as a a nuanced study of the Jaipur genre.” as a researcher and musician. reaction to women poets too is often one of “lower energy
way of life. style with vocalist Alka Dev Ma
rulkar. With over 350 classical <
> She continued to practice
Khayal, and Sufi music gradually
Presently engrossed in the works
of Hyderabadi poets including
or indiff erence,” or of “looking at her as a woman, followed
by applause suggestive of ‘celebrating the woman’ — almost
The shift concerts to her credit, Bellur’s in Indian music is largely took prevalence until she decided ghazals and Sufi kalaam, she as if she was there to entertain them, while ignoring the
“In Northern Karnataka where I itiation into Sufi music was sud about love. In today’s to fi nally give up her cushy corpo would be sharing her interpreta poet.” Worse, there are occasions like last year when popu
grew up, the Hindustani classical den and swift. rate day job and move to Mumbai tions in her upcoming concert at lar male poet Manzar Bhopali made shockingly derogatory
infl uence is very strong,” recalls world hate has to focus entirely on being a musi JahaneKhusrau. “The festival is remarks about women reciting at mushairas from a public
Bellur as she talks about her fath Words of wonder unfortunately become cian. “Khayal is mostly about known for its GangaJamuni teh platform in Bhopal.
er taking her to her fi rst music The vocalist started listening to more popular. In our creating the mood of the raga, the zeeb and Muzaff ar Ali sahbb has At the other extreme is the “Khawatiin ka mushaira”
class. Trained primarily in the Ki Sufi music as a panacea to her focus is more towards the aakar given me a rare kalam of his (mushaira for women poets), which Ameeta calls “regres
rana gharana, khayal music was work life. She recalls a moment
traditional music, there is and development of the raga and choice to compose.”Iranian musi sive” and “worse than even tokenism”.
the mainstay in the early days of that marked the sublime shift of a nuanced exploration of not the bol. Sufi music focuses on cians would be accompanying the Raza feels, “Since there is no mushaira called ‘Mardon ka
her performance career. “Music genres and professions for her. “I love – from erotic, the poetry.” She shares, describ vocalist at the festival. Mushaira’ or ‘Hazraat ka Mushaira’, it is derogatory to call
was always a serious pursuit.” was in the thick of corporate life, romantic, to the divine. ing the gravitation towards the Quietly refl ecting on the signif any mushaira ‘Khawatiin ka Mushaira’.”
Taught in the traditional guru returning from work, and this world of words, “It is not just the icance of Sufi music in the present Mushairas must not be diff erentiated by gender, “even if
shishya tradition, she believes the particular Sufi kalam took me into for her belief and told that her text, but the vibration of the world, the vocalist says, “Indian the majority or all participant poets are women,” he avers.
teaching system of that time a trance.” The composition was concept is faulty. In this story, god words, the way they are sung, music is largely about love. In to When a poet is introduced with emphasis on the gender in
made music a part of life, fi rst as a Aziz Ahmed Warsi’s rendition of says that a devotee can worship that is important.” Bellur believes day’s world hate has unfortunate stead of the quality of the work, “The broad message is ‘it is
hobby and interest and later as a ‘Allah Hu.’ For her the words car or love them the way they want. that Sufi music has a deep con ly become more popular. In our primarily a display of poets, judge their work on a diff erent
consuming passion and profes ried a message and it was the sur This absolute acceptance and ex nect with the audience and is an traditional music, there is a parameter’.”
sion. real experience of the universe pression of devotion is beautiful.” chored in emotion and spirituali nuanced exploration of love – Interestingly, Pakistani poet Kishwar Naheed says there
“I remember almost growing speaking directly with her. “The Deeply moved by this kalam, ty. from erotic, romantic, to the di are very few mushairas in her country only for women,
up in my Guruji’s home. After way this famous kalam was pre Bellur’s artistic stirrings directed The vocalist points out that vine. Themes of love have been though they may be held on occasions like March 8 or Fe
school I would spend most of my sented was very diff erent. It was her towards fi nding a teacher for delving into Sufi music actually written and celebrated. I am hap bruary 12, designated as Pakistani Women Day. “TV chan
time there, learning and practis slower in pace, and included a lit her foray into Sufi music. Soon goes beyond musical training. “A py to be part of this musical world nels often hold such mushairas,” she says, but adds, “Male
ing, and most of my summer va tle narrative about a devotee and she had become a disciple of the lot of Sufi learning is about under where love is at the centre.” writers, when invited as listeners, do grumble and try to
cations too.” Years of training her belief that the divine power Warsi Brothers. “I realised this standing the philosophy, reading, (Smita Rao Bellur will perform make jokes. In grand (main) mushairas, quite a few partici
with maestros PR Bhagwat and would come home to visit her, was my calling and since I had connecting the dots.” The immer at the World Sufi Music Festival: Ja pate and are appreciated.”
Arjunsa Nakod gave her a strong she even begins preparing for this trained to be a classical singer, it sive world of Sufi sm has taken her haneKhusrau, Delhi, on March 6, Continued on page 3
foundation, sketched further with visit. She is mocked and berated was not very diffi cult to learn this into the compositions of several 2020)
mind, which she had to consistently re
solve before taking a step further.
She says, “There were moments
Anuradha Vellat
CCCCCCCCCCCCCCC Based on the Bhagwat Gita, in “The Battle Within”, when I would feel completely discon
nected and moments when it all came
Bharatanatyam exponent Malavika Sarukkai explores
M
alavika Sarukkai’s art has together. If I knew how much it would
often transcended the the constant tussle between confusion and clarity demand from me, I would have taken a
boundaries and gram few steps back because I have never
mars of Bharatanatyam juna and Krishna played by Sarukkai both characters herself. done anything so raw and concentrat
and come to represent a herself. The landscape itself has been “I think ‘intention’ is a terribly criti ed. These emotions were/are fi erce, ter
wholesome interpretation of some of treacherous and a deeply confusing one cal word for me. I fi nd there is a con rifying but also funneled.”
the most complex philosophical texts. for her. “It has been full of high intensi stant tussle between confusion and clar
She does not transcend these boundar ties, like you would climb atop a Hima ity, that even if one fi nds clarity for a Personal discourse
ies because they limit her, rather, it is layan peak and all you see are more brief passing moment, one loses it easi Besides the obvious diffi culty of play
striking to see how much more Bharata peaks! There is a crisis in the beginning ly too. It is the predicament of human ing two characters, a major one has
natyam is capable of when it comes to leading to further crises. Playing the life. When I began to explore the emo been the diff erent energy levels she has
truly be expressional. In her latest pro two characters together is something I tions of Arjuna, I understood that Krish had to switch between. She also sees the
duction called “The Battle Within”, Sa found daunting,” she adds. But Gita as a na was not merely the charioteer of the two as masculine/feminine, self/ego,
rukkai undertakes the enormous task of text is not new to her, and it was almost vehicle but also Arjuna’s inner self. For conscience/desires and the many other
rendering a dramatic interpretation in as if it was lingering in the background instance, Arjuna has seen Krishna as binaries of mankind, which often get
spired by the Bhagavat Gita. A creative through her life, through her mother. both beautiful and terrible. He sees the blurred too. The discourse itself be
work that works within and without the Often, her mother would read passages vishwaroopam, his glory and undergoes came predominantly personal for the
structures of Bharatanatyam, Sarukkai to her and discuss the philosophy of the a moment of vismaya or magic. But artist. “Do we go beyond the Bhagavat
says that it is also a product (and pro Gita with Sarukkai. A concluding then, he decides to go into the battle Gita apart from looking at Arjuna as the
cess) of her own journey as a dancer thought she arrived at was this: “how do anyway as the vengeful warrior. The re warrior and Krishna as God? I do not
and choreographer. “I try to refl ect on we become the right actor and take the velation here is that one does not imme think we do. To me, this resonates with
where I am today. Bharatanatyam is sin right action?” diately transform the moment one sees the kind of chaotic mess that we are in
gular, in a way, which is why I have One wonders why she chose to play the truth,” says Sarukkai. and whether we are really capable of
called this a dramatic interpretation be Simply put, the battle of Kurukshetra changing ourselves. Krishna is the mo
cause it is not a margam or the render
ing of two or three “items”. The overall <
> is a battle of the self with the ego, the de
monic and divine forces within oneself.
ral compass here and our conscience,”
adds Sarukkai.
patterns of Bharatanatyam work on dif To me, this resonates with the Often, such works of art become ex In a highly stylised form, “The Battle
ferent terrain. I want to say I went ahead kind of chaotic mess that we traordinarily taxing on the artiste’s Within” integrates visual inputs on 3D
with an intuition,” says Sarukkai. mind too, and Sarukkai was not an ex screens, extensive sound and light ef
The process, she says, has been a are in and whether we are ception. She claims that as the work fects alongside Sarukkai’s choreogra
staggering one, wherein she explores really capable of changing progressed, there were moments of phy. She has collaborated with artist Su
the dualities of humankind through Ar ourselves. questions and doubts that crept into her mantra Ghosal for the creation of the
piece. The sound and light design are by
Sai Shravanam and Niranjan Gokhale
READ INSIDE respectively, music by Murali Parthasa
rathy and costume by Sandhya Raman.
“Smaran”: A musical tribute Highlights of the ongoing 61st Tune in to Sahir’s songs in times “The Battle Within” will be staged at
to Pt. Ravi Shankar P2 National Exhibition of Art P3 of turmoil P4 Kamani Auditorium, March 6, 7 p.m.
CM ND-ND
YK
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2 FRIDAYREVIEW
DELHI
Of melodies
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sions) from his music. She echoed
D A prayer for revolution
renched with the bless her feelings through the composi
ings of raingods, Neh tion “Eri Aali bhaag jage…..” in raga
ru Park reverberated Jhinjhoti. Thinking of his penchant
with the ringing voice for diff erent talas, she presented a
One of Latin America’s most admired poets, The
and memories
of Pandit Ravi Shankar Dhamar in raga LalitPancham in
singing “He Nath, hum par kripa voking Basant Ritu, with decisive
keejiye/ Duur kar andhkar, jnan ka design and detail. The intricate va Reverend Ernesto Cardenal, who passed away
aalok dijiye…”, his own composi riety of ‘BolBaant’ dividing the 14 recently, demonstrated how religious heritage
tion in the sonorous swaras of raga beats of Dhamar Tala also under
Yaman. It was the background lined the remarkable diff erence in could be used in people’s struggles
score for a short biopic on his life her treatment of Dhamar with Bol
and music that heralded ‘Smaran’: Organised to celebrate the birth centenary of Taans and the following khayal
Kuldeep Kumar
Celebrating 100 years of the Bharat Pandit Ravi Shankar, “Smaran” saw stalwarts “Khelan aye Shyam mose Hori…” CCCCCCCCCCCCCCC
Ratna. Organised by the SRF Foun with aakar and sargam taans, des
of classical music in sublime form
H
dation with SPIC MACAY and RIM pite the tender touches of the twin e was a man whose contradic
PA (the Ravi Shankar Institute of Madhyam of Lalit in both the com tions turned him into a com
Music & Performing Arts), the two positions of LalitPancham. The plete human being who deifi ed
day centenary celebration had just mukhda (opening phrase) of the played on the Shehnai earlier. Her concluding dadra “Sakal Brij all stereotypes and created his own un
begun with the auspicious ‘Mangal drut gat, opening with a fast taan slow and medium tempo khayals dhoom machi…” enhanced by the ique persona. He was a Roman Cathol
Vadya’ shehnai by Sanjeev and Ash and resting on a melodious meend were adorned with the usual orna romantic touches of harmonium by ic priest who took active part in the
wini Shankar, his youngest disci (oscillation) of Mandra Dhaivat for mentations including her signature Vinay Mishra and the Banarasi Lag Nicaraguan revolutionary struggle led
ples playing raga Madhuvanti, that a surprising sam, was remarkable. echo eff ect before she concluded gi on tabla by Vinod Lele complet by the Sandinistas against the authori
the rains resumed fi ercely and the There was an alluring alaap in raga with a Meera bhajan. ed her wellconceived concert that tarian regime of the Somoza dynasty
rest of the performances had to be Desh prefacing the concluding The sitar and sarod duet by vouched for her fi erce integrity and that relied on torture, extrajudicial
postponed. Vande Mataram enhanced by the Shubhendra Rao and Partho Sa power of inheritance. killings and suppression of the press to
“Smaran” was preponed to 3 Bhajaneek theka of Bickram on his rathy with Bickram on tabla sound “Smaran” reached its climax contain its opponents. He was a Mar
p.m. the next day and it was perfect broadfaced tabla that sounded like ed like a heartfelt homage with with the melodious fl ute recital by xist who prayed but not for his people,
Reverend Ernesto Cardenal
time for Bhimpalasi, the melodious a Pakhawaj. Gangeshwari, a raga created by Pt. Hariprasad Chaurasia inspired as he did not view himself as an inter
afternoon raga one rarely gets op their Guru Pt. Ravi Shankar. Keep by the wit and vigour of Ud. Zakir mediary between God and man. He
portunity to listen to, but Pt. Vish Echo eff ect ing in mind his love for rare and Hussain on tabla. His soulstirring was the best known Liberation Theolo lectuals and writers, also had a simi
wa Mohan Bhatt and Pt. Tarun Begum Parveen Sultana fondly challenging talas, they presented Bihag with aalap and a couple of gist who had emphasised the emanci larly interesting experience with Car
Bhattacharya chose the regular remembered Pt. Ravi Shankar the slow composition in CharTaal compositions set to Rupak and patory essence of religion – in his case, denal that showed how simple a man
Charukeshi for their duet on Mo whom she addressed ‘KakaBabu’ Ki Sawari with a time cycle of 11 Teentala and the concluding dhun Christianity. He wrote revolutionary he was despite his international sta
han Veena and Santoor. The two se (uncle) and how he relished her beats followed by the faster compo in the romantic raga Pilu, was ably poems and songs following the literary ture. He had returned from Bhopal af
nior disciples of Pt. Ravi Shankar cooking. She also shared an anec sition set to drut Ektala of 12 beats supported by disciples Shuchismita style of Psalms and thus demonstrated ter attending a World Poetry Festival
took turns to elaborate the raga dote when he obliged her husband cycle and maintained it marvel and Vivek Sonar on fl ute. The lilting how religious heritage could be used in at Bharat Bhavan and there was a
with AlapJod Jhala and two com Dilshad Khan by playing raga Bihari lously till the jetspeed jhala with gait of the dadra augmented by the people’s struggles. function at the Nicaraguan Embassy
positions in slow and medium in a concert on his request. Accom out taking refuge in the customary charismatic inputs of Zakir, left the Such was The Reverend Ernesto to celebrate his birthday on January
Teentala. The imaginative use of panied on harmonium by Vinay Teentala for convenience sake. audience enthralled. It was after a Cardenal, one of Latin America’s most 20, 1989. Dabral was the literary edi
the two tablas tuned to the lower Mishra and on tabla by Akram Vidushi Ashwini Bhide ex long time that one found Pandit admired poets, along with Federico tor of Hindi daily “Jansatta” and his
and the upper Shadja got Bickram Khan, Parveen opened with raga pressed her adoration for Pt. Ravi Chaurasia in such high spirits. García Lorca, Pablo Neruda, Octavio poetcartoonist colleague Rajendra
Ghosh instant applause in his open Madhuvanti, perhaps, unaware of Shankar, accepting that without be Paz and Nikanor Parra, who breathed Dhodapkar had given him a blank
ing uthaan itself. The amiable the fact that the raga was already ing under his direct tutelage, she his last on March 1, 2020 in Managua at paper to get it signed by Cardenal as
the age of 95. He was also one of those he wanted to draw a cartoon of the re
great revolutionary poets who, like Na volutionary poet. When Dabral
zim Hikmet, Faiz Ahmed ‘Faiz’ and spread the blank sheet before him
Mahmood Darvesh, became sources of and asked him to sign, Cardenal took
inspiration for several generations of out and his pen and was about to sign
Ultimate Hindi poets because of their dedica when embassy offi cials stopped him,
homage tion to the people’s cause and their pointing out how he could sign a
Partho mastery of the art of poetry. blank paper.
Sarathy and When people of my generation be
Shubhendra gan to write poetry, Naxalbari had hap A born poet
Rao and with pened merely fourfi ve years ago and Dabral too had translated a few of
Bickram revolutionary change was in the air. Cardenal’s poems and he gave him
Ghosh on Alokdhanva was emerging as the voice the issue of Hindi magazine “Tanaav”
tabla of this revolutionary fervour and left that had published them. Cardenal
wing poets like Sri Sri and Varvara Rao was very happy and he sent him some
(Telugu) or Nabarun Bhattacharya of his poems after returning to Nica
(Bengali) were being read with keen in ragua. In 2017, Hindi journal “Racha
terest in Hindi literary circles. That was na Samay” published Dabral’s transla
the time when Hindi poets discovered tion of 80 of Cardenal’s poems.
Cardenal and his poems, translated If poets are born and not made,
T
he Indira Gandhi National song “Swaminatha Paripalaya” in chanting musical evening. ter for culture, Nautiyal was deputed to world by creating bonds among
Centre For the Arts and the Natta and in Adi tala was refl ective of Sanjay sang on the fi rst day of the liaison between him and the Indian go them. His poem “Zero Hour” bears
Shanmukhananda Sangeetha her musical talent in the creative twoday event titled “Swar Sangam”, vernment. When he told Cardenal that some resemblance with a long poem
Sabha organised a Carnatic music sphere. organised by the Gurukulam Founda he had translated some of his poems of Firaq Gorakhpuri titled “Aadhi
concert recently as part of “Sri Muth After rendering “Sri Nilotpala Nay tion at the auditorium of the Delhi Ta from Spanish into Hindi and that he Raat” (Midnight), especially because
uswami Dikshidar Day” celebrations. ike” in Reetigowla and “Sri Rangana mil Sangam. was a beloved of young Hindi poets, he of its recurring refrain:
The concert was held at the lecture tam Upasmahe” in Poornachandrika His central item was Marimuthu could not believe it. He was under the Watchman! What hour is it of the
hall of the IGNCA. The Delhibased in a delightful manner, Sridevi took Pillai’s composition “Enneramum impression that nobody in India knew night?
Jyothi Sridevi structured her vocal up “Hiranmayeem Lakshmeem” in oru kalai” in the raga Todi, a song not who he was. So, the next day, Nautiyal Watchman! What hour is it of the
concert based entirely on the compo Lalitha and “Meenakshi Memudam” heard frequently in concerts. showed Cardenal the November 1978 night?
sitions of this legendary composer. in Poorvikalyani for detailed rendi An outstanding raga alapana, the issue of Hindi magazine “Sarokaar” Perhaps, secular fundamentalists
Dikshidar is considered one of the tions. In the detailed and unhurried delightful manner in which he sang that had carried Nautiyal’s translation and doctrinaire Marxists of today can
musical trinity of Carnatic music (the alapanas, she brought out the fea Musical treat Sanjay Subrahmanyan the composition to a riveting tempo of his celebrated poem “Salmon”. Alth learn something from Father Carde
other two being Shyama Sastri and tures of these ragas to the fore in a and the kalpanaswaras that fl owed ough Cardenal did not understand a nal. He was a deeply religious man
Tyagaraja). Despite her voice not be scintillating manner. Besides, she al nyan’s recent concert in the Capital. with rich creativity were a treat to word of Hindi, he asked Nautiyal to who defi ed the Church and Pope John
ing in fi ne fettle on the day of the per so took up a phrase in each of these One was the seating of students and music lovers. Sadly, the RagamTa read out the translation and asked if he Paul II. And, he was a Marxist, who as
formance, Sridevi sang brilliantly by songs for neraval. These and the sub rasikas of music on the stage around namPallavi session (“Baktharukku could take the magazine with him back a revolutionary poet did not fi ght shy
interweaving her talent in the sequent kalpanaswaras once again the area where Sanjay himself was Sahana Sadguru nin malaradi paniy to Nicaragua – a request that Nautiyal of learning the art of poetry from a
thoughtfully selected compositions brought to fore her creative talent. performing, bringing the memories um” in Sahana raga and set to Cha happily acceded to. Cardenal also selfproclaimed fascist
of the composer. She sang both the The Delhibased Uma Arun on the of similar such concerts that take dusra jathi tripuda tala) that followed signed a poem for him. like Ezra Pound. Carde
popular compositions as well those violin and K.N. Padmanabhan on the place at the Madras Music Academy did not get the kind of treatment and Eminent poet Mangalesh Dabral, nal is Dead. Long live
not heard frequently in the concerts. mridangam provided appropriate during the famous December season. was not even in Trikala (three who was among those who led the Cardenal!
Sridevi began her concert with the support to Jyothi Sridevi. The other was Sanjay was not in the speeds). On their part, the seasoned Award Wapasi movement in 2015 to
The writer is a seasoned
invocation song to Lord Vinayaka Two things were noteworthy in company of his usual accompanist (S. accompanists regaled the music lov protest the Modi government’s silence
literary critic
“Vallabha Nayakasya” in Begada ra popular vocalist Sanjay Subrahma Varadarajan violinist and Neyveli B. ers. on the targeted killings of public intel
In Shorts
resque. A lovelorn woman’s reference
A book on Deputy Director, Ministry of I&B and
A. Annamali, Director, National
Gandhi Museum, New Delhi.
the show with a group invocation to lord
Surya wherein they pictured the sunrise
as the deity comes on his sevenhorse
turity. There was no clinical trimming in
depicting the erotic, yet there was not
chastising them all the while. The grace
ful, swinging gait with which Pratibha
enters was a pointer to the theme. Her
The book chronicles the life and drawn carriage. The nritta to swar bol an iota of vulgarity either. surreptitious glances of a woman in
Devadasis history of Devadasis, from the incep
tion to the abolition of Devadasi sys
tem with archaeological evidence. It
was notable.
Pratibha Prahalad’s Bharatanatyam
was the mainstay of the show. She took
The starting viruttam (verse) extolling
lord Shiva with exquisite postures was
like a gesture to the devotional aspect
prayer, the malicious questioning of
another woman’s child’s legality, emu
lating behindtheback scenario made
D
r. S. Chandnibi, Associate Pro largely deals with the Tamil region up a varnam and a padam from the cus underlying the varnam to come. The ar for a lively interpretation of the song.
fessor, Department of Histo but also covers almost all Indian tomary repertoire. Going by the diverse tiste in Pratibha was able to show the However, Thanjavur Keshavan’s power
ry, Aligarh Muslim University, States. Devaradiyar (Devotees of audience of the Capital, her briefi ng in nayika (heroine) of this composition as packed nattuvangam did not fi nd a cor
recently released her latest book tit God) and Devar Magalar (God’s English on both the pieces was educa an earthly soul pining for union with the Showing the way Pratibha Prahalad responding echo in the nritta.
led “Kalvettukkalil Devadasi” at Sah daughters) are the terms used for tive. The Bhairavi varnam “Mohamana” supreme soul (God, here lord Shiva/ An eulogy to Krsna, Guru Harish Gan
itya Akademi Auditorium in New these women temple functionaries is quite a challenge for any dancer since Thyagesha). On the physical plane, she and all the time unable to shed her inhe gani’s solo was marked by deft footwork
Delhi. in Tamil. The book insists they were the lyric is wrought with amorous in is a temple dancer who eschews a nor rent charm and suggestive body lan and irresistible gestures. Be it abhinaya
The Tamil book, based on re living a normal family life with their nuendos, oscillating between explicit in mal life and courts a symbolic wedded guage. or show of intricate technicalities of
searches in epigraph, was released husband and children besides their vitation to love and devotional praise. relationship to serve the deity within the The slightly off colour lord also in Kathak, the artiste was grace and
by MP and poetess Kanimozhi Karu temple service and were supported Pratibha testifi ed to her grip over the sanctum. Hence her erotic feelings are cites mirth and concern to cajole Him strength personifi ed. His rigorous chak
nanidhi in the presence of important by the rulers. The book mentions medium with her excellent abhinaya. to be viewed in a slightly exalted light. back to normalcy so that both are kars and racy footwork were amazing.
dignitaries like V. Renganathan, their position degraded in the colo Though the nritta part of the varnam Portraying the arrival of a miff ed be pleased with each other! It was her ex The combinations and permutations
I.P.S. (Retd), President, Delhi Tamil nial period. The author has also re was optimum, maintaining the manda loved (lord Thaygesha), she made for a pertise at shringara that came to the fore within taal dhamar established his forte
Sangam, Jagadesan Kannan, I.P.S., searched about their varied tasks tory threecycle speed, etc, it was the ex convincing picture of the pining nayika as the dancer displayed varying emo with footwork delineations and expres
Joint Commissioner, Delhi Police, and hierarchy, remuneration, dona pressive aspect of the piece that was suddenly evincing pleasure at seeing tions with elan. The introduction of pro sive dance. India Habitat Centre played
Rajesh S., I.P.S. Deputy Commission tions to society and temples. handled with amazing artistry and ma Him, yet perplexed by his moodiness cessional deity, a la Mallari, was pictu host to the performances.
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FRIDAYREVIEW 3
DELHI
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he 61st National Exhibition published and she becomes a liter
of Art of the Lalit Kala Aka ary celebrity, “Often people or liter
demi is showcasing a set of ary establishments (controlled by
283 works from diff erent men) talk of it as a special case, as if
parts of the country. The ex she achieved whatever she did be
hibition follows the National Lalit Kala cause of being a woman,” says
Akademi Awards given to 15 artists by Ameeta.
President Ram Nath Kovind at the Even content is judged according Ameeta Parsuram
Rashtrapati Bhavan earlier their week. to the poet’s gender. Ameeta cites
The works consist of drawings, paint Pakistani poet Parveen Shakir, riences and their poetry?” But here,
ings, mixed media, ceramics, sculp whose themes such as the desire for the ‘good’ woman’s writing is not ac
tures, etchings, and woodcuts. love and intimacy, sexuality, injus cepted as universal enough.
Amongst the works of winners, fi ve tice and gender discrimination at “For a long time, creative work
works stood out for their degree of ori tracted censure. “To begin with based on women’s perspectives, ex
ginality, their compositional control from her own family members — it is periences and sensitivity has been
and their ingenuity of subjects chosen. common knowledge her father did trivialised. According to Ada Jafari,
While the compositions ranged from not want her to write love poetry — the fi rst shayra to ever write about
everyday realities to experiences and and then from the masses.” herself as a wife and a mother, thus
observations and memories, it is clear Ameeta says Shakir’s nazm “Mis impacting the existing idiom for wo
that personal choices and aesthetics fi t” represents “the inner struggles, men’s writings, ‘Patriarchy has sup
enrich the language used by artists. pains and angst of any woman of her pressed women writers and their
The perception of reality diff ers from times, who dared to express her de poetry’.”
one person to another, but it is the per sires, complaints, ambitions, etc. Ameeta even quotes a journalist
spective within and without that leads She shares in this nazm how such a in a south Indian publication who
an artist to create a work that echoes woman faces the consequence of disparagingly referred to the use of
the credibility of a living presence. feeling guilty. the fi rstperson pronoun (the third
Contrasting hues (Clockwise from above) Devendra K. Khare’s ‘Perpetual Melancholy’; Keshari Nandan Parveen Shakir paid a heavy price person is considered more digni
Drawings Prasad’s ‘Kal Chakra’; Tejaswini Narayan Sonawane’s self-portrait, Anoop Manzukhi Gopi’s untitled for her rebellious poetry, which fi ed): “I is the resort of neurotic wo
Trichurborn, Santiniketandweller work; Faruque Ahmed Halder’s ‘Childhood’ * SPECIAL ARRANGEMENT aimed at changing the image of the men poets.”
Anoop Manzhuki Gopi’s charcoal on ‘ideal Muslim woman’.” Even “honest and mature poets”
rice paper is a riveting drawing of a set ristics of the object I ‘ drawing, its tex gentle reference to the beauty and made the ears, I Ironically, remarks Ameeta, the feel “good poetry has to be about the
of dried branches bundled together tural qualities, and I also include the power of stoneware as a medium in thought of a bird same poet denounced by patriarchal bigger issues, issues beyond the indi
perhaps for fuel or even just to make a quality of surrounding light, the at creating contemporary art pieces. that can fl y with reactionaries for being too outspo vidual,” recounts Ameeta. When wo
thatched roof. “ During the day, I walk mosphere and all that can only be ex Kolkata artist Faruq Ahmed Haldar’s out any burden ken was criticised by feminists for al men write on ‘universal’ themes,
around the little pathways and look at pressed by drawing. I think of vanish “Childhood” is a moving wooden leaving everyth so writing ‘weak’ love poetry, “com “the accusation which follows is that
the remnants of the lifestyles of hum ing practices in these days of the great sculpture of a povertystricken hungry ing behind. I pletely overlooking that individual they are trying to be diff erent, trying
ble people,” says Gopi. “ I use charcoal migration from city to city and try to little child trying to lick the remnants think, as men and and political cannot be separated. the masculine terrains! Their auth
on rice paper because it allows me to capture simple rudiments that are en that he fi nds in a handi. The posture women according to our circumstanc My question is, do men ever go enticity is questioned too,” she says,
consider simultaneously the characte gaging.” and expressive action both become the es, we are both bird and animal.” through such internal confl icts to wondering why poetic themes need
evocative emotion. “I was making a The second awardwinning print create a space for their creativity?” be categorised by gender.
Sculptures comment on the very memory of child maker is Vadodara’s Devendra Kumar Along with Shakir, poets like Kish Naheed says, “Male writers till re
Amongst sculptors, it is last year’s hood that I saw on the street,” says Hal Khare whose favourite artists are Al war Naheed and Fahmida Riaz have cently never approved of or appre
AIFACS award winner Keshari Nandan dar, “at the end of the day it fi lls the on brecht Durer Francis Goya and Anu been resolutely pushing the enve ciated women's themes. Women
whose “Kaalchakra” made of stone looker with so much pain and pathos pam Sud. Khare creates a stellar dip lope, says Ameeta. “Kishwar Naheed poets take up universal as well as
ware is a modernday testimony of tu that we think of it long after we have tych in which he creates a sepia tone has agitated many minds and evoked themes ingrained in the confl ict bet
multuous times we live in. Deliberate witnessed it.” scene that speaks of surrealism as well reactions by presenting in her work ween man and woman. Right from
distortions in his woodfi red stoneware as the incisive iconographic treatment a woman who is powerful, has a terrorism to child abuse to honour
terracotta tinted creation speaks evo Etchings and woodcut of memories as metaphors that sift mind of her own, defi es the mould.” killings — [these] are more relevant
catively about karma as he sets us pon Amongst the etchings and wood through time. “My etching is based on With poets from various com subjects for women poets.” She says
dering about why and wherefore of the cuts, it is Solapur’s Tejaswani Narayan my teenage experiences,” says Khare. munities taking to writing Urdu while male Pakistani writers do
Purusha Prakriti principle that meant Sonawane who won the award for a “I used the image of a bull to comment Shayari, and women constantly agree these are worthy subjects,
harmony and balance in the days of selfportrait in a woodcut that fi nds on the likeness of man and animal – breaking stereotypes, would the they don’t explore them themselves.
yore. Jaipurbased Keshari’s treatment bird and animal within. “I looked into just as the bull chews and regurgitates “ideal Muslim woman” image not But, observes Naheed, when women
of the sculptural stoneware is also a the mirror and thought I am a cat, so I what it eats we too keep mulling over become obsolete? do, like when she and fellow Pakista
events that have happened in our lives “Times have changed, no doubt, ni poet Fahmida Riaz write on
and shapes our present. In the second but when it comes to the relation themes related to girls’ education,
part, I dealt with death because I re ship between a woman and the so menstruation, marriage and di
member my drawing teacher who died ciety, the concept of the ‘ideal wo vorce, the “male critics write a one
when I was young. I, now, realise that man’ has not changed. It has simply liner just naming the women poets.”
death is inevitable but at that time it expanded to include more features Naheed says this discrimination is
was unsettling and deeply traumatic to like ‘she earns too’. But even today a limited to the subcontinent. Still, Ra
lose a loved teacher.” ‘good’ woman is expected not to ass za sees a hopeful change. “Women
Ultimately, these fi ve award winning ert, leave alone demand!” poets have created spaces for them
artists portray the poignancy of perso Meanwhile, women mostly re selves and their merit has been re
nal practices honed on the hinges of main primary caregivers to children cognised,” he states. “Many of them
art education. and family elders, notes Ameeta. have refused to be recognised as
(The 61st National Exhibition of Art “Would that not have implications 'khawatiin' and the quality of their
runs until March 22, 2020, at the Lalit for the larger chunk of their expe work speaks loud and clear.”
Kala Akademi, New Delhi)
D
week, brought to the fore. The annual festival was curated by noted Hindi poetcritic,
elhi, the voice of India, recent
Ashok Vajpeyi. “The objective was to honour the incredible creativity, imagination and ly, has become a postcard of
ideas that Delhi, generates, sustains and embodies,” observed Vajpeyi. ruptures. In popular history,
The festival hit the right note as it started with an informative and insightful the cityscape is believed to have
documentary “Ram Kumar: Nostalgic Longing” by Laurent Bregeat. Recalling how he been destroyed seven times and re
was fascinated by art, artist Ram Kumar, narrates his initial classes under Sailoz inhabited eight times. Each time, the
Mukherjee, keeping his writing and painting in tandem and going to Paris to learn art tapestry of the city is embellished
from Fernand Leger and Andre Lhote. Later, he returned to India to start with fi gurative with a cultural layer, a process that
paintings and then moved to abstract. “Kumar, lived and worked in Delhi and being one
continues to refl ect its resilience.
of the leading lights of art in the Capital, we decided to
feature this documentary,” said Vajpeyi. Dilli ki Sanskriti (the Culture of
The screening was followed by an invigorating session “The Delhi) was the theme of the three
Many Layers – History and Culture”. day festival “Words in the Garden”
The panellists included Vajpeyi, Pavan K. Varma, Sohail cohosted by Sanatan Sangeet San
Hashmi, S.Y. Quraishi and Rajiv Sethi. The discussion centred skriti and IILM University at the India
on how Delhi has emerged as India’s cultural hub with its own International Centre.
unique culture a delightful mix of the traditional and the
contemporary and a true refl ection of India as a whole.
Poetry in motion
Quraishi, whose family has lived in Delhi for 500 years, said,
for over thousands of years the city had welcomed people, Known for her command on ex
and even made invaders, settle down here. pressing the most complex images
Reminiscing about the Capital, Sethi, a noted cultural through subtle body movements was
impresario, fondly talked about Connaught Place’s green Kathak danseuse Prerana Shrimali.
cover and Janmashtami celebrations at the Lakshmi Narayan She aligned her body to the magical
Mandir. He said the city ingrained in him the love for art and voice of Imran Khan singing verse of The lilt of culture Prerna Shrimali in performance * SPECIAL ARRANGEMENT
theatre and also moulded his character. Lamenting the Delhi poets Amir Khusrau, Ghalib,
shrinking of Delhi’s cultural space, he remarked, “As
Mir, and Daag. The lilting sounds of The fi nal piece engaged with Naya Theatre Group calls them but the reality of the present. The
compared to Delhi, Mexico City is teeming with more
museums, thus ensuring its residents enjoy its culture and the sarangi by Ahsan Ali, sitar of Fa words displaying a fascinating tech selves the ‘Theatre of the Ordinary’. song of renunciation from the play
heritage.” teh Ali Khan and percussion rhyth nical subversion. Shrimali chose to Under the directorship of actor Ram “Dekh Rahe Hain Nain” (My eyes are
Making a pertinent observation, historian Hashmi said: “All cities are made by migrants. mical necromancy of Fateh Singh weave into a slow tempo Tarana, the Chander, they carry on the work of seeing) echoed as the counterfoil an
What makes Delhi special is that it never discriminates on the basis of language. It, Gangani came together to enhance poetry of Mir and Daag. Usually, the Habib Tanvir’s Chattisgarh NatakA them to Faiz Ahmed Faiz's poem
rather, welcomes all.” He cited the examples of Mir Muhammad Taqi Mir and Mirza the audio experience of the works fast nonsensical syllables of the Tara cademy. Presenting Rang Mandali, “Hum Dekhenge” (We too shall Wit
Ghalib, both from Agra, who made Delhi their home. He said the use of the word ‘bara’ performed. The metaphor of colour na are sung to refl ect the wizardry of Ram Chandra Singh, as the brilliant ness).
as a prefi x or suffix to name areas and monuments denotes the infl uence of Marathas. danced to the slow tempo of Khus rhythm in a song. sutradhar (narrator) with his talent The song “Chola Maati ke Ram”
“Every city has layers, pertaining to its customs, food, language, which are added year
rau’s poetry evolved into a journey of The dancer, instead, chose to pre ed troupe, sang and danced Habib’s from the play “Bahadur Kalarin”,
after year. For example, the red chilli used in Mughlai food today was never part of the
original cuisine.”
created images such as the binding sent stillness to the pearllike render creative and magnifi cent journey. which was adapted in the fi lm “Pee
Varma, author and former diplomat, wondered, “Has the city got its own cultural and blending refl ected in fastened ing of the musical weave. Shrimali The array of chosen classic composi pli Live”, spoke of the ephemeral bo
vibrancy today?” Highlighting the people’s participation in culture, Varma said when chains. was at her best in the manner she tions written and performed so ma dy. The body is of mud and will dis
Ghalib composed a couplet in the morning, the Old Delhi residents started reciting it by The topical symbolism ‘garden’ delved into imagemaking. She illus ny decades ago, ironically, brought solve in the mud. Time spares no
the evening. “In those days, culture was not elitist but popular with masses who enjoyed and ‘words’ in Ghalib’s ghazal ‘jahā ñ trated her command in marrying lin the visible present reality without one. The dissolution of Guru Drona
its fi ner nuances.” He added that unlike cities like London, Delhi didn’t patronise terā naqsheqadam dekhte haiñ, guistic comprehension to the inhe denaturing it. and the kind Karna is a reality test we
popular and classical arts equally. Varma asked for a change in the education system, to khayā bā ñ khayā bā ñ iram dekhte rent Kathak dance language. tend to forget.
ensure rasikas are there to appreciate classical art and music. Hashmi added, that haiñ,” (I follow footprints meander The artist’s awareness of her Habib Tanvir’s spirit One after another Tanvir’s sarto
institutions needed to reinvent themselves, making them accessible to children.”
“Museums should be made interactive, with lesser restrictions, in order to attract
ing from one fl owerbed to another depth resonated with the universe of Habib’s creative genius was once rial panache was refl ected through
youngsters.” only to map the garden of paradise) Words in the Garden. There was for again on display in “Charandas plebian images, placing the ordinary
Well known Kathak exponent Pandit Birju Maharaj, who joined the panel later, was was woven for instance in the image the audience a luminous equilibrium Chor” (Charan, the Thief ), a satire man in the centre. Tanvir’s spirit
honoured for his yeoman service to the dance form. of the innocence of a child walking to changing appearances releasing on brainless policemen. There was rose through the performance cap
S. Ravi the earth comprehending his exis the essentials of the poetic words, not one direct reference to the pre turing the inner man and outer time,
tential reality. written and performed. sent yet Habib’s work was nothing sacred and mundane.
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4 FRIDAYREVIEW
DELHI
D
aring to express the Atif Khan proach towards his career as lege romance. There was a
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most complex hu unlike him I never came here time when there existed a pa
I
man emotions, n the last decade, there has to become a typical hero.” rallel cinema, but those sto
poets are God’s been a rise of faith in sup Mishra reminds there was a ries are now becoming main
special creatures. porting actors in Hindi time when actors were ear stream.
Go down the lanes of history, fi lms. One of them is Sanjay marked for a particular role. Had they been made in the
words of rulers have died with Mishra. Now, Mishra’s fame as “For drunkard, you had Kesh ‘80s, they would have been
them, but verses of poets re a supporting actor has made to Mukherjee. For father, treated as a parallel cinema
main alive as they communi him the subject of Kaamyaab, there was Kader Khan, for but right now it is not a case.
cate everlasting truths that which closely relives what he judge, D.K.Sapru and for cor There is a space for older ac
most are unable to hear and im has experienced in the fi lm in rupt bureaucrat there was Om tors, heroines are not just he
bibe. Every age gives rise to a dustry. With Shah Rukh Khan Shiv Puri. It is a homage to ro's love interest and I am ve
few great poets who make us presenting the fi lm, it seems these wonderful actors as ry thankful for this change.” Is
discern the imponderable mys Kaamyaab has a successful well,” he underlines. there an increased affi nity of
teries of the universe through a promotion strategy. One should admire Mishra the audience for older charac
spontaneous overfl ow of emo He nods, “Involvement of a for rising above the sidekick ters as well? “Of course, you
tions. And without a doubt, in name like Shah Rukh Khan tag to play meaty roles in can see how Mr (Amitabh)
the postPartition era, such a has brought a diff erent kind of fi lms such as Aankhon Dekhi, Bachchan has reinvented
profound voice was Sahir attention to this small fi lm. Masaan, and Kadvi Hava. himself. There was a time
Ludhianvi. Otherwise, it is still diffi cult to “The process of fi lmmaking when old age was considered
His unique ability to serve fi nd space for such fi lms. You should be an exploration. Di as something negative on
unvarnished truths set Sahir cannot imagine me to be a he rector explores the actor and screen. I feel, if you show
apart as a people’s poet who in ro who could attract the au actor get a chance to explore gripping old characters to the
spired the fi nest ideals of man dience, but I am feeling like a himself while understanding audience, they will be in
kind and many of his verses hero right now. That is be the director’s choices. I love spired.”
such as “Tu Hindu Banega Na cause of the compelling story to be directed by new direc Initially, he was chosen for
Musalman Banega, Insaan Ki which made me the centre of tors and fi lms like Masaan, roles close to his real self, but
Aulaad Hai Insaan Banega” attraction,” he says. Newton and Angrezi Mein gradually fi lmmakers realised
(Dhool Ka Phool) have acquired Kaamyaab is Hardik Meh Kahte Hain were a result of his range. He likes picking up
iconic status because of their ta’s debut fi lm which centres that exploration only,” he re mannerisms from diff erent
lucid distillation of eternal wis around a character actor Sud veals. “I am glad that these spaces and cultural humour
dom. His stirring verses like “Ye Stirring verses Sahir Ludhianvi * THE HINDU ARCHIVES hir’s yearning to complete fi lms are giving me a chance which helps him become a
Duniya Agar Mil Bhi Jaye To Kya 500 fi lms. Mishra relates his to act as a protagonist and new person in every fi lm. “I
Hai” and “Jinhein Naaz Hai dustan Hamara” (both from he had built houses for those love alone made us worship own experiences of the fa that is diff erent from my other learnt music in my childhood
Hind Par Wo Kahan Hain” (both Phir Subah Hogi) are part of sleeping on the footpath as well stones as incarnations of Gods. mous Juhu Tara road where fi lms where I play supporting and I relate that with the act
from Pyaasa), “Aurat Ne Janam folklore since they knocked as helped the poor that are de As one reengages with thou he used to roam around to roles and the responsibility to ing I do. You need to under
Diya Mardon Ko, Mardon Ne hard at social inadequacies as nied even shrouds for their sands of Sahir’s verses in his fi nd a role in fi lms. “That was carry the fi lm is not on my stand the note of the charac
Usey Bazaar Diya” (Sadhana) or well as political and affl uent corpses”. centenary year, it becomes evi the reason I picked up this shoulders.” ter and that should be tuned
“Wo Subah Kabhi To Aayegi” classes. dent that the poet sought equal fi lm as I had to play the strug Hindi fi lms are increasingly to the director’s vision.”
and “ChinoArab Hamara, Hin Not that he spared the com Expression of pain ity, justice, peace and prosperi gle of an actor and that is the telling ordinary people’s sto Mishra says he is content.
mon citizens for their culture of A rarer expression of solace ty for all. Every genre came world I know inside out. I was ries and, in a way, has created “If you get success very early,
hypocrisy, dogma, and hate. is diffi cult to fi nd except in Sa easy to him and be it bhajans, Hardik’s choice because I a demand for actors who it becomes essential that you
Several songs like “Bane Ho Ek hir’s “Tum Mujhe Bhool Bhi sufi songs, ghazals, nazms, love have lived that life. Like Sud could essay such characters. maintain it. It becomes diffi
Khaaq Se” (Aarti), “Khudae Jao” (Didi) wherein he reminds ballads or qawwalis, Sahir em hir, I did a lot of fi lms where I Mishra is aware of this trend. cult and there comes a lot of
Bartar Teri Zameen Pe Ye Jung the beloved that in a world af bellished each with a thought had a very small screen time. “A fi lm like Masaan talks pressure. As I got the atten
Kyun Hai” (Taj Mahal), “Insaa fl icted with hunger and thirst, that was not just vividly diff e However, I am diff erent from about the sensibilities of tion very late, I don’t have any
non Ne Paise Ke Liye” (Paisa ya love is not the ultimate rent from the rest of his milieu Sudhir in terms of his ap youth but that was not a col ego.”
Pyar) and “Bataa Ae Aasman necessity! but also immensely lyrical and
Wale” (Marine Drive) are criti Seeing or reacting in a man aweinspiring.
cal of their follies! But the mass ner diff erent from the ordinary Though he did write quite a
es still adored him because he came naturally to Sahir. Abhor few patriotic songs, he re
held a mirror to their anguish rence to constrictions of social mained a steadfast pacifi st who
as well as shortcomings in a customs, luxury, opulence and always advocated love and un
transparently, honest manner. decadence made him a rebel of derstanding rather than war:
If a poet is to infl uence, en sorts and a saviour of the down “Khoon Apna Ho Ya Paraya Ho,
lighten and motivate, Sahir did trodden. That is why for him Nasle Aadam Ka Khoon Hai Ak
it with remarkable distinction. Taj Mahal was not a monument hir, Jung Mashirk Mein Ho Ke
Even in the throes of passion, of love but a grotesque adver Magrib Mein, Amne Alam Ka
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this fi nest of romantic poets did tisement of a king: “Ek Shahen Khoon Hai Aakhir” (Shed the
not forget his duties and res shah Ne Daulat Ka Sahara Leke, blood of our own or a stranger,
As fear and prejudice ponsibilities. Ponder over just Hum Gareebon Ki Mohabbat Ka It is ultimately the blood of
haunt the lanes of one sample: his unusual rejoin Udaaya Hai Mazaak” (Ghazal). mankind, Be it a war in the east
Delhi once again, it der “Par Thehar Wo Jo Wahan… Time and time again, through or west, It is ultimately the mur
Phir Teri Maang Siataron Se various pertinent metaphors, der of peace and tranquility).
would be wise to Bhari Jayegi” to his beloved he made us realise our fates As fear and prejudice haunt
remember the sane when she beckons with “Aaj Ki were intertwined with each the lanes of Delhi once again, it
advice of Sahir that war Raat Badi Shokh Badi Natkhat other and “Ye Ishq Ishq Hai” would be wise to remember the
(killing) is itself a Hai” (Nayi Umar Ki Nayi Fasal). (Barsaat Ki Raat) is the perfect sane advice of Sahir that war
His bosom is not short of love example of how this visionary (killing) is itself a problem and
problem and can never but devotion to a cause makes could articulate similarities and can never resolve our pro
Layers of eff ort Sanjay Mishra * SPECIAL ARRANGEMENT
resolve our problems. him plead with her to “wait till synthesis of cultures and how blems.
As the Oscarnominated
‘‘Les Misérables’
write a short fi lm with him. He also of
fered me a part in it. Since the short fi lm CATCH UP
fi lm comes to India, actor tasted a lot of success at the festival cir
coscreenwriter Alexis cuit, a producer came on board and
asked us to make a feature fi lm on the
Tyagaraja festival
Manenti talks about
the politicallycharged
French drama
questions the short one. So that’s when we started to ex
pand the screenplay. It took us six
months to write it. It has the same basic
story with same central characters but
responsibility of
the end is not the same,” explains Manen
Murtaza Ali Khan ti who won the award for Best Male New India International Centre is hosting a two-day Purandardasa
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comer for the fi lm at the recent César Tyagaraja Festival at Lecture Room-II, Basement Annexe on
A
fter making waves in the festival cir Awards. 7th and 8th March. The first day event will feature a Carnatic
cuit, Ladj Ly’s hardhitting political vocal recital by Bhavya Hari from Chennai, daughter and
the government
drama “Les Misérables” is releas Keeping it real disciple of late T.V. Sundaravalli. She will be accompanied by G.
Raghavendra Prasath on the violin and B. Manohar on the
ing in India. As part of the promotions, Manenti, who plays a cop in the fi lm, mridangam.
Alexis Manenti (coscreenwriter and one trained with real cops to prepare for his
of the main protagonists) and actor Omar part. “My character Chris is a bad cop. He Hindi comedy play