Followers

Tuesday, March 28, 2023

World Theatre Day 2023: ‘Theatre makes me feel alive & excited,’ says Ramanjit Kaur

 ‘Theatre is the art of looking at ourselves,’ said Augusto Boal, a Brazilian theatre practitioner, and drama theorist.

Theatre has been a significant influence in many people's lives, allowing their creativity to thrive and, more importantly, allowing them to nurture their self-expression.

To celebrate the transformative power of this art form, The International Theatre Institute (ITI) instituted March 27 as World Theatre Day in the year 1961. The ITI Centers and the global theatrical community observe this day every year.

To commemorate World Theatre Day 2023, The Telegraph Online Edugraph connected with Ramanjit Kaur, an award-winning actor & director in both theatre & cinema as well as founder and head of Kolkata's The Creative Arts Academy, a school for the arts. Ramanjit has performed at festivals all over the globe and has been a torchbearer for the potential that drama and theatre have to bring about change. She has directed innumerable plays at The Creative Arts, which she founded in 2002 in Kolkata, to train children and adults in different genres of Theatre - proscenium, site-specific, studio theatre et al. She created an all-women Theatre Group in 2011, a unique project that received the LAADLI National Award for gender sensitisation.

Today she talks to us about her journey, the healing power of theatre, as well as the scope for pursuing theatre as more than just a hobby.

Ramanjit’s Journey in Theatre

Ramanjit's grandmother was a painter, and her aunt was a poet and music professor. It is unsurprising, then, that she chose a creative career as well. Ramanjit began performing at the age of 6 and while in school, she was introduced to Padmashree Neelam Mansingh Chowdhry.

Neelam noticed her incredibly remarkable skills, and Ramanjit's professional career with her began there. Ramanjit went on to be the lead actress in Neelam Mansingh Chowdhry's theatre group for more than three decades.

Ramanjit holds multiple degrees in Music, Dance, Fine Arts, and Literature, as well as a Masters in Music (Instrumental) Gold Medal.

While in college, she travelled globally with Neelam’s theatre group and came to realise that she could keep contributing to theatre all her life. In her words, ‘I had more to give to theatre than music.’

Ramanjit’s first theatre performance was at the age of 16 in an adaptation of Clytemnestra, the Greek legend, by Neelam Mansigh Chowdhry. She played two important characters in Act 1 & Act 2 of the play. After the very first performance, Ramanjit remembers Neelam Ji offering her the role of the protagonist in Girish Karnad’s Nagamandala which toured all over the nation. She has also delivered exceptional performances in other plays directed by Neelam, notable among them being Yerma, a play by Federico García Lorca, globally renowned for its exceptional performance.

The art of theatre encompasses all art forms, be it music, dance, design or visual art. For Ramanjit this has a special significance since she holds multiple degrees in the creative art field.

‘Being an actor and a performer, working with maestros has been exceptionally remarkable. Whenever I am on stage, I feel alive & mostly excited. Theatre has been cathartic and most compelling. It is more than just acting,’ says Ramanjit on her experience as a theatre actor.

Not just her journey, but also her experiences and her efforts as a theatre director have gone a long way in inspiring children and young adults to pursue acting as a career. Speaking about direction, Ramanjit adds, ‘Acting to me is equivalent to breathing, and directing is just an extension of that. I have learned so much from my gurus as an actor and I feel it’s my time to pass on my learnings to my students. Direction, for me, is to give back to the arts community because I use theatre for development, empowerment, and healing process. I teach students from the age of 5 to 73. I seek to make the community understand that Arts should be an integral part of life. It helps one in self-expression & understanding the emotions of others, which is a recipe for leading a wonderful life.’

Ramanjit believes that to stay relevant in theatre, it is immensely important to train one’s mind, body & heart. Her top tips for doing that are to read lots of literature, keep your body fit and embrace all the other art forms, in addition to theatre. In her words, ‘Learning is a constant process & staying updated with the latest trends & development in theatre will only make one understand the contemporary language of theatre’.

We, of course, asked Ramanjit for her insights on those who want to build a career in theatre and are not merely content with pursuing it as a hobby - read on for what she had to say.

Roadmap to building a career in theatre

Building a career in theatre is a passionate effort that one must start at the foundational level. Ramanjit advises aspiring theatre artists to start participating in plays at school. She says, After school, get a degree in Fine Arts and then join a drama school. Before enrolling in any drama school, one must check out the faculty, because a good mentor can pave the way for artists to make it big in their careers. One should keep training themselves in all art forms, even if the theatre course doesn’t include [those] in the curriculum.’

Acting is not the only profession in Theatre

When it comes to theatre, often people have the misconception that there’s just one profession involved - which is acting. But let Ramanjit tell you otherwise.

A theatre artist has myriad options, apart from being an actor. They can be a director, a producer, a scriptwriter, a facilitator, a stage set designer, a costume designer, a technical director, a scenic designer, a stage manager, a production manager or a backstage coordinator. The options are unlimited. One must be open to learning, engaging with varied facets of theatre and creating more opportunities for oneself within the umbrella of theatre.

One can also take a leaf out of Ramanjit’s own story when she talks about the healing and transformative powers of theatre, which also opens up other opportunities like drama therapy for children or adults.

The importance of Theatre in today’s world

Theatre is a live entertaining artform where performers & audiences connect & understand emotions intricately. Through the dramatisation of emotions and events, both the performer and the audience are given an opportunity to live the feeling and be moved by it. It is an experience that has a lasting impact on one and all.

If there's any kind of magic in this world it must be in the attempt of understanding someone. When one is involved and engaged in theatre, they nurture their self-expression and hone their communication skills to the best.

As we celebrate World Theatre Day 2023, let this immensely powerful tool–theatre–be used for revolution, development of thought, bringing change in society, creating long-lasting bonds & most of all, shaping a more kind and compassionate society.

Source: The Telegraph, 27/03/23

Aqua crisis: Editorial on potable water scarcity in India

 Conservation of water should be prioritised, through policy interventions and by raising awareness.

The scarcity of a resource that covers 71% of the earth’s surface seems to be cruelly ironic. But that is the crisis confronting India and, particularly, the country’s poor today. Per-person water availability in India has fallen by about 75% in the 75 years since Independence. Every Indian today has access to only 1,486 cubic metres of potable water per year, which places the country in the water-stressed category. In fact, India is dangerously close to the 1,000 cubic metre benchmark that would push the country into the water-scarce category. Data from the Central Ground Water Board show that as many as 1,006 units out of the 7,089 assessed across India could be categorised as ‘over-exploited’ — more water is extracted from them than is usually replenished by the monsoon rains. Given that 62% of India’s irrigation needs and 85% of rural water supply are derived from groundwater, it is not surprising that agricultural-intensive states like Punjab, Haryana, and Tamil Nadu top the list of states with the most over-exploited groundwater units. Another factor compounding the problem is climate change. The recent synthesis report released by the Intergovernmental Panel on Climate Change — it compiled several previous reports together — has stressed that global development has to be ‘climate resilient’ if there is any hope of pulling the planet back from the brink of reaching the dreaded 1.5-degree Celsius limit of warming above pre-industrial levels by the 2030s. The intensification of climate change would worsen water paucity, generating catastrophic spillover effects in several sectors.

Safe drinking water is a public resource; in theory, it should be available to all. And yet, encroachment and pollution of surface water bodies, over extraction, the lack of alternative sources of replenishing aquifers, municipal inertia, poor urban planning, among other factors, put this public resource out of the reach of many people. Conservation of water should be prioritised, through policy interventions and by raising awareness. The steeper challenge is to find a balance between a populous country’s agricultural needs and the availability of drinking water. What makes the crisis serious is its layered nature. Plans of water conservation are meaningless unless there is a simultaneous, sustained campaign to address challenges that straddle such spheres as ecology, environment, climate, civic responsibilities, urban design and so on.

Thursday, March 23, 2023

Quote of the Day March 23, 2023

 

“Confidence comes not from always being right but not fearing to be wrong.”
Anonymous
“आत्मविश्वास हमेशा सही होने से नहीं आता, बल्कि गलत होने का डर न होने से आता है।”
अज्ञात

YUVIKA

 The Indian Space Research Organisation (ISRO) has initiated the Yuva Vignani Karyakram (YUVIKA) program to encourage students to pursue careers in Science, Technology, Engineering, and Mathematics (STEM) and develop a passion for space science. Through this program, ISRO aims to identify and nurture talented students who have a keen interest in science and technology and inspire them to become future space scientists. Applications have been opened for this programme recently.

The YUVIKA Program’s Aim

The YUVIKA program is open to students in the 9th standard (or equivalent) from all over India. The program selects three students from each state/union territory, and they are invited to participate in a two-week residential training program at various ISRO centers across the country. The program aims to provide an opportunity for young children to explore the wonders of space science, space applications, and space technology.

The Curriculum of YUVIKA Program

The YUVIKA program offers a comprehensive curriculum that covers a wide range of topics related to space science, space applications, and space technology. The program includes lectures, interactive sessions, and hands-on training on various aspects of space science. The curriculum is designed to enhance the knowledge and skills of students and inspire them to pursue careers in the space sector.

Creating Awareness Among Students

One of the key objectives of the YUVIKA program is to create awareness among young children about the emerging trends in space science and technology. The program provides a platform for students to interact with experts in the field of space science and technology and gain insights into the latest developments and advancements in the field. This helps students to stay updated with the latest trends in the space sector and prepare for the future challenges.

Developing Problem-Solving Skills

The YUVIKA program is designed to help students develop a sense of curiosity, critical thinking, and problem-solving skills. The program encourages students to think out of the box and come up with innovative solutions to real-world problems. This approach not only enhances their scientific temperament but also prepares them for the challenges of the future.

World Water Day

 Every year, March 22 is observed as World Water Day to raise awareness about the global water crisis and the importance of water. The day aims to inspire people to sustainably manage freshwater resources, address water-related issues and support the achievement of Sustainable Development Goal 6: Water and Sanitation for All by 2030.

History of World Water Day

In 1992, the United Nations General Assembly adopted a resolution to observe World Water Day on March 22 every year. The first World Water Day was observed in 1993, and since then, the day has been celebrated globally to highlight the importance of water.

Significance of World Water Day

Water is the elixir of life, and everyone needs it to sustain their lives. However, according to the United Nations, around two billion people worldwide lack safe drinking water. Additionally, diseases related to poor water, sanitation, and hygiene shorten the lives of 74 million people each year, and 1.4 million people die annually due to a lack of access to clean water. This highlights the importance of conserving water and addressing water-related issues.

Theme of World Water Day 2023

The theme for World Water Day 2023 is “Accelerating the change to solve the water and sanitation crisis.” It highlights the urgent need to take action to address the global water crisis and the necessity to go beyond business as usual. The United Nations aims to unite the world around water and kickstart the UN 2023 Water Conference from March 22 to 24 in New York, United States.

Celebration of World Water Day

World Water Day is celebrated by organisations, NGOs, and individuals to conserve water and address issues associated with water resources. On this day, seminars, webinars, and events are organised worldwide to raise awareness about the importance of water and the need to address water-related challenges.

Economic & Political Weekly: Table of Contents

 

Vol. 58, Issue No. 11, 18 Mar, 2023

Editorials

Comment

From the Editor's Desk

From 50 Years Ago

H T Parekh Finance Column

Law and Society

Commentary

Book Reviews

Perspectives

Special Articles

Current Statistics

Letters

A voice of the voiceless

 In the diverse fabric of Indian literature, Adivasi literature is a genre left untouched by most intellectual critics and writers. In the name of preserving Adivasi culture – our society has only romanticised their songs and dances, their clothes and costumes but they never felt an urge to stand beside them when they were evicted from their lands.


In the diverse fabric of Indian literature, Adivasi literature is a genre left untouched by most intellectual critics and writers. In the name of preserving Adivasi culture – our society has only romanticised their songs and dances, their clothes and costumes but they never felt an urge to stand beside them when they were evicted from their lands. Have they ever tried to protect the oppressed, helpless Santhali women? In the pitch dark sky of the Adivasis, Hansda Sowvendra Shekhar emerged as a bright star. He gave voice to the voiceless, he made the inconspicuous marginalized world visible in his book “The Adivasi Will Not Dance” – which was published in 2015 and bagged the “Sahitya Akademi Yuva Puraskar”. In spite of winning such a prestigious award, the book remained almost unnoticed throughout all these years.

“The Adivasi Will Not Dance” is a collection of ten short stories (such as “They Eat Meat”, “November Is the Month of Migrations”, “Blue Baby”, “Merely a Whore”, “The Adivasi Will Not Dance” etc.) where the writer dealt with subjects like hunger, poverty, displacement, imposition of culture, religion and language etc. Unlike the intellectual aesthete, Hansda Sowvendra Shekhar scarcely paid any attention to the aesthetics of storytelling; rather he wrote and structured the stories with a harsh tone by portraying the strident reality of Santhals, to awaken the reader from slumber.

If we read the anthology chronologically, we will notice how Hansda Sowvendra Shekhar’s pen slowly intensified the plights of an unnoticed civilization with each story and how for the reader each story has become a distressful read. In the third story of the anthology – “November is The Month of Migration” – the author writes about Talamai Kisku – a twentyyear old Santhal girl who had to sell her body for fifty rupees and two cold bread pakoras to a RPF jawan. While she was moving to Namal from her village, a jawan offers her food and fifty rupees and Talamai gets ready to lie with the stranger because she was hungry. The author writes: “She just lies – passive, unthinking, unblinking – as cold as the paved ground she can feel through the thin fabric of the gamcha, as still as an inert earthen bowl into which a dark cloud empties itself.’’ The story is about hunger and utter poverty. Talamai’s plight is certainly a distressful read. We find ourselves helpless and speechless.


“Merely a Whore” tells the tale of a brothel. Many years earlier, the brothel-keeper, Jharna di was the mistress of a zamindar near Lakkhipur. After a devastating drought the farmers started moving away and the zamindars sold their properties to the mining farms. As a consequence, the outcast colonies slowly transformed into a red-light area. The author primarily weaves the story between two characters — Sona (a prostitute) and Nirmal (a regular customer). Nirmal was a regular customer of Jharna di’s brothel but never slept with any other girl. As time passed, Sona fell in love with Nirmal because no other customer used to talk and touch Sona as tenderly like Nirmal did. Sona dreamt that she would spend the rest of her life holding Nirmal’s hand. Her dream crumbled when Nirmal refused to give her the love she was asking for. Before getting married Nirmal visited Jharna di’s brothel but this time he chose the more attractive new girl Tina. Jharna Di understood everything and said to Sona in a sympathetic but stern voice: “Life teaches us lessons. Learn those lessons and move on.”

The book ends with the story named “The Adivasi Will Not Dance”. Written in the first person, the story is like the testimony of Mangal Murmu – who is a musician and a veteran farmer. He is writing the story sitting in a jail. He writes with rage: “We Adivasis will not dance anymore. We are like toys – someone presses our “ON” button, or turns a key in our backsides and we Santhals start beating rhythms on our tamak and tumdak.” Mangal Murmu’s detailed narratives dipped with his rageful emotion portray the miserable state of Santhals in Jharkhand. The coal mines in the suburbs of Jharkhand had evicted people from their villages in the name of development and painted everything black.

For Mangal Murmu, the colour black symbolizes the deplorable situation of his community – he writes: “Our children – dark-skinned as they are — are forever covered with fine black dust. When they cry, and tears stream down their faces, it seems as if a river is cutting across a droughtstricken land.” This short story is inspired by true events when Adivasi farmers were arrested and beaten black and blue by the police for protesting the building of the Jindal Power plant in Jharkhand, as then president Pranab Mukherjee laid the foundation stone.

Mangal Murmu was invited to perform in front of the president. On the day of that event, Mangal Murmu climbed on the stage and addressing the president he said in an indomitable voice: “Unless we are given back our homes and lands, we will not sing and dance. We Adivasis will not dance. The Adivasi will not… –” The story ends here. The police did not let Mangal Murmu speak. His voice goes unheard and unnoticed like the rest of his community. 

Hansda Sowvendra Shekhar wrote all these short stories in the last decade and they appeared in various periodicals such as The Four Quarters Magazine, The Statesman, Northeast Review etc. The writer had to pay a hard price for writing these stories. He was accused of portraying the Santhal women in an obscene manner and suspended from his job. It was the writer’s commitment towards the community he represents which kept him writing. Hansda Sowvendra Shekhar is a literary figure of contemporary times who is not trying to secure his place in the intellectual space; rather he is trying to give a literary shape to the plight of an unnoticed community through his pen.


Soumalya Chatterjee


Source: The Statesman, 20/03/23