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| Arpita, Jan 2024 |
Wednesday 31 January 2024
Window Seat, 28.1.24
Window Seat | Mrinal Chatterjee |
21.1.24
Rangila
Rajasthan
Spanning across an area of 342,239 square kilometers, Rajasthan
(letrally the land of the kings) is the largest state in India. Renowned for
its majestic palaces, forts, colorful traditions, and arid landscapes,
Rajasthan holds a unique place in the hearts of travelers and historians alike.
Home to several powerful Rajput dynasties, each leaving behind a
legacy of magnificent forts and palaces Rajasthan offers a glimpse into the
bygone era. The Amer Fort in Jaipur, Mehrangarh Fort in Jodhpur, City Palace in
Udaipur and countless other forts and mahals
(palaces) stand as testaments to the architectural prowess and grandeur of
Rajasthan's rulers.
Rajasthan is a kaleidoscope of colors, reflected in its vibrant
festivals, traditional attire, and lively folk art. The state's folk music and
dance, including the famous Kalbelia and Ghoomar (remember the ghoomer song and
dance of Deepika in Padmavat), showcase the artistic prowess of its people. The
traditional attire of men, the colorful turbans, and women, the vibrant ghagras
(skirts) and odhnis (scarves) and multi-colour bangles, add to the visual
splendor of the region.
It is not for nothing the state is known as ‘rangila (colourful)
Rajasthan. I recently visited a part of Rajasthan- thanks to an academic
assignment, which took me there.
Kishangarh
I went to Central University of Rajasthan, which is located
at a place called Bandar Sindri- about 92 km from Jaipur on way to Ajmer.
Kishangarh, now as the marble city of India is just 20 kms away. I heard about
Kishangarh in the context of art and paintings, especially the Bani Thani
painting. The theme of this style is the representation of the affection
between Krishna and Radha. Kishangarh style of painting was essentially a
synthesis of Mughal and local style.
Kishangarh
State was a princely state of India from 1611 to 1948. It was founded by the Jodhpur prince Kishan Singh in 1609. Before
Kishan Singh this area was ruled by Raja Samokhan Singh. Kishan Singh was a
courtier of the Mughals, and was rewarded for services rendered to the emperor
of Akbar.
One of the most iconic structures in
Kishangarh is the Phool Mahal, a palace built in the 19th century known
for its stunning architecture and intricate frescoes. Since it has been converted
into a hotel, public entry is barred. I wanted to see the
fort. I thought since it has been converted into a hotel, I can at least visit
the restaurant. I was wrong.
I was denied entry
by two affable looking guards.
- Only hotel guests,
Sir.
I said, I would
take food in the restaurant.
- Only hotel guests,
Sir.
I said, I would book a room .
- No spot booking
here. Only online booking, Sir.
So I returned
without going inside; but promised myself that one day I would stay in this
hotel- even if as a bhoot (ghost).
Snowscape in Rajasthan
Look at the photograph closely. No. I am not in
Alaska, not even in Kashmir or Ladakh. This is at Kishangarh in Rajasthan. And
it is not an ice field or frozen lake. It is marble dust dumping yard, now a
tourist and photo shoot (pre-wedding, post-wedding, film, web series, etc.)
destination.
Kishangarh, has been a
business hub for marble and marble-made sculptures since long. It has recently
transformed into one of India’s largest marble processing and sales hub.
This transition began in
2003 when the idea of a dumping yard was conceived by RICCO (Rajasthan State Industrial
Development & Investment Corporation) and
the Kishangarh Marble Association. Initially it was intended as a place to
dispose of leftover marble waste. But the amount collected grew so vast that it
formed hills. This massive accumulation gave rise to what is now called
“Dumping Yard of Kishangarh.”
Interestingly, this
peculiar site has become an unexpected tourist attraction in Rajasthan due to
its resemblance to snow-covered terrain. The white slurry created by the marble
dust gives an impression of pure white snow blanketing the area. Thus, Dumping
Yard Kishangarh has earned another name – Snow Yard – drawing visitors
intrigued by this unique sight.
The Dumping Yard
Kishangarh, a massive landfill spanning approximately 220 acres of land, was
constructed by the govt. in 2009 as part of the Cluster Project to address
waste management challenges effectively. Two hundred tankers specifically
designed for dumping slurry waste were pressed into service. The project was
completed in 2015.
Surprisingly enough,
rather than being regarded solely as a wasteland, this peculiar location has
gained widespread fame as a tourist destinations for its unique characteristic
– milky white mountains formed entirely from discarded marble slurry.
Presently it has become a
popular choice for fashion shoots, videography sessions, photography
enthusiasts seeking captivating backdrops, and even low-budget films where it
occasionally doubles as an unconventional substitute for snowscapes.
Visit this place in all
seasons, especially in the winter and rainy season, pits filled with water,
transforming into small ponds, and creating an island-like appearance. If you
visit at a time, when there is bright sunshine- wear dark spectacles.
The
Flag-Sellers
I
reached Rajasthan on 21 Jan. the day before the consecration of Ram Janmabhoomi
Temple. On my way I saw flags with the picture of Hamuman and Ram-Seeta being
sold almost at every bazaar and traffic posts.
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| Photo: Mrinal Chatterjee |
I
returned on 25 Jan. the day before 75th Republic Day. On my way back to the
airport I saw National Flags being sold.
And
the same people were selling them.
We
could not meet
French
President Macron was visiting Jaipur on the day I was leaving the city. He was
arriving around the time I should have been at the airport. However, on my way
to the airport I was caught in a massive traffic jam.
So we
could not meet.
It was a different
issue, that the traffic jam was caused because of the security bandobast
for his arrival.
++
Pushkar
Pushkar is one of the
oldest cities in India. Located to the northwest of Ajmer, the tranquil city of
Pushkar is a favoured destination for thousands of tourists and devotees
flocking to Rajasthan. Situated at a height of 510 metres, Pushkar is
surrounded by hillocks on three sides. The ‘Nag Pahar’, literally meaning Snake
Mountain forms a natural border between Ajmer and Pushkar. Known as ‘the rose
garden of Rajasthan’, the essence of the famous Pushkar rose is exported all
over the world. Along with an interesting mythological history, a legacy of
timeless architectural heritage makes Pushkar a fascinating city.
According to legends, Lord Brahma, believed to
be the creator of the Universe dropped a lotus to the ground leading to the
immediate creation of a lake. He then decided to name the place after the
flower, and thus the name, Pushkar. The city of Pushkar is home to the only
temple dedicated to Lord Brahma in the whole world. Hindus consider a journey
to Pushkar to be the ultimate pilgrimage that must be undertaken to attain
salvation.
PUSHKAR
LAKE
According to Hindu
scriptures, the sacred Pushkar Lake is described as ‘Tirtha Raj’, the king of
all pilgrimage sites. No pilgrimage is considered to be complete without a dip
in in the holy Pushkar Lake. Semi-circular in shape and about 8-10 metres deep,
Pushkar Lake is surrounded by 52 bathing ghats and over 400 temples and is
truly a magnificent sight to behold.
BRAHMA
TEMPLE
Nestled in the
picturesque Pushkar valley beyond the Nangaparvat and Anasagar Lake, the Brahma
temple holds a special place in the hearts of Indians. It is the only temple in
the world dedicated to Lord Brahma. Built with marble and decorated with silver
coins, this temple can be identified by its red spire and the image of a swan
(considered sacred to Lord Brahma). The chaturmukhi (four faced) idol of Lord
Brahma is housed in the inner sanctum. A marble statue of the sun god stands
sentinel at the temple. Interestingly, while all the gods are shown bare
footed, Surya is shown wearing ancient warrior’s boots.
GURUDWARA
SINGH SABHA
Gurudwara Singh Sabha,
situated in the eastern part of Pushkar, was built in the beginning of the 19th
century to commemorate the visits of the first and the tenth gurus- Guru Nanak
Dev and Guru Govind Singhji.
The city is home to a large number of artisans who create
exquisite handicrafts using traditional techniques. The handicrafts
industry is a major contributor to the economy of Pushkar. Some of the popular
handicraft items that are made in Pushkar include textiles, pottery, and
jewelry.
Foreigners often visit
Pushkar for
its famous Pushkar Camel Fair, which is one of the largest camel fairs in
the world. This annual event attracts tourists and traders from all over the
world who come to witness the spectacle of thousands of camels being bought and
sold.
Turban
Speaking of attire, let's talk about
turbans – the ultimate fashion statement in Rajasthan. The men here have
perfected the art of turban tying to the point where it's practically a
competitive sport. Each turban is a work of art, a towering masterpiece that
can put the Leaning Tower of Pisa to shame.
Tailpiece:
Doubt
Son:* Dad, I have a doubt.
*Dad:* What's it, son?
*Son:* I learnt that Shri Ram attained Godly status by
*listening to his father* in Tretayug.
*Dad:* That's true, son.
*Son:* But then Prahlad became great by *not listening to his
father* in Satyayug.
*Dad:* That is also true.
*Son:* So, dad, kindly enlighten me: Should I listen to you, or
not?
*Dad:* My dear son, we are living in Kalyug. It's good for both
of us to *_listen to your mother_* to lead a peaceful and harmonious life.
++
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1. "Beyond the Song and Dance: Unveiling
Class Struggle in Bhojpuri Cinema Narratives"
2. "Cinematic Chronicles: Exploring
Socioeconomic Disparities through the Lens of Bhojpuri Film"
3. "From Fields to Frames: A Critical
Analysis of Class Conflict in Bhojpuri Cinema"
4. "Bhojpuri Blockbusters and Social
Realities: Depicting Class Struggle on the Silver Screen"
5. "Caste, Class, and Celluloid: An In-depth
Study of Class Dynamics in Bhojpuri Filmography"
Class
Struggle Portrayed in Bhojpuri Cinema
Introduction:
Bhojpuri
cinema, a regional film industry predominantly based in the northern states of
India, has emerged as a significant cultural and entertainment force. While it
has gained recognition for its vibrant music and distinct storytelling,
Bhojpuri cinema also serves as a mirror reflecting the socio-economic realities
of the region. One recurring theme that finds resonance in many Bhojpuri films
is the portrayal of class struggle. Through narrative arcs, characters, and
cinematographic techniques, Bhojpuri filmmakers explore the disparities between
different socio-economic classes, shedding light on the challenges faced by the
marginalized.
Historical
Context:
To
understand the depiction of class struggle in Bhojpuri cinema, it is crucial to
consider the historical context of the region. The states where Bhojpuri is
spoken, such as Bihar and Uttar Pradesh, have witnessed economic disparities
and social inequalities for decades. The rural-urban divide, caste-based discrimination,
and economic hardships have shaped the narrative landscape of Bhojpuri films.
Narrative
Themes:
Bhojpuri
cinema often delves into the lives of common people, particularly those
residing in rural areas, showcasing their struggles against systemic
injustices. The narrative often revolves around protagonists who hail from
economically disadvantaged backgrounds, fighting against powerful and
exploitative forces. The portrayal of these characters allows filmmakers to
highlight the pervasive nature of class-based discrimination and the resilience
of the underprivileged.
The
agrarian backdrop of many Bhojpuri films serves as a powerful setting to
illustrate the economic struggles faced by the working class. Land disputes,
unequal distribution of resources, and exploitation by landlords are recurrent
themes, amplifying the class-based conflicts inherent in the socio-economic
fabric of the region.
Characterization
and Stereotypes:
Bhojpuri
cinema frequently relies on character stereotypes to emphasize class
differences. The wealthy landlords, often depicted as oppressive figures,
exploit the impoverished protagonists who are struggling farmers or laborers.
These portrayals not only reflect the economic disparities but also contribute
to the creation of a social commentary that resonates with the audience.
Cinematographic
Techniques:
The
cinematographic choices in Bhojpuri cinema play a crucial role in depicting
class struggle. The stark contrast between the opulence of the privileged class
and the austerity of the marginalized is often visually emphasized.
Additionally, the use of local dialects and authentic settings enhances the
relatability of the narrative, making it more accessible to the audience.
Impact
and Social Awareness:
Bhojpuri
cinema, through its portrayal of class struggle, has the potential to raise
awareness about social issues and promote dialogue on economic disparities. By
humanizing the struggles of the underprivileged, these films contribute to a
collective consciousness that challenges existing power dynamics and calls for
societal change.
Conclusion:
Bhojpuri cinema serves as a powerful medium to bring attention
to the class struggle deeply embedded in the socio-economic fabric of the
region. Through compelling narratives, well-defined characters, and poignant
cinematography, filmmakers communicate the challenges faced by the
marginalized, fostering a sense of empathy and understanding among the
audience. As a cultural mirror reflecting the realities of its society,
Bhojpuri cinema contributes to a broader conversation about class struggle and
the need for equitable social change.
Provincializing
Bollywood: Bhojpuri Cinema in the Comparative Media Crucible
https://academic.oup.com/book/38988
Window Seat, 21.1.24
Window Seat | Mrinal Chatterjee |
21.1.24
Photography
and Visual Story Telling
The Media Institute I work in has been
organizing a three day Photography and Visual Story Telling workshop titled
Photographia for the last seven years.
There are some subtle differences between
Photography and Visual Story Telling. Photography
is often seen as a visual way of telling stories.
Let me give you an analogy to explain the difference. Consider the difference
between a short story and a novel. Just as a novel consists of many chapters,
the photo story should be a coherent tale of many photos. Photographers who
work with the concept of visual storytelling, make interpretations of the world
around us in an essayistic way.
By harnessing the emotive power of visuals and
employing principles of composition and design, the journalist-storytellers can
create narratives that transcend linguistic barriers and resonate with diverse
audiences. In a world where attention spans are fleeting, visual storytelling
serves as a captivating and timeless medium, weaving tales that linger in the
hearts and minds of those who experience them.
As technology (especially AI) continues to
evolve, the art of visual storytelling will undoubtedly play an increasingly
vital role in shaping the way we perceive, understand, and connect with the
stories that define our shared human experience.
However, we must stick to the three basic
tenets of journalism: truth (satya),
righteousness (dharma) and justice (nyaya).
Truck
Literature
If Pakistan has its truck-art,
and Bangladesh has its rikshaw-art, India has its own truck-art and what could
be called ‘truck-literature’.
Have you noticed the witty,
reflective, informative, educative lines- often in rhyming couplets written
behind the trucks? If you have not- please do. There is a fascinating world of
literature out there, amidst the boring and mundane- Ta Ta, Bye Bye; Speed
Limit 40, Bure Nazarwala Tera Muhn Kala.
.jpg)
My artist friend Gorbachove, has
written a long post on this in his social media platform.
Excerpts from his post plus my
own observation:
Love, longing, separation,
nostalgia and craving for reunion– these continue to be the leitmotif of truck
literature. ‘Mai ek din lout ke aunga’ (I would come one day) expresses the poignancies
of lives lived solitarily, treated harshly and spent desperately on uncertain
and melancholic highways and which find solace in the memory of the loved ones.
It is a promise but more to oneself than to those back home. It would remind
him of his essential humanity amidst a lot that is actually or potentially
beastly. The image of a truck-driver's wife sitting forlornly by the road and
longing for her husband with a literary fragment ‘Tum Ghar kaab Aoge’ expresses
her edgy desperation.
Obsession with luck is
commonplace. So is professing love for the mother and motherland. Usually the mother is a wrinkled, Ill-clad figure who
waits for her son to return after all the battles and all the drudgeries are
done. ‘Ma tujhe salam’ is a clarion call of a grateful son to a motherland and
a mother that has been with him through vicissitudes of life.
Wise sayings and aphorisms
focusing on such virtues as discipline ‘Anusasan desh ko mahan banata hai’ to delivery rather than deliberation ‘Kaam
Adhik Baat Kam’ show an unusual empathy for the catch-phrases of the emergency.
Clearly our trucks are caught in time-warp.
A good truck reminds its readers
about its ethnography and iconography... so from ‘Bikaniri Bohu’ to ‘Punjab da
Puttar’ to Chora Jat ka’ to ‘Bihari Babu’ – trucks scream loud and clear that
they are out to take on the world and that the world should become cautious as
it is simply unstoppable. However, I am yet to see ‘Bangali Bhadralok’ or ‘Odia
Babu’ scrawled at the back of any truck.
The idea of giving pass to
vehicles behind the trucks... there is usually an advice: Jagah milne par pass
denge’ that quickly morphs into a stern warning, “Dum hai to pass kar warna
bardast kar’- the choice is yours; I would advise caution or a stern warning:
Jagah milne par pass diya jayega Halla kiya to bans diya jaega.
Age
is just a number
The new Prime
Minister of France Gabriel Atall is just 34. She is the youngest premier in the
history of France. Rishi Sunak, PM of UK is 43. Joe Biden, President of USA is
81. Donald Trump, who desperately wants to be again is 77. Benjamin Netanyahu,
PM of Israel is 74. Sheikh Hasina , Bangladesh’s fifth time PM is 76. Narendra
Modi, our PM is 73. Lal Krishna Advani, his onetime mentor and who still
probably wants to be the PM of India is 96.
And I am just 62.
So, miles to go before I sleep.
Tailpiece
For the first time
I am cancelling my Maldives trip due to a diplomatic issue.
Else, every year I
used to cancel it due to financial issue.
(Courtesy: Social
Media)
++
Monday 15 January 2024
Sunday 14 January 2024
Window Seat. Weekly Column. 14.1.24
Window Seat | Mrinal Chatterjee |
14.1.24
Saura
and Sohrai Painting
Saura painting of
Odisha and Sohrai painting of Jharkhand got GI Tag this year. This has drawn
more attention to this traditional forms of painting.
Saura painting
belongs to the 'Lanjia Saura' or 'Lanjia Savara/Sabara' tribe of Odisha's
Rayagada district, originally in the form of exterior murals in tribal homes.
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| Saura Painting |
The themes depicted
in Lanjia Saura paintings often revolve around nature, mythology, and the
tribe's daily life. Animals, birds, trees, and human figures are common motifs,
and each element carries symbolic significance within the cultural context of
the Lanjia Saura community. The use of bright colors and intricate patterns not
only adds to the visual appeal but also conveys a sense of energy and vitality.
The art serves as a form of visual storytelling, recounting the tribe's myths,
legends, and ancestral tales.
The process of
creating Saura paintings involves natural pigments and brushes made from
locally available materials. The artists often employ geometric shapes and
stylized forms, creating a unique visual language that sets Saura paintings
apart from other tribal art forms in India. The art form is passed down through
generations within the community, ensuring the preservation of their cultural
identity.
Sohrai painting of Hazaribagh in Jharkhand also got GI tag
this year. This art form has been practised for centuries by the tribes
of Hazaribagh, Jharkhand, and its surrounding states. This is also an ancient painting style inspired by cave
paintings discovered in Hazaribag region, which is an enclave of India’s rich
tribal cultures. Santal, Munda, Oraon, Agaria, Birhor, Kurmi, Prajapati,
Ghatwal and Ganju tribes have been living here for centuries.
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| Sohrai Painting |
The word ‘sohrai’ is derived from the Mundari term ‘soroi’,
which means ‘to whip with a stick. Sohrai art is an integral part of sohrai
festival, which celebrates fruitful harvest.
Like Saura painting, sohrai painting also use natural pigments
derived from clay, charcoal, cow dung and leaves. The artists use their
fingers, twigs and brushes made from animal hair. The paintings are usually
done on a white or off-white base, mixing cow dung with water and clay. The
paintings are believed to bring good
luck and prosperity to the household.
In recent years,
there has been a growing interest in tribal art among art enthusiasts,
collectors, and researchers.
28 Years of
Cartoonwatch and Communication Today
In 2024, two
publications of two different genre stepped into 28th year of continuous
publication. One is Communication Today, a media research journal, published
from Jaipur, Rajasthan by Prof. Sanjeev Bhanawat. The other is Cartoon Watch, a
magazine on cartoons from Raipur, Chattisgarh by Triambak Sharma.
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| Traimbak Sharma |
There are two and
half similarities between these two publications. One: both the publications
are products of passion and perseverance of individual person. Two, both the
publications have dedicated contributors. There is a strong personal bonding
between the editor/publisher and those who write or draw or send contributions.
 |
| Prof. Sanjeev Bhanawat |
And the half reason
is: I am involved with both the publications as contributor and as a friend and
well-wisher.
In a country where
the mortality rate of publications is very high, the very survival of these
publications for close to three decades is something to cherish.
I wish both a long
and enriching life.
Delhi
ki Sardi
I had recently been to Delhi to attend the 55th convocation of Indian Institute of Mass Communication (IIMC), a premier mass communication teaching and training institute which has 6 campuses including its Head Quarters in Delhi. I work in its Eastern regional campus located at Dhenkanal in Odisha.
We hardly have a winter season in Dhenkanal. Winter in
Dhenkanal is of a short duration. By the time you think of bringing out the
heavy woolens- it is over. Accustomed to a ‘now here-now not’ low intensity
winter- the winter of Delhi came as a shock.
 |
| Cartoon by Savitesh Mukherjee |
As I stepped out of the temperature controlled airport, a
gust of bone chilling wind numbed my senses. I scrambled into the waiting taxi,
rubbing my hands. The next two days I was eagerly looking forward to my return
flight.
Meanwhile I heard the song: Delhi ki Sardi. The first few
lines go like:
Koi toh aaye joh garmi laaye;
Pyar tera Dilli ki sardi,
(I hope someone brings the warmth,
Your love is like Delhi's cold weather)
Gyan
on Gadha
Ass and Donkey are
not the same. There is a pedantic difference. An ass can be wild, a donkey is
typically domesticated.
And there is a
difference between a mule and a hinny. A hinny is the offspring of a male horse
and a female donkey, known as Jenny. A mule is the offspring of a male and a
female horse.
(Courtesy: Bibek Debroy
in New Indian Express)
Gyan
on Gadha2
‘Donkey Flight’ is
illegal transportation of migrants via various stopovers. The agent who does
this is called ‘Donker’.
(Courtesy: Gurbir
Singh)
++
A
compilation of all the episodes of Window Seat published in 2023 is being
compiled into a e-book. It will be sent to interested readers for free.
Interested persons may send their email to mrinalchatterjeeiimc@gmail.com
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