Short Story in Odia

 

Arpita, Jan 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 19^th 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.

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.

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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

 

 

 

 

Pathe Prantare, 28.1.24

Samaya 28.1.24

 

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.

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)

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Pathe Prantare, 21.1.24

Samaya, 21.1.24

 

Plant and Fish. Article in Odia. Nirbhya, 15.1.24

Nirbhya, 15.1.24

 

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.

Saura Painting

The Saura paintings are characterized by their vibrant colors, bold patterns, and unique themes. These paintings are predominantly executed on walls and floors of the Lanjia Saura homes, serving both aesthetic and ritualistic purposes.

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.

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.

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 55^th 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)

 

 

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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