Cultural history brings to life a past time and place. In this search, cultural historians study beliefs and ideas, much as intellectual historians do. … These are reflected in the products of deliberately artistic culture, but also include the objects and experiences of everyday life, such as clothing or cuisine.
“Light is good, no matter from what lamp it comes.”
~Dr. Sarvapalli Radhakrishnan
Human values, equality, social justice are the real values of all religions.
Good ideas and teachings are found in all the faiths of the world.
Religious tolerance is a unique feature of Indian people.
Our forefathers wanted to build a national character with chief facet of mutual tolerance.
Gandhiji put our secular nature in a nutshell,
“I do not wish my country to be walled in from all sides or want its windows shut; I wish the breeze of all the lands to blow in!”
Mahatma Gandhi
India has a rich cultural tradition. There is a harmonious blend of art, religion and philosophy in the Indian culture. They are so beautifully interwoven in the fabric of Indian way of life. It is only the dynamism and the flexibility of Indian culture that enabled it to survive the foreign invasions and retain its originality and traditional character even after imbibing the best of these external influences.
Indian people, by nature tolerant and fatalists, did not anytime ridicule the traditions of foreign civilizations. On the other hand, Indian mind has assimilated much of the thinking of the other cultures, thus enriching itself and thereby becoming unique in its character. Today, it is the uniqueness which attracts the Western societies to the Indian culture. Disillusioned with their materialistic lives, they turn to India for solace and peace.
We should remove the geographical, political, cultural and linguistic blockades and stand together for the well- being and prosperity of our nation.
The biggest religion is humanity and our country India will always favor this.
Satyajit Ray was India’s first internationally recognized film-maker and, several years after his death, still remains the most well-known Indian director on the world stage. Ray has written that he became captivated by the cinema as a young college student, and he was self-taught, his film education consisting largely of repeated viewings of film classics by de Sica, Fellini, John Ford, Orson Welles, and other eminent directors.
Satyajit Ray
Early Life and Family Background
Satyajit Ray was born into an illustrious family in Kolkata (then Calcutta) on 2nd May,1921. His grandfather, Upendra Kishore Ray-Chaudhary, was a publisher, illustrator, musician, the creator of children’s literature in Bengali and a leader of the Brahmo Samaj, a religious and social movement in nineteenth century Bengal. His father, Sukumar Ray, was a noted satirist and India’s first writer of nonsensical rhymes, akin to the nonsense verse of Edward Lear. Having studied at Ballygunge Government High School, Calcutta and completed his BA in economics at Presidency College, Satyajit Ray went on to develop an interest in fine arts. Later in life, Satyajit Ray made a documentary of his father’s life. His film, Goopy Gyne Bagha Byne, was based on a story published by his grandfather in 1914, but even other films, such as Hirok Rajah Deshe, “The Kingdom of Diamonds”, clearly drew upon his interest in children’s poetry and nonsensical rhymes.
Satyajit Ray with Akira Kurosawa
The Crisis of Indian Cinema Before Ray
From the 1920s to the early 1950s, several directors working within Hollywood—as well as filmmakers in former Soviet Union, France, Italy, Germany, and Japan—considered cinema not as a mere tool of entertainment but as a medium for creative expression. Filmmakers such as Charlie Chaplin, Sergei Eisenstein, Jean Renoir, Roberto Rossellini, Vittorio De Sica, Akira Kurosawa, and others deployed artistically innovative filmic devices to convey profound statements about the complexities of life. Some of the aesthetically satisfying films produced during this period were hailed as cinematic masterpieces. Films in India, however, prioritised cliched elements such as sentimental slush, ersatz emotion, theatricality, romantic tales, spectacle-like songs, and happy endings in these decades. Instead of making serious attempts at formal experimentation, Indian directors continued catering to the lowest common denominator audience.
Iconic scene from Pather Panchali (1955)Pather Panchali (1955)
Breakthrough of Satyajit Ray
A young Ray had grown up on Hollywood movies, so when his ad agency sent him to London for higher training, he spent more and more of his time in the company of films and started “losing interest in advertising in the process,” he once said in an interview. During this trip, he saw Vittorio De Sica’s “Ladri di biciclette” (Bicycle Thieves),in 1948, a neo-realist Italian masterpiece of post-War despair and was entranced by its beguiling simplicity and humanism. Back in Calcutta, he heard that Jean Renoir was in town and walked straight into the hotel where the great French filmmaker was staying to confide in his own dreams of making a movie someday. Renoir, who was location-scouting for The River in Calcutta at the time, encouraged the aspirant. And so began the journey of the song of the little road.
Subir Banerjee as Apu in Pather Panchali (1955)
Ray’s landmark debut, Pather Panchali ( which was adapted from eponymous 1928Bengali novel “Pather Panchali” by eminentBengali novelist Bibhutibhusan Bandopadhay) was on a shoe-string budget in 1955 with a mostly non-professional cast. All the while, he clung on to his job for a safety net even as he shot what would become the first of the classic Apu Trilogy on weekends. The film was apparently being made by a group of neophytes, who had to stop filming more than once, owing to the depletion of their shoestring budget.
Smaran Ghoshal as Apu in Aporajito (1956)
Notable Films of Satyajit Ray
Ray directed 36 films, comprising 29 feature films, five documentaries, and two short films.Pather Panchaliwas completed in 1955 and turned out to be both a commercial and a tremendous critical success, first in Bengal and then in the West following a major award at the 1956 Cannes InternationalFilm Festival. sured Ray the financial backing he needed to make the other two films of the trilogy: Aparajito (1956; The Unvanquished) and Apur Sansar (1959; The World of Apu).Pather Panchaliand its sequels tell the story of Apu, the poor son of a Brahman priest, as he grows from childhood to manhood in a setting that shifts from a small village to the city of Calcutta.
Chandana Banerjee in Teen Kanya (1961)During the Shooting of Jana Aranya (1975)Utpal Dutta in HirokRajar Deshe(1980)Soumitra Chatterjee in Hirok Rajar Deshe (1980)Chhabi Biswas (in middle) in Jalsaghar (1958)Shabana Azmi in Shatranj ke Khilari (1977)Satyajit Ray during the shooting of Sonar Kella(1974)
Ray’s major films about Hindu orthodoxy and feudal values (and their potential clash with modern Western-inspired reforms) include Jalsaghar (1958; The Music Room), an impassioned evocation of a man’s obsession with music; Devi (1960; The Goddess), in which the obsession is with a girl’s divine incarnation; Sadgati (1981; Deliverance), a powerful indictment of caste; and Kanchenjungha (1962), Ray’s first original screenplay and first colour film, a subtle exploration of arranged marriage among wealthy, westernized Bengalis.Shatranj ke Khilari (1977; The Chess Players), Ray’s first film made in the Hindi Language , with a comparatively large budget, is an even subtler probing of the impact of the West on India. Although humour is evident in almost all of Ray’s films, it is particularly marked in the comedy Parash Pathar (1957; The Philosopher’s Stone) and in the musical Goopy Gyne Bagha Byne (1969; The Adventures of Goopy and Bagha), based on a story by his grandfather.
His other notable films were Ahsani Sanket (1973; Distant Thunder), Aranyer Din Ratri (1970; Days and Nights in the Forest) , Mahanagar (1963; The Big City) and a trilogy of films made in the 1970s—Pratidwandi (1970; The Adversary), Seemabaddha (1971; Company Limited), and Jana Aranya (1975; The Middleman), Ganashatru (1989; An Enemy of the People), Shakha Prashakha (1990; Branches of the Tree), and the Agantuk (1991; The Stranger).
Poster of Shatranj ke Khilari (1977)Poster of Devi(1960)Poster of Ghore-BairePoster of Mahanagar(1963)Poster of Apur Sansar (1959)Poster of Nayak Poster of Charulata
Work As A Novelist
Ray created two popular fictional characters in Bengali children’s literature—Feluda, a sleuth, and Professor Shanku, a scientist. The Feluda stories are narrated by Topesh Ranjan Mitra aka Topse, his teenage cousin, something of a Watson to Feluda’s Holmes. The science fictions of Shonku are presented as a diary discovered after the scientist had mysteriously disappeared. Ray also wrote a collection of nonsensical verses named Today Bandha Ghorar Dim, which includes a translation of Lewis Carroll’s “Jabberwocky”. He wrote a collection of humorous stories of Mulla Nasiruddin in Bengali. Ray wrote an autobiography about his childhood years, Jakhan Chhoto Chhilam (1982), translated to English as Childhood Days: A Memoir by his wife Bijoya Ray. In 1994, Ray published his memoir, My Year’s with Apu, about his experiences of making The Apu Trilogy.
Book Cover illustrated by Satyajit Ray, himself for his first detective novel “Badshahi Angti”.The musical score and Poster for Goopy Gyne Bagha Byne(1969), done by Satyajit Ray, himself Portrait of Akira Kurosawa, illustrated by Satyajit Ray
Critical Analysis of Satyajit Ray
Instead of acting like a propagandist, Ray wanted to make people aware of the persistence of certain social problems. Devi and Ganasatru show people’s blind religious beliefs, Sakha Prasakhadiscloses the involvement of the top officials with bribery and corruption, Shatranj ke Khilari indicates the indolence and lack of political consciousness of the wealthy people, Aranyer Din Ratrireveals the insensitivity and boasting of the urban young men, and Mahapurushmockingly exposes the failure of the urban elite to embrace rational thoughts. Given the necessity of making people conscious of the same problems in present-day society, these films are still relevant today. Ray’s films also made a departure from tradition by frequently including strong women characters. Sarbajaya in Pather Panchali and Aparajito, Manisha in Kanchenjungha, Arati in Mahanagar, Charu in Charulata, Karuna in Kapurush, Aditi in Nayak, Aparna and Jaya in Aranyer Din Ratri, Sudarshana in Seemabadhdha, and Ananga in Asani Sanketappear as bolder, more confident, and more resilient than the male characters. In an interview, Ray states that the inclusion of unwavering women characters reflects his own attitudes towards and personal experience with women.
Awards Received by Satyajit Ray
Ray received many awards, including 36National Film Award by the Government of India, and awards at international film festival. In 11th Moscow InternationalFilm Festival 1979, he was awarded with the Honorable Prize for the contribution to cinema. At the Berlin International Film Festival, he was one of only four filmmakers to win the Silver Bear for Best Director more than once and holds the record for the most Golden Bear nominations, with seven. At the Venice Film Festival, where he had previously won a Golden Lion for Aparajito (1956), he was awarded the Golden Lion Honorary Award in 1982. That same year, he received an honorary “Hommage à Satyajit Ray” award at the 1982 Cannes International Film Festival. Ray is the second film personality after Charlie Chaplin to have been awarded an honorarydoctorate by Oxford University.
He was awarded the Dadasaheb Phalke Award in 1985, and the Legion of Honour by the President of France in 1987. The Government of India awarded him the Padma Bhusan in 1965 and the highest civilian honour, Bharat Ratna, shortly before his death. The Academy of Motion Picture Arts and Sciences awarded Ray an Honorary Award in 1992 for Lifetime Achievement. In 1992, he was posthumously awarded the Akira Kurosawa Award for Lifetime Achievement in Directing at the San Francisco International Film Festival.
Conclusion
Whenever we talk about radical filmmaking in the realm of Bengali cinema, Satyajit Ray’s maiden feature (made in the face of tremendous odds) is mentioned. From Pather Panchali to his last film Agantuk, Ray never compromised on high standards, thereby making a huge impression. Having a greater familiarity with the oeuvre of Ray would enable people to understand the impressive qualities and importance of socially-meaningful cinema. We are surely in need of films that would make us perceive the beauty of a dewdrop on a blade of grass, strengthen our sense of humanism, and raise our social consciousness—hence, the everlasting relevance of the cinema of Satyajit Ray.
Australian author Thomas Keneally‘s novel first “Schindler’s Ark” (later republished as Schindler’s List) brought the story of Oskar Schindler’s rescue of Jewish people during the Nazi Holocaust, to international attention in 1982, when it won the Booker Prize. It was made by Steven Spielberg into the Oscar-winning film Schindler’s Listin 1993, the year Schindler and his wife were named Righteous Among the Nations.
Schindler’s Ark later republished as Schindler’s List
About The Author
Thomas Michael Keneally, (born 7 October 1935) is an Australian novelist, playwright, essayist and actor. Keneally’s first story was published in The Bulletin magazine in 1962 under the pseudonym Bernard Coyle. By February 2014, he had written over 50 books, including 30 novels. He is particularly famed for his Schindler’s Ark (1982) (later republished as Schindler’s List), the first novel by an Australian to win the Booker Prize and is the basis of the film Schindler’s List. He had already been shortlisted for the Booker three times prior to that: 1972 for The Chant of Jimmie Blacksmith, 1975 for Gossip from the Forest, and 1979 for Confederates. Many of his novels are reworkings of historical material, although modern in their psychology and style.
Thomas Keneally
Storyline of The Novel
The story of the novel is based on true events, on account of the Nazi Holocaust during World War II. Oskar Schindler, (born April 28, 1908, Svitavy [Zwittau], Moravia, Austria-Hungary [now in the Czech Republic]—died October 9, 1974, Hildesheim, West Germany), German industrialist who, aided by his wife and staff, sheltered approximately 1,100 Jews from the Nazis by employing them in his factories, which supplied the German army during World War II.
Poster of Steven Spielberg‘s movie Schindler’s List (1993)
In the shadow of Auschwitz, a flamboyant German industrialist grew into a living legend to the Jews of Kraków. He was a womaniser, a heavy-drinker and a bon viveur, but to them he became a saviour. This is the extraordinary story of Oskar Schindler, who risked his life to protect Jews in Nazi-occupied Poland and who was transformed by the war into a man with a mission, a compassionate angel of mercy.
Liam Neeson as Oskar Schindler in Schindler’s List (1993)
Analysis of The Storyline
The novel introduced a vast and diverse cast of characters. However, the focus of the narrative was between Oskar Schindler and Amon Goeth. In the story, there was a dichotomy between what is essentially good and what is evil, that was personified by these two primary characters. Goeth represented everything evil. The war churned out a selfish and heartless sadist who found delight in inflicting pain on the Jews. Ironically, he lusted after his Jewish maid. Schindler, on the other hand, was portrayed as the Good German. He didn’t believe everything that the Nazi regime was saying against the Jews. He was, however, a man of contradictions. Despite being depicted as the epitome of goodness, he lived a self-indulgent lifestyle, which included proclivity towards the bottle and women. His infidelities have been a constant source of pain for his wife, Emilie. He also uses his connections to gain the upper hand in negotiations; it would also be a seminal part of his campaign to save the Jews.
Ralph Fiennes as Amon Goeth in Schindler’s List (1993)
Criticism of The Storyline
The amount of research poured to recreate the story of Oskar Schindler was astounding. And the starting point to this is as interesting as the novel itself. As noted in the Author’s Note, a chance encounter in 1980 led to the novel. Schindler’s motivation for protecting his workers was rarely ever clear, especially at the start. Questions still hound his true intentions. He, after all, brazenly took advantage of the cheap labour the Jews offered at the start of his enterprise. Is Schindler an anti-hero? The answer can be found in Keneally’s extensive research. Through interviews with surviving Schindlerjuden and different Second World War archives, he managed to identify the point in which Schindler decided to protect the Jews. While horseback riding on the hills surrounding Kraków, he witnessed an SS Aktion unfold on the Jewish ghetto below. The Jews were forcefully taken out of their houses. Those who resisted were shot dead, even in the presence of children. Witnessing the atrocious acts firsthand turned Schindler’s stomach. It was then that he resolved to save as many Jews as he can.
Scene from Schindler’s List (1993)
Overall, what didn’t work was the manner in which Keneally related the story of Oskar Schindler. As the story moved forward, it became clearer that Keneally was unsure of how to deliver the story. His resolve to remain loyal to Oskar’s story was commendable. He endeavored to do just that but it never fully came across. The result was an amalgamation of fiction and historical textbook. The strange mix muddled the story and the result was a perplexing work of historical fiction. It is without a doubt that one of the darkest phases of contemporary human history is the Second World War. Nobody expected that the meteoric ascent of Der Führer, Adolf Hitler, in the German political ladder would lead to a devastation of global scale. As the Axis forces march towards and beyond their boundaries, they would leave death and destruction in their wake, stretching from Europe, to the Pacific, and to the Far East. The consequences of the war would resonate well beyond its time. With genocides, concentration camps, and slave labour commonplace, the war was a reflection of the human conditions. Its peak, the Holocaust, exhibited the extent of the darkest shades of the human spirit. It was a grim portrait.
Indeed, the Second World War brought out the worst in humanity. However, in times of darkness, there are those among us who rise to the occasion. One of them is Oskar Schindler whose story was related by Thomas Keneally in his nonfiction novel, Schindler’s List (1982).
Conclusion
While Keneally‘s dramatization of this great man’s exploits is lacking in novelistic shape or depth, the brutality and heroism are satisfyingly, meticulously presented–as plain, impressive, historical record; and if admirers of Keneally’s more imaginative work may be disappointed, others will find this a worthy volume to place beside one of the several Wallenberg biographies.
Bengal is well-known for its music, cinema and delicious food, especially the mouth-watering sweets. In fact, it’s rather hard not to run into a sweet shop in almost every corner of the land, including the narrowest of the lanes. And, it’s equally hard to find a Bengali who is not in love with their ‘mishti’. Bengalees are incredibly proud of the sweets of Bengal and their unique appeal. And for a good reason too — Bengali sweets have wooed Indians and foreigners alike.
Bengali Mishtis
History of Sweets in Bengal
The prominent presence of sweets in Bengali cuisine can be noted throughout history. Ancient Bengal was known as ‘Gauda Banga’, a name believed to be originated from the term ‘Gur’ or molasses that were harvested in abundance in the region. The early Bengali sweets were made from the delicious jaggery or molasses and coconuts. There were several sweets made from ‘khoya and kheer’, which are Bengali names for milk solids and condensed milk, respectively. Sweets like ‘Naru’, ‘Moya’ and ‘Takti’ were popular in ancient Bengal. The uses of different fruits to make a variety of sweets were also prevalent. Books like Manasa Vijaya Kavya, written by 15th-century Bengali poet Bipradas Pipilai, also account for how varieties of ‘pithe’ or Indian Cake made from rice flour, jaggery, kheer and milk solids have been an integral part of Bengali rituals and festivals.
Traditional Coconut Balls or Narkel NaruPatisapta or Eggless CrepesMalpua or Indian Pancakes
The introduction of ‘Chhana’(Cottage Cheese) in Bengali cuisine happened after the Portuguese invaded Bengal, yet it’s interesting how today most of the characteristic Bengali sweets are made primarily from fresh ‘chhana’ (cottage cheese) and sugar. The curdling of milk with an acidic substance was forbidden according to Hindu cultures, but the Portuguese loved their cheese. After settling down in and around Kolkata in the 17th century, the Portuguese tradition of making sweets with cheese inspired the local cuisine as well. The Bengali confectioners then picked up this incredible art of curdling milk and creating mouth-watering ‘Sandesh’ and ‘Rosogollas’ among others.
Some Famous Bengali Sweets
Bengalees love all their sweets but among those, some are all time winners who can brighten up moods on a tiring day, and can even spoil a diet that you are maintaining for too long! Let’s dive deep into the varieties of some scrumptious and unique Bengali Mishtis.
Sandesh
The simplest yet one of the mostloved sweet of Bengal, is Sandesh. Generally, made by fine kneading of fresh cottage cheese along with sugar powder, cardamom essence and pistachios to garnish. If jaggery is used, instead of sugar then, it’s called Nolen Gurer Sandesh.
Sandesh
Pantua
One of Bengal’s most loved syrupy sweets, is Pantua. Though it has an uncanny similarity with North India originated Gulab Jamun, taste and procedure wise they are quite different. Balls made of cottage cheese, semolina are deep fried and then tossed in sugar syrup until completely soaked in. And unlike Gulab Jamun, they can be served cold too.
Pantua
Kheer Kadam
The name of this sweet is suggestive of a flower named Kadamphool in Bengal. The flower is bright yellow in colour cover by soft, white spikes and has a distinctive smell. This Mishti resembles the flower, and has a layer of Sandesh covered over small Rosogollas .
Kheer Kadam
Lyangcha
Lyangcha is a cylindrical fried sweet, soaked in sugar syrup and prepared with Fresh Chhena (Cottage cheese) and Mawa/ Khowa. To make soft and tasty Lyangcha use of Fresh Chhena is must. Originated from Shaktigarh, around 80kms from Burdwan in West Bengal, Lyangcha is a staple of Traditional Bengali Mishtis.
Lyangcha
Komola Bhog
As the name suggests, Komola Bhog is literally the orangeflavored Rosogolla, (Komolameans Orange in Bengali) with the sweetness of Rosogollas and the tanginess of Orange. And of course, they are bright Orange in colour.
Komola Bhog
Jolbhora Sandesh
JolbhoraSandesh, also known as Taalsas, is a sweet shaped like a ‘taal’ or kernel of the palm fruit. The sweet was created on the event of ‘Jamaisasthi’ by Surjya Modak. It is filled with sweet ‘Nolen gur’ inside and thus got its name. According to stories, Bandopadhay family of Chandernagar requested these sweets for their son-in-law. When he took his first bite of the sweet, the sweet juice spilled out. The sweet, thus, got well-known among the Bengalis.
Jol Bhora or Taal sas Sandesh
Sitabhog
Originated from Burdwan in Bengal, Sitabhog, according to Legends, was Goddess Sita’s favourite dessert and hence the name. Sita Bhog is prepared by frying a dough made of cottage cheese and powdered rice in ghee and then soaking it in sugar syrup. The final product looks like vermicelli served along with mini Gulab jamuns.
Sitabhog
Mihi-Dana
Originated from Burdwan in Bengal , these are one of the famous sweets, that has similarities with Motichur. These are granular, deep fried and soaked into sugar syrup. Recently, Mihi-Dana has received GI Tag from UNESCO and has received its first enormous foreign order to export to The Kingdom of Bahrain.
Mihi-Dana
Ledikeni/ Lady Kenny
Ledikeni or lady Kenny has been a popular Bengali dish since the British rule. The dish is named after Lady Canning, the wife of Charles Canning who was the Governor-General of India during the 19th century. The dish a light brown sweet ball made of Chenna which is fried and then soaked in sugar syrup. It tastes divine and is prepared on most auspicious days.
Lady Kenny
Rosogollas
Rosogollas has done the honourable deed of introducing many, if not all, North Indians to the Bengali cuisine. These magical balls are prepared by dipping a mixture of cottage cheese and semolina dough into a sweet sugar syrup. The mere thought of those soft and spongy balls makes the mouth water.
Rosogollas
Laal Mishti Doi (Caramelized Sweet Yogurt)
Just like the name, this Bengali dessert is extremely simple and sweet. Mishti Doi is essentially sweetened yogurt which is prepared by adding sugar to boiling milk, then leaving it to ferment overnight and is served chilled. This quintessential dessert is often served in small earthen pots which add to the aesthetics of this dish.
Laal Mishti Doi
Conclusion
Ending on a sweet note, Mishtis are also an important part of the culture and tradition of Bengal. Be it during the festivals or weddings or just greeting guests, Bengali Mishtis are always the stars of the show. If you’re a sweet-tooth, you should try these once in a while. And good news is, that many of them are now available online to order from in India and abroad.
The Bauls of Bengal are an order of wandering folk singers that have kept their philosophies alive for centuries. But modern demands threaten to overtake their simple, itinerant lifestyles. Now, an audio-visual record is being taken to keep their vocal traditions alive for generations yet to come.
A Baul holding a Dotara
Bauls : Who They Are
In the Bengal region of South Asia, however, itinerant mystics are still welcomed widely, respected for their sincere but simple way of life, and rewarded for the brilliance of their performances, sharing memorable poetry and music, mainly with rural communities, much as they have done for several centuries. These are the Bauls of Bengal – a group that pursue a life of self-denial and meditative discipline, committed to a belief that ‘the ultimate’ existence is to be found, not so much through rituals in holy places, but in every ‘self’ and are enthusiastic to share this passion almost exclusively through their art. Bauls belong to an unorthodox devotional tradition, influenced by Hinduism, Buddhism, Vaishnavism and Sufi Islam, yet distinctly different from them. Bauls neither identify themselves with any organized religion nor with the caste system, special deities, temples or sacred places. They share only one belief —that God is hidden within the heart of man and neither priest, prophet, nor the ritual of any organized religion will help one to find Him there. To them we are all a gift of divine power and the body is a temple, music being the path to connect to that power.
Baulsartwork by Jamini Roy
Historic Background
The word Baul comes from the Sanskrit word “Batul,” which means mad and is used for someone who is possessed or crazy for God. The Bauls are wandering minstrels of West Bengal and Bangladesh, whose song and dance reflect the joy, love and longing for mystical union with the Divine. The Baul tradition of mendicancy – ascetics who entertain in exchange for subsistence – has ancient origins, and seems to have thrived well before the rule of the great Mughal Emperors from the 16th to 18th centuries, a period during which Islam spread eastwards from the Middle East to Bengal and beyond. Originally the district of Birbhum in West Bengal was the seat of all Baul activity. Later, the Baul domain stretched to Tripura in the north, Bangladesh in the east, and parts of Bihar and Orissa in the west and south respectively. In Bangladesh, the districts of Chittagong, Sylhet, Mymensingh and Tangyl are famous for Bauls. Bauls from far off places come to participate in the Kenduli Mela and the Shantiniketan Poush Mela –the two most important fairs held in West Bengal for Baul music.
A group of Bauls in Bengal
The Characteristics and Attires
They can often be identified by their distinctive clothes and musical instruments. It’s easy to identify a Baul singer from his uncut, often coiled hair, saffron robe (alkhalla), a necklace of beads made of basil (tulsi) stems. Bauls use a number of musical instruments: the most common is the ektara, a one-stringed “plucked drum” drone instrument, carved from the epicarp of a gourd, and made of bamboo and goatskin. Others include the dotara, a long-necked fretless lute (while the name literally means “two stringed” it usually has four metal strings) made of the wood of a jackfruit or neem tree; besides khamak one-headed drum with a string attached to it which is plucked. The only difference from ektara is that no bamboo is used to stretch the string, which is held by one hand, while being plucked by another. Drums like the duggi a small hand-held earthen drum, and dhol and khol; small cymbals called kartal and manjira, and the bamboo flute are also used. Ghungur and nupur are anklets with bells that ring while the person wearing them dances.
Lalan Fakir
Lalan Fakir : The Legend of Baul Movement
Lalan Fakir (1774 -1890), the greatest of all Bauls, continued to compose and sing songs for decades without ever stopping to correct them or put them on paper. He composed a thousand songs, of which just 600 can be traced. It was only after his death that people thought of collecting and compiling his repertoire. He rejected the division of society into communities, protesting and satirising religious fundamentalism of all kinds. Lalan’s metaphysical lyrics raise a basic question – that if there is a single creator then why so many religions exist ? This is a pertinent problem in today’s world; we all know that the different ‘Gods’ have created acrimony between races and sects and as of today this concept of different ‘Gods’ remains the most decisive divisive force on planet Earth. His most famous song quoted, “Khanchar Bhitor Ochin Pakhi Kemne Ase Jay”. In 2004, Lalan was ranked 12 in BBC’s poll of the GreatestBengali of all time.
Parvathy Baul
Baul Philosophy
Bauls do not believe in the pious ‘other world’ and most of the times deny the presence of super powers. Looking from a different angle it can be said that according to them, ‘God’ resides in each human being and it is for the human being to realise this truth, the human beings are the best exponents of spirituality ever to tread on this Earth. Nowhere did this philosophy leave its imprint more powerfully than on the work of Rabindranath Tagore, who talked of Bauls in a number of speeches in Europe in the 1930s. An essay based on these was compiled into his English book ‘The religion of man’. An important part of Baul philosophy is “Deha tatta”, a spirituality related to the body rather than the mind. They seek the divinity in human beings. Often, the lyrics philosophize on love and stress to remain unattached and unconsumed by the pleasures of life even while enjoying them. Baul music celebrates celestial love, but does this in very earthy terms.
Purna Das Baul
International Connection
Referred to as the Baul Samrat, Purna Das Baul, introduced Baul songs to the West during an eight-months tour of the US in 1965 with stars like Bob Dylan, Joan Baez, Paul Robeson, Mick Jagger, Tina Turner, and all. Dubbed “India’s Bob Dylan” by the New York Times in 1984, Purna Das Baul has played with Bob Marley, Gordon Lightfoot and Mahalia Jackson and the likes. Currently another version of Baul called the folk fusion also called baul rock is also greatly accepted by the audience, especially in West Bengal. Kartik Das Baul has taken baul to different heights by associating himself with folk fusion. This type of baul was brought into the world of music by ‘Bolepur Bluez’, which was world’s first folk fusion band. There are also the Western Bauls in America and Europe under the spiritual direction of Lee Lozowick, a student of Yogi Ramsuratkumar. Their music is quite different (rock /gospel/ blues) but the essence of the spiritual practices of the East is well maintained.
A Baul in Shantiniketan,Birbhum
Conclusion
The tradition is so integral to Bengal that it’s hard to think of Bengali culture sans the Bauls. They’re not only an intrinsic part of Bengal’s music, they’re in the mud and air of this land and in the mind and blood of its people. The spirit of the Bauls is the spirit of Bengal– ever-flowing in its society and culture, literature and art, religion and spirituality.
Ghana is well known for it’s dark chocolate. Infact, it is the 2nd largest chocolate exporter in the world. Several children are forced into child labour for the extraction of cocoa seeds and they are made to work from the crack of dawn till night. To keep the price of chocolate minimum, child labour is infused since children are not paid for their work. Top international chocolate brands such as Nestle, Hershey’s and Mars buy cocoa from them. Apart from child labour, there is another ritual since prevalent in Ghana that is inflicted upon young women. Trokosi or female ritual servitude still exists in parts of Ghana, Togo , Benin and parts of Nigeria too till this very day. It takes place when a member if a family commits a crime. The crime can be rape,theft , murder etc. And once the crime is uncovered the family members fear punishment from the gods. So in order to please the gods, the father of the family would take one of his virgin daughters and give her to a local shrine as atonement for the crimes made by the family member. The shrines are run by old male priests. The young girls are forced to work for these priests without any proper education, food or clothing and often raped and sexually assaulted and in many cases leaving her with children who continue to live and work in these shrines. However NGO’s and other human rights organizations are fighting this practice. Many individuals and private groups in Ghana have had successes in persuading priests to stop this practice. Since 1998, International Needs Ghana which is a local group played an integral part in a campaign which led to the release of around 2,800 Trokosi girls and the banning of the Trokosi practice in Ghana. Even Today, International Needs help many of the liberated girls by providing education and vocational training.At the Adidome Vocational Training Centre, the girls can take free training courses to learn new skills. They can learn how to bake, sew , make beauty products and so on. They are also given literacy classes.The centre also offers medical check-ups counselling and support for the girls. And once they are done with the training and leave the centre they are supported with equipments so they can begin their own small business and make a living.
The studies of History never ceases to amaze us with its unfolding secrets, bizarre facts and notable events that took place throughout ages. History has made many rulers popular, many famous and many infamous through their deeds during their ruling periods. But, Cleopatra VII of Egypt, still remains a fantasy for the connoisseurs of History for her incredible brain and beauty. In Today’s editorial, we’re going to discuss about Cleopatra, the empress of Egypt who enticed the world with her inevitableruling skills and irresistiblecharm.
Cleopatra VII
Cleopatra: Who She Was
Cleopatra VII ruled ancient Egypt as co-regent (first with her father, then with her two younger brothers and finally with her son) for almost three decades. She was part of a dynasty of Macedonian rulers founded by Ptolemy, who served as general under Alexander the Great during his conquest of Egypt in 332 B.C. Well-educated and clever, Cleopatra could speak various languages and served as the dominant ruler in all three of her co-regencies. Her romantic liaisons and military alliances with the Roman leadersJulius Caesar and Mark Antony, as well as her supposed exotic beauty and powers of seduction, earned her an enduring place in history and popular myth.
Artwork of Cleopatra, by Frederick Arthur Bridgman (1896)
Early Life and Ascension to The Throne
Cleopatra, in full Cleopatra VII Thea Philopator (born 70/69 BCE—died August 30 BCE, Alexandria) was the daughter of King Ptolemy XII Auletes. Cleopatra was destined to become the last queen of the Macedonian dynasty that ruled Egypt between the death of Alexander the Great in 323 BCE and its annexation by Rome in 30 BCE. The line had been founded by Alexander’s general Ptolemy, who became King Ptolemy I Soter of Egypt. Cleopatra was of Macedonian descent and had little, if any, Egyptian blood. Coin portraits of Cleopatra show a countenance alive rather than beautiful, with a sensitive mouth, firm chin, liquid eyes, broad forehead, and prominent nose. When Ptolemy XII died in 51 BCE, the throne passed to his young son, Ptolemy XIII, and daughter, Cleopatra VII. It is likely, but not proven, that the two married soon after their father’s death. The 18-year-old Cleopatra, older than her brother by about eight years, became the dominant ruler. Evidence shows that the first decree in which Ptolemy’s name precedes Cleopatra’s was in October of 50 BCE. Soon after, Cleopatra was forced to flee Egypt for Syria, where she raised an army and in 48 BCE returned to face her brother at Pelusium, on Egypt’s eastern border. The murder of the Roman general Pompey, who had sought refuge from Ptolemy XIII at Pelusium, and the arrival of Julius Caesar brought temporary peace.
Statue of Julius Caesar in Rome, Italy
Cleopatra’s Romantic Roman Connection
Cleopatra realized that she needed Roman support, or, more specifically, Caesar’s support, if she was to regain her throne. Each was determined to use the other. Caesar sought money for repayment of the debts incurred by Cleopatra’s father, Auletes, as he struggled to retain his throne. Cleopatra was determined to keep her throne and, if possible, to restore the glories of the first Ptolemies and recover as much as possible of their dominions, which had included southern Syria and Palestine. Caesar and Cleopatra became lovers and spent the winter besieged in Alexandria. Roman reinforcements arrived the following spring, and Ptolemy XIII fled and drowned in the Nile. Cleopatra, now married to her brother Ptolemy XIV, was restored to her throne. In June 47 BCE she gave birth to Ptolem Caesar . The Child was believed to be Caesar’s child, and was known by the Egyptian people as Caesarion, or Little Caesar.
Assassination of Julius Caesar
Sometime in 46-45 B.C., Cleopatra traveled with Ptolemy XIV and Caesarion to Rome to visit Caesar, who had returned earlier. After Caesar was assasinated in March 44 B.C., Cleopatra went back to Egypt; Ptolemy XIV was killed soon after (possibly by Cleopatra’s agents) and the three-year-old Caesarion was named co-regent with his mother, as Ptolemy XV.
Mark Antony
Mark Antony: The Love of Cleopatra
When, at the Battle of Phillpi in 42 BCE, Caesar’s assassins were routed, Mark Antony became the heir apparent of Caesar’s authority—or so it seemed, for Caesar’s great-nephew and personal heir, Octavian, was but a sickly boy. Antony, now controller of Rome’s eastern territories, sent for Cleopatra so that she might explain her role in the aftermath of Caesar’s assassination. She set out for Tarsus in Asia Minor loaded with gifts, having delayed her departure to heighten Antony’s expectation. She entered the city by sailing up the Cydnus River in a barge while dressed in the robes of the new Isis. Antony, who equated himself with the God Dionysus, was captivated.
Decadent affair between Mark Antony and Cleopatra
In 40 BCE Cleopatra gave birth to twins, whom she named Alexander Helios and Cleopatra Selene.
Cleopatra’s Death: The End
On September 2, 31 B.C., Octavian’s forces soundly defeated those of Antony and Cleopatra in the Battle of Actium . Cleopatra’s ships deserted the battle and fled to Egypt, and Antony soon managed to break away and follow her with a few ships. With Alexandria under attack from Octavian’s forces, Antony heard a rumour that Cleopatra had committed suicide. He fell on his sword, and died just as news arrived that the rumour had been false.
Mark Antony‘s Death
On August 12, 30 B.C., after burying Antony and meeting with the victorious Octavian, Cleopatra closed herself in her chamber with two of her female servants. The means of her death is uncertain, but Plutarch and other writers advanced the theory that she used a poisonous snake known as the asp, a symbol of divine royalty, to commit suicide at age 39. According to her wishes, Cleopatra’s body was buried with Antony’s, leaving Octavian (later Emperor AugustusI) to celebrate his conquest of Egypt and his consolidation of power in Rome.
William Shakespeare‘s Antony and Cleopatra
Cleopatra: The Enchantress Throughout Ages
Cleopatra remains a charm to cultures having relevance even today. Her bizarre beauty hacks including pomegranatelip-tint and a bath regime curated out of jennet(female donkey) milk arestill a talk among Beauty enthusiasts. Her famous pearl in vinegar concoction drink stirs curiosity among people. Her life was made into various plays and movies. From Shakespeare stems a wealth of Cleopatra-themed art—plays, poetry, paintings, and operas. In the 20th century Cleopatra’s story was preserved and further developed through film.
Theda Bara as Cleopatra (1917)Claudette Colbert as Cleopatra (1934)Cleopatra (1934)Elizabeth Taylor as Cleopatra (1963)Cleopatra (1963)Cleopatra (1963) poster
Many actresses, including Theda Bara (1917), Claudette Colbert (1934), and Elizabeth Taylor (1963), have played the queen, typically in expensive, exotic films that concentrate on the queen’s love life rather than her politics. Caesar and Cleopatra, four-act play by George Barnard Shaw , written in 1898, published in 1901, and first produced in 1906. It is considered Shaw’s first great play. Cleopatra, American epic movie, released in 1963, that was perhaps best known for its off-screen drama, notably production overruns that nearly bankrupted Twentieth Century-Fox and the affair between stars Elizabeth Taylor and Richard Burton.
Conclusion
A queen, an empress, a ruler, a passionate lover, a beauty with brain – Cleopatra was literally all in one. She’s definitely considered as one of the most celebrated queen recorded in World history. Tales of her rule and of her beauty still make her unforgettable to the modern Era of History learners. She was a legend, who is encrypted in History forever, with the never ending myths surrounding her life.
Kathakali is one of the eight major classical dance forms as recognised by the Sangeet Natak Academy. Other dance forms that Sangeet Natak Academy recognises are, Kathak, Manipuri, Sattriya, Odissi, Kuchipudi, Bharatanatyam and Mohiniattam
Kathakali is a narrative dance form, from the state of Kerela. Kathakali is the amalgamation of two words, ‘Katha’ which means story, and ‘kali’ means a dance or a performance, in Malayalam. The dance form is based on the stories from Ramyana, Mahabharata and stories from Shaiva literature. Although not clearly traceable, it be believed that this classical dance from originated in the late 16th and early 17th century India.
Distinct features
The art form developed in courts and theatres of Kerala’s dynasties, that is, it was an outcome of a long line of theatrical practices, contrary to other Indian classical dances which predominantly developed in Hindu Temples and monastic schools. Another distinct features was, unlike other classical dance forms, Kathakali is traditionally performed by only male performers, who play the role of both males and females.
Kathakali involves the use of intricate make-up code, costume, face masks, head dresses and brightly painted faces. The colourful make-up of Kathakali performers is quite complicated and unique among all the other classical dance forms. The intricate make-up is called vesham, which is based on the psychology of colour. The costumes consists of full skirts, a heavy jacket, numerous garland and necklaces, and headgears.
Five main roles
Kathakali is a highly expressive dance form and requires vigorous trainings to be able to deliver such precision and mastery. In order to deliver such performances, make-up plays an important role in classifying the character in Kathakali. Thus, there are five important character veshams (make-up) in Kathakali, they are;
Pacha vesham– It is a green coloured make up on the face that is used to portray noble male characters like kings and divine beings.
Kathi– It denotes arrogant and evil character. The make is basically green showcasing that they are high born, but a red mark like an upturned moustached or knife (Kathi) is painted on the cheeks to show they are evil.
Kari vesham– This is the colour black, and it is used for demonic characters, playing the most heinous figures on the stage.
Minukku vesham– It symbolizes gentleness and high spiritual qualities, denoted by using radiant lighter colours.
Thadi vesham– This refers to the beard, it can vary in length and colours, depending on the gravity of the character.
Apart from these five character veshams, there are eighteen other special characters that cannot be fitted into any particular category.
Kathakali in the present times
Traditionally Kathakali dances revolved around themes from religious sagas, legends, mythologies, folklores and spiritual tales, derived from the ‘Puranas’ and the Hindu epics. However, apart from such traditional themes, the modern day Kathakali troupes have also incorporated themes based on legends from Christianity and also adapted themes based on stories of renowned western authors such as William Shakespeare and more.
Another development that can be seen in present day Kathakali is the inclusion of women in the troupes. Traditionally Kathakali was performed by an all-men troupe who played the parts of both men and women. But now, this seems to be changing, as there has been a growing number of women participating in performing the dance form. This new changes have been welcoming, and viewers are accepting and appreciating these changes to an extent.
However, certain things remain the same such as beginning the performance by lighting a lamp and playing orchestra music, and the voiceover continues to be in Sanskritised Malayalam. Kathakali as a dance form not only entertains us but also provides a window to have a glimpse into the past and an opportunity to comprehend the ancient heritage that has been preserved for centuries through Kathakali performances.
Kolkata, also fondly know as “The City of Joy”, never ceases to amaze generations with its breathtaking beauty, not only with its metro city status of today’s India, but also in the days of past. In today’s editorial, we’re going to take glance at glimpses of Vintage Kolkata from the past.
Brief History and Importance
Kolkata’s recorded history began in 1690 with the arrival of the English East India Company, which was consolidating its trade business in Bengal. Job Charnock, an administrator who worked for the company, was formerly credited as the founder of the city; In response to a public petition, the Calcutta High Court ruled in 2003 that the city does not have a founder. The area occupied by the present-day city encompassed three villages: Kalikata, Gobindapur and Sutanuti.
Kolkata , also known as Calcutta (official name until 2001) is the capital of the Indian state of West Bengal. Located on the eastern bank of the Hooghly river, the city is approximately 80 kilometres (50 mi) west of the border with Bangladesh. It is the primary business, commercial, and financial hub of Eastern India and the main port of communication for North-East India .According to the 2011 Indian census, Kolkata is the 7th most populous city in India, with a population of 45 lakh (4.5 million) residents within the city limits, and a population of over 1.41 crore (14.1 million) residents in the Kolkata Metropolitan Area. The Port of Kolkata is India’s oldest operating port and its sole major riverine port. Kolkata is regarded as the Cultural Capital of India.
Vintage Kolkata Album
Here we take a look at the vintage snaps of Kolkata’s most iconic places
Crossing of Harrison Street, StrandRoad and Burra Bazaar AreaPark Street Calcutta High CourtTraditional Goddess Durga IdolVictoria Memorial HallThe Hindustan Building on Central Avenue once served as the office of US ArmyThe Bathing Ghat of Hooghly River Hustle in front of Calcutta Stock Exchange Early days of Howrah Bridge The auspicious Kalighat Temple of Goddess KaliSt. Paul’s Cathedral ChurchBurra Bazaar AreaEsplanadeAreaCalcutta Town Hall
Conclusion
Though the time has changed, and history has taken many turns but the essence of Kolkata, has remained the same over ages. The Government has come forward to preserve the heritages of Kolkata, that have made the Bengal and Bengalis proud through decades. People are hopeful that this tradition follows down with the upcoming generations by passing love and the celebration of the beauty of Kolkata.
The movies of Alfred Hitchcock, seem to have a permanent place in both American and Global Cinematic history. He is a common topic to turn when discussing auteur directors, film history, suspense and psychoanalysis. His visual style is very distinct, the close-ups, subjective camerawork, unusual camera angles and the list goes on. Today, in this article, we intend to analysis the visual choices of Hitchcock’s most well known works including Vertigo, Rear Window and Psycho.
Sir Hitchcock before the shooting for Psycho (1960)
About Alfred Hitchcock
Sir Alfred Joseph Hitchcock (13 August 1899 – 29 April 1980) was an English filmmaker who was one of the most influential figures in the history of cinema. In a career spanning six decades, he directed over 50 feature films, many of which are still widely watched and studied today. Known as the “Master of Suspense“, he became as well known as any of his actors thanks to his many interviews, his cameo roles in most of his films, and his hosting and producing the television anthology Alfred Hitchcock Presents (1955–65). His films garnered 46 Academy Awards nominations, including six wins, although he never won the award for Best Director despite five nominations.
Sir Hitchcock
Techniques and Methodology of Hitchcock’s Works
Alfred Hitchcock’s attention to detail in his films is one of the many things that makes him one of the most recognized film auteurs of all time. He was very particular what about he wanted seen on screen and how he wanted to get those shots. From camera movements to the things found in the mise-en-scène, Hitchcock was very precise about every little thing that is seen in his on screen worlds. He would strategically place objects throughout the mise-en-scène and have characters wear certain clothing. By doing this, Hitchcock is able to let the audience know things about the characters and the plot without it having to be said on camera. Hitchcock once said that “If it’s a good movie, the sound could go off and the audience would still have a perfectly clear idea of what was going on” . To Hitchcock, the conversations in his films were not important. Visuals were of the utmost importance. He loved point of view shots, which showed a shot of the actor and then cut to a shot of what the actor was looking at in order to convey what the actor is looking at; pretty much, the Kuleshov effect.
Sir Alfred Hitchcock on the set of one of his movies
The soundtrack was extremely important to Alfred Hitchcock, as he managed to sync the music with the actions of the scenes. His most famous scene would be the shower scene in Psycho, where the orchestra is perfectly correlated with the murder. In his famous film, Hitchcock also incorporated the use of shot/reverse shot, a standard shot pattern that directors use to film conversations between two characters. In general, the actors avoid speaking directly to the viewer, because doing so acknowledges the audience’s presence and destroys the illusion of a naturally unfolding story. From panning shots, to tracking shots Alfred Hitchcock used his techniques in filming and editing in order to create great products that continue to intrigue audiences to this day.
James Stewart as Jeff and Grace Kelly as Lisa Carol in Hitchcock’s Rear Window (1954) movie
Analysis of The Film “Rear Window” (1954)
The cinematography ofRear Window mainly focuses on the use of lighting and shadows. With the darkness and mystery of the film, Alfred Hitchcock was able to use his lighting to his best advantage. The light always is picking up on important symbols or messages in the scene. Such as the scene when the salesman finally comes into Jeff‘s room, the light only picks up on Jeff’s most valuable senses; his hands and eyes. Along with the lighting, the interesting angles are very common. Not only did it create suspense, it creates confusion and the viewer wants to see more. Mise en Scene was very important in this film, as all of the scenes happened in the same group of apartments. In the city of New York, everything is very tight because of the huge population. The use of the differently decorated rooms also created personality and character for the roles who didn’t even speak.
Scene from Hitchcock’s Rear Window (1954) movie
Although sound and music weren’t always in the film, it was there when it needed to be. The traffic and sounds of the city were placed delicately to remind the viewer of the area. The mix of piano from the songwriter in one apartment, from the screeching violins during nail-biting moments, created emotions for the viewer. Editing was evident everywhere, especially during a fight scene, or used very consciously during high suspense. The fades were apparent from day to day, which helped the viewer better understand the passage of time.
Poster of Hitchcock’s Vertigo (1958) movie
Analysis of The Film “Vertigo” (1958)
Vertigo is a 1958 suspense thriller directed by Alfred Hitchcock, written by Alec Coppel and Samuel Taylor and based upon the 1954 novel ‘D’entre Les Morts’ by Pierre Boileau and Thomas Narcejac. Starring James Stewart, Kim Novak and co-starring Barbara Bel Geddes.
James Stewart as John Ferguson and Kim Novak as Madeleine in Hitchcock’s Vertigo (1958) movie
Vertigo is a film which functions on multiple levels simultaneously. On literal level it’s a mystery suspense story of a man hoodwinked into acting as an accomplice in a murder, his discovery of a hoax, and the unravelling of the threads of the murder plot. On a Psychological level, the film traces the twisted , circuitous routes of a psyche burdened down with guilt, desperately searching for an object on which to concentrate its repressed energy. Finally, on an allegorical or figurative level, it is a retelling of a immemorial tale of a man who has lost his love to the death and in hope of redeeming her descends into the underworld, the most famous of these stories being that of Orpheus and Eurydice in Greek Mythology. Vertigo’s complexity however does not end with this multilevel approach to its tale, the film also succeeds in blurring the already fine line between objectivity and subjectivity . It takes the viewers so far into the mind of its main characters ( Scottie, played by Hitchcock veteran James Stewart), that audiences’ own objectivity, at least initially, is lost and replaced by complete identification with Scottie’s fantasies and obsessions.
Anthony Perkins as Norman Bates in Hitchcock’s Psycho (1960) movie
Analysis of The Film “Psycho” (1960)
Hitchcock’s Psycho has been commended for forming the archetypical basis of all horror films that followed its 1960 release. The mass appeal that Psycho has maintained for over three decades can undoubtedly be attributed to its universality.
Scene from Hitchcock’s Psycho (1960) movie
In Psycho, Hitchcock allows the audience to become a subjective character within the plot to enhance the film’s psychological effects for an audience that is forced to recognize its own neurosis and psychological inadequacies as it is compelled to identify, for varying lengths of time, with the contrastingpersonalities of the film’s main characters. Hitchcock conveys an intensifying theme in Psycho, that bases itself on the unending subconscious battle between good and evil that exists in everyone through the audience’s subjective participation and implicit character parallels. The initial confrontation between Marion and Norman Bates is used by Hitchcock to subtly and slowly sway the audience’s sympathy from Marion to Norman. Hitchcock compels the audience to identify with the quiet and shy character whose devotion to his invalid mother has cost him his own identity. Upon the introduction of Norman, Hitchcock introduces the first of several character parallels within Psycho. The clash between Marion and Norman, although not apparent to the audience until the end of the film, is one of neurosis versus psychosis.
Anthony Perkins as Norman Bates and Janet Leigh as Marion Crane in Hitchcock’s Psycho (1960) movie
The fear that Psycho creates for the audience does not arise from the brutality of the murders but from the subconscious identification with the film’s characters who all reflect one side of a collective character. Hitchcock enforces the idea that all the basic emotions and sentiments derived from the film can be felt by anyone as the unending battle between good and evil exists in all aspects of life.The effective use of character parallels and the creation of the audience’s subjective role in the plot allows Hitchcock to entice terror and convey a lingering sense of anxiety within the audience through a progressively intensifying theme. Hitchcock’s brilliance as a director has consolidated Psycho’s place among the most reputable and profound horror films ever made.
Scene from Hitchcock’s Psycho (1960) movie
Conclusion
Alfred Hitchcock who has been entitled to the master of apprehension, suspense and fear, entices the audience to discern his unknown inner in a simulation over cinema curtain. Human, sets back his instincts for years; withholds sex and anger and wrap it in his inner depths where even is impenetrable for himself. But there is always probability of arising it in the society as a coarse event. Eruption of anger from sub-consciousness of Hitchcock’s characters brings along murder, crime and often imagination, tragic psychic disturbances. Anyone might be involved with the condition of these characters in real world. Most of Hitchcock’s movies create suspense in very first minutes of the show. The propensity to know arouses in him. He limits and draws attention of the audience to the film.Dark spaces, long and fearsome roads, deserted places and empty of habitat, are signs and symbols which sometimes refers to unaware and its inner events. Making use of sharp-pointed lines and thorn-shaped edges in locations and shades, which are taken from Gothic style, makes the movies horror and terror. Hitchcock through increasing vigilance, guides the audience toward making a powerful “ego” against incidents which mostly indicates determinism.
Even after years since Frida Kahlo’s demise, her charisma and powerful sense of style continue to captivate the world. The Mexican artist, famed for her self-portraits, is celebrated in her home country for her attention to indigenous culture, and by feminists worldwide for her depiction of the female experience and form. In fact, she was an advocate of feminism way before it became a staple in the social media age.
Frida
Early Life of Frida Kahlo
Magdalena Carmen Frida Kahlo y Calderónwas born on 6 July 1907 in Coyoacán, a village on the outskirts of Mexico City. Born to a German father and a Mestiza mother, Kahlo spent most of her childhood and adult life at La Casa Azul, her family home in Coyoacán – now publicly accessible as the Frida Kahlo Museum. Although she was disabled by polio as a child, Kahlo had been a promising student headed for medical school until she suffered a bus accident at the age of 18, which caused her lifelong pain and medical problems. During her recovery, she returned to her childhood interest in art with the idea of becoming an artist.
Diego and Frida, Self-Portrait With her Husband
Art Works of Frida Kahlo
Mexican artist Frida Kahlo is remembered for her self-portraits, pain and passion, and bold, vibrant colors. She is celebrated in Mexico for her attention to Mexican and indigenous culture and by feminists for her depiction of the female experience and form.
Life experience is a common theme in Kahlo’s approximately 200 paintings, sketches and drawings. Her physical and emotional pain are depicted starkly on canvases, because of her traumatic bus accident and multiple miscarriages depriving her of Motherhood and leading turbulent relationship with her husband, Mexican Mural artist Diego Rivera, who she married twice. Of her 143 paintings, 55 are self-portraits. She quoted, “I paint self-portraits because I am so often alone, because I am the person I know best.”
Kahlo’s first self-portrait was Self-Portrait in a velvet dress in 1926. It was painted in the style of 19th Century Mexican portrait painters who themselves were greatly influenced by the European Renaissance masters. She also sometimes drew from the Mexican painters in her use of a background of tied-back drapes. Self-Portrait Time Flies (1929), Portrait of a Woman in White (1930) and Self-Portrait (1937) all bear this background.
Two Fridas
Self-Portrait With cropped hair (1940), Kahlo is depicted in a man’s suit, holding a pair of scissors, with her fallen hair around the chair in which she sits. This represents the times she would cut the hair Rivera loved when he had affairs. The 1937 painting Memory, The Heart, shows Kahlo’s pain over her husband’s affair with her younger sister Christina. A large broken heart at her feet shows the intensity of Kahlo’s anguish. Frida Kahlo and Diego Rivera divorced in 1939, but reunited a year later and remarried. The Two Fridas (1939) depicts Kahlo twice, shortly after the divorce. One Frida wears a costume from the Tehuana region of Mexico, representing the Frida that Diego loved. The other Frida wears a European dress as the woman who Diego betrayed and rejected. Later, she is back in Tehuana dress in Self-Portrait as a Tehuana (1943). Pre-Columbian artifacts were common both in the Kahlo/Rivera home (Diego collected sculptures and idols, and Frida collected Jewelry) and in Kahlo’s paintings. She wore jewelry from this period in Self-Portrait Time Flies (1926), Self-Portrait With Monkeys (1938) and Self-Portrait With Braid (1941), among others. Other Pre-Columbian artifacts are found in The Four Inhabitants of Mexico City (1938), Girl With Death Mask (1938).
Frida‘s Self-Portrait With Monkeys
Analysis of Frida’s Artworks: Mexican Nationalism
Frida Kahlo was heavily influenced by the Mexicayotl movement, which sprung from the colonialist mindset that native Mexican culture is inferior and that Mexico should emulate Europe. The Mexicayotl movement aimed at protecting the indigenous culture and traditions among the Mexican people. In most of Kahlo’s self-portraits, she paints herself in traditional indigenous Mexican dress. She wears long, colourful skirts, huiplis (loose-fitting tunic), rebozos (shawls) and elaborate headdresses. Painting herself in the Tehuana dress was a chance for Kahlo to express her anti-colonialist ideas and pay homage to her indigenous ancestry.
Frida‘s Portrait of Deer with Human Face
Symbolism and Surrealism
After periods of depression and miscarriages in her life she gave herself to pets around her. She liked to use animals as models in her artworks. Her paintings are domesticated by monkeys, hummingbirds, dogs, and cats. One of her self-portraits depicts her with three spider monkeys. The animals became protective and tender symbols to Kahlo. On the contrary, Mexican Mythology suggests monkeys are symbols of lust. Frida’s significant self-portrait was Self- Portrait with Thorn Necklace and Hummingbird. According to some art historians, Kahlo wanted to show that she had been resurrected and had started a new life with this painting. As a symbol of this idea, the hummingbird was placed in her necklace. The hummingbird symbolizes hope and good luck in Mexican culture. However, the audience may notice the black cat – known as a symbol of bad luck – taking its place behind the right shoulder of Kahlo. Different interpretations say that the hummingbird pendant refers to Huitzilopochtli. It is the Aztec god of war and may refer to the pain Kahlo suffered all her life internally. Other important symbols of the painting were butterflies and the thorn necklace. Butterflies symbolize resurrection and it may refer to her rebirth in life after the accident. Furthermore, the thorn necklace she wears may be the symbol of Jesus’ crown of thorns, which he bore while being dragged to his crucifixion. In addition to these symbols, Kahlo created a painting that both uses Christianity and animal symbolism in one subject matter. Painting The Little Deer, 1946 made by Frida depicts her as a deer with a human face. The artist portrayed herself in this painting. However, there is a much more important detail in this artwork – the deer wounded by the arrows reminds us of Andrea Mantegna’s depiction of Saint Sebastian from 1480. It may also be a reference to crucifixion and resurrection.
Frida‘s Self-Portrait With Thorn Necklace and Hummingbird
Conclusion
Women prior to Kahlo who had attempted to communicate the wildest and deepest of emotions were often labelled hysterical or condemned insane – while men were aligned with the ‘melancholy’ character type. By remaining artistically active under the weight of sadness, Kahlo revealed that women too can be melancholy rather than depressed, and that these terms should not be thought of as gendered.
The Girl With a Pearl Earring (1665) by Johannes Vermeer
Introduction
Nicknamed the “Mona Lisa of the North“,the Girl with a Pearl Earring, is one of the masterpieces by famed Dutch painter, Johannes Vermeer. It hauntingly engages the viewer with enhanced realism, showcasing the electrifying gaze of a young girl adorned with a blue and gold turban. Created by Vermeer in 1665 during the Baroque period, the upper bust of the girl against a dark background has a three-dimensional effect that sets off her glowing appearance.
Historic Background
In Vermeer’s era, paintings were considered to be craftsmanship instead of art. Vermeer, a Dutch master painter at his peak, dedicated his life to developing his craft. By 1665, when the Girl with a Pearl Earring was created, Vermeer had begun to depict women, demonstrating a deep interest in their socio-cultural roles. The subject in this painting is believed to be Vermeer’s daughter, Maria.
Self-Portrait of Johannes Vermeer
Subject of The Painting
The Painting was basically crafted with oil Painting on canvas and is categorized in Dutch Realism Movement arts. Although many art critics contend that the Girl with a Pearl Earring is a portrait, the prevailing argument is that it is a tronie, which is a study of the facial expressions of a living model. The composition of Girl with a Pearl Earring is delightfully simple. Unlike most of the other paintings by the Delft master, the subject here is only a simple head of a girl looking over her shoulder at the viewer. In Girl With a Pearl Earring, the young female model appears to be startled by something, while glancing taciturnly over her shoulder.No hint of a setting is provided, other than its atmospherically dark tone. This too is unusual for the mature Vermeer. The unusually direct contact between subject and spectator, and the slightly parted position of the lips, presents a sense of immediacy so great as to imply significant intimacy. The girl is wearing a simple brownish-yellow top, which contrasts strongly with her bright white collar. A further contrast is offered by her blue and yellow or turban (or chaperon) which gives the picture a distinctly exotic effect. During Vermeer’s time, the turban was a popular prop for tronies because of its deep folds and robust shades, which allowed artists to show off their skills and abilities.
Discussing the Painting: The uniqueness
Utilizing the technique of under-painting, or a monochromatic ground, Vermeer made the Girl with a Pearl Earring seem to lift from the canvas. Through careful use of his palette, he created the deep, rich tones of the girl’s headdress and gown. Then, to give her skin a glowing appearance, he used pigments to create light and shadow effect that contrasted the background. The Pearl Earring, status symbol of the period , worn by the subject, composed by only two brush strokes. The two whites, one on each corner of her mouth, helped to enliven the subject’s pensive smile.
Scarlett Johansson in Girl With a Pearl Earring movie (2003)
The Painter’s Touch: The Cinematic Adoption
Although now a highly regarded artist, Vermeer was not well known outside of his native city of Delft during his lifetime or in the decades after. Historians credit the 19th-century French critic Étienne-Joseph-Théophile-Thoré (under the pseudonym of William Bürger) for reassessing the artist’s work, which eventually led to Vermeer’s distinguished reputation. Even so, Girl with a Pearl Earring became one of Vermeer’s more famous pieces only around the turn of the 21st century, with the 1995 blockbuster exhibition at the National Gallery of Art, Washington,D.C. and the publication of the best-selling novel Girl with a Pearl Earring by Tracy Chevalier in 1999. The book fashioned the painting’s subject into a housemaid named Griet who works in Vermeer’s home and becomes his paint mixer. It was adapted into an Oscar nominated movie in 2003 starring Scarlett Johansson as the fictional Griet and Colin Firth as Vermeer.
Scarlett Johansson as Griet and Colin Firth as Vermeer in Girl With a Pearl Earring movie (2003)
Where at Present Day
Mauritshuis, Den Haag, Netherlands
As the buildings of Mauritshuis Museum ,Hague underwent renovation in 2012, Girl with the Pearl Earring travelled to Japan, Italy, and the United States. It drew crowds in each location, attesting to its now firm place in audience regard. When Girl returned to the Netherlands in 2014, the Mauritshuis announced it would no longer lend out the painting, assuring visitors that the museum’s main attraction would always be in its home.
Princess Kate Middleton of England came face-to-face with one of the best-loved paintings in the world — “Girl with a Pearl Earring” — during a visit to the Mauritshuis museum in The Hague.
Conclusion
Humans have always adored paintings as one of the highest form of visual arts, and few of such arts can truly surpasses the inertness of still lives and remains immortal forever. The Girl With a Pearl Earring, poses the appeal of simplicity to rethink of life and consider the fact that beauty of life can also be found in the simplest joys around us.
Kolkata is a city that is an amalgamation of the old and new. A city that is being modernised everyday but still manages to hold on to the old charm vibe. It is the only city in India to have various modes of transportation, dating back to the British era. The first city in India to construct a metro rail, it is now the only city in the world that continues to operate licensed hand-pulled rickshaws (called tana rickshawin Bengali) as a mode of public transport. One can still see the tram cars and hand-pulled rickshaws plying on the narrow bylanes of Kolkata.
Hand Rickshaw in Kolkata
Histrionic Background
The word ‘rickshaw’ originates from the Japanese word ‘Jin-riki-sha’ (jin meaning human, riki meaning power, and sha meaning vehicle; which translates to human-powered vehicle). The hand-pulled rickshaw was invented in Japan in 1869 and was introduced in China by 1874. Unlike previous modes of transport, like kago, sedan chairs, etc. which needed two persons to carry, the rickshaw had the significant advantage of being driven by a single person. The following decades witnessed a boom of hand-pulled rickshaws in Japan, China, Singapore, India, Indonesia and Malaysia. They served as cheap means of transportation and provided employment to millions of poor working-class families living in cities.
The British were the dominant colonial power in Asia and the usage of a human to pull another human definitely served in reinforcing the master-slave power hierarchy. Post World War II, colonialism declined in Asia and the hand-pulled rickshaw faded out of use from erstwhile British colonies. Strangely, the legacy of rickshaws continued in Calcutta long after the British Empire was gone (1947), and long after the communist government in China banned (1949) the use of rickshaws. Not only did it survive in Calcutta but the tenacious hand-pulled rickshaw has become an icon of the metropolis.
A Hand-Rickshaw in an alley of Kolkata City
A Staple to Kolkata’s Culture
Kolkata’s hand-pulled rickshaws are mentioned in many literary books and featured in films of different languages. It plays the protagonist in Rudyard Kipling’s ‘The Phantom Rickshaw’. The story is set in Shimla of the 1980s. Greg Vore, an international travel photographer, researched on the life, role and history of hand-pulled rickshaws in Kolkata and Bangladesh. Bimal Roy’s classic Do Bigha Zamin (released in 1953) tells the story of a farmer who becomes a rickshaw wallah in the then Calcutta.
Present Situation of Rickshaw: How They Are Doing
The hand-pulled rickshaw survives due to a number of socio-economic reasons peculiar to Kolkata. Firstly, pulling a rickshaw does not require skill; it requires hard physical labour. Unemployed and unskilled labourers find employment as rickshaw pullers in Kolkata. They do not undergo any training or require a driver’s license to operate. Most rickshaw pullers do not even know the names of the roads they ply their trade on, nor do they understand the various traffic symbols. This is because they are mostly illiterate and speak Hindi instead of the local Bengali. Many rickshaw pullers do not even own the vehicles themselves, but rent them from sardars (rickshaw owners) who own khatals (rickshaw garages). This arrangement evolved because many rickshaw pullers are either too poor or seasonal migrants, plying the rickshaws only for a few months when their fields back home lie fallow.
Leisure between the fare trips
Today, due to declining popularity and availability of other modes of transport, rickshaw pullers earn a meagre amount and mostly live on the streets, saving every rupee to send to their families. Added to this are costs for food and rent paid to sardars, after which they are left with very little money for themselves. Many turn to alcohol and suffer from various diseases and medical problems associated with old age and the physical stress of the job.
Kolkata does currently have 18,000 rickshaw pullers and 6000 rickshaws, though not all of them are licensed by the municipality.
Queued up for passengers
The “Ban” for Rickshaws: The Efforts to Demolish The Rickshaw Transportation
Kolkata has faced much flak due to the existence of this colonial relic. In 2006, the state government tried permanently banning these rickshaws by the passing of the Calcutta Hackney-Carriage (Amendment) Bill, but it was never implemented. Nothing has changed after the change of government in 2011, though promises were made about replacing the licensed hand-pulled rickshaws with electric or cycle rickshaws. If these rickshaws need to be permanently removed from the streets, a justifiable solution needs to be worked out to ensure proper rehabilitation for all the people directly and indirectly attached to the trade.
On the streets of Kolkata
The Positive Side: Why Hand-pulled Rickshaws Are Relevant To Kolkata
The narrowed urban planning of Kolkata has also played a part in the continuance of this mode of transportation. Due to poor drainage, streets in low-lying areas get flooded frequently. During heavy monsoons, the hand-pulled rickshaw is the only form of transport which can navigate flooded streets. Its non-reliance on fossil fuels makes it less expensive and non-polluting, and its compact size allows easy navigation through the narrow lanes of Kolkata.
Carrying passengers in flooded road
Conclusion
Hand-pulled Rickshaws are the legacies of Kolkata’s British colonial past. The demolition of these mannual carts and their replacement with electric mode of carrier carts, would slightly dim the spirit the of the old city. But with time’s stand, it is on the behalf of saving the human labour in a more cost-effective and eco-friendlier way. Although, Kolkata will always cherish its beautiful past garnered with these wooden carts, that served the city and its citizens for ages.
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