Tag Archives: Art and Culture

My first glimpse into the lives of women in Bengali Group Theatre was through the Seagull Theatre Quarterly Volumes 27/28 (2000). Focusing on directors and female actors in Group Theatre scenario of Kolkata, the discussions brought out a reflective recollection of many intertwined lives.  The most moving aspect of women’s love for theatre, craving for self-expression and the economic need to earn were brought out in a complex narrative. 

Soumitra Chatterjee was an extraordinary man. His cinematic acting career straddled the worlds of arthouse films, commercial potboilers, and middlebrow entertainers with equal grace. He is known as much for rom-coms like Basanta Bilāp and the superb Bāksa Badal, as the swashbuckling villain in Jhinder Bandi; as the much-loved sleuth Feluda in Satyajit Ray’s Sonār Kellā and Jai Bābā Felunāth; as for his long-standing association with Ray’s more serious ventures.

Christmas, considered primarily a Christian celebration, has now become a global affair celebrated in all forms, ways and colours by people across the world. In India however, Christmas is often seen either as the product of a certain colonial hangover or increasingly as catering to global capitalist interests. Ironically, as Jerry Pinto reminds us, at the heart of Christmas is the humble birth of Jesus Christ who represents love, hope and peace to all humanity.

The book provides a rich historical account of the evolution of cricket from the fourteenth century till recent times. In the course of its discussion, Richard H Thomas has depicted how the game has reflected the dynamics of English society. Moreover, the book has manifested the transformations of cricket at several historical epochs.

If India had one film song as its soundtrack, what would it be? Jinhe naaz hai Hind par woh kahaan hai from Guru Dutt’s Pyaasa? It gets my vote, but it is a tribute to the richness of Hindi film music and to the depth of Note by Note: The India Story 1947-2017 by Ankur Bhardwaj, Seema Chishti and Sushant Singh, one of the most innovative books I’ve read recently, that it doesn’t figure as the song of the year in 1957. Another song from Pyaasa does, however, the brilliant Yeh duniya agar mil bhi jaaye toh kya hai, also written by the great Sahir Ludhianvi.

As the title indicates, the book reviewed here is about Uttam Kumar, the legendary superstar of Bengali films. The author’s website describes it as the ‘first definitive cultural and critical biography’ of the actor. The descriptor may not be strictly accurate. A cursory reading indicates it is anything but a biography in the everyday sense of the term: indeed, it defies most conventional classifications.

The only reason Kishore Kumar might not be counted among the global all-time great artists would be on account of the region of his birth. Had he been born into the Anglo-Saxon world, his incomparable talent and unique career would have placed him right at the top of  the talent list, with dedicated retrospectives, books, papers, and an assured place in film studies/popular music courses.

That the faculty of taste is fundamental to meaning making practices is now a commonplace idea. For instance, some food items make us salivate in desire, the consumption of which brings pleasure. On the other hand, we turn away from food that disgusts us, often refusing to ingest it. However, desire and disgust are only some of the feelings that arise upon an engagement with food.

Archana Shah’s Crafting a Future—Stories of Indian Textiles and Sustainable Practices is organized in three sections—the story of cotton, the story of silk, the story of wool—along with a foreword by Laila Tyabji, an introduction, an afterword, appendices I and II, acknowledgements, photo credits, bibliography, and an index.

At the outset I must confess that I have never been a Bollywood aficionado and that I have not ever seen a film where Kabir Bedi had acted. Yet, I find his life, vignettes of which he has sensitively narrated in his memoir, unusually interesting, sometime even profound. In fact, after completing the book that mixes adroitly the profane with the sacred, I feel tempted to know more about him.

If the advance praise of the book is written by Amitabh Bachchan, Shabana Azmi and Professor Ira Bhasker one can assume the book is going to be good, given that it has been appreciated by actors in the popular area as well as in the critical arena, plus by an academician. And, so it turns out to be. There is something for everyone who is interested in Hindustani Cinema to take away from this book.

Remember Kasiee Paheli Zindagani from the movie Parineeta? Sanjay Dutt drives the ladies of the house out to a Night Club in Calcutta. Glasses clink, horns and keys come alive as Rekha ascends onstage—and in a red sari she puts a spell on you. Another reference would be Arun Bhai and Meenakshi Mehra from A Suitable Boy and sultry Calcutta evenings providing for a heady mix of jazz and yearning.

The book showcases several traditional games of India—their origin, structure, rules and style of play. In addition, it has extrapolated how these games depict the larger moral values of human life. In this endeavour, the author has sub-divided the book into appropriate sub-themes which enable the reader to grasp its core tenets.

Partition is one of the major historical junctures in the history of India, Pakistan and Bangladesh. When it comes to talking about the horrors of Partition, it is mainly categorized in cinema and literature. The edited volume by Nukhbah Taj Langah and Roshni Sengupta is an interesting addition to the discourse.The book does not limit itself to the horror of Partition; it goes beyond and covers its continued trauma.

The first of the two-volume opus that explores India’s ‘multifaceted journey of the photographic apparatus’ (Karode, p. 10) edited by art critic and curator Gayatri Sinha, Points of View: Defining Moments of Photography in India is a collection of 15 articles while its companion, The Archival Gaze: A Timeline of Photography in India, 1840-2020 charts out the historical terrain of photographic practice.

In his seminal essay, ‘Ornament’, published in the Art Bulletin (1939), AK Coomaraswamy had analysed the meaning, function, and symbolism of ornament, adornment, or embellishment in Indian artistic traditions. Towards this, he interpreted evidence from a range of textual sources—the Vedas, Brahmanas, Aranyakas, epics, Pali Buddhist canon, Jatakas, and the Alamkara Shastras—developing upon J Gonda’s earlier research on the terminological and semantic implications of the term alamkara (ornament/adornment).

The enduring tradition of cricket literature regards the game as a quintessentially English—more precisely, Anglo-Saxon—institution. In this view, cricket encapsulates the values of an eternal England unsullied by the forces of modernity. This literary tradition was inaugurated in the early nineteenth century, at the very moment when industrialization was profoundly transforming the English landscape. Over time, the idea of cricket as a national sport centred in the countryside and devoid of class tensions became deeply entrenched.

The book under review is a collection of articles that presents a multi-dimensional view of the here and now of cinema in India with indications of what trajectories it might follow. The editors say in their introduction that they ‘invited researchers from a variety of disciplinary and critical perspectives to reflect on Indian cinema’s current place among other media-cultural forms, public institutions and what the forms’ possible futures might be’ (p. 3).

Trifles makes perfection, and perfection is no trifle’ goes a famous saying, often ascribed to Michelangelo. Bollywood films are far from perfect, but a ‘crazy trivia guide to Bollywood’ can be as mesmerizing as a blockbuster is to the countless addicts of Hindi commercial cinema.The pan-India appeal of films made in Bombay (should Bollywood be now renamed Mullywood in view of its changed name to Mumbai!) continues unabated despite challenges from the South.

One of the festivities that is held in great reverence is the Durga Puja. Though it is a five-day journey, Bengal, and Bengalis (across the globe) prepare for the festival throughout the year.The Making of Goddess Durga in Bengal: Art, Heritage and the Public is a collection of articles authored by various scholars is an ethnographic study, divided into four parts, of its colonial past and the artists involved.