Latest news with #RabindraSangeet
New Indian Express
4 days ago
- Entertainment
- New Indian Express
Dancing deep into the words of Tagore
The nimbleness of nature, the poetry of emotions, the reach of the mind, the hope for evolution, and above all, a pursuit for joy that transcends earthly pleasures — Rabindranath Tagore's art and work encapsulated all these. His music, poetry, stories, thoughts, and the school he founded reflected this attitude. Recreating this philosophy in dance would mean understanding the essence of his ideas and translating them into movements. In this, Tagore himself led by example by choreographing a dance form that matched the flowing comfort of his music, Rabindra Sangeet. On August 8, this finesse would be recreated as the Dancers Guild, Kolkata, teams up with Kochi-based contemporary dancer Arunima Gupta to present some of Tagore's emphatic works under the title of 'Tagore Soiree'. Described as an immersive experience through dance, Tagore Soiree will feature TagoreScape, which will interpret 'Songs of the season' from 'Gitanjali' through contemporary dance and its aesthetics. The soiree also includes 'Tomar Matir Kanya', a reimagining of Tagore's famed dance drama 'Chandalika', whose storyline is of how a woman from a downtrodden caste finds herself awakened as she meets Ananda, a Buddhist monk. This work has sparked similar literature in several Indian languages. Kumaranasan's 'Chandalabhikshuki' is an example. While TagoreScape is conceived by Arunima and is presented by her team, 'Tomar Matir Kanya' is being presented by the Dancers' Guild, of which Arunima was a part for a long time.
Indian Express
5 days ago
- Entertainment
- Indian Express
Why was a Manipuri girl singing Tagore as a farewell to theatre giant Ratan Thiyam?
Days before he passed away in Imphal, Manipur – a state riddled with ethnic conflict since 2023 – Ratan Thiyam, one of the most influential voices in Indian theatre, heard Rabindra Sangeet. In a moving tribute that has surfaced on Instagram, Gunchenbi, a young Manipuri girl and daughter of Manipuri dancer Karuna Devi and noted composer and vocalist Surajkumar Wangkheirakpam, is seen sitting on the floor near the foot of an ailing Thiyam's bedside at his home while singing Ore Ggihobashi, khol dwar khol, (O home dweller, Open your door), a noted song from Rabindranath Tagore's oeuvre. Thiyam passed away last month at Regional Institute of Medical Sciences at the age of 77. Gunchenbi sings the song plainly, as if not aware of the weight of the moment. And that's what's most powerful and dramatic about it. Tagore had used spring as a metaphor for spiritual awakening in Ore grihobashi, calling out the home dweller to open the door and savour the changing season, the fragrant blossoms. Gunchenbi also sang Bela boye jaye (The day is passing), which elaborates on the transient nature of time, the idea of seizing the present and embracing it all without any regrets. There is no microphone or any instrument, just Gunchenbi's innocent voice rising in crescendo. Thiyam and Tagore never met each other and were separated by time and geography. But Thiyam took a lot of inspiration from Tagore, exploring universal themes through local Manipuri idioms. A poet, musician and painter besides being a theatreperson, Thiyam was deeply inspired by Tagore's work. He created a striking illustration of Raktakarabi (Red Oleanders), Tagore's protest play about a tyrannical king who exploits his subjects, forcing them to toil relentlessly in gold mines. Tagore wrote the play in Shillong and Thiyam's illustration showcases the protagonist Nandini bearing the weight of what she mines on her head along with the others who are exploited by a king who compels his subjects to labour. Thiyam engaged with Tagore for a full-fledged play as well and created Raja (King of the Dark Chamber, 1910), the story of a benevolent king who does not like the way he looks and does not step out of his dark chamber, thus disturbing his queen as well as the people he governs and eventually becoming the story of man's search for meaning. It was staged a year after Tagore wrote it, on his 50th birthday. But the play in Bengali would go on to transcend divisions of region and language and in Thiyam's hands becomes the story of an anguished queen's battle with darkness. Born in Nabadwip in West Bengal when his parents, both Manipuri dancers, were touring the state, Thiyam also knew Bangla well. In a fractured Manipur, which has dealt with months of ethnic conflicts, Tagore's music on Thiyam's bedside, urging him to open the window for the blossoms, seemed far from the violence and the it's continued pain. But it was an apt farewell to a significant pioneer of theatre, a voice of reason whose ideas of inclusivity, social welfare and spirituality rose above all else.
India.com
05-08-2025
- India.com
From Sunderbans To Shantiniketan: Discover What Makes West Bengal Truly Special
Not Just Victoria Memorial Rain doesn't ruin reawakens it. When the first drop falls on Kolkata's cobbled tramlines or rice fields in Malda, it's not just weather. It's memory. It's music. It's the land remembering who it is. Most travellers come chasing clichés — Victoria Memorial, Howrah Bridge, Darjeeling tea collect, leave. But what if we told you — Bengal's heart doesn't beat in brochures? It pulses in Baul songs drifting across mustard fields. In mist curling around forgotten terracotta temples. In forests that don't know they're sacred. Let's step off the railway map and into the rhythm. What makes Bengal special isn't just its sights. It's its soul. Bengal doesn't shout. It sings. Where else can you walk through a crowded market and hear Rabindra Sangeet float over the honks? Where else can you have a cup of roadside chai, and the vendor quotes Tagore, not out of pride — but habit? The state is a poem. A protest. A fish curry and French windows. Red flags and idols and jazz clubs. And every part of it changes when the rains arrive. Not in chaos — but clarity. Tired of the usual spots? These places whisper when others scream: 1. Shantiniketan – Where Trees Talk in Verses Not just a university town. A way of by Rabindranath Tagore, Shantiniketan wears its intellect lightly and its trees proudly. Come during monsoon. Watch the red soil through Sonajhuri forest where tribal drums echo between showers. You won't find loud tour groups art students sketching under banyan trees. Just silence — thick, present, unafraid. Every leaf here has heard a breeze carries a lesson. 2. Bakkhali – Bengal's Quiet Seaside Secret Forget Digha. Forget crowds. Bakkhali is where the sea doesn't roar — it hums. Walk the seven-kilometre stretch from Bakkhali to fishermen return as grey clouds roll in. Smell salt. Hear peace. No water sports. No loud coconut palms. Just wind. Just you. Come here not to escape life — but to return to it. 3. Bishnupur – Where Rain Falls on Stone and Stories Once the seat of the Malla kings, today Bishnupur sits quietly, waiting. Its terracotta temples don't shout for tell epics in silence — each brick a storyteller. During monsoon, the burnt sienna walls glow deeper. The moss sings on every corner. You'll meet weavers still crafting Baluchari saris by taste kheer in clay pots older than cities. It's not a destination. It's devotion. 4. Jhargram – Forests, Forts, and Forgotten Songs Tucked away from the tourist radar, Jhargram blooms with sal forests and tribal rhythms. Here, monsoon isn't just a season. It's a celebration. The palace stands proud yet gentle. The villages hum with life. The roads get muddy — and magical. It's not about what you do about what you feel. The kind of place where your pace drops. Your shoulders relax. And the rain feels like conversation. 5. Sundarbans – The Kingdom Where the Earth Breathes Yes, it's famous. But it's not overdone. Because the Sundarbans are never the same twice. Come during rains. Not peak cyclone. Just after. When the water levels rise. When the sky and river hold hands. Take a boat through mangrove tunnels. Watch for tiger prints in wet the forest show you how survival can look soft — and fierce. No loud engines. Just tide. Just time. 6. Kurseong – The Monsoon Muse of the Hills While Darjeeling gets the camera, Kurseong holds the quiet. The land of white orchids. The hill of whispers. Here, rain falls in slow gardens wear silver mist. Old colonial bungalows sigh with stories. Walk through Dow Hill. Pause at the Eagle's Crag viewpoint. Let the clouds wrap around your ankles. Don't just see the view. Be inside it. Why travel Bengal in monsoon? Isn't it inconvenient? It depends on what you want. Do you want comfort? Or connection? Bengal's rains don't rush. They soak stories out of stone. They make poets out of passengers. Here's what the monsoon gives you: – Fewer tourists.– Fresher food.– Greener landscapes.– Slower days. It's not a break from routine. It's a return to what matters. Practical Tips: How to Explore Bengal Like You Belong Ditch the are better for trains and rain. Eat local, eat and aloo dum on a stormy evening beats any five-star buffet. Ask before faces. Respect places. Especially in tribal or rural areas. Use public shared autos, ferries — they're windows into real life. Pack for mud, not shoes. Dry bags. And patience. Learn a phrase or two.'Nomoshkar' goes a long way. So does a smile. The Hidden Economy of the Unseen When you visit lesser-known places: – You support artisans who don't sell online.– You help small eateries survive another season.– You show policymakers that these places matter — that heritage isn't just marble, but memory. You don't just travel. You vote with your feet. So what's stopping you? A little rain? That's when Bengal is most alive. While others pose by city fountains, you could be in a Baul akhara, barefoot, as songs rise with steam from the ground. While others scroll through packages, you could be wrapped in a sari spun in silence, woven in rhythm. Final Thoughts Don't just visit West Bengal. Wander into it. Let the river routes take you where roads don' from a stranger's home, if they in a monsoon field and forget time. Because Bengal isn't just a place. It's a presence. And if you let the rain lead you, you might just find that the most unforgettable journeys begin when maps run out.
Time of India
16-07-2025
- Time of India
Experts deliberate on AI and liberals arts at principals' meet
1 2 3 Kolkata: The Times NIE Principals' Seminar, held recently at a city hotel, offered unique insights into holistic education. Organised in association with Thapar Institute of Engineering and Technology, the seminar held on July 3 provided a platform for a healthy dialogue among 95 educators from 87 schools on the challenges in the education field. The topic, "Education Rewired: Integrating Engineering, liberal arts and AI for Future" was an opportunity for stalwarts to get together and debate and discuss the way forward in school education. While the principals were awaiting the panel discussion, some students had dropped in to interact with Prof Padmakumar Nair, vice-chancellor of Thapar Institute of Engineering and Technology. The students satiated their queries on AI and Prof Nair patiently addressed all of them. Sidhu, the frontman of the Bengali rock band Cactus, was the chief guest at the event while Malabika Sen, actor, singer and dancer, was the guest of honour. You Can Also Check: Kolkata AQI | Weather in Kolkata | Bank Holidays in Kolkata | Public Holidays in Kolkata The panellists for the evening included Prof Anirban Mukherjee, principal in-charge of RCC Institute of Information Technology, National award-winning filmmaker Ashoke Viswanathan, Abhijan Bhattacharyya, senior scientist at Network Solutions & Services unit of TCS, and Prof Nair, vice-chancellor of Thapar Institute of Engineering and Technology. Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like '잦은 무릎통증' 수술없이 / 단 1회 주사치료.. 가능하다?? 무릎치료 30년 - 장덕한방병원 서초본원(서울,강남) 더 알아보기 Undo by Taboola by Taboola They discussed and debated on ways to build an AI ecosystem required for the progress of the society with the introduction of experiential learning. Prof Mukherjee discussed how AI should be introduced at the school level, where critical thinking should be induced to create an awareness and appreciation of AI. Viswanathan compared the use of ChatGPT to that of an open-book exam. To prevent students from using LLMs (large language models) for getting quick answers to every query, teachers need to prepare questions that induce critical thinking. He narrated how stalwarts in the field of science like PC Mahalanobis could sing Rabindra Sangeet and have a deep understanding of the subject, while referring to a holistic education, which is the need of the hour. Prof Nair stressed on the safety measures that can be adopted while using AI. He mentioned how overusing AI can take away the challenges in a job and how ethical and privacy issues can arise while overusing AI. Bhattacharyya, who has been riding the wave of technology for the last 22 years, mentions how once AI had goofed up a presentation. He explained that teachers can use AI to trigger the thought process of students, though nothing beats human touch. Sohini Sen, assistant professor in English at RCC Institute of Information Technology, ably moderated the panel discussion. A selfie-zone added zing to the entire event, prompting the attendees to get clicked and receive fully developed photographs instantly.
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Business Standard
06-07-2025
- General
- Business Standard
Susim Mukul Datta: Fountain of youth who left a lasting imprint on HLL
Precisely five days after his 89th birthday, Susim Mukul Datta returned to his creator with grace and tranquillity, which, incidentally, is what his name means. This piece is not an elegy or an obituary. It is an intimate portrait of one of India's highly accomplished leaders. As a young trainee in 1967, I was assigned to do a project in Hindustan Lever Limited's (HLL's) Bombay factory. Energetic manufacturing engineers assembled in the canteen at lunchtime, seemingly in a rush to get their share of carrom, bridge, or adda. I felt lonely as a 21-year-old, looking for someone of my age group and lowly rank. And I noticed a tranquil Susim Datta, whom I befriended. 'Hello, I am a trainee of 1967, which batch are you?' I enquired in my friendly best tone. 'Oh, hello, I am 1956,' he replied. 'What! How could a person ten years my senior look so young?' That is a mystery I never uncovered over the next sixty years. Susim was a picture of the ever-youthful Dorian Gray — without the excesses of the character in Oscar Wilde's story! He told me that he was a chemical engineer from Presidency College, and currently the development manager in the factory. Susim spoke of hydrogenation and saponification as though they were his mother tongue. What about Bengali, I ventured. He hummed what seemed to me as soulful Rabindra Sangeet, perhaps the only such recital within the walls of the Mumbai factory managers' canteen! As the years rolled on, he never came through as a backslapping, but instantly connecting person. I thought of him as a reserved, soft spoken, enviably knowledgeable technical geek. It seemed that he knew everything that was worth knowing, and what he did not know was not worth knowing. He did many clever things in the company and rose meteorically, all of which have been recounted in his obituaries. By 1980, he was rumoured to be a potential chairman. In 1990, he became chairman. During his tenure as chairman of HLL, he acquired a reputation as a mergers and acquisitions magician, and as a leader who pushed for aggressive goals in a seemingly non-aggressive manner through his mantra: quality-innovation-collaboration-acquisitions. He presided over one of the longest company general body meetings when he piloted the HLL meeting for the acquisition of Tata Oil Mills Co. He was a picture of patience. This is an intimate portrait and not an obituary. I close with a reference to the only film in which Susim has acted. It was titled Four Men of India, directed by Caryl Doncaster and produced for Unilever and Hindustan Lever by James Carr. BBC showed this film among many others in a Trade Test for Colour Films. In this film, a Sikh salesman is depicted using his sales van to sell soaps in the Himalayas. A Rajasthani man is shown as a migrant to the city to work in a soap factory (I recognised the Jones Stamping Machine at Bombay factory). A supervisor at the factory is shown to have come from Kerala. Finally, an upcoming young engineer from the east is shown in the Calcutta factory, guiding a production supervisor and his team on a dalda packing line. The young engineer was a 25-year-old Susim! If you watch that film now, you will see that the young Susim greatly resembles the retiring chairman thirty-five years later. That is why, to me, Susim has not passed away, rather he is the ever-youthful leader to all who knew him. He is remembered as one of the top corporate leaders of India who will always occupy an elite spot.
