Latest news with #Shantiniketan
Hans India
31-07-2025
- Entertainment
- Hans India
A Radiant Kuchipudi Debut Captivates the Audience
The 'Kuchipudi Rangapravesham' of Pranathi Pulijala took place last Sunday evening at the Bharatiya Vidya Bhavan Auditorium, Kothi. 'Kim Aham', the school of Indian classical dance founded by Acharya Avijit Das, is based in Bangalore. Here, students are introduced to Indian mythology and philosophy through dance, which is considered an innate emotion that brings a shared sense of joy and celebration to life. Avijit, after beginning his training under Sanaka Biswas at 'Shantiniketan' at an early age, continued learning at the 'Kuchipudi Art Academy' under the guidance of Vedantham Ramu and Srimayi Vempati. Over the years, he has gone on to establish an international reputation. He is the recipient of the prestigious 'Bismillah Khan Yuva Puraskar' from the Central 'Sangeet Natak Akademi', Delhi. With his intense conviction in the modern interpretation of classical dance, he challenges the audience to rejuvenate their aesthetic sense—like a glimpse in the mirror—through a firebrand style full of thoughtfulness and depth, both in performance and teaching. Pranathi, the debutante of the evening, is a passionate 17-year-old with a keen dedication to 'Kuchipudi'. She is all set to join 'Indiana University' in the USA to major in 'Business Management'. For the past seven years, she has been groomed with rigorous fidelity to the classical style. A regular participant in her school's annual programs, she has also performed at various venues. Pranathi was the only young talent to receive the 'CCRT scholarship' for Kuchipudi that year from the state of Karnataka—an accomplishment that deserves appreciation. The orchestra, entirely composed of outstation artists, was an auditory delight. The 'nattuvangam' was handled with bravura by Avijit Das himself. Omkar Amarnath provided vibrant vocals, Nagaraj delivered dynamic percussion on the 'mridangam', Raghu Simha played delicate cascades on the 'flute', and Niveditha Arun added melodious trills on the 'veena'. Light and stage décor were handled with customary élan by Hyderabad's incomparable stagecraft maestro, Basavaraju. As the last notes of the traditional invocatory prayer 'Vani Paraku' wafted through the air, the lights dimmed and brightened to reveal Pranathi in a fetching pink 'aharya' as 'Ganesha Pancharatnam' commenced the recital. She was in command of the stage from the outset, with a 'savoir-faire' expected of a mature artiste. With precise steps matching the beats of the music, her grasp of 'laya' and 'tala' was evident. The 'nritta' was well-paced, energetic, and sketched out with flair. The depiction of Lord 'Vighneshwara'—holding a sweetmeat ('modaka') in hand and adorned with the crescent moon—was vivid. He is the protector of the world, fearsome to the unworthy, and saluted by all the 'Devas'. As 'Nidhiswara', the god of prosperity, and 'Gajeshwara', with an elephant head, he leads the 'Ganas' as 'Ganeshwara'. Appropriate postures were depicted through 'angika abhinaya', adding substance as the stanzas described him as 'Kripakara' (grace-giver) and 'Kshamakara' (forgiver). Joy and glory emanate from 'Mudakara' and 'Yashaskara'. Manifold praises abound for the one who destroys demons and delusions alike. The 'Krishna Shabdam', based on the life of Lord Krishna, followed. The 'Gopika' extols Krishna in a devotional plea, referencing him as powerful as the ocean, handsome as a myriad 'Manmathas', and of enormous strength. The refrain calls for the Lord to come to her, and Pranathi was charming in that guise, putting heartfelt expression into the 'abhinaya' portion, much to the delight of the audience. Her countenance radiated the depth of yearning for the Lord. Interestingly, traces suggesting the 'shabdam' may originally have been in praise of a ruler are apparent, such as mentions of a king valorous to foes and generous to poets. The 'Tarangam', 'Kalaya Yashode', offered scope for showcasing the dancer's dexterity and balancing abilities. The stories of 'Govardhana Giri' and 'Kaliya Mardhanam' were included. The artiste's face sparkled eloquently as the many facets of the Lord's mischievous and divine nature unfolded. The one who wears the 'Kaustubha' gem is also the expert stealer of butter! The 'Lakshmi Pravesha Daruvu' depicted Goddess 'Lakshmi', daughter of the Ocean and consort of the slayer of 'Mura'. The eight divine forms of 'Ashta Lakshmi' were portrayed in their glorious appearances. In a white and blue costume, Pranathi projected an elegantly beneficent mood. The 'Kalyani Thillana', dedicated to the beautiful sound of Krishna's flute by 'Balamuralikrishna', was a connoisseur's piece. All elements—vocals, instrumentals, and dance—fused perfectly in unison, creating a spectacular crescendo that brought forth well-deserved applause. Most of the items were choreographed by Avijit Das, demonstrating his imaginatively creative vision. 'Nandini Ramani', 'Deepika Reddy', and 'V.V. Ramani' graced the occasion as special guests.
Pink Villa
18-07-2025
- Entertainment
- Pink Villa
Kyunki Saas Bhi Kabhi Bahu Thi New Promo: Smriti Irani as Tulsi Virani giving Shantiniketan's tour screams nostalgia
The anticipation for Kyunki Saas Bhi Kabhi Bahu Thi's return is at its peak. The makers have released the promos, leaving fans excited to watch the OG cast members back in their favorite daily soap. But this time, a lot of additions can be expected that surely promise to impress you. Smriti Irani returns as Tulsi Irani. This not only marks her return to the show but also to the entertainment industry. Now, the makers have shared a new promo giving more information about the new storyline. Kyunki Saas Bhi Kabhi Bahu Thi new promo Star Plus uploaded a new promo of Kyunki Saas Bhi Kabhi Bahu Thi on their official social media page. The promo begins by offering a glimpse of Tulsi Virani's new life. Tulsi might be seen in a new avatar who will balance her personal and professional life. As Tulsi reminisces about her life, she recalls memories and her family members. From Gomzi's shirt with his name written on it, to remembering the saas-bahu relationship turmoil, she speaks about changing times and the importance of staying true to one's values. Watch Kyunki Saas Bhi Kabhi Bahu Thi new promo here- Smriti Irani, aka Tulsi, mentions how if a person is grounded in their values, family stays together. While Tulsi looks back at her life, she also shows the audience a glimpse of her new Shantiniketan. This new season strikes an emotional chord, blending nostalgia with a fresh perspective. The promo highlights her strength and rootedness in family traditions, even in the face of modern challenges. Over the years, Kyunki Saas Bhi Kabhi Bahu Thi evolved from being just a daily soap to a cultural phenomenon. Its legacy continues to live and can be experienced by the new generation again. Apart from Smriti Irani, Amar Upadhyay is also returning to Kyunki Saas Bhi Kabhi Bahu Thi. More actors are expected to join in new roles. Kyunki Saas Bhi Kabhi Bahu Thi will premiere on July 29 (Tuesday) at 10:30 PM on Star Plus. Along with Television, the show will also be available to watch on JioHotsar, where it can be watched at any time.
New Indian Express
29-06-2025
- Entertainment
- New Indian Express
On Home Ground
Looking at Haren Thakur's canvas, one can feel the beauty of the quiet, rust-red earth of Jharkhand. His imagery draws from the surrounding forests in his hometown of Ranchi. 'Jharkhand can be found in everything I do. This place and my work are like symbiotic twins,' says the artist. Born in 1953, Thakur's art is not created in sterile studios—it rises from the dust of his home and the contours of hills that cradle his village. His solo exhibition, A Moment in Modernity, is currently on display at Art Magnum in Delhi, and will travel to the Jehangir Art Gallery in Mumbai in August. A student of the legendary Somnath Hore at Shantiniketan, Thakur carries forward the spirit of the Bengal School, yet grounds it in the visceral language of tribal life. His drawings—often just lines, but so alive they seem to breathe—capture the dignity of the everyday: a woman balancing water pots, a farmer stooping in rhythm with the land, a tribal dancer mid-spin, her limbs echoing the beat of the earth. Some line drawings will remind you of MF Husain. There is the similar economy of expression—with just a few deft strokes, he evokes complex forms and emotions. Ask Thakur about it, and he laughs it off. 'Maybe it is similar, but if so, it is entirely coincidental.'
Time of India
07-05-2025
- Entertainment
- Time of India
Tagore's works to come alive through storytelling and music on May 21
A Kolkata's auditorium on Pretoria Street is set to host a unique cultural evening titled Choto Pran Choto Byatha on May 21, 7 pm onwards. It will bring together the timeless storytelling of with the soul-stirring beauty of Rabindrasangeet. Tired of too many ads? go ad free now The event will feature performances by acclaimed storytellers including Sohag Sen, Bijoylakshmi Burman, Sujoy Prasad Chatterjee, Chaiti Ghoshal, Sharmistha Goswami Chatterjee, Rubai Maity and Sutirtha Bedagna. Adding musical depth to the evening, Shabnam Meghali from Shantiniketan will perform Tagore's songs that thread through the stories. Sohag Sen Chaiti Ghosal A Nobel laureate, poet, philosopher, and visionary, Rabindranath Tagore was also a master of short stories. His work explored human emotion, social contradictions, and the quiet poetry of everyday life. Choto Pran Choto Byatha invites audiences into this rich world – one where rebellion hides in silence, tradition dances with change, and the smallest moments echo the deepest truths.
Indian Express
01-05-2025
- Entertainment
- Indian Express
Funeral at Nargis' house made Balraj Sahni feel like a ‘corpse', got special permission from cops during jail time to shoot a film
The 1940s was a very tricky time for Hindi cinema. While there was one section of the moviemaking folks who made it their mission to entertain the masses during stressful times, there was another section where actors, writers and filmmakers participated in the freedom struggle in their ways. But, the struggle didn't end after August 1947. The country was in political disarray and those who had learnt to fight for their rights continued to do so for getting rid of British rule wasn't enough. Balraj Sahni, one of the upcoming actors in those days, who had worked with Mahatma Gandhi at Sevagram, lived with Rabindranath Tagore at Shantiniketan and worked with the likes of TS Eliot and George Orwell at the London office of BBC, was one of the prominent members of the Communist Party in India, and also a member of Indian People's Theatre Association (IPTA), where he worked with the likes of Prithviraj Kapoor and Ritwik Ghatak, found himself behind bars for participating in a protest march. After a party meeting in 1949, when the party workers took to the streets, Balraj was arrested by cops. He spent months in a prison and strangely, was allowed to shoot for a film with Dilip Kumar and Nargis during his time in prison. At this time, Balraj had appeared in a few films, and was, by no means, a movie star. In fact, a couple of weeks before this, he had signed a film called Hulchul, in which he was to star with Dilip Kumar and Nargis. He was going to play a jailor in the film and as a part of his preparation, he visited Mumbai 's (then Bombay) Arthur Road prison, not knowing that he would be housed here in the immediate future. Balraj recalled this incident in his autobiography 'My Filmy Autobiography' and shared that he spent the first two months of his jail time in Bareilly Jail. He was then given the tag of 'A class' as a prisoner, which gave him certain privileges within the prison system, and two months later, he was transferred to Arthur Road prison where the same jailor presided who earlier gave him a tour of the facility. As Balraj spent days and night locked in a jail for participating in a protest, producer K Asif, who was the director of Mughal-E-Azam, was making arrangements so Balraj could shoot for his film even during his time in prison. 'K Asif had managed to procure a peculiar order from the police commissioner. Whenever they wanted me at the studio, I might be allowed to go there under police escort,' he shared and recalled that on days when he had to shoot, other prisoners would give him lists of things that he were to bring back. Someone wanted a picture of Dilip Kumar and Nargis, and someone else wanted a pack of bidis. K Asif would make arrangements so Balraj could carry all the goods back to the prison. Even the jailor was invested in this project for Balraj was going to play a jailor on screen, and he felt like his reputation was at stake. On one such day, when Balraj reached the studio at 6 am, he got to know that the shoot had been called off because Nargis' mother had passed away. Since all the film stars were going to be there at her house, Balraj requested the inspector who was escorting him to take him to her house. He agreed, and this turned out to be a transformative experience for Balraj. 'Standing there in the midst of so many friends and colleagues, I realised that I had become almost a stranger to them. The way they were all looking at me, I might have been a corpse, which had suddenly emerged from a coffin,' he wrote and said that this was the day when he 'resolved to never leave the world of films.' After six months, when he got out of jail, he was mentally and physically exhausted. Balraj was no longer welcome to participate in Indian People's Theatre Association (IPTA) activities, which had become his second home by this time. 'In their eyes, I had become a traitor and a renegade. Although I was reluctant to accept the charge, it nevertheless broke my spirit. I felt I had become old in the prime of youth,' he wrote. Two years after the release of Hulchul, Balraj appeared in Do Bigha Zamin, the role that changed his life and is still considered as one of the most accomplished works by an actor in Indian cinema.
