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Indian Express
a day ago
- General
- Indian Express
When Ngũgĩ wa Thiong'o met Tagore
The first thing that Ngũgĩ wa Thiong'o — who passed away on May 28 in the United States — asked for when he met us in Kolkata in February 2018 was to visit the ancestral home of Rabindranath Tagore. Not an unusual request from a writer — but for him, it was deeply personal. I had worked as an editor on a collection of his essays which Seagull Books had published a few years earlier, so the honour of accompanying him to north Kolkata's Jorasanko Thakurbari fell to me. As we stepped into the compound of the house — a veritable 18th-century palace — Ngũgĩ's jaw dropped, quite literally. 'This is Tagore's house? So massive?' I still remember the blend of shock and amusement on the 80-year-old writer's face. During the car ride to north Kolkata, Ngũgĩ told me how he'd grown up outside a small Kenyan town under British colonial rule, in a hut made of mud, wood and straw. His early educational tools consisted of a single slate and some chalk, shared with his many siblings — a sharp contrast to Tagore's privileged upbringing. But Ngũgĩ's father believed in 'good' education, which, then as now, meant an English one. While some of his siblings got mired in Kenya's violent struggle for independence, Ngũgĩ enrolled in the British-run high school designed to shape Africans in the image of their colonisers. As East Africa threw off British rule in the early 1960s, Ngũgĩ began writing. His first novels, written in English, used the coloniser's language to tell the stories of the colonised — which seemed like a rebellion in itself. Novel after novel drew widespread acclaim and established Ngũgĩ as a leading African writer. But by the 1970s, a profound shift was taking root in him. As we wandered through the grand corridors of Jorasanko, moving slowly from one vast room to the next, Ngũgĩ explained why he had wanted to visit Tagore's house. Kenya had overthrown colonial rule only to fall under a homegrown dictatorship. In 1977, Ngũgĩ co-wrote a play whose bold critique of the regime angered the authorities, who responded by locking him up in a maximum-security prison. It was there, Ngũgĩ told me, that he stumbled upon a newspaper article that summed up a key idea of Tagore's: 'You may learn a lot of languages, but unless you speak and write in your mother tongue, nothing is of value'. That idea was a lightning bolt. It forged Ngũgĩ's commitment to uphold indigenous African languages. He began writing in his mother tongue Gikuyu, starting with a novel composed on prison-issued toilet paper, which he managed to smuggle out. He understood the reach of English, though, so he translated his own Gikuyu works, beginning with the prison novel later published as Devil on the Cross (1980) — a practice he continued for the rest of his life. Ngũgĩ became a language warrior, tirelessly championing indigenous African languages, advocating not only for their literatures but also for translations — not just into English or French so the wider world could listen, but also between African languages, too. Translation, he believed, allowed languages to speak to one another, breaking down the colonial hierarchy of tongues. In his book The Language of Languages (2023), Ngũgĩ writes: 'There are two ways by which different languages and cultures can relate to one another: As hierarchies of unequal power relationships (the imperial way), or as a network of equal give-and-take (the democratic way).' Unlike most of his contemporaries, Ngũgĩ rejected the idea that English could be considered an indigenous language by its non-native speakers: 'The colonised trying to claim the coloniser's language is the sign of the success of enslavement,' he said in a recent interview to The Guardian. But his critique of colonial systems was not limited to language. At an event at Seagull Books in Kolkata, when a delegation of Adivasi activists from Jharkhand came to meet him, his first question was: 'Scheduled Tribes they call you — what do you think of this word tribe?' In his book Secure the Base (2016), he notes: 'A group of 3,00,000 Icelanders constitutes a nation while 30 million Ibos make up a tribe. And yet… a tribe fulfils all the criteria of shared history, geography, economic life, language and culture that are used to define a nation.' That day, the Adivasi activists and Ngũgĩ reached a shared conclusion: India's indigenous people are nothing less than 'a non-sovereign nation'. Working in the English-language publishing world in India, I've had the honour of meeting countless authors. Too often, the conversations revolve around comparisons — who's published in London or New York, whose advance is bigger, who's invited to which festival, what kind of hotel rooms they're given — an eternal picnic of vanities. In this world so steeped in hierarchies, it is both comforting and reassuring to meet writers like Ngũgĩ, whose sole allegiance was to telling the good story, and the right story. Greatness and humility are uneasy companions. Will there be great writers in the future? Certainly. Will they be as humble as Ngũgĩ wa Thiong'o? That's a harder question. Samaddar is an editor at Seagull Books, Kolkata
New Indian Express
4 days ago
- Entertainment
- New Indian Express
Sharmila Tagore Interview: Satyajit Ray's films deal with the follies of humans
Tagore points to a 'complex' aspect in Aranyer Din Ratri, the way it deals with the issue of corruption—the fact that the guys offer bribes to the caretaker to get a place to stay in the forest rest house but are blind to the fact that it's to do as much with his lack of scruples as their own encouragement and facilitation of corruption. 'Ray deals with such fundamental quirks and follies of human beings,' says Tagore, adding, 'The hero in Nayak is treated like God, is mobbed and is under pressure. But there's a human being beneath it all. In Devi, the father-in-law deifies his unlettered daughter-in-law. A victim of his dreams, she loses her mind, feels alienated.' Aranyer Din Ratri was shot in Chhipadohar village in Palamu district in Jharkhand (then Bihar) in April and May. 'It was very hot. Trees were all leafless and had a skeletal look in the film. We would shoot for three hours from 5.30 am to about 9 am and then 3 pm to 6 pm, till the light would be good,' recalls Tagore. 'Rest of the time we chatted, bonded and sang and danced with the Santhals, especially on full moon nights. The boys tried the local drink mohua once and swore never to have it again. It left them with such a bad hangover,' she says. The boys stayed in a tin shed and it was so hot that Rabi Ghosh would call himself Robi Pora or Burnt Robi. She remembers her co-actor Simi Garewal and her sister staying in a bungalow in the next village while she had a tiny 10x8 room of the caretaker to live in. There was an air cooler for her which served well in the dry heat. Aranyer Din Ratri is Ray's eighth film to have been presented at Cannes. Pather Panchali (Song of the Little Road), the first of his Apu trilogy, has played at Cannes thrice. It marked his debut in Cannes, was in the In Competition section and won the Best Human Document Award at the 1956 edition of Cannes. It was part of its Special Screenings programme in 1992 and a restored print featured in the Cannes Classics segment in 2005. Just three years back, in 2022, Pratidwandi (The Adversary) was shown in the same Cannes Classics segment, as was Charulata in 2013.
Qatar Tribune
5 days ago
- Entertainment
- Qatar Tribune
Indian ambassador graces Rabindra Jayanti celebration
Bangiya Parishad Qatar, a prominent socio-cultural organisation affiliated with the Indian Cultural Centre (ICC) and functioning under the aegis of the Embassy of India in Qatar, hosted Ambassador of India to the State of Qatar HE Vipul, as the chief guest at 'Jayo Hey' on the occasion of Rabindranath Tagore's 165th JanmoJayanti celebration, held on May 16 at the Indian Cultural Centre, Doha. The Indian ambassador's presence added prestige to the occasion and he was warmly welcomed by the Bengali and wider Indian community in Qatar. The evening featured a vibrant tapestry of cultural performances paying homage to the timeless legacy of Kabiguru Rabindranath Tagore. From soulful Rabindra Sangeet and graceful Rabindra Nritya to poignant recitations and captivating skits, the programme beautifully reflected the depth and diversity of Tagore's artistic and literary brilliance. In his address, the Indian ambassador commended the community's dedication to cultural preservation and highlighted Nobel laureate Rabindranath Tagore's universal appeal through his profound literary contributions such as 'Gitanjali' or Indian National Anthen 'Jana Gana Mana'. He noted how Tagore's messages of humanism, unity, and spiritual depth continue to resonate globally, inspiring generations beyond borders. The ambassador's message left a lasting impression on the audience present there, reaffirming the global relevance of India's cultural legacy. Saumya Sikdar, President of Bangiya Parishad Qatar, expressed her sincere gratitude to HE Vipul for gracing the occasion and extended heartfelt thanks to all artists, participants, and attendees for making 'Jayo Hey' a memorable tribute to Tagore's enduring legacy on behalf of entire BPQ Management Committee.
Time of India
5 days ago
- Entertainment
- Time of India
Sharmila Tagore reveals what sets Habitat Film Festival apart from Cannes 2025
Veteran actress Sharmila Tagore opened up about her experience at the Habitat Film Festival, highlighting what makes it truly unique compared to other global events like Cannes 2025. Veteran actress Sharmila Tagore opened up about her experience at the Habitat Film Festival, highlighting what makes it truly unique compared to other global events like Cannes 2025. In a recent conversation, Tagore, a regular attendee of the Habitat Film Festival, revealed what sets this festival apart and why it continues to be a cherished event for cinephiles across India. Sharmila emphasized that the Habitat Film Festival thrives on love, dedication, and a commitment to quality. When asked about the differences with Cannes, she acknowledged the scale and global reach of the French festival. Sharmila Tagore told IANS, "Well, I've been coming to this festival for many years now, and they always curate very interesting films from all over India. It's a great opportunity to see those films, and they've maintained their high standards. So, it's always something to look forward to - I really look forward to this festival." The 'Gulmohar' actress added, "I don't think comparisons are necessary here. Habitat has been running with lots of love, with people taking great interest in maintaining quality. They organize conversations and various activities, and it has a very high standard. Over the years, it has become increasingly popular. Cannes is something else - it's much bigger, with different kinds of awards, and it's a global affair. by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like Trade Bitcoin & Ethereum – No Wallet Needed! IC Markets Start Now Undo Since the time of filmmakers like Bajor Bahadur, people have been attending Cannes. It's a very different kind of event. Also, many brands advertise themselves there, not necessarily films. Plus, there's a film bazaar where people come to sell and buy films. It's a very large, prestigious, and thriving film festival as well as a marketplace where filmmakers showcase their work and look for buyers. This market aspect is a very necessary part of film festivals." Sharmila Tagore went on to explain, "Habitat, on the other hand, is a more intimate festival. Some might think Cannes is totally commercial, but that's not true. There are beautiful films shown there. When I was on the jury, we saw films like The White Ribbon, which was excellent and won the best film award. It's not just intellectual films; there are many good films from different languages." "Cannes is very old and well-funded, attracting many big stars, so it draws a much larger crowd. It takes time for festivals to grow, and Cannes has had that funding and time. We don't have to compete with Cannes, but Habitat is also growing - and growing very well," Tagore further explained. The 17th Habitat Film Festival honored legendary figures from the film industry such as Shyam Benegal , Raj Kapoor, Manoj Kumar, Mohammed Rafi , Talat Mahmood, and Aruna Vasudev. Additionally, the festival featured the screening of 'Puratawn,' which marked Sharmila Tagore's return to Bengali cinema. Check out our list of the latest Hindi , English , Tamil , Telugu , Malayalam , and Kannada movies . Don't miss our picks for the best Hindi movies , best Tamil movies, and best Telugu films .
Time of India
5 days ago
- Politics
- Time of India
The Durgapur Press Club: A beacon of hope and custodian of culture in trying times
Hirak is an English Teacher, Published Author and Social Activist from Durgapur, West Bengal. Over the years he has had several of his articles published in various platforms, both electronic and printed. Growing up in a tier two city that was once a small town revolving around a steel mill, has given him a unique perspective on socio-economic patterns and human behaviour. He has been a keen observer of the many changes that the political tapestry of India has been through. The small cities and towns of India hardly hog the limelight when it comes to mainstream social commentaries. In his many travels through small towns, tier two cities and villages in his home State, Hirak has picked up stories of the people that are unique and interesting at once. His articles tend to portray these stories about the life and times of the forgotten people. Hirak believes that the middle class is essentially an estuary, a buffer layer of confluence between the upper-class gentry and the ever dominated hapless lower class. He intends to highlight the trials and tribulations of the middle class through his write-ups. LESS ... MORE Democracy is not known to move very fast, often lumbering on at a snail's pace. But it moves ahead, nonetheless, thanks in part to the Fourth Pillar or Fourth Estate—the Press. My burgeoning city, Durgapur, has been at the epicentre of change for the past many decades now. It has seen the coming and going of political regimes. It has been in the thick of high-pitched collisions between rival factions. And it has witnessed abrupt and often uncomfortable modernisation. What has remained resolute and steadfast in the face of every adversity, though, is the Durgapur Press Club. Alo is the Durgapur Press Club's unique initiative—an annual magazine that strives to tell the tale of the people of the Ruhr of Bengal and its underlying culture, shaped by centuries of mining, industrialization, and ethnic mingling. For years, it has served as an important platform for the artists, social workers, and journalists of the region, showcasing literary works and achievements that would have otherwise gone unnoticed in a very Kolkata-centric clatter. 2025 was earmarked for a more pronounced celebration of Alo. On the 23rd and May 24, Durgapur celebrated Alo Utsav 2025—a grand festival to commemorate, among other things, the contributions of the preeminent journalists and citizens of this region, and one hundred years of Raktakarabi, Tagore's timeless play, which continues to remain relevant in the current times. In a formal discussion at the newly inaugurated Press Club building ahead of the Alo Utsav, the senior journalists of Durgapur told me how the Durgapur Press Club has been more than a beacon of hope for the oft-ignored warriors of this region. 'When we read the news every morning, do we spare a thought for the people who braved so many odds to bring the important stories to us before our first cup of morning tea?' asked Sri Kanchan Siddiqui, a luminary journalist who has been at the forefront of all media-related efforts in the region. Under the auspices of senior pressmen like him, the Durgapur Press Club has grown into an overarching banyan tree shielding journalists from untoward incidents. Initiatives such as health insurance, safeguards against income loss, and—more than anything else—bringing together the entire press fraternity into one giant family have been transformative. Durgapur Press Club TV has been a major success with more and more people tuning into it every day for unadulterated news. Talking about the new Press Club building, celebrated journalist Sri Bikash Sen acknowledged the empathy and willingness shown by the Government of West Bengal and the Asansol Durgapur Development Authority in understanding the need for a proper building to house the association. 'It cost the government more than 2 crores to allocate land and raise the building. We are thankful to the administration and our Hon CM, Smt Mamata Banerjee, for going the extra mile to accommodate us,' said Sri Sen. In the coming times, the Durgapur Press Club plans to stir up a wave of counter-cultural movement aimed at preserving the socio-linguistic flavours of Rahr Bangla—the portion of the Chota Nagpur plateau encompassing Bengal's west and south districts. The aim is to uphold the region's cultural diversity in the face of rapid urbanisation—a seemingly unstoppable juggernaut that has been steamrolling all over the region, destroying rustic nuances in its path. This process has been going on since coal was first discovered in 1774 near Raniganj by John Sumner and Suetonius Grant Heatly of the East India Company. As colonial settlers and fortune seekers began settling in the area, the first people to be affected were the Santhals. With time, the marauding effects of abrupt industrialisation were tempered to a certain degree. A new localised culture was born out of the mingling of Bengalis, the many local tribes, and white European settlers. Among other places, Chelidanga of Asansol stands testament to that mingling, nestling a vibrant Anglo-Indian community. The post-Independence era saw the setting up of the Durgapur Steel Plant, and with it came a wave of settlers from the neighbouring state of Bihar, seeking work in a still-nascent industrial leviathan, away from the murderous coalfields. What exists now is a beautiful mélange born out of the continued mingling of Bengali and Hindi speakers. But that culture is under attack from a very metro-centric urbanisation now, and the Durgapur Press Club intends to shield the region from it. 'We want our Gen Z and the coming generations to be aware of the rich history of our treasured corner of Bengal. It's a microcosm, no less. And the youth need to understand that the socio-linguistic heritage of the Ruhr of Bengal is worth preserving,' remarked Sri Siddiqui. Democracy and culture thrive when the fourth pillar is strong and well-founded. And nothing can exemplify this fact more than the Durgapur Press Club and the people behind it. 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