Latest news with #Visva-Bharati
News18
a day ago
- Politics
- News18
Mamata launches Bhasha Andolan from Tagores land Bolpur
Agency: PTI Last Updated: Bolpur (WB), Jul 28 (PTI) West Bengal Chief Minister Mamata Banerjee on Monday launched her much-publicised 'Bhasha Andolan' (Language Movement) from Bolpur in Birbhum district in protest against alleged attacks on Bengali-speaking migrants across the country. The TMC chief had earlier termed the alleged attacks as an attempt to erase Bengali identity from the national fabric. The protest march, rich in symbolism and emotion, commenced from the Tourist Lodge crossing and culminated at Jamboni bus stand, a three-kilometre stretch in the heart of Nobel Laureate Rabindranath Tagore's land. Holding a portrait of Tagore in her hand, Banerjee led the procession, waving at crowds that lined both sides of the road. Party workers sang Pratul Mukhopadhyay's iconic protest anthem 'Ami Banglay Gaan Gai", while women in white-and-red saris blew conch shells, lending a distinctly Bengali cultural flavour to the rally. Wearing her trademark cotton sari and a traditional uttariya (scarf) of Visva-Bharati, Santiniketan, Banerjee was flanked by senior TMC leaders and ministers as she led the march, the first in a series of such agitations planned across the state. Banerjee had last week appealed to TMC workers to prepare for a fresh agitation from July 28, calling it a second 'Language Movement', drawing parallels with the historic 1952 protest in Dhaka (then in East Pakistan) where students sacrificed their lives demanding recognition of Bengali as an official language of Pakistan. The United Nations later declared February 21 as International Mother Language Day to commemorate that struggle. The chief minister's rally came amidst a politically charged atmosphere in the state following reports of alleged harassment of Bengali migrants in states like Gujarat, Haryana, Rajasthan, Odisha, Tamil Nadu, and Maharashtra, which have triggered widespread concern among families back home. PTI SMY PNT MNB (This story has not been edited by News18 staff and is published from a syndicated news agency feed - PTI) view comments First Published: July 28, 2025, 14:30 IST Disclaimer: Comments reflect users' views, not News18's. Please keep discussions respectful and constructive. Abusive, defamatory, or illegal comments will be removed. News18 may disable any comment at its discretion. By posting, you agree to our Terms of Use and Privacy Policy.
Time of India
6 days ago
- Time of India
V-B team holds rehearsal heritage walk before ashram tour launch by month end
Santiniketan: A Visva-Bharati team, led by vice-chancellor Probir Kumar Ghosh, held a trial heritage walk on the campus on Wednesday, in the run-up to the guided tours of the ashram, scheduled to be flagged off by the end of the month. Tired of too many ads? go ad free now "The trial run was meant as a preview. We are trying to make this a perfect project," said VC Ghosh. Ever since the pandemic struck, visitors' entry into the ashram has been barred. The heritage walk, being managed by Rabindra Bhavana, will be a one-and-a-half-hour tour of the ashram complex, with trained guides—four male and four female university employees have been trained for the task—narrating the history and relevance of various landmarks. Visitors will have the option of choosing from Bengali-, Hindi- and English-speaking guides. While Indians will have to pay Rs 300 per person, the tariff will be Rs 1,000 per head for foreigners, Rs 150 for individual students and Rs 50 for students in groups. Initially, the tours will be held on Sundays only but the frequency will increase gradually. For now, a visit to Rabindra Bhavana will not be part of the walk but people can go there separately by paying a fee, as is the current practice. If the walks turn popular, the university would consider including other places, such as Kala Bhavana, Sangit Bhavana, Sriniketan and Rabindra Bhavana, in the walks, said Rabindra Bhavana director Amit Hazra. "If the walks expand, we will have to arrange for e-rickshaws to cover the large area and combo tickets will be offered," he said.
Time of India
17-07-2025
- Time of India
Why Santiniketan Is Your Ultimate Monsoon Getaway
1 2 Heed our suggestion now, thank us later — the best season to be in Santiniketan is during the monsoons. Yes, you read that right: pass on the winter jostle and the overcrowded Poush Mela, not to mention overpriced everything . Instead, head out on a Friday to rain-soaked Tagore town, where the merciful waters breathe life into every corner. Make it memorable as you soak up the rich art scene by visiting a slew of new-ish galleries that offer fantastic contemporary collections, try out delectably interesting food options from the cafés, cloud kitchens and even the traditional Bengali fare and round it up with a fair bit of a shopping, especially for your home. Five reasons why Green paradise: Open fields, lush greenery, flowers in full bloom — all of this to be taken in as you step on paths made of khowai, Birbhum's red soil, glistening post the fresh rains . From the Visva-Bharati campus to Sonajhuri and Daronda and the Kopai riverbank, every nook and corner of Santiniketan comes alive in vibrant hues. It is cool and misty in the monsoons after a tough summer, offering a calming retreat away from the city bustle. Zero rush: Unlike the overcrowded Poush Mela or the more recent Holi craze of Basanta Utsav, there are way fewer tourists during the rains at Santiniketan. This town is slow, and the zero rush during the rains offers you a much better opportunity to slip into its rhythm. Wandering around, whether marvelling at the architectural and design wonders on every corner of the Visva-Bharati campus, bicycling through rain-washed backlanes of Ratanpalli, or enjoying a quiet moment at any of the critically-appraised exhibitions at galleries like Arthshila or Tokaroun , you reclaim your own pace in the rains at Shantiniketan. The art: Speaking of galleries, Santiniketan, the home of the Bengal School via Kala Bhavana, has had a long and rich legacy of art. Over the past decade, and especially since the COVID-19 pandemic, Santiniketan has been witnessing a distinctly individual movement in terms of gallery and studio spaces, often helmed by some of the stalwarts of Indian contemporary art, like artists Jogen Chowdhury, K.S. Radhakrishnan and Partha Dasgupta and critic and historian R. Siva Kumar. From the Santiniketan Society of Visual Art & Design (SSVAD), where Chowdhury acts as secretary, to more recent, fabulously cutting-edge Arthshila and Tokaroun, if you are an connoisseur, art lover, or even an accidental visitor, the bylanes of Shyambati or the settlements at Boner Pukur Danga are where you should be, soaking up everything that is dynamic or meditative in contemporary art in Bengal today. The first Bengal Biennale had its own Shantiniketan edition — and there's a reason why. Barsha Mangal: Usually held in mid-August, Barsha Mangal ('monsoon celebration') is a cultural programme dedicated to welcoming the arrival of the rains by students of Visva-Bharati University; a daylong, open-to-all festival of performances celebrating monsoon. The food: The rains call for warm, hearty meals and that is now a slowly unravelling industry of absolute delights. Traditional homely Bengali fare has been the most popular choice, and restaurants like Banalokkhi and Barishaler Rannaghar are well-known for the same. However, if you want to taste something different, there are several cloud-kitchen options that can surprise you, serving up everything from pond snails to wild boar. Happy with just a plate of steaming khichuri with eggplant fritters, or rice and a hearty chicken curry? Just ask your homestay owner/supervisor for that slice of heaven in the rains Galleries/studios/art spaces Arthshila Santiniketan (Shyambati) Tokaroun (Sonajhuri) Santiniketan Society of Visual Art & Design (SSVAD) (Sonajhuri) Studio Boner Pukur Danga (Boner Pukur Danga) Mrittika Ceramic Studio (Bidyadharpur) Nandan Art Museum & Gallery (within the Visa-Bharati campus) ·Krittika Arts Space (Guru Palli) Suggested itinerary Morning: Start at Nandan Art Museum (9:30am–11:30am) for a traditional, calm walkthrough as you absorb Bengal School masters Late morning/afternoon: Head to Arthshila (opens 11am) for vibrant exhibitions and art talks. Head to Tokaroun, and round it up with a visit to ceramic maestro Lipi Bishwas's Studio Boner Pukur Danga Late afternoon: Visit the Mrittika Studio Space End with a visit to SSVAD to catch current student or emerging artist showcases Where to eat For homely, Bengali-style meals — perfect for a comfortable, no-fuss dining experience — and in case you want to step out, try out Barishaler Rannaghar and Banolokkhi, both located in Daronda. Rustic Bengali-style restaurant along a scenic rural stretch, it has been the word-of-mouth spot for great food. The canteen at Rangabitan Tourist Complex, located only a few minutes' walk from Amar Kutir in Ballavpur/Sriniketan within the state government guest house complex, offers delicious food, again, traditional Bengali style. For coffee, shepherd's pie and that famous blueberry cheesecake, simply head to Amoli. Bidisha Tagore's cafe offers such uber-urban fare right in the heart of Ratanpalli, and often, curated meals featuring ' Thakurbarir ranna '. The menu is handwritten, the ambience is warm and welcoming. From Rini Bargi's Aarhani, serving up black sesame chicken to Amrita Bhattacharya's Handpicked by Amrita offering an indigenous 'Rahr Banga' menu, inspired by the cuisine of the Santhal community and featuring foraged ingredients like the googli (pond snail), cloud kitchens and pop-ups at Santiniketan are still mostly word-of-mouth and quite excellent. Not exactly a cloud kitchen, the restaurant at Mitali homestay in Prantik, run by owner Sukanya De, has been a personal highlight as far as food in Santiniketan goes. De has a light touch and a deft hand for fusion cuisine, and her presentation is immaculate. Call to book any of these unforgettable meals. As for snacks, there are no limits to the telebhaja , jilipi and varied chop vendors, all along the roadside, from Ratanpalli to Shyambati. You can also try cafes like Chhaya Ghar, which hosts the most vibrant cultural scene outside of the campus. The rooftop hangout at Ratanpalli is a go-to with students, offering the usual Maggi, momos and chicken pakora, but also doubles up as a space to promote various art forms, hosting art and photography exhibitions, small concerts and poetry recitals. On a different end of town, at the SSVAD complex near Sonajhuri, sits Cafe Midori: a quiet, cosy space within nature to sip that hot cup of Darjeeling tea Do try the luchi-torkari for breakfast at Kasahara (inside Sangeet Bhavan) and the mutton ghugni at Tanzil (Shyambati) How to reach By train: There are many morning trains to Bolpur, especially on the weekend, including superfast ones like Vande Bharat that cover the Kolkata-Bolpur stretch in 2 hours. For a unique experience, try the Kulik Express (13053/13054) Vistadome coach – a special coach designed with large glass windows and a glass-domed roof, providing passengers with a panoramic view. From Howrah station, other popular trains to Bolpur include Gana Devta Express, Santiniketan Express, Visva-Bharati fast passenger and Malda Intercity-Express; from Sealdah station the option is that of the Kanchenjunga Express. Book early for confirmed tickets, especially on the Sunday return journey By car: Makes for a longer (4.5-5 hours), but beautiful drive on the Durgapur Expressway By bus: Bolpur is well connected by buses as well. Kolkata-Asansol or Kolkata-Suri buses are the best options
Hindustan Times
25-06-2025
- Entertainment
- Hindustan Times
Handwritten letters penned by Tagore to be auctioned
A set of 35 handwritten letters penned by Nobel Laureate Rabindranath Tagore to renowned sociologist and musicologist Dhurjati Prasad Mukerji, between 1927 and 1936, will come up for auction on Wednesday. The letters carry a world of details that offers insights into the poet's internal world. (HT Photo) The letters, all written in a measured and neat Bengali script, carry a world of details that offers insights into the poet's internal world as well as his response to the literary milieu of the time. Mukerji, though most known for his work as a Marxist sociologist, was also a keen critic of literature, drama and music. Many of these letters are written on different letterheads, including Visva-Bharati, the university Tagore founded in Santiniketan, his Uttarayan residence, Glen Eden in Darjeeling, and aboard his houseboat, Padma. Through these exchanges, we see an aging Tagore explain his literary choices candidly to Mukerji — in one instance, he requests Mukerji to not repeat his assessment of a performance by Uday Shankar, a famous danseuse, and in another, he rains scorn over the puritanism of sections of Bengali intelligentsia, and refers to them as the 'Bengali Ku Klux Klan', comparing them to the White supremacists of the US, for their rabid intolerance towards stylistic difference. In yet another, Tagore doesn't spare Mukerji, either. Critiquing the renowned sociologist's book for its stern realism, Tagore refers to his own play, Bansari, which mocks pretensions of realism. Tagore defends the value of imagination and illusion in art. Human beings, he insists, need more than facts — they need stories, music, and painting. Tagore finally requests Mukerji to publish the letter in order to make his literary position clear. Mukerji seemed to have taken it on the chin and for good reason. Tagore also wrote letters defending Mukerji from other literary critics. In one, Tagore reflects on the type of people who, under the guise of duty, take pleasure in inflicting harm. He compares them to a Bengali version of the Ku Klux Klan, driven not by moral conviction but by a craving for violence and domination. Tagore defends a piece written by Mukerji, and says that it was misrepresented by malicious critics. In one letter, he acknowledges Uday Shankar's dexterity and dedication to dance, but adds that Shankar, whose ballet troupe revolutionised classical dance, lacked deeper creative essence—he has crafted a beautiful form but not yet invoked the 'goddess' of art. Later, Tagore shoots off a letter to Mukerji asking him to not publish his criticism of Shankar, for fear of public misinterpretation and unnecessary controversy. Tagore demonstrated a strong adherence to classical Bengali poetic traditions with Western Romantic aesthetics in his early works like Kabi-Kahini (1882) and Manasi (1890). Over time, however, his writing undergoes a vast change: he is more introspective, focused on the inner world of his characters, and begins to use free verse. The shift, which becomes evident in Gitanjali — the work that won him the Nobel Prize for Literature in 1913 — is evidently towards modernist experimentation and deep philosophical inquiry. But global recognition did not silence his critics back home. In one letter, he defends his late works, Punascha, and Shesh Saptak for the form. 'The rhythm of silence,' he writes, 'is part of the poem.' Tagore's letters also offer a glimpse of the world he occupied: in Santiniketan, where he built a university, he writes about administrative matters keeping him from his creative endeavours, and in the same breath, explains the need for 'adaptation' to allow for 'creativity' — rigid orthodoxy is nothing but 'educated idiocy', he writes, and hopes that the Bengali cultured folk would understand that. Santiniketan is ideal both for focused reading and research or for relaxed leisure, Tagore tells Mukerji in one instance. Extending an invitation, Tagore tells Mukerji that Santiniketan offers it all, with teachers and truant intellectuals alike. He specifically highlights the presence of artist Nandalal Bose [who went on to hand draw the art in the Indian Constitution], playfully referring to his impact as 'Nandanology' and suggesting the term, Nandankala, to describe the rich aesthetic environment. 'The letters are deeply philosophical and capture Rabindranath Tagore's voice during a pivotal era of artistic and intellectual transformation,' said Siddharth Sivakumar, director, curation and artist relations, Astaguru. 'Mukerji, in turn, is not just a correspondent—he is a witness, a mirror, and a friend.' 'These aren't just letters, they're windows into a shifting India, into a poet's evolution, into the founding philosophy of Santiniketan itself,' Manoj Mansukhani, CMO, AstaGuru Auction House, said. The letters range between one and 12 pages long, and are accompanied by 14 envelopes. While 29 of these letters were published in literary magazines like Parichay, and books like Sangitchinta, Sur O Sangiti, and Chhanda, at least four are unpublished. Designated as national treasures, no buyer will be allowed to take these letters outside the country and the payment will have to be made in Indian currency alone. These belong to a private collection based in Kolkata, and are valued between ₹ 5 crore to 7 crore. They will come under the hammer at the Astaguru Modern Indian art online auction to be held between June 25 and 26. Works by other artists like Bose, Krishen Khanna, Prabhakar Bharwe will also form part of the auction.
Hindustan Times
24-06-2025
- Entertainment
- Hindustan Times
Handwritten letters by Rabindranath Tagore to be auctioned
A set of 35 handwritten letters penned by Nobel Laureate Rabindranath Tagore to renowned sociologist and musicologist Dhurjati Prasad Mukerji, between 1927 and 1936, will come up for online auction at Mumbai's Astaguru Auction House between June 25 and 26. Nobel Laureate Rabindranath Tagore. (File Photo) The letters, all written in a measured and neat Bengali script, carry a world of details that offers insights into the poet's internal world as well as his response to the literary milieu of the time. Mukerji, though most known for his work as a Marxist sociologist, was also a keen critic of literature, drama and music. Many of these letters are written on different letterheads, including Visva-Bharati, the university Tagore founded in Santiniketan, his Uttarayan residence, Glen Eden in Darjeeling, and aboard his houseboat, Padma. Through these exchanges, we see an aging Tagore explain his literary choices candidly to Mukerji — in one instance, he requests Mukerji to not repeat his assessment of a performance by Uday Shankar, a famous danseuse, and in another, he rains scorn over the puritanism of sections of Bengali intelligentsia, and refers to them as the 'Bengali Ku Klux Klan', comparing them to the White supremacists of the United States of America, for their rabid intolerance towards stylistic difference. In yet another, Tagore doesn't spare Mukerji, either. Tagore's letters offer a glimpse of the world he occupied and are deeply philosophical. Critiquing the renowned sociologist's book for its stern realism, Tagore refers to his own play, Bansari, which mocks pretensions of realism. Tagore defends the value of imagination and illusion in art. Human beings, he insists, need more than facts — they need stories, music, and painting. Tagore finally requests Mukerji to publish the letter in order to make his literary position clear. Mukerji seemed to have taken it on the chin and for good reason. Tagore also wrote letters defending Mukerji from other literary critics. In one, Tagore reflects on the type of people who, under the guise of duty, take pleasure in inflicting harm. He compares them to a Bengali version of the Ku Klux Klan, driven not by moral conviction but by a craving for violence and domination. Tagore defends a piece written by Mukerji, and says that it was misrepresented by malicious critics. In one letter, he acknowledges Uday Shankar's dexterity and dedication to dance, but adds that Shankar, whose ballet troupe revolutionised classical dance, lacked deeper creative essence—he has crafted a beautiful form but not yet invoked the 'goddess' of art. Later, Tagore shoots off a letter to Mukerji asking him to not publish his criticism of Shankar, for fear of public misinterpretation and unnecessary controversy. The Heart is the only known sculptural piece attributed to Rabindranath Tagore. It will also come up for auction in the two-day sale. Tagore demonstrated a strong adherence to classical Bengali poetic traditions with Western Romantic aesthetics in his early works like Kabi-Kahini (1882) and Manasi (1890). Over time, however, his writing undergoes a vast change: he is more introspective, focused on the inner world of his characters, and begins to use free verse. The shift, which becomes evident in Gitanjali — the work that won him the Nobel Prize for Literature in 1913 — is evidently towards modernist experimentation and deep philosophical inquiry. But global recognition did not silence his critics back home. In one letter, he defends his late works, Punascha, and Shesh Saptak for the form. 'The rhythm of silence,' he writes, 'is part of the poem.' Tagore's letters also offer a glimpse of the world he occupied: in Santiniketan, where he built a university, he writes about administrative matters keeping him from his creative endeavours, and in the same breath, explains the need for 'adaptation' to allow for 'creativity' — rigid orthodoxy is nothing but 'educated idiocy', he writes, and hopes that the Bengali cultured folk would understand that. Santiniketan is ideal both for focused reading and research or for relaxed leisure, Tagore tells Mukerji in one instance. Extending an invitation, Tagore tells Mukerji that Santiniketan offers it all, with teachers and truant intellectuals alike. He specifically highlights the presence of artist Nandalal Bose [who went on to hand draw the art in the Indian Constitution], playfully referring to his impact as 'Nandanology' and suggesting the term, Nandankala, to describe the rich aesthetic environment. 'The letters are deeply philosophical and capture Rabindranath Tagore's voice during a pivotal era of artistic and intellectual transformation,' said Siddharth Sivakumar, curatorial director, Astaguru. 'Mukerji, in turn, is not just a correspondent—he is a witness, a mirror, and a friend.' 'These aren't just letters, they're windows into a shifting India, into a poet's evolution, into the founding philosophy of Santiniketan itself,' Manoj Mansukhani, CMO, AstaGuru Auction House, said. The letters range between one and 12 pages long, and are accompanied by 14 envelopes. While 29 of these letters were published in literary magazines like Parichay, and books like Sangitchinta, Sur O Sangiti, and Chhanda, at least four are unpublished. Designated as national treasures, no buyer will be allowed to take these letters outside the country and the payment will have to be made in Indian currency alone. These belong to a private collection based in Kolkata, and are valued between ₹ 5 crore to 7 crore. Works by other artists like Bose, Krishen Khanna, Prabhakar Bharwe will also form part of the auction.
