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Hans India
18 hours ago
- General
- Hans India
A monumental anthology on Indian transgenders
Dr. Dipak Giri, author and editor from West Bengal, is an acclaimed name in the field of academic writing. He has edited many scholarly books which have earned him global fame and recognition. 'Transgender in Indian Context: Rights and Activism' is one such invaluable book that has flowed from his pen. Published by AABS Publishing House, Kolkata, the book is curated with twenty well-explored articles. Prof. Goutam Ghosai, Dept. of English, Visva-Bharati, Santiniketan, has rightly opined in the foreword: 'There was a time when the transsexuals were regarded as abominable beings in most feminist and gay or lesbian discourses. Today, there is arising a growing need in the transsexual people, as they have acquired the more sophisticated name transgender, to articulate new subjectivisation of the self that truly expresses the reality of transgender crises. In this context, Giri's book, which is a collection of essays by expert hands, will be quite useful both as a humanitarian statement demanding serious attention in society and also as a reference text in the humanities departments' (8). The articles in the book are introduced beautifully by Dr. Giri in his 'Introduction.' He defines the term 'Transgender' thoroughly, explaining how they are differently named across countries and cultures. Dr. Giri portrays the grim reality of transgender lives in India: 'In present India, transgenders are subject to daily abuse and humiliation. The lot of most transgenders in India is begging. Along with begging, many are also forced to involve into the practice of prostitution… HIV and other diseases are an ordeal among them. Abandoned by sickness and oldness, they are forced to addiction of liquor and drugs and even sometimes to commit suicide' (15). Some of the articles in this anthology explore the difficult lives and experiences of transpersons in India through their autobiographies and biographies, such as A. Revathi's 'Truth about Me: A Hijra Life Story', Laxmi Narayan Tripathi's 'Red Lipstick: The Men in My Life', Manobi Bandyopadhyay's 'A Gift of Goddess Lakshmi', and Living Smile Vidya's 'I am Vidya: A Transgender's Journey', to name a few. Other articles analyze the depiction of transgender issues in mainstream Indian literature, including novels and plays like Devdutt Pattanaik's 'The Pregnant King', Kavita Sinha's 'Pourush', Arundhati Roy's 'The Ministry of Utmost Happiness', and Mahesh Dattani's renowned play 'Seven Steps around the Fire'. The book also discusses Indian trans cinema such as Ranjith Sankar's 'Njan Marykutty', Rituparno Ghosh's 'Chitrangada', and Santhosh Sowparnika's 'Ardhanari'. In addition, it brings to light the transgender community's role and identity in ancient Hindu mythology, their educational and socio-economic challenges, and their current constitutional rights. In a word, this anthology is a gem in the field of transgender studies in the Indian context and is highly recommended as a reference book for libraries of colleges and universities in India and abroad. (Prof. Dr. K. V. Dominic is an eminent Indian poet, short story writer, editor, and critic, writing in English.)
Hindustan Times
6 days ago
- General
- Hindustan Times
Authorities to take action for demolition of painter Abanindranath Tagore's heritage house
Kolkata, The administration would take action against those responsible for almost razing down the heritage house of painter Abanindranath Tagore, who played a pivotal role in the Bengal School of Art movement in the 19th century, in Santiniketan. Bolpur Municipality Chairperson Parna Ghosh on Tuesday said that despite a notice served by the civic body on the present owner of the property named 'Awas' not to tinker with the construction in any way, the person engaged a real estate developer and razed down major parts of the building. Santiniketan in West Benganl's Birbhum district comes under the Bolpur Municipality. "We will protect whatever remains of 'Awas' are still there. We will take action against those who went ahead with the demolition ignoring the notice served by the municipality," Ghosh said. Only the gate of the house, with the name 'Awas' inscribed on the still intact boundary wall, remains, according to a video clip of the demolished property, which went viral on social media. Abanindranath, a nephew of Nobel laureate poet Rabindranath Tagore, used to stay in 'Awas' during his stay in Santiniketan. The house was built at Santiniketan's Aban Pally, named after the painter who was appointed the second 'Acharya' of Visva Bharati university in 1942 after the death of Tagore in 1941. Visva-Bharati, set up by Tagore in 1921, was declared a central university and an institution of national importance by an Act of Parliament in 1951. 'Awas' changed hands afterwards. Former acting vice-chancellor of Visva Bharati and ashramite Sabujkali Sen expressed dismay over the incident. "We are saddened that a house associated with the memory of Abanindranath Tagore - and retaining certain unique features reflecting his works - has been mostly razed down. A part of history and heritage is thereby gone," she said. Education Minister Bratya Basu, when told about the demolition of 'Awas', said he did not have much knowledge about the development. "Abanindranath Tagore is our national pride. I am happy several of the houses - associated with his memory - are being preserved and maintained elsewhere. This includes a property in Konnagar, in Hooghly district which is being preserved by the local municipality,' said Basu who is also a theatre personality. Abanindranath is also known for "Bharat Mata" , a painting he created in 1905, representing the nation as a four-armed goddess. He also had a number of books on art to his credit. Besides, the stories he wrote for children were told so picturesquely that it was said, Abanindranath 'writes pictures'. He died in 1951 at the age of 80 years.
The Hindu
09-05-2025
- General
- The Hindu
On Tagore's birthday, Kolkata's oldest bookshop says his books sell every single day
On the occasion of Rabindranath Tagore's birthday today (May 9, 2025), celebrated according to the Bengali calendar, Kolkata's oldest existing bookshop, Dasgupta & Co., took the opportunity to pay homage to the poet, saying his works continue to be a cornerstone of daily life. This year, however, the city's focus has been somewhat diverted by the ongoing India-Pakistan conflict, yet the significance of Tagore's legacy remains undiminished. 'Tagore's relevance has never been more pronounced than it is today,' said Arabinda Dasgupta, Managing Director of Dasgupta & Co., the iconic bookshop on College Street, established in 1886. 'For him, humanity took precedence over nationalism, over religion. His love for people, for nature, and his belief in education beyond the walls of the classroom resonate more than ever in today's world. We need his wisdom now, more than before.' Tagore, born on the 25th day of Baisakh in 1861, has always been a central figure in Kolkata's cultural consciousness. This year, his birthday, falling on April 9, is particularly poignant. Mr. Dasgupta, reflecting on the poet's unwavering presence in the city, recounted a powerful memory from 1984 that underscored Tagore's importance even during times of hardship. 'A girl came to our shop in waist-deep floodwaters, looking for a copy of Tagore's Sesher Kobita. I asked her why she had braved such dire conditions for just one book, and all she said was, 'Today is my boyfriend's birthday. I had to,'' he shared. 'Even in the face of calamity, the city did not stop reading Rabindranath Tagore. His works were a constant, enduring presence, even in times of great hardship.' For Mr. Dasgupta, the deep connection between the people of Kolkata and Tagore is evident in the daily sales at his bookshop. 'Never does a day go by without us selling a Tagore book — even if it's just one. His works are the only books we sell every single day,' he added. As a child, Mr. Dasgupta was immersed in the fervour surrounding Tagore, remembering long queues outside the Visva-Bharati bookshop on College Street when the 18-volume Rabindra Rachanabali was published during the poet's centenary year. 'I was only 10 at the time, but the memory of those crowds is etched in my mind,' he remarked. However, he expressed concern over the lack of recent editions of Tagore's works by Visva-Bharati, the institution founded by the poet. 'Visva-Bharati has not published many of Tagore's works in a long time, and in their absence, local publishers often bring out cheaper versions, filled with errors,' he noted. He also lamented that some of Visva-Bharati's editions were priced exorbitantly, driving readers to alternative, often flawed versions. Yet, Mr. Dasgupta acknowledged a shift in the way people engage with Tagore today. 'I've noticed that English translations of Tagore are outselling the original Bengali versions. Even many Bengalis seem to prefer translations, even for iconic works like Gitanjali,' he said. 'While this trend may not be ideal, it is not necessarily a bad thing, for translation helps introduce Tagore to new audiences.' As Kolkata marks Tagore's birthday, it is clear that while the city's priorities may shift, the poet's words continue to echo across generations, transcending borders and languages, remaining a vital part of the city's soul.
India Today
06-05-2025
- Entertainment
- India Today
From the India Today archives (1986)
(NOTE: This article was originally published in the India Today issue dated March 31, 1986) "I know not who paints the pictures on memory's canvas; but whoever he may be, what he is painting are pictures; by which I mean that he is not there with his brush simply to make a faithful copy of all that is happening." —Rabindranath Tagore in Jivansmriti (Memoirs) The faces are gaunt and sombre. The highlights on their surface defy all principles of optics, as if lit up by unexpected chinks in some cloistered studio of the psyche. The landscapes are marked by lines that change their course and hardness following some inner dictate of the soul. The lines are far from geometric, as if corresponding to some nervy impulses of auto-drawing. But regardless, the paintings of Rabindranath Tagore have left art-lovers stunned by their simplicity and the artist's ability to paint from the heart. But Tagore the artist never really received the commercial acclaim his works deserved—till now, that is, For the past year, Calcutta's traditional art dealers have been receiving enquiries for "any Tagore" with cash offers of Rs 1 lakh or above, the highest offer for the bulk of work of any modern Indian painter, alive or dead. Film actor Victor Bannerjee, who is also an avid collector and the owner of Calcutta's first commercial gallery, bought in 1982 an unnamed portrait by Tagore, painted on paper and not larger than 18x10 inches, for only Rs 10,000. Today he is being offered Rs 80,000 to Rs 1 lakh but he refuses to part with it. "I must hold on to it till the temptation is too great, and the pride in possessing a Tagore may eventually outweigh all financial temptations," declares the actor. Rani Chanda, who authored many books on Tagore and now lives at Santiniketan, jealously guards her eight Tagore paintings from dealers foraying to her home with offers of Rs 5 lakh for the entire collection. Pradip Roy Chowdhury, a dealer who possesses seven paintings by Tagore, besides an extensive collection of documents, manuscripts and other Tagore memorabilia, would not sell "even a scrap of paper" because he senses that the prices are on a steeply upward curve now. Of the 3,000-odd paintings that Tagore had done in the last four decades of his life (1901-1941), a little over 2,000 are to be found in the catalogues of various museums of the world, the lion's share of course being accounted for by Visva-Bharati, the university founded by the poet-painter, whose museum has 1,600 of them. Though 1,000 paintings are now held by private collectors, many of whom had family associations with Tagore and often got the paintings gratis, very few have a chance to surface now—such being the fierce pride in their acquisition. Since 1985, no Indian museum has been able to identify potential buys because of the price factor. The most recent purchase of privately-held Tagore paintings was made by Rabindra Bharati museum, located in Tagore's ancestral house at Jorasanko in old Calcutta, when it acquired two of them late in 1984—one called Faust and the other a landscape—at a price which its curator, Samar Bhowmik, would not disclose. All facts can never be known in the world of art purchase, and dealers hide the names of potential buyers till the last moment. But a museum in Bombay, owned by a large industrial house, is believed to have paid an "earnest money" of Rs one lakh to a dealer in Calcutta to identify and acquire on its behalf a modest collection of Tagore paintings at "any price". The popularity of Tagore is not altogether a freak phenomenon accountable only by the passing vagaries of art connoisseurs. Says celebrity painter M.F. Husain: "Even though Picasso had painted a lot of child art late in his life, it was essentially cerebral painting. But Tagore as a painter had a pristine quality about him—something unprecedented in the history of art." The famous erasures in Tagore manuscripts began as early as 1874, when he was only 13, but his most intense phase as a painter started with his exposure in the early 1920s to the Bauhaus painters—Wassily Kandinsky, Lionel Feininger and Paul Klee. He absorbed contemporary western influences and created what is regarded as a one-man genre. It is this distinctiveness which perhaps explains the phenomenon of the rising prices. "Add to that," says Roy Chowdhury, "the aura of a poet of world renown, the age to which he belonged, and the fact that he being a dead artist, there is a natural limitation on the number of his available paintings." Meanwhile, forgers have started cashing in on the new demand. Bhowmik was approached last year with two portraits, allegedly by Tagore, for which a suspiciously modest price was asked. A close check of the paper showed that it did not carry the obligatory monogram of Visva-Bharati, nor did the signatures at the back tally with Tagore's own which changed with the passing years so regularly that one can always place them in time provided they are genuine. But by the time the two paintings were established to be fake, the fly-by-night dealer had disappeared. Roy Chowdhury says the fake Tagore paintings have a burgeoning market in middle class homes whose owners would buy the stuff knowingly, "in the spirit of buying a copy". But the price of even a crude copy—it is not easy to imitate Tagore's spontaneous lines—has soared to Rs 2,500 or around if the buyer is conscious of what he is buying; otherwise the tag can be even higher. The estimate of 3,000 paintings are based mostly on versions of close Tagore-watchers and his personal staff and friends. But Bhowmik agrees that "there may be a lot of paintings freely afloat in private homes". Except a few well-known private collections, like the Sarabhais' in Ahmedabad or industrialist B.K. Birla in Calcutta, no individuals are known to possess Tagore paintings in any large numbers. The last collector to sell in bulk was Nirmal Kumari Mahalanabis, widow of the statistician P.C. Mahalanabis, who parted with all her 37 paintings—often for a song—in the four years between 1977 and 1981. Those who dealt in the Mahalanabis collections now repent having allowed them to pass into collectors' hands without anticipating the rise in the prices. In the art market, spiralling offers often push the paintings under the carpet until the bids plateau off at a high level. "Tagore paintings are passing through a period of speculative hoarding," says Bannerjee. But, even at the present level of bidding, Tagore far outstrips Abanindranath Tagore, Nandalal Bose and Jamini Roy—all celebrated masters of the Bengal school—whose works are continuously changing hands at prices well within the Rs 5,000 to Rs 10,000 range. The last exhibition of Tagore paintings was held in Calcutta in April 1983 at the Birla Academy of Art and Culture in which 50 collections, all drawn from the repertoire of private collectors, were on display. Though bringing out in the open only a fraction of the paintings and sketches that are privately held, it gave a fair indication about the current owners. Maitreyi Devi, novelist, essayist and an associate of the poet, had seven paintings on display; the owners of the Ananda Bazar group of papers had 14; Roy Chowdhury had six; Bannerjee had his lone possession as an entry; Birla himself had four; dealer Dilip Roy had six; and the Academy 11. Of the two entries from Nihar Ranjan Chakraborty, a well-known city businessman, the one that is considered priceless is the portrait of Kadambari Devi, wife of the poet's elder brother who had committed suicide leaving a void which literary critics have often traced to his later works. Museologists say there is no way of knowing how many of the sketches and paintings Tagore had gifted away and how many of those painted during his long sojourns abroad have still been lying outside the country. It was only last year that the Rabindra Bharati Museum acquired from West Germany a 1935 portrait by Tagore of Mussolini, the fascist leader, drawn with a ringing satirical force which is quite uncharacteristic of him. The British Museum has a dozen of his paintings, all acquired from non-Indian sources. But, as a collector says, "it is the Bengali elite of Tagore's lifetime, connected to him in the social circuits, which has the lion's share". And, at the rate their prices are spiralling, the full scope and value of Tagore's artistic endeavours might finally be forced out into the open. Subscribe to India Today Magazine
The Hindu
29-04-2025
- General
- The Hindu
Tagore's own institution neglects printing his books; many popular titles out of circulation
Many of Rabindranath Tagore's books appear neglected by the publishing arm of his own institution, Visva-Bharati, with numerous titles under his authorship, including the flagship 18-volume Rabindra Rachanabali, being out of print for over a year now. With the aesthetically printed university-published titles missing from the market, private players are profiting from the neglect by selling their own versions. 'A book like Gora is not available. A book like Sanchayita is not available. This is unbelievable, totally unbelievable!' eminent educationist-writer Chinmoy Guha, professor emeritus of University of Calcutta and former Vice-Chancellor of Rabindra Bharati told The Hindu. 'It looks like Visva-Bharati officials are not even aware of their books not being in the market. Nobody is talking about it. Even books like Chokher Bali, Chhelebela, Char Adhyay, Jogajog are not to be found. These are all part of our heritage — such beautifully printed books. Nobody seems to be noticing they are missing,' Prof. Guha said. Visva-Bharati set up its publishing arm, Granthan Vibhaga, in 1923, mainly to print Tagore's major works and circulate his ideas and literature across the globe. The department is currently based in Kolkata and until recently had two outlets in the city: one on College Street and another on Bidhan Sarani, which closed down in 2022. 'Major works out of print include Sanchayita and Sishu. Important textbooks like the full set of Sahaj Path have not been published regularly, resulting in huge loss of revenue over the last one year. The full set of his biography Rabindra Jibani is out of print as are several volumes of Swara Bitan, something so essential for Rabindra Sangeet practitioners,' said a source in Visva-Bharati. 'All this has led to private publishers gradually taking over the profitable space that Granthan Vibhaga once occupied. There is also a clear lack of sales strategy. A few years earlier there had been an attempt to promote online sales but at present there seems to be not much effort in this matter. Of the two shops in Kolkata, the one that is still open seems to be in a state of decline,' the source said. Visva-Bharati has not responded so far as to why such iconic books have remained out of print for over a year. But insiders blame it mainly on lack of planning as far as sales is concerned. Another major issue, according to them, has been the absence of a permanent director and the apathy of the production section. 'Even a year after the previous Vice-Chancellor left, there has not been a single new publication by the Granthan Vibhaga. A proposal was mooted earlier to transfer the production section from Kolkata to Santiniketan so that concerned departments interact better to plan new volumes on Tagore, but this has not been followed up,' an employee said.
