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(505, 0, 'On August 10 2010 at the Paschimbanga Bangla Academy an interesting event took place along with my book launch ceremony. As a part of the book launch Saptarshi Prakashan arranged for a discussion from a panel of contemporary playwrights which included Ujjal Chattopadhyay Tirthankar Chanda Sudipto Chatterjee and myself. The panel was moderated by Satya Bhaduri the editor of the well known theater journal SAS. The topic of discussion was “Exchange of Ideas”. Ujjal and Tirthankar being Kolkata residents and both Sudipto and me being expatriates the moderator essentially wanted  to get the panelists view point as to how contemporary Bengali playwrights living all around the globe can exchange their thoughts and ideas discuss and debate their plays and finally produce plays that enrich Bengali theater on the whole. The panelists spoke about their own ideas and convictions which may not have found a perfect answer to Satya Bhaduri’s question but it did raise some good issues that we the playwrights and theater lovers ought to ponder on. The following video clips from the panel discussion will give you a better understanding of the proceedings of that meeting. Enjoy and don’t forget to add your thoughts below as comments. Share this article Close   Bookmark and Share This Page Save to Browser Favorites / Bookmarks Ask backflip blinklist BlogBookmark Bloglines BlogMarks Blogsvine BuddyMarks BUMPzee CiteULike co.mments Connotea del.icio.us Digg diigo DotNetKicks DropJack dzone Facebook Fark Faves Feed Me Links Friendsite folkd.com Furl Google Hugg Jamespot Jeqq Kaboodle kirtsy linkaGoGo LinkedIn LinksMarker Ma.gnolia Mister Wong Mixx MySpace MyWeb Netvouz Newsvine oneview OnlyWire PlugIM Propeller Reddit Rojo Segnalo Shoutwire Simpy Slashdot Sphere Sphinn Spurl Squidoo StumbleUpon Technorati ThisNext Twitter Webride Windows Live Worlds Movies Yahoo Email This to a Friend Copy HTML:  input readonly  readonly onclick  this.select  type  text value  A Panel of Bengali Playwrights size  84 title  Copy this HTML to create a link to this page /   If you like this then please subscribe to the RSS Feed . 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(452, 0, 'Few months ago I wrote my wish list about the kind of performers I’d like to see at the 2010 NABC in Atlantic City and the one artist I mentioned specifically was Sahaj-Ma. When NABC 2010 committee announced the name of their foreign performers I was delighted to see Sahaj-Ma and Utpal-Faqir’s name on the list. I am not sure whether the committee members actually read my post and felt inspired to invite the duo or whether it was a sheer co-incidence - I am glad and thankful to the decision makers for giving us a chance to watch these amazing performers on stage. I heard Sahaj-Ma first on ETV-Bangla on a show called “Baranday Roddur” conducted by the famous Bangla Band Bhoomi. It was kind of a mix of a musical and talk show and Sahaj-Ma mostly talked about her musical journey. She mentioned about her early training in classical music from her mother and then from Pundit M.R. Gautam and Srimati Sunanda Pattanaik.  And when she performed it was mesmerizing. She has a unique style and tonal quality that is very rare in a female Bengali singer. The next time I listened to her music was in another ETV-Bangla show “Dada Didir Ganer Lorai”. In this show whenever she went up to perform it was almost magical. Although she mostly performs Baul and folk songs but in this show she proved that she has mastery over all forms of Indian music. During her talk with Bhoomi she mentioned about how she became Sahaj-Ma from Sharmistha. When she and her husband Utpal went to Sadan Das Bairagya to receive “Dikhsa” spiritual initiation he said the name Sharmistha doesn’t go well with the Baul traditions. He then named her Sahaj-Ma saying that I am giving you a great responsibility - to become Sahaj or “Simple” in this complex world. Sahaj Ma and Utpal Faqir are not only house hold names in Kolkata but also getting popular amongst the music lovers around the world. Her music a collaborative fusion album with Bikram Ghosh now plays on MTV. The attached video will give you a glimpse of Sahaj-Ma’s performance singing her famous number “Allah Meherban”. 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(453, 0, 'After a gap of two years I was back again in Kolkata this winter and whenever I had some spare time I utilized it watching a theater. Although most people in Kolkata were flocking the multiplexes for “3 Idiots” or “Avatar” I thought it would be prudent to capture as many Bengali plays as possible since I won’t be able to see them back in New Jersey.  The day I landed in Kolkata also happened to be the opening ceremony of Nandikar’s National Theater Festival and Satya-da Satya Bhaduri editor of the theater magazine SAS invited me to attend the show with him. That evening the festival opened with Bangladesh Dhaka Drama’s staging of Selim-al-Din’s “Dhabaman”.  “Dhabaman” is an allegorical folk tale of a young buffalo who wanted to be free. The play was presented in a traditional folk form with elaborate choreography and physical acting. This kind of play does not depend on traditional dialogues but on descriptive narratives which works almost like a commentary of the happenings on stage. It was a pleasant experience overall especially when you get to watch a play in a form that is rarely used in Bengali theater these days. The next play I saw at the Aneek Theater Festival was Natya Anan’s musical “Hirak Rajar Deshe” based on the popular film by Satyajit Ray. The play directed by my good friend Chandan Sen was well attended Rabindra Sadan was almost full and seemed to be well enjoyed by the young viewers. Musicals are a neglected genre in Bengali theater and I am glad that Chandan and his team showed the courage to stage something like this. However remaking of a classic is always a challenge and Natya-Anan had to face an uphill task to stand up against a wonderful film that still lingers in the memories of every Bengali film goer. Besides the current political situation in Bengal makes the content quite relevant. The music was different but quite good. Although I would have preferred the songs to be performed live on stage rather than the loud pre-recorded  playback. The actors did a decent job however the choreography could have been more imaginative.  The play used some special effects with lights and sound which looked nice if you don’t try to compare with any Broadway production . Overall I’d recommend the play to anybody especially the kids. At the same festival the next play I saw was Bohurupi’s “Birja Sulka” a play based on the story of Shikandi of Mahabharata. Shikhandi’s tale has always fascinated me but frankly speaking this play disappointed me. The structure of the play  was seriously flawed and failed to capture the attention of its audience. The director Tulika Das may have been motivated by the spirit of  woman’s liberation but failed to deliver. The actors had serious problems with the dialogs in verse and the  poor structure of the play added to their despair.  I expected a better quality from a group like Bohurupi. On 28th Dec I saw the best play of this season - Theater Workshop’s latest production “Juddha Paristhiti”. “Juddha Paristhiti” is adapted from Nabarun Bhattacharya’s novel by the veteran thespian Ashok Mukhopadhyay who also directed the play. The play is about a middle aged institutionalized schizophrenic man who lost his mind due to police brutality during the political turmoil of the seventies.  Often he escapes from his asylum and roams the streets of Kolkata searching for his hidden arms - his instruments of liberation.  The play demonstrated how a well crafted play can keep the audience glued to their seats and how an imaginative director can transform a stage using simple structures.  The actors did an excellent job in presenting the play although  the excessive use of the fourth wall could have been minimized also true for many of the other plays I saw. The playing of the “International” during the curtain call seemed to be too dramatic and overimposed. This time I also happened to see the production of my play “Jadiyo Galpo” by Theater Workshop directed by Ashok Mukhopadhyay staged at the historic Minerva Theater.  Since I have a personal attachment with this play I’ll refrain from going into the details. The audience  seemed to like the play and the two actors on stage Ashok Mukhopadhyay and Krishnagati Chatterjee were able to hold their attention even with an intermission break. Another Bohurupi production that I happened to chance upon was “Mr. Kakatua” and was pleasantly surprised to see that this old play can still draw the crowds. The play directed by Kumar Ray is a comedy that not only entertains but also makes you think. Unlike “Brija Shulka” this play was firmly placed on a solid structure and the actors went all the way to enliven the stage under the brilliant direction of the veteran Kumar Ray. The last play that I happened to watch was Bratyajan’s “Ruddha Sangeet” the celebrated and sensational play written an directed by Bratya Basu. It was a call show organized by a bank at the Mahajati Sadan and when I got the news I took my chances and showed up at the theater back stage. My good friend Bratya was kind enough to arrange a seat for me for a show that was for invited guests only.  The play is kind of a biopic on the life of the popular singer Debabrata or George Biswas and is loosely based on his memoirs “Bratyajaner Ruddhasangeet”.  The play became an instant hit in Kolkata especially at a time when the city intellectuals artists writers actors have been alienating themselves from the ruling left party and joining the ranks of the opposition.  The play talks about a similar time in history   when the communist party in Bengal tried to stifle the voice of the free spirited artists and performers.  The play brings on stage some of the most popular and famous Bengali personalities of the last century and some very dramatic moments. However dramatic moments alone cannot make drama. The play was too anecdotal in nature and lacked any plot line. This might have been intentional but it fails to keep the audience interest going.  This became quite evident when I heard people behind me getting restless and some of them leaving the auditorium early.  The lack of a clear story line and definitive action on the part of the protagonist except at the end when George Biswas fights against the ban on his songs makes it a docu-drama at best but not a play.  As a director Bratya did a commendable job in managing a huge cast in a well choreographed manner on stage.  The stage was sparse which was alright however a little more imagination might have helped to make it more pleasing visually. Debshankar Haldar as George Biswas was excellent and so was Satrajit in the role of Ritwick Ghatak - but this kind of created a wide gap between the quality of characterization between them and the other actors. My overall impression has been that despite all the rumors I hear Kolkata theater is still thriving. People are going to the theaters new plays are being produced. The quality of production in all branches has lot of room for improvement but that can only happen when the theater goers demand for it. I wanted to see few more plays like “Patal Babu Filmstar” by Purba Pashcim “Darjiparar Marjinara” by Swapno Sandhani written by Bratya Basu “Shonali Sarak” by Ganakrishti and many others but my time was limited this year. Better luck next time. 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(454, 0, 'One of the guest performers at the upcoming NABC 2010 is Abdul Bari Siddiqui of Dhaka Bangladesh. Although Bari is a relatively new name to the Bengali music lovers in this part of the world he is a well known and sought after musician and composer in Bangladesh.   Trained as a classical flutist Bari finds his passion both in the classical ragas as well as the folk tunes and Baul music of Bengal and has created his own genre of folk fusion by fusing North Indian Classical Music with Baul music. Bari born 15th November 1954 started his initial lessons in classical vocal music at the age of twelve under Gopal Dutta of Netrokona. Later in 1981 he was taken under the wings of Ustad Aminur Rahman a direct disciple of Pandit Panna Lal Ghosh the famous flutist and Beenkar Ustad Dabir Khan. Ustad Aminur Rahman spotted Bari during a concert and offered to tutor him. For the next six years Bari trained under Rahman. Bari also received extensive training from Pandit V G Karnad in Pune. Since 2000 besides playing the flute Bari started to perform vocal music and his first album “Srabon Megher Din” was an instant hit and won him several awards. With this passion for around four decades Bari reserves that the difference between the Indian and European music is that “Indian music comes from silence whereas the European music comes from sound.” Bari maintains that the Indian way is more melodious with the “Miir” and more natural with the typical natural bamboo flute. As of his Gurus he believes in praying through his tunes and devotes all his creation to eternity. Bari has performed in countries like India Pakistan Singapore Indonesia Thailand Burma USA England Switzerland France and many other European countries. In 1999 at the World Flute Conference in Geneva where representatives from seventy countries took part Bari Siddiqui was the only representative from the Indian subcontinent. He received many awards for his performances at Fajar Music Festival award in Iran World Flute Conference Award in Geneva International Film Movement Association Award and Bachshash Award. To listen to some of his tunes visit Bari’s website at http://www.barisiddiqui.net/ . Share this article Close   Bookmark and Share This Page Save to Browser Favorites / Bookmarks Ask backflip blinklist BlogBookmark Bloglines BlogMarks Blogsvine BuddyMarks BUMPzee CiteULike co.mments Connotea del.icio.us Digg diigo DotNetKicks DropJack dzone Facebook Fark Faves Feed Me Links Friendsite folkd.com Furl Google Hugg Jamespot Jeqq Kaboodle kirtsy linkaGoGo LinkedIn LinksMarker Ma.gnolia Mister Wong Mixx MySpace MyWeb Netvouz Newsvine oneview OnlyWire PlugIM Propeller Reddit Rojo Segnalo Shoutwire Simpy Slashdot Sphere Sphinn Spurl Squidoo StumbleUpon Technorati ThisNext Twitter Webride Windows Live Worlds Movies Yahoo Email This to a Friend Copy HTML:  input readonly  readonly onclick  this.select  type  text value  NABC 2010: Abdul Bari Siddiqui - The Flutist Baul size  84 title  Copy this HTML to create a link to this page /   If you like this then please subscribe to the RSS Feed . 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(177, 0, 'These are some of the feeds from various sources that I read often: Times of India Bar criminals from fighting polls: Sonia Gandhi - Mon 25 Jan 2010 The Election Commission s diamond jubilee celebrations saw a rare convergence among political parties over checking criminalisation of politics with Congress chief Sonia Gandhi calling for a consensus on barring candidates with criminal backgrounds. Kabul Pakistan ready to talk with Taliban - Mon 25 Jan 2010 A plan to reach out to Taliban insurgents is likely to dominate talks between Afghan president Hamid Karzai and Pakistani president Asif Ali Zardari ahead of a London conference. No hint by govt to shun Pak players: Chidambaram - Mon 25 Jan 2010 Home minister P Chidambaram on Monday strongly refuted suggestions that there had been a  hint or a nudge from the government to keep the Pakistani cricketers out of the T20 tourney. Special Coverage: Indian Republic Soaring@60 - Fri 22 Jan 2010 The Indian Republic is a shining exception in a turbulent neighbourhood. But what is the alchemy that has enabled democracy to thrive here even as it struggles to survive in our vicinity Shane Warne to help ease Australia-India tension - Mon 25 Jan 2010 The Cricket legend has been recruited to try and help soothe tensions between Australia and India over a series of violent attacks on Indian students in Melbourne. Venkat Aamir among 130 Padma awardees - Mon 25 Jan 2010 The government has however not found anyone for the highest civilian award Bharat Ratna. Hindustan Times House panel slams Air India merger Marathi must for cab drivers Indian Premier League surrenders on Line of Control 641 babus squat on prime property End of a long march Airport radar crash: 60 mins on brink of disaster India Today Share this article Close   Bookmark and Share This Page Save to Browser Favorites / Bookmarks Ask backflip blinklist BlogBookmark Bloglines BlogMarks Blogsvine BuddyMarks BUMPzee CiteULike co.mments Connotea del.icio.us Digg diigo DotNetKicks DropJack dzone Facebook Fark Faves Feed Me Links Friendsite folkd.com Furl Google Hugg Jamespot Jeqq Kaboodle kirtsy linkaGoGo LinkedIn LinksMarker Ma.gnolia Mister Wong Mixx MySpace MyWeb Netvouz Newsvine oneview OnlyWire PlugIM Propeller Reddit Rojo Segnalo Shoutwire Simpy Slashdot Sphere Sphinn Spurl Squidoo StumbleUpon Technorati ThisNext Twitter Webride Windows Live Worlds Movies Yahoo Email This to a Friend Copy HTML:  input readonly  readonly onclick  this.select  type  text value  Feeds size  84 title  Copy this HTML to create a link to this page /   If you like this then please subscribe to the RSS Feed . 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(456, 0, 'Ask a Bengali what in his/her bookcase does he/she treasure most  And the answer will be - the sixteen volume set of Rabindra Rachanabali that is the complete works of Rabindranath Tagore. Over the years the works of Tagore has been one of the key source of revenue for Bishwabharati. However after the expiry of the extended copyright publishers were free to reprint Tagore without having to pay any royalty to Bishwabharati. The Society for Natural Language Technology Research SNLTR grabbed this opportunity and made the entire published works of Tagore Rabindra Rachanabali available online through their website http://rabindra-rachanabali.nltr.org . No longer do you have to carry along with you the heavy volumes neither do you have to spend money to buy them. Online Rabindra-Rachanabali is free.  The website was released to the public on 27th January 2010 at the Kolkata Bookfair. According to Prof. Anupam Basu the director of SNLTR who spearheaded this project Rabindranath should be accessible to anybody and everybody who wants to read in Bangla.  A professor at the department of Computer Science and Engineering of IIT Kharagpur Anupam leads a series of projects to enable computing in Bangla. He and his team has developed Baishakhi a unicode compliant keyboard that enables one to type in Bangla and also enable web browsers to render Bangla in a clean and uncluttered manner.  The entire Rabindra rachanabali project has been developed using Baishakhi and has been implemented by MAT3 Impex of Kolkata. The project had an initial seed funding from the Govt. of West Bengal and had also received support from several organizations like IIT Kharagpur ISI Kolkata Jadavpur University BESU C-DAC IBM and Microsoft Research India. The Rabindra-Rachanabali site organizes the works of Tagore several categories like poetry songs novels short stories plays essays etc. It also provides an alphabetical index to search for a specific article. However the best feature is the in-built Bangla search engine named Anweshan. It allows the reader to search Tagores writings using Bangla keywords. Keywords can be entered either using the Baishakhi keyboard if you have one installed on your Windows PC or you can use the virtual keyboard provided along with the search engine. I tried it few times and it works like a charm. Click the link on the left side bar titled “Anushandhan” and you can search to your heart’s content. The font Bangla Academy or Vidya layout and the text is also very pleasing to read.  If you don’t have the fonts you may download and install them by clicking the button on the left sidebar. One can move from one page to the other using easy to use navigation buttons. The site also allows you to report any typographical mistakes or any other issues via web based email. The site however   does not allow you to print a whole story as a single file and you’ll have page one page after other. I’d like to request the developers to look into this useful feature.  Another issue is that the articles poems stories does not have the dates associated with them like the way we see them on the printed volumes. Some links are not active yet like “Prakalpa Sammandhe” or “Jogajog” but I think they’ll be active soon. Kudos to Anupam Basu and his team at SNLTR for giving us this wonderful gift in this new year. Next year being the 150th birth anniversary of Tagore this is a very well timed offering to the Bengalis all over the world. Share this article Close   Bookmark and Share This Page Save to Browser Favorites / Bookmarks Ask backflip blinklist BlogBookmark Bloglines BlogMarks Blogsvine BuddyMarks BUMPzee CiteULike co.mments Connotea del.icio.us Digg diigo DotNetKicks DropJack dzone Facebook Fark Faves Feed Me Links Friendsite folkd.com Furl Google Hugg Jamespot Jeqq Kaboodle kirtsy linkaGoGo LinkedIn LinksMarker Ma.gnolia Mister Wong Mixx MySpace MyWeb Netvouz Newsvine oneview OnlyWire PlugIM Propeller Reddit Rojo Segnalo Shoutwire Simpy Slashdot Sphere Sphinn Spurl Squidoo StumbleUpon Technorati ThisNext Twitter Webride Windows Live Worlds Movies Yahoo Email This to a Friend Copy HTML:  input readonly  readonly onclick  this.select  type  text value  The Complete Works of Tagore Now Online size  84 title  Copy this HTML to create a link to this page /   If you like this then please subscribe to the RSS Feed . 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(457, 0, 'Please join Urhalpool Magazine’s 2nd Annual Award Ceremony on Wednesday. January 27th @6:30PM in Collaboration with: Rabindranath Tagore center ICCR American Center Kolkata Shakti Chattopadhyay Lifetime Bengali Literary Achievement Award Rs25 000 :   Sunil Gangopadhyay Nirmal Chandra Gangopadhyay Bengali Literary Award for an Young writer Rs15 000 :    Mandakranta Sen Dr. Sishir Kumar Das Award for research in Bengali Literature: Rs 20 000 :  Dr. Sibaji Bandyopadhyay Pushpa Little Magazine Award: Rs10 000 :    Bibhab Urhalpool www. urhalpool .com January Issue focusing on Mexican poets/writers has been released. Bengali section: Poems-Sankha Ghosh Sunil Gangopadhyay many others/  Golpo- Yashodhara Roychoudhury Mexican writer Liliana Blum Ivy Chatterjee Tridib Chatterjee and others Special Article on Translation by Goutam Datta English Section: 2010 Kolkata Book Fair visiting poets Anne Waldman Meena Alexander’s essays   Many Mexican writers poets. Special article by Father of Contemporary American Poetry Jerome Rothenberg: POETS TRICKSTERS: INNOVATION DISRUPTION IN RITUAL MYTH Share this article Close   Bookmark and Share This Page Save to Browser Favorites / Bookmarks Ask backflip blinklist BlogBookmark Bloglines BlogMarks Blogsvine BuddyMarks BUMPzee CiteULike co.mments Connotea del.icio.us Digg diigo DotNetKicks DropJack dzone Facebook Fark Faves Feed Me Links Friendsite folkd.com Furl Google Hugg Jamespot Jeqq Kaboodle kirtsy linkaGoGo LinkedIn LinksMarker Ma.gnolia Mister Wong Mixx MySpace MyWeb Netvouz Newsvine oneview OnlyWire PlugIM Propeller Reddit Rojo Segnalo Shoutwire Simpy Slashdot Sphere Sphinn Spurl Squidoo StumbleUpon Technorati ThisNext Twitter Webride Windows Live Worlds Movies Yahoo Email This to a Friend Copy HTML:  input readonly  readonly onclick  this.select  type  text value  2010 Urhalpool Awards size  84 title  Copy this HTML to create a link to this page /   If you like this then please subscribe to the RSS Feed . 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Save to CiteULike Save to co.mments.com Save to Connotea Save to del.icio.us Digg It! Save to diigo Save to DotNetKicks Save to DropJack Save to dzone Save to Facebook FarkIt! Save to Faves Save to Feed Me Links Save to Friendsite Save to folkd.com Save to Furl Save to Google Bookmarks Save to Hugg Spot It! Save to Jeqq Save to Kaboodle Save to kirtsy Save to linkaGoGo Share on LinkedIn Save to LinksMarker Save to Ma.gnolia Save to Mister Wong Save to Mixx Save to MySpace Save to My Web Save to Netvouz Seed Newsvine Save to oneview Save to OnlyWire Promote on PlugIM Submit to Propeller Reddit Save to Rojo Save to Segnalo Shout It! Save to Simpy Slashdot It! Sphere It Sphinn Save to Spurl Save to Squidoo Stumble It! Add to my Technorati Favorites Save to ThisNext Save to Twitter Discuss on Webride Save to Windows Live Save to Worlds Movies Save to Yahoo! 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(456, 2725, 'sudipta | http://', NULL),
(458, 0, 'Are you looking for the right Bengali meaning for a English word Do you often hunt for Bengali words and their spellings when you know the exact English equivalents. Look no further. Try out http://doroja.com .  The developers of this site has taken an ingenious approach. They have scanned an entire English to Bengali dictionary broken it up into pieces for each word and created a searchable database which links up the words you type in with the appropriate snippet. Thanks to  Raishul Islam Russell for developing this useful site. Give it a try when you can. The Share this article Close   Bookmark and Share This Page Save to Browser Favorites / Bookmarks Ask backflip blinklist BlogBookmark Bloglines BlogMarks Blogsvine BuddyMarks BUMPzee CiteULike co.mments Connotea del.icio.us Digg diigo DotNetKicks DropJack dzone Facebook Fark Faves Feed Me Links Friendsite folkd.com Furl Google Hugg Jamespot Jeqq Kaboodle kirtsy linkaGoGo LinkedIn LinksMarker Ma.gnolia Mister Wong Mixx MySpace MyWeb Netvouz Newsvine oneview OnlyWire PlugIM Propeller Reddit Rojo Segnalo Shoutwire Simpy Slashdot Sphere Sphinn Spurl Squidoo StumbleUpon Technorati ThisNext Twitter Webride Windows Live Worlds Movies Yahoo Email This to a Friend Copy HTML:  input readonly  readonly onclick  this.select  type  text value  Online English to Bengali Dictionary size  84 title  Copy this HTML to create a link to this page /   If you like this then please subscribe to the RSS Feed . 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(459, 0, 'Once again we are looking for Bengali speaking male actors for ECTA’s upcoming new play to be staged in June and July of 2010. The character is that of a middle aged man. Previous acting experience is desirable but not a must. Must be willing to commit to ECTA’s rehearsal schedule. Rehearsals will be held in central New Jersey. Interested people must contact me at the earliest. To know more about ECTA and its productions please visit http://ectainc.org . 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(460, 0, 'Natyabharati presents “RON” in Hindi and English a play by Sudipta Bhawmik Hindi translation by Kaushik Datta and Stuti Banerjee Directed by Suma Muralidhar April 3 2010 at F. Scott Fitzgerald Auditorium Rockville Civic Center  Rockville MD. Cast:  Jay Tipnis Suresh Kodolikar Meera Narasimhan Rajiv Paul Madhuri Subramaniam Subhojit Sen Pranav Pandya and Chetna Gola Share this article Close   Bookmark and Share This Page Save to Browser Favorites / Bookmarks Ask backflip blinklist BlogBookmark Bloglines BlogMarks Blogsvine BuddyMarks BUMPzee CiteULike co.mments Connotea del.icio.us Digg diigo DotNetKicks DropJack dzone Facebook Fark Faves Feed Me Links Friendsite folkd.com Furl Google Hugg Jamespot Jeqq Kaboodle kirtsy linkaGoGo LinkedIn LinksMarker Ma.gnolia Mister Wong Mixx MySpace MyWeb Netvouz Newsvine oneview OnlyWire PlugIM Propeller Reddit Rojo Segnalo Shoutwire Simpy Slashdot Sphere Sphinn Spurl Squidoo StumbleUpon Technorati ThisNext Twitter Webride Windows Live Worlds Movies Yahoo Email This to a Friend Copy HTML:  input readonly  readonly onclick  this.select  type  text value  RON to be Staged by Natyabharati of Maryland size  84 title  Copy this HTML to create a link to this page /   If you like this then please subscribe to the RSS Feed . 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(461, 0, 'Want to write in Bengali Google now offers transliteration service from several Indian languages including Bengali. Visit http://google.com/transliterate and set up the language to Bengali using the drop down menu on the upper left corner. Then start typing in Bangla using your roman keyboard.  For example type in “manush” and hit space button and the transliteration software will convert it to its corresponding Bangla in a unicode compliant font. To switch from Bangle to English or vice versa just press Ctrl G in Windows or Cmd G in Mac OS .  If the transliteration engine does not generate the word you want just press the “back” or “delete” button and it will provide you with multiple choices. The tool also offers you a dictionary that can provide you Bangla word equivalents for most English words. You can select the correct word and insert in the document. However this system is still in its infancy and has several limitations. For example you cannot save the documents you create using this system. Currently Google transliteration is offered only in Gmail Blogger Knol and Bookmarklet. Even Google docs is not supported let alone Microsoft Word or any other word processor. Choice of fonts is also limited. I hope Google is working on these issues and make transliteration a truly useful system. Till then we’ll have to work within these limitations. Thanks Google Share this article Close   Bookmark and Share This Page Save to Browser Favorites / Bookmarks Ask backflip blinklist BlogBookmark Bloglines BlogMarks Blogsvine BuddyMarks BUMPzee CiteULike co.mments Connotea del.icio.us Digg diigo DotNetKicks DropJack dzone Facebook Fark Faves Feed Me Links Friendsite folkd.com Furl Google Hugg Jamespot Jeqq Kaboodle kirtsy linkaGoGo LinkedIn LinksMarker Ma.gnolia Mister Wong Mixx MySpace MyWeb Netvouz Newsvine oneview OnlyWire PlugIM Propeller Reddit Rojo Segnalo Shoutwire Simpy Slashdot Sphere Sphinn Spurl Squidoo StumbleUpon Technorati ThisNext Twitter Webride Windows Live Worlds Movies Yahoo Email This to a Friend Copy HTML:  input readonly  readonly onclick  this.select  type  text value  Google Bengali Transliteration size  84 title  Copy this HTML to create a link to this page /   If you like this then please subscribe to the RSS Feed . 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(462, 0, 'Kirana Gharana holds a very special place amongst the traditional styles of North Indian Classical vocal music. Widely recognized to be founded by Ustad Abdul Karim Khan although opinions differ amongst the musicologists from the village of Kirana or Kairana near Muzaffarnagar in Uttar Pradesh Kirana gharana has given us several excellent performers of the Khayal style of singing including masters like Pandit Bhimshen Joshi Pandit Rasiklal Andheria Ustad Amir Khan Ustad Mashkoor Ali Khan and many others.  In July 2010 at the North America Bengali Conference NABC 2010 Kallol of New Jersey will be presenting yet another exponent of the Kirana Gharana Pandit Kaivalya Kumar Gurav. Kaivalya Kumar’s grandfather Pt. Ganapatrao Gurav was a first batch disciple of Ustad Abdul Karim Khan. Kaivalyakumar’s father and guru Pt. Sangameshwar trained by Pt. Ganpatrao was well known for singing in the true Kirana tradition. And Pt. Sangameshwar in turn has groomed Pt.Kaivalyakumar into an outstanding vocalist of the current times. Ironically during the early part of his life Kaivalya Kumar tried hard to avoid a career in music. Discouraged by his father’s moderate success in the profession Kaivalya educated himself for a career in business and engineering. When none of these gave him the satisfaction he was looking for Kaivalya Kumar turned to his roots in classical music and surrendered himself to rigorous training under his father. And within a short period of time Kaivalya established himself as a grade “A” artist of All India Radio and Doordarshan at an age of only 35. Now Kaivalya Kumar is one of the most sought after artists in India. A great singer of Khayal Pt.Kaivalyakumar also renders Marathi Natya Sangeet and Abhang Bhajans Kannada Vachana and Dasara Pada with equal finesse and all of which has won him the acclaim of listeners and critics alike all over India and abroad. Attached is a small clip performing Raga Shankara from one of his concerts: Share this article Close   Bookmark and Share This Page Save to Browser Favorites / Bookmarks Ask backflip blinklist BlogBookmark Bloglines BlogMarks Blogsvine BuddyMarks BUMPzee CiteULike co.mments Connotea del.icio.us Digg diigo DotNetKicks DropJack dzone Facebook Fark Faves Feed Me Links Friendsite folkd.com Furl Google Hugg Jamespot Jeqq Kaboodle kirtsy linkaGoGo LinkedIn LinksMarker Ma.gnolia Mister Wong Mixx MySpace MyWeb Netvouz Newsvine oneview OnlyWire PlugIM Propeller Reddit Rojo Segnalo Shoutwire Simpy Slashdot Sphere Sphinn Spurl Squidoo StumbleUpon Technorati ThisNext Twitter Webride Windows Live Worlds Movies Yahoo Email This to a Friend Copy HTML:  input readonly  readonly onclick  this.select  type  text value  NABC 2010: Kaivalya Kumar Gurav the Pride of Kirana Gharana size  84 title  Copy this HTML to create a link to this page /   If you like this then please subscribe to the RSS Feed . 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(500, 2884, 'Arunabha Guha i completely agree with the observations. i had a chance to talk to a few baltimore organizers about this. maybe they will be able to come up with ways to do better. but if the trend continues we will be slowly losing the next generation’s participation i am already beginning to see that in my kids.', NULL);
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(504, 0, 'Few weeks ago I had written about the plight of domestic performers at the North America Bengali Conferences. I had also mentioned that the current CAB president Kajal Sarkar promised to look into this issue and try to resolve the matter in future NABC meets. He also asked the domestic performers to come up with a consolidated list of “10 most important things need to be implemented in future Banga Sammelan for performance related to local artists / groups”.  I volunteered to co-ordinate the effort and came up with a list based on inputs from several domestic performers at the NABC 2010. I would like to share the list with you all and maybe you can put in your comments too. I hope all Bengali organizations who plan to host NABC in the future would read this and take this as an important feedback from the local/domestic performers and groups. 1. All domestic performers/groups should be invited just like the overseas performers. These days there is no dearth of talent in USA amongst first generation and second generation Bengali Americans. Many performers are either professionals or of professional quality. Scout for them just the way you do for overseas talent solicit proposals and then select them with the help of a “culturally aware” group of people using a rigorous selection process using past credentials and recommendations. Focus on quality and not on quantity. 2. The domestic performers/groups selected through the above process should be treated as invited performers and should not be charged any group registration fee. Professional performers/groups may also have to be paid some token honorarium. The domestic performers should also be offered food coupons for the day of their show as part of the hospitality and preferred hotel reservations. Individual registrations may be charged to the domestic performers if the individual plans to attend the entire convention. 3. The NABC organizer should publicize the local performers and their performances at the same level as they would for overseas performers in brochures posters etc. Websites should highlight the selected local performers their credentials etc. NABC has an obligation to promote the local performers. 4. “Star” performers overseas or domestic should not be scheduled to perform in parallel to any other performer domestic or overseas . Only another “Star” can perform in parallel to a “Star” or none at all. No stage should be given the status of the main stage with all the “Star” performers scheduled to perform on that stage only. Scheduling should be distributed such that the audience do not stick to one hall only. 5. Encourage audience to watch domestic programs by scheduling at such a time that would allow viewers to watch domestic programs without sacrificing performers from Kolkata. This would include periodic announcement by the anchor during any program in any auditorium which would remind people about which show is going on in other auditoriums. 6. If multiple halls/auditoriums are used the halls should be equipped and decorated at the same levels. Each hall entrance must display the current program and the upcoming programs to be performed in that hall as well as schedules for the other halls. 7. The stage light and sound should be adequate and appropriate for the shows to be performed. The groups should be allowed enough time to set up their light cues check the sound and at least have a feel for the stage if not a full stage rehearsal. Time slots should be scheduled for this purpose well in advance. 8. Help should be provided to all performing groups to load/unload their sets/props/equipments if any and to setup stage and strike-down. This will minimize the time lost in setting up the stage. Also NABC organizers should offer some level of support for sets and props chairs sofa table etc such that the performers do not have bring those heavy stuff with them. This service is typically provided for overseas performers and should also be extended to domestic performers. 9. All stages should be equipped with drinking water bottles tea/coffee and a first aid kit. The dressing rooms should have adequate lights and mirrors. 10. Treat all performers and groups domestic or overseas with respect and honor they deserve. After all they are bringing value to the NABC and should not be treated like dirt. 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(465, 0, 'Sahitya O Alochana will be held on Friday February 19 2010 8.00pm at Ananda Mandir. Topic for this session is “Barnomay Jibananda” featuring a discussion on Jibananda Das’s works including poem short stories fictions etc. Ms. Dhriti Bagchi will be the discussion leader for this session. Active participation from the attendees in the discussion including reading of Jibabananda’s poetry or prose is highly encouraged. Please also note that the topics for the next two sessions March and April will likely be the following: 1 Jhumpa Lahiri’s work - discussion leader To Be Declared 2 Bengali Drama in North America - discussion leader Sudipta Bhawmik Share this article Close   Bookmark and Share This Page Save to Browser Favorites / Bookmarks Ask backflip blinklist BlogBookmark Bloglines BlogMarks Blogsvine BuddyMarks BUMPzee CiteULike co.mments Connotea del.icio.us Digg diigo DotNetKicks DropJack dzone Facebook Fark Faves Feed Me Links Friendsite folkd.com Furl Google Hugg Jamespot Jeqq Kaboodle kirtsy linkaGoGo LinkedIn LinksMarker Ma.gnolia Mister Wong Mixx MySpace MyWeb Netvouz Newsvine oneview OnlyWire PlugIM Propeller Reddit Rojo Segnalo Shoutwire Simpy Slashdot Sphere Sphinn Spurl Squidoo StumbleUpon Technorati ThisNext Twitter Webride Windows Live Worlds Movies Yahoo Email This to a Friend Copy HTML:  input readonly  readonly onclick  this.select  type  text value  Sahitya O Alochona : Barnomoy Jibanananda size  84 title  Copy this HTML to create a link to this page /   If you like this then please subscribe to the RSS Feed . 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(466, 0, 'Bidhyak Bhattacharya’s classic play “Tahar Namti Ranjana” was made into a famous radio play by the legendary duo Sambhu Mitra and Tripti Mitra. Now Listen to this wonderful drama online at the following link: http://www.raaga.com/channels/bengali/moviedetail.asp mid B0000126 It is available in 3 parts. 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(467, 0, 'ECTA has launched the pre-production work on their new play “Ekti Ganye Thaki” We Live in a Village . The name of the play has been borrowed from one of Rabindranath Tagore’s famous poems “Ek Ganye”. Currently the team is going through workshop sessions and theater games before delving into the rehearsal process that will start from March. The play will be staged during the months of June and July 2010. Share this article Close   Bookmark and Share This Page Save to Browser Favorites / Bookmarks Ask backflip blinklist BlogBookmark Bloglines BlogMarks Blogsvine BuddyMarks BUMPzee CiteULike co.mments Connotea del.icio.us Digg diigo DotNetKicks DropJack dzone Facebook Fark Faves Feed Me Links Friendsite folkd.com Furl Google Hugg Jamespot Jeqq Kaboodle kirtsy linkaGoGo LinkedIn LinksMarker Ma.gnolia Mister Wong Mixx MySpace MyWeb Netvouz Newsvine oneview OnlyWire PlugIM Propeller Reddit Rojo Segnalo Shoutwire Simpy Slashdot Sphere Sphinn Spurl Squidoo StumbleUpon Technorati ThisNext Twitter Webride Windows Live Worlds Movies Yahoo Email This to a Friend Copy HTML:  input readonly  readonly onclick  this.select  type  text value  Ekti Ganye Thaki size  84 title  Copy this HTML to create a link to this page /   If you like this then please subscribe to the RSS Feed . 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(468, 0, 'Raag Rang Presents “Kal Ke Kalakar” on 20th March Saturday 2010. Time 3-30 p.m. to 5-30 p.m. Ariaki Dandawate on vocal Getiara Zaidi on Sitar and Brinda Guha’s Kathak presentation. Venue: Universal Unitarian Congragation of Princeton Fahs Theater 50 Cherry Hill Road Princeton NJ 08540 Admission: NonMembers: 12 Kids below 10 Years: 7 RaagRang Members: 10 Kids below 10 Years: 5 RSVP will be appreciated. For details Contact: 908-429-1120 609-890-4890 908-240-8289. Email: bhawmikm@gmail.com mayuresh.khare@gmail.com devang42@yahoo.com Share this article Close   Bookmark and Share This Page Save to Browser Favorites / Bookmarks Ask backflip blinklist BlogBookmark Bloglines BlogMarks Blogsvine BuddyMarks BUMPzee CiteULike co.mments Connotea del.icio.us Digg diigo DotNetKicks DropJack dzone Facebook Fark Faves Feed Me Links Friendsite folkd.com Furl Google Hugg Jamespot Jeqq Kaboodle kirtsy linkaGoGo LinkedIn LinksMarker Ma.gnolia Mister Wong Mixx MySpace MyWeb Netvouz Newsvine oneview OnlyWire PlugIM Propeller Reddit Rojo Segnalo Shoutwire Simpy Slashdot Sphere Sphinn Spurl Squidoo StumbleUpon Technorati ThisNext Twitter Webride Windows Live Worlds Movies Yahoo Email This to a Friend Copy HTML:  input readonly  readonly onclick  this.select  type  text value  Kal Ke Kalakar size  84 title  Copy this HTML to create a link to this page /   If you like this then please subscribe to the RSS Feed . 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(508, 0, 'She has already been tagged as the rising star of Indian playback and may hold the most expensive concert ticket next year. Folks who attended NABC 2010 and left dazed by her singing prowess but still desired that she had sung those magical Hindi renditions of Lata Asha Shreya and Sunidhi numbers - the wait is over. Anwesha will be back in NJ only show in NY-NJ to perform in a concert “Anwesha Live in NJ” hosted by Que Zara Productions at the conveniently located North Brunswick School Auditorium Exit 9 from NJ Turnpike and 40 minutes from NYC on Oct 17 4 7 p.m. From Salil Chowdhury R.D.Burman Shankar Mahadevan to her latest hits she will enchant in a 3 hour musical concert. The sound engineering will be done by Jack Lowrie of Strike Sound. She is coming in with Zee Bangla fame Trijoy and soulful Bandita along with five top notch musicians from the Indian film industry. Tickets and Show Promo video: www.quezara.com A special post concert elaborate dinner has been arranged by Moghul Caterers for the musical team. You may email Abhy - abhy m@hotmail.com to purchase the VIP Dinner tickets or for any additional details. You may like to get hold of your tickets which understandably are running fast. 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(474, 0, 'Supriyo Samajdar Prologue Let us start with me my relationship with theatre in general and with open theatre in particular. I might be digressing from the central issue when I discuss these additional and presumably “irrelevant” personal stories. I could have constructed this explanation like a theoretical manifesto or just made a compilation of various people’s experience of undergoing this process. But that doesn’t adequately answer the question of how and where who first laid down the initial few precepts of open theatre. Under what socio-political and economic conditions did they say these things what were their relations to their immediate environment while thinking about open theatre I tried to structure this article to the best of my abilities but eventually I realized that open theatre can’t be defined under certain compartmentalized topics rather I will try to reproduce the stream of consciousness that gave birth to them. In recounting my thoughts I will talk about my group Bibhaban 1 but let me question why I ventured into theatre in the first place. At the beginning of my tryst with theatre I was confronted with this fundamental question to which my answer was out of a social responsibility to the times I exist in. Looking back into the distant past I realize that the entire scenario society wise might have changed with time but my reason still holds true. Experience makes us weary of the language we use we tend to understand the various shades of a word and the meaning it connotes. Today if I were to rephrase my fundamental query or the answer to it I would think twice before talking about any social responsibility. What is my standing in the power structure which we label as society Back then the logic might have been questioned but the emotion with which I uttered those words are true to this day. Now that we have tried to answer why and are moving onto the how let us look into the origins of a thought process. A thought is said to be born out of a conflict a dispute between what I see and what I can accept as the truth. When a disparity occurs between the two an idea is born. Now the question remains why am I thinking in the first place What was the conflict I faced Private Investigations In 1993 I started my conscious journey as a Theatre Activist by acting in a Proscenium play in the Malda district of North Bengal. Some more one act plays passed in between and I eventually joined the cosmopolitan stream of Kolkata. Out of a voluntary impulse I started my researches in theatre worked with different groups and spawned my own Bibhaban. Between 1993 and 1996 I gradually started receiving recognition for my work all the while developing a conscience geographically removed from my loved ones. As I started coming to terms with my existential reality a time came when I had to deal with the dismantling of the group that I worked with. Monetary concerns brought us to a premature halt. In an urban sphere there are generally two types of actors in progress. One who work with financially well off groups in lavish productions and the other only gets the opportunity to take part in minimal expenditure competitions. While this dichotomy wreaked havoc on my fragile mind I managed to witness a staging of “Michil ” The Procession by the group Satabdi. It changed the way I conceived the absolute rules and glories of proscenium theatre. In the meantime I received a letter from the Alternative Theatre group to take part in a workshop in Madhyamgram dealing with alternative theatre methodologies. Having attended that I resumed my theatre studies at the Rabindrabharati University. Somewhere around this time I formed Bibhaban along with a couple of close friends primarily to take part in One Act play competitions. We had decided never to incur debts while running a theatre group. The two staging of Bikalpa The Alternative which we undertook in a proscenium setting came to a stop when we failed to meet the expenses. Eventually the open space in front of the Sangeet Bhavan of Rabindrabharati University Jorasanka Kolkata Bibhaban staged its open air theatre “Tarpor” The Next on April 12 th 1997. Some months down the line we staged “Swapno” Dream on 15 th August 1997. Due to natural calamities we had to hold the staging in a closed space and that was my first brush with Intimate Space Theatre. Later when we had done it in an open air theatre certain equations started being questioned. I saw how the audience-actor relationship dramatically changed in the two different venues. After all theatre thrives on the heartland of interaction. Feedback procedures are so dynamic in an intimate space that I started toying with the idea back then. I can’t exactly define how but I felt I saw Open Theatre being born at that point of time. Watching Open Theatre Mukta Natya in progress and the target “audience” I started rethinking the ways in which theatre serves its objective of communicating its message to an audience. Most groups fail to question these finer sensibilities of staging a production why do people come to watch theatres and what do they take back with them How do you transfer emotions and ideas seamlessly into their thought processes and attune them with your message Every genre has its takers whether it is proscenium or street theatre. A friend once joked that if instead of a street theatre I put up a trivial game show like a monkey dance a literal translation of the term bandor naach people will crowd to witness it. Everybody loves to be entertained and if that form of entertainment comes for free all the better. Human beings are a crazy breed they tend to have widely disparate likings things which even question their moral standings. Bengalis more so are known for their multicultural habits. Finding an audience can’t be too difficult. However we can’t expect the entire human race to be conscious enough to try and create an artifact which lives beyond its time and which addresses the question of greater good. Generally we tend to accept the conditions we have been thrown into refusing to question those tenets which are imposed by our irrational beliefs and superstitions. Our State boasts of millions of teeming theatre groups each with its own targeted audience. How do we then create our own space and make ourselves heard Philosophical Deliberations Who is a philosopher but a common man who confronts reality asks questions regarding its validity and then establishes certain life guiding principles based on his experiences If Philosophy is a way to reconcile with the incidences we encounter in a lifetime Open Theatre is an amalgamation of this experience. Just like every cooked food item has its recipe similarly theatre forms also have its own distinctive methodology. We are aware of the fact that theatre is a culmination of the various performing arts music dance and acting for a live audience. Arguably one might surmise that theatre was born out of the need to appease the sovereign deities and purge one’s self of his daily sins. We know that theatre evolved out of the hunting experiences of the first man one who drew these scenes on the walls of caves. In theatre a person tries to channel his thoughts into a character and communicate it to a wider audience which is willing to accept these and question them before accepting. A process of mimesis is being talked about here where we present to the audience a sequence of well accepted signifiers to drive home an idea. This is but one school of thought. On the other hand there might be a process of theatre where the duende 2 happens when the audience emotionally and intellectually engages with the existence of the character in performance. In that manner a completely new dimension of theatre and its communicative strategies open up to us. Theatre deals with living beings and living beings are not immune to changes in philosophies nor do they remain inert to change. Society functions by transforming one person’s weakness into the other’s strengths and cohabiting for the sake of common welfare. Anthropological studies show us that when a technologically progressive nation passes through a state of political upheaval actors on stage try to bring out the times’ reflection by refining their abilities to portray their respective characters faithfully. However Open Theatre tries something different. It calls forth an integration of the actor’s emotional state with reality so that he comprehends it better. Open Theatre seeks a solitary refuge away from this machine driven society a place for man’s own thoughts. What does one live for He can’t survive for his own well being the implicit rules of society always bind him into an interminable contract of give and take. We are always surrounded by social political and economic changes which relatively determine our life force. Every instant I am forced to question my wants since it doesn’t depend on me alone anymore. Advertising has ruined my ability to take a clear cut decision about my day-to-day life leading to a suffocated sphere where man fails to develop his intellectual faculties. This is where the concept of Open Theatre had it roots. Influences at the Germinal Stages Stanislavski wrote his phenomenal treatise An Actor Prepares elaborating the key processes an actor undergoes and he stressed the importance of affective memory in it. He later revised his ideas to incorporate a method of Physical Actions something which was furthered by Jerzy Grotowski in his seminal treatise on Para Theatre Towards a Poor Theatre . Antonin Artaud’s “Theatre of Cruelty” as enunciated in his book The Theater and its Double remains an over arching presence on our ideologies. In India theatrical procedures have been defined in the age old treatise called The Natyashastra which again doesn’t talk further beyond the creation of the spectacle. We always wanted a psychological basis for the theatrical process we underwent and hence searched for a medium of enhanced public feedback response system. After dabbling in an intimate form of theatre with Swapno Dream in 1997 besides from our performance I started my conscious experiments with Open Theatre form since2002 with the concept “Journey” on which Bibhaban continues to build. Presently through this research we are now trying to develop a work called “Approach to Silence” started in 2009. We are trying to evolve a space where we can redefine our daily existence in a more intimate manner unaware of the presence of a removed audience. In trying to pay tribute to the work of Mr. Jerzy Grotowski we have accommodated our own societal standings into our art. Without you I am not am I There have been groups in the past which talked about open theatre or called themselves Open theatre groups. Unlike them we aren’t a group rather a concept. Here anyone and everyone can take part in the process to develop his or her own line of action and thoughts. We must first shed the notion of an actor-audience dichotomy existing in an open theatre space. The basic mantra/line of our work is -“Without you I am not am I ” No one is an audience no one is an actor and everyone can be everything or nothing. There are no fixed identities. Rather the term visitor seems more apt to describe a friend who has come to be a part of the process. You have to free yourself from the notions of any kind of audience. You have to rethink the entire equation you have with people who come to witness you in performance. The Process Can you reveal a naked truth to them uninhibitedly a truth which you hide even from your closest friends First of all you need a fairly large room which is free from all kind of furniture and other cluttering. Those who will take part in it are requested to develop a common ground of thought or a common frame of reference along which they will align their respective bodies and minds. Once the common topic has been established you are asked to analyze your experiences against it. Once your common motif has been decided upon you will exercise your individual artistic abilities music dance art and performance poetry to elaborate it. You will try to accommodate the other participants into your respective spaces allowing room for an interaction to take place energy to flow through all members of the group. Once everyone starts feeling comfortable with his or her own modes of expression and interaction you will invite another new member to join in your process. In this process of Open Theatre you have to rethink the idea of a group. Will this be a daily affair where the participants need to sit in every day take part in physical or mental workshops to make themselves inhibition free Or should you allow it to be a long standing even a life long alliance punctuated by momentary interludes of silence It is in silence that we organize ourselves to present “us” to society once again. Silence affords that necessary break when we question the first principles. Supriyo Samajdar Born in 1969 in India. Theatre director and practitioner. Studied Directing at the Rabindra Bharati University in Kolkata. Founded Bibhaban an experimental theatre company in 1996 and has been directing writing plays and leading it since. Since 2002 Samajdar is running his research project on Mukta Natya Open Theatre exploring the communication between a spectator and a performer Through this research work ‘Journey’ with Open Theatre presently he is working on a project called- Approach To Silence participated in Regular contra Regulam research project of Teatro La Madrugada in Brzezinka Poland in 2008.His research paper in search of a new form -open theatre was selected for a international symposium-“Language s of Theatre” organized by Jawaharlal Nehru University New Delhi and the Indian Society for Theatre Research ISTR . in January 2009 and Grotowski - Alongside - Around - Ahead at the University of Kent in Canterbury England in June 2009. Bibhaban: 37Baguiati 4h lane Kolkata-700028 India Email:bibhaban@hotmail.com cell: 919830034978 This article was originally written in Bengali and later translated into English by Samik Dasgupta 1 According to the Samsad Bengali-English Dictionary the term Bibhaban literally means the process of exciting magnanimity sorrow surprise resentment terror love mirth disgust or quietism in a person. 2 El duende is the spirit of evocation. It comes from inside as physical/emotional response to music or dance. It is what gives you chills makes you smile or cry as a bodily reaction to an artistic performance that is particularly expressive. 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(475, 0, 'Last Sunday Feb 28th 2010 the noted Bengali theater personality Kumar Roy died in Kolkata after a protracted heart ailment at the age of 84. Kumar-da was long associated with the theater group Bohurupee which he joined in 1949 and was a close associate of late Sambhu Mitra. He was a director playwright and also an actor. He had done roles in several plays like ‘Gallileo’ ‘Rakta karabi’ ‘Baki Itihas’ Bisarjan and ‘Nabanna’ among others besides acting in films. He also worked as a professor at the Rabindra Bharati University. Kumar Roy also headed the Paschim Banga Natya Academy for quite some time. He had also penned many books. He was awarded the Sanget Natak Akademi award in 1983. Although I never had the opportunity of meeting him in person but had the good fortune of speaking to him few times. It was he who published my play “Ron” in “Bohurupi” of which Kumar-da was the editor the well known theater journal of Kolkata. He said how much he liked the play and thought it was an important addition to the repertoire of plays that Bohurupi has published over the years. Later he also published another play of mine “Satyameva”. He had asked me to meet him when I was in Kolkata. Unfortunately I never had the opportunity and I will repent it all my life. I hope and pray that his soul rests in peace. 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(500, 2862, 'A C I have never understood the need by these local performers to pay to perform. There are a few dance or music “teachers” who use this opportunity to advertise their names. In any event they make their students pick up the tab. But the rest specially the drama groups who are doing this for the love of the art should not bother.', NULL),
(502, 2861, 'Brinda Guha I agree I definitely thought Kallol paid more attention to the local talent this year than they do in any Durga Puja or past Bongo Sammelon experiences. Comparatively we did a lot better with highlighting all the groups we have around us and for that I am very happy since that was my biggest complaint since 2005 . The only thing that I thought needed work was the Youth program and Youth talent show. Who is going to run this Bongo Sammelon thing in 50-60 years WE ARE. If not run the program at least hope to play a part in it. There has to be a way to keep my generation interested and stuffing a youth talent show in a small meeting room with no stage and a bad sound system is not going to hold anyone’s interested. Hall A was the perfect place to hold a proper community kids talent show where the participants would have a proper stage the scope of a bigger audience and higher quality acts. But in a small room like the one we were given No one is going to care about which talented teenager is doing what. Great review -Brinda Guha Kalamandir Dance Company kalamandirdanceco.webs.com Kalamandir of NJ njkalamandir.webs.com http://www.brinda.cjb.net', NULL);
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(503, 0, 'Plays are meant to be staged. At least that’s what a playwright expects when he or she writes a play. A play or drama finds its fullest expression through the interpretations of its director and the actors. So what good is it to publish a book of plays   Mostly people who produce direct and act in plays are typically interested in the text of the play and hence would likely be interested in a book of plays.  Although it is true that some non-theater people do love to read plays just as much as some like to read stories and novels but isn’t such a group a minority Is it worth publishing a book for such a limited audience These were the questions I was grappling with before I decided to go for a publication of an anthology of my plays. For quite some time many of my friends and well wishers were pushing me to publish the collection. My mother was one of them. She thought  that my plays would find a larger audience through this publication than they would from our limited number of productions. Several of my friends in different parts of the country also wanted to see my plays in print. I too thought that maybe I should offer my readers an unadulterated view of my plays. Whenever a play is staged the audience is offered an interpretation of the text as made by the director and the actors. A play in print offers the reader to make his own interpretation - the reader becomes the director and the actor.  The reader has the complete freedom to identify with the characters in his or her own way.  As Edward Albee once said it is better to read the play than to watch a bad production of it. Then my mentor Ashok Mukhopadhyay also insisted that it is time to publish a collection through a reputable publisher. Although some of my plays have been published in theater magazines in Kolkata he felt that a printed collection is a better form to reach out to the drama readers.  Sensing my inhibition as a newcomer to the Kolkata theater world he assured me “Don’t worry Your name is well known in the theater circles. Your book will not go unnoticed.” He then took me to his publisher Saptarshi Prakashan who in recent years have earned the distinction of one of the fastest growing publishers and have bagged quite a few awards like Sahitya Academy and Ananda Purashkar. And hence my first book of plays. On 10th of August 2010 the book was formally launched by Bibhas Chakraborty the noted theater personality at the Paschimbanga Bangla Academy in Kolkata watch the attached video clip in front of a large group of theater lovers of Kolkata. The book includes seven plays - Phera The Return Kaalsuddhi The Redemption Durghatana Accident Ron Satyameva Truth Only Musical Chair and Taconic Parkway. Now that the book is out in the market it needs readers. Those who have seen my plays and liked them you may want to have a copy to revisit the plays once more. For those who have not seen them this may be your chance to enjoy them in print.  If you like the book please spread the word.  Let your friends and family know that a book of plays is out in print that tells the stories of our existence as immigrant Indians in our adopted homeland. And don’t forget to give me your feedback. The book is available in USA at most online book stores and at alibris.com click on the cover picture on the right sidebar . In Kolkata the book is available at Saptarshi Prakashan 69 Sitaram Ghosh St Kolkata 9 ph: 9830371467 Dey’s Dey Book Store Book Friend Chakraborty and Chatterjee Adi Nath Brothers Naba Grantha Kutir Lokenath Brothers Balaka. Also available at Subarnarekha in Santinekatan Prantor in Durgapur Annapurna Book House in Balurghat Books and New Central Book House in Siliguri. 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(478, 0, 'Sararattir - Play by Badal Sircar Saturday 8th May 3PM Saturday 8th May 6PM Sunday 9th May 1PM Sunday 9th May 4PM Ticket Price - 25.00 LOCATION Livingston Student Center 84 Joyce Kilmer Avenue Piscataway NJ 08854 http://www.sararattir.info Share this article Close   Bookmark and Share This Page Save to Browser Favorites / Bookmarks Ask backflip blinklist BlogBookmark Bloglines BlogMarks Blogsvine BuddyMarks BUMPzee CiteULike co.mments Connotea del.icio.us Digg diigo DotNetKicks DropJack dzone Facebook Fark Faves Feed Me Links Friendsite folkd.com Furl Google Hugg Jamespot Jeqq Kaboodle kirtsy linkaGoGo LinkedIn LinksMarker Ma.gnolia Mister Wong Mixx MySpace MyWeb Netvouz Newsvine oneview OnlyWire PlugIM Propeller Reddit Rojo Segnalo Shoutwire Simpy Slashdot Sphere Sphinn Spurl Squidoo StumbleUpon Technorati ThisNext Twitter Webride Windows Live Worlds Movies Yahoo Email This to a Friend Copy HTML:  input readonly  readonly onclick  this.select  type  text value  Sararattir - A Play by Badal Sircar size  84 title  Copy this HTML to create a link to this page /   If you like this then please subscribe to the RSS Feed . 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(479, 0, 'AN EVENING OF TAGORE SONGS WITH REZWANA CHOWDHURI BANNYA Sunday MARCH 14 2010 AT 6PM AT HOME OF NUPUR LAHIRI 4343 RT 27 PRINCETON NJ 08540 ORGANIZED BY SURER DHARA NJ SCHOOL OF MUSIC SUGGESTED DONATION 15.00 PER PERSON’ LIGHT DINNER WILL BE SERVED MUST RSVP SPACE LIMITED NARAYAN ROY 908 561 9766 BHASWATI BHADRA 732 821 2545 NUPUR LAHIRI 732 821 3949 FOR PARKING: PLEASE TRY TO CAR POOL LIMITED PARKING AT THE HOUSE FOR ABOUT 12 CARS. DRIVE DOWN RT 27 SOUTH. 1 MILE PARK ACROSS DURGA MONDIR IN PUBLIC LOT CALL FOR RIDE OR CAR POOL Share this article Close   Bookmark and Share This Page Save to Browser Favorites / Bookmarks Ask backflip blinklist BlogBookmark Bloglines BlogMarks Blogsvine BuddyMarks BUMPzee CiteULike co.mments Connotea del.icio.us Digg diigo DotNetKicks DropJack dzone Facebook Fark Faves Feed Me Links Friendsite folkd.com Furl Google Hugg Jamespot Jeqq Kaboodle kirtsy linkaGoGo LinkedIn LinksMarker Ma.gnolia Mister Wong Mixx MySpace MyWeb Netvouz Newsvine oneview OnlyWire PlugIM Propeller Reddit Rojo Segnalo Shoutwire Simpy Slashdot Sphere Sphinn Spurl Squidoo StumbleUpon Technorati ThisNext Twitter Webride Windows Live Worlds Movies Yahoo Email This to a Friend Copy HTML:  input readonly  readonly onclick  this.select  type  text value  Bannya in Concert size  84 title  Copy this HTML to create a link to this page /   If you like this then please subscribe to the RSS Feed . 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(480, 0, 'One of the greatest challenge of any NABC is to come up with events and programs that can attract and engage the the next generation of young Bengalis. Most of the cultural events that happen on the stages of NABC are of little interest to them. They need their own kind of entertainment and engagement else they have nothing to do except hang out around the convention center with a long faces while their parents have all the fun. However the trend seems to be changing over the last few years. The NABC organizing committees are making a conscious effort to come up with events that are targeted towards the young Bengalis of USA. The youth committee of the 2010 North American Bengali Conference NABC has chosen the theme of “Fun Culture and the Future ” to represent this year’s youth program. Conveners are working hard to make sure that the youth-oriented events are relevant engaging and fun for our young people. The list of events include live stand-up comedy show by an up and coming comedian from the Indian community. A film and video show plans to encourage our young film makers to showcase their talent. Do you have an idea for a seminar workshop or panel discussion that would be interesting The Youth Committee formally invites you - anyone regardless of age or background - to submit a proposal for a seminar session. Topic choices are wide open from social dating social media parental relationships to cultural educational environmental and even job hunting and job resumes. Other topics are also invited. To read more and create a proposal for consideration go to http://www.nabc2010.org/Youth Seminar Invitation v5.pdf . Several other events are being planned and worked on including dance party fashion and talent shows games and many many more. For information on the broader Youth Program go to http://www.nabc2010.org/youthactivities.html . The future of Bengali culture in the North America is in the hands of our young people So join in  and make this event a memorable one. Share this article Close   Bookmark and Share This Page Save to Browser Favorites / Bookmarks Ask backflip blinklist BlogBookmark Bloglines BlogMarks Blogsvine BuddyMarks BUMPzee CiteULike co.mments Connotea del.icio.us Digg diigo DotNetKicks DropJack dzone Facebook Fark Faves Feed Me Links Friendsite folkd.com Furl Google Hugg Jamespot Jeqq Kaboodle kirtsy linkaGoGo LinkedIn LinksMarker Ma.gnolia Mister Wong Mixx MySpace MyWeb Netvouz Newsvine oneview OnlyWire PlugIM Propeller Reddit Rojo Segnalo Shoutwire Simpy Slashdot Sphere Sphinn Spurl Squidoo StumbleUpon Technorati ThisNext Twitter Webride Windows Live Worlds Movies Yahoo Email This to a Friend Copy HTML:  input readonly  readonly onclick  this.select  type  text value  NABC 2010: Youth Programs size  84 title  Copy this HTML to create a link to this page /   If you like this then please subscribe to the RSS Feed . 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(481, 0, 'New York ’s distinguished and dynamic theater group Dhaka Drama is celebrating the World Theater Day this year on Sunday   March 28   2010 at ‘club Sanm ’  in Astoria New York. To commemorate the occasion Dhaka Drama has arranged an interesting and exciting line of events such as a panel discussion a talent competition for our young actors and a showcasing of one-act plays by different theater groups from the tri-state area. A panel of prominent theater practitioners from the Indian sub-continent would share their thoughts and reflections on Bangla Theater and its form practice and the role of directors in the Bengali diaspora. A number of noteworthy theater groups and performers have accepted invitations to present their work on this day. As a fitting finale to the occasion Dhaka Drama will be staging their latest production “Etao Thik Otao Thik” This is Right and That Too written and directed by Golam Sarwar Harun. The grand sponsor of the event is Club Sanm. 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(482, 0, 'by Amitava Sen On one of our earlier visits to Calcutta we met her at a dinner party. She was sitting in a corner somewhat aloof. As we entered the party was in full swing with whisky flowing freely. After we were duly introduced the party got back to its boisterous self and everybody went back to loudly vocalizing their opinion on all subjects under the sun and in the process ignoring everybody else’s Bengali style. The forlorn looking lady in the corner unobtrusively got up and stood behind us. Do you live outside the country ” She asked. She knew the answer for that she did not have to be clairvoyant. We just arrived a few days ago not long enough for the sun and dust to work on our faces. She pulled a chair and sat down next to us. First thing I noticed that she was not at ease with the environment but not because of other people around her were not accepting her or were not friendly. The detachment appeared to be by choice on her part but her marked openness with us also was hard not to be noticed. We talked about the amazing varieties of fish in Gariahat market about sarees in Park Street about a couple of common acquaintances we discovered we shared subjects of America did not come up at all. She was waiting to tell us her story outside the earshot of others in the party at the dinner time when we congregated in small groups. After having lived in the United States for twenty-seven years she and her husband returned to India with the intention of living here permanently about six months ago. Both of them had their parents in Calcutta and they wanted to be closer to the family. It didn’t work out quite that way. The lady did not particularly miss the comfort and amenities of living in the United States at least so she said. That was fine with her. What made her depressed was the company of the people she was made to keep. “I feel suffocated can’t adjust and as a result I am resented and that in turn makes me nostalgic about my life back in America.” She got teary eyed. I inquired what was bothering her. Was it the traffic the filth the pollution health care issues “Not so much only if I have had people to talk to. Sister-in laws suddenly arrive at the doorstep unannounced and when they come they walk right into my bedroom. And I do not know what to talk to them about in the intimate setting of the bedroom.” It appeared that she was living with relatives in Calcutta she could not relate to and it was amusing that she had been living among the people whose collective passion was to talk and argue endlessly but she had no one to talk to. With us she was behaving like at long last she found other humanoids in the planet Krypton. We exchanged telephone numbers with a promise to keep in touch. We here in the United States and possibly in other Diasporas around the world have relationship between us which defies the conventional definition of family if not linguistically but emotively. But I will keep my narrative here confined to us we Bengalees because I am not sure the people with different cultural and social disposition feel the same way. It is interesting if not perplexing how we act with our friends and acquaintances in the new world and react with our relatives and old friends from our past. Family in a conventional sense is collection of set of relatives. “A person who is connected with another or others by blood or marriage” this is how the Random House dictionary defines the word “relative”. Samsad Bangla Abhidan and Chalantika of Rajsekhar Bosu define the Bengali word “Atmiya” literally: relative more broadly: “one’s own person or a person close to another-self Atman .” Etymologically the English dictionary definition is too restrictive the word relative is derived from the word relate and should mean a person you can relate to. On the other hand whatever the derivative definition of Atmiya is use-wise it means relation by birth or marriage. But the words in both languages have same connotation. By extension we may choose to define family as a collection of a set of people who we can relate to and who are close to our “self” by birth marriage proximity or mentality. My musings ceased to be an abstraction and hit home when a week later a friend from America called soon after he landed in Calcutta. “Come over or I can come.” We just saw each other a month ago in USA indeed there we did not meet that often so what was the rush and really what was the point But curiously it dawned on me that I was eager to meet him too. To talk about what Weather in New Jersey Sarah Palin Not really indeed the subject of America may not come up in our talk when we meet. I realized that it’s not the word it’s the vibe that mattered. Communication is not only words it has nuances too. I doubt that the bonding or relationship is solely a matter of love or blood. It is more to do with our personal comfort level and need to be understood in our daily lives. Then during our last visit there was this woman one morning on Tara TV program where renowned singers were invited to sing and be interviewed. She was splendid indeed equal or better than any of the locally famous singers I had watched on this daily morning show. My cousin who was sitting next to me was impressed and indeed surprised. “Does she really live in America ” That was how he expressed his amazement “Of course she does. Her name is Mitali Bhawmik a friend” I gloated. . My claim of friendship was a little stretch I hardly had ever spoken to her. She made me proud and I wanted to add a personal touch to it. But the feeling of kinship was genuine at that moment. The lady in the party did not quite know why she had a feeling of closeness to us either and why she was feeling like an alien in her own home. She did not think it was the absence of the material stuff but in a way it was at least partly. It was not only her relatives and friends that got under her skin I surmised unbeknown to her the traffic the pollution the decaying infrastructure and the uncertain health care were factors too contributing to her aversion towards life in India. But at the same time for many returnees the cultural and family ties that draw them back may feel strained by local human dynamics that may feel foreign and may be frustrating. The general absence of ethical behavior and lack of openness in daily interaction do not help in establishing meaningful relationship or even reviving the old ones. Chandra Ghosh of London who I met in a record store was a case in point. “Do you feel people your friends your relatives are a little strange here ” Chandra Babu inquired at one point. “My brother has a big house. I put up with him for a couple of days. My brother and his family were very nice and quite caring. I had no complaint. But I felt I was intruding. More importantly we were uncomfortable an uneasy and unfamiliar environment really. But now I find it more relaxing and enjoyable in Ramakrishna Mission Institute at Golpark. We have met a family from Manchester who are staying here and we are having fun time together.” It sounded like his brother had no problem the problem was with Chandra Babu the NRI. “So who is strange here ” I interjected “You or your brother ” Is this alienation due to a long absence has the attitude towards our relatives in India and our old friends changed for losing touch over a period of time But that cannot explain the bond and fondness we feel for our Diaspora-friends and the affinity we have developed between us. The fact of the matter is that we have adopted the foreign land as our home and adapted ourselves to that society while we have been exiled from our birth country. We have chosen soul over blood which surfaces in stark relief when we are back in our old country. We discover that we have a new family. Indeed Chandra Babu had not known his new found friend back in England and the relationship I had with my friend who wanted to meet me promptly after his arrival could hardly be called close or Mitali Bhawmik was not a friend in a real sense of the word. What has brought us together is the backdrop of our “Desh” a now- alien land and its now-alien culture. P.S. Six months after we had met her back home in USA we received a call from Boston the lady at the party and her husband were back with no plans of returning to India to live there in foreseeable future. Amitava Sen Share this article Close   Bookmark and Share This Page Save to Browser Favorites / Bookmarks Ask backflip blinklist BlogBookmark Bloglines BlogMarks Blogsvine BuddyMarks BUMPzee CiteULike co.mments Connotea del.icio.us Digg diigo DotNetKicks DropJack dzone Facebook Fark Faves Feed Me Links Friendsite folkd.com Furl Google Hugg Jamespot Jeqq Kaboodle kirtsy linkaGoGo LinkedIn LinksMarker Ma.gnolia Mister Wong Mixx MySpace MyWeb Netvouz Newsvine oneview OnlyWire PlugIM Propeller Reddit Rojo Segnalo Shoutwire Simpy Slashdot Sphere Sphinn Spurl Squidoo StumbleUpon Technorati ThisNext Twitter Webride Windows Live Worlds Movies Yahoo Email This to a Friend Copy HTML:  input readonly  readonly onclick  this.select  type  text value  FAMILY-REDUX size  84 title  Copy this HTML to create a link to this page /   If you like this then please subscribe to the RSS Feed . 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(483, 0, 'GAUHATI India AP - The Indian military has a new weapon against terrorism: the world’s hottest chili. After conducting tests the military has decided to use the thumb-sized “bhut jolokia ” or “ghost chili ” to make tear gas-like hand grenades to immobilize suspects defense officials said Tuesday. The bhut jolokia was accepted by Guinness World Records in 2007 as the world’s spiciest chili. It is grown and eaten in India’s northeast for its taste as a cure for stomach troubles and a way to fight the crippling summer heat. It has more than 1 000 000 Scoville units the scientific measurement of a chili’s spiciness. Classic Tabasco sauce ranges from 2 500 to 5 000 Scoville units while jalapeno peppers measure anywhere from 2 500 to 8 000. “The chili grenade has been found fit for use after trials in Indian defense laboratories a fact confirmed by scientists at the Defense Research and Development Organization ” Col. R. Kalia a defense spokesman in the northeastern state of Assam told The Associated Press. “This is definitely going to be an effective nontoxic weapon because its pungent smell can choke terrorists and force them out of their hide-outs ” R. B. Srivastava the director of the Life Sciences Department at the New Delhi headquarters of the DRDO said. Srivastava who led a defense research laboratory in Assam said trials are also on to produce bhut jolokia-based aerosol sprays to be used by women against attackers and for the police to control and disperse mobs Share this article Close   Bookmark and Share This Page Save to Browser Favorites / Bookmarks Ask backflip blinklist BlogBookmark Bloglines BlogMarks Blogsvine BuddyMarks BUMPzee CiteULike co.mments Connotea del.icio.us Digg diigo DotNetKicks DropJack dzone Facebook Fark Faves Feed Me Links Friendsite folkd.com Furl Google Hugg Jamespot Jeqq Kaboodle kirtsy linkaGoGo LinkedIn LinksMarker Ma.gnolia Mister Wong Mixx MySpace MyWeb Netvouz Newsvine oneview OnlyWire PlugIM Propeller Reddit Rojo Segnalo Shoutwire Simpy Slashdot Sphere Sphinn Spurl Squidoo StumbleUpon Technorati ThisNext Twitter Webride Windows Live Worlds Movies Yahoo Email This to a Friend Copy HTML:  input readonly  readonly onclick  this.select  type  text value  Bhoot Jolokia - World’s Hottest Chili Pepper size  84 title  Copy this HTML to create a link to this page /   If you like this then please subscribe to the RSS Feed . 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(482, 2768, 'Anindyo Sarkar Wow What a painful writeup That lady who came back would not acknowledge the actual reasons why she came back…. “sister in law walking in..” absolutely hilarious What do you expect That is the culture we all grew up in and she should have had that expectation when she went back. She changed here. Why will the world change just for her As far as close relationships are concerned expats worldwide form close relationships. Lot of people develop close bonds by living in a prison cell for a bunch of years too But that does not make it something great or unique. Ask that lady to stop blaming India and focus on herself. Let her stay and vegetate here than over there.', NULL),
(482, 2767, 'Aditi Sen It is somewhat unfortunate that this lady couldn’t establish her social circle in Calcutta and had to come back to Boston. It is somewhat selfish to expect that one will go back to India and expect everyone else to adopt to their norms instead of the other way round. I wonder what age bracket she belongs to Mr. Amitava Sen doesn’t allude to that in the article. But I have several friends who have made the transition very well and are actually glad that they went back home. They have a much fuller life with all the good things that Indian affluent societies have to offer. They travel lot more than us they party lot more than us they work lot less than us. I have to mention that we all grew up in Calcutta and are in their mid 40’s and are professionals. They are all involved in multiple social causes. It is not the contrast between ‘new world’ and ‘familiar world’ it is about ‘creating my world’. Somewhere that got lost with Ms. Boston.', NULL),
(482, 2765, 'Jennifer Lancey I’ve been reading along for a while now. I just wanted to drop you a comment to say keep up the good work. http://www.why-outsource.com', NULL),
(378, 2764, 'shipra somani I enjoy attending NABC conference. The organizers put lot of hard work and sacrifice but it is always well done and enjoyable to the attendees. I am looking forward to attend it in July at Atlantic City NJ. Shipra Somani', NULL),
(502, 0, 'by Amitava Sen Kallol has done it again a very successful and thoroughly enjoyable Banga Sammelan and Kallol deserves our gratitude. We needed it a three days’ escape from humdrum of the life and for some of us from depressing economic uncertainty. Do not forget that this is a very difficult economic time in America never encountered since thirties. It is never far from our minds. To venture into such a huge undertaking at this difficult time takes courage and boldness Kallol accepted the challenge and succeeded under the very able leadership of Timir Hore Sudhir Nag and Soumen Roy. Thank you. In contrast with all other places around the country space and accommodations are at a premium in this New York metropolitan neighborhood holding a convention here is hugely costly proposition. Compared to other years the attendance was sparse. No surprise. Foresight and wisdom on the part of the organizers contained the event to a manageable and economically viable limit. Discipline and skill of management were noticeable even before the convention started. No e-mail was un-answered no inquiry was un-responded. The hotel check-in and the registration were uneventful and flawless. All it required was the presentation of a letter issued by Kallol in advance to the reception at hotel desk. Chaotic check-in lost registration has so far been the rule in most Banga Sammelans. Innovative ideas were noticeable in many other areas food service for example. Self-service was a new concept it eliminated the vendor’s inclination to spoon out skimpy amount with the intention of limiting supply saving money and leaving our stomach half full after paying full price. Morning program started late morning giving the attendees time to sleep off their late night adda exhaustion. Very considerate on the part of the organizers. Selection of overseas performers was well thought of. Who knew about Sahaj Ma Wasn’t she a breeze of fresh air She carried the day on her own. Her unique stage presence delightful personality penetrating music have never been experienced by many or most of us before. Aneek Dhar is an established singer we have heard before but here he made it like a one to one connection with individual listener. His subtle intimacy with the audience touched our heart. It speaks well of the judgment and cultural taste of the organizers to get artist like Bari Siddique. The emcee Biswanath Basu was a disappointment though. He sounded more like a court jester with his dull commentary and tasteless stale jokes. Usually Banga Sammelan authorities in different states invite a drama group from Calcutta they at times adopt out of touch scripts from ancient times fifties sixties or seventies or some times they choose relatively contemporary plays or shall I say riddles the main purpose of which is to leave the audience confused and befuddled. That is what in Bengalee parlance is called “intellectual” stuff. General idea is unless the group is imported from Calcutta Banga Sammelan crowd will not be attracted. The 2010 Banga Sammelan committee made a bold exception. They recognized that there was talents right here under our nose. More intelligent more entertaining more thought provoking plays are being produced locally. Our own Sudipta Bhawmik is one such talent. His production We Live in a Village was well accepted and appreciated by all who saw it and if I may add a much superior production to what I have seen in commercial stage of Calcutta. The movie section of the Sammelan was well organized under the leadership of Ajit Rakhit. The combination of movies and documentaries were selected thoughtfully. We had the opportunity to watch certain films which we would not normally come across during our trips to Calcutta. The screenings were nicely and systematically organized without a glitch. In most Banga Sammelan distinguished award comes dime a dozen. Kallol authorities decided to make it worth its name. They awarded it to one single rightly deserving person. The rest were recognition for their services to the communities through Kallol or their services to Kallol. This I think is the right model. To give this award the prestige and dignity that it deserves Cultural Association’s central administration may ponder over it in their award choices. In all the CAB award plaques the operative word was “demonstrated” achievement. In the list of the recipients from CAB there were not too many demonstrated talents. The list in part sounded like a mutual appreciation vehicle. It is possible that their list contained potential achievers but it is not the same as demonstrated. Whenever I attend a Banga Sammelan one person is never far from my thought the architect of Banga Sammelan and still the force behind it Prabir Roy. As a Bengalee I acknowledge the monumental task he has accomplished building up a stable and continuing institution which adds to the quality of life of the entire Bengali population of North America and has grown to be a part of their lives. On the financial side of the event living in the United States the richest country in the world and being a part of the most affluent Bengali Diaspora among all the other countries of the world it is quite anomalous that we have to depend on economic assistance from Calcutta. Besides this is not sustainable over long period of time. Response to vendors from Calcutta has been poor this time. Some of them complained loudly. I doubt many of them will keep coming back. Real estate demand from US residents of Bengali origin has peaked out. With gold at 1 100.00 it is hard to believe that jewelry sale is flourishing either. We have to pay our own way. Depending on the projected cost the registration fees can be raised and why not Many of us pay 200.00 for three hours A.R. Rahman concert. The slogan “Bengali culture in the world court” of this Sammelan has somewhat been tarnished by the highlight of the event Bollywood mega-music by Abhijeet. It is plausible that Bombay artists enhance the attendance. But do the authorities have a scientific study to prove that premise Indeed it will be quite in order for the Banga Sammelan authority to appoint a blue-ribbon committee to study survey and report on the basic ideas and values of the convention and its mechanics. A guideline can be laid out for the future meets as to why people come to meet old acquaintances How much weightage on Bollywood singer how much on Calcutta artist Do they come for a vacation with friends for fun and frolics How many attend literary seminars how many for business forums and how many for art and crafts. Or how many people have read the literary journal that every Banga Sammelan brings out at a considerable cost That will establish the cost effectiveness of each section. How far they are willing to travel and what amount they are willing to spend Choices of food Bengali food Mughlai food Chinese or American There are many other issues. It is a job for a professional to design the survey and ask the right questions. God speed to Banga Sammelan. Amitava Sen Share this article Close   Bookmark and Share This Page Save to Browser Favorites / Bookmarks Ask backflip blinklist BlogBookmark Bloglines BlogMarks Blogsvine BuddyMarks BUMPzee CiteULike co.mments Connotea del.icio.us Digg diigo DotNetKicks DropJack dzone Facebook Fark Faves Feed Me Links Friendsite folkd.com Furl Google Hugg Jamespot Jeqq Kaboodle kirtsy linkaGoGo LinkedIn LinksMarker Ma.gnolia Mister Wong Mixx MySpace MyWeb Netvouz Newsvine oneview OnlyWire PlugIM Propeller Reddit Rojo Segnalo Shoutwire Simpy Slashdot Sphere Sphinn Spurl Squidoo StumbleUpon Technorati ThisNext Twitter Webride Windows Live Worlds Movies Yahoo Email This to a Friend Copy HTML:  input readonly  readonly onclick  this.select  type  text value  Banga Sammelan 2010: A Review and Some Views size  84 title  Copy this HTML to create a link to this page /   If you like this then please subscribe to the RSS Feed . 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