The Lotus and the Swan, is a documentary film shot in the Digital format by Nirmal Chander, the acclaimed  film-maker.  It is on Sardar Gurcharan Singh who, after having started in pottery, simply to earn a living, discovered quite early in life, that it could become a medium of serious artistic expression like painting, sculpture and various branches of graphics. Nirmal Chander, also did sixty to seventy per cent of the camerawork- two others, namely the highly talented veteran Ranjan Palit  and K Nanda Kumar also did stints  behind the camera, a digital  Sony F S 5.  The beautiful visually consistent look that lent an emotional unity to the documentary, was achieved through subtle, painstaking colour correction. This 71-minute work on the life of an artist, who rose from becoming an artisan of ever- increasing competence to expressing his personality in clay with as much integrity as others working in other ‘officially’ recognised areas of visual expression gives the viewer an opportunity to enter his deceptively simple world.
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Sardar Gurcharan Singh
The director, who started his project in 2019, was hampered by the wholly unforeseeable appearance of the Covid Pandemic, and the absence of the artist; he had passed on at the age of 99 in 1995. Through sheer grit and intrinsic artistic intelligence, Chander managed to create a wholly satisfying portrait   of Sardar Gurcharan Singh, who, single-handed, raised pottery to a form of artistic expression, and that of a warm hearted, giving person who lived in the everyday world with simplicity and grace, giving freely of himself and his work to hundreds of students, over three generations and also people who came to him for material help.
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Pottery art by Sardar Gurcharan Singh
The making of the documentary involved enormous amounts of work during the research, the preparation period, identifying Gurcharan Singh’s work that was to be found all over India and also abroad, photographing them to satisfaction ,identifying and interviewing people connected with his work as well as his family,  going to Japan, where Gurcharan Singh studied  pottery  at the Higher  Technical School in Tokyo from !919 to 1922,  collecting archival material, mainly photos of the subject, alone and with others, apart from photographs of Delhi and Andretta, Tokyo. Nirmal Chander and Reena Mohan, his wife and co-editor of the film, through sheer persistence and faith in the work and backed by the consistent, generous support of Delhi Blue Pottery Trust, also the Producers of the venture got to make The Lotus and the Swan in an aesthetically satisfying way.
Gurcharan Singh’s life was a curious mixture of the ordinary and the extraordinary. He began by studying Geology, which,according to his son, Mansimran Singh, aka ‘Mini’, also a well- regarded potter/ceramist,’’led to his qualitative understanding of ores and minerals.’’ ( Prarthana Asija, conversation with Mansimran Singh) when studying in Tokyo he met fellow ceramists  Bernard Leach,Kenkichi Tomimoto, Shoji Hamada, Kanjiro Kawai, all of whom destined to make a name for themselves in their chosen metier. Gurcharan, also held his first exhibition, when in Tokyo. It was then, he began to be aware of the conflict between pottery being a source of livelihood and a form of self-expression.  He overcame these hurdles with humility, confidence and hard work, as if they were a given in this art called living.  The Lotus and the Swan expresses these aspects of his life effortlessly.
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He joined Ram Singh Kabuli, his father’s friend, in Delhi Potteries in 1919, learning to make bricks. It was there that pottery captured his imagination. Watching Pathan potters at work, particularly Abdullah, whom he respected and who remained an associate till late in life, well after Gurcharan Singh had started his own set up, Delhi Blue Pottery in 1952. It was this sense of loyalty and fair play towards the people who may have helped at crucial times in his life that earned him the love and respect of all those who worked with him or were his students. These aspects of his life as well as his generosity in sharing his hard-earned knowledge of pottery/ceramics with others for the larger cause of the art itself gave him an exceptional stature; Chander,  and co-editor of the work Reena Mohan, captured them with absolute ease.
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With most of the shooting done, it dawned upon the director and his co-producer that the film would acquire muscle and blood only after shooting some crucial sequences in Japan, covering his apprenticeship at the Higher Technical School in Tokyo and his auspicious beginning as an artisan-artist. Two important interviews with Prof. Yuko, an expert on the Mingai Movement, that gave  precedence to hand-made objects of everyday use, primarily in ceramics, created by ordinary amateurs (of talent) over those by  professionals having access to factories, and, another with Prof. Hashimoto, a professor of Letters,  give credence to Gurcharan Singh’s decision  to choose studio pottery over mass produced works, as the right one.
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On his return to India and work at Delhi Potteries, he was unhappy. It was difficult to just  earn his living, knowing that he could make beautiful objects as a studio potter. In Ambala, after  the Partition in 1947, he worked as  Superintendent of the Pottery Training Centre, thus ensuring a regular income. He retired in 1952, came back to Delhi after years with his mentor Abdullah to start Delhi Blue Pottery.  ‘’He used stoneware clay body and high temperature glazes, fired at 1300 degree centigrade in coal kilns. He supported himself by making glazed tiles and ceramic lattices which were bought by architects in Delhi.’’ (Indian Ceramic Art Foundation). A word about the blue colour that made him famous. Its origins were in Persian Blue, which came in three shades, the most sensual being the one that most resembled the colour of Lapiz- lazuli, a semi-precious stone used in jewellery. The Blue tone, he formulated to use in ceramic creations, became his visual signature, though, he also used other colours with flair in his very many creations. The lotus, an often seen motif in his work, came probably from his appreciation of its curving lines, Its arabesques. The curves of a swan in motion inspired him to add it as a motif to some of his creations.
The Japan shots of Tokyo Technical University, College of Liberal Arts, Osaka, Kanazawa,Nara Temple, and various street scenes are lovely to look at and add a nimbus to the story of Gurcharan Singh’s becoming the realised artist, modest, despite considerable achievement. The images of present- day Japan intercut with archival photographs, and some documents give a clear idea of how he evolved as a ceramic artist, how his sensibility was gradually shaped into understanding that a utilitarian calling like pottery could become an art form to be taken as seriously as painting, sculpture and drawing.
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The are very many people who talk on camera about Gurcharan Singh affectionately called ‘Daddyji’ since his association with Delhi Blue Pottery which began in 1952. This was probably because of his protective, fatherly personality. All his life, since his return to India in 1922, he had shown a distinct ability to bring like-minded people together to serve a common cause, that of Studio Pottery.   Those of whom felt at ease in his protective, nurturing presence, called him ‘Daddyji’ spontaneously.  There is a lot of talk about ‘Daddyji’ and his kindness and generosity as a teacher and many students like the well- regarded ceramic artist Deepali Daroze speak about the necessity he felt of passing hard-earned knowledge of the craft of pottery to aspiring potters.  He talked her into teaching more students at the studio -school than was possible due to a lack of manpower. Nobody could say ‘no’ to him because he led by personal example.
Chander manages quite a feat by marshalling a plethora of facts about Gurcharan Singh’s life, achievements; the honours he received including a Padma Shri from the Government of India, the appreciation of artists here and abroad; his struggles-the government suddenly in 1986, decided to take away a sizeable portion of the land allotted to him for his kiln and studio, on Ring Road, Delhi thus cramping his working space – into a compelling narrative. However, the spoken word does not dominate the film, because there are plenty of examples of the artists’ work judiciously juxtaposed and sensitively photographed to bring out their beauty. What remains in the memory, as a result, is this touching visual experience of a pioneering artist’s work and his life of struggle and fulfilment.
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The Lotus and the Swan, is a documentary film shot in the Digital format by Nirmal Chander, the acclaimed  film-maker. 

The Lotus and the Swan - A Television Documentary on Gurcharan Singh by Nirmal Chander

In a sense, a return to skill of the past, after an age of conceptual based art, as it happened with art in the Occident and subsequently in the Orient, was inevitable.Back in 1979, Italian art critic and curator Achille Bonito Oliva wrote an introduction for an exhibition he organized in the town of Genazzano, (a town and commune in the Metropolitan City of Rome). Titled Le Stanze (The Rooms), the show gathered a small group of young painters whose practices seemed to have revived the Expressionist painting at a time when Conceptual art ruled art tendencies to its full potential. In order to describe their work, Oliva coined the term Transavanguardia, or trans-avant-garde, announcing the beginning of an international phenomenon which took place in the late 1970s and throughout the 1980s, and became one of the most influential movements of Post-war Italian art along with Arte Povera.<img src="https://strapi.bangalore2.com/uploads/image_011_3d442ba8c6.jpg" alt="image-011.jpg"> Francesco-Clemente at the Rubin Museum, Gallery View“In many ways Transavanguardia became a way of dissolving the linear demarcations of the art movement and resorting to a move freer way of moving back and forth, refereeing to history as well as addressing the hysteria of the ‘new’ –the here and now,” says Oliva who is visiting India and curating the exhibition, The Grand Italian Vision, from the Farnesina Collection. The exhibition that is currently on display at the Bikaner House in New Delhi, features a handpicked selection of 70 pieces of painting, sculpture and photographs and even a few small sized ‘installations’ of handmade objects.“In my belief, art is a massage for the atrophied muscles of collective sensibility,” says Oliva. Put very eruditely by Oliva it is best described as the ‘freedom to move forward but also move back in time and reference the past. It is thematic rather than linear’. This ties in with the Indian approach which looks at time as cyclical rather than linear and hence things recur but in a different way each time. We see this in art, and more so in India and Asia where the reference to the past is a constant where many of the Modern artists talk of the aesthetics of the Rajastjani, Persian and Mughal miniatures, the Warli painting, the Madhubani and the Kalighat Pats in the same breath as they embrace the Modern and what is now called the Contemporary.However before we address the commonality between Indian and Italian art we need to better acquaint ourselves with the Transavanguardia movement. To revisit the movement and its impact on art history, we have to go back to the 1980s. At the Venice Biennale, of that time, five prominent artists were showing under the Transavanguardia movement, that Oliva curated, and they stood out—their artworks drew attention for their diverse styles and common vision. They relied on strong narratives, painters Francesco Clemente, Enzo Cucchi, Sandro Chia, Mimmo Paladino and Nicola De Maria—the artists re-created a strongly expressive language which oozed in vibrant colour, the depth of space, the passage of time and the freedom of technique.“The conceptual art movement was dominated by artists from the United States and the Transavanguardia movement brought the focus back to art that celebrated the act of creating with one’s hands of painting, and sculpture,” says Oliva.That 1980s exhibition at the Venice Biennale, gave these individuals an opportunity to compete for a place on the international art market, dominated by significant figures and tendencies from. The paintings they produced offered a variety of personal interpretations of these notions: from Sandro Chia and his influence by Futurism and even Mannerism, the many materials of Enzo Cucchi, such as ceramics, wood, neon and steel, the almost childish quality of works by Nicola De Maria, Mimmo Paladino’s ‘totemic canvases’ and, of course, Francesco Clemente’s ‘haunting portraits’. <img src="https://strapi.bangalore2.com/uploads/image_000_150x150_01a7ee3c28.jpg" alt="image-000-150x150.jpg">Disco Solare, 1989-90, Bronze Sculpture, Arnaldo Pomodoro<img src="https://strapi.bangalore2.com/uploads/image_002_150x150_98b8540d09.jpg" alt="image-002-150x150.jpg"> Photograph of Achille Bonito Oliva at The Grand Italian Vision, Bikaner House, New Delhi<img src="https://strapi.bangalore2.com/uploads/image_003_150x150_b257393b9e.jpg" alt="image-003-150x150.jpg">Opera Obliqua, 1997, Photography and Silkscreen printed on Panel, Gino De Dominics<img src="https://strapi.bangalore2.com/uploads/image_007_150x150_dbfc005d58.jpg" alt="image-007-150x150.jpg">Gallery View of the exhibition ‘The Grand Italian Vision’: showcasing the Italian Transavanguardia movement<img src="https://strapi.bangalore2.com/uploads/image_008_150x150_9dfeeb655d.jpg" alt="image-008-150x150.jpg">Gallery View of the exhibition ‘The Grand Italian Vision’: showcasing the Italian Transavanguardia movement<img src="https://strapi.bangalore2.com/uploads/image_009_150x150_1bd5521c5d.jpg" alt="image-009-150x150.jpg">Gallery View of the exhibition ‘The Grand Italian Vision’: showcasing the Italian Transavanguardia movement<i style="-webkit-text-stroke-width:0px;background-color:rgb(255, 255, 255);box-sizing:border-box;color:rgb(39, 39, 39);font-family:Manjari;font-size:18px;font-variant-caps:normal;font-variant-ligatures:normal;font-weight:300;letter-spacing:normal;margin:0px;orphans:2;padding:0px;text-align:center;text-decoration-color:initial;text-decoration-style:initial;text-decoration-thickness:initial;text-indent:0px;text-transform:none;white-space:normal;widows:2;word-spacing:0px;">&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;Image Courtesy: Georgina Maddox&nbsp;Interestingly Clemente, an Italian contemporary artist lived at various times in Italy, India and New York City. Some of his work is influenced by the traditional art and culture of India. He has worked in various artistic media including drawing, fresco, graphics, mosaic, oils and sculpture.Born and raised in the farm lands of Morro d’Alba, province of Ancona, the artist Enzo Cucchi was an autodidactic (self-taught) painter. He was lauded in his early years even though he was more interested in poetry. He frequently visited poet Mino De Angelis, who was in charge of the magazine Tau.The impact of Achille Bonito Oliva and his Transavanguardia Movement went beyond the borders of Italy, touching upon the borders of the US, Germany and even India. The Transavanguardia’s ‘quest to revive the potential of painting’ by drawing inspiration from the history of art itself, as well as classical mythology, popular culture and national symbolism, it went beyond Italy’s border along with Francesco Clemente. His works became a seminal part of Neo-Expressionism, further influencing the production of fellow creatives like Jean-Michel Basquiat and Jonathan Borofsky, David Salle and Julian Schnabel.’Interestingly the exhibit entitled Francesco Clemente: Inspired by India, at the Ruben Museum in New York, displayed in 2014, was well received and showcased Clemente’s massive drawings with elements of installing the work to emulate a ‘Hindu temple’. The exhibition constituted a public space (like the main courtyard of a temple) marked by deep purple — occupied by the five huge drawings. There were four smaller meditative “niche” (grihas) spaces — filled here by sculptures. And finally, the “inner sanctum,” (the grabagriha) held 16 exquisite watercolor pieces and a portfolio of profoundly erotic watercolors, based on the erotic sculptures in Orissa (Odisha), India. Even more remarkable is the fact that the drawings, were made in collaboration with local artisans in Madras (Chennai) in the 1980’s. They include gouache on sheets of handmade paper, bound together by cotton strips to form billboard-sized drawings. The treatment to the paint is flat and the perspective is not of a western nature rather it emulates local pop and filmic poster art of the times.<img src="https://strapi.bangalore2.com/uploads/image_013_9313776342.jpg" alt="image-013.jpg"> Michelangelo Pistoletto, Venus of the Rags, Installation, 1967<img src="https://strapi.bangalore2.com/uploads/image_014_150x150_9d9ed27143.jpg" alt="image-014-150x150.jpg">Michelangelo Pistoletto, Man with Yellow Pants, Paperwork, 1964<img src="https://strapi.bangalore2.com/uploads/image_015_150x150_d699816de7.jpg" alt="image-015-150x150.jpg"> Michelangelo Pistoletto, with Disegnando il Terzo Paradiso, 2011<em style="-webkit-text-stroke-width:0px;background-color:rgb(255, 255, 255);box-sizing:border-box;color:rgb(39, 39, 39);font-family:Manjari;font-size:18px;font-variant-caps:normal;font-variant-ligatures:normal;letter-spacing:normal;margin:0px;orphans:2;padding:0px;text-align:center;text-decoration-color:initial;text-decoration-style:initial;text-decoration-thickness:initial;text-indent:0px;text-transform:none;white-space:normal;widows:2;word-spacing:0px;">&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Image Courtesy: Google Arts and CultureWhile each of these works by Clemente is interesting one cannot help but observe the dark humor of one of the image of the paintings. Here two nude male figures—one slightly lighter skin toned (clearly from the Occident) to the other (clearly Asian) examine each other by pointing at their orifices and body parts. It contains both a sense of innocence and a wicked bit of humor in it. We are told that Clemente was occupied with human orifice as receptacles of stimuli. He was also fascinated by aspects of Indians that he deemed as ‘mysterious, erotic, and spiritual’.The themes and titles — Sun, Moon, Hunger, Two Painters, and Four Corners — reflect Clemente’s identification with many aspects of ‘traditional Indian painting’ combined with his own contemporary ‘Western angst’.<img src="https://strapi.bangalore2.com/uploads/image_001_e1686816469444_ce5f842fcf.jpg" alt="image-001-e1686816469444.jpg">Mediterraneo, 1990-95, four black and white photographs, Mimmo Jodice Image: Georgina Maddox&nbsp;Returning to Oliva’s current exhibition, at Bikaner House in New Delhi, one sees that works belonging to the earlier period are more in tune with reviving the sensibilities of Neo-Expressionism, paying ‘tribute almost’ to doyens like Heri Matisse, Picasso and even quoting from the classical art of the Italian Renaissance. One however notices that works belonging to a later period, (from the late 1990s to the early 2000s), there is a greater conscious sense of the global and of Asian nature; from the colours to the shape and forms. To summarize what Oliva is getting at through his curated exhibition, Transavanguardia addresses the fact that it is no longer possible to slot art into capsules of time and geography but it acknowledges that art is a product of the past, present and the future and hence it includes a mix of all these elements.“Transavanguardia, invites society to share and to live together. All these movements represent a mosaic and this collection reflects that many things exist together and they are all equally important. It’s an invitation to peace.” says Oliva. Given the times that we live in, this value of art acquires political value. “It is no longer just art and it is a moment in world geo-politics,” he concludes.Bibliographic Reference: &nbsp;<ol style="list-style-type:decimal;"><li>&nbsp;&nbsp;<a style="background-color:transparent;box-sizing:border-box;color:rgb(255, 53, 36);display:inline-block;margin:0px;padding:0px;transition:all 0.4s ease 0s;" target="_blank" rel="noopener noreferrer" href="https://www.widewalls.ch/magazine/transavanguardia-italian-movement"> &nbsp; &nbsp;Transavanguardia – The Progressive Movement of the Italian Modern Scene | Widewalls</a></li><li style="box-sizing:border-box;font-weight:500;line-height:1.8;margin-bottom:10px;margin-right:0px;margin-top:0px;padding:0px;"><a style="background-color:transparent;box-sizing:border-box;color:rgb(255, 53, 36);display:inline-block;margin:0px;padding:0px;transition:all 0.4s ease 0s;" target="_blank" rel="noopener noreferrer" href="https://hyperallergic.com/151612/francesco-clemente-in-india/">Francesco Clemente in India (hyperallergic.com)</a></li></ol>&nbsp;

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Looking at the impact of ‘Transavanguardia’, an art Movement in Italy a nomenclature as demarcated by curator-historian Achille Bonito Oliva.

In a sense, a return to skill of the past, after an age of conceptual based art, as it happened with art in the Occident and subsequently in the Orient, was inevitable.

Transvanguardia: Moving Beyond Time And Geographies Through Art

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How many times have you been fixed, I mean put back together again, by a song, a film, a piece of art? As my team and I lurched from crisis to illness to crisis, I took my work-oppressed, battle-weary soul to the Kochi Muziris Biennale in Kerala. 

Au Revoir Biennale – To Be Resurrected By Art

It’s funny how I <a style="-webkit-text-stroke-width:0px;background-color:rgb(255, 255, 255);box-sizing:border-box;color:rgb(255, 53, 36);display:inline-block;font-family:Manjari;font-size:18px;font-style:normal;font-variant-caps:normal;font-variant-ligatures:normal;font-weight:400;letter-spacing:normal;margin:0px;orphans:2;padding:0px;text-align:left;text-indent:0px;text-transform:none;transition:all 0.4s ease 0s;white-space:normal;widows:2;word-spacing:0px;" target="_blank" rel="noopener noreferrer" href="https://www.youtube.com/watch?v=HDjeGHmb3hc">interviewed</a><span style="-webkit-text-stroke-width:0px;box-sizing:border-box;font-style:normal;font-variant-caps:normal;font-variant-ligatures:normal;font-weight:400;letter-spacing:normal;margin:0px;orphans:2;padding:0px;text-align:left;text-decoration-color:initial;text-decoration-style:initial;text-decoration-thickness:initial;text-indent:0px;text-transform:none;white-space:normal;widows:2;word-spacing:0px;">&nbsp; Vivan Sundaram only once, but I’ve been having conversations with him in my head ever since. It was the year 2011 and Vivan’s latest recycling of trash was on display at the Lalit Kala Academy in Delhi. The previous avatar, titled ‘Trash’, was in 2005 – a continuing theme, of taking used objects and turning them into something spectacular. This time around, it was re-christened ‘Gagawaka – Making Strange’ and on display were blow-up dolls and mannequins wearing recycled film from hospitals, red bras, paper cups and tampons. <img src="https://strapi.bangalore2.com/uploads/pasted_image_0_1_1_1024x576_371cfc06a4.png" alt="pasted-image-0-1-1-1024x576.png">Installation using tampons (left) I was stupid enough to gaze long and hard at the tampons, blink hard and ask, on camera, “And what is that?”Vivan laughed but said, ever so gently with no hint of condescension whatsoever, “Come on, you’re a woman, figure it out.”“Oh tampons,” I said, feeling like I should allow myself to be eaten by the nearest available mannequin.Ever since, I have been mesmerised by what I saw that day.The recycling, a deeply political act, was about many things as Vivan patiently explained.Garbage is what we put out each day, while looking past those who collect it. And we imagine that we stand on merit and that our being, where we are and those who take out our trash being where they are, has nothing to do with happenstance and the accident of birth and thousands of years of discrimination against garbage collectors or people assigned to one profession and forced to stay there. The recycling was to my mind, as I played back the stunning images and experience that Vivan created, about inverting our gaze about caste, about making discrimination trash and hoping to shock us gallery-goers out of our bigoted stupors.If you can take toxicity and make something beautiful out of it, you invert identity politics as well. You say a loud and proud `up yours’ to a world turned into a giant homogenous hate-filled hole.<img src="https://strapi.bangalore2.com/uploads/pasted_image_0_2_1_1024x576_bd974b27a4.png" alt="pasted-image-0-2-1-1024x576.png"> Installations in ‘Making Strange: Gagawaka + Postmortem’ All around us is the putrid smell of hate. Now it’s Umar Khalid as target, now Rahul Gandhi. Everyone falls down as our world collapses, to be swallowed whole by one large bigoted monster, the Great Dictator, the Holier than Holy, Epithet eating Hindutva establishment aka our government. Eating into our collective sanity, one day and person and politician at a time. I reacted with body and mind by relocating, away from Delhi, the place where I grew up and the only place I knew – Shamli in Uttar Pradesh, to set up an NGO and work on transformation in my own way.One of the communities we work with – the Dehwas, are a people formerly labelled criminals and then people who work largely in the garbage recycling business. I looked in fascination over the last few years as the Dehwas took apart watch parts and the rubber soles of chappals, scraps of cloth, metal, plastic and, in my mind, saw them magically transform into Vivan’s latest exhibits. A new Gagawaka, only in Shamli. The artistic transformation would cause a real transformation in the image of the Dehwas and become a talking point for the city of Shamli. `Vivan, please allow a few young artists inspired by your ideas and your politics to come and transform us, our minds, our world,’ I kept saying to myself in my loopy hallucinatory way, while not reaching out to him in real life at all. It was my private ongoing fantasy lived out through Vivan.The day I spent with him at the Sahitya Academy, where he had to educate me about tampons as well as jockeys was one where a part of me still lives. And will continue to, as I use it to create a different kind of transformation – that’s the power of one day, spent looking inside the universe of Vivan.<img src="https://strapi.bangalore2.com/uploads/image_2023_03_30_143430722_768x432_5217dd96c8.png" alt="image_2023-03-30_143430722-768x432.png"> Reavti Laul with Vivan Sundaram<span style="-webkit-text-stroke-width:0px;box-sizing:border-box;font-style:normal;font-variant-caps:normal;font-variant-ligatures:normal;font-weight:400;letter-spacing:normal;margin:0px;orphans:2;padding:0px;text-align:left;text-decoration-color:initial;text-decoration-style:initial;text-decoration-thickness:initial;text-indent:0px;text-transform:none;white-space:normal;widows:2;word-spacing:0px;">As I watched the <a style="-webkit-text-stroke-width:0px;background-color:rgb(255, 255, 255);box-sizing:border-box;color:rgb(255, 53, 36);display:inline-block;font-family:Manjari;font-size:18px;font-style:normal;font-variant-caps:normal;font-variant-ligatures:normal;font-weight:400;letter-spacing:normal;margin:0px;orphans:2;padding:0px;text-align:left;text-indent:0px;text-transform:none;transition:all 0.4s ease 0s;white-space:normal;widows:2;word-spacing:0px;" target="_blank" rel="noopener noreferrer" href="https://www.youtube.com/watch?v=HDjeGHmb3hc">video</a><span style="-webkit-text-stroke-width:0px;box-sizing:border-box;font-style:normal;font-variant-caps:normal;font-variant-ligatures:normal;font-weight:400;letter-spacing:normal;margin:0px;orphans:2;padding:0px;text-align:left;text-decoration-color:initial;text-decoration-style:initial;text-decoration-thickness:initial;text-indent:0px;text-transform:none;white-space:normal;widows:2;word-spacing:0px;"> we made while I was a journalist at Tehelka, the `we’ includes the now famous and absolutely stunning filmmaker Shaunak Sen, who was filming the Vivan exhibition – it may even have been his idea in the first place. <span style="-webkit-text-stroke-width:0px;display:inline !important;float:none;font-style:normal;font-variant-caps:normal;font-variant-ligatures:normal;font-weight:400;letter-spacing:normal;orphans:2;text-align:left;text-decoration-color:initial;text-decoration-style:initial;text-decoration-thickness:initial;text-indent:0px;text-transform:none;white-space:normal;widows:2;word-spacing:0px;">Shaunak went on to make Cities of Sleep,’ one way of looking at trash and transformation. And then the film everyone knows about is `All That Breathes,’ and if you have not seen it you absolutely must. A film where three young men living in the middle of piles of garbage, rescue kites that feed off the innards of the city of Delhi and together – people and kites, like Vivan Sundaram’s art, change our perspective of what is garbage and where beauty lies. I haven’t asked Shaunak this but I wonder now, whether a bit of Gagawaka lives on in him as it does in me.We need to `Make Strange,’ as Vivan puts it, when the normal is obscenely abnormal and when our rights, our voice, our dissent, our air is unbreathable. Vivan, thank you for your shit. I can’t think of a better way of saying it than that.<strong style="-webkit-text-stroke-width:0px;background-color:rgb(255, 255, 255);box-sizing:border-box;color:rgb(33, 37, 41);font-family:Manjari;font-size:18px;font-style:normal;font-variant-caps:normal;font-variant-ligatures:normal;letter-spacing:normal;margin:0px;orphans:2;padding:0px;text-align:left;text-decoration-color:initial;text-decoration-style:initial;text-decoration-thickness:initial;text-indent:0px;text-transform:none;white-space:normal;widows:2;word-spacing:0px;">Subscribe to our channels on <a style="background-color:transparent;box-sizing:border-box;color:rgb(255, 53, 36);display:inline-block;margin:0px;padding:0px;transition:all 0.4s ease 0s;" target="_blank" rel="noopener noreferrer" href="https://www.youtube.com/c/THEAIDEM"><strong style="-webkit-text-stroke-width:0px;background-color:rgb(255, 255, 255);box-sizing:border-box;color:rgb(33, 37, 41);font-family:Manjari;font-size:18px;font-style:normal;font-variant-caps:normal;font-variant-ligatures:normal;letter-spacing:normal;margin:0px;orphans:2;padding:0px;text-align:left;text-decoration-color:initial;text-decoration-style:initial;text-decoration-thickness:initial;text-indent:0px;text-transform:none;white-space:normal;widows:2;word-spacing:0px;">YouTube</a><strong style="-webkit-text-stroke-width:0px;background-color:rgb(255, 255, 255);box-sizing:border-box;color:rgb(33, 37, 41);font-family:Manjari;font-size:18px;font-style:normal;font-variant-caps:normal;font-variant-ligatures:normal;letter-spacing:normal;margin:0px;orphans:2;padding:0px;text-align:left;text-decoration-color:initial;text-decoration-style:initial;text-decoration-thickness:initial;text-indent:0px;text-transform:none;white-space:normal;widows:2;word-spacing:0px;"> &amp; <a style="background-color:transparent;box-sizing:border-box;color:rgb(255, 53, 36);display:inline-block;margin:0px;padding:0px;transition:all 0.4s ease 0s;" target="_blank" rel="noopener noreferrer" href="https://chat.whatsapp.com/ELqD1D1bImgAP6MrG8jskq"><strong style="-webkit-text-stroke-width:0px;background-color:rgb(255, 255, 255);box-sizing:border-box;color:rgb(33, 37, 41);font-family:Manjari;font-size:18px;font-style:normal;font-variant-caps:normal;font-variant-ligatures:normal;letter-spacing:normal;margin:0px;orphans:2;padding:0px;text-align:left;text-decoration-color:initial;text-decoration-style:initial;text-decoration-thickness:initial;text-indent:0px;text-transform:none;white-space:normal;widows:2;word-spacing:0px;">WhatsApp</a>

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It’s funny how I interviewed Vivan Sundaram only once, but I’ve been having conversations with him in my head ever since. It was the year 2011 and Vivan’s latest recycling of trash was on display at the Lalit Kala Academy in Delhi.

To Vivan And To Better Politics When We Need It Most

As the 27th IFFK kicks off, film lovers are in for a grand treat of 184 films from 70 countries. There is true global representation as films from literally every corner of the world are part of this year’s festival. Of these, 14 films are in the competition section, including 4 from India. For anyone attending a festival of such a big a scale there is bound to be confusion of which films one must watch. This is especially because many of them are yet to be screened outside the festival circuit and, therefore, very little information on them is available to the general public. There’s also the limitation of time as one can only watch so many films within a span of 8 days. To assist festival goers and cinephiles, here is a list of films that are the most awaited for various reasons and must not be missed. Some of these films have made big waves at major international film festivals and won coveted awards. Some of them are much awaited international and national premiers of films from regional and international filmmaking icons. Here, the list:1. Triangle of SadnessFrom Swedish filmmaker Ruben Östlund, Triangle of Sadness tells the story of a luxury cruise for the super rich sinking and its obscenely rich passengers trying to survive on an island. The film’s deep insights into the theme of class and wealth inequality along with its clever use of humour as a means to put forth criticism won it the prestigious Palm d’Or for best film at the Cannes Film festival 2022. The chances of one watching his film in an Indian theatre are rare. <img src="https://strapi.bangalore2.com/uploads/Triangle_of_Sadness_ee06fa4d1c.jpeg" alt="Triangle-of-Sadness.jpeg"> Triangle of Sadness2. Nanpakal Nerathu Mayakkam/ A mid-day dreamDirected by the maverick Lijo Jose Pellissery, Nanpakal Nerathu Mayakkam has its international premier at this year’s IFFK. Starring the legendary actor and superstar Mammooty, the film has been highly anticipated by fans across India since its announcement due to it being the first collaboration between the two icons. This is also Mammooty’s return to IFFK in a very long time. Significantly, Mammooty is the producer of this film which has been nominated for the international competition section. The story is about a man who lives a double life. <img src="https://strapi.bangalore2.com/uploads/Nanpakal_Nerathu_Mayakkam_f975dd68b6.jpeg" alt="Nanpakal-Nerathu-Mayakkam.jpeg"> Nanpakal Nerathu Mayakkam3. Decision to LeaveThe new film by the acclaimed Korean filmmaker Park Chan-Wook is a sensual love story. The plot follows a detective who goes to the mountains to investigate the death of a man and, in the process, falls in love with his mysterious wife. The film made waves at the 2022 Cannes Film festival and Park Chan-Wook received the award for the best director. From reports it is clear that Park is at the peak of his talent in this film and he has displayed many of his signature storytelling tools in it. <img src="https://strapi.bangalore2.com/uploads/Decision_to_Leave_4ad9b94307.jpeg" alt="Decision-to-Leave.jpeg"> Decision to Leave4. AriyippuAriyippu is having its Indian premier at IFFK 2022. It is the latest film from Mahesh Narayanan, the acclaimed editor and director. Ariyippu had received rave reviews and responses from multiple international film festivals. It was nominated for the Golden Leopard award at Locarno Film festival. The film stars Kunchacko Boban and Divyaprabha. Since Ariyippu is going to be released on Netflix later this year, IFFK is a golden chance to catch it in a theatre. The film tells the story of how the life of a Malayali couple working in Delhi during the Covid pandemic is turned upside down by the release of a sensitive and manipulated video in the factory they work. <img src="https://strapi.bangalore2.com/uploads/Ariyippu_3d42365a82.jpg" alt="Ariyippu.jpg"> Ariyippu5. Tori and LokitaTori and Lokita is the official opening film of IFFK 2022. It is directed by the Dardenne brothers. The film tells the story of two African immigrants in Belgium through Lokita and her younger brother Tori. It explores their emotional relationship and showcases the struggles and harsh realities of the life of immigrants in Europe. It was nominated for several awards, including the prestigious Palm d’Or and also took home the Cannes Film Festival’s special 75th anniversary award. <img src="https://strapi.bangalore2.com/uploads/Tori_and_Lokita_716x1024_37551be7b6.jpg" alt="Tori-and-Lokita-716x1024.jpg"> Tori and Lokita6. AutobiographyPerhaps this is the most influential film to come out of Indonesia. Directed by the debutant Makbul Mubarak, Autobiography was premiered at the Venice Film festival. It also managed to win the prestigious FIPRESCI award. The film explores the theme of how power corrupts an individual. It tells the story of the relationship between a retired military general and a young boy who is his housekeeper. Their toxic relationship is symbolic of what has happened to the people of Indonesia under military dictatorship. The film is a drama and a thriller. <img src="https://strapi.bangalore2.com/uploads/images_12_2686f498ce.jpeg" alt="images-12.jpeg"> autobiography7. Boy from HeavenBoy from Heaven is written and directed by Tarik Saleh. It tells the story of Adam, the son of a fisherman, who accepts an offer to study at the prestigious Al-Azhar University in Cairo, the capital of Egypt. Shortly after his arrival in Cairo, the Grand Imam of al-Azhar suddenly dies and a power struggle ensues. The film was nominated to compete for the prestigious Palm d’Or and also won the best screenplay award and the Francois Chalaise award at Cannes Film festival. It is also Sweden’s official entry to the Oscars. <img src="https://strapi.bangalore2.com/uploads/Boy_from_Heaven_7296e316ed.jpeg" alt="Boy-from-Heaven.jpeg"> Boy from Heaven8. AlcarrasThis Catalan language film by the Spanish director Carla Simon has been shot with non-professional actors. It won the Golden Bear Award for Best Film at the 2022 Berlin Film Festival. The film is also Spain’s official entry for this year’s Oscars in the Best International Film category. It has been screened in film festivals like San Sebastian and Sydney. The movie has been shot in Alcarez, Catalonia.It tells the story of the disappearance of an agricultural activist in a peach plantation. A powerful film, it deals with themes such as nature, politics and family. <img src="https://strapi.bangalore2.com/uploads/Alcarras_691x1024_96b363bf9f.jpg" alt="Alcarras-691x1024.jpg"> Alcarras9. Both Sides of the BladeBoth Sides of the Blade (formerly known in English as Fire) is a 2022 French romantic drama film directed by Claire Denis, who wrote the screenplay with Christine Angot. The film is based on Angot’s 2018 novel Un tournant de la vie. It had its world premiere at the 72nd Berlin International Film Festival, where it competed for the Golden Bear and Claire Denis received the Silver Bear for Best Director. It tells the story of a married woman who gets involved in a love triangle. It explores themes such as love, emotional intimacy, and loyalty. <img src="https://strapi.bangalore2.com/uploads/Both_Sides_of_the_Blade_706x1024_cafc921fdb.jpg" alt="Both-Sides-of-the-Blade-706x1024.jpg"> Both Sides of the Blade 10. VictimDirected by Michal Blasko, Victim is a Slovakian film. The events depicted in the film show how a single lie, arising out of a teenager’s embarrassment about the truth of the injuries he had sustained, can have unforeseen ramifications in the hands of xenophobic groups. This lie is woven into their constant hate propaganda against an outsider group. Victim is Slovakia’s official entry into the Oscars and explores themes that are globally relevant in the context of bigotry. <img src="https://strapi.bangalore2.com/uploads/MV_5_BM_2_Qz_YT_Zm_ZD_At_NG_Rh_ZC_00_ND_Fk_L_Thl_YT_Yt_N_Tgz_OG_Zk_Mj_Fk_M2_Y0_Xk_Ey_Xk_Fqc_Gde_QX_Vy_Mz_Iz_NDU_1_NTY_V1_725x1024_b5db300826.jpg" alt="MV5BM2QzYTZmZDAtNGRhZC00NDFkLThlYTYtNTgzOGZkMjFkM2Y0XkEyXkFqcGdeQXVyMzIzNDU1NTY@._V1_-725x1024.jpg"><div class="gs" style="box-sizing:border-box;margin:0px;padding:0px;"><div class="" style="box-sizing:border-box;margin:0px;padding:0px;"><div class="ii gt" style="box-sizing:border-box;margin:0px;padding:0px;" id=":nn"><div class="a3s aiL " style="box-sizing:border-box;margin:0px;padding:0px;" id=":v6"><div style="box-sizing:border-box;margin:0px;padding:0px;" dir="auto"><div style="box-sizing:border-box;margin:0px;padding:0px;" dir="auto">Subscribe to our channels on <a style="background-color:transparent;box-sizing:border-box;color:rgb(255, 53, 36);display:inline-block;margin:0px;padding:0px;transition:all 0.4s ease 0s;" target="_blank" rel="noopener noreferrer" href="https://www.youtube.com/c/THEAIDEM">YouTube</a> &amp; <a style="background-color:transparent;box-sizing:border-box;color:rgb(255, 53, 36);display:inline-block;margin:0px;padding:0px;transition:all 0.4s ease 0s;" target="_blank" rel="noopener noreferrer" href="https://chat.whatsapp.com/ELqD1D1bImgAP6MrG8jskq">WhatsApp</a></div></div></div></div></div></div><div class="mdp-liker-box after-content two-buttons style-border-fill row-right" style="--mdp-liker-bg-color-active:rgba(255, 33, 40, 1);--mdp-liker-bg-color-hover:rgba(255, 33, 40, 1);--mdp-liker-bg-color:rgba(255, 33, 40, 1);--mdp-liker-border:1px;--mdp-liker-radius:50px;--mdp-liker-text-color-active:rgba(255, 255, 255, 1);--mdp-liker-text-color-hover:rgba(255, 255, 255, 1);--mdp-liker-text-color:rgba(255, 33, 40, 1);box-sizing:border-box;font-size:initial;font-weight:initial;margin:0px;padding:0px;" id="mdp-liker-19959" data-memory="on"><div style="align-items:center;box-sizing:border-box;display:flex;justify-content:space-between;margin:0px;padding:0px;"><div class="mdp-liker-description" style="-webkit-text-stroke-width:0px;background-color:rgb(255, 255, 255);box-sizing:border-box;color:rgb(85, 85, 85);font-family:Manjari;font-size:medium;font-style:normal;font-variant-caps:normal;font-variant-ligatures:normal;font-weight:400;letter-spacing:normal;margin:0px;max-width:60%;orphans:2;padding:0px;text-align:left;text-decoration-color:initial;text-decoration-style:initial;text-decoration-thickness:initial;text-indent:0px;text-transform:none;white-space:normal;widows:2;word-spacing:0px;">&nbsp;</div></div></div> &nbsp;

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As the 27th IFFK kicks off, film lovers are in for a grand treat of 184 films from 70  countries. There is true global representation as films from literally every corner of the world are part of this year’s festival. Of these, 14 films are in the competition section, including  4 from India. 

IFFK 2022: Top 10 Films You Should Not Miss

The Lotus and the Swan, is a documentary film shot in the Digital format by Nirmal Chander, the acclaimed  film-maker.  

The Lotus and the Swan – A Television Documentary on Gurcharan Singh by Nirmal Chander

<p style="-webkit-text-stroke-width:0px;background-color:rgb(255, 255, 255);box-sizing:border-box;color:rgb(39, 39, 39);font-family:Manjari;font-size:18px;font-style:normal;font-variant-caps:normal;font-variant-ligatures:normal;font-weight:400;letter-spacing:normal;line-height:1.7;margin:0px 0px 15px;orphans:2;padding:0px;text-align:left;text-decoration-color:initial;text-decoration-style:initial;text-decoration-thickness:initial;text-indent:0px;text-transform:none;white-space:normal;widows:2;word-spacing:0px;">This is a compilation of various audio-visual and text articles on a legend of Indian contemporary art, Vivan Sundaram, who passed away on March 29, 2023. A brilliant artist, creator, and public intellectual who made his art and life speak for the marginalised sections of society. In this Cover Story consisting of many components, The AIDEM explores the life and work of Vivan Sundaram. The following are part of this Cover Story package.<ul style="-webkit-text-stroke-width:0px;background-color:rgb(255, 255, 255);box-sizing:border-box;color:rgb(85, 85, 85);font-family:Manjari;font-size:17px;font-style:normal;font-variant-caps:normal;font-variant-ligatures:normal;font-weight:400;letter-spacing:normal;list-style:disc;margin-bottom:20px;margin-right:0px;margin-top:20px;orphans:2;padding:0px 0px 0px 20px;text-align:left;text-decoration-color:initial;text-decoration-style:initial;text-decoration-thickness:initial;text-indent:0px;text-transform:none;white-space:normal;widows:2;word-spacing:0px;"><li style="box-sizing:border-box;color:rgb(0, 0, 0);font-size:17px;font-weight:400;line-height:1.8;list-style:disc;margin-bottom:10px;margin-right:0px;margin-top:0px;padding:0px;">Social Activist and Writer Teesta Setalvad remembers her long association with Vivan Sundaram. Watch <a style="background-color:transparent;box-sizing:border-box;color:rgb(255, 53, 36);display:inline-block;margin:0px;padding:0px;transition:all 0.4s ease 0s;" target="_blank" rel="noopener noreferrer" href="https://theaidem.com/teesta-remembers-vivan/">here</a>.</li><li style="box-sizing:border-box;color:rgb(0, 0, 0);font-size:17px;font-weight:400;line-height:1.8;list-style:disc;margin-bottom:10px;margin-right:0px;margin-top:0px;padding:0px;">Artist and Kochi Biennale Foundation President Bose Krishnamachari reflects on the consistent people-oriented politics and the innovative creativity in Vivan Sundaram’s art. Watch <a style="background-color:transparent;box-sizing:border-box;color:rgb(255, 53, 36);display:inline-block;margin:0px;padding:0px;transition:all 0.4s ease 0s;" target="_blank" rel="noopener noreferrer" href="https://theaidem.com/vivan-sundaram-was-peoples-artist-bose-krishnamacharis-tribute/">here</a>.</li><li style="box-sizing:border-box;color:rgb(0, 0, 0);font-size:17px;font-weight:400;line-height:1.8;list-style:disc;margin-bottom:10px;margin-right:0px;margin-top:0px;padding:0px;">Renowned art critic M Ramachandran writes on the historic relevance of Vivan Sundaram in Indian art. Read <a style="background-color:transparent;box-sizing:border-box;color:rgb(255, 53, 36);display:inline-block;margin:0px;padding:0px;transition:all 0.4s ease 0s;" target="_blank" rel="noopener noreferrer" href="https://theaidem.com/the-artist-who-lived-for-art-vivan-sundaram/">here</a>.</li><li style="box-sizing:border-box;color:rgb(0, 0, 0);font-size:17px;font-weight:400;line-height:1.8;list-style:disc;margin-bottom:10px;margin-right:0px;margin-top:0px;padding:0px;">Renowned painter, writer and art critic Ajayakumar analyses Vivan Sundaram’s work. Read <a style="background-color:transparent;box-sizing:border-box;color:rgb(255, 53, 36);display:inline-block;margin:0px;padding:0px;transition:all 0.4s ease 0s;" target="_blank" rel="noopener noreferrer" href="https://theaidem.com/sculptor-photographer-painter-vivan-sundaram-and-post-modern-arts/">here</a>.</li><li style="box-sizing:border-box;color:rgb(0, 0, 0);font-size:17px;font-weight:400;line-height:1.8;list-style:disc;margin-bottom:10px;margin-right:0px;margin-top:0px;padding:0px;">Journalist and Author Revati Laul on the importance of reviving Vivan Sundaram’s political perspectives in contemporary times. Read <a style="background-color:transparent;box-sizing:border-box;color:rgb(255, 53, 36);display:inline-block;margin:0px;padding:0px;transition:all 0.4s ease 0s;" target="_blank" rel="noopener noreferrer" href="https://theaidem.com/artist-vivan-sundarams-life-seen-amidst-contemporary-politics/">here</a>.</li><li style="box-sizing:border-box;color:rgb(0, 0, 0);font-size:17px;font-weight:400;line-height:1.8;list-style:disc;margin-bottom:10px;margin-right:0px;margin-top:0px;padding:0px;">The PAMA Institute for the Advancement of Transdisciplinary Archaeological Sciences pays tribute to Vivan Sundaram. Watch <a style="background-color:transparent;box-sizing:border-box;color:rgb(255, 53, 36);display:inline-block;margin:0px;padding:0px;transition:all 0.4s ease 0s;" target="_blank" rel="noopener noreferrer" href="https://theaidem.com/vivan-sundaram-the-black-gold-days/">here</a>.</li></ul>

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This is a compilation of various audio-visual and text articles on a legend of Indian contemporary art, Vivan Sundaram, who passed away on March 29, 2023.

Vivan Sundaram: The AIDEM Cover Story

<p style="-webkit-text-stroke-width:0px;background-color:rgb(255, 255, 255);box-sizing:border-box;color:rgb(39, 39, 39);font-family:Manjari;font-size:18px;font-style:normal;font-variant-caps:normal;font-variant-ligatures:normal;font-weight:400;letter-spacing:normal;line-height:1.7;margin:0px 0px 15px;orphans:2;padding:0px;text-align:left;text-decoration-color:initial;text-decoration-style:initial;text-decoration-thickness:initial;text-indent:0px;text-transform:none;white-space:normal;widows:2;word-spacing:0px;">Football fans, music lovers and people everywhere can join the beat and get closer to the greatest football show on Earth with the launch of the first-ever FIFA World Cup™ Official Soundtrack. FIFA Sound, which combines the universal languages of music and football, has spearheaded the launch of the soundtrack. Official Soundtrack is packed full of uplifting anthems, showcasing the brightest international artists and diverse musical genres, setting the tone for a truly global celebration. From the electric collaboration of Nicki Minaj, Maluma and Myriam Fares for Tukoh Taka, the first-ever Official FIFA Fan Festival™ Anthem, to Dreamers, BTS star Jung Kook’s inspirational song that lit up the Opening Ceremony, the tracks mirror the worldwide excitement surrounding the spirit of the World Cup.<p style="-webkit-text-stroke-width:0px;background-color:rgb(255, 255, 255);box-sizing:border-box;color:rgb(39, 39, 39);font-family:Manjari;font-size:18px;font-style:normal;font-variant-caps:normal;font-variant-ligatures:normal;font-weight:400;letter-spacing:normal;line-height:1.7;margin:0px 0px 15px;orphans:2;padding:0px;text-align:left;text-decoration-color:initial;text-decoration-style:initial;text-decoration-thickness:initial;text-indent:0px;text-transform:none;white-space:normal;widows:2;word-spacing:0px;">Listen to the Official FIFA World Cup 2022 soundtracks using links below:<ul style="-webkit-text-stroke-width:0px;background-color:rgb(255, 255, 255);box-sizing:border-box;color:rgb(85, 85, 85);font-family:Manjari;font-size:17px;font-style:normal;font-variant-caps:normal;font-variant-ligatures:normal;font-weight:400;letter-spacing:normal;list-style:disc;margin-bottom:20px;margin-right:0px;margin-top:20px;orphans:2;padding:0px 0px 0px 20px;text-align:left;text-decoration-color:initial;text-decoration-style:initial;text-decoration-thickness:initial;text-indent:0px;text-transform:none;white-space:normal;widows:2;word-spacing:0px;"><li style="box-sizing:border-box;color:rgb(0, 0, 0);font-size:17px;font-weight:400;line-height:1.8;list-style:disc;margin-bottom:10px;margin-right:0px;margin-top:0px;padding:0px;"><a style="background-color:transparent;box-sizing:border-box;color:rgb(0, 0, 0);display:inline-block;margin:0px;padding:0px;transition:all 0.4s ease 0s;" target="_blank" rel="noopener noreferrer" href="https://music.amazon.com/albums/B0BNVF7MV8?marketplaceId=A3K6Y4MI8GDYMT&amp;musicTerritory=IN&amp;ref=dm_sh_WCOeidb3RtZC8sP69eMvMRnNk">Amazon Music</a></li><li style="box-sizing:border-box;color:rgb(0, 0, 0);font-size:17px;font-weight:400;line-height:1.8;list-style:disc;margin-bottom:10px;margin-right:0px;margin-top:0px;padding:0px;"><a style="background-color:transparent;box-sizing:border-box;color:rgb(0, 0, 0);display:inline-block;margin:0px;padding:0px;transition:all 0.4s ease 0s;" target="_blank" rel="noopener noreferrer" href="https://music.apple.com/us/album/fifa-world-cup-qatar-2022-official-soundtrack/1657557311?at=11laLe&amp;ct=LFV_852822db3a385c1debf6bfe56c570400&amp;itsct=catchall_p1&amp;itscg=30440&amp;ls=1">Apple Music</a></li><li style="box-sizing:border-box;color:rgb(0, 0, 0);font-size:17px;font-weight:400;line-height:1.8;list-style:disc;margin-bottom:10px;margin-right:0px;margin-top:0px;padding:0px;"><a style="background-color:transparent;box-sizing:border-box;color:rgb(0, 0, 0);display:inline-block;margin:0px;padding:0px;transition:all 0.4s ease 0s;" target="_blank" rel="noopener noreferrer" href="https://open.spotify.com/album/5qgUwE4mhus7MiHbOIiNps?si=LOGx_1viSeyiFTs7vf1LLw">Spotify</a></li></ul><hr><p style="-webkit-text-stroke-width:0px;background-color:rgb(255, 255, 255);box-sizing:border-box;color:rgb(39, 39, 39);font-family:Manjari;font-size:18px;font-style:normal;font-variant-caps:normal;font-variant-ligatures:normal;font-weight:400;letter-spacing:normal;line-height:1.7;margin:0px 0px 15px;orphans:2;padding:0px;text-align:left;text-decoration-color:initial;text-decoration-style:initial;text-decoration-thickness:initial;text-indent:0px;text-transform:none;white-space:normal;widows:2;word-spacing:0px;">Subscribe to our channels on <a style="background-color:transparent;box-sizing:border-box;color:rgb(255, 53, 36);display:inline-block;margin:0px;padding:0px;transition:all 0.4s ease 0s;" target="_blank" rel="noopener noreferrer" href="https://www.youtube.com/c/THEAIDEM">YouTube</a> &amp; <a style="background-color:transparent;box-sizing:border-box;color:rgb(255, 53, 36);display:inline-block;margin:0px;padding:0px;transition:all 0.4s ease 0s;" target="_blank" rel="noopener noreferrer" href="https://chat.whatsapp.com/ELqD1D1bImgAP6MrG8jskq">WhatsApp</a>

FIFA-TRACKS-min.png

Football fans, music lovers and people everywhere can join the beat and get closer to the greatest football show on Earth with the launch of the first-ever FIFA World Cup™ Official Soundtrack. 

FIFA World Cup Qatar 2022 Official Soundtrack is Out

<img src="https://strapi.bangalore2.com/uploads/images_71_bb7419cc16.jpeg" alt="images-71.jpeg" srcset="https://strapi.bangalore2.com/uploads/thumbnail_images_71_bb7419cc16.jpeg 245w,https://strapi.bangalore2.com/uploads/small_images_71_bb7419cc16.jpeg 500w," sizes="100vw" width="undefined" height="undefined">The eminent Hindustani (North Indian Classical) vocalist, Ustad Rashid Khan, passed away yesterday at the very young age of 55. He was suffering from prostate cancer and died of complications. His death is yet another reminder of the specter of cancer that hangs over all of us.<p style="-webkit-text-stroke-width:0px;background-color:rgb(255, 255, 255);box-sizing:border-box;color:rgb(39, 39, 39);font-family:Manjari;font-size:18px;font-style:normal;font-variant-caps:normal;font-variant-ligatures:normal;font-weight:400;letter-spacing:normal;line-height:1.7;margin:0px 0px 15px;orphans:2;padding:0px;text-align:left;text-decoration-color:initial;text-decoration-style:initial;text-decoration-thickness:initial;text-indent:0px;text-transform:none;white-space:normal;widows:2;word-spacing:0px;">Indeed, cancer is, as Dr. Siddhartha Mukherjee put it, the emperor of all maladies. We don’t know enough to know how to prevent it, and any of us can be cruelly struck down by it at any time. Maybe such illnesses are needed to keep us humble. For, death is the only certainty in life, and none can tell when they will have to go.<figure class="wp-caption aligncenter" style="-webkit-text-stroke-width:0px;background-color:rgb(255, 255, 255);border-width:0px;box-sizing:border-box;clear:both;color:rgb(85, 85, 85);display:block;font-family:Manjari;font-size:17px;font-style:normal;font-variant-caps:normal;font-variant-ligatures:normal;font-weight:400;height:auto;letter-spacing:normal;margin:15px auto;max-width:100%;orphans:2;padding:0px;text-align:left;text-decoration-color:initial;text-decoration-style:initial;text-decoration-thickness:initial;text-indent:0px;text-transform:none;vertical-align:middle;white-space:normal;widows:2;width:720px;word-spacing:0px;" id="attachment_25933" aria-describedby="caption-attachment-25933"><img src="https://strapi.bangalore2.com/uploads/Screenshot_20240110_145954_Twitter_e1704880520781_a2854f266b.jpg" alt="Screenshot_20240110_145954_Twitter-e1704880520781.jpg" srcset="https://strapi.bangalore2.com/uploads/thumbnail_Screenshot_20240110_145954_Twitter_e1704880520781_a2854f266b.jpg 106w,https://strapi.bangalore2.com/uploads/small_Screenshot_20240110_145954_Twitter_e1704880520781_a2854f266b.jpg 338w,https://strapi.bangalore2.com/uploads/medium_Screenshot_20240110_145954_Twitter_e1704880520781_a2854f266b.jpg 507w,https://strapi.bangalore2.com/uploads/large_Screenshot_20240110_145954_Twitter_e1704880520781_a2854f266b.jpg 675w," sizes="100vw" width="undefined" height="undefined"><figcaption class="wp-caption-text" style="box-sizing:border-box;display:block;font-size:15px;line-height:20px;margin:0px;padding:12px 0px 0px;text-align:center;" id="caption-attachment-25933">Ustad Rashid Khan receiving Padma Bhushan</figcaption></figure><p style="-webkit-text-stroke-width:0px;background-color:rgb(255, 255, 255);box-sizing:border-box;color:rgb(39, 39, 39);font-family:Manjari;font-size:18px;font-style:normal;font-variant-caps:normal;font-variant-ligatures:normal;font-weight:400;letter-spacing:normal;line-height:1.7;margin:0px 0px 15px;orphans:2;padding:0px;text-align:left;text-decoration-color:initial;text-decoration-style:initial;text-decoration-thickness:initial;text-indent:0px;text-transform:none;white-space:normal;widows:2;word-spacing:0px;">As the immortal line in the Hindi movie “Anand” goes, “Babu Moshai, zindagi aur maut upar waale ke haath hai, Jahanpanah! Usey na toh aap badal sakte hai na main! Hum sab to rangmanch ki kathputliyan hai Jinki dor upar waale ki ungliyon mein bandhi hai Kab, kaun, kaise uthega, ye koi nahin bata sakta hai.”!<p style="-webkit-text-stroke-width:0px;background-color:rgb(255, 255, 255);box-sizing:border-box;color:rgb(39, 39, 39);font-family:Manjari;font-size:18px;font-style:normal;font-variant-caps:normal;font-variant-ligatures:normal;font-weight:400;letter-spacing:normal;line-height:1.7;margin:0px 0px 15px;orphans:2;padding:0px;text-align:left;text-decoration-color:initial;text-decoration-style:initial;text-decoration-thickness:initial;text-indent:0px;text-transform:none;white-space:normal;widows:2;word-spacing:0px;">(Babu Moshai, Life and death are in the hands of God, the one above us. You cannot change it, nor can I. We are all puppets in the show, which are controlled by the fingers of the one above.)<p style="-webkit-text-stroke-width:0px;background-color:rgb(255, 255, 255);box-sizing:border-box;color:rgb(39, 39, 39);font-family:Manjari;font-size:18px;font-style:normal;font-variant-caps:normal;font-variant-ligatures:normal;font-weight:400;letter-spacing:normal;line-height:1.7;margin:0px 0px 15px;orphans:2;padding:0px;text-align:left;text-decoration-color:initial;text-decoration-style:initial;text-decoration-thickness:initial;text-indent:0px;text-transform:none;white-space:normal;widows:2;word-spacing:0px;">Nothing illustrates the truth of this statement than the suddenness with which cancer takes away people. But there is another line in the same movie that is also immortal: “Zindagi badi honi chahiye, lambi nahin.” Meaning, “Life should be large, not long.” And by this standard, Rashid Khan certainly lived large, though he may not have lived long.<img src="https://strapi.bangalore2.com/uploads/800px_Ustad_rashid_kan_bharat_bhavan_bhopal_6d038cc6b0.jpeg" alt="800px-Ustad_rashid_kan_bharat_bhavan_bhopal.jpeg" srcset="https://strapi.bangalore2.com/uploads/thumbnail_800px_Ustad_rashid_kan_bharat_bhavan_bhopal_6d038cc6b0.jpeg 156w,https://strapi.bangalore2.com/uploads/small_800px_Ustad_rashid_kan_bharat_bhavan_bhopal_6d038cc6b0.jpeg 500w,https://strapi.bangalore2.com/uploads/medium_800px_Ustad_rashid_kan_bharat_bhavan_bhopal_6d038cc6b0.jpeg 750w," sizes="100vw" width="undefined" height="undefined"><p style="-webkit-text-stroke-width:0px;background-color:rgb(255, 255, 255);box-sizing:border-box;color:rgb(39, 39, 39);font-family:Manjari;font-size:18px;font-style:normal;font-variant-caps:normal;font-variant-ligatures:normal;font-weight:400;letter-spacing:normal;line-height:1.7;margin:0px 0px 15px;orphans:2;padding:0px;text-align:left;text-decoration-color:initial;text-decoration-style:initial;text-decoration-thickness:initial;text-indent:0px;text-transform:none;white-space:normal;widows:2;word-spacing:0px;">My first exposure to the Ustad was in 1993, when I heard a recording of his, of rag Yaman, on the India Archive Music label. He was just 24 at the time, and not yet an Ustad, and the recording was released a couple of years earlier, in 1991. I was simply blown away by his tayyari. Even though I have not heard that recording in years, I can never forget it, especially the drut cheez, which is etched in my mind – “Aao aao aao balma.” The tayyari on display was amazing.<p style="-webkit-text-stroke-width:0px;background-color:rgb(255, 255, 255);box-sizing:border-box;color:rgb(39, 39, 39);font-family:Manjari;font-size:18px;font-style:normal;font-variant-caps:normal;font-variant-ligatures:normal;font-weight:400;letter-spacing:normal;line-height:1.7;margin:0px 0px 15px;orphans:2;padding:0px;text-align:left;text-decoration-color:initial;text-decoration-style:initial;text-decoration-thickness:initial;text-indent:0px;text-transform:none;white-space:normal;widows:2;word-spacing:0px;">Ustad Rashid Khan was the flag bearer of the Rampur-Sahaswan gharana (school) of Hindustani vocal music, having learned from his uncle, Ustad Ghulam Mustafa Khan, and from his grand-uncle, the Khalifa (head) of the gharana, Ustad Nissar Hussain Khan. With this kind of musical pedigree, and his inborn incredible talent, Rashid Khan quickly rose to become one of the foremost contemporary singers of Hindustani classical music.<figure class="wp-caption aligncenter" style="-webkit-text-stroke-width:0px;background-color:rgb(255, 255, 255);border-width:0px;box-sizing:border-box;clear:both;color:rgb(85, 85, 85);display:block;font-family:Manjari;font-size:17px;font-style:normal;font-variant-caps:normal;font-variant-ligatures:normal;font-weight:400;height:auto;letter-spacing:normal;margin:15px auto;max-width:100%;orphans:2;padding:0px;text-align:left;text-decoration-color:initial;text-decoration-style:initial;text-decoration-thickness:initial;text-indent:0px;text-transform:none;vertical-align:middle;white-space:normal;widows:2;width:740px;word-spacing:0px;" id="attachment_25932" aria-describedby="caption-attachment-25932"><img src="https://strapi.bangalore2.com/uploads/images_72_183910c9e1.jpeg" alt="images-72.jpeg" srcset="https://strapi.bangalore2.com/uploads/thumbnail_images_72_183910c9e1.jpeg 245w,https://strapi.bangalore2.com/uploads/small_images_72_183910c9e1.jpeg 500w," sizes="100vw" width="undefined" height="undefined"><figcaption class="wp-caption-text" style="box-sizing:border-box;display:block;font-size:15px;line-height:20px;margin:0px;padding:12px 0px 0px;text-align:center;" id="caption-attachment-25932">Ustad Rashid Khan performing (on right)</figcaption></figure><p style="-webkit-text-stroke-width:0px;background-color:rgb(255, 255, 255);box-sizing:border-box;color:rgb(39, 39, 39);font-family:Manjari;font-size:18px;font-style:normal;font-variant-caps:normal;font-variant-ligatures:normal;font-weight:400;letter-spacing:normal;line-height:1.7;margin:0px 0px 15px;orphans:2;padding:0px;text-align:left;text-decoration-color:initial;text-decoration-style:initial;text-decoration-thickness:initial;text-indent:0px;text-transform:none;white-space:normal;widows:2;word-spacing:0px;">The great doyen of Hindustani vocal music, arguably the greatest vocalist of our times, the late Pandit Bhimsen Joshi, after listening to one of Rashid Khan’s inspired performances, said that the future of Hindustani music was safe in Rashid Khan’s hands. The comparisons to Bhimsen Joshi must certainly have inspired Rashid Khan. One just had to hear his absolutely brilliant rendition of the famous drut khayal in rag Multani, “nainan mein aan ban, kaunsi pari re,” and compare with with the definitive rendition by the great Bhimsen. It is an incandescent performance and tells you why Rashid Khan will be remembered as an all-time great.<figure class="wp-caption aligncenter" style="-webkit-text-stroke-width:0px;background-color:rgb(255, 255, 255);border-width:0px;box-sizing:border-box;clear:both;color:rgb(85, 85, 85);display:block;font-family:Manjari;font-size:17px;font-style:normal;font-variant-caps:normal;font-variant-ligatures:normal;font-weight:400;height:auto;letter-spacing:normal;margin:15px auto;max-width:100%;orphans:2;padding:0px;text-align:left;text-decoration-color:initial;text-decoration-style:initial;text-decoration-thickness:initial;text-indent:0px;text-transform:none;vertical-align:middle;white-space:normal;widows:2;width:771px;word-spacing:0px;" id="attachment_25938" aria-describedby="caption-attachment-25938"><img src="https://strapi.bangalore2.com/uploads/Bhimsen_Joshi_768x512_9472a0e893.jpg" alt="Bhimsen-Joshi-768x512.jpg" srcset="https://strapi.bangalore2.com/uploads/thumbnail_Bhimsen_Joshi_768x512_9472a0e893.jpg 234w,https://strapi.bangalore2.com/uploads/small_Bhimsen_Joshi_768x512_9472a0e893.jpg 500w,https://strapi.bangalore2.com/uploads/medium_Bhimsen_Joshi_768x512_9472a0e893.jpg 750w," sizes="100vw" width="undefined" height="undefined"><figcaption class="wp-caption-text" style="box-sizing:border-box;display:block;font-size:15px;line-height:20px;margin:0px;padding:12px 0px 0px;text-align:center;" id="caption-attachment-25938">Pandit Bhimsen Joshi</figcaption></figure><p style="-webkit-text-stroke-width:0px;background-color:rgb(255, 255, 255);box-sizing:border-box;color:rgb(39, 39, 39);font-family:Manjari;font-size:18px;font-style:normal;font-variant-caps:normal;font-variant-ligatures:normal;font-weight:400;letter-spacing:normal;line-height:1.7;margin:0px 0px 15px;orphans:2;padding:0px;text-align:left;text-decoration-color:initial;text-decoration-style:initial;text-decoration-thickness:initial;text-indent:0px;text-transform:none;white-space:normal;widows:2;word-spacing:0px;">Rashid Khan excelled not only in the serious performance of Hindustani vocal, in the form known as khayal, but also in the light classical form known as Thumri. As with any performance of Rashid Khan, once you hear something by him, you never forget it. Such was the case with a thumri I heard decades ago, but still remember, in rag Kirwani, “Tore bina nahin chain, Brij ke nandlala.” The emotion he brings to the line “paiyyaan padhoon, binati karoon, daar gale maala” has to be heard to be believed.<p style="-webkit-text-stroke-width:0px;background-color:rgb(255, 255, 255);box-sizing:border-box;color:rgb(39, 39, 39);font-family:Manjari;font-size:18px;font-style:normal;font-variant-caps:normal;font-variant-ligatures:normal;font-weight:400;letter-spacing:normal;line-height:1.7;margin:0px 0px 15px;orphans:2;padding:0px;text-align:left;text-decoration-color:initial;text-decoration-style:initial;text-decoration-thickness:initial;text-indent:0px;text-transform:none;white-space:normal;widows:2;word-spacing:0px;">Sadly, the Ustad is gone, but he leaves behind his son, Armaan Rashid Khan, who is himself a fine young musician. I recently had the opportunity to listen to him as I was preparing for a performance of rag puriya dhanashree, and listened to a fine rendition of “payaliya jhankar,” after listening to the same cheez, sung by his father. The tradition will live on.

images-71.jpeg

The eminent Hindustani (North Indian Classical) vocalist, Ustad Rashid Khan, passed away yesterday at the very young age of 55. He was suffering from prostate

Ustad Rashid Khan: Living Life Large

<div style="-webkit-text-stroke-width:0px;background-color:rgb(255, 255, 255);box-sizing:border-box;color:rgb(85, 85, 85);font-family:Manjari;font-size:17px;font-style:normal;font-variant-caps:normal;font-variant-ligatures:normal;font-weight:400;letter-spacing:normal;margin:0px;orphans:2;padding:0px;text-align:left;text-decoration-color:initial;text-decoration-style:initial;text-decoration-thickness:initial;text-indent:0px;text-transform:none;white-space:normal;widows:2;word-spacing:0px;" dir="auto"><img src="https://strapi.bangalore2.com/uploads/25th_Feb_24_a_copy_770x470_aa2b396ee8.jpg" alt="25th-Feb-24-a-copy-770x470.jpg" srcset="https://strapi.bangalore2.com/uploads/thumbnail_25th_Feb_24_a_copy_770x470_aa2b396ee8.jpg 245w,https://strapi.bangalore2.com/uploads/small_25th_Feb_24_a_copy_770x470_aa2b396ee8.jpg 500w,https://strapi.bangalore2.com/uploads/medium_25th_Feb_24_a_copy_770x470_aa2b396ee8.jpg 750w," sizes="100vw" width="undefined" height="undefined">Receiving a query, as he so often was from all of us, he always chose to build his answer like a sand castle at the edge of a sea, shaping it smidgen by smidgen. Those words and gestures reflected a quintessential Kumar Shahani, as known to movie devotees across the world. Kumar did this without striving to compress any part of his thought into an incontrovertible finish, seeking, instead, the various forces around – whether they be an unexpected gust of wind, an unruly wave or our usually delayed perception of the perspectives he was proposing – to come to his aid.</div><figure class="wp-caption aligncenter" style="-webkit-text-stroke-width:0px;background-color:rgb(255, 255, 255);border-width:0px;box-sizing:border-box;clear:both;color:rgb(85, 85, 85);display:block;font-family:Manjari;font-size:17px;font-style:normal;font-variant-caps:normal;font-variant-ligatures:normal;font-weight:400;height:auto;letter-spacing:normal;margin:15px auto;max-width:100%;orphans:2;padding:0px;text-align:left;text-decoration-color:initial;text-decoration-style:initial;text-decoration-thickness:initial;text-indent:0px;text-transform:none;vertical-align:middle;white-space:normal;widows:2;width:396px;word-spacing:0px;" id="attachment_26709" aria-describedby="caption-attachment-26709"><img src="https://strapi.bangalore2.com/uploads/unnamed_a6b4a34d3c.png" alt="unnamed.png" srcset="https://strapi.bangalore2.com/uploads/thumbnail_unnamed_a6b4a34d3c.png 233w," sizes="100vw" width="undefined" height="undefined"><figcaption class="wp-caption-text" style="box-sizing:border-box;display:block;font-size:15px;line-height:20px;margin:0px;padding:12px 0px 0px;text-align:center;" id="caption-attachment-26709">Kumar Shahani with actor Dhritiman Chatterjee.</figcaption></figure><p style="-webkit-text-stroke-width:0px;background-color:rgb(255, 255, 255);box-sizing:border-box;color:rgb(39, 39, 39);font-family:Manjari;font-size:18px;font-style:normal;font-variant-caps:normal;font-variant-ligatures:normal;font-weight:400;letter-spacing:normal;line-height:1.7;margin:0px 0px 15px;orphans:2;padding:0px;text-align:left;text-decoration-color:initial;text-decoration-style:initial;text-decoration-thickness:initial;text-indent:0px;text-transform:none;white-space:normal;widows:2;word-spacing:0px;">He made us put our hands in the sand with him and add to his lines and contours, reassemble what might have collapsed, or what always brought the dimpled smile to his face. All this would lead to the start of a process constructing another fabulation to accompany his improvisation.<hr><blockquote style="-webkit-text-stroke-width:0px;background-color:rgb(244, 244, 244);border-left-color:!important;border-left-width:0px;border-radius:10px;border-right-color:!important;border-right-width:0px;box-sizing:border-box;color:rgb(85, 85, 85);font-family:Manjari;font-size:17px;font-style:normal;font-variant-caps:normal;font-variant-ligatures:normal;font-weight:400;letter-spacing:normal;margin:23px !important 0px;orphans:2;overflow:hidden;padding:50px 50px 45px !important;position:relative;text-align:center;text-decoration-color:initial;text-decoration-style:initial;text-decoration-thickness:initial;text-indent:0px;text-transform:none;white-space:normal;widows:2;word-spacing:0px;z-index:1;">Kumar Shahani (7 December 1940 – 25 February 2024) was an Indian film director and screenwriter, best known for his offbeat films such as&nbsp;Maya Darpan&nbsp;(1972),&nbsp;Tarang (1984),&nbsp;Khayal Gatha&nbsp;(1989) and&nbsp;Kasba (1990).Kumar Shahaji’s first feature—Maya Darpan&nbsp;-earned reputation as one of&nbsp;Indian cinema’s first formalist films. His dedication to formalism evoked comparisons from critics and film enthusiasts with filmmakers such as&nbsp;Pier Paolo Pasolini,&nbsp;Andrei Tarkovsky&nbsp;and&nbsp;Jacques Rivette. He was also known as a teacher and theorist of cinema, whose essays The Shock of Desire and Other Essays, comprising 51 essays, was published by Tulika Books in 2015.</blockquote><hr><p style="-webkit-text-stroke-width:0px;background-color:rgb(255, 255, 255);box-sizing:border-box;color:rgb(39, 39, 39);font-family:Manjari;font-size:18px;font-style:normal;font-variant-caps:normal;font-variant-ligatures:normal;font-weight:400;letter-spacing:normal;line-height:1.7;margin:0px 0px 15px;orphans:2;padding:0px;text-align:left;text-decoration-color:initial;text-decoration-style:initial;text-decoration-thickness:initial;text-indent:0px;text-transform:none;white-space:normal;widows:2;word-spacing:0px;">It always seemed to me, whether we were in the class at FTII or on a shoot in Himachal or on one of our walks in Geneva when I invited him to come spend a couple of weeks with my students, that his attempt was to make his conjurations change as the light changes during the day. That is, inclined at dawn to resuscitate, at dusk it might bring languor, and the light descending hard atop at noon to propose a short lull.<figure class="wp-caption aligncenter" style="-webkit-text-stroke-width:0px;background-color:rgb(255, 255, 255);border-width:0px;box-sizing:border-box;clear:both;color:rgb(85, 85, 85);display:block;font-family:Manjari;font-size:17px;font-style:normal;font-variant-caps:normal;font-variant-ligatures:normal;font-weight:400;height:auto;letter-spacing:normal;margin:15px auto;max-width:100%;orphans:2;padding:0px;text-align:left;text-decoration-color:initial;text-decoration-style:initial;text-decoration-thickness:initial;text-indent:0px;text-transform:none;vertical-align:middle;white-space:normal;widows:2;width:340px;word-spacing:0px;" id="attachment_26715" aria-describedby="caption-attachment-26715"><img src="https://strapi.bangalore2.com/uploads/movies_e1708844636903_52149e94ff.png" alt="movies-e1708844636903.png" srcset="https://strapi.bangalore2.com/uploads/thumbnail_movies_e1708844636903_52149e94ff.png 215w," sizes="100vw" width="undefined" height="undefined"><figcaption class="wp-caption-text" style="box-sizing:border-box;display:block;font-size:15px;line-height:20px;margin:0px;padding:12px 0px 0px;text-align:center;" id="caption-attachment-26715">Kumar Shahani Films</figcaption></figure><p style="-webkit-text-stroke-width:0px;background-color:rgb(255, 255, 255);box-sizing:border-box;color:rgb(39, 39, 39);font-family:Manjari;font-size:18px;font-style:normal;font-variant-caps:normal;font-variant-ligatures:normal;font-weight:400;letter-spacing:normal;line-height:1.7;margin:0px 0px 15px;orphans:2;padding:0px;text-align:left;text-decoration-color:initial;text-decoration-style:initial;text-decoration-thickness:initial;text-indent:0px;text-transform:none;white-space:normal;widows:2;word-spacing:0px;">The changing light and its colors changes what we believe we saw a moment ago, changes our reveries, our desires. His conjuring of a past might have had its source in a river fecund with a possible nation and, before our eyes, steadily transformed into the ardour of a tarana. The present might emerge as a nude in blue suspended above or is it within the color red, the colors as much to redeem as to denounce us. And the future, perhaps a woman at a panel of windows that overlook distant mountains.<figure class="wp-caption aligncenter" style="-webkit-text-stroke-width:0px;background-color:rgb(255, 255, 255);border-width:0px;box-sizing:border-box;clear:both;color:rgb(85, 85, 85);display:block;font-family:Manjari;font-size:17px;font-style:normal;font-variant-caps:normal;font-variant-ligatures:normal;font-weight:400;height:auto;letter-spacing:normal;margin:15px auto;max-width:100%;orphans:2;padding:0px;text-align:left;text-decoration-color:initial;text-decoration-style:initial;text-decoration-thickness:initial;text-indent:0px;text-transform:none;vertical-align:middle;white-space:normal;widows:2;width:338px;word-spacing:0px;" id="attachment_26708" aria-describedby="caption-attachment-26708"><img src="https://strapi.bangalore2.com/uploads/movies_e1708844585877_aa6808b244.png" alt="movies-e1708844585877.png" srcset="https://strapi.bangalore2.com/uploads/thumbnail_movies_e1708844585877_aa6808b244.png 213w," sizes="100vw" width="undefined" height="undefined"><figcaption class="wp-caption-text" style="box-sizing:border-box;display:block;font-size:15px;line-height:20px;margin:0px;padding:12px 0px 0px;text-align:center;" id="caption-attachment-26708">Kumar Shahani Films</figcaption></figure><p style="-webkit-text-stroke-width:0px;background-color:rgb(255, 255, 255);box-sizing:border-box;color:rgb(39, 39, 39);font-family:Manjari;font-size:18px;font-style:normal;font-variant-caps:normal;font-variant-ligatures:normal;font-weight:400;letter-spacing:normal;line-height:1.7;margin:0px 0px 15px;orphans:2;padding:0px;text-align:left;text-decoration-color:initial;text-decoration-style:initial;text-decoration-thickness:initial;text-indent:0px;text-transform:none;white-space:normal;widows:2;word-spacing:0px;">Kumar had a way of pausing the gesture of one of his hands in mid-air, the gesture neither a sign nor a signal, but a track, like that of an animal in mud, evoking a weight as well as a rhythm, a suggestion of a pattern, a life, a journey, a direction – all unsettled again as the gesture continued its dance. When one left him, one took along an experience of uncertainty that, somehow, was never debilitating. Instead, like a moment of caesura in a bandish, it offered innumerable directions. That, to me, was the finest gift he left to us. And so tenderly.

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Kumar Shahani- The Tender Gesture

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<img src="https://strapi.bangalore2.com/uploads/IMG_20240930_WA_0007_770x470_d5062615d1.jpg" alt="IMG-20240930-WA0007-770x470.jpg" srcset="https://strapi.bangalore2.com/uploads/thumbnail_IMG_20240930_WA_0007_770x470_d5062615d1.jpg 245w,https://strapi.bangalore2.com/uploads/small_IMG_20240930_WA_0007_770x470_d5062615d1.jpg 500w,https://strapi.bangalore2.com/uploads/medium_IMG_20240930_WA_0007_770x470_d5062615d1.jpg 750w," sizes="100vw" width="undefined" height="undefined"><div class="post-body clearfix single-blog-header single-blog-inner blog-single-block blog-details-content" style="-webkit-text-stroke-width:0px;background-color:rgb(255, 255, 255);box-sizing:border-box;color:rgb(85, 85, 85);font-family:Manjari;font-size:17px;font-style:normal;font-variant-caps:normal;font-variant-ligatures:normal;font-weight:400;letter-spacing:normal;margin:0px;orphans:2;padding:0px;text-align:left;text-decoration-color:initial;text-decoration-style:initial;text-decoration-thickness:initial;text-indent:0px;text-transform:none;white-space:normal;widows:2;word-spacing:0px;"><div class="entry-content clearfix" style="box-sizing:border-box;counter-reset:footnotes 0;margin:0px;padding:0px;">Communication is an art that many struggle with, but few realize it can be learned. Whether you’re talking to a friend, colleague, family member, or stranger, mastering this skill is within reach. Ever struggled to start a conversation or keep it going? Finding common topics of interest can be tricky, and navigating differing social or political views can feel like a minefield. But with the right approach, you can turn any interaction into a meaningful exchange.&nbsp;How do you find the right approach? More importantly, can you learn the required skills?“<a style="background-color:transparent;box-sizing:border-box;color:rgb(255, 53, 36);display:inline-block;margin:0px;padding:0px;transition:0.4s;" target="_blank" rel="noopener noreferrer" href="https://www.charlesduhigg.com/supercommunicators">Supercommunicators</a>,” written by Charles Duhigg, is a book that teaches you to learn the skills to convert a conversation into a connection. It distills the art of conversation, any conversation, including the ones with your friends and family, into actionable steps that you can readily practice and improve.<a style="background-color:transparent;box-sizing:border-box;color:rgb(255, 53, 36);display:inline-block;margin:0px;padding:0px;transition:0.4s;" target="_blank" rel="noopener noreferrer" href="https://www.charlesduhigg.com/">Charles Duhigg</a> is a Pulitzer Prize-winning American journalist and author of bestselling books. I read his first book, “The Power of Habit,” which is a constant presence in many bookstores, and liked it. I read it in 2013, and it convinced me about the importance of habits. Last year, I read his <a style="background-color:transparent;box-sizing:border-box;color:rgb(255, 53, 36);display:inline-block;margin:0px;padding:0px;transition:0.4s;" target="_blank" rel="noopener noreferrer" href="https://www.newyorker.com/magazine/2023/12/11/the-inside-story-of-microsofts-partnership-with-openai">article</a> on the ChatGPT saga and liked it for its reporting breadth and depth.<figure class="wp-caption aligncenter" style="border-width:0px;box-sizing:border-box;clear:both;display:block;height:auto;margin:15px auto;max-width:100%;padding:0px;vertical-align:middle;width:629px;" id="attachment_30055" aria-describedby="caption-attachment-30055"><img src="https://strapi.bangalore2.com/uploads/811bz_Oshn5_L_AC_UF_10001000_QL_80_F_Mwebp_7ad3ac888f.webp" alt="811bzOshn5L._AC_UF10001000_QL80_FMwebp_.webp" srcset="https://strapi.bangalore2.com/uploads/thumbnail_811bz_Oshn5_L_AC_UF_10001000_QL_80_F_Mwebp_7ad3ac888f.webp 98w,https://strapi.bangalore2.com/uploads/small_811bz_Oshn5_L_AC_UF_10001000_QL_80_F_Mwebp_7ad3ac888f.webp 314w,https://strapi.bangalore2.com/uploads/medium_811bz_Oshn5_L_AC_UF_10001000_QL_80_F_Mwebp_7ad3ac888f.webp 472w," sizes="100vw" width="undefined" height="undefined"><figcaption class="wp-caption-text" style="box-sizing:border-box;display:block;font-size:15px;line-height:20px;margin:0px;padding:12px 0px 0px;text-align:center;" id="caption-attachment-30055">Cover of the book ‘Supercommunicators’</figcaption></figure>This book starts by breaking down every conversation into three types: Analytical, Emotional, and Social. Every conversation is essentially one of these three types. In analytical talk, the conversation is a transaction where facts and details matter. In emotional talk, the conversation is all about the feelings. In social talk, the conversation is about an identity. Now, listing the types helps in nothing. You still need to know what to do with this information.Suppose you argued with your father in the morning over a trivial issue. You reach the office and share the incident with your friend. Are you looking for a solution? Do you want to be listened to intently, get advice on who was wrong, or would just a hug do ? Suppose you differed with a colleague about a work issue. Another colleague, a friend, was listening. What do you want to hear from your friend? Advice or silence or just a hug? Suppose you hear about the sudden death of a friend’s loved one. What do you say to your friend? Advice or listen or a hug? As situations differ, so does the conversation, hence the importance of its type.After breaking the communication into its types, Charles goes on to break it into a step-by-step process of turning every conversation into meaningful, often joyful interactions, and in some cases, less stressful ones, even with a person with contrasting views. He uses psychological studies and instances of experts’ communication to establish the rules of effective communication.Stories form the backbone of narration and writing style, making it easy for everyone to understand, relate, and remember the content. Charles has used his recommendation to write the book as the writing oscillates between personal anecdotes, stories, and facts, often combining all three. As you turn the pages, you gradually get convinced about the process.<figure class="wp-caption aligncenter" style="border-width:0px;box-sizing:border-box;clear:both;display:block;height:auto;margin:15px auto;max-width:100%;padding:0px;vertical-align:middle;width:767px;" id="attachment_30056" aria-describedby="caption-attachment-30056"><img src="https://strapi.bangalore2.com/uploads/high_rez_duhigg_headshot_20160720afmduhigg0082_thumb_1536x1536_1_53a5660a0f.jpg" alt="high-rez-duhigg-headshot-20160720afmduhigg0082-thumb-1536x1536-1.jpg" srcset="https://strapi.bangalore2.com/uploads/thumbnail_high_rez_duhigg_headshot_20160720afmduhigg0082_thumb_1536x1536_1_53a5660a0f.jpg 245w,https://strapi.bangalore2.com/uploads/small_high_rez_duhigg_headshot_20160720afmduhigg0082_thumb_1536x1536_1_53a5660a0f.jpg 500w,https://strapi.bangalore2.com/uploads/medium_high_rez_duhigg_headshot_20160720afmduhigg0082_thumb_1536x1536_1_53a5660a0f.jpg 750w," sizes="100vw" width="undefined" height="undefined"><figcaption class="wp-caption-text" style="box-sizing:border-box;display:block;font-size:15px;line-height:20px;margin:0px;padding:12px 0px 0px;text-align:center;" id="caption-attachment-30056">Charles Duhigg</figcaption></figure>If you have read books on personal growth, they tend to follow a pattern. Every chapter makes a proposition supported by academic research or theories, followed by a story that establishes the usefulness of the proposition. Stories of failures are not part of this scheme. This book is no exception to this formula. However, this conformance should not take away the usefulness of this book.A few days after finishing the book, I took a train journey to New Delhi. The train starts at 6 in the morning from Varanasi, requiring me to get up at 4 AM. I always travel with a book, sometimes 2. If it is a mid-noon journey, I prefer reading books to talking to a co-passenger. But, early in the morning, I like a slow warmup to come to my full senses before picking a book. Opening a conversation with a co-passenger who is perhaps also in the same state has always been a nervous affair. But I had read this book, so at least I knew a theory I could test.<img src="https://strapi.bangalore2.com/uploads/images_2024_09_30_T164448_607_ee3a11384b.jpeg" alt="images-2024-09-30T164448.607.jpeg" srcset="https://strapi.bangalore2.com/uploads/thumbnail_images_2024_09_30_T164448_607_ee3a11384b.jpeg 245w,https://strapi.bangalore2.com/uploads/small_images_2024_09_30_T164448_607_ee3a11384b.jpeg 500w,https://strapi.bangalore2.com/uploads/medium_images_2024_09_30_T164448_607_ee3a11384b.jpeg 750w," sizes="100vw" width="undefined" height="undefined">Charles suggests starting a conversation with a question that doesn’t have a 1-word answer. He calls them Deep questions. For example, instead of asking questions like, “Where are you going?” or “Are you from Varanasi?” you may ask, “What do you like about early morning train journeys?”. I started with a similar question. However, a few minutes into the conversation, the person said, “I do not like the Congress party (India’s principal opposition party).”Now, I like the Congress party. Had I not read the book, I would have gone on to list several reasons to prefer the Congress party. I would have given one argument after another, countering his response with facts and figures. I would have transformed myself into an evangelist, on a mission to reform this man and make him fall in love with the Congress party. After a few minutes of conversation, he would have silently waited for me to drain all my energy and stop. We would have withdrawn into our shells for the rest of the journey, talking only to ask for a way to leave the seat. Thankfully, I had read this book, and none of this happened.I instead said, “They give many reasons to people to dislike them.” It opened him up to offer his reasons for this blanket statement, which allowed me to steer the conversation to his upbringing, parents, childhood, values, work, motivations, etc. When I shared about my organization’s work with school children from economically underprivileged families, he shared his wife’s efforts of sheltering orphaned street dogs. We agreed on several issues, including the complete failure of the current central government, despite opposing political preferences. Neither did I contradict his personal experiences, nor did he contradict mine. Moreover, we agreed that our experiences shape our views, which are bound to change if we remain open.<img src="https://strapi.bangalore2.com/uploads/images_2024_09_30_T164615_165_ec71a30e5a.jpeg" alt="images-2024-09-30T164615.165.jpeg" srcset="https://strapi.bangalore2.com/uploads/thumbnail_images_2024_09_30_T164615_165_ec71a30e5a.jpeg 245w,https://strapi.bangalore2.com/uploads/small_images_2024_09_30_T164615_165_ec71a30e5a.jpeg 500w," sizes="100vw" width="undefined" height="undefined">“Supercommunicators” book taught me to treat every conversation as a learning opportunity. It taught me not to approach a conversation as a right vs wrong battle but to connect by sharing stories and anecdotes more than the facts. Ultimately, you can convince a person more by listening than by speaking. In a world getting more polarised, we all need to learn to talk to each other and listen better. Thankfully, we have this book.</div></div>

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Navigating Difficult Dialogues: How 'Supercommunicators' Can Help in a Polarised World"

<img src="https://strapi.bangalore2.com/uploads/images_34_770x393_796d24e9a6.jpeg" alt="images-34-770x393.jpeg" srcset="https://strapi.bangalore2.com/uploads/thumbnail_images_34_770x393_796d24e9a6.jpeg 245w,https://strapi.bangalore2.com/uploads/small_images_34_770x393_796d24e9a6.jpeg 500w,https://strapi.bangalore2.com/uploads/medium_images_34_770x393_796d24e9a6.jpeg 750w," sizes="100vw" width="undefined" height="undefined"><div class="post-body clearfix single-blog-header single-blog-inner blog-single-block blog-details-content" style="-webkit-text-stroke-width:0px;background-color:rgb(255, 255, 255);box-sizing:border-box;color:rgb(85, 85, 85);font-family:Manjari;font-size:17px;font-style:normal;font-variant-caps:normal;font-variant-ligatures:normal;font-weight:400;letter-spacing:normal;margin:0px;orphans:2;padding:0px;text-align:left;text-decoration-color:initial;text-decoration-style:initial;text-decoration-thickness:initial;text-indent:0px;text-transform:none;white-space:normal;widows:2;word-spacing:0px;"><div class="entry-content clearfix" style="box-sizing:border-box;counter-reset:footnotes 0;margin:0px;padding:0px;">Prolific documentary filmmaker R.P Amudhan’s body of work is unique and striking, especially in the manner in which his creations address issues and concerns of the marginalised sections of society. He is known as a media activist too. Hailing from Madurai, in Tamil Nadu, he founded the Marupakkam Media Activist Group (MMAG) in in his home district. The MMAG produces documentaries, screens films, and conducts workshops. He has over 20 documentaries to his credit. His films primarily focus on caste and labour issues. In this Interview with poet and writer Rashida Nasriya, filmmaker Amudhan RP discusses his craft, concerns and challenges.&nbsp;Rashidha Nasriya: What do you consider as the most significant challenge you have faced during the making of your documentaries?Amudhan RP: The biggest challenges I have faced in documenting the kind of social issues I have chosen to film are threefold. First, identifying a crucial topic which requires in-depth understanding and sufficient data to substantiate the narrative. Once I have a clear understanding of the topic, I would conduct thorough research and convince people, that is the characters in my film and their kith and kin. This has been my approach from my very first film, Leelavathi, a documentary on a Communist Party of India (Marxist) – CPIM- cadre killed in Madurai in 1997. I was relatively young at that time and the task of persuading her family and the district CPIM committee took a lot of effort. I finally did get their consent. It was a difficult task to get their trust.The second challenge – although a joyful one – is researching and gathering credible information, while the third is securing funding. As a solo filmmaker, I have learned to be self-sufficient. But still finding funds is a challenge. Any filmmaker would go through these challenges in varying degrees.<img src="https://strapi.bangalore2.com/uploads/images_35_721e230496.jpeg" alt="images-35.jpeg" srcset="https://strapi.bangalore2.com/uploads/thumbnail_images_35_721e230496.jpeg 208w,https://strapi.bangalore2.com/uploads/small_images_35_721e230496.jpeg 500w," sizes="100vw" width="undefined" height="undefined">Nasriya: Did your activist background influence your decision to become a filmmaker?Amudhan: During my MA studies, I attended a workshop in Madurai organised by Center for Development of Instructional Technology (CENDIT), an organisation based in New Delhi. Here, I was exposed to several powerful documentary films. This experience opened my eyes to the significance of political documentaries. I was introduced to the concept of using film as a tool for social change, and I immediately knew I wanted to become a documentary filmmaker and an activist. This workshop sparked my passion for creating and screening films that inspire critical thinking and trigger meaningful conversations. It was a turning point that led me to merge my interests in social activism and filmmaking, ultimately shaping my identity as an activist-filmmaker. Activism and filmmaking are deeply intertwined for me – they’re two sides of the same coin. My filmmaking is an extension of my activism, and vice versa; the two are inseparable.Nasriya: Your film “My Caste” examines the intersection of caste, hegemony, and consensus in Indian society. What has driven your focus on caste in your activism and filmmaking?Amudhan: I wanted to take on the Caste issue from the perpetuator point of view rather than from the victim’s or survivor’s point of view. I wanted to get into the minds of the people who either follow or negotiate or negate caste in their lives. I wanted to know what happens in people’s minds when they deal with caste matters. That’s why I made the film ‘My Caste’ ‘recording the views of various people on caste related questions.<figure class="wp-caption aligncenter" style="border-width:0px;box-sizing:border-box;clear:both;display:block;height:auto;margin:15px auto;max-width:100%;padding:0px;vertical-align:middle;width:951px;" id="attachment_30033" aria-describedby="caption-attachment-30033"><img src="https://strapi.bangalore2.com/uploads/IMG_20240927_WA_0021_d0a7a9b78c.jpg" alt="IMG-20240927-WA0021.jpg" srcset="https://strapi.bangalore2.com/uploads/thumbnail_IMG_20240927_WA_0021_d0a7a9b78c.jpg 154w,https://strapi.bangalore2.com/uploads/small_IMG_20240927_WA_0021_d0a7a9b78c.jpg 495w,https://strapi.bangalore2.com/uploads/medium_IMG_20240927_WA_0021_d0a7a9b78c.jpg 743w," sizes="100vw" width="undefined" height="undefined"><figcaption class="wp-caption-text" style="box-sizing:border-box;display:block;font-size:15px;line-height:20px;margin:0px;padding:12px 0px 0px;text-align:center;" id="caption-attachment-30033">Amudhan speaking at an event</figcaption></figure>Nasriya: Can you give some details on how you investigated labour exploitation in Tirupur’s garment industry for your documentary “Dollar City”?Amudhan: Many of my films focus on labour issues, with a considerable number exploring labour practices. For my trilogy on hegemony and consensus, I chose Tirupur as a case study. This city exemplifies how consensus is manufactured to prioritise the industry’s interests.In Tiruppur, a tacit understanding exists among industries, trade unions, workers, NGOs, and political parties to protect the industry at all costs. The prevailing narrative is: ‘Without the industry, we cannot survive.’ This consensus leads to widespread compromise and adjustment, perpetuating the exploitation.<figure class="wp-caption aligncenter" style="border-width:0px;box-sizing:border-box;clear:both;display:block;height:auto;margin:15px auto;max-width:100%;padding:0px;vertical-align:middle;width:739px;" id="attachment_30028" aria-describedby="caption-attachment-30028"><img src="https://strapi.bangalore2.com/uploads/images_36_2e37ef3154.jpeg" alt="images-36.jpeg" srcset="https://strapi.bangalore2.com/uploads/thumbnail_images_36_2e37ef3154.jpeg 245w,https://strapi.bangalore2.com/uploads/small_images_36_2e37ef3154.jpeg 500w," sizes="100vw" width="undefined" height="undefined"><figcaption class="wp-caption-text" style="box-sizing:border-box;display:block;font-size:15px;line-height:20px;margin:0px;padding:12px 0px 0px;text-align:center;" id="caption-attachment-30028">During production of Amudhan’s documentary</figcaption></figure>I want to capture this complex dynamic in my film, highlighting how Tiruppur’s industry-centric consensus affects labor rights and social justice.&nbsp;Nasriya: How did you approach exploring the complex and sensitive topic of manual scavenging in your film “Pee (Shit)”?Amudhan: I wanted to make a Tamil version of Lesser Humans – a documentary on Manual Scavenging in Gujarat by Stalin K. Although I wanted to make a similar comprehensive film about Tamilnadu, my encounter with Mariamma, a sanitary worker in Madurai convinced me to make a short documentary which practically covers every aspect of the work.I realised a shorter format could powerfully convey the urgency of this issue, making a compelling argument against manual scavenging. This inspired me to create the film titled ‘Pee’ (Shit) [Watch Below], highlighting the harsh realities of manual scavenging.<div class="raw-html-embed"><iframe width="640" height="480" src="https://www.youtube.com/embed/a0eWOHAvVn4" title="Shit - a documentary by Amudhan R.P." frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen=""></iframe></div>&nbsp;Nasriya: What inspired you to create a documentary about Mercury pollution in Kodaikanal?Amudhan: The film ‘Mercury in the Mist’ was initiated by workers from the Kodaikanal thermometer factory, who had been fighting against the company’s harmful practices. They sought my help to create a documentary supporting their cause, highlighting the devastating health effects of mercury exposure and their ongoing court battles. It was partially funded by the workers and their well wishers like Nityanand Jayaraman and others.&nbsp;Nasriya: Do you think the documentary can contribute to the border understanding of the challenges facing Indian democracy?Amudhan: Documentary watching is, in my opinion, one of the most engaging and intellectually stimulating activities. It offers a unique blend of education, art, and social awareness, empowering individuals to become responsible citizens. By watching documentaries, we gain perspectives on the world around us, exercising our right to informed decision-making and participatory governance. Through my screenings, I aim to create opportunities for social and political education, fostering a culture of critical thinking and civic engagement. Documentaries provide a valuable platform for raising awareness on critical issues, making meaningful conversations and inspiring social change.&nbsp;Nasriya: How crucial is creative freedom in documentary filmmaking for fostering critical thinking and public debate?Amudhan: In documentary filmmaking, merely reporting or recording is not enough. It is an opportunity to critically examine any subject, sparking meaningful discussions. We must be courageous enough to ask difficult questions, amplify marginalized voices and confront uncomfortable truthsUnlike commercial cinema, documentary filmmakers must take risks, challenging the status quo and pushing boundaries. By doing so, we humanize overlooked stories, Inspire critical thinking and foster empathy and understanding.&nbsp;Nasriya: How did your initiative “Marupakkam” come about…?Amudhan: Marupakkam is a network of people collaborating to promote documentary filmmaking and social change. We invite participation from individuals across India in various capacities, including funding, research, topic development, filmmaking, screening, and documentary workshops.&nbsp;<figure class="wp-caption alignright" style="border-width:0px;box-sizing:border-box;display:inline;float:right;height:auto;margin:5px 0px 20px 20px;max-width:100%;padding:0px;vertical-align:middle;width:1080px;" id="attachment_30029" aria-describedby="caption-attachment-30029"><img src="https://strapi.bangalore2.com/uploads/Screenshot_20240927_1713542_bec309fa73.png" alt="Screenshot_20240927-1713542.png" srcset="https://strapi.bangalore2.com/uploads/thumbnail_Screenshot_20240927_1713542_bec309fa73.png 245w,https://strapi.bangalore2.com/uploads/small_Screenshot_20240927_1713542_bec309fa73.png 500w,https://strapi.bangalore2.com/uploads/medium_Screenshot_20240927_1713542_bec309fa73.png 750w,https://strapi.bangalore2.com/uploads/large_Screenshot_20240927_1713542_bec309fa73.png 1000w," sizes="100vw" width="undefined" height="undefined"><figcaption class="wp-caption-text" style="box-sizing:border-box;display:block;font-size:15px;line-height:20px;margin:0px;padding:12px 0px 0px;text-align:center;" id="caption-attachment-30029">Homepage of Marupakkam [Visit <a style="background-color:transparent;box-sizing:border-box;color:rgb(255, 53, 36);display:inline-block;margin:0px;padding:0px;transition:0.4s;" target="_blank" rel="noopener noreferrer" href="http://marupakkammadurai.blogspot.com/?m=1">Here</a>]</figcaption></figure>Our activities involve screening documentaries, researching social issues, making films on relevant topics, teaching documentary filmmaking, and showcasing films made by others. Through these efforts, we aim to foster a community that inspires social change through documentary filmmaking.&nbsp;&nbsp;Nasriya: As a prolific documentary creator what advice would you give to emerging filmmakers?Amudhan: To young and upcoming filmmakers, I say: read widely, travel extensively, and cultivate an open-minded perspective. Listen to diverse voices, even in everyday settings like markets, where numerous perspectives converge. If you don’t have an open mind, you will only hear the voices that confirm your existing views. But with an open mind, you will identify and appreciate the varied voices, even within the same marketplace.</div></div>

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Amudhan’s Craft, Concerns and Challenges

<p style="-webkit-text-stroke-width:0px;background-color:rgb(255, 255, 255);box-sizing:border-box;color:rgb(39, 39, 39);font-family:Manjari;font-size:18px;font-style:normal;font-variant-caps:normal;font-variant-ligatures:normal;font-weight:400;letter-spacing:normal;line-height:1.7;margin:0px 0px 15px;orphans:2;padding:0px;text-align:left;text-decoration-color:initial;text-decoration-style:initial;text-decoration-thickness:initial;text-indent:0px;text-transform:none;white-space:normal;widows:2;word-spacing:0px;">The victory of Marxist leader Anura Kumara Dissanayake in Presidential election in Sri Lanka has been described as a political Tsunami by international politicians and observers. Sri Lanka based Independent policy analyst and writer Amita Arudpragasam analyses the context of the results in detail and points out that it was the economic mismanagement and corruption of earlier, dynasty oriented, regimes as well as Anura’s clean image that propelled significant sections of voters towards the Leftist JVP leader.<p style="-webkit-text-stroke-width:0px;background-color:rgb(255, 255, 255);box-sizing:border-box;color:rgb(39, 39, 39);font-family:Manjari;font-size:18px;font-style:normal;font-variant-caps:normal;font-variant-ligatures:normal;font-weight:400;letter-spacing:normal;line-height:1.7;margin:0px 0px 15px;orphans:2;padding:0px;text-align:left;text-decoration-color:initial;text-decoration-style:initial;text-decoration-thickness:initial;text-indent:0px;text-transform:none;white-space:normal;widows:2;word-spacing:0px;">She also points out that while the victory does indeed signify the emergence of new hopes in the country, it would be too early to predict dramatic policy and ideological shifts, including in the island nation’s orientation towards India and China. Watch the interview here.<hr><p style="-webkit-text-stroke-width:0px;background-color:rgb(255, 255, 255);box-sizing:border-box;color:rgb(39, 39, 39);font-family:Manjari;font-size:18px;font-style:normal;font-variant-caps:normal;font-variant-ligatures:normal;font-weight:400;letter-spacing:normal;line-height:1.7;margin:0px 0px 15px;orphans:2;padding:0px;text-align:left;text-decoration-color:initial;text-decoration-style:initial;text-decoration-thickness:initial;text-indent:0px;text-transform:none;white-space:normal;widows:2;word-spacing:0px;">ഈ വിഷയത്തിൽ പരിസ്ഥിതി പ്രവർത്തകനും എഴുത്തുകാരനുമായ കെ സഹദേവൻ എഴുതിയ കുറിപ്പ് ചുവടെ നൽകുന്നു:<h2 style="-webkit-text-stroke-width:0px;background-color:rgb(255, 255, 255);box-sizing:border-box;color:rgb(39, 39, 39);font-family:Manjari;font-size:25px;font-style:normal;font-variant-caps:normal;font-variant-ligatures:normal;letter-spacing:normal;line-height:1.2;margin:0px 0px 15px;orphans:2;padding:0px;text-align:left;text-decoration-color:initial;text-decoration-style:initial;text-decoration-thickness:initial;text-indent:0px;text-transform:none;white-space:normal;widows:2;word-spacing:0px;">അദാനിയും ശ്രീലങ്കയിലെയും ബംഗ്ലാദേശിലേയും ഭരണ വ്യവസ്ഥയിലെ വമ്പൻ മാറ്റങ്ങളും</h2><p style="-webkit-text-stroke-width:0px;background-color:rgb(255, 255, 255);box-sizing:border-box;color:rgb(39, 39, 39);font-family:Manjari;font-size:18px;font-style:normal;font-variant-caps:normal;font-variant-ligatures:normal;font-weight:400;letter-spacing:normal;line-height:1.7;margin:0px 0px 15px;orphans:2;padding:0px;text-align:left;text-decoration-color:initial;text-decoration-style:initial;text-decoration-thickness:initial;text-indent:0px;text-transform:none;white-space:normal;widows:2;word-spacing:0px;">ശ്രീലങ്കയിലെയും ബംഗ്ലാദേശിലെയും എന്തിന് ഓസ്‌ട്രേലിയയിലെപ്പോലും രാഷ്ട്രീയ ഭരണമാറ്റത്തിന് പിന്നിലെ പൊതുഘടകത്തെ കണ്ടെത്താൻ ശ്രമിച്ചാൽ ഗൗതം അദാനിയിൽ ചെന്ന് മുട്ടും. ഉഭയകക്ഷി ബന്ധങ്ങളെ വ്യവസായി താൽപ്പര്യങ്ങൾക്കായി ഉപയോഗപ്പെടുത്താൻ ഭരണകൂടങ്ങൾ തുനിഞ്ഞിറങ്ങിയാൽ അതിന്റെ അനിവാര്യഫലമെന്നത് ആ രാജ്യത്തിന്റെ സാമ്പത്തിക സുസ്ഥിരത തകർക്കപ്പെടുക എന്നതായിരിക്കും.<p style="-webkit-text-stroke-width:0px;background-color:rgb(255, 255, 255);box-sizing:border-box;color:rgb(39, 39, 39);font-family:Manjari;font-size:18px;font-style:normal;font-variant-caps:normal;font-variant-ligatures:normal;font-weight:400;letter-spacing:normal;line-height:1.7;margin:0px 0px 15px;orphans:2;padding:0px;text-align:left;text-decoration-color:initial;text-decoration-style:initial;text-decoration-thickness:initial;text-indent:0px;text-transform:none;white-space:normal;widows:2;word-spacing:0px;">ബംഗ്ലാദേശിന് വൈദ്യുതി വിൽക്കുന്നതുമായി ബന്ധപ്പെട്ട കരാർ അദാനിക്ക് ലഭ്യമാക്കുന്നതിന് ബീഗം ഹസീനയ്ക്ക് മേൽ സമ്മർദ്ദമുയർത്താൻ നരേന്ദ്ര മോദിക്ക് യാതൊരു മടിയുമുണ്ടായിരുന്നില്ല. 2015ലെ മോദിയുടെ ബംഗ്ലാദേശ് സന്ദർശനത്തിന്റെ മുഖ്യ അജണ്ടതന്നെ അദാനിക്ക് വൈദ്യുതി വിതരണക്കരാർ നേടിയെടുക്കുക എന്നതായിരുന്നു.<p style="-webkit-text-stroke-width:0px;background-color:rgb(255, 255, 255);box-sizing:border-box;color:rgb(39, 39, 39);font-family:Manjari;font-size:18px;font-style:normal;font-variant-caps:normal;font-variant-ligatures:normal;font-weight:400;letter-spacing:normal;line-height:1.7;margin:0px 0px 15px;orphans:2;padding:0px;text-align:left;text-decoration-color:initial;text-decoration-style:initial;text-decoration-thickness:initial;text-indent:0px;text-transform:none;white-space:normal;widows:2;word-spacing:0px;">ഇന്ന് ബംഗ്ലാദേശ് ഭരണകൂടത്തിന്റെ മുന്നിലുള്ള പ്രധാന അജണ്ട അദാനിയുമായുള്ള കരാറിൽ നിന്ന് എങ്ങിനെ രക്ഷപ്പെടാം എന്നതാണ്. ശ്രീലങ്കയിൽ 400 മില്യൺ ഡോളറിന്റെ ഗ്രീൻ എനർജി പ്രോജക്ടുകളാണ് അദാനി നേടിയെടുത്തത്. 225 മെഗാവാട്ടിന്റെ കാറ്റാടിപ്പാട നിർമ്മാണ പദ്ധതി നേടിയെടുക്കുന്നതിനും നയതന്ത്ര ബന്ധങ്ങൾ ഉപയോഗപ്പെടുത്തപ്പെട്ടു.<p style="-webkit-text-stroke-width:0px;background-color:rgb(255, 255, 255);box-sizing:border-box;color:rgb(39, 39, 39);font-family:Manjari;font-size:18px;font-style:normal;font-variant-caps:normal;font-variant-ligatures:normal;font-weight:400;letter-spacing:normal;line-height:1.7;margin:0px 0px 15px;orphans:2;padding:0px;text-align:left;text-decoration-color:initial;text-decoration-style:initial;text-decoration-thickness:initial;text-indent:0px;text-transform:none;white-space:normal;widows:2;word-spacing:0px;">ഇതിനുപുറമെ 700 ദശലക്ഷം ഡോളറിന്റെ കണ്ടൈയ്‌നർ തുറമുഖ പദ്ധതിയും നേടിയെടുക്കാൻ അദാനിക്ക് സാധിച്ചു. ഈ രണ്ട് പദ്ധതികളും ശ്രീലങ്കയുടെ ദീർഘകാല താൽപ്പര്യങ്ങൾക്ക് വിരുദ്ധമാണെന്ന ആരോപണം പാർലമെന്റിലും പുറത്തും ശക്തമായി ഉന്നയിക്കപ്പെട്ടുകൊണ്ടിരിക്കുകയാണ്.<p style="-webkit-text-stroke-width:0px;background-color:rgb(255, 255, 255);box-sizing:border-box;color:rgb(39, 39, 39);font-family:Manjari;font-size:18px;font-style:normal;font-variant-caps:normal;font-variant-ligatures:normal;font-weight:400;letter-spacing:normal;line-height:1.7;margin:0px 0px 15px;orphans:2;padding:0px;text-align:left;text-decoration-color:initial;text-decoration-style:initial;text-decoration-thickness:initial;text-indent:0px;text-transform:none;white-space:normal;widows:2;word-spacing:0px;">ഓസ്‌ട്രേലിയയിൽ അദാനി നേടിയെടുത്ത കാർമൈക്കൾ കൽക്കരി ഖനന കരാറും ഇതേരീതിയിൽ അതിശക്തമായ രാഷ്ട്രീയ എതിർപ്പ് ക്ഷണിച്ചുവരുത്തിയ ഒന്നാണ്. ഒരു ദശകക്കാലത്തെ കൺസർവേറ്റീവ് ഭരണത്തിന് അറുതിവരുത്തിക്കൊണ്ട് ലെഫ്റ്റ് ചായ്വുള്ള ആന്റണി അൽബനീസ് ഗവൺമെന്റ് അധികാരക്കസേരയിലെത്തിയതിന് പിന്നിലും ഗൗതം അദാനിക്കെതിരായ പ്രതിഷേധത്തിന്റെ വേരുകൾ കണ്ടെത്താൻ കഴിയും…

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