Pagglait; a film with a different streak / Sanjiva Sahai
🎥 Pagglait A Netflix original Hindi movie streaming now
⬜️ Tragedy strikes the Giri family when Astik dies just after a few months of his marriage leaving behind a young widow. Another take on the decadent societal norms and the age-old perception on death, loss and widowhood- you might think and anticipate. Thankfully, writer-director Umesh Bist manages to brush aside the clichés to bring in some new insight, underlined by wit and a relatable plot.
⬜️ I guess this is for the first time Arijit Singh is being introduced as a composer. Songs and theme tracks are heartwarming. They might not be chartbusters but are apt for the movie. Arijit and Neelesh Misra have done the lyrics which, to me, appeared average.
⬜️ The ensemble cast empowers the film with authenticity and some memorable moments. The patriarchy, the inner wranglings, the greed, the romance – it’s all there in this saga featuring three generations. Sanya Malhotra shines gloriously in an understated performance. Ashutosh and Sheeba, as her parents-in-law, are again delightfully subtle and genuine. Shruti Sharma (Sanya’s friend) and Sayani Gupta (in a brief appearance) have some off-beat sequences to their credit. Raghubir Yadav, Rajesh Tailang, Meghna Malik and Jameel Khan contribute their bit to add some more dramatic tension, but nothing path-breaking.
⬜️ Watch if you have time and a subscription. ▪️▪️▪️
Spic Macay – Pt. Rajan Mishra – IIT Delhi Program
The pandemic is growing rapidly all over the world. With aim of spreading hope and remembering Pandit Rajan Mishra ji (who passed away on the 25th of April), SPIC MACAY dedicates its online 3-day IIT Delhi Diamond Jubilee year program to him, the details of which are given in the link: https://spicmacay.org/rendezvousiitdelhidj
🎥🎬 April 30th, 6:00 pm, Friday: Cinema Classic “Hirak Rajar Deshe” by Shri Satyajit Ray, followed by an interaction with the expert, Tuhinabha Majumdar ji Link: bit.ly/smcinemaclassic
🙇♂️1st May, 3:00 pm, Saturday Afternoon : Great Masters Series- Vidwan Lalgudi G Jayaraman, followed by an interaction with G J R Krishnan ji Link: bit.ly/smlivezoom
🎤🎻🎼May 1st, 6:00 pm, Saturday Evening: Classical Evening Series with Vidushi Nandini Bedekar (Hindustani vocalist) Link: bit.ly/smlivezoom
🎨May 2nd, 12 noon, Sunday: Craft and Folk Series with Shri Rajaram Sharma (Pichwai Painting) Link: bit.ly/smvolunteermeet
Folk Theatre Forms of India: Tamasha
Tamasha is considered a major traditional dance form of the Marathi theatre, which includes celebration filled with dancing and singing and is performed mainly by nomadic theatre groups throughout the Maharashtra region. The word “Tamasha” is loaned from Persian, which in turn loaned it from Arabic, meaning a show or theatrical entertainment.1 In the Armenian language, “To do a Tamasha” means to follow an exciting and fun process or entertainment. Unofficially, this word has come to represent commotion or display full of excitement.1 The traditional form of Tamasha was inspired by a lot of other art forms like Kathakali, Kaveli, ghazals etc.
The region of Maharashtra had a long theatrical tradition, with early references to the cave inscriptions at Nashik by Gautami Balashri, the mother of the 1st-century Satavahana ruler, Gautamiputras Satakarni. The inscription mentions him organizing Utsava’s a form of theatrical entertainment for his subjects.1 Tamasha acquired a distinct form in the late Peshwa period of the Maratha Empire and incorporated elements from older traditional forms like Dasavatar, Gondhal, Kirtan etc. Traditional Tamasha format consisted of dancing boys known as Nachya, who also played women’s roles, a poet-composer known as Shahir, who played the traditional role of Sutradhar, who compered the show. However, with time, women started taking part in Tamasha.2
Marathi theatre marked its journey at the beginning of 1843.3 In the following years, Tamasha primarily consisted of singing and dancing, expanded its range and added small dramatic skits known as Vag Natya.3 These included long narrative poems performed by the Shahir and his chorus, with actors improvising their lines. There are two types of Tamasha dance forms: dholki bhaari and the older form known as sangeet baari, which contains more music and dance than drama.4
The government of Maharashtra has instituted annual awards in the memory of the late Vithabai Narayangavkar Lifetime Achievement Award for those who had extensively contributed to the preservation of the Tamasha Art form throughout the world.1
_________________________________ Independent Project by Sezal Chug Guide: Prof. Manohar Khushalani __________________________________
Bihu is the indigenous folk dance part of the Assamese culture mainly performed in Assam, India. It is a traditional dance centered around the red colour theme, signifying joy, vigour and celebration.1 Celebrated by both men and women, this merry dance emphasizes the Assamese tradition’s cultural roots when the Ahom king Rudra Singha (1696-1714) invited Bihu dancers on the special occasion Rongali Bihu in 1694. This inherited tradition started generations ago when the local farmers celebrated the harvest and enjoyed this ceremonial dance. It symbolizes the beginning of the agricultural season in the Northern parts of India.2
The word ‘Bihu’ is derived from the Sanskrit word ‘Bishu’, which refers to asking blessings and prosperity from the Gods during harvest season.1 The songs and dance movements symbolize a deep interconnect between nature, culture and civilization of the region. This folk dance is performed at the three different Bihu dance festivals, namely Bohag Bihu, Kongali Bihu and Bhogali Bihu.3 It represents the integral relationship between agriculture and fertility; it embodies growth and celebrates bountiful harvests and abundance. It helps strengthen the sense of identity and belongingness among the Assamese people and reignites the spirit of sharing and trust.4 These traditions of songs and dances depict the feeling of support and love of the community with each other.
This traditional folk dance is manifested in numerous delicacies, snacks, and savouries prepared and relished by the locals, the quintessential among them being the Pithas.5 These are prepared way ahead of the occasion and are an excuse for the womenfolk to socialize and celebrate togetherness and bond. Some varieties used for Bhogali snacks are Bora-dhan, Malbhog-dhan, Beji-Dhan and Sokua-dhan. 5
In this traditional dance, women are dressed in chadormekhela, usually made of muga silk combined with traditional ornaments like Gaam kharu, dhul biri, jun biri, golpata etc. 1This outfit’s beauty is increased by adding a Kopou phool and red bindi, which makes the women look like an enchantress. The men wear a traditional dhoti and gamocha and embrace the traditional Indian culture with a piece of red cloth around their waist called tongali. 1
This folk dance not only symbolizes celebration but also youthful passion, joy and seduction. On the night of the festival, locals light a bonfire and spend their time singing and dancing around the Meji. The next day, in the early morning, the ashes of this bonfire are scattered around the farmland to increase fertility and production.3 Most performances include men playing musical instruments like drums, pipes and flutes while women dance with their hands above their hips at the back and palms facing outwards, swaying while slightly bending forward.
The spirit of harmony and togetherness plays a vital role in modern-day Assamese society and symbolizes the Assamese cultural identity. It has also gained immense international recognition as it was performed globally at the London Olympics in 2012. Being a spectacle of teamwork and collaboration, this harvest Bihu festival essentially resonates with the essence of Traditions, customs and rituals coming from a rural-agricultural setting.
_________________________________ Independent Project by Sezal Chug Guide: Prof. Manohar Khushalani __________________________________
India is one of the world’s oldest civilizations globally, and it encompasses a kaleidoscopic variety and rich cultural heritage. We have strengthened our socio-economic hold in the world ever since Independence. However, our classical heritage is something to be cherished since the very beginning of civilization. One of India’s famous classical dances that represent the historical enchantress avatar of the Hindu god Vishnu was developed in Kerala called Mohiniyattam.4 According to the mythological text, Vishnu took Mohini’s form to distract the demon Bhasmasura, while the gods took the elixir of immortality from the churning of the celestial oceans and thus saved the world from destruction.2 The Mohini myth forms the heart of every Mohiniyattam performance as it stands for good prevailing over evil.2
The earliest mention of this word can be found in the 16th-century text Vyavaharamala. The dance was systematized in the 18th century but later ridiculed as a Devdasi prostitution system during the British Raj, where it faced many bans.2 The socio-political conflict ultimately led to the revival and reconstruction of Mohiniyattam by the people of Kerala, particularly the poet Vallathol Narayana Menon. Since then, Mohiniyattam has not only been the focus of academic study but has also been integrated across India into the curricula of other art schools and universities.1
Like most classical dances, its roots come from the ancient Hindu Sanskrit performance arts named Natya Shastra. It follows the delicate, eros-filled and feminine Lasya style performed by a woman after extensive training. 3Mohiniyattam’s repertoire includes Carnatic style music, singing and performing a play by expressing your feelings in a musical. The song is typically a hybrid of Malayalam-Sanskrit and is called Manipravalam.1 Through delicate footsteps, undulating body motions, and subtle but poignant facial expressions, Mohiniyattam projects the essence of feminine grace-a quality. It is also noteworthy for their shringara (erotic) depictions of divine love.2
The South Indian Classical Music Ensemble for Mohiniyattam included a vocalist, a toppi maddalam (barrel drum) and a vina (long-necked lute). However, in the modern world, toppi maddalam is replaced by a mridangam (double-headed drum), and the vina is substituted by a violin. Manipravala, a literary mixture of Malayalam and Sanskrit, is the language of song texts.3,5
Mohiniyattam comprises 40 various basic movements called adavukal characterized by the swaying of hips and the gentle movements from side-to-side with straight body posture. Like most other classical dance forms in India, this dance utilizes the sign language (mudra) mentioned in the ancient Hastha Lakshanadeepika treatise to convey the story.5 These mudras are expressed through the fingers and palms of the hands. Mohiniyattam emphasizes acting and expressing emotions through a musical performance wherein the performer identifies herself with the character and resonates her sentiments in the compositions like the Padams and Pada Varnams.5 A white sari, bordered with broad golden brocade (called kasavu in Malayalam) forms the simple but elegant attire for Mohiniyattam.3 This costume provides it with a unique identity among classical dance forms of India. It leaves the audience with an awe of the performer.
For many years now, Indian Classical dance has been one of the most influential folk forms globally. Foreigners are mesmerized by our rich cultural capital and continue to remain in awe of our history and our styles’ evolution. The choreography, costumes, jewellery, and makeup continue to inspire, dazzle, and dominate the global cultural market. This proves that the finesse and richness of our heritage are alive and will grow with generations to come.
_____________________________________ Independent Project by Sezal Chug. Guide Prof. Manohar Khushalani _____________________________________
Kathakali is a major classical dance form from Ancient India. It is a “story play” of art that includes elaborate, colourful makeup, beautiful mesmerizing costumes and face masks traditionally performed by male dancers. It is a Hindu folk dance performed in the Malayalam speaking southwest region of Kerala. Kathakali is derived from Katha, which means “story or a traditional tale”, and Kalī means “performance or art”.1 Kathakali is a long tradition that symbolizes the eternal fight between good and evil. It was given its present form by Mahakavi Vallathol Narayan Menon, the founder of the Kerala KalaMandalam.
Being a more relatable form of art strikes a chord with the public as it embodies their customs and religions. It involves vigorous and florid movements, stylized gestures and loads of facial expressions. These gestures are broad and robust, and faces are made from face paint which look like masks. The characters of Kathakali express their emotions and the story through songs from the background and their unique loud expressions. Dances rely on hand gestures, known as mudra, to convey the soul of the story.2,3 Costumes, makeup and face masks are the most distinguishing features of this classical dance. There are several kinds of costumes including, Sathwika (the hero), Kathi (the villain), Minukku (females), and Thatti.1 Each character is easily recognizable by his makeup, costume and mask. This costume consists of a full skirt and heavy jacket with embellished garlands and jewellery.4 The musical notes of Kathakali are similar to the traditional classical music of South India; however, the instruments used are different. Chenda, idakka, and shuddha madalam are the most common instruments used.3 It leaves a spellbound experience to its viewers and performs epic Indian ancient folklore with the most intricate and mesmerizing movements.
Kathakali combines drama, dance, music, storytelling, costumes, makeup and devotion into a divided experience. It brings humanity into Hinduism and expresses emotions beyond words.2 These temple rituals have evolved into a vibrant drama that encircles the essence of being a human. It provides a spectacle to live and an opportunity to view the ancient lifestyle and heritage preserved for centuries.5 This theatre has now reached the doors of the most powerful forms of storytelling in the world theatre and unlocked appreciation for Indians worldwide. Kathakali unlocked the mystery of the Sanskrit poems and made them accessible to the broader community.
AstroVish to Manohar Khushalani: Will This Covid Nightmare Ever End?
According to Astro Vish alias Vishwanath Hiremath: Due to Kaal Sarp Dosh in December 2019, in the earths horoscope, all the planets were on one side of the vertical axis and Rahu was on the opposite side – hence creating strong negative effects of COVID 19. Why then the second wave has come, and will it ever go or are we doomed to suffer til eternity as wave after wave strikes us with Covid 19/20/21….Watch the Discussion
Once again, explains Astro Vish, Kaal Sarp Dosh for horoscope of INDIA and South East Asia, planet alignment started in February 2021. What is Kaal Sarp Dosh? All planets on one side of the Axis, Ketu or Rahu on the other side of the axis are known as Kaal Sarp Dosh. As of now Ketu is forming the Kaal Sarp Dosh for India. Also Planet Mars along with Rahu in Taurus sign. Two enemies together adds to the worst scenario Planet Venus in enemy sign Aries Debilitated Mercury in Pisces Little relief after transit of Jupiter in Aquarius on 6th April though still in an enemy sign. Until most planets align and be in friendly signs this will continue …. wait till June to see better results.
In the Matrix as we all know the binary numbers zero and one were found by our Rishis in our Vedas. Vedic Astrology has been in our Shastras since ancient times. The science of astrology from our Vedas comes from Rishis, ancient texts more than 5000 years ago if not more…. Our Indian Mythology has historic stories of our gods and planets, their relationships with each other. Each planet is a living character in Indian mythology. Along with The study of nine planets only in vedic astrology we consider Rahu and Ketu in astrology. Vishwanath combines these three sciences to calculate and interpret the horoscopes. The stories of Shani Dev his relationship with his father SUN. Chaya Suns wife … shadow gave birth to Shani dev he was not accepted by his father. The epic stories of Lord Shiva and Shani dev who was made the supreme judge by Lord Shiva for all souls, he is called Karam fal daata… Lord of kaal… time . Why Mars and Venus are enemies. Moon angered Jupiter for having an affair with his wife. many epic dramas enfold… hence the placement of the planets in the charts and their relationship with each other the degrees of the zodiacs within their chart cause issues created in the horoscope. Our karmas play a vital role also. Law of karma… Climate change has started affecting us we must wake up to the wrath of NATURE…. surrender to nature, keep the balance. Stay safe Disclaimer: Astrology is an ancient art of analyzing planetary positions, birth charts. It is speculative and has its limitation. This post and video are provided for entertainment purposes only. The Author, Astrovish (Vishwanath Hiremath) is not responsible if you are not entertained by it. You are responsible for your own life choices and decisions. The author is not qualified to give legal, financial, medical, psychological, psychiatric or any other specialist advice. If you require such advice you should seek the services of a licensed professional.
Radheka Shrinagesh Hiremath and Vishwanath Hiremath Writers
Watch All the AstroBuzz with AstroVish:
AstroVish with Manohar Khushalani : Consequences of the Conjunction between Saturn and Jupiter
StageBuzz is a Lifestyle Magazine. Any thing creative, cultural, insightful that adds to your quality of life, finds its way here. So why not Astrology for those who believe in it With this webinar we begin a column on Astrology
Watch the webinar below. Vishwanath Hiremath alias AstroVish, the Astrologer, in Conversation with Manohar Khushalani on the much hyped conjunction between Saturn and Jupiter which happened on 21st Dec. 2020. This was webcast on TheStageBuzz youtube channel on 28th December 2020. Publishing it for those who havent yet watched it.
AstroVish has an infinite fascination for Lord Saturn● Shani Dev. He would drive from Goa to Pune then Shanishinganapur carrying Honey, Oil, Bananas, Dry fruits, Mithai for his worship and has been praying every Saturday for 5 years. It all started with a book gifted to him: The Greatness of Saturn by Robert Svoboda. Deep studies of 11 years. A gifted Vedic Astrologer combines Indian Mythology, Planets and Blessing of Lord Saturn. – Radheka Shrinagesh
Watch AstroBuzz created by The Cosmic Dance of Heavenly Bodies See All Episodes
Folk Dances of India: Garhwali
Folk music, dance and theatre represent the traditions and cultural richness of an area. It sheds light on rural life, which is closely associated with inherent customs. Uttrakhand has a vibrant culture, and the diverse, authentic folk dance forms reflect the same. The fascinating mythical dancing damsels that dwell on the snow-clad peaks of the Himalayas are the inspiration of most folk dances.1 These folk dances mainly performed in groups while worshipping or celebrating. These folk dances are influenced by the public’s divine connection with “Natraja”, Lord Shiva, and the relationship of “Pandava” in Mahabharata to the Garhwali Himalaya. Dancing and theatre run in the veins of the Garhwali, the locals of the Garhwali region celebrate their joys and sorrows through dance.1 The five most popular dances of the Garhwali locals and their stories behind them are below.
Pandav Nritya The Pandava Nritya describes the tale of the five brothers in the Hindu mythology of Mahabharata. This traditional cultural dance is a 10-12 day celebration that depicts the various stages of their lives.2 It is believed that the energies of the five Pandavas enter the body of performing artists during the stage performance, which ends with a grand feast organized for the entire village. It is a simple narration of Mahabharata’s story and is enacted during the occasion of Diwali in the popular districts of Chamoli and Pauli Garhwal.2
Bhotia Dance The Bhotiya tribe of the Gharhawali region, just as their name is well known for the dance of the dead.1 The folk dance performed by the locals is closely linked to the death rituals. A popular belief amongst these locals is that souls of the dead live in cattle’s body even after the human body dies. By performing this dance, they believe that these souls of the dead would be liberated from the animal’s body, and these elders would attain peace.2
Barada Nati The folk dance of Jaunsar Bhawar area of Chakrata Tehil in Uttrakhand is performed on the eve of religious festival and celebrations.2 Both men and women participate and bring colours to this celebration with their fascinating colourful traditional costumes.
Bajuband This is folk dance depicting love and sacrifice between shepherds and their flock. It is a love dialogue between a man and a woman sung and performed by the locals in folklore. It represents the love and passion that a Shepard has and to what extent does he go to protect his flock from intruders.2
Basanti This folk dance is performed during the spring season when flowers bloom and new life is glowing in the int valleys of the hills of the Garhwal region. It sets the tone for the harvest season and brings new joys of celebration to the local community.
Khuded These folk songs depict the suffering of a woman due to separating from her husband. The woman curses the circumstances in which she is separated. She is filled with sorrow and passion, which shows her love for her husband. ‘Laman’ and ‘Pawada’ are a few folk songs sung during this time, making us feel the agony and misery of this separation.1
Many theories surround these folk dances say that the souls of the young unmarried girls who died with no funeral rites or the daughters of Ravana who offered them to Lord Shiva as his handmaidens.
Folklore of Uttarakhand represent the love, passion, agony, sacrifice, misery, and compassion of these locals and help us relate to them to share their feelings.