The bonds and conventions of society are certainly reflected in my poetry, negatively, of course. But I think every intelligent person has to suffer…Suffering is the price the intelligent person has to pay. As for women, I feel that women in literature are different from women in other fields…Basically; there is a prejudice against women in literature. Men take women’s writing lightly; they doubt a women’s sincerity. For example, when I got this Sahitya Akademi Award, and with it fame, the leading English daily in Delhi wrote that I got my popularity in Punjabi literature because of my youth and beauty. I felt very sorry to read that. Why not talent? They can admire a beautiful woman, but not a talented one.”
I walk through the old market
fascinated by cowbells. Himalayan cedars
and pines cover the slopes around.
Dew soaks through the foliage
and the cold vapours settle everywhere,
branches and leaves hang in a myopic mist
green, white and light blend.
As a fitting tribute to the great performer she was we will listen to her mellifluous recitations of Hindi and Urdu Poetry. But before that, here are some of the tributes which poured in on social media and otherwise from her millions of admirers, and eminent people whom she knew, including actors and directors from film, television and theatre.
The turbulent times between the years spanning from 2008 to 2014 is presented on the canvas. The relations between the two countries were totally raptured in this era. The entire plethora of Indian nationals and foreigners had gone berserk. I had to study it in detail and follow it consistently.
Ruth is best known for her pioneering work integrating sacred texts into contemporary voice/body theatre. Her pioneering approach to the transcendental aspect of voice is founded solidly in sacred cantorial Jewish traditions. In Mirror Sky in a backdrop of dimly lit scenes Ruth, swirling, moaning, producing gutrral sound explains the origin of her techniques:
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. 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.
Gulon mein rang bhare Baad-e-naubahaar chale Chale bhi aao ki Gulshan ka karobaar chale Come bahaar or spring and we all end up quoting Faiz Ahmed Faiz conjuring up evocative and tantalizing images of...
You’re lost in a fantasy
A dream maybe
Where I cease to exist.
You seem peaceful,
I seem greedy.
the two birds
lived in a
seamless crave for freedom,
where the abyss
melted into the horizon”
During the North East fest on Monday, the 29th October, at the Fountain Lawns, the audience was confronted by a disturbing solo performance by actor director, Lapdiang Syiem from Meghalaya, called A Being Human. Earlier on the same day we had a presentation by Soli Roy about a Manipuri play, Crimson Rainclouds, written by his own mother, Sahitya Akademi Awardee, Binodini Devi