EVENTS

Fakir Mohan Senapati’s Chha Mana Atha Guntha (6 Acres and 1/3) - (1902)

This performance piece set to traditional Oriya music of the era provides an entrée into Senapati’s ironic social critique on issues of gender equality, the abuse of spirituality in the name of religion, and social and economic injustice. Description of character rather than appearance is underscored with Neta, the cow, being the only female physically described. The clever machinations of Champa with the zamindar, Mangaraj, to steal land and cow from the simple weaver couple, Saria and Bhagia, reveals a “post modern” perspective beyond the subaltern view from below.

Direction, Concept and Script: Sharon Lowen
Music Composition: Balram Chand, Prasant Behera, with Sharon Lowen and Prafulla Mangaraj
Artistic Collaboration: Kamalini Dutt
Principal dancers and choreography: Sharon Lowen and Kavita Dwibedi
Other dancers: Nitisha Nanda, Vishwanth Mangaraj
English Narration: Tom Alter and Niti Sayeed Alam
Music accompaniment: vocal – Sukanta Kumar, Pakawaj - Prafulla Mangagraj, Violin – Balram Chand, Sitar – Yar Mohammed, Flute – Rajat Prasana, effects/manjiras – Prasant Mangaraj
Lighting and stage design: Naresh Kapuria

Mokshya with Pushpamala by Fakir Mohan Senapati

This traditional culmination of an Odissi performance leads the performer as well as the beholder towards Moksha, spiritual and intellectual union with the supreme. Mokshya concludes with a humanitarian prayer of Senapati that goes beyond the usual request for Divine mercy to the devotee’s desire to always revere truth, not to forget to help others, or avoid the sick or torture enemies, not to speak harshly, to remember to respect elders, to give to beggars and control ego.

 

 

 

Workshop at Apeejay School, Saket


On 22nd January, 10 am to 12 pm
To be conducted by: Dr. Monica Das, Dr. Ranjana Mukharjee, Dr. Alka Saikia
No of students: 250
Bahu Bhashi Bharat: Upholding the linguistic heritage
Bhinnata, Rang, talmel
Introduction and interactive session with students
Baatcheet: Discussion with students (10 mins)
A rethink
Links with language: Folk Culture, festivals, home, Biodiversity
Language schools- teachers – students- pedagogy should be linked to culture
Onslaught of poular culture – Overwhelms the regional and tribal culture
Bujho to Jano: Interaction with students: Muhavare and Kahavate, riddles (15 mins)
Geet gunjan: End with songs in 5 regional languages (5 different languages) (15 mins)
Feedback from students (15 mins)
Library expansion and management of different regional languages
Prepare questionnaire
Interaction with students
Ask students whom do you love the most in your family?
Voting to be done by students
Do you know your mother’s tongue?
What do you understand by mothertongue?
Do you know your mothertongue.
The language first learnt by a child or maternal language.
We use the terms mothertongue, motherland, mother earth and matribhasha, matribhumi and dhartimata.

Culture and mother tongue
It is the language community of the mother tongue, the language spoken in a region, which enables the process of enculturation, the growing of a person into a particular system of linguistic perception of the world and participation in the centuries old history of linguistic production. (W.Tulaseiewicz and A. Adams, “What is Mother Tongue? Teaching the Mother Tongue in a Multilingual Europe. Continuum, 2005)
Since a child spends the maximum time wth his mother during the early years of their lives so they pick up the language of the mother.
Ask the students which language is their mother tongue?
Raise your hands, how many students know to speak in their mother tongue? Read/ write/sing.