It is a pity that loud sounds make me cry..
It is absolutely amazing that I live with peculiar sounds..
It is a non-sense that I cannot survive in a world with turmoil of loudness..

silence die,
and I live in re-defined non-silent world..

Because, perhaps, some lives are only for the sake of killing silence,
and also killing oneself for the sake of silence..


Trying to discover silence.
Finally.

another reason to love Ayesha

http://newsclick.in/india/prof-ayesha-kidwai-telangana-linguinstic-basis-states-india

RuddhoSongit/ruddhosangeet

The stream of reminiscence drew invisible lines among the audiences of NSD- the first group comprised of probaSi bureaucrat (wearing tie etc.), the second group consisted of a few old IPTA fans, and a few new generation 'aNtels' like us.

'Ruddhosangeet' was staged at Kamani as a part of this year's NSD festival, and I had the opportunity to attend the show.

For me, it is an extremely difficult task to evaluate the experience,as it was an unique experience which has the zigzag of dark and light. But, the mixture of black and white became grey in colour-and I thought, only words can help flowers to blossom from grey ashes.

The heart of the performance was 'Music'. early IPTA cultural events, the 'culture factor' and clash in the Communist Party of India in late 40s, intermingling of music and theater, the 'originality' debate in Tagore songs- all revolved centering one man and one word- Debabrata Biswas and Music(with a big 'M').

Perhaps, I had expected more from Bratya- who has done a lot of hard work for this production. He has reminded us again that Utpal Dutta was rusticated from Party, Ritwik Ghatak was terribly underestimated by Pramod Dasgupta, Salil Chowdhari was termed as 'protikriyaSil'.

But, still we cannot understand why young Salil Chowdhuri of the drama seems very uncomfortable with harmonium (never used Salil-type chords), why Hemanga biswas seems uncomfortable with Sylheti tongue, why a person suddenly shouts 'ye azadi jhuTa haiN', why policemen started beating Ritwik suddenly and abruptly.

The set of the drama cannot make the audience content, costume design could also be far more better.

Questions remain: a) why the young Manjusri Chaki started singing: is it only because the actress has a formal training in Tagore songs? b) why the second half begins with two songs at the background which were payed almost without any gap?(what is wrong if he uses only one?) c)Why the Charubabu's follower starts delivering a peculiar speech?

But sparks of the production came from a) use of some forgotten IPTA songs b) uttering the GOnoSangit-rabindraSongit debate in a bold and beautiful way c) Pramod Dasgupta, George's sister were big gains from the production.

But, the most important problem was that the main actor Debshankar Halder acted extraordinarily well. And, as a result, the spellbound audience gave just a pass mark to most of the actors.At one hand, there was a huge gap between performance.On the other hand, audience had observed the resurrection of Debshankar on the stage.

It is difficult to term the overall production as a 'failure' as Debshankar resisted it with his voice.But the question which still remains is- why the use of Music is not up to the mark in this music-centric production? ' Dheu uthche kara TuTche' was sung in an unusually fast rhythm (and most of the singers failed to maintain the harmonies).And finally, the end was too sudden! If I could get a chance, I should have changed the last tune. I could bring back the tunes from 'amar je din bheSe gEche', perhaps. Or, as a background voice, I could play the unforgettable lines sung by him- 'aj je kuSum phoTar bEla/ akaSe aj rONer mEla/SOkol dikei amay Tane/gane gane/'

The words of 'ami hethay thaki' are excellent. But Bratya, there is something more than words- that is Music. We wanted the play to interpret His music with Music, we all know that this meta musical journey is not an easy task. But we know that you can do it, as you believe 'artists do not have any party'.Let 'Ruddhosangeet' not becoem another'Ruddhosangeet'.Let your 'protibader bhaSa' bring back the freedom.

ICOSAL 9 Paper

http://du-in.academia.edu/DriptaPiplai/Papers/132949/Analysing-Variation-with-Minimalism---Tense-and-Agreement-in-Rajbanshi---

Back from the go-down of quilts

ICOSAL 9 at Patiala became a memorable international seminar in the country. The adventure began as we started our journey with the University team (the Punjabi Academy sent a car for our University,it reached at midnight as the driver lost his way!!!!

We were accommodated in an abandoned University flat which was being used as the go-down of quilts :-D

The presentation was not a disaster, as I could not sleep completely during the presentation (instead, I was in a dream-like state)as my head was aching in terrible cold.


Interesting findings from the conference:
1. During the inaugural session, there were turbans of 24 different colours!
2. Quote of the seminar: 'We will not allow you to ask more question, gentleman'- the Chairperson of the session of Morphology.:-D
3. In the abstract book, two abstracts were punched together
4. The best paper: 'Linguistics Analysis of the titles of Tamil Cinemas' :-D


Shall wait for the next ICOSAL, also wait for your feedbacks.