Category: Arts & Culture

  • ‘Gilded Cage: Years that Made and Unmade Kashmir’

    ‘Gilded Cage: Years that Made and Unmade Kashmir’

    A non-fiction, ‘Gilded Cage’ that speaks of exhaustive research reads like a thriller, something which makes it accessible even to non-history buffs. Bamzai, a student of economics who did not study history formally calls himself an ‘amateur historian’ who has developed a fascination for modern history…writes Sukant Deepak

    A pause. And he says when it comes to writing on Kashmir, there is an emotional quotient involved. That is not just due to the fact that he was born there but also that the Pandit community, which has contributed immensely in diverse spheres, was forced to leave the Valley and become a migrant in its own country.

    Author Sandeep Bamzai’s latest book, ‘Gilded Cage: Years that Made and Unmade Kashmir’ (Rupa) chronicles the time from the emergence of Sheikh Abdullah in Kashmir’s politics up to his arrest to the disillusionment of the Kashmiri masses from their leadership. From Jinnah’s obsession with Kashmir to Sheikh Abdullah’s hatred for Jinnah, from Jawaharlal Nehru’s comprehension of the Valley being a shop window for his brand of secular politics to Maharaja Hari Singh’s streak of remaining independent in the face of both India and Pakistan, this book covers the vital years that defined Kashmir’s accession to India.

    The author, whose latest is the third part of the trilogy after ‘Bonfire of Kashmiriyat’ and ‘PRINCESTAN: How Nehru, Patel and Mountbatten Made India’, tells IANS that he feels a certain compulsion to write the Valley’s real story as superficiality seems to have become the norm and many people are just not interested in delving deep into history.

    “Frankly, as a nation, we have not documented our own independence and freedom struggle adequately, precisely why I have been stressing the need for a Freedom Archives for long. There are many unsung heroes of the freedom struggle and those who ascertained integration of different states and Kashmir’s accession to India, including V.P. Menon, K.N. Bamzai, and Dwarka Nath Kachru. It is important that the real story is uncovered, something that pushes me to write.”

    A non-fiction, ‘Gilded Cage’ that speaks of exhaustive research reads like a thriller, something which makes it accessible even to non-history buffs. Bamzai, a student of economics who did not study history formally calls himself an ‘amateur historian’ who has developed a fascination for modern history.

    “I guess curiosity as a journalist is probably acting as a catalyst, but I have immersed myself and done a deep dive into history. When it comes to research, even if you have papers, documents, letters, and multiple memoirs or whatever written by several of the people who have been mentioned in this book — to connect the dots and create a narrative out of that is an extremely difficult process,” adds the Editor-in-Chief, MD, and CEO of Indo-Asian News Service (IANS).

    While writing ‘Gilded Cage’, the author looks at the key dramatis personae of the time who were involved in Kashmir between 1931 and 1953 and splits them into two parts — protagonists and antagonists. In the narrative, there are some dark figures and nationalist personalities. “I have tried to build a narrative in the push and pull of the protagonists and antagonists. The other thing, much different from my other two books in the trilogy is the conscious tighter narrative and fiction-like flow. I have written a story building on the tent poles with the papers and the documents that were given to me.”

    Talk to him about the contemporary situation in Kashmir, and Bamzai says the revocation of Articles 370 and 35A has been a seminal measure ascertaining integration and mobility. “And it was done so effectively that one must give complete credit to the Prime Minister and the Home Minister for that.”

    He, however, feels that unless peace is restored in the Valley, it would be unfair to expect Pandits to return to their homeland. “You cannot build a ghetto for them on the left or right side of the Jhelum. The community would never back that. It has been 30 years and people have moved on, built their lives again from scratch… The Pandits being targetted in lone wolf attacks in the Valley are soft targets, who being economically backward could not move out of there. The message coming out of Kashmir is: ‘You can come here as a tourist, but not live and work there if you are a non-Muslim. We will kill you. And that is exactly what is happening,” says this Kalinga Book award (Princestan’) winner.

    The author, who has worked in major media houses in senior positions for more than 40 years now admits that both Indian and international media have failed to acknowledge the true forced migration of Pandits from the Valley. Stressing that nobody really cares, he says while many people are making a huge hue and cry about the film ‘The Kashmir Files, it is the only time that the truth has been revealed. “Even today, as we speak, there are camps outside Jammu where economically backward Kashmiri Pandits continue to live in hell. Honestly, everybody seems to have just washed their hands off this community, maybe that is the reason I keep revisiting this theme.”

    In favour of early elections in the Valley, he feels that the same can be expected in 2023, soon after the snow melts, maybe as early as May or probably with the ones in Karnataka. Adding that various parties are already preparing for them, he adds, “There is Farooq Abdullah on one side, one cannot say if the Congress will be with NC or not. There is BJP on the other side and Ghulam Nabi Azad is the X factor. An elected government in Kashmir is extremely important. And I must add that Manoj Sinha, the Lt. Governor there has spearheaded serious developmental work, recognized even by the locals. The kind of investments coming to the Valley will result in major employment, something that will be instrumental in weaning the young away from the gun.”

    Ask him if he plans to write fiction with the Valley’s backdrop and he says that though he was born there, he has lived his entire life outside. Bamzai is, however, contemplating writing the next part of the book which will focus on the years between 1953 to 1965. “I may also write another one 1965 from 1971 when the Indira- Sheikh accord was signed,” says the author whose immediate next project is a pictorial history of Kashmir commissioned by Roli Books.

    Talking about his process, which starts with extensive research, he says what is crucial is connecting the dots from diverse research sources, including important papers handed over to him by his family. “Post the research, and while the writing is being done, the chapters need to be set right and so do the characters they hold. The narrative must hold the reader with a strong grip. All this is interconnected and nothing works in isolation,” says Bamzai, insisting he is still a journalist first, and will always remain a news junkie.

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  • Another milestone for Ladakh as it gets GI tag for wood work

    Another milestone for Ladakh as it gets GI tag for wood work

    This is the first time in the history of GI that Jammu region and Ladakh (UT) got GI tag for handicrafts but earlier the same Tags (GI) were given to Kashmir handicrafts.

    Giving a big boost to the beautiful wooden work from Ladakh, the Indian government has granted it Geographical Indication (GI) tag thus ensuring its authenticity.

    Indian Prime Minister Narendra Modi said that the move will make Ladakh’s cultural traditions even more popular and benefit artisans. The Geographical Indications (GI) is a form of intellectual property right that identifies goods originating from a specific geographical location and having distinct nature, quality and characteristics linked to that location.

    The process for GI Tagging of these products was started by NABARD in consultation with and support from the Department of Handicrafts and Handloom in December 2020, reported Daily Excelsior.

    This is the first time in the history of GI that Jammu region and Ladakh (UT) got GI tag for handicrafts but earlier the same Tags (GI) were given to Kashmir handicrafts. Lok Sabha Member of Parliament from Kathua-Udhampur constituency Dr Jitendra Singh tweeted: “A proud moment for Basohli region of J&K. This unique painting known for evocative colours and deep-set facial patterns will now gain more prominence globally.”

    “Basohli painting of Kathua district is the first independent GI tag from Jammu region, whereas the Ladakh Wood Carving is the first handicraft of Ladakh to get a GI Tag. Now, only an authorized user has the exclusive rights to use the Geographical Indication in relation to these products,” said an official of NABARD.

    “No person can copy it from beyond their geographical areas. This will prevent unauthorised use of these registered Geographical Indication goods by third parties and will boost exports and promote their brands at international level,” the official said, reported Daily Excelsior.

    Member of Parliament Ladakh Jamyang Tsering Namgyal also congratulated people of Ladakh for GI Tag to Ladakh’s Wood Carving.

    “Greetings to the people of Ladakh for getting #GITag to Ladakh’s #WoodCarving, a first of its kind. It will surely promote the handicraft culture of the artisans as well as the local economy of the artisans of Ladakh globally,” he tweeted.

    Ladakh’s wood carving has been known for its intricate designs and unique patterns, which are mostly inspired by Buddhist themes and motifs. The wood carvings are made from local wood such as willow and apricot, and they are often used for decorating doors, windows, and other household items, reported ET Government.

    The GI tag for Ladakh’s Wood Carving is likely to boost the local economy by promoting tourism and creating employment opportunities for artisans. The recognition will also protect the traditional knowledge and skills of wood carving, ensuring that it is passed down to future generations.

    The GI tags are used to protect the products from being copied or imitated by others and to ensure that consumers get genuine and authentic products.

    Wood carving of Ladakh has been an aesthetically vibrant art form in the Ladakh region, including the capital Leh and Kargil.

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  • ‘My Kottige’ – Art that gives a hint of an ‘evil eye’

    ‘My Kottige’ – Art that gives a hint of an ‘evil eye’

    Kalu-Kudka means drink-drunk ghost. This personal god, lovingly called KK by the artist, has got a temple of its own. That is a major component of the artwork by Archana…reports Asian Lite News

    Visitors are not allowed into the Bengaluru-based Archana Hande’s installation ‘My Kottige’ – demon temple, put up for display at the Fort Kochi Aspinwall House.

    The viewers are instead guided into the work of art through pipes, small doors, and windows fitted at various places on the walls of the room.

    Take a look and one can see scraps, including kitchen utensils like knives and scoops and things like iron boxes and shovels, laid out aesthetically.

    What inspired Hande to create an artwork from discarded materials in daily life is the wisdom she received from her grandmother that “Kalu-Kudka will save you from all harm and evil”.

    Kalu-Kudka means drink-drunk ghost. This personal god, lovingly called KK by the artist, has got a temple of its own. That is a major component of the artwork by Archana.

    Her work also gives a hint of an ‘evil eye’.

    In South Indian architecture, there are certain modifications done to constructions to evade the spell cast by ‘evil eyes’.

    Blocking vision using sheets or panels with holes in them is one such modification. Another is placing stone window frames to peep in secretly and erecting columns to hide behind.

    “Through the installation ‘My Kottige’, which brings together the demon temple and the modifications to stop the evil eye, a modern demon temple meant for an urban society has been raised,” said Hande.

    “The objective is the creation of a demon temple, a place of worship that protects contemporary society from the evil eyes of cast, creed, and gender disparity. The discarded old substances made of iron have been picked up from the workplaces of those involved in physical labour. They talk about supremacy and authoritarianism. Being cast out, thrown away, or discarded is contemporaneous. The fact that iron objects from bygone days are all now rusty brings out different levels of meanings,” said Hande.

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  • Take a sip, make a difference

    Take a sip, make a difference

    The use of rice husk is a prime example of how sustainable alternatives can be found in unlikely places. This initiates restoration and a circular economy that benefits both the environment and local communities…reports Ronit Jain

    Sustainability has become a hot topic in recent years, and for good reasons. As we become more aware of the aftermath of our actions on nature, looking for ways to reduce waste and live more sustainably will do the planet good and initiate rejuvenation. Even starting small, like switching from single use plastic to reusable, sustainable and durable mugs, can subsequently make a bigger difference and promote healthier lifestyle and planet.

    But what is Earth’s Waste?

    Agriculture is a vital industry that feeds the world’s population, it does however produce a vast amount of by-products. Every year around 500 million tons of crop residue is generated in India. The abundance of this agricultural waste presents a serious ecological problem owing to the release of carbon dioxide, long-lasting smoke and methane produced from its combustion.

    Rice husk is the outer layer of rice grains that is removed during the milling process. It is a highly produced crop residue in India. Though when properly sourced, rice husk is ideal for product manufacturing as it is toxin-free, bio-degradable, and carbon-neutral, making it an environmentally friendly alternative to traditional materials such as fragile ceramics and plastics. Not only does this help reduce waste and carbon emissions but also supports local farmers by providing a market for their crop residue.

    The use of rice husk is a prime example of how sustainable alternatives can be found in unlikely places. This initiates restoration and a circular economy that benefits both the environment and local communities.

    Mugs made out of Rice Husk are an excellent example of a sustainable product that provides consumers with a safer, healthier, and more eco-conscious option. They are durable and can withstand high temperatures, hence they are suitable for use with hot and cold beverages, making them a convenient option for everyday use and busy lifestyles.

    We believe the search for safer and more eco-friendly alternatives is crucial and must continue as new technologies and materials emerge. By promoting the use of reusable materials and eco-friendly materials in product manufacturing, we can reduce the carbon footprint and mitigate the negative impact of these materials on the environment.

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  • Multicultural Integration highlighted at Welsh Parliament Senedd

    Multicultural Integration highlighted at Welsh Parliament Senedd

    An interesting program on the theme of Multicultural Integration and the role of Welsh Culture has been organised at Senedd Cymru by NWAMI (Networking for World’s Awareness of Multicultural Integration), spearheaded by the NWAMI-England chapter.

    Sponsored by Mark Isherwood MS & attended by more than 100 members, the event included speeches, presentations, and a cultural program highlighting dance, poetry recitation, music, and visual interpretation of the poetry.

    Mark Isherwood MS giving opening remarks

    The evening began with opening remarks by host Mark Isherwood MS who also read out the message from NWAMI’s Chair Dr. Sibani Roy. This was followed by Ragasudha Vinjamuri’s engaging presentation on Afro-Indian links, migration trajectory & settlement from East Africa dating back more than 300 years, and the music & dance of the Afro-Indian tribal community.

    Her invocation dance as part of the cultural welcome, and the tribal dance demonstrated by Angona Sarkar and Aarushi Lenka captivated the audience. Speaking on the occasion, Minister for Social Justice Jane Hutt MS commended the enriching presentation, conveying thanks for the “history lesson” and remarked that such genuine and authentic information must be introduced as part of studies leading to a wider awareness.

    Ragasudha Vinjamuri presenting on African trajectory to India

    She has commended the work of NWAMI for making continued efforts toward cohesion and integration. Honorary Consul General of India for Wales Raj K Aggarwal echoed the sentiments and appreciated NWAMI’s work and recalled the meet and greet event organised for H.E. Indian High Commissioner Mrs. Gaitri Issar.

    Cllr Jasmine Chowdhury then introduced Saudha Arts poetry, music, and dance section, introducing the lead Ahmed Kaysher, Emily Harris on Harp, Dimitra Ananiadou on Violin, Jon Erik Schelander & Tanjina Nur-i Siddique who recited poetry, and Ragasudha Vinjamuri who rendered visual interpretation of the poetry through classical dance movements. Concluding remarks were presented by Judge Ray Singh CBE. Dignitaries in attendance included Jenny Rathbone MS, Major Peter Harrison, Dr. Keshav Singhal CBE, Dr. Hrishi Joshi, and Chris Hemmings, among several others.

    Siddi dance at Welsh Parliament Senedd
    Hon. Consul of India Raj K Aggarwal speaking at the event
    Judge Ray Singh presenting remarks
    Poetry Music and Dance production by Saudha Arts
    Cllr Jasmine Chowdhary introducing artistes
  • Booker list helps me develop faith about view of life

    Booker list helps me develop faith about view of life

    While ‘Pyre’, which has been translated into English by Aniruddhan Vasudevan Tr., the author stresses that the country boasts of a wealth of literature in different languages and translation ascertains that it goes to different parts of the world…reports Sukant Deepak

    Author, poet and literary chronicler Perumal Murugan, whose novel ‘Pyre’, (published in English by Penguin), which was recently longlisted for the prestigious International Booker Prize-2023 is delighted that a story he wrote taking place in a corner of Tamil Nadu has reached across the globe, and longlisted for a major award.

    “This helps me develop faith about my view of life, and the process of writing,” the author, who writes in Tamil and has to his credit 10 novels, five collections of short stories, and four anthologies of poetry, tells.

    While ‘Pyre’, which has been translated into English by Aniruddhan Vasudevan Tr., the author stresses that the country boasts of a wealth of literature in different languages and translation ascertains that it goes to different parts of the world.

    “The translation movement which emerged after the year 2000 has made our languages and life relevant to others too. In translation, our works establish that we are equal in all respects. What has just come is not enough. We have a great treasure with us. Much of it needs to be translated,” he says.

    With Sri Lankan author Shehan Karunatilak, who won The Booker Prize in 2022 (‘The Seven Moons of Maali Almeida’), Geetanjali Shree winning the International Booker Prize in 2022 (‘Tombs of Sand’), and now with him being longlisted, is the world finally waking up to contemporary Asian writers? Murugan feels the literary attention on the life, culture, and politics of Asian countries has grown.

    “It is only recently that the world seemed to have realised that Asian languages have the potential to make substantial contributions. People across countries are experiencing our literary outlook, writing styles, and life events. Globalisation is an important factor that has facilitated this. It had made translations possible,” he asserts.

    The writer made international headlines after his book ‘One Part Woman’, published in 2010 and translated into English in 2013 faced a lawsuit filed against him by caste-based groups accusing him of hurting their religious sentiments, and he declared on his Facebook page: “Perumal Murugan the writer is dead. As he is no God, he is not going to resurrect himself. He also has no faith in rebirth. An ordinary teacher, he will live as P. Murugan. Leave him alone.”

    However, in 2015, the Madras High Court dismissed the case against him. In an epilogue, the bench called on the author to start writing again: “Let the author be resurrected to what he is best at. Write.”

    Murugan admits that the impact of the Madhoru Paagan controversy continues in some ways and he is still not comfortable going to his hometown. He knows there is a reluctance to invite him to literary events in the region.

    “Such problems are bound to continue. I only wish to continue, without recalling those days. I remain silent when someone speaks to me about it. I avoid responding to any questions on it. I train my heart to treat the experience as a nightmare — a terrible dream.”

    Adding what his writing has ‘changed’ after the controversy, he says, “There is a hesitation when it comes to writing about issues of caste. Even when I do, I use references. I reject this world and create an asuraloka (the world of demons) and use it as a background for my work. How many changes are there!”

    Someone whose works have abundant references to different Indian rituals and cultures, he feels they carry a great history.

    “If only one could find a way to navigate through them, there are innumerable sources of creativity there. But it is also important to remember that several rituals and customs of Indians are caste-based and superstitious.”

    The author feels that caste-based discrimination becoming political is a positive development. Believing for caste to be annihilated, its various faces need to be exposed, he says, “The politics of 20th century in Tamil Nadu was based on caste. Periyar, the leader of the Dravidian movement, spoke on the basis of Brahmins and non-Brahmins, focusing on caste. It was also on this basis, that reservation came into being, in the social justice system. Members of a caste were able to access education and participate in power. Dalit politics in the 1990s was also based on caste. The impact has brought about some good effects. I think the first condition for the abolition of caste is that it had to be politicised.”

    Booker longlisted author Perumal Murugan.

    His writing process starts with constructing the work in his mind. How long will it take and under what circumstances will it be completed is not something that is very ‘clear’.

    “If I have time and solitude after the competition of work in my mind, I take some months and write it. Mornings are best for me to write. After completing the first draft, I take a break and go back to make corrections just once. That’s it.”

    While there are many fraternal languages in the Dravidian language family, he regrets that not enough is done in terms of literary transactions.

    “Many works of Malayalam, adjacent to Tamil Nadu, have been translated into Tamil. But not many works from Tamil into Malayalam. Tamil language works have hardly been translated into North Indian languages. I really wish for more translation between Indian languages,” says the author, whose novel ‘Pookuzhi’ will soon be adapted into a film.

    “While the director has written the screenplay. I am working on the dialogues. After this, I plan to write some short stories. This year, I am also planning to write another novel,” he concludes.

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  • ‘Art in motion’

    ‘Art in motion’

    The campaign features reimagined saris, lehengas, and modern separates in Rimzim Dadu’s trademark designs that have now become synonymous with the label…reports Asian Lite News

    Fluidity often defines the line between what is what and what could be. It breaks through definitions and creates spaces where new is born.

    With fluidity anchoring our worldview, the ‘Art in motion’ collection is not bound by gender, seasons, or fleeting fashion trends. Vijay Varma wears a tuxedo and a sari with equal elegance, syncing with our non-conformist approach to design. The campaign features reimagined saris, lehengas, and modern separates in Rimzim Dadu’s trademark designs that have now become synonymous with the label.

    “I have always admired Vijay as an actor, so working with him for this campaign was a natural decision. He shares our worldview of non-conformity and loves pushing the boundaries of his craft. The campaign brings the best of both our men’s wear and women’s wear segments. As a label, we have been sharpening our focus on men’s wear in couture and finding a balance. Men’s wear as a category has evolved immensely in India where men don’t want to be confined to traditional kurtas and sherwanis anymore and prefer pieces that are unique. We are excited to launch a dedicated store for men by June in DLF Emporio in Delhi,” said couturier Rimzim Dadu.

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  • India at the London design forum

    India at the London design forum

    The Indian pavilion uses the visual metaphor of a charpai, a traditional woven daybed found all over India, to evoke the essence of a modern Indian city chowk-an outdoor market at the intersection of streets. The charpai’s weave serves as a metaphor for Indian craftsmanship and is a timeless fashion icon…reports Asian Lite News

    The Netherlands’ national museum and institute for architecture, design, and digital culture, the Nieuwe Instituut, will serve as the creative director of the fourth London Design Biennale, which will run from June 1 to June 25, 2023.

    Participants from all over the world will be asked to envision and put into action new forms of international collaboration and participation-including with each other-through the use of design. The event will take over the entirety of Somerset House, including the Edmond J. Safra Fountain Court and River Terrace.

    The India Pavilion at the London Design Biennale 2023 will be designed by The Design Village (TDV) and Studio Archohm. ‘The Global Game: Remapping Collaborations’ will be the focus of the fourth iteration. Chowk & Charpai: An Urban Living Room, a multi-sensory evocation of the essence of a modern Indian metropolis curated by The Design Village and created by Studio Archohm.

    Speaking about the opportunity Mridu Sahai, co-founder at The Design Village expressed: “We are delighted to represent India at this global design forum amongst 40 other countries and organisations. Somerset House is such an august cultural destination; we are excited to showcase the essence of contemporary India.” The exhibition not only highlights the vital role of design in addressing challenges and providing solutions but encourages international collaboration and forges future partnerships.

    The Indian pavilion uses the visual metaphor of a charpai, a traditional woven daybed found all over India, to evoke the essence of a modern Indian city chowk-an outdoor market at the intersection of streets. The charpai’s weave serves as a metaphor for Indian craftsmanship and is a timeless fashion icon.

    As Somerset House soaks up the British sun, the pavilion will act as a sizable urban charpai sculpture that softly shades the building. The charpai’s weave creates a play of light and shadow to create a chowk, or public square, where random encounters occur. The oversized web of the charpai symbolises India, a country with a modern perspective and deep cultural roots.

    Through the elements of touch, sound, sight, smell, and taste, the chowk will represent Indian urbanity which adjusts and adapts through dense landscapes. The chowk is an epitome of resilience, endurance, and resurrection: juxtapositions that speak of democracy and autonomy, ego and humility, hope and pride, rapture, and rejuvenation – this plural paradox is its true eloquence.

    The London Design Biennale, which was founded in 2016 by Sir John Sorrell CBE and Ben Evans CBE, encourages international cooperation and the significance of design around the world. Since its beginning, the Biennale has welcomed the most thrilling and ambitious artists, designers, and cultural organisations to the city.

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  • Nature, life reflect in Alam’s art in Biennale

    Nature, life reflect in Alam’s art in Biennale

    Shikh Sabbir Alam, a contemporary artist from Bangladesh, has now recreated this incident, which received worldwide attention…reports Asian Lite News

    An emotive artistic work that has an underlying reference to violence stemming from man-animal confrontations, exemplified by the brutal killing of a pregnant elephant by feeding it with explosive-laden pineapple, is getting noticed at the Kochi Muziris Biennale.

    The tusker met with a horrific death at Ambalappara in Kerala’s Palakkad district on May 27, 2020, after eating the fruit filled with country-made crackers which exploded in its mouth.

    Man-animal conflict confrontation gets noted at Kochi Biennale

    The blast was so powerful that the poor animal ran around the village in searing pain, unable to eat for days.

    Finally, it entered a river and stood there with its trunk and mouth immersed in water till it breathed its last two days later.

    Shikh Sabbir Alam, a contemporary artist from Bangladesh, has now recreated this incident, which received worldwide attention.

    Shikh Sabbir has put up a total of six acrylic paintings on display at the Biennale, including the works about the Garden; Magic House 1,2,3; Elephants and Fruit; and White Rabbit.

    The creations which showcase the flora and fauna from tortoises to elephants and fruits resemble much like a dream. At the same time, it is mystical as well.

    “My pictures resemble the vision that slowly materialiaes before you when you open your eyes after a long sleep. The attempt is to guide viewers through the display of pictures using pastel colours to experience the wonders being depicted on the canvas. The colour of a flower or a fruit is enough to inspire original creations,” said Alam.

    Nature and life are the main elements reflected in Alam’s creations for the Kochi Biennale.

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  • Resilience: Stories of Women Inspiring Change

    Resilience: Stories of Women Inspiring Change

    The exhibition features showcase a selection of stories, awarded in the World Press Photo Contest from 2000 to 2021, the stories of women who have worked tirelessly to achieve their goals and make a difference in the lives of others…reports Asian Lite News

    A 21-day photo exhibition called Resilience – Stories of Women Inspiring Change is on at the India Habitat Centre, Delhi until March 23 as a tribute to the struggles of the feminine through the stories of women from various nations around the world.

    Brought to India by the Netherlands Embassy in collaboration with World Press Photo Foundation, this travelling exhibition shows photographs sharing the real-time challenges of women and celebrates their unflinching zeal in breaking the barriers and overcoming hurdles.

    Tribute to the struggles of the feminine.(photo:IANSLIFE)

    The exhibition features showcases a selection of stories, awarded in the World Press Photo Contest from 2000 to 2021, the stories of women who have worked tirelessly to achieve their goals and make a difference in the lives of others.

    The photography exhibition was inaugurated by Dr Bahia Tahzib-Lie, Human Rights Ambassador of the Netherlands in the presence of Meenakshi Lekhi, Minister of State for External Affairs and Culture of India and Marten van den Berg, Ambassador of the Kingdom of the Netherlands to India, Nepal and Bhutan. After the capita, the show will go to Bengaluru and Mumbai.

    Tribute to the struggles of the feminine.(photo:IANSLIFE)

    “We are thrilled to showcase the resilience and strength of these remarkably brave women,” said Dr Bahia Tahzib-Lie, Ambassador of Human Rights, “Their personal and impactful stories are an inspiration to us all and remind us of the power we all have to make a positive difference in our world.”

    This exhibition is a visual testimony of multiple voices, documented by 17 photographers of 13 different nationalities from 15 countries, offer insights into issues such as sexism, gender-based violence, reproductive rights, and access to equal opportunities. The different stories explore how women and gender issues have evolved in the 21st century and how photojournalism is finding ways to portray them.

    Tribute to the struggles of the feminine.(photo:IANSLIFE)

    The exhibition includes photographs by: Forough Alaei (Iran), Jonathan Bachman (USA), Daniel Berehulak (Australia), Anna Boyiazis (USA), Fulvio Bugani (Italy), Maika Elan (Vietnam), Jan Grarup (Denmark), Terrell Groggins (USA), Robin Hammond (New Zealand), Olivia Harris (United Kingdom), Heba Khamis (Egypt), Diana Markosian (USA), Catalina Martin-Chico (France/Spain), Finbarr O’ Reilly (Canada), Pablo Tosco (Argentina), Magnus Wennman (Sweden) and Irina Werning (Argentina).

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