Category: Arts & Culture

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Reclaiming the past

The exhibition’s interpretative tactics, including text, interactive displays, outreach, and programming, are created to make the show enjoyable, approachable, and relatable. DAG also collaborates with knowledgeable museum instructors to reach a variety of audiences, including those who are disabled…reports Asian Lite News

Independent art gallery in India, DAG has promoted contemporary Indian art all round the world for the past 25 years.

It has supported exhibitions that are educational, nonprofit, and open to the general Indian public since 2019. To that end, the gallery has collaborated with significant organisations like the NGMA Mumbai (‘The Romantic Realist: M. V. Dhurandhar’, 2018), the ASI (‘Drishyakala’, at the Red Fort, 2019; ‘Ghare Baire’, at the Old Currency Building Kolkata, 2020), and other eminent Indian museums like the Dr Bhau Dhaji Lad Museum.

Through mostly artistically created artefacts, “March to Liberation” retells the well-known narrative of the Indian freedom struggle and anti-colonial campaign (rather than historic artefacts). The artefacts, which were selected from the DAG collections, range from lesser-known works by Indian painters that deserve greater recognition to eighteenth- and nineteenth-century European works with historic worth in addition to their artistic value.

It aims to make the scholarship that has developed on this subject accessible to a broad non-specialist audiences who may be ‘put off’ by both history and art history.

The exhibition is structured around eight themes: Battles for Freedom, The Traffic of Trade, ‘See India’, Reclaiming the Past, Exhibit India, From Colonial to National, Shaping the Nation, and Independence. It uses these to showcase the many different arenas in which the anti-colonial struggle took place, including, but not limited to politics and battles.

So, for instance, we show how the arts, the economy, public spaces, and colonial institutions were all repurposed and re-imagined as sites from which to resist colonialism, and shape an independent nation. Within each theme, the exhibition will also cover key well-known events, that will function as ‘pegs’ for visitor understanding.

Visitors will be free to research the freedom movement according to their own interests and levels of knowledge since the traditional chronological approach won’t be used. The items chosen for each theme depart from the traditional art gallery format of “schools,” “styles,” and “masterpieces” to offer a diverse and eclectic exhibition experience. They include anything from movie posters to sculptures, prints, sketches, paintings, and figures.

The exhibition’s interpretative tactics, including text, interactive displays, outreach, and programming, are created to make the show enjoyable, approachable, and relatable. DAG also collaborates with knowledgeable museum instructors to reach a variety of audiences, including those who are disabled.

Ashish Anand, CEO & Managing Director, DAG, notes, “Since 2019, DAG has promoted educational, non-profit exhibitions that bring art to the wider Indian public. To achieve this goal, we have partnered with important national institutions like the National Gallery of Modern Art Mumbai (The Romantic Realist: M. V. Dhurandhar, 2018), and the Archaeological Survey of India (Drishyakala, at the Delhi Red Fort, 2019; and Ghare Baire at Kolkata’s Currency Building, 2020).

“We have exhibition partnerships with other leading Indian museums such as the Dr Bhau Daji Lad Museum, in addition to ongoing exhibitions at our gallery spaces that have been extremely well-received. Some of our path breaking shows have included material that has never before been seen in India. The enthusiastic response has spurred us on to do more, and better. March to Freedom presents us with a special moment: celebrating seventy-five years of Indian Independence at the oldest museum in the country.”

“This exhibition draws upon works of art from the DAG collection to tell the story of how independent India came to be. If you are expecting the ‘usual’ history exhibition, we hope you will be surprised by what you find, or find missing. For those expecting a ‘typical’ art exhibition, we hope to startle you by the eclectic mix of works on display.

“Many of us may remember the familiar timeline of events, and the famous people who led the march to freedom, from our school lessons. Others may recall it from personal experience, or family stories. Here, we will explore the story through artworks grouped around eight themes. You have the freedom to approach the exhibition as you like. As we celebrate the seventy-fifth anniversary of our birth as a nation, this exhibition offers a space to pause and reflect on our journey towards nationhood. How we accommodate and negotiate with our past changes over time, depending on our present realities. So, what we choose to do today will shape our future,” noted Dr. Venkateswaran.

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Bombay art Society launches its first- ever ‘Art Carnival’

The BAS, founded in 1888 and one of the oldest non-profit art institutions in the Asian subcontinent, is presenting its first Art Carnival 2022…reports Asian Lite News

The Bombay Art Society (BAS) hosted its first Art Carnival exhibition from August 15 to 21, 2022. The first Art Carnival features 104 artworks by 32 artists. The carnival seeks to foster direct communication between artists and art viewers, including art critics and buyers. Many artists live outside of major art markets and find it difficult to showcase their work in the mainstream art arena. Society hopes to bridge this gap by providing artists with exposure for their work while also providing art collectors and buyers with access to that art through Art Carnival.

The BAS, founded in 1888 and one of the oldest non-profit art institutions in the Asian subcontinent, is presenting its first Art Carnival 2022.

Rajendra Patil, President, The BAS, shared, “It always has been a dream of every artist to exhibit in a metro city like Mumbai in search of a wider audience for their art! The financial capital offers continuously expanding art platforms and new art spaces, keeping the art scene vibrant as ever. Keeping in mind the infrastructure and financial constraits, The Bombay Art Society is launching its first- ever ‘Art Carnival’, which is a series of art exhibitions or sort of group shows which are affordable for emerging artists.

The inauguration of the “Art Carnival” will be held at 5 p.m. on August 15 at the Bombay Art Society, Bandra, at the hands of Achyut Palav, eminent artist and International calligrapher, in presence of the art fraternity.

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Spirit of liberation with modern Indian art

The group with revered modernists including F N Souza, S H Raza, M F Husain, V S Gaitonde, K H Ara, H A Gade, and S A Bakre were inspired by the globalisation of arts and various art movements that had sprung in Europe, the young artists did not want to be bound by the definition of art set by their old school predecessors…reports SUNNY CHANDIRAMANI

India has had wonderful independence for 75 years as of this year. But 1947 also marked a significant turning point in the development of Modern Indian Art. When the Bombay Progressive Artists Group was established, the debate surrounding Indian art experienced a resurrection of emancipated visual vocabulary. The pre-independence era’s turbulent years gave rise to a younger generation of artists who had a strong sense of defiance that would have a significant impact on their work.

And just as the country broke away from the shackles of colonialism, the members of the group also did away with the traditional practice of western academic realism and sought to forge their individualistic artistic idioms. The group with revered modernists including F N Souza, S H Raza, M F Husain, V S Gaitonde, K H Ara, H A Gade, and S A Bakre were inspired by the globalisation of arts and various art movements that had sprung in Europe, the young artists did not want to be bound by the definition of art set by their old school predecessors. And while they broke away from the traditional practices to explore the individuality of expression through their art, the love for their country continued to inspire them and resulted in some of the greatest work in their oeuvre.

S.H. Raza spent his entire career trying to capture the essence of India’s varied landscape. S. H. Raza, one of India’s most renowned artists, grew up in Madhya Pradesh’s forest-adjacent communities, where he developed an appreciation for the natural world. He greatly experimented, evolving through numerous stages. The artist realised that he was missing the aesthetics of India by the 1970s. He hoped to incorporate spirituality into his painting and aspired to capture the spirit of traditional Indian art in his creations. The artist did extensive research on colour, schematics, and structure.

He researched the essential ideas that underlie and make up chakras and mandalas. Instead of trying to duplicate them, he opted to develop and translate his own lexicon through which he could express his impression of shapes, colour, and energy. Due to this, the iconic symbol “Bindu” was created, which the artist continually reworked throughout the course of the final three decades of his life. In addition, Raza produced artwork illustrating the concept of India as it is shown in his piece Ekta Bandhan.

On the other hand, M. F. Husain drew inspiration from a wide range of sources, such as religious texts and epics as well as Indian culture and political history. This served as the impetus for several important painting series. Husain is remembered and known for a variety of things, including his powerful, galloping horses and the Mother Teresa saree’s curling white folds. Through his exploration of the nation’s colonial past in his British Raj series, he awoken our ferocious spirit.

A number of paintings and sculptures have been produced as a result of the adoration for Mahatma Gandhi that has been sparked by artists’ representations of him and which continue to honour his legacy. Through their creations, artists like Manu Parekh, Atul Dodiya, Debanjan Roy, Debraj Goswami, and Shahabuddin Ahmed have honoured Mahatma Gandhi.

One of the most influential modern artists of India, F N Souza experimented with many genres and styles of painting through the course of his six decade long career. His works, especially the landscapes, were deeply influenced by his childhood where he grew up around churches. Fascinated with the architecture and bright stained glasses of the windows, he rendered his landscapes in bold colour and with distortion of the form. Artist V S Gaitonde was inspired by Zen Buddhism and various other philosophies and his works evoked a sense of meditative silence. His thoughts excavated subjects which only further propelled him to drown the human existence in its mortal representational form. While the group was short-lived and disbanded a few years later, it created a playground for the artists of the newer generation to explore and experiment. Since then, there have been milestones developments in the history of Indian art including the founding of other artists’ collectives and the development of spaces to promote Indian art.

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What does India stand for at 75?

Gandhi also depreciates the fact that the unceasing debate on India’s standing in the world, and whether it has gone up or down in recent years, “usually leaves out the biggest question. What does India stand for?”…writes Vishnu Makhijani

 In the 20th century, the global media spoke of democratic India “as a hope giving marvel”. Today, the country is “in the hands of diligent leaders and dedicated organisations whose first commitment is not to democracy or equality” but Hindu nationalism, leaving out the biggest question of “What does India stand for”, writes biographer and historian, and Mahatma Gandhis grandson, Rajmohan Gandhi as he reflects on the state of the nation in the 75 years since Independence.

“In the 20th century, the world’s newspapers spoke of democratic India as a hope-giving marvel. A densely populated country with high levels of illiteracy and poverty, a bewildering variety of religions, castes, and languages, and a history of internal conflict was functioning as a democratic polity and trying to become a society of liberty, equality, and mutual friendship!

“Today, however, the Indian state is in the hands of diligent leaders and dedicated organisations whose first commitment is not to democracy or equality. Hindu nationalism may summon noble stories from the past. It may evoke passions to avenge supposed wrongs enacted a thousand years ago. But it will never permit equality to a Muslim, a Christian, a Sikh, or a Buddhist. Unless they say they are really Hindus, that their Islam, Christianity, Sikhism, or Buddhism is secondary to their ‘Hinduness’. Which most of them will never say, not even under duress,” Gandhi writes in “India After 1947 – Reflections and Recollections” (Aleph).

If Hindu nationalism permits of no equality to those outside the Hindu world, “within that world it only permits tactical, not genuine equality. The virus of high castes, low castes, and outcastes is a stubborn legacy from out past”, Gandhi writes, lamenting that “despite the injustice lying at its heart, Hindu nationalism commands vast resources. It possesses state power, street power, and money power, and controls the bulk of the media”.

In such circumstances, Gandhi maintains, “the prospect of rebuilding Indian democracy must seem quixotic. Overcoming Hindu nationalism in India is likely to be as hard a test as, for example, overcoming Islamic nationalism in countries like Turkey and Iran. Or perhaps even harder. The challenge is probably beyond the capability of political leaders, no matter how gifted, or of parties, no matter how large”.

Contending that the ball is thus “in the court of the Indian people, a frequently underestimated force”, Gandhi writes: “The people will act or react at times of their choosing, when events throw up opportunities. At times elections may provide opportunities, and moments may arrive when our people openly or quietly press the change button.”

However elections are “dicey affairs” going by India’s experience and that of countries like Iran and Turkey, the author writes.

“Many things, and a variety of parties, must come together if a juggernaut backed by great wealth and claiming to represent the national religion’ is to be defeated at the hustings,” Gandhi states, admitting that it is not reasonable to expect political parties to perform miracles, “whether of unity, dazzling appeal, or something else, before circumstances change” and blaming them “when miracles are not produced is a waste of energy”.

Until circumstances change, the author writes, “we should welcome any stroke for liberty and democracy, no matter how inadequate or isolated. We should not mind whether the stroke comes via the political platform and vote , or through the power of disciplined protest, or through the bravery of a judge, bureaucrat or reporter, or the words of a poet or songwriter, or in any other form”.

Such stokes not only can come but have been coming day after day, in place after place, Gandhi notes.

“These last few years, India has witnessed an array of creative and courageous young women and men, and their older compatriots, fighting for precious values, and willing to pay a price” and they include students, reporters, photographers, artists, poets, singers, scholars, lawyers, judges, and more, Gandhi maintains.

Asserting that democracy has been India’s strongest card but one that has weakened in recent years, the author warns that “a Hindu Rashtra will snuff out candles of hope in nations far from India and those close to it”.

Gandhi also depreciates the fact that the unceasing debate on India’s standing in the world, and whether it has gone up or down in recent years, “usually leaves out the biggest question. What does India stand for?”

“What are the ideas that India is contributing to our world? Calm, poise, and mindfulness through yoga? No doubt about that. While not everyone in the world who benefits from yoga or allied practice thinks of India while engaging in it, Indians can feel legitimate pride in this steady extension of an Indian or eastern insight to all parts of the earth”…but “Indians do not exist for India alone”, the author writes.

“India has to offer a message to a humanity where doctrines of supremacy are once more resurgent, yet equality’ and mutual respect’ are not the headlines that jump out of today’s India,” Gandhi write.

Gandhi closes with a grim warning that with India’s footprint being stamped more and more across the world, “in all these countries, it’s not just India’s name that is at stake. The daily life of people of Indian origin everywhere is affected by the state of Indian democracy. In much of the world, Christianity or Islam is the religion of the majority. Denying rights to India’s Muslims and Christians causes problems straightaway for Indians outside India. It’s an anti-Indian exercise, not just an anti-democratic exercise. Anything more foolish is hard to imagine”.

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Valli: An attempt to capture the pulse of the land

Before she started writing ‘Valli’, the author spoke to elders in the community and went into Adivasi settlements to understand their lives. As the story of Valli takes place in a Christian migrant village, the dialect of the Christian communities was used…writes Sukant Deepak

There is a certain quiet that underlines the whole novel. A rhythm that finds itself at peace with the enigmatic green all around. Even the violence has a precise sculpted beauty around it. When she writes about her land, Wayanad, it is with awe, and then — with gratitude.

Author Sheela Tomy’s delicate and ferocious glance in ‘Valli’ (HarperCollins India), her latest novel that recently hit the stands, comes from the fact that she grew up listening to the music of the forest and stories about the fight for the survival of her ancestors.

“The story of Valli begins on a February morning in 1970, on the day Comrade Varghese was shot dead, throwing light into the socio-political situation of the time. Major incidents in Valli take place in the 1970s, during the national emergency period and after the Naxal uprisings in Wayanad,” she tells.

The book, that received the Cherukad Award for Malayalam literature had been in her mind for more than a decade, with her father, a school teacher who used to tell her to write about the land, which has a distinct cultural history and geography, rich in myths and folklore. However, it was only after his departure that those stories took shape and became the book. She wrote the plot on three pages in her diary which was developed into ‘Valli’ in three years.

“In the attempt to capture the pulse of the land that made me who I am, I didn’t know where my characters were leading me to. The main characters are migrants from Thiruvithamkur who came to Wayanad. I wanted to show the transformation of my forest land over decades by man’s greed and the encroachments of the corporates, the real threats to the environment today. I wanted to show that the people of the land who once fought for valli (wages) are still fighting for vall (earth), their piece of land, and farmers are still on the brink of suicide. Narrating the story of four generations, their love, hope and resistance, it turned out to be a requiem for the forest. The forest became a main character unknowingly,” she says.

Interestingly, Tomy wrote this debut novel while she was (and still is) in the Middle East. Believing that distance worked for her, she says, “While writing ‘Valli’, I was a migrant in a desert land. I have felt the losses of my land so intensely that I started to write about it. Had it been written sitting in my homeland, the story and content could be the same, but the soul and song of Valli may have been different.”

Also a short-story writer and screenwriter, Tomy is more comfortable with the novel genre as it has a broader canvas and, “Writing short stories gives me much strain as I never get satisfied and keep on editing.”

Stressing that working with Jayasree Kalathil, who translated it from Malayalam into English was sheer pleasure, Tomy says it was her dream that someday the world would hear the untold stories of her forest village and was delighted when Jayasree came forward to translate it.

“I knew that a person who could conceive the music, rhythm and the politics of the land only could do justice to the story. I found Jayasree so involved in it and she was living with my characters the same way I did. I believe, was far beyond a literary re-creation. She was even rethinking the idea of the original text.”

Adding that translations pave way for the readers to new horizons, Tomy feels it is always interesting to hear stories from an unfamiliar land and by authors from different parts of the country.

“It is a world of versatility. My early readings had great influence from translations from Bengali literature. All languages have gems, but translators should be brilliant and skilful to do justice to the original text.”

While stories keep happening to/for her, Tomy says she is mostly “shy” to send them for publishing.

“The editing never ceases. I am never content. For a novel, it is a long but enjoyable process. Once I decide to write about a theme I live with it for months or years. I begin even without having all the characters or plot in mind. It develops gradually as I write.”

Before she started writing ‘Valli’, the author spoke to elders in the community and went into Adivasi settlements to understand their lives. As the story of Valli takes place in a Christian migrant village, the dialect of the Christian communities was used.

“I have employed many narrative devices — diary entries, letters, folk songs, Bible quotations, reinvented myths and popular film songs of the time — to reproduce the period effectively and to escape linear storytelling.”

“In fact, her second novel — ‘Aa Nadiyodu Peru Chodikkaruthu’ (Do not Ask the River Her Name) is set to be released later this month. It stands with people who are under siege and those who are forced to run away from their homeland. Background of the novel is the Middle East, particularly Jerusalem and Palestine,” she concludes.

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Sankalp for Khadi: Unique platform exclusively for rural artists

Following the inaugural event, the programme introduced the Dharoharr Pradarshani, a special kiosk presenting the line of Dharoharr products made by rural artisans…reports Asian Lite News

“Dharoharr” by “Sankalp for Khadi” is a unique platform exclusively curated for the welfare of rural artists and artisans, across the country. In an endeavour to restore India’s Khadi power, a mega-event was held in the national captial.

15 classical musicians performed Live as part of the show’s outstanding opening act in association with partners of “Sankalp for Khadi”- Raahein ensemble by Dear Sunshine Foundation. The Azadi Power Walk, honouring well-known figures who have transcended stereotypes to make a difference in reviving, promoting, and spreading Khadi, came next. The occasion also presented the “Gandhi Smriti Chin” to honour numerous guests who made a “Sankalp for Khadi” promise to revitalise the fabric in the nation and make it the most beloved and cherished fabric of India.

Following the inaugural event, the programme introduced the Dharoharr Pradarshani, a special kiosk presenting the line of Dharoharr products made by rural artisans. The final act, Vrindavan Raas, came next (a specially curated, overwhelming performance by Iskcon).

Speaking on the occasion, Paridhi Sharma (Founder- Sankalp for Khadi) stated, “I am immensely glad to present Dharoharr to the country. The idea behind Dharoharr will pave new avenues for rural India to develop sustainable business opportunities and employment. And will re-introduce ‘Make in India’ products to the present generation, encouraging them to make rural crafts a part of their daily lifestyle.”

“Proud to be a part of this revolution. Dharoharr as an E-commerce platform will bridge the gap between rural craftsmen and buyers, presenting artists and artisans a sea of overwhelming opportunities to sustain their income and employment. It will strongly empower, protect & uplift India’s rural communities. I congratulate Paridhi Sharma for bringing Dharoharr to the fore,” said Ashwini Kumar Choubey- Minister of State for Consumer Affairs, Food and Public Distribution of India.

Craftspeople and artists will be able to present their collections in a seamless and structured manner on Dharoharr for the purpose of sales. A wide range of individuals from many walks of life, including politicians, bureaucrats, industrialists, diplomats, businesspeople, military officials, artisans, celebrities, and more were present at the event.

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Lalit Arpan Festival to mark 75 years of independence

This festival, which is run by the dance organisation Asavari and its volunteers, has so far included over 95 torchbearers for Indian traditional performing arts…reports Asian Lite News

Padmashri Guru Shovana Narayan, a master of Kathak, created the Lalit Arpan Festival, which features a feast of performances by the theme of this year’s Lalit Arpan Festival, which marks 75 years of independence from colonial control, explores the terms ‘azadi’ or ‘swatantra’ and the related concept of ‘swabhiman’ through performances of Kathak, Kathakali (stree-vesham), and traditional theatre.

This festival, which is run by the dance organisation Asavari and its volunteers, has so far included over 95 torchbearers for Indian traditional performing arts. Together with the India Habitat Center, the Festival has been planned.

August 10, 2022:

*’Roop-Vidroop’ by Padmashri Shovana Narayan re-enacting the true emotional and heart- rending saga of an acid attack survivor.

*’Kshaatra Baalaa’ stree-vesham style of the dance form by Prabal Gupta.

August 11, 2022:

*’Lallan Miss’, a hard-hitting play, based on transgender Rajkumari’s real-life story by Rama Pandey Natya Vidya Foundation.

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‘It was a time when everyone was depressed, shamed and haunted’

Written in November 1947, it was the first major poem on the biggest tragedy that the sub-continent had witnessed and most writers, poets and artists stress that it is the most powerful one on the Partition — on both sides of the border…writes Sukant Deepak

It was the dead of the night in November 1947, and winter had decided to be at its vengeful worst. Travelling on a train from Delhi with her two small children wrapped in a red shawl, she looked at the shadows of the trees outside. They were like sentinels of sorrow. The darkness, the icy winds, the sound of the train moving on the tracks… and the first draft of ‘Aaj Aakhan Waris Shah Nu’ was born.

The famous dirge that immortalized poet Amrita Pritam is about the horrors of the partition of Punjab during the 1947 Partition of India. Addressed to the historic Punjabi poet Waris Shah, who had written the most popular version of the Punjabi love tragedy, ‘Heer Ranjha’, it appeals to him to arise from his grave, record Punjab’s tragedy and turn over a new page in Punjab’s history.

Written in November 1947, it was the first major poem on the biggest tragedy that the sub-continent had witnessed and most writers, poets and artists stress that it is the most powerful one on the Partition — on both sides of the border.

“It was a time when everyone was depressed, shamed and haunted. All you could hear was silence. It required a woman to write the first dirge on the tragedy. After all, what happened to women on both sides during the Partition was disgusting and criminal — humiliated, killed, raped and sold as prostitutes. Amrita came out to scream in that silence. Of course, many critics from our side of Punjab had a problem — ‘why was the poem addressed to Waris Shah and not Guru Nanak’. The leftists thought it should have been addressed to Lenin. Now, Waris Shah was the symbol of the composite culture of Punjab, she had to call upon him and nobody else,” says poet and critic Nirupama Dutt.

Adding that it enjoyed immediate following in the newly formed Pakistan too, with the poet Faiz Ahmad Faiz who read it inside his jail cell and coming out to discover people carrying it in their pockets and reciting it at tea stalls and other addas, she asserts, “Many good poems emerged later, but this one will always enjoy a special space. Also, it towers over all her other work.”

Theatre director Neelam Mansingh believes that poetry is like any other classical text — the catalyst may be a certain terrible event that gives birth to the poem, but it becomes something that travels through time. “When you see a massacre, brutalization of women, sexist or misogynist behaviour, one goes back and finds a thread. ‘Heer’ represents the essence of a Punjabi woman. She ceases to be a person but becomes an archetype. In that context, ‘Aaj Aakhan Waris Shah Nu’ is a poem that connects and resonates every time you read it. It never seems dated,” says this Padma Shri awardee.

“Herself a great poet of her times, she added another dimension of the female point of view of Waris Shah’s ‘Heer’ by underlining the fact that she has to pay the price of bloody ventures of the male ego. By connecting 1947 with Waris and then Heer, Amrita has immortalised the senseless sufferings of all of us. While celebrating the anniversary of the freedom of the country,it is important not to forget the slavery of our hatred, diplomatic immaturity and political selfishness,” says playwright and author Atamjit Singh, recipient of the Sangeet Natak Akademi and Sahitya Akademi honours.

Believing that an artist– a poet, painter or filmmaker must talk and record the issues of her/his times, National award-winning Punjabi filmmaker Rajeev Kumar feels that whenever massacres, wars or any other tragedy strikes, the worst sufferers are women. “With this poem, she responds not just as an artist but also as a woman. Just like Paash wrote in the 1970s that ‘we are living in the era of Vietnam'(US intervention in Vietnam).’ It is the way that she has articulated the tragedy and brought forth the suffering of all sides that makes it special.”

Well-known critic Yograj Angrish, who has written over 10 books on Punjabi poetry and is the Vice chairman of Punjab Kala Parishad feels that some poems become evergreen and we tend to go back to them whenever history is repeated. “During the Khalistani movement, poet Surjit Patar wrote ‘At that time Waris Shah was divided, now it is Shiv Kumar Batalvi’s turn. Amrita was a poet of cultural tradition. When a crisis came, she looked and addressed a secular poet from her tradition. Remember, Waris Shah was a Muslim. If the madness in civilization ends, this poem will also vanish. But are we naive enough to believe that?”

Even as it remains of the most talked about poems on the Partition, poet Desraj Kali, who has written extensively on Dalit issues and was published and praised widely by Amrita Pritam in her magazine ‘Nagmani’ believes that this is the poet’s worst work. “Reading this poem, one feels she has no clue about Waris Shah’s works, especially Heer. Shah’s Heer is a revolutionary character, she didn’t cry or get emotional. No father in Punjab even now dares to name his daughter Heer. She is anti-establishment, anti-system — both politically and socially, for her tradition means nothing. I fail to understand why Punjabis from both sides are so obsessed with this work. Don’t they look within? Are they trying to say that all the killings were just in frenzy? Let us not forget many were calculated ones too.”

Poet Sudeep Sen feels that we all know what happened in 1947, but the poem is a humbling reminder of the past and a fervent cry to rise up and hold firm. “There are echoes here that one can relate to current-day politics – but a poem elicits much more, both at the level of history and emotion,” he concludes.

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Symphony for Earth: Amala Earth brings first-ever curated exhibition 

You can browse an exclusive lineup of products that are good for you and the planet, ranging from responsible fashion to ethical beauty to joyful home decor…reports Asian Lite News

Amala Earth is a one-stop shop for all things earth-friendly, taking a step toward conscious living. Amala Earth intends to drive positive change with an array of environmentally conscious brands and products under its umbrella by bringing you its first-ever curated exhibition called the Symphony for Earth, where you can buy a variety of beauty, fashion, home, food, and wellness products.

The exhibition aims to intertwine mindfulness with purposeful consumption by skillfully curating homegrown brands with handcrafted, handwoven, and handmade products, with the goal of gradually introducing conscious options into our daily lives. The exhibition will feature 60 stalls with brands championing the art and practise of sustainability and conscious living, including Doodlage, Urvashi Kaur, Sui, Sirohi, Dressfolk, Soham Dave, Shades of India, Khara Kapas, Itr by Khyati Pande, Naushad Ali, and others.

The curated exhibition aims to bring together a diverse range of handcrafted offerings under one roof, with a key focus on raising awareness and sparking dialogue for a better tomorrow.

Daivik Moringa

The exhibition caters to all those who are already living or wish to begin their journey towards an earth-friendly lifestyle, whether you wish to indulge in artisanal delicacies or engage in some festive shopping. You can browse an exclusive lineup of products that are good for you and the planet, ranging from responsible fashion to ethical beauty to joyful home decor.

With its vegan offerings and holistic wellness products, the all-encompassing exhibition can also satisfy your health-meets-delicious cravings. With Rakhi just around the corner, now is the time to find a meaningful gift that has been thoughtfully curated and represents the love you share with your family.

Merraki Essential

Gunjan Poddar Jindal, founder Amala Earth, quoted, “I hold the word ‘transformation’ very close to my heart. I began my sustainable journey by introducing natural fabrics into my wardrobe and indulging in a vegetarian diet at home. Our choices define our lifestyle and we are a product of our learnings. That is why I built Amala Earth to be a platform where responsible choices are embraced. As a company, we believe in growing a community of like-minded people while working towards a sustainable tomorrow.”

Date: August 4

Venue: Hyatt Regency, New Delhi

Time: 11 a.m. onwards

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MENA attractions & destinations forum 2022 to be held in Sept

With several global heritage and religious sites, modern attractions, and leisure destinations, over 50 million tourists visit the region every year…reports Asian Lite News

To support countries in the MENA region rethinking their strategies and implementing new plans for reopening existing destinations and attractions in a safe and sustainable manner post the pandemic slowdown, MENA Attractions & Destinations Forum 2022 will be held on 28th and 29th September 2022 in Dubai, UAE to explore upcoming cultural and leisure projects and ways to drive growth for the tourism sector.

The interactive forum will host over 300 international and regional stakeholders from key sectors, including governments, tourism agencies and consultancies, hotel chains, park owners and operators, museums, culture and heritage site authorities, technology and solution providers, and investment institutions. With several global heritage and religious sites, modern attractions, and leisure destinations, over 50 million tourists visit the region every year.

The MENA region has received a growing inflow of tourists driving growth in attractions and destinations. However, some key challenges still hinder the region from capitalizing on the industry’s full potential, especially with the changing demographics, infrastructure, weather conditions, and technology developments.

The forum will also focus on developing and rebranding destinations that cater to a diverse population, current innovative family entertainment and edutainment that meets visitor requirement, converting heritage sites into new attractions to cater to different population segments and capitalizing on live entertainment to increase visitors.

Osama Khlawee, AVP Tourism Sites and Destination Development Leader, said, “Developing destinations entails planning defined areas to drive the evolution of vibrant destinations for tourists, ensuring compelling experiences, diversified tourism offerings, quality infrastructure, and services to attract people to live, work, and return to the destination. Taking full account of its current and future economic, social, and environmental impacts, addressing the needs of visitors, the industry, the environment, and host communities assuring proper management as well as marketing which are especially significant for destinations to attract fresh investments, develop value-added jobs, recruit new talent, and boost innovation.”

Richard Krent, Director for Development, Qiddiya, Kingdom of Saudi Arabia added, “Destination Development requires an intensity of creative artistry with a sense of joy that connects with its audience.”

Participants will learn about museums and heritage site developments in the MENA region, how to drive innovations in theme parks and water parks and get familiar with projects related to extreme sports and theme parks.

The jam-packed two-day agenda will feature a series of sessions by speakers from entities like the World Tourism Association, tourism ministries, cultural ministries and projects, Entertainment project developers and more who will be addressing key industry topics.

The session on modernising the region’s attractions and destinations will feature experts talking about expanding and upgrading existing facilities and sites to increase their capacity and attractiveness to tourists, how to convert temporary facilities into permanent entertainment zone and understand the role of travel agencies in driving attendance to the region’s destinations. Speakers will also talk about enhancing the visitor experience in the region’s destinations and the role of eco-tourism in sustainable development projects.

The two-day event is organised and promoted by GM Events, a Dubai-based multi-faceted event management company of international repute, having organized numerous successful forums and exhibitions for different industries across the MENA region.

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