Chaitanyya S Deshpande

Moving ahead

2012-01-07T03:11:00.001+05:30

Upendra Limaye desperately wants to forget the ‘Jogwa’ success and explore much more in future...

Me speaking with Upendra Limaye at the backstage of Raja Paranjape Film Festival.

When he won the National award for his flabbergasting performance in Marathi movie ‘Jogwa’ two years back, Upendra Limaye became first Marathi actor to be honoured with the distinction in the awards’ history. Today, busy in his exciting new projects, Upendra wants to come out of the Jogwa impact and move forward.

“I believe, winning National Award is a milestone of my career. But, you don’t stop at the milestone. With the cherished memories of ‘Jogwa’, I want to explore many innovative projects ahead,” said Upendra, while speaking to The Hitavada on the backdrop of the Raja Paranjape Film Festival.
Upendra who has acted in numerous experimental plays, Marathi parallel films, television serials, Hindi mainstream movies like Page 3, and a few South Indian films, is nowadays busy in post production work of his forthcoming movie ‘Rela Re.’ Based on ‘Ghotul’ tradition of ancient tribal races in Vidarbha, this movie may be another off beat success like ‘Jogwa’ due to its content.

“Its not like that I prefer the movies with serious social message, but since the beginning, I always prefer different types of roles,” he said adding, “We are doing a period film for the first time. I was in Bhandara district for shooting of ‘Rela Re’. Vidarbha is full of exciting locations.”

A very insightful and well-versed artist, Upendra said in his outstanding, deep baritone voice that media makes over-hype of achievements these days. “As media and publicity are readily available these days, youngsters get early promotion. But, in the long run, only sincere effort gets recognition.”

When asked about his comeback to his own domain- Theatre, Upendra said, his 1990 classic ‘Kon Mhanto Takka Dila’ is coming back on stage on January 14. “Fortunately, I have maintained myself quite well till date. So, I can play the role of young man that was very well appreciated during the ninetess,” he said smiling.

‘The real ‘me’ has got lost somewhere’

2011-12-16T01:31:00.000+05:30

After working 15-hours a day for more than two decades, Shah Rukh Khan says, his original persona has lost somewhere
in the middle...

RAHUL, Raj, G-One or Mohan Bhargav - which character resembles most with the personality of Shah Rukh Khan as a human being? - a profound question from a college-going girl turned King Khan quite philosophical and the candid SRK confessed that he faces personality conflict these days.

“I am working tirelessly for last 23 years. Everyday, I wake up in the morning and start working. I don't stop for 15 to 18 hours. With shooting, promotional events, television programmes, awards functions and dance tours, I feel like the real Shah Rukh has got lost somewhere. I don't understand when I start acting in real life as I don't stop acting on reel,” confessed Shah Rukh.

This thoughtful confession from a Mega Star was also a reflection of the mood with which he began his day on Wednesday. His ‘tweet’ early in the day said - ‘Been a long time since I spent some time with myself. Enroute to Nagpur...the tour begins for the DON 2.’

In Nagpur, SRK addressed a press conference at Cinemax Theatre, and then came for a ‘Coffee With Shah Rukh’ event organised by Lokmat Media Group at Hotel Centre Point, Ramdaspeth. Here, he interacted with members of Lokmat ‘YuvaNext’, ‘Sakhi Manch’ and a large number of school students (most of them his die-hard fans) who gathered to see him. As Lokmat group works for several social causes, issues like ‘Save Girl Child’, and ‘Education’ and ‘Sports’ were elaborately mentioned during the event and SRK's views of these issues made the event very engaging for all.

“I have a special attachment and respect for women. I lost my father at a very tender age and my mother looked after me. After her, my elder sister, then my wife and now my daughter - all these women have made my life very beautiful,” he said, before he signed a ‘Save Girl Child’ placard for Lokmat Sakhi Manch.

Being a sports person at heart, it was quite obvious for Shah Rukh to speak about sports activity, especially, football, as Nagpur recently hosted second season of NPL football tournament. “I am glad to know that football is being promoted by corpote houses of Nagpur, in this part of the country. I used to play football during my college days. I dream of a day when India will qualify for FIFA World Cup. Star players will emerge from such League tournaments,” Shah Rukh said with a promise that he will come to Nagpur for NPL’s next season.

SRK answered many questions that he frequently faces (how did he feel playing negative role in DON series). He also spoke about his heroines and attributed 60 percent of his success to them. “Right from Juhi and Madhuri to Kajol and Rani, to Deepika and Priyanka, everyone is special for me. And Gauri is the ‘specialest’,” he said receiving an enthusiastic applause from his listeners.

Shah Rukh amply demonstrated why was he such a heartthrob as he danced with a school kid on DON 2 title song. Before he left the event, he advised students to study hard ‘as education is the only way to make country a super power.’ Earlier, Jyotsna Darda, President of Sakhi Manch, welcomed Shah Rukh.

Cutting of the same article appeared in The Hitavada on December 15, 2011

King of a different throne

2011-12-15T21:30:00.000+05:30

While accepting his devoted fan following right from villages to cities as ‘Maai ka Ashish’ (mother’s blessings); icon of ‘Jas’ singing Lakhbir Singh ‘Lakha’ says, he sings on ‘Maai Ka Adesh’ (mother’s order)

(Lakhbir Sing Lakha (in safron turban) with Nagpur based Jas singers)

HIS voice has a magical depth and ‘Khanak’ that gives an experience of spiritual connectivity to his listeners. When he starts singing, they start singing along, and when he raises ‘Jai Mata Di’ call, they respond in louder and louder voice.
Such is the impact of Lakhbir Singh Lakha’s Jas singing that devotees sway to the tunes of devotional songs sung by him.

“It’s all because of the grace of ‘Matarani’,” when he says, one realises that he is absolutely right. Otherwise, for a kid born in a middle class Sikh family at Jamshedpur, it is a distant dream to become an icon in this different style of singing.

Jas singing is immensely popular all over India, especially amongst the devotees of Goddess Durga. Overnight Jagarans and hours and hours of Jas singing is common scene in North India. Nowadays, this tradition is gaining popularity in Maharashtra and adjacent region, too. Lakhbir Singh Lakha is one of the biggest crowd pullers in India. Even his Wednesday’s concert in Pardi Bhavani temple was attended by more than ten thousand devotees.

“I used to sing prayers in schools, then started singing devotional songs in temples. In college, Iwas interested in music, but, my family’s instant need was some income from me. Hence, I joined Tata Steel Company’s Security and Intelligence Department,” he said. Lakha continued to sing as ‘Kavadiya’ (devotee of Lord Shiva) and Jas singer during his leisure time in various temples for 19 years, until he was noticed by Founder of Super Cassette Industries Gulshan Kumar.

“He was real ‘Johari’, who always searched excellent voices. Gulshanji invited me to join T-Series, and everything was changed,” says Lakha who now resides in Mumbai and enjoys the status amongst India’s top five Jas Jagaran singers. Not only His style directly catches the attraction of common devotees.
“Being faithful is very important for singing devotional songs,” he mentions.

“I am always in search of good words, and if I like some Bhajan, I request its writer for the permission to sing it,” says a singer-composer Lakha has a special connection with Nagpur. “I have many fans and budding Jas Singers who follow my style in Nagpur. I have some very good writers, too. I sing their bhajans in many of my concerts,” he smiles.

Speaking for Vivekananda

2011-11-13T16:06:00.001+05:30

Shekhar Sen has invented a new style in the field of entertainment. A talented singer, composer, lyricist and actor; today, he is an internationally acclaimed name in the field of performing arts with his mono-act plays. He was in Nagpur to present his well-known mono-act play ‘Vivekanand’ when I asked him about his journey, struggle, and why he has preferred to maintain a low profile...

Q: Your journey from a trained classical vocalist to an internationally acclaimed theatre personality involves many destinations and turning points. Tell us about these transformations.
A: I was born in a musical family at Raipur. My parents Dr Arun Kumar Sen and Dr Aneeta Sen (Gwalior Gharana) were classical singers and musicologists. With our house located in the music college campus, I was fortunate to learn vocal classical from tender age. My mother was very ambitious, so she forced me to learn Sitar, Violin and Kathak also. She used to paint, and encouraged me to indulge in all fields of Fine Arts.

Q: Was it the failure in film industry that made you take to the path less travelled?
A: In 1979, I came to Mumbai to give music to films. I signed three films, and recorded many songs but ‘fortunately’ they all got shelved. If you’re a failure in the beginning of your career, you are left with two options -- either you start compromising and degrading yourself, or you become analytical and wait for the right opportunities. I opted for the second one. The tag of ‘an unsuccessful music director’ doesn’t fetch you bread and butter, so I started singing to survive. I also used to teach music to earn.

Q: And this failure lead you towards spirituality?
A: No. As a young boy, in Raipur, I always used to visit Ramkrishna Mission, and was greatly influenced by Swami Atmanandji. Well, reading spiritual books gave me strength. I started giving devotional music concerts, released more than 200 CDs as composer-singer-lyricist, and things started shaping up well. This helped me compose music in spiritual TV serials like Shiv Mahapuran, Geeta Rahasya. This was the time when I gave my voice for epic series, ‘Ramayana’.

Q: You have a special interest in medieval poetry. What do you think about Hindi literature?
A: On September 1, 1984, at Bhaidas Hall Mumbai, I gave my first singing concert on Hindi Ghazals of Dushyant Kumar. The programme was very successful, but monetarily it was a disaster. Still it introduced me to literary laureates of Hindi and Urdu literature like Pt Narendra Sharmaji, Dr Dharmveer Bhartiji, Kamleshwarji and many more. Yes, I love Hindi literature. For me, Hindi stands for Indian literature. I can speak 12 languages.

Q: After re-creating Goswami Tulsidas on stage through your first mono-act play, you did mono-acts on Sant Kabir and Vivekananda. Do you find any common thread in your three creations?
A: In 1997, I wrote the script for my first musical mono-act ‘Goswami Tulsidas.’ It took one year to memorise the script, synchronize it with live music, and add theatrical intricacies. In 1998, I presented it in Mumbai. It was a great risk. It gave me a new direction, a new recognition; but at the box-office, it was a disaster. I was almost on the verge of bankruptcy. In 1999, I started my second play, ‘Kabeer’, and it was the beginning of a new chapter of success. In 2004, I started ‘Vivekanand.’

Q: What made you select these three personalities?
A: I am often asked why I chose these characters. The true answer is, I didn’t choose them; they chose me. I wanted to bring on the stage the best representatives of Indian culture.

Q: Music, acting, painting or at lot more – which pleases you more?
A: Creation is important, and ‘form’ does not matter. It can be singing, acting, painting, writing, composing or even cooking, your ‘creation’ should make the world better.
Kala Ka Uddeshya Hai Aadmi Ko Insaan Banana (Purpose of art is to convert man into a humanbeing).

Q: Why do you keep yourself away from publicity?
A: Yes, I am a low profile artist and love that. I love to spend time with my family and friends, it’s fun. That is the reason I have refused all film and acting proposals.

Q: Do you still train youngsters? A: I am not training students now. My daily routine of 7-8 hours of ‘Abhyaas’ does not spare me any time. Travel, reading and research take up most of my time.

Q: And, about Nagpur...
A: I have wonderful memories of Nagpur. As a kid, I used to come here often with my parents. They were radio artists, and Raipur didn’t have radio station then. So overnight journey to Nagpur used to be a regular feature. As a teenager, I saw a Test Cricket match here. Gavaskar, Solkar, Mohinder Amarnath; I still have their autographs (laughs). I always feel Nagpur has great potential, and Nagpurians are simple people. They look ordinary like oranges, but once you peal them with love, the rich juices inside overwhelm you.

Q: What is your message to budding artists?
A: I follow one philosophy as an artist and can share it with all. ‘If you are looking for a short cut, you will be cut short’.

With a magic wand, the bronze plate sings!

2011-10-14T01:36:00.000+05:30

Tribal artists from Trimbakeshwar (Nashik) fill the atmosphere with mystical tunes created on an auto-phonic instrument made up of a bronze plate and a tiny branch of forest plant

Since times immemorial, music has been integral part of tribal lifestyle in Maharashtra. Traditional Bhil Adivasi artists from Harsul village of Trimbakeshwar, on the banks of River Godavari are in the city these days to perform in Orange City Craft Mela and Folk Dance Festival at SCZCC.

Masters of their ancestral art, these artists create mystical tunes from a wonderful instrument named as ‘Thali Vadya’. ‘Thali’ is a bronze plate played by a straight stick. The main instrumentalist moves the stick on the surface of the plate in order to create an auto-phonic sound. With perfect combination of pressure, speed and pauses; the plate starts creating traditional tunes. The singer supports the main instrumentalist by singing some couplets during the pauses.

“It is traditionally believed that someone suffering from stress and pressure could be cured with this traditional musical instrument,” said Laxman Raoji Bhangre, who runs an NGO that supports tribal art. Bhangare coordinates with tribal artists and the institutions like SCZCC those invite these artists for the performances. “Melody that flows from it not just has destressing qualities but can also help cure mental illness,” he added. Traditionally, it is played in tribal parts when someone dies and the whole clan mourns.
“In old times, people used to fear the dead body. Hence, they used to call the instrumentalists to play the ‘Thali’ and sing to distress them. Hence, our couplets are generally in praise of the dead person. We try to elaborate the dead one’s life and times,” explained eighty-year-old Chandardevji Nimbarte, the main artist in the group. Nimbarte remembered that he used to play the instrument non-stop for whole night many a times during his young age.

Art is an ancestral gift for him and he is happy to be the national ambassador of this art. “We have decided to bring this art out of Trimbakeshwar Forests,” the man who speaks fluent Nagari Marathi, said. With the help of NGOs, Nimbarte’s group travels all over India to perform. Sadly, this unique musical instrument is on the edge of extinction. But, Nimbarte is still hopeful as he has over 15 young students in his group learning the art from him.

“The main problem with the tribal artists is addiction to liquor. Many of them are reluctant to come out of their village, just because they don’t perform without liquor,” he said. However, Nimbarte’s group is different. They are devotees of Lord Vitthal of Pandharpur. “We wear ‘Tulsi Mala’ and liquor intake is prohibited for us,” he said.

Kudos to Punjabi Kudis !

2011-10-13T01:14:00.000+05:30

These graceful Giddha performers at SCZCC’s Folk Dance Festival are in fact pursuing Post Graduation in various streams right from Linguistics to Computer Science...

WITH their colourful and beautiful appearance, these 11 girls from Ludhiana are making the SCZCC’s Folk Dance Festival a little more happening this year. Photographers’ favourite; these girls in their mid-twenties, present traditional ‘Giddha’ dance of Punjab creatively displaying the feminine grace, elegance and elasticity.

“We are here in Nagpur for the first time. Its wonderful city with cultured and learned audience,” said Lovepreet Kaur. She told that all the 11 girls are pursuing post graduation studies in various fields from Ludhiana’s best-known Satish Chandra Dhavan (SCD) Government College. Many of them are studying Computers, Management, History and English literature.

All of them speak fluent English and otherwise feel comfortable in jeans and T-shirts. But, at the time of the performance, they all glow in traditional ‘Salwar Kameez’ or ‘Khagra’ in bright and rich colours, Chudis, bindiyas, and all make-up.

Being modern in attitude, these girls are very much connected to traditional dance forms of their land, thanks to the awareness by their educational institutions.
“The Giddha is in our blood and we enjoy performing it as our co-curricular activity,” said Mandeep Kaur. There are college-level, university-level and state-level competitions for the Bhangda, Giddha and other group dances in Punjab. Groups selected from these tough competitions get opportunities to perform nation-wide. As part of the same project, the group is in Nagpur to perform Giddha.

“It’s in fact a learning experience for all of us sharing the stage with performers from various states of India. The stalls in the exhibition and traditional huts here are mesmerising,” said Pardeep Kaur, taking a pause from an elite photo session by SCZCC’s Director Ravinder Kumar Singal, an amateur photographer.

The girls are getting overwhelming response in Nagpur. The audience join them as soon as all of them start clapping and singing small couplets in Punjabi. “Basically humorous, these Boliyan (two-line couplets) cover themes such as the excesses committed by husbands and mothers-in-law,” said Jyoti Rama Jyot, one of the mentors of the girls.

All the girls are enjoying every moment of their stay in Nagpur. They are already a centre of
attraction of the Folk Dance Festival and they are happy to get the celebrity status.
“People appreciate our dance, songs, looks and drapery. Everything is encouraging for us. After all we are Punjabis. We create such sensation wherever we go,” expressed Sondeep Kaur.
'Punjabian Di Shaan Vakhri', exclaim all her friends in one voice as they get ready for another sensational Giddha performance.

Cutting of the same article published in The Hitavada on October 12. 2011

Yavatmal maintains its unique tradition of Navaratri celebration

2011-09-27T16:55:00.001+05:30

Most sought-after for its colourful and lavish celebrations of the Navaratri festival, the Cotton City is all set to maintain its name as ‘Maharashtra’s Kolkota’ with Mandals ready with huge pendals and sculptures giving final touches to the Durga idols…

With thousands of volunteers across the city working days and nights to make hundreds of huge Durga Pooja pendals ready for the nine-day festivity of Navaratri; Yavatmal, known as ‘Maharashtra’s Kolkota’, is all set to welcome mesmerizing idols of the Goddess to be adorned in these pandals. The ambience of the city is also very religious and sanctified these days.

“Coming out of the grief of famers’ suicides, Yavatmal is celebrating the Navaratri Festival with the old-time enthusiasm this year, thanks to the good rainfall and promising condition of crops,” said Pawan Mainde of Mainde Chowk Durga Utsav Mandal. Many Mandals are making replicas of famous temples, mostly from South India and Bengal. “We have invited experts from Mumbai and Kolkota for the task,” informs Abhishek Ingle.

One of the most popular Mandals, ‘Gandhi Chowk Durga Utsav Mandal’ is completing fifty years this year. Similarly, the oldest Mandal in Aathawadi Bazar (Where they have constructed a permanent temple now) is celebrating 89^th year. Many Mandals like the one in Datta Chowk, established by late Babbi Pahelwan, and the one in Jaihind Chowk are very much near to complete fifty years. The Goddess is worshipped by more than 450 mandals in Yavatmal. This number is very large for the town with population around ten lakh. The number of registering Mandals increases every year. However, applications for temporary electric meters are highest this year.

The most colourful locality during the Navaratri is the Main Line area. Here, Durga Pooja pandal can be found in almost every square. Being a businessmen’s area, the lavishness reflects through the huge lightings and decorations. “Each and every street of Main Line gets illuminated during Navaratri. Festivity begins with Gandhi Chowk Mandal installing the idol and Ghata, before all other Mandals, around 6 am,” informs Snehal Wankar, member of Wankar family, who creates idol for this Mandal since its establishment.

Presently, third generation of the Wankars, fondly called as ‘Wankar Painters’ is working in Yavatmal. Their forefathers gave a face to Yavatmal’s Durga festival. “We are fortunate to be considered as Yavatmal’s prime sculptures. It is our traditional profession, but, the new generation is also getting formal training in it,” adds Snehal. His workshop is full of idols, and he has several new boys working with him, too. “We always need enthusiastic youngsters who wanted to learn this art,” says Snehal, who badly misses his brother Sachin who passed away earlier this year. “We had to cut short the number of idols due to his absence. Otherwise, we used to supply idols all over the Vidarbha, including Nagpur,” he recalls.

Similar to the Wankars, one more sculpture family in Yavatmal, the Manekars also supply Durga idols all over Central India. “Idols from Yavatmal have special demand as they are made with special touch,” says Sunil Manekar in whose workshop, more than thirty idols are being given final touches. “Five of these are to be sent to Nagpur,” he adds. The Manekar family is in the artists’ profession since three generations. The youngsters are learning this art under the experienced elders in this workshop. “Inflation has its effect on our business, too,” accepts Manekar adding that there is around 30 per cent hike this year in the prices of idols.

“But, in Yavatmal, the enthusiasm is priceless! We work hard to make the people happy. This is not mere a profession for us, but we consider it as a service to the almighty,” when Sunil Manekar says, he speaks out the sentiment of every Yavatmalkar, who is getting engaged in the city’s most beloved celebration of Navaratri.

From ‘Bori Arab’ to Jehangir Art Gallery

2011-08-23T18:53:00.000+05:30

The speaking wall: A paper boat stays afloat in a puddle in front of the bright green and yellow facade of a house with a poster of blockbuster ‘Titanic’. Kishor Ingale names this as ‘Bada Ho Kar Titanic Banunga’.

The illustrious Jehangir Art Gallery, Mumbai will host ‘Walls That Speak,’ an exhibition of paintings by Kishor Ingale, from August 23. Working as faculty at Chitrakala Mahavidyalaya, Kishor, who hails from a small village near Yavatmal, believes that life is a study of contrasts

There is only one school, one bank, and a small post office in his village, but there is a river, too. Market place here, turns crowded only once in a week, but fields stay lush green most of the time of a year. His village is familiar with long hours of daily power-cuts, but also with the traditional earthen oil lamps lit in a temple every evening.

Kishor Ingale hails from Bori Arab, a small village, near Yavatmal, popular for the production of quality earthen pots. Presently, he teaches fine arts at Chitrakala Mahavidyalaya, Nagpur. Naturally, his art is an outcome of a comparative study of two lifestyles -- of a village, and of the metro city.

Going global: Kishor Ingle

“Life is a study in contrast, and this contrast adds various dimensions and depths to our existence,” says Kishor. “My paintings, mostly done in abstract form of ‘Graffiti Art’, are narrations of what a village boy feels when he tries to adapt with city life, and dreams to achieve something big,” explains Kishor, winner of countless awards and appreciations along with a scholarship by Central Government’s Ministry of Culture.
No doubt, the natural beauty with which he brought up in Bori Arab, gives a touch of tranquillity to his paintings while the experience of life in metro during his college days in Nagpur, and internship in Aurangabad brings sophistication.

According to Art Historian Dr Manisha Patil, Kishor’s strength lies in manner in which the strong and impudent images are de-constructed and assembled in a way to give then a new context. His works will be on display at Hirji Jehangir Art Gallery Mumbai, from August 23 -- a dream destination for every artist in India. It’s rare for a painter to hold a solo exhibition at Jehangir Art Gallery, even before turning thirty. Kishor achieved it so early because his paintings have not one, but many stories to tell -- tales of aspiration and rejection, failure and success, wealth and want, rural and urban.

His father Digambar Ingale, a retired ZP employee; mother Devayani; siblings Pawan and Yogesh, teachers from Bori Arab, Digras, and Nagpur, and students of Chitrakala Mahavidyalaya, Nagpur, are looking after this moment as a milestone in his career.

Cutting of the same article appeared in TheHitavada on August 23, 2011

By dance, for dance

2011-08-19T01:43:00.001+05:30

She had to quit a dance contest following rib injury, but city girl Preeti Chafale impressed superstar Hrithik Roshan in such a way that he signed a cheque of Rs 3 lakh for her, to establish a dance school in Nagpur.

Her confidence and talent, even if being a small town girl, made Preeti Chafale ‘special contestant’ for dancing superstar Hrithik Roshan. When she had to quit reality show ‘Just Dance’, following her rib injury, Hrithik presented her Rs 3 lakh as a personal gift. Everyone of us have seen this gesture from the superstar, and the girl, for whom, Hrithik did this, was in Nagpur on Wednesday -- overwhelmed and excited!

“Every contestant shares a special bond with heartthrob of millions - Hrithik,” says Preeti Chafale, who hails from Umrer. Earlier in the show when Preeti’s mother was not so comfortable to come on stage because of her less knowledge of Hindi, Hrithik went to speak to her in Marathi and made her feel comfortable by telling her how wonderful her daughter is. Preeti remembers every moment during her three-month-long association with the reality show.

“I learned a lot during the training sessions, off-screen and on-screen; and finally, I am all set to attain the ultimate aim of my life -- dance for ever!,” says a girl who has already signed coveted contract with Star Plus under which she will be performing for the channel for coming three years.
“Reality shows provide good start to talented dancers. Rest depends on the way one carries self,” says a girl, who used to travel from Umrer to Nagpur daily during her school days to for dance lessons from Vinod Samseria of Vinod Perfect Dance Studio.

Preeti’s passion for dance began when she saw a dance contest on TV. She says, dance makes her feel free and uninhibited. As per her parents’ wish, she completed Masters Degree in Computer Management (MCM) besides learning dance. Her father Suresh, a WCL Umrer staffer, encouraged her to go for her dream while her family supported her, too. “But, no one from my three siblings is interested in dance,” she says sadly.

According to Preeti, only passion is not enough to emerge winner in a reality show. “The level of competition is high. One has to keep updated about all dance forms, current events, and great dancers’ profiles. A reality show is not only a dance contest, but a general knowledge test, personality development contest, memory challenge, and aptitude test as well,” says Preeti, who was selected amongst hundreds of contestants from all over the world for Top 13 of the ‘Just Dance’. “As a dancer, you cannot be a master of all forms, but I suggest to learn basics of western dance to enhances one’s personality,” - her success Mantra.

New Marathi face for Bollywood

2011-08-19T01:34:00.000+05:30

Dashing Adinath Kothare, son of renowned actor-director Mahesh Kothare, is all set to make waves in Hindi Film Industry with his debut film Standby. He speaks on his jouney from ‘Maza Chhakula’

Marathi audience still remember him as a nine-year-old brave innocent and naughty kid, doing ‘adventures’ at Essel World to escape himself from a ‘mafia’ in super-hit ‘Maza Chhakula’, his debut film.
Adinath Kothare, has now grown up to a handsome young guy, and all set to make another debut, this time in Hindi films, with Sanjay Surkar’s ‘Stand By’.

“I am very excited!”, he expresses, and one can feel the same through his glittering eyes, very much resembling to his father. Adinath, even if being a ‘born star’ of Marathi industry, calls himself a newcomer, a struggler, -- showing another quality of Marathi actor -- Humbleness. “I feel very lucky that I got a chance to work with a director like Sanjay Surkar. He gave me a lot of space in my work,” says a Science Graduate from Ruiya College, who later completed MBA from MET College, Mumbai.

“Being a science graduate was not enough to understand marketing and promotion strategy for films. So, I opt for MBA,” he says. Adinath, initially joined his father as assistant in several Marathi movies, and later worked for many production houses including Pritish Nandy Communications, and Walkwater Media.
Presently, he owns a production house ‘Kothare & Kothare Vision’ that produces three television serials including the super-hit ‘Man Udhan Varyache’. Like his father, Adinath also aspires to enjoy a special position in Hindi and Marathi industry.

“To some extent, it’s easy for me to be in industry, because people know me as Mahesh Kothare’s son. But ultimately, it all depends on my work, my acting because of which I will get films,” he says.
Presently a couple of Marathi films, including ‘Dubhang’ in which Adinath is working opposite his fiancee Urmila Kanetkar, are ready for release. Many projects in Hindi are also in pipeline.

Cutting of the same article published in The Hitavada on August 17

‘Musical theatre is self-assessment tool’

2011-07-17T01:00:00.002+05:30

After devoting much of the past four decades of his life to acting on stage, television and films, Ramesh Bhatkar turns tuneful with his debut on musical stage in Marathi play ‘Yayati Ani Devayani’

Ramesh Bhatkar

Best known for his roles of strikingly handsome, classically heroic, strong-minded and intrinsically intelligent supercop in TV series like ‘Commander’ and ‘Hello Inspector’, Ramesh Bhatkar is probably the first and only ‘angry young man’ of the Marathi industry. After spending nearly four eventful decades as an accomplished actor, he is now in mood to relish the contentment he derived from his widespread successful career.
Accepting new challenges is in his instinct, so, it wasn’t surprising when Ramesh Bhatkar made his debut in Sangeet Natak last year with ‘Yayati Ani Devayani’. The Vidarbha tour of this play has already begun and the team is in Nagpur nowadays to stage shows.

“I was excited to be a part of the greatest tradition of Marathi theatre – the musical plays!” says Ramesh, who terms himself as a good listener of music, but a bad singer. “I am not singing in this play. My character is of King Yayati, and I have only prose dialogues.”

However, rendering classic and poetic dialogues was real challenge. “It tests your language skills, and knowledge. I term musical theatre as self-assessment tool for an artist,” he says.
Bhatkar, notably, is the first actor from Mumbai mainstream who joined Jhadipatti theatre movement. “I did Jhadipatti for almost three years. It was enriching experience. People here are wonderful, and audience is well-mannered and cultured. I discontinued when I got engaged with music theatre,” he explains.

With a career that includes about 30 television serials and numerous Marathi, Hindi movies, Ramesh Bhatkar finds no suitable offer these days. “The ‘Marathiness’ is no more with Marathi television now. We see lavish bungalows, rich families, and storylines copied from Hindi. I don’t want to work in this atmosphere just for the sake of money,” he says firmly.
“However, I like to keep myself fit and fine for any role,” when he says, one realises how his looks belie his age.
While speaking on Nagpur, he recalls his frequent visits to the city during ‘Ashrunchi Zali Fule’ days. “No commercial Marathi drama completes without its show in Nagpur,” he says. As his play is scheduled in the evening, Ramesh Bhatkar enjoys roaming around the city, and visiting some popular places. “I am planning to go for a movie, suggest me a good theatre,” he quickly asks, followed by his trademark smile.

Cutting of the same article appeared in The Hitavada
(All photographs by Satish Raut)

Theatre is a mission for them

2011-07-14T01:26:00.000+05:30

Not entertainment but enlightenment is what team Bahujan Rangbhoomi aims for while performing. The term ‘experimental’ means ‘experience-based’ for these creative rebels and ‘success’ means social awareness instead of mementoes and award certificates

Passion with persistance: Young team of Bahujan Rangbhoomi group with its
Founder President Virendra Ganvir (centre).

LOOKING back at the two-decade long journey of ‘Bahujan Rangbhoomi’, established formally in 1990, makes Virendra Ganvir emotional. His boys and girls come from financially, intellectually, and educationally backward homes, with a desire to do something creative. Virendra welcomes them in the world of theatre and with his creative ability; changes them into confident, independent and respectable youths.

Today, with over 250 kids and youths attached to it, Bahujan Rangbhoomi is probably the biggest children’s drama group in Vidarbha. They are consistently doing children’s theatre since 1990. Award winning children’s play, ‘Naga Ra Baba Shala’, ‘Footpath’ and mega drama ‘Chale Hum Prabuddha Bharat Ki Aur’ are just a few names from hundreds of plays staged by the group. They are also known for producing plays based on the principles of Ambedkarite Buddhism, highlighting the native Buddhist culture of India.
“For us, theatre is a social mission. It is a self-realization exercise,” Virendra speaks out the point which sets his group apart from others.

“Our mission aims at a strong, comprehensive and thought-provoking theatre which will spread awareness among the downtrodden and bring them into mainstream,” he elaborates. Indeed, Virendra started with mainstream theatre. Here, most of the people made an issue of his faulty pronunciation but no one came forward to teach him the right thing. Observation then became his sole companion. Today, boys groomed under him speak flawless Marathi confidently.

“I have no regrets for them because twenty years ago, circumstances were different. Even today, our (backward class) kids really lack in proper dialect, language skills, and pronunciation, but, they are improving rapidly,” he says. Education and career are the two aspects on which his group emphasizes a lot. They highlight these issues through their plays, and also through the free camps they conduct for kids.
Boys like Trushant Ingle and Suhas Khandare who emerged from Bahujan Rangbhoomi are working in the television and film industry. Many others who were introduced to theatre by the group have pursued the same field and are learning at National School of Drama. Fine Arts graduate Surendra Wankhede has developed as a writer-director while Atul Somkuwar, Shruti Lokhande, Darshan Damodar and Rahul Meshram are known faces of the city’s theatre scene.

“With acting, Virendra asks us to observe every aspect of the drama – script-writing, direction, lights, sound, costume and set designing. This helps a lot in understanding theatre,” says Surendra, while Atul says, theatre has given him a sense of social responsibility.

They may have missed the opportunity, but members of Bahujan Rangbhoomi want upcoming talent to take up formal education in theatre. For this, they have a dream to establish a drama school where experts will come and impart training to kids. Their commitment to their mission will surely turn this dream into reality very soon.

Cutting of the same article published in The Hitavada on July 13

An institution within…

2011-07-11T02:37:00.000+05:30

With most of its members post graduate in various streams including theatre and fine arts; Bodhi Foundation – true to its name -- is enlightening young artists and shaping new wings to Nagpur’s theatre

Young team of Bodhi Foundation Group (Pic by Satish Raut)

THEY used to wander around the Nagpur, working with different teams before the ‘conventional’ city artists forced Salim Sheikh and his friends to form their own group to bring alive their innovative concepts. Six years ago, theatre wing of Bodhi Foundation (noted cultural and social organization) was constituted. Since then, the group is leading the cultural scene in the city with methodically, technically and aesthetically rich presentation of novel themes on current social issues. At present, large number of young artists is attached with the group.

"For us, theatre is not occasional, seasonal, or year-long, but a life-long event," expresses Salim Sheikh (now, Prof Salim Sheikh, as he teaches theatre at Nagpur University). Truly, many from ‘Bodhi’ are building careers in this field. Pooja Pimpalkar, Manjushree Bhagat and Prashant Likhar are popular names in Jhadipatti theatre. They get jam-packed open theatres, enthusiastic crowd and good money in Jhadipatti. "The experimental theatre we do here rejuvenates us," Pooja says, explaining the reason why she takes out time from her profession for group activities.
"We meet frequently, discuss numerous themes for months, write scripts together, decide the direction points, technical innovations, and then start the rehearsals. However, anything and everything decided is subject to change during rehearsals," laughs Salim, the director and writer, guide and leader for the youngsters. "Right from actors, technicians, to the one who is handling back stage -- everyone has the freedom to ask questions and share ideas. I welcome it," he adds. Probably this is why they named their open theatre as ‘Muktangan’ (Free Space).

‘Muktangan’ was developed in the front yard of Rajaram Sitaram Dixit Library at Gokulpeth by its Secretary Bapu Chanakhekar, a guiding force for Bodhi members. "Bapu had a dream of having a rendezvous for artists. We are free to use the hall for practice and open theatre for shows. He is a motivator, who has solved the primary problem of practice hall," mentions Salim. Dr Lalit Khobragade is playing a permanent role of producer and is the driving force for the group, he adds.

The Bodhi Foundation team has Mithun Mitra, son of noted theatre activist Sapan Mitra, as their lightman while Fine Arts graduate Manoj Rangari designs sets. "Here I am free to look for new concepts in lighting. I get the freedom to think which is most precious for any creative artist," says Mithun, winner of a number of certificates and awards for his outstanding light effects. "I am not against the faith factor, but wasting important time before the presentation in praying and worshipping is unwise," he says, while explaining that theatre itself is a form of the Almighty and a flawless show is the best prayer.

True to this word, Bodhi Foundation team is offering the prayer of flawless presentations since the last six years. Maybe these prayers will help them to secure a membership of Akhil Bharatiya Marathi Natya Parishad, which has been their single-minded focus for the last few years.

(Cutting of the same article that was published in The Hitavada on July 11, 2011)

Joining hands for theatre...

2011-07-07T02:47:00.000+05:30

They win hundreds of prizes and countless appreciation certificates, but ‘Rashtrabhasha Parivar’ theatre group concentrates on introducing the young breed to new day theatre.

Yahoo! Youngsters enjoy their stay with Rashtrabhasha Team (Picture by Anil Futane)

THE atmosphere at the Rashtrabhasha Parivar building at North Ambazari Road, Nagpur is lively with the enthusiasm emanating from youngsters busy in rehearsing for their upcoming theatrical performance. Three teams, around 50 girls and boys and all engaged in some or the other work. Dialogues, claps, shouts and songs create an exceptional blend of sound packing the hall with action.

"This is our practice hall," says Rupesh Pawar, a handsome young man in his mid-twenties. Presently, he leads the activity of Rashtrabhasha Parivar. Around a hundred youngsters from the city work together presenting a number of full length dramas and one act plays as part of their year-long activity. The group is known for its unconventional way of presenting novel subjects. Award-winning one act, ‘Taai’ and much-appreciated ‘Tirichha’ are popular names and speak about the taste of the group.

Rashtrabhasha Hall is like their headquarters. It is a rehearsal hall, restroom, theatre -- almost like a second home. "Nowadays, we are busy in preparations for ‘First Bell on Stage’ in which seven to eight plays will be performed on the same platform. We are converting the hall into a small auditorium," Rupesh points out.

"Here we give freedom and platform. One can try hand at writing, directing, acting or on the technical side, whatever one prefers," says Rupesh -- ‘Dada’ for all youngsters.

Along with him, Nasir Sheikh, Amit Shende, Dhananjay Mandavkar, Amit Umak, Aasawari Ramekar, Mithun Hatwar and many others are well-known names in experimental and amateur theatre these days. All have emerged from Rashtrabhasha Parivar.

Secretary of Rashtrabhasha Parivar, Sureshbabu Agrawal is their supporter and patron. "I support these youngsters because they are full of enthusiasm and intelligence. I have not done much, just allotted the hall for practice," Agrawal says humbly. However, for the team, he is a friend, philosopher and guide who always inspires them to do good work.

It is not that these people do not have worries. They have studies and careers too. But what pains them is that a career in the field they love the most -- theatre - is tough. "There are drawing teachers, dance teachers in schools, but drama teacher is always missing," laments Dhananjay Mandavkar. "It is not possible for everyone to go to Mumbai and struggle."

For Rupesh, the lack of formal training for youngsters is a point of worry. "Since last four years, not even a single theatre workshop has been organised in Nagpur. Earlier, we attended workshops and seminars here and learnt a lot from experts. But the next generation is missing all this," he says. Well, not exactly ‘all this’, as Rupesh and his friends are training youngsters. "We are not trainers, we work together," he makes it clear, while expressing confidence on the creative ability of his team. "We face difficulties and overcome them. We do not get sponsors so we contibute money on our own. We may have differences, but we join hands for theatre," Rupesh says with a smile -- which promises a bright future for the city’s theatre movement.

Cutting of the same article that appeared in The Hitavada

Down memory lane...

2011-06-05T22:55:00.002+05:30

Yogesh Thaker with his Hawaiiyan Guitar (Pic by Tushar Naidu)

The Orange City re-experienced the iconic orchestration of Yogesh Thaker on Saturday, June 4, 2011, after a gap of more than a decade. The Master of Singing Strings once again created magic with his trademark Hawaiian guitar. He was also presented Lifetime Achievement Award on the occasion. A day prior to accepting this Award, the man who ruled Central India’s entertainment scenario for more than thirty years, walked down memory lane...

“I dont have a guitar now.” When Yogesh Thaker says this, one feels as if the Sun is saying that it has no light or the spring refuses to bloom. The man, who enjoyed an absolute monopoly in the field of music for more than thirty years; the musician who created an indelible impact on the minds of thousands of music-lovers; and the guitarist whose tunes still hypnotize generations just on a recall; has been away from his identity — his guitar for more than a decade. But how long can the artist keep himself away from his art? And how long will his fans allow him to remaim isolated?

“It was a surprise, rather a pleasant one, when they (organisers of the felicitation function) requested me to receive a Lifetime Achievement Award,” says Thaker who believes that whatever he achieved is just a small contribution to the vast field of music. Performing nearly 3500-odd jam-packed musical shows across the Central India, UP, and West Bengal for more than 30 years; and being the rare exponent of the comparatively complicated Hawaiian Guitar, is a ‘small’ contribution for him.

“They insisted on a performance on the day, and I picked up the guitar for one more time,” says Thaker, who is practising for the event. “I am not sure how it (the performance) will be. I am apprenehsive, rather somewhat nervous. Things have changed now,” he says, commenting on the current musical scene.

“I find sound everywehere, but not music. Everyone is a ‘self-proclaimed expert’ these days and youngsters are least interested in practise sessions,” he laments, recalling how his team used to rehearse for eight to ten hours to set a single song. “This is why, music is losing its soul. Commercialisation is everywhere. But, how can you commercialise art?,” he wonders!

The reason behind the short-lived compositions, and easy-to-forget songs, according to him, is lack of sincearity in musicians. “Sab Ek Sath Bajaoge to Woh Bandbaja hai, Orchestra Nahi,” he remarks. Orchastra, for him, is symphony.

“I used to attend concerts all over India and share the stage with legends like Manna Dey and Naushad. The sincerity and serenity I experienced those days is nowhere now,” recalls the man who was never interested in leaving Nagpur and joining the ‘Mumbai Industry’ for commercial success. “My art is for my art,” he asserts firmly.

However, everything is not the same for the musician who enjoys listening to Rahat Fateh Ali Khan and Vishal Shekhar. “Music is for lifetime. It is not a temporary job. Hence, when I did music, I did only music, and when I started looking after my family business, I quit music,” he says.

After quitting the orchestra scene, people then saw him at rare appearances, mostly for charity shows. More than a decade passed, but no one forgot the magic he used to create.

So, when Yogesh Thaker says, “I don’t have a guitar now,” it means, his guitar is still playing in thousands of hearts. How could it be with him now ?

Or, perhaps, does he need a reminder -- that he may quit playing it, but the guitar would not leave him!

(Cutting of the same article published in The Hitavada on June 4, 2011)

Tum Jo Mil Gaye Ho...

2011-05-24T00:34:00.001+05:30

Swapnil Bandodkar performs at
Dr Vasantrao Deshpande Hall, Nagpur,
on May 22. (Pic by Satish Raut)

When nostalgic Swapnil Bandodkar sings the Mohammad Rafi classic in the honour of Nagpur's organ-player Pankaj Singh...

TODAY’S ‘rockstar’ Swapnil Bandodkar used to be a budding singer those days when city musician Pankaj Singh fascinated him with his excellent accompaniment on the synthesiser. Finding him on the stage after long years made Swapnil nostalgic on Sunday evening.

“I still remember the sensational performance of Pankaj ji on that evening. It was a Rafi memorial night and his fingers were literally dancing on the key board. It was his accompaniment which won a huge applause that night for me -- a dream moment for a newcomer singer,” Swapnil accepted while calling for an applause for Pankaj Singh.
Changing the pre-decided schedule, Swapnil requested Pankaj to play the same song once again. “Tum Jo Mil Gaye Ho, To Ye Lagta Hai, Ke Jahan Mil Gaya...” with these soothing lines, the audience in Dr Vasantrao Deshpande Hall started feeling the ‘pleasant’ change which later on turned the ‘Bedhund’ concert a memorable event for them. Swapnil Bandodkar presented his trademark songs ‘Radha Hi Bawari’, and ‘Galawar Khali’, along with a some new compositions from Marathi films, and also a medley of title songs of Marathi television serials.
Organised by Navrang Creations, a cultural group mostly comprised of medical practitioners and their family members, the musical night was full of eye-catchy light effects. Local singers and musicians accompanied youth sensation Swapnil Bandodkar while Radio Jockey Milind Patil was the star anchor for the programme. A frequent visitor to Nagpur these days, Swapnil was excited to perform at Dr Deshpande Hall after many years. Entering after three opening songs from local singers Sonali and Shashi, Swapnil presented a series of popular songs. The programme ended with Ajay-Atul composition ‘Moraya Moraya’. The auditorium was packed to its capacity and had a word of praise for spectacular event.

(Cutting of the same news that appeared in The Hitavada on May 23)

Rahman magic comes alive!

2011-05-17T02:06:00.000+05:30

(Legendary Lata Mangeshkar appeared on an electric board to sing ‘Lupa Chhupi Bohot Hui’ song from ‘Rangg De Basanti’ during A R Rahman’s concert in Nagpur. This is a special video which is the unique attraction of Rahman’s show. He said, when Lata Didi blessed him with this special video, he felt the show has turned divine.)

Electrifying!! No, no! Captivating!! No! Charismatic! No adjective has enough power to describe the atmosphere music maestro A R Rahman created in the Orange City on Sunday (May 15, 2011) evening. When Rahman plays live, it is the closest that several people can get to witnessing a Bollywood concert, a Sufi concert, a Carnatic recital, a fusion music concert, a rock concert, or a rap concert and much more!

Sunday’s concert, the opener of his latest ‘Back to Home’ series, and his first in India after winning the Oscars and the Grammy, was the one that encapsulated the musical horizon where A R Rahman’s music carried the soul.
It was for sure, Nagpur’s biggest outing in recent times, as a little under half-a-lakh people - cutting across age and cultural tastes - drove out at least 6 kilometres from the city, to the concert venue. Though the tickets were priced from Rs 1,000 to Rs 25,000 (prices were slashed a few days prior to the show), that didn’t deter the thousands, many of whom were students, to turn up.

The concert itself started a little more than one hour after the official time of 6.30 pm (in typical Indian Standard Time fashion). By 8.15 pm, the house full crowd had become very restless and had begun shouting in unison for the show to begin. The great Indian struggle for chairs was also visible and organisers (Bodhi Foundation) had to appeal several times for ‘co-operation’.

Just a flash came on massive stage and all chaos settled down. The stage was impressively put together, with the musicians standing around in the backdrop. At the center of the stage was an open space, leading to a stairwell and a raised catwalk. Slightly off the center was a raised platform. Most impressive was a seven to ten feet tall and fourty feet wide electric board at the back of the stage, which would display an animated graphics show for each song during the concert.

The immortal ‘Aalap’ from the movie Roja (originally sung by Chitra) began the show and within a minute, Rahman appeared on stage wearing crimson Sherwani on black trousers. “Jai Maharashtra!”, he said, and asked “Kasa Aahe?” (How are you?). Fascinated audience replied “Majjet!” (fine).

Rahman Enters...
Ho Ja Rangeela Rey..

Rahman began with a song ‘Tere Bina’ from ‘Guru’, a film made by his mentor - Mani Rathnam. Later, a medley from his earlier Bollywood hits ‘Rangeela’ followed in which young Neeti Mohan showcased her extraordinary singing and dancing skills with ‘Yai Re’. Shweta Pandit entered with ‘Tanha Tanha’ while Remo made his entry special with the theme song of movie ‘Daud’. Harshadeep Kaur joined the show with ‘Ni Mai Samaz Gai’ from ‘Taal’. Rahman took the medley to peak by singing ‘Dil Se!’ from yet another Mani Rathnam movie.

Dil se Re.....
Dance with Genda Phool...

Recent works of Rahman dominated the rest of the concert, much like the ensemble of singers, who were mostly contemporary. Some of his long-time regulars were there, though - including Sivamani on drums, Keith Peters on guitar, and Naveen on flute.
There was a lot of ‘Delhi-6’ (Masakkali, Rehana Tu, and Genda Phool), ‘Rang De Basanti’ (title song), and ‘Ghajini’ (Gujarish). But what sent the crowd into raptures was Koncham Nilavu (A rocking Tamil song).
Neeti Mohan, Shweta Pandit, Remo and and Benny Dayal let their hair down in their performer avatars. The team on stage cavorted with some fusion music as well, with the flute, the guitar, the piano (played by the maestro himself) and the sitar. And the all time great Sivamani’s range of percussion instruments made his presence a phenomenon.

(Kisi Na Kisi Se Koi Kuchh Keh Raha Hai, Tu Dil Ki Baat Keh De Kehne Mein Kya Hai!)
Turning classical

Rahman presented memorable song ‘Chanda Suraj Lakho Taren’ from ‘Gurus Of Peace’ (originally sung with Nusarat Fateh Ali Khan) with Javed Ali. He also rendered ‘Yeh Jo Des Hai Tera’ from ‘Swades’, which added classicism to the concert.
The classic touch continued with Harshdeep singing a ‘Thumri’ from Jodha Akbar and Shweta Pandit singing ‘Muskura Jahhan Bhi Hai Tu Muskura’ by Alka Yagnik and Javed Ali from ‘Yuvvraj’. Rahman presented a song ‘Jaa Re Ud Jaa Re’ from ‘Raavan’ which is not in the soundtrack of the movie.

(Guru of peace)
Living legend appears

All were waiting for the moment when legendary Lata Mangeshkar would appear on stage. Rahman announced that he was blessed to get an opportunity to be involved in a long time association with the divine voice of Nightingale of India. “She blessed me with the special video of a song that we sung recently for Rang De Basanti. I hope you will understand the importance (of this moment),” he said, and the track began. The bright screen turned brighter as Lata Didi appeared on it followed by the voice that directly comes from divinity. ‘Luka Chhupi Bahut Huyi Saamne Aa Ja Naa...’ the song began. Rahman closed his eyes. He joined with the lines ‘Kya Batau Maa Kahan Hu Mai...” and the song built up the real mother-child interaction between the legend and the icon.

(Marammat Mukaddar Ki Kar De Maula...)
And the spiritual conclusion

After living legend, it was time for a prayer for which Rahman is well-known. With Javed Ali, he presented ‘Maula Maula’ from ‘Delhi-6’ and later marked the end with ‘Khwaja Mere Khwaja’ from ‘Jodha Akbar’. Both the songs enhanced the spiritual quality of the atmosphere and people left the venue preserving eternal peace that had filled their hearts.

Rahman is a musical wizard who must be credited with several accomplishments. He redefined the concept of sound in film music and infused grace and passion into an otherwise stodgy concept called patriotism. ‘Jai Ho...’ (which he deliberately skipped) has become his signature now, but there was a time when Rahman was busy being pure Rahman - satisfying both masses and purists. Sunday’s concert was the celebration of this pure Rahman.

The team of singers who regaled the audience during the concert.

Spirituality speaks

2011-04-29T19:47:00.000+05:30

A R Rahman after interaction
with media in Nagpur

Enter A R Rahman. And enter tranquillity. A small man surrounded by tall and strong security guards, he walks to the dais with a contented smile. As Lalit Khobragade makes the introductory speech, Rahman goes through the information leaflet in which it is mentioned that on May 15, Nagpur, the centre of India, will witness Rahman’s first ever live concert in India, after winning the most prestigious Oscars and Grammys.
“In the last two years, I visited as many as 24 nations and coming back home is a great feeling. Great energy, enthusiasm I can feel here. This is something I was missing all this time.”

He weaves small sentences with simple words, and fills the pauses with his signature smile. For most of the questions, he has quick one word answers. For instance, when somebody asks, “After two Academy Awards, two Grammy Awards, a BAFTA Award, a Golden Globe, and four National Film Awards, what is next? ,” Rahman quips, “Nagpur!”.

Such quick and interesting answers by the maestro, popularly known as ‘Rahmaniyat’ these days, make the press conference more lively. This is the same attitude which made this man reassert the trademark ‘Mere paas maa Hai’ A dialogue from Deewar while receiving the Oscar, and this is the same coolness with which he moved ahead of the ‘Oscar impact’ so early and started composing yet another record. “Many ambitious Hollywood projects are in hand with a number of Bollywood flicks, too. After the grand Enthiran, I am working for some Tamil and Malyalam movies,” says the composer for whose music, language has never been a barrier. It is because Rahman considers music as a universal phenomenon. For him, it is beyond the language, religion and nation. Just like God!

“Music and spirituality are not different things. Every music, on its highest note, becomes spiritual and every spirituality, at its zenith, turns musical,” Rahman, one of the greatest exponents of Sufiana singing style, speaks out the philosophy in the simplest words. This simplicity makes him great.
When someone asks him about his dream, he quickly says, “I work all through the night, so no time for dreams.” Ask him about increasing number and decreasing quality of reality shows, and he says, “I would prefer to see singers performing happily on television, instead of watching news of war and calamities.” And ask him why he is not joining any reality show as mentor or judge, pat comes the reply, “Because I have lots of work to do!” Each answer gives a glimpse of the reclusive ‘Rahman wit.’

(All Photographs by Anil Futane)

Soft spoken and short in words, Rahman turns expressive when he speaks about music and faith. A philanthropist, he owns a Foundation which runs a music school where more than 200 students are getting an experience of the world of music with experts. “Out of these, many are from slums and some from poor families. They are getting free education,” he mentions proudly. “Our family believes that music is not just for earning money, but it is a spiritual cause. Teaching it to youngsters is the best way to say thanks to the Almighty who selected us for this holy work,” says Rahman who is happy to perform in Nagpur for the special cause of Bodhi Foundation’s women empowerment project.

“All I know about Nagpur is that this city is just a flight away from Mumbai,” he laughs, a rare spontaneous gesture from the maestro. “Recently, my mother had asked me to take her to Nagpur to visit Tajbagh. I promised her that we will visit this place after my world tour. And fortunately, as soon as my world tour completed, the first ever concert call I received was from Nagpur. This was like Baba Taj is calling,” says Rahman, who directly went to Tajbagh from the City Airport to seek blessings.“We are preparing hard for this concert, as this is going to be the beginning of our ‘back to home’ series. We are working on several new concepts, and also thinking to include some local talent in the concert,”

Rahman leaves with a positive note for the city's singers.

Cutting of the same news published in The Hitavada on April 29, 2011

Revolution and retirement

2011-04-11T03:28:00.002+05:30

Veterans of Nagpur city’s amateur theatre movement, who have dedicated a lifetime on stage take a stroll down memory lane and share a few pearls from their cherished treasure of experiences with me as part of The Hitavada's special series...

Mr Ganesh Naidu (Photo by Tushar Naidu)

Credited for introducing many novel concepts in theatre set arrangement and bringing studied excellence in light effects, Ganesh Naidu, in his late seventies now, is happy to be away from work as according to him, the artistic soul is being dominated by a fake show of colours and hypocrisy on contemporary stage.

‘Charandas Chor’, the iconic play of theatre great Habib Tanveer, was being staged at Dhanwate Rang Mandir. The man handling set arrangement and light effects for Nagpur’s show had a query for Habib Tanveer. “The protagonist loses his arm at the end of the first act. He is shown without an arm throughout the second act. But, he is wearing the same overcoat in both acts. When the entire arm has been separated from the body, how can the coat remain intact?” This came as a surprise for the theatre guru, who already had staged hundreds of shows all over the world. “He kept wondering how nobody noticed such a huge goof-up over the years. Finally, the appropriate change was introduced in the very next show,” recalls Ganesh Naidu, the man behind this change.

Introducing change is a habit for this man who worked behind the stage (as set designer) and before it (as light man) since the last five decades. Naidu believes set arrangement and light effects work as respiration for
theatre. “Breathing is a silent act but important for life. Similarly, stage and light effects are ignored; however,
their significance is no less than direction and acting.” This is why Naidu, who has equal interest and excellence in acting, direction and writing, chose to become a set designer and light man.

His formal education in painting under the legendary Bapurao Athawale (founder of Nagpur School of Arts), proved an asset. “Purushottam Darvekar -- the man behind Nagpur’s theatrical scene was a neighbour which made entry in the field quite easy. Once he asked me whether I could paint the background drape for one of his plays. I said yes, spontaneously, and my journey began,” remembers Naidu.

Since then, he introduced new stage set-up techniques, and soothing but efficient light effects matching the
mood of the play. He won hundreds of awards during his era. Being a studious personality, he worked hard searching for information about the field. “I was working for ‘The Hitavada’ in those days. Here I got to read many international journals about theatre,” says Naidu, who wrote beautiful letters to publishers worldwide seeking information about the field. Even today, many people know him for his excellent handwriting and letters written in flawless classic English. “Theatre activists from all over the world replied positively to my call,” he says proudly. He also called in documentaries from Europe and held screenings here in 1962, which was made possible due to his constant contact with artists through letters.

Naidu spent days and weeks finalising the stage set up and light effects, sitting in a vacant Dhanwate Rang Mandir for hours together. “After many such weird sessions in the dark, I used to finalise the design. Then, I used to prepare a miniature model. This practice is completely out of fashion these days,” he laments.

Remarkably, the models he prepared were used as guiding material at the National Theatre Workshops, where he was a special invited faculty. Naidu was the first one to use thermocol for decoration in Nagpur. He was a favourite with Jagjit Singh, Anup Jalota, and many others as his concept-based stage decoration enhanced the beauty of their performances.

Ruling over theatre for an era, Naidu has now declared his retirement. “I have no regrets. But, I would still say, youngsters should study, involve and then work so that the tag of mediocrity can be removed,” - his Guru Mantra.

The cutting of the same article published in The Hitavada.

His long and happy voyage

2011-03-29T19:56:00.001+05:30

Proud witness to three generations of the city’s theatre, Madhu Joshi’s looks belie his age, the late seventies. Positive thinking, he says, is the only key to his fitness. “An actor’s life is dedicated to the people. He has to maintain decorum, keep himself fit, tight; not only for himself, but also for those who love watching him on stage,” says the veteran actor, who nowadays, is enjoying the on-stage company of youngsters being groomed under his guidance.

‘Vikram Chandra Gokhale’ the nine-year-old artist scribbled in college-going Madhu Joshi’s autograph book some fifty-five years back. “His father, who was playing a lead in the play, asked me why I was insisting on the autograph of the young boy who had a very small role to play. I told him that the autograph was for the future as his talented son was going to become a great actor. The man laughed at me that time, but today, we know the kid as Vikram Gokhale and I have his first autograph in my treasure,” says Madhu Joshi proudly. Blessed with the rare skill of identifying the artistic spark, the man is celebrating his platinum jubilee this year with a smile of contentment on his face.

It was a golden era of Sangeet Natak (musical theatre) on Marathi stage when the young Madhu took a bow as Hiroji Narsala, Chhatrapati Shivaji’s loyal friend, in an one-act play ‘Gad Ala Pan Sinh Gela’ set by Jamdar School team. Eventually, he got a chance to direct the same play during the absence of its director, Darvekar Master. The attraction of bright arc lights, open stage and an eager audience developed right during the school days, is still within him.

“Watching Hirabai Badodekar, Chhota Gandharva, and the contemporary classical exponents on musical theatre enriched my world,” recalls Joshi. “Bharat Natya Mandir used to be the only destination for Nagpur’s drama-lovers those days, and as young amateur actors, it was the most happening place where we used to get a glimpse of veteran actors and singers,” he says. The vintage Dhanwate Rang Mandir, witness of glorious era of Nagpur’s stage, was inaugurated with three plays in which Joshi played important characters. His passion for the stage saw him performing challenging roles throughout his long career, and the same passion is inspiring him to carry on the journey.

“Watching others, reading books, attending lectures, used to be my sources of informal training in drama,” says Joshi, who never let himself get embroiled in the infamous ‘group politics’ of Nagpur’s amateur theatre. “I remained a maverick. All drama groups used to call me and I used to go for my love for theatre,” he says. According to him, R K Laxman’s common man , whom he portrayed on the occasion of Laxman’s felicitation in the city, was a memorable of-stage character he played. “I felicitated him as a common man, his own creation. This was memorable moment for both of us,” he mentions.

Being one of the leading actors in the city, Madhu got several opportunities to work for television and cinema. Occasionally, Joshi worked for these media too, but his true love remained the stage. Here, he played various roles – actor, director, singer and judge –still enjoying the thrill of the third bell. His role in his newest play, ‘Me Muknayak’ has been appreciated. Basically, he is very positive about the young artists and terms the present generation as the most creative one. “It’s amazing to work with these young chaps. Indeed, it’s a learning experience,” says the man who has been a great learner throughout his career.

“They (young artists) handle unconventional issues conventionally, and dare to do the unexpected on stage. I must appreciate their courage,” the proud senior says. “However, like a good cook first concentrates on taste and quality of food; and then looks at the decoration; youngsters should concentrate on basic theatrical ethics before experimenting with them,” is his only ‘friendly’ suggestion to youths.

The cutting of the same article published in The Hitavada on March 28, 2011

Days when doers were learners

2011-03-23T20:24:00.000+05:30

According to veteran director Ramesh Ambhaikar, “If you present a good work, audience is bound to come and see your play.” This proved true when recent show of ‘Natasamtrat’ directed by him received an overwhelming response by Nagpurians. The play will be staged at New Delhi soon, and a few more shows for Nagpurians are on card.

‘Black and white’ was the silver screen then, and televisions were rare. The only medium of entertainment, full of colours and life, was ‘theatre’. Smaller was our Nagpur then, and greater was enthusiasm for plays. The only theatre ‘Dhanwate Rang Mandir’ used to witness a full house during amateur drama festivals. Ramesh Ambhaikar, a director of number of such capacity-packed plays, recalls his memories of times spent in pursuing his love for the stage.

“Bengali Association, Ranjan Kala Mandir, Suruchi, Rangarekha, and a few more; there were hardly seven or eight groups, yet, we maintained consistency of performance. Unbelievable is this in today’s scenario, but our shows in State Drama Festival used to be sold out,” recalls Ambhaikar. A proud student of legendary Purushottam Darvekar, who pioneered ‘Ranjan Kala Mandir’ in Nagpur, Ambhaikar worked as Ranjan’s trademark director in post-Darvekar era. His recent play ‘Natasamrat’, which he directed after a long time, received overwhelming response from both connoisseurs and drama-lovers.

“If you present a good work, audience is bound to come and see your play,” he says confidently. “Only 15 people watched the inaugural show of Dada Kondke’s play ‘Wicchha Mazi Puri Kara.’ But a confident Dada continued to do shows. Word-by-mouth publicity worked, and the rest is history,” smiles Ambhaikar, who will celebrate his 69th birthday
this November.

He has a treasure of experiences to share with young theatre activists. He is happy to see their enthusiasm. But, according to him, the urge of gaining more knowledge is missing in new boys. “While doing amateur theatre, I attended a number of drama camps, conducted by veterans like Vijaya Mehta, Jaidev Hattangadi, and Vaman Kendre. When Nagpur University introduced MFA (Drama) course, I was amongst the first few who enrolled themselves for the maiden batch,” remembers the retired RBI officer, who used to attend college after completing day’s work.

“Being a director, it was must for me to study every aspect of theatre. Hence, I attended workshop in theatre music in Mumbai as ‘Director Participant’ with experts like Komal Kothari, Bhaskar Chandavarkar, Yeshwant Deo, P L Deshpande and Ashok Ranade. Even today, I read a lot about world theatre, new developments, techniques, and try to keep myself updated,” he says.

However, when Ambhaikar conducted drama camps in the city, participants were interested just in ‘doing’ play, and not in ‘knowing’ theatre. “They don’t know who Om Puri, Naseeruddin Shah, Dr Jabbar Patel, Pt Jitendra Abhisheki and Habib Tanveer are. They don’t event bother to know! And they say, we will do theatre,” he expresses his anguish. “For me, lack of knowledge is not a problem. But the lack of urge for knowledge is a great threat,” he points out. Information is just a click away for the young generation. Technical assistance is accessible. “But, basic needs like a good script are missing,” says Ambhaikar, who has translated scripts by all time great playwrights – Prof Mahesh Elkunchwar, P L Deshpande, Vijay Tendulkar, Jaywant Dalavi, Ratnakar Matkari, and Satish Aalekar.

“Good language, good expressions, and proper pronunciation are the points where youngsters are struggling these days. I think, lots of work needs to be done on this,” he expresses.
For Ambhaikar and his contemporaries; the present trend is disturbing but not disappointing. When NMC felicitated him with four of his contemporary theatre activists, it was like a family function for them. “We received this honour on behalf of people of our beloved Nagpur. We worked in Nagpur and for Nagpur for an entire lifetime. Lots of work is yet to be done,” he signs off with a glitter of promise in his eyes.

The cutting of the same article published in The Hitavada on March 20, 2011

Where have all the sparrows gone?

2011-03-23T20:13:00.000+05:30

(World House Sparrow Day Feature published in The Hitavada on March 20, 2011)

(Logo of World Sparrow Day)

They are beloved ‘Chiu Taais’ of all kids. These tiny chirpy, plump birds are one of the oldest companions of human beings. Perky and bustling, house sparrows have always been seen, mingling with finches in the fields in autumn and winter, but now weeks pass without a single one putting in an appearance. On the occasion of World Sparrow Day on March 20, The Hitavada tried to find out, where exactly the sparrows have gone?

House sparrow has become a mystery bird and is becoming increasingly rare all over. People have realised that these chirpy birds are no longer to be seen, at least not as frequently as before. “They used to be countless in numbers! I remember flocks and flocks full of sparrows roaming in and around our old house, and we used to fill water in earthen pots for them during summer,” Maai Pethkar, now in her late 70s remembers. “That is why so our folk tales are sparrow-full,” she says.

In past few years, this bird has been on the decline both in urban and rural habitats. This is an indicator of the continuous degradation of environment around us. It is also a warning bell that alerts us about the possible damaging effects on human health and wellbeing. Time has come to form action groups to help and conserve these beautiful creatures. In Orange City, a few environmentalists are working hard for the cause. Amol Khante is one of them. “The recent threat to the birds comes in the form of emissions sent out from mobile towers. These affect insects and hatching of sparrows’ eggs,” he informs.

Another main reason behind decline in number of sparrows is changed human lifestyle. Nowadays, we bring Rice and other grain, polished and packed and ready to be cooked from malls. Gardens vanished, along with it, disappeared worms and insects that were part of the birds diet. The disappearance of old fashioned houses with eaves, cosy little niches and nooks and corners for the birds to build their nests. A more lethal reason is the chemicals used in urban and also in neo agrarian set up. The introduction of unleaded petrol is one, as the combustion of which produces compound methyl nitrite, which is highly toxic for insects that forms a vital part of a chick's diet. Young birds cannot thrive without their accustomed food and the decline became more severe.Recently, Bohara community donated thousands of nest boxes to public in order to save their lives. This is welcome initiative and should be carried forward by other social groups.

Environmentalists have decided to observe March 20 as world House Sparrow Day to use it as a platform to underscore the need to conserve sparrows as well as the urban biodiversity. It will also help in attracting the attention of government agencies and the scientific community to take notice of the need for the conservation of the common bird species and urban biodiversity.

Cutting of this news published in The Hitavada on March 20, 2011

Amplifying emotions

2011-03-16T13:20:00.000+05:30

Veterans of Nagpur city’s amateur theatre movement, who have dedicated a lifetime on stage take a stroll down memory lane and share a few pearls from their cherished treasure of experiences with me as part of The Hitavada's special series...

For Damu Morey, the sound system is a lot more than something that transmits a speaker’s voice. “A microphone should be able to pass on feelings, thought and character of the speaker,” says the man, who has seen three generations of speakers, actors, and singers quite closely, sitting right in front of them, arranging the sound tracks.

“Eyi Harami, tui amar natok noshto kore dili. Toke aajke merei phelbo,” (You bastard, you spoiled my play. I will kill you.) With a dagger raised in a hand, the warrior was chasing the man who missed the exact moment of turning on the spotlight during a play. The dagger-borne man was portraying a soldier in the ill-fated play and now his ire was focused on the technician at the Dhanwate Rang Mandir, the only auditorium in Nagpur those days.

“Oh my God, that was a great sight! I was trembling with fear running out of the theatre. And in a warrior’s get-up; Toru Mitra was standing right at the main gate, shouting at me. People were watching the drama within the drama, and it was a great embarrassment for me being the technical in-charge,” recalls Damu Morey, veteran sound technician, who was recently felicitated by Nagpur Municipal Corporation for his contribution to the city’s theatre movement. Owner of the century-old ‘Morey Sound Service’; city’s signature sound system provider; Morey, these days, relaxes at his recording studio in crowded Modi No 1, behind Janki Talkies, recalling his seven-decade-long association with theatre.

“It was not a personal quarrel. It was an anguish of an actor, who failed to deliver the desired impact due to a technical goof-up. The incident never dampened the spirit of companionship between me and T P Mitra nor did it stop the next half of the Bengali play ‘Gehri Pataka’. Thankfully things went right later,” remembers Morey.

Understanding emotions is probably the most important thing Damu Morey has achieved in his life apart from a bagful of prizes, acclaims, recognition and a lot of work.

That is why, when he provided sound system for the historical ‘Dhamma Pravartan’ event at Deekshabhoomi, or when he changed the look of the city’s trademark ‘Ram Navami Shobhayatra’ by playing a single song on every loud-speaker all along the 17-km route; or when he introduced the use of recorded speeches of national leaders during election campaigns; he was met with nothing but resounding success.

“It was the ‘Deeksha’ event which made me realise the impact of ‘one’ voice,” says Morey almost entering into a trance while recalling the golden days.

“My approach towards work changed after seeing millions of people answering to a call of a single charismatic voice that my loud speakers were transmitting. At that very moment, I realised the difference my work can make,” he remembers.

Since then, his profession has become a passion for Damu Morey. Studying performers’ voice quality, auditorium’s architecture, and sound needs before arranging sound system is his habit. This is why, everyone right from Prabhakar Panshikar to Pt Bhimsen Joshi insisted on Morey’s service whenever they performed at Dhanwate Rang Mandir.

“I shared a special bond with Rang Mandir,” says Morey. He vividly remembers the structure and architecture of Rang Mandir, and explains the theory of sound waves, that he learned through experience. His two sons learnt the same after doing BE (Sound Engineering) from Mumbai.

His decades-long career is full of experiences. He remembers the legendary Mohd Rafi for his humbleness; Pt Hariprasad Chaurasia for saying “Yeh mera nahi, Morey Sahab ka Kamal Hai” when he was provided a spontaneous reverse echo while playing his trademark ‘Pahadi Dhun’; Pt Bhimsen Joshi for his down-to-earth nature; Lata Mangeshkar for the way she responded to a song played during her felicitation in Nagpur; Yashwantrao Chavan for a look he gave him when Morey played a Maharashtra Geet to coincide with his entry on stage; and so on.

Today, in his seventies, Damu Morey is still busy working on innovative concepts. In his studio, now full of modern equipment, he records for a variety of events. He is proud of young theatre activists in the city and is always ready to help them. This is because he understands their urge and emotions.

He has mastered this art now.

House Of Hobbies - 7 -- Nilima Moon: Carved creations

2010-10-12T01:03:00.001+05:30

Crazy and creative, passionate and positive, influential and introverted, happy and hopeful – the hobbyists find their pleasure within. They select and collect; craft and create; preserve and protect, and enjoy in their own mysterious world. ‘House of Hobbies’ was my effort to peep into the world of hobbyists in Nagpur. This series was published in The Hitavada in September-October 2010. Take a look...

Nilima Moon: Carved creations

(Nilima Moon with her son Dakshesh)

ALMOST all bright students get chalk-sticks as token of appreciation from teachers, but very few of them can see the pillars of the Royal Palace hidden in these fragile stalks. As a class-monitor in Dharampeth Girls’ High School, Nilima Hazare (now Nilima Moon) used carve pillars in the chalks. The habit of searching for ‘art’ in mundane ‘articles’ was born right there. Lucky girl, she was noticed by Sudhakar Phatak, her teacher, and city’s well-known soap-carving artist.

“Phatak sir asked me to switch over to soap-carving as chalks cannot be preserved for more than a few days,” said Nilima, a student who has made her teacher proud by creating masterpieces from soap.

A simple bath soap, when she starts carving, turns itself into various forms of Lord Ganesha, or a mother loving her child, or Bhagwan Buddha in deep meditation, or SRK in his typical pose, or just anything that Nilima wishes. “All I need is a carving fork, specially designed by Phatak sir,” Nilima humbly says. However, the cutter is only a gadget. It needs hours of concentration, dedication and skill to carve a delicate small-sized soap.

“My brother, Sachin used to bring large sized washing bars for me. He encouraged me a lot,” says Nilima, who became a popular as soap-carver, right in her college days. She participated in several exhibitions. “Once I had made a Ganesh idol from soap particles left after carving. Since then, nothing goes in waste,” Nilima points out showing a colourful Lord Ganesh idol.

“After exhibitions, Girls, astonished by the art, used to approach me for classes, so I tried to teach it to many. But, the complicated job bored them,” Nilima shares with her signature attractive smile. “No problem. I am okay with it. I am searching for new ways in this art by myself,” she continues.

Recently, Nilima has developed ‘water therapy’ to join two or more soaps together which will expand the platform for carving. “But these days, I find less time for this,” she smiles once again, as her son Dakshesh, who is celebrating first birthday on October 3, crawls into her lap.

“One of my friends told me not to get married if I have to quit soap-carving after that,” she remembers, “But I am lucky. Instead of complaining for over-expenditure, my husband Dheeraj and in-laws feel happy when I purchase a few more number of beauty soaps,” this time she gives smile to her mother-in-law busy with Dakshesh. At her house, situated in crowded lanes of Sadar, Nilima has number of soap arts, covered with cotton, and packed in a plastic box. Every minute detail, facial expressions, and eyes are carved so aptly, that it is very hard to believe that the figures are made of bath soaps. “Why not? The name itself is ‘beauty soap’, so ‘beauty’ can be carved out from it,” Nilima greets with the same attractive smile!

House of Hobbies - 6 -- Arun Gulhane: Marvelous memoirs

2010-10-10T02:39:00.000+05:30

Crazy and creative, passionate and positive, influential and introverted, happy and hopeful – the hobbyists find their pleasure within. They select and collect; craft and create; preserve and protect, and enjoy in their own mysterious world. ‘House of Hobbies’ was my effort to peep into the world of hobbyists in Nagpur. This series was published in The Hitavada in September-October 2010. Take a look...

Arun Gulhane: Marvelous memoirs

As a schoolboy, models of buildings and other projects kept in the office of his neighbor, an architect, used to fascinate Arun Gulhane. “I used to spend hours watching those models with eyes and mouth wide open,” says he, whose fascination towards replicas of buildings not only gave him a leisure pursuit of a lifetime but also, after thirty-five years, a reason and strength to live life to its fullest, without complaining to destiny for the tough times.

“Like any other boy, I began with making cardboard models of houses and theatres. However, my replicas started looking more real when I used the Japanese Art Board, which is now out of Indian market,” recalls Gulhane, whose art works -- replicas of famous temples and monuments in India made up of ivory paper, century paper, cardboards, and art boards and lacquered with oil paint -- look even better than the original.

It was some three decades ago, when Gulhane joined IGGMC as technician, and found the unique set of tools he uses for cutting the paper with rare artistry –surgical equipment.

“Yes, the delicate cutting needs surgical equipment,” he says, while showing the instruments.

Gulhane, a science, law and management graduate, has no formal education in engineering or architecture. Still, he uses the graph paper, measurement instruments proficiently and follows geometry with such excellence that no replica loses its proportion even slightly. “It need months, sometime years, to complete one piece. Concentration and lots of patience are must to acquire this skill. But today’s youths don’t like to wait,” -- Gulhane’s reason as to why he has not been able to pass on the skill to some youngster.

His only son Vaibhav, an engineer, is working in Tatanagar. “He always supports me silently. He knows, this art is the only life tonic for me, particularly, since I was left alone five years ago by the untimely demise of my wife, Dr Saroj,” Gulhane expresses. “She was a great support,” he pauses, and switches over to another topic.

Born and brought up in the city, Gulhane wants to live and love Nagpur for his lifetime. “That was why I donated two of my masterpieces to the Central Museum,” says he, showing the photographs of replicas of Maharaja Bakhtarsingh’s memorial in Alwar, and Maharaja Jaswant Singh’s memorial in Jodhpur. These photographs leave one just awe-stricken. But the artworks are no more available in the museum.

“Careless, they literally ruined my hard work. When I asked them to return them back, the curator did not even respond properly,” he laments. But this irresponsible act of the Central Museum authorities failed to dampen his spirit. “After retirement, I find lots of time and solitude. I have the graph papers and sketches of those pieces. I will re-create them,” the man says with a confident smile, brought on by his rare hobby.

House of Hobbies - 5 -- Vintage Collection

2010-10-08T01:53:00.001+05:30

Crazy and creative, passionate and positive, influential and introverted, happy and hopeful – the hobbyists find their pleasure within. They select and collect; craft and create; preserve and protect, and enjoy in their own mysterious world. ‘House of Hobbies’ was my effort to peep into the world of hobbyists in Nagpur. This series was published in The Hitavada in September-October 2010. Take a look...

Diana Hormusji: Vintage Collection

(Mrs Diana with her collection)

“I REALLY don’t think it’s worth,” says Mrs Diana, a sexagenarian Parsi woman, welcoming us to her bungalow with a huge front-yard full of lush greenery and flowers – hard to find these days in Nagpur. Tall and strong, the trees around indicate the age of the house and also that it must have many reminiscences to share. But according to its owner, her collection of the precious items, particularly of spoons, is ‘not worth’ as compared to others she had seen or heard about. It may be true, especially for this woman who has travelled widely in India and abroad. But, hundreds of spoons from various countries, based on various themes, rare glassware, souvenirs, Chinese perfume bottles, select antique pieces, and much more leave everyone astonished.

“I have not collected these by my own. Many of these come right from my grandmother, many from my mother, and some are gifted by friends and relatives,” says Diana, whose father used to purchase artistic glassware from Chennai (then Madras) to add to her collection -- that too, for just for Rs 1 or 2 of that time. A born Nagpurian, she was a student of Tata Parsi Girls High School, and Nagpur University’s medalist in Political Science.
After getting married to an Air Force Officer, Diana got a chance to visit and live in many states of India. Everywhere, she collected people – and they added things to her collection. Count from her grand mothers’ time, and her collection is almost three generations old now.

As we enter the drawing hall decorated with antique pieces, statues, pots, and photo frames --everything well-arranged in typical Parsi neatness – she pulls the old black buttons down, and artistic chandeliers start illuminating the hall. British-age ceiling fans, with unusually huge center-lobes, start whirring, she unlocks the glass showcase full of spoons, and the world tour starts. “These are from America; these are from Europe, these from China, these are Indian,” she points out one by one. Each spoon has different design, different value, and different story.
“I do collect spoons, but I don’t like ‘chamchagiri’ at all,” she makes atmosphere lighter. The collection further shows decorative pieces from many parts of the world, including the Chinese perfume-bottles painted from inside. “Foreigners have a great value for antique things, which we lack” she expresses.

“We must learn to value old things,” she says. The ancestral treasure will be traditionally passed on to her daughter, who is a teacher in Bangalore. “She teaches to dyslexia-hit students,” the proud mother says.
Reluctant initially to show the collection, Mrs Diana says, all this was collected and kept only for self-satisfaction and she don’t want any publicity.

However, only the fact that such collection and collector lives in the city, will please a true Nagpurian.

House of Hobbies - 4 -- Shweta Bhattad: Mouth-watering mirage

2010-10-08T01:39:00.003+05:30

Crazy and creative, passionate and positive, influential and introverted, happy and hopeful – the hobbyists find their pleasure within. They select and collect; craft and create; preserve and protect, and enjoy in their own mysterious world. ‘House of Hobbies’ was my effort to peep into the world of hobbyists in Nagpur. This series was published in The Hitavada in September-October 2010. Take a look...

Shweta Bhattad: Mouth-watering mirage

(Wax Modeler Shweta Bhattad)

If Shweta Bhattad offers you something to eat, just hold on and check the dish out. This charming, fair girl in her mid-twenties will officially become Master of Fine Arts from Maharaja Sayajirao University, (MSU), Baroda, next year; however, she has already earned mastery in creating delicious-looking mirage in the form of wax art. “Kids cry for ice-creams and fruits, pani pooris water youngsters’ mouths, and my friends impulsively eat up the sweets before I can tell them that these are made of wax.” So real are the creations by this wax-modeler.

A Bachelor of Fine Arts (BFA) in sculpture from CISFA, Shweta never had a formal training in wax-modeling. “Because no one teaches this,” she says. She developed fascination for wax while studying in ‘crucial’ Class XII. “Initially, I used to make candles -- then colorful ones -- and later of various shapes. There was the all-important HSC exam, but my parents never stopped me,” says Shweta, while crediting every achievement in her flourishing career to her parents, Usha and Purushottam Bhattad.

After winning bagful of awards and critical acclaim over the years for her unique style of sculpture-making, she was selected by prestigious MSU, Baroda last year – a matter of pride for the Orange City. Well, but the reason behind her choosing the Fine Arts lies right here in the wax. “I was trying to make out something from wax. To get proper knowledge of shades, I opted for Fine Arts,” says the scholar, who is expecting to grab a fellowship for foreign studies next year and to visit famous Madame Tussaud’s Museum someday. “It’s a very complicated job to melt wax, mix colours– that too, in the exact quantity, keeping in mind that the wax changes colour as it cools down. It is not possible to paint the piece or to cover a food item with transparent wax to make an art piece. To make it look real, you have to work hard, for hours and days and weeks, without losing concentration, all for one art piece,” Sweta shares her experience.

“Mummy is a master in deciding colour quantity. It will be impossible for me to work without her help. Tins and tins full of wax have gone waste during my initial days. But Papa never said ‘no’ to purchase another tin,” she says even as her father looks on with an indulgent smile. “We just could not stop her after seeing the magical creativity,” he says.

“For making rice, or noodles, she holds hot wax on her palms to shape it. This hurts,” – a mothers’ concern. Shweta dreams of creating a wax museum in Nagpur in which each and every food item will be ‘waxinated.’ Let’s share the dream with the Orange City’s own budding Madame Tussaud.

House of Hobbies - 3 -- Subhash Sharma : Houseful collection

2010-10-04T13:42:00.003+05:30

Crazy and creative, passionate and positive, influential and introverted, happy and hopeful – the hobbyists find their pleasure within. They select and collect; craft and create; preserve and protect, and enjoy in their own mysterious world. ‘House of Hobbies’ was my effort to peep into the world of hobbyists in Nagpur. This series was published in The Hitavada in September-October 2010. Take a look...

Subhash Sharma : Houseful collection

SOME thirty-three years back, a school-boy stole a few old coins, kept carelessly in a tool-box of his friend’s radio repair shop. But the very next day, he went back, returned the coins, and confessed to the theft. “The coins had developed a feeling of guilt in my mind,” tells Subhash Sharma, whose friend eventually gifted the same coins to him for his honesty. “He kept silver coins and gifted me the copper ones. That day was a day of ecstasy in my life,” Sharma, whose search for the similar ‘day of ecstasy’ began with that very moment, he says.

Owner of an automobile reconditioning workshop near Shukravar Lake, Sharma has been collecting antique pieces, coins, historical belongings, brassware, watches, dials, locks, gramophones, stamps, stones, vintage equipment, arms, swords, pots, lanterns, knives, sculptures, historical notes, books, and what not – since the last three decades. “I am not bound to a particular theme. I just add, whatever appeals to me,” he said, while showing his collection, very neatly preserved and beautifully displayed in a personal museum on the
second floor of his bungalow in Dhantoli. “It comes from within. Your passion is enough to become your inspiration and motivation and encouragement,” claims Sharma, who speaks excellent Marathi.

Sharma’s collection has silver punch-marked coins of all 16 Janapadas (185 BC), swords probably of Maratha age, centuries-old locks, Tamrapatras (brass plate inscriptions), bhojpatras, and equipment of stone-age brought from excavation sites, he claims.

Other than professional sellers and numismatic societies - the common sources of coin collectors – Sharma has an additional and exciting source. “The Zarekari or Sonzari community people residing near rivers and water bodies dive deep and bring coins. The rivers with old forts around, like Paoni river near Nagpur, are full of such ancient coins. It’s a luck factor. You have to go there and find out,” the ‘lucky man’, who has found hundreds of coins from rivers till date, says.

It was his passion for history which inspired his wife Varsha to complete MA in Ancient History after marriage. She is now pursuing PhD on ‘Copper punch mark coins in India’. They have two school-going daughters, Mili and Sakshi, equally interested in history and collection. “Family support plays vital role,” accepts Sharma, a college drop-out, but an authority on ancient history after reading hundreds of books from all over the world. He can decode ancient scripts like Brahmi and others. However, he laments lack of awareness in India about our rich heritage. “James Prinsep, a British official deciphered Brahmi, the oldest Indian script, once termed ‘meaningless’ by our philologists,” he shares.

It’s a fantastic story of how a kid’s fascination for some old coins took the form of systematic study. Well, much more to come in future, as Subhash Sharma’s search for another ‘day of ecstasy’ continues.

House of Hobbies - 2 -- Prashant Baitule: Small wonders

2010-10-04T13:09:00.005+05:30

Crazy and creative, passionate and positive, influential and introverted, happy and hopeful – the hobbyists find their pleasure within. They select and collect; craft and create; preserve and protect, and enjoy in their own mysterious world. ‘House of Hobbies’ was my effort to peep into the world of hobbyists in Nagpur. This series was published in The Hitavada in September-October 2010. Take a look...

Prashant Baitule - Small wonders

(Prashant Baitule with his wife Yogita)

“I can do better than this.” This statement of Prashant Baitule, after watching his sister’s beautifully crafted miniature piece displayed at a marriage function, was rewarded with a loud hoot of laughter. Especially so because ‘Taai’ was a trained bamboo craft-maker. “Everyone was praising the piece, so, my reaction was surprising for her. But, it was spontaneous. I had never touched a bamboo stick before, but I just felt it within, and uttered those words,” Prashant recalls the incident in 1990 after which he purchased a bamboo chatai (sheet made up of cane slices) and a box of adhesive, and started working.

Almost two decades have passed since then, and today, the drawing room of the 1BHK flat of this Irrigation Department clerk, in Madhuban Apartments, Wanadongri, is full of beautifully crafted miniature tables, chairs, table-pieces, houses, cycles, rickshaws, chariots, cars, and much more – every item crafted with microscopic detailing.

“Other than a ten-rupee ‘chatai’ and some adhesive, I hardly spend money on my hobby as every other decorative item comes from waste material,” he says. Old buttons and discarded ornaments turn into shining lights, cloth pieces cut away by his dress designer wife, Yogita’s graceful curtains, hard transparent packing of shirts becomes table-glass, pages of last years’ table-top calendar become rooftop – Prashant’s list of getting the best from waste is unending.

The most astonishing feature of Prashant’s miniatures is ‘perfect measurement’. The chariot may have four wheels, but their radius never defer even by a millimeter. Each of the ten steps in a five-centimeter staircase is of exactly the same length. Being a science graduate and working in a technical field for some ten years is important, but not enough to acquire such perfection. “Yes. It is an ancestral gift. I used to see my father Sadashivrao, designing gold ornaments, our traditional profession,” reveals Prashant.

“I usually gift a cane-chair that can be used as a mobile-stand to my friends. It has become a common feature in my office these days,” he smiles. “Relatives ask us to gift craft pieces,” his wife adds. “Sticks move with magical flexibility in his hands. When I tried, they broke into pieces,” she praises. While for Prashant, the skill is an outcome of passion and practice.

“The evening hours I spend with sticks recharge me for the next hectic day,” he says. His school-going son, Nishant also joins him these days. Together, they have a dream to own a duplex and name it after Prashant’s mother, Rama. A cane-replica of the same is kept in the show case.

“We dream of this house. One day, it will come true,” Baitule says with the same confidence, that he had shown some twenty years back, saying, “I can do better than this.”

House of Hobbies - 1 -- Ramsingh Thakur : Cooking coins

2010-10-04T13:02:00.002+05:30

Crazy and creative, passionate and positive, influential and introverted, happy and hopeful – the hobbyists find their pleasure within. They select and collect; craft and create; preserve and protect, and enjoy in their own mysterious world. ‘House of Hobbies’ was my effort to
peep into the world of hobbyists in Nagpur. This series was published in The Hitavada in September-October 2010. Take a look...

Ramsingh Thakur : Cooking coins

Say Ramsingh Vijaysingh Thakur, and a lordly image of a broad-shouldered, mustached man wearing a rich Sherwani and posing with imposing an eagle-like bird for a portrait enters one’s mind. But our short-heighted, average-built version of ‘Thakur Sahab’ came in a simple pink cotton shirt and black trousers. In his two-room ‘mansion’ at Sakkardara, Thakur Sahab preserves his collection of coins and currency notes, a major part of which, according to him, comes from his family business -- an ‘untitled’ food stall at Raghuji Nagar, near Kamla Nehru College.

“We are famous for Chana-Poha, Samosa, and Bhaji Wadas. I collected many coins while running stall,” says Ramsingh, the only son of a cook couple Vijaysingh and Chandrikadevi. Ramsingh’s collection has almost every coin released in India since 1835. He also has Indian currency notes. RBI’s One rupee note, now outdated, used to have signature of India’s Finance Minister on it. Ramsingh has one rupee notes right from 1950 to recent times, featuring signatures of all Finance Ministers of the country.

Otherwise silent, Ramsingh starts speaking fluently in typical ‘KIlla’ tone as soon as we switch over to ‘coins’. “Fascination for coins was from childhood. I used to go to Itwari’s popular Shanivar Bazaar with Aai. Once she purchased a few coins from Ibrahim Khan, a local merchant, and handed those over to me. All started right there recalls Ramsingh. From then on, he started collecting coins in a box. However, it took a form of proper hobby when he visited the collection of late Arvind Ambhaikar.

Now, Ramsingh has properly-arranged albums and paper reproductions of coins with all minute details and history printed. A mere school pass-out, he speaks with an authority on the historical references, themes, and upcoming coins. Ramsingh suggested young numismatists to refer ‘Gullak’, a newsletter especially published by and for coin-collectors.

Interestingly, he has good collection of faulty coins and notes released ignorantly and later called back by the RBI. “A five-rupee coin on Lokmanya Tilak was released recently on which his name was printed as ‘Tilakji.’ RBI called back the coin and released new series with proper name. But before that, the coin was in my collection. Now I have both the coins,” shares Ramsingh. He has several such storied to tell.
No doubt, the collection of this young man is going to become a huge one with time. He may not become a broad-shouldered mustached man and pose with an eagle. But for sure, Ramsingh Vijaysingh Thakur has lots of photo sessions scheduled with his increasing collection.

Young artists to bring along novel concepts: Dr Jabbar Patel

2010-07-06T22:14:00.005+05:30

“Men like Raj Kapoor and Guru Dutt made all-time classics even when there was no financial help from the Government. Good film-makers always experiment, and bring something new on screen. However, commercial films are need of the masses”

We know Dr Jabbar Patel as a renowned theatre and film director of India. We know him for Ghashiram Kotwal - a classic in modern Indian theatre. We know him for classic films in Marathi cinema like Jait Re Jait, Umbartha, Simhasan, for his most acclaimed film Dr Babasaheb Ambedkar, for national award winning Mukta, for Ek Hota Vidushak (Which revealed a serious actor in Laxmikant Berde) and so on.
However, a very few of us know that Dr Patel is a paediatrician, and, therefore, enjoyed himself truly in Doctors’ company’ on Sunday. He was the chief guest at the installation ceremony of the Academy of Medical Sciences (AMS). But, how one can resist to ask him questions about the classic school of cinema - of which he has been a stalwart?
Talking to a visibly relaxed Dr Jabbar Patel after the AMS function revealed his thoughts on ever-changing cinema, new generation directors and producers, and of course, his upcoming ventures.
“Cinema is a creative art. Concept of creativity changes with generations. Young directors and producers today, are exceptionally talented. As an encouraging fact, the Government provides financial assistance to film-makers these days. Many a youngsters is making really good use of this money,” expressed Dr Patel mentioning the internationally acclaimed films Harishchan-drachi Factory and Vihir. But out of 120-plus Marathi films produced this year, only three or four could won the critical acclaim. When asked about this, Dr Patel said, it depends on the mood and skill of a film-maker, and not on the Government aid.
Men like Raj Kapoor and Guru Dutt made all-time classics even when there was no financial help from the Government. Good film-makers always experiment, and bring something new on screen. However, commercial films are need of the masses, he explained.
“Commercial and parallel cinema always progress hand in hand. In old times, I and Dada Kondke used to work together. N S Vaidya was our common editor. He had worked for me and Dada at the same time. Many a times, I borrowed Dada’s camera for shooting my films. These two are totally different genres of cinema,” Dr Patel recalled. Dr Babasaheb Ambedkar, his celluloid biopic, was dubbed in nine regional languages. However, it took a long time of nine years. “After the English version received the award, the decision was taken to go in for different dubbed versions. So, it needed time to write the script, go for script approval from prominent Sahitya Akadami winners, and then find proper voices for voice-over,” he said.
After Dr Ambedkar, Dr Patel is presently working on Mahatma Jyotiba Fuley. Simultaneously, he is working on a literary masterpiece by Marathi poet N D Mahanor - Ajantha.
“Mahanor’s Ajantha is a long narrative poem describing the love story of a rural girl and an English officer, who discovered the Ajantha caves. Making this film would be challenging, as well as exciting task,” he said. “Well, I would try to cope with the zeal of contemporary film-makers,” Dr Patel concluded with a smile.

The Master Stroke...

2010-03-19T01:01:00.004+05:30

Otherwise wavery, hands of Syed Haider Raza turn firm with a divine capability when they hold a brush to draw lines on canvas. Otherwise weary, eyes of Syed Haider Raza sparkle with a spiritual light when they concentrate on shiny white canvas. Otherwise busy in watching the Shlok’s painting exhibition, art-lovers turn sculptures, immobile, to store the moment into their eyes forever. And otherwise a common white paper, the canvas at Jawaharlal Darda Art Gallery, turns into a masterpiece of contemporary art when the universal ambassador of Indian style of painting fills the hues of life into it. Raza paints the ‘Bindu’, as the birth and sustainer of creation and existence and moves towards shapes, geometry and colour and onto two dimensional depictions of space, sound and time. Nagpurians experience the once in a lifetime affair. Thanks to Jawaharlal Darda Kala Akademi, for bringing Padma Vibhushan Syed Haider Raza to the city on March 12

Introductory piece of a report of inauguration of Shlok's Art Exhibition that was organised at Nagpur from March 12 to 14.

‘Just believe in yourself and go for it!’

2010-03-09T01:21:00.007+05:30

With three state-level silver medals for acting; a state award for best playwrite, hundreds of floral bouquets and countless rounds of applause this year;
Shweta Pendse, no doubt, is a shining star of Nagpur's cultural scenario. Majhiya Mana, a Marathi play written by her, was a record-breaker in both State festivals (Rajya Natya Spardha, and Kamgar Natya Spardha).
Shweta’s proficient playwriting skills won several awards, not only for her well-studied script, but also for other brightly depicted characters.
Being a student of biotechnology and Chemistry, Shweta attended national science seminar and presented award winning research papers. On the other hand, she kept learning Kathak, and Indian Classical Vocal, and performing on stage, and much more... Besides, she is a calligrapher. She knows Art and Fashion Jewellary Designing and making, and much more... She is a wildlife photographer, a state-level debater, an acclaimed anchor and much more.... She sings, she paints, she writes, she acts and still much more.... An energetic, responsible, self-motivated, result-oriented professional; Shweta not just tried hand, but also acquired recognition in each of these fields.
What inspires her? Clare Boothe Luce’s famous quote: "Because I am a woman, I must make unusual efforts to succeed. If I fail, no one will say, " She doesn't have what it takes", They will say ," Women don't have what it takes."
It IS indeed the current scenario. Single mistake and they generalize it!!!, she says. "Though women have proved themselves in different leading sectors today, the society still concentrates on where a woman goes wrong whenever she steps out to do something, instead of being helpful."
The view is more sarcastic than encouraging or supportive.
May be because of this Women, in spite of having talents in them don't dare to come forward and explore the horizons for them.
I believe, A woman is the full circle. Within her is the power to create, nurture and transform.
“Had I kept thinking on whether ‘I really will be able to write a play and present it....’, I wouldn’t have ever seen this day,” she said.
“Just wanna say to all women- You have it in you dear eve....don’t think. Just believe in yourself and go for it!,” says Shweta!

‘Poet Soumitra helped actor Kishore Kadam to prosper’

2010-02-24T13:43:00.007+05:30

On his visit to Nagpur, actor Kishore Kadam who writes poems under the nom-de plume, Soumitra, spoke exclusively with me. “When the actor in me gets depressed, the poet in me helps me to survive,” said the man, who had struggled a lot, worked a lot, and won critical acclaims; but waiting for a popular recognition. This interview was published in The Hitavada on February 22, 2010.

Being a part of commercial super-hit Natarang, National award winner Jogwa, and critically acclaimed Pangira is a matter of pride for Kishore Kadam; who is working in the industry since 15 years. But with selected roles in parallel theatre, challenging roles in art films, and a few commercial hits, Kadam is still waiting for the remarkable success. “I am an acclaimed actor, not a successful one,” he says.
Kishore belongs to the second generation of non-chocolate heroes of Indian theatre and cinema. He is following the footsteps of stalwart like Naseeruddin Shah, Om Puri.
Young Kishore was noticed by Theatre Guru Satyadev Dubey while he was doing theatre and poetry simultaneously in college days in Mumbai. Kishore is also an acclaimed Marathi poet today. But he was groomed as an actor in Dubey’s school.
“Dubeyji taught me how to live a rich life besides how to act. He is my Guru.” says Kishore, who was introduced to Mumbai theatre with productions like Bambai ke Kowwe. However, his ticket to national fame was the role of Harilal Gandhi, the Mahatma’s son, in the play Gandhi Viruddha Gandhi.
With plays like Gandhi Viruddh Gandhi, Yelkot, Gandhi-Ambedkar and the Prof Mahesh Elkunchwar’s classic Wada Chirebandi trilogy, he caught the critic’s eye time and again. But not a popular recognition. “I wonder, how and why I was away from publicity. Due to this, sometimes you get frustrated. Many a time, you become workless, unnoticed. This phase comes in the life of every actor like me. Some leave industry, some commit suicides, but a sensitive poet in me, never let me lose my passion. I kept on working, and still working with the same enthusiasm.”

List of Kishore’s achievements is long. But his to-do list is longer. He says, he is satisfied with his work but the pinnacle he is reaching for, still eludes him. “I think, it is good. Because, if I reach the final destination, I will stop.”
Kishore was best actor in Pune Film Festival since 2 years. Won many state and national awards for stage and theatre. But, people know him as Pandoba of Natarang.
“I strive to catch the gray shade of the character. No one is completely good or completely bad. I search and highlight the salient feature,” he said.
When asked, what next after Natarang and Jogwa, Kishore smiled saying, “I am waiting for a good role to come.”

Wah Ustad..!

2010-02-09T17:32:00.002+05:30

Ustad Zakir Hussain’s fingers are full of magic. They beat the tabla to bring out lively music out of it. Otherwise lifeless, the instrument then creates magic. A touch of his fingers, and tabla brings rain, lighting, and even the sound of conch shells on the stage. Nagpurians, on Sunday, experienced the rare magic. The tabla maestro’s concert at Yashwant Stadium organised by Sakaal Media Group and Videocon, was a sell-out success, featuring the traditional repertoire on tabla in solo and duet. The evening featured electrifying improvisations on the sitar by Niladri Kumar, and on drums by Taufiq Qureshi.
An acclaimed composer, son and disciple of the legendary tabla maestro Ustad Allarakha, and Zakir’s sibling; Taufiq started the eve with the ‘Ganesh Vandana’. He interacted in Marathi, and expressed the rhythm in breathing. Showcasing the traditional flavour and intricacies of Indian rhythm, interwoven with
contemporary world percussions; Taufiq enthralled all with his trademark style of body and vocal
percussions to create unique rhythmic motifs spanning across cultures.
With an African instrument Tabaltaal, Taufiq filled the venue with the waves of Indian folk music. With Punjabi Bhangara, he made the audience sing ‘Balle Balle’. With Gujarati Garba, he made them call ‘A ji re..’ while with Marathi Lezim, he made them shout ‘Ji Ji ra..’
Niladri Kumar, son and disciple of Sitar maestro Pandit Kartick Kumar, flashed his unparalleled brilliance with improvising style. He effortlessly created several mysterious dhuns in an unbelievable stream. After accepting several applauces, Niladri Kumar welcomed Ustad Zakir Hussain on the stage.
Listening Zakir Hussain requires highest vigilance and alertness. Because one gets transported into a time warp spiral by the relentless rhythms. The musical excursion began with the carefully selected repertoire. One of the most memorable renditions was his abstraction of the sound of Shiva’s dumroo (drum) and a magical recreation of the blowing of Shankhas (conch shells) played on the tabla!
This was followed by the rainfall-style on Tabla.
With every rendition, the applause grew louder with the finale forcing the audience to get on their feet, clapping long after the fusion had faded. The trio left the audience spellbound and wrapped the show with eternal dhun of ‘Raghupati Raghava Rajaram.’
Unfortunately, bad sound arrangement and delayed public response compromised what was otherwise an electrifying performance, distracting the audience from flowing into the mood of the rhthmic melody.
The tabla virtuoso of the highest standard, Zakir Hussain was felicitated for his contribution to both classical Indian music and cross-cultural music. Resident Editor of Sakaal Nagpur, Shripad Aparajit; Unit Head Sunil Londhe; Videocon branch head Saurabh Kumar felicitated the artists on behalf of the Orange City.

While searching ‘classic’ voice, Durga Jasraj finds Indian music prospering

2009-11-15T01:19:00.004+05:30

Durga Jasraj expects more from Nagpur. Even if she was happy as over 150
classical music enthusiasts have registered themselves from the city at the auditions of the Idea Jalsa talent hunt launched jointly by her
company Art & Artistes and Indian Music Academy (IMA), she was waiting for a ‘miraculously outstanding’ performer to come and win the stage. “As Central India is infrequently visited by legendary musicians, I hope some self-developed
unusual, unique talent will come to fore,” said daughter of the legendary Pandit Jasraj while speaking exclusively to Chaitanyya Deshpande.

Yes. Celebrity children often have to face the unnecessary comparison with their parents. But on the other hand, they grow up with the dynamism, confidence, approach and wit as ancestral gifts. When Durga Jasraj interacts fluently in English, Hindi, and even in Marathi, the impact of two of India’s most prominent artistic families – the Jasrajs and the Shantarams can be felt everywhere.
All for classical music
Music, cinema, television, albums, live performances, event management, and now India’s first classical music-based talent hunt. Even much more she does. Now, in her own right, Durga Jasraj is a producer and organiser who has been making phenomenal contribution to the Indian classical music - more so with her business acumen and organising skills. Years before, she did Zee TV’s Antakshari show, and people still remember her for the same.
Unlike the other stalwarts of classical music, she joined commercial industry. But her aim was different. “Yes. I decided to become famous by getting popular on TV, so that I can be able to accumulate enough influence to obtain support for my efforts to reinforce and promote the classical tradition,” she explained. Years passed after Antakshari, and now, ‘Jalsa’ is here. One more step in her journey aiming towards the prosperity of Indian Classical music. Let’s take a look, what happened during this journey until now.
Art and Artistes
Teaming up with Vikram Shankar, Durga Jasraj founded Art and Artistes India Pvt Ltd, which is into event management, TV software, and producing devotional albums. This company ventured into everything musical – from live theme concerts, music festivals to concept albums. The programme of live performances by legendary classical music exponents, held under ‘Jalsa’ title, received overwhelming response all over India. A well-liked TV series was also made on this concept and telecast on Doordarshan. Expanding the same, now she wants to go into common people and search hidden talent from them.
Indian Music Academy
In 2000, a body for classical musicians called IMA (Indian Music Academy) was formed. It went on to organising world-class concerts and concepts such as Golden Voice Golden Years, Utsav, Jalsa, Tiranga and Cult Fusion. “It’s a body of musicians and it has patrons like Pt Hariprasad Chaurasia, Pt Shiv Kumar Sharma, Pt Jasraj, Ustad Amjad Ali Khan, Lata Mangeshkar, Ustad Zakir Hussain,” she said. One of the main objectives is to popularise classical music.
Efforts bearing fruits
When asked about the response by youths and future of Indian Classical Music, Durga quoted her father Pandit Jasraj who used to say that present generation is very enthusiastic, responsible and even more intelligent than old folks. Informing that 60 per cent of the audience of Jalsa live in concerts were youths under 35 years, she lamented that media is reluctant to highlight such good things with classical music. Yet, she concluded in her father’s words “Our heritage is in safe hands.”

World ambassador of Indian classical music

2009-11-07T00:54:00.004+05:30

Those who had a pleasure of attending a concert of young debonair classical music
exponent Kumar Sunil Mungee in Nagpur on November 6 must remember the evening for years ahead. Sunil’s melodious voice and energetic presence on the stage captivated the audience for hours at CP Club Lawns. However, those who missed this unique opportunity to see this young ‘International’ artist, have missed the performance of ‘future maestro’ for sure. Chaitanyya Deshpande had an exclusive informal chat with Sunil who was on his way to the concert.

Learning from legend
Sunil, who hails from Indore, started learning music when he was five. He accepted the traditional ‘Guru-Shishya Parampara’ to start his journey in the field of music, wherein the pupil stays with his Guru and undergoes rigorous training. Sunil stayed with his Guru Padma Shri Late Pandit Jitendra Abhisheki, a maestro of Indian music, for over 15 years. “Rightly said, Sangeet is a Gurumukhi vidya. The training needs devotion, dedication, and complete surrender,” said Sunil. “It was strict, still careful. We had to start with Tanpura before 4 O’clock in the morning. The practice used to continue day-long, sometimes even after 10 in the night. We used to strive for hours to find one perfect ‘sur’,” expressed Sunil. No need to tell, this devotion enabled him to keep his voice ‘fit’ even during his travel around the globe while enjoying all the cuisines.

Going global
The ‘highlight’ of Sunil’s career is his selection as an international vocalist by United States of America. As per its national policy, USA selects one excellent artist from all over the world and offers citizenship to the artist. With the use of their well placed sources, USA selects an artist, under 30 years of age. He must have performed in 15 countries, and must have over 50 newspaper reviews on his performances. Moreover, his name must be recommended by a Senator. No artist can approach personally to any Senator for recommendation. It is the matter of pride for all Indians as Sunil was selected amongst 24,843 artists from various countries for this rare honour. He accepted the NRI status in 1999, with a soul aim of spreading the fragrance of real Indian Music.
Today, he performs from the East to the West Coast of the USA, in UK, Switzerland, The Netherlands, UAE, Australia and African continents besides India. Sunil makes an effort for the western audience to understand, experience and appreciate the rich, traditional and ancient Indian Classical music. A habitual reader, Sunil is presently working on a book which highlights the journey of an artist, musician.

International audience
Today, Sunil has become the torch-bearer of the tradition to promote the music of India. He has over 400 concerts to his credit. Sunil strongly believes in quality of music and thus has a tremendous fan-following all over the globe. When asked about non-Indian audiences’ response, he said, they are very enthusiastic and open-minded.
“We have to provide a little written material to them and they start enjoying all Ragaas, and Sargams. I used to interact with my audience and tell them the facts about classical music in simple tounge, avoiding technicalities. This serves my purpose to entertain them with my art,” said Sunil with all smiles.

Performing with Icons
Sunil’s association with Bhajan Samrat Anup Jalota and Ghazal legend Ghulam Ali, is famous on international stage. He excels in both these forms of Indian classical music. “I strived to learn Ghazals and Bhajans as these forms attract even those who don’t know the technicalities of classical music. I consider myself fortunate as I perform with the icons of these forms,” said Sunil. He informed about the musical concert ‘Generations’, in which all the three exponents perform spontaneously, without any prior script. “Response to this concert is simply overwhelming all over the world. I hope the same will be held in India very soon,” he expects.

Maintaining ‘Indianness’
Saying that our music relates directly to spirituality, Sunil strongly opposed the common tendency of Indians to westernise themselves. He said, there is no point in comparing these two completely different music forms. According to him, both are unique music forms and should not be compared. Indians must preserve our uniqueness. Sunil’s fluency in Hindi and Marathi was noticeable during the conversation. “No need to speak in English when we understand Hindi or Marathi,” he said.

Glorious grooming
As an effort to be a step bridge between music and inclusion of newer talents to music, Sunil conducts various seminars and music workshops, wherein he grooms youngsters with teachings of traditional and basic learning of music. “I never use the word ‘Students’, but I call them ‘Colleagues’,” he said adding that one who worships ‘Sangeet’, forgetting all the worldly affairs, gets spiritual satisfaction.

Goshta Chhoti, Dongarayewadhi: An Outburst!

2009-08-22T14:57:00.010+05:30

With the first spell of rain, they start preparations for sowing, but all their hard work is at the mercy of nature. They take loans and work hard to dig a well, but whether they will get water is again nature’s will. Again taking loans, they stand in long queues to purchase firtilizers, but are at the mercy of corrupt officials. They send their kids to schools and educate them by skipping meals, but whether their children will get jobs is another story altogether. Farmers in Maharashtra are facing life-and-death crisis due to the unpardonable negligence of the government, political leaders, bureaucrats, and most lamentably, us - their brothers in urban areas.
The story is ‘small’ and simple. A farmer - loads of loans - untimely rains - re-sowing - disappointment - despair - and suicide. But when the same story repeats itself more than ten thousand times in five years, it becomes a disaster. Maharashtra, especially Vidarbha, is witnessing the same disaster year after year. Government undertakes surveys, NGOs collect data, and administration announces packages based on these statistics. But do we really know what can compel a man to take his own life? No one takes into consideration the humiliation farmers face again and again, for growing crops - that too, just for pursuing their occupation, and feeding the nation. No one thinks about the compromise farmers make with their self-respect day in and day out at the hands of government ‘babus’, bank employees, and even low key staffers.
When sensitive hearts of artists like Sayaji Shinde, Nagesh Bhonsale, Makarand Anaspure listen to the call of social responsibility, a film like ‘Goshta Chhoti Dongarayewadhi’ is born. Simply put, it is an outburst of the misery that farmers in Vidarbha are facing since last many years.
A production of Pentagon House, a joint venture of actors Makarand Anaspure, Nagesh Bhonsale,Sayaji Shinde,noted cinematographer Suresh Suvarna and Laxmikant Khabaria, the film was released in Western Maharashtra last week, where it received overwhelming response.
Prof Machhindra Chatey of Deoyani Movies, which is distributing the film, has announced to donate all money earned from the film for education of farmers’ wards. This social touch makes it a ‘commercial’ ‘art’ film.
The star cast includes Makarand Anaspure, Sayaji Shinde, Madhu Kambikar, and director Nagesh Bhonsale, with the legendary Nilu Phuley in one of his last performances. The film has a serious tone throughout, keeping in mind the gravity of the issue. The story is of any and every village of Vidarbha. Educated young farmers facing crisis - their helplessness in face of natural and administrative whim - and a suicide. Nandu (Nagesh Bhonsale), a debt-ridden farmer and his friend Rajaram Pawar (Makarand Anasapure) are struggling to make two ends meet. Trapped by destiny, Nandu commits suicide. This tragedy brings a brainstorm in Rajaram’s mind. He decides to make the leaders and bureaucrats aware of farmers’ pains, by speaking in the language they understand. Rajaram kidnaps the Agriculture Minister (Sayaji Shinde) and shows him the harsh reality of a village. How Rajaram manages to kidnap a minister with ‘Z plus’ security is interestingly depicted. The actors, all veterans in their own right, do complete justice to their roles.
The thing which relates us more to the film is the character sketches by story-screenplay and dialogue writer, Shyam Pethkar. This Vidarbha-based journalist-turned-playwright sensitively pens all the nuances and pains of farmers’ lives. Pethkar’s study of plight of farmers, and his observation is revealed from time to time during the film. His stellar touch can be seen in the character of Nilu Phuley, an elderly farmer who loses his young son. His dialogues bring tears to the eyes, also bring on the smiles and most importantly, make us think. All urban youths should go and watch this film to know the naked reality of the village and predicament of farmers.
The background music by Shailendra Barve is appreciable and remains with you long after the movie ends. The film has a four-liner sung by Nagesh Bhonsale and another four lines by Shahir Vitthal Umap. These lines are used with great impact with the background music, a new experiment in Marathi films. Following the lines of Shwas, and Dombiwali Fast, the film is sure to grab several awards for both its hard-hitting theme and excellent performances.
A must watch for people who appreciate changing trends in Marathi cinema.
If villages are facing tragedy, the least urban educated people like us, living in luxury, can do is go to cinema halls to know the facts. A thought-provoking, excellent film after a long time.

‘God exists in everything; music is the most divine form’

2009-07-13T14:57:00.005+05:30

(Veteran lyricist-composer-singer Ravindra Jain was in Nagpur recently when I spoke to him. Published in The Hitavada on July 12)

For today’s television-savvy generation that knows ‘Ramayana’ and ‘Bhagvadgeeta’ only through his words, Ravindra Jain is a master story-teller. For those who love the ‘classical’ touch in film music, Ravindra Jain is an ideal composer. For those who appreciate literature in lyrics, Ravindra Jain is a lyricist par excellence. And for those thousands of upcoming poets, singers, and musicians who are struggling for success, Ravindra Jain is a temple of inspiration.

Life is celestial harmony…

Sixty-five-year-old Ravindra Jain looks quite young in his long black hair and his trademark eyeglasses. May be it is because of the fact that he welcomes change positively. “Change, the most constant phenomenon of life, should be accepted with a smile. God exists in each and every thing and change is not an exception,” said Jain, who is witness to changes in the music industry during last four decades. Presently, he is working with the third generation of entertainment mavericks - be it the Sagar family or the Barjatyas. “Working with Papaji (Ramandand Sagar) and Tarachand Barjatya was a learning experience. Now, working with their grandsons, too, is an energizing affair,” he said.

Music is God’s gift…

In addition to the special vision, the Almighty has gifted Ravindraji with spiritual sur. He loves singing more than writing and composing music. Born and brought up in Aligarh, Ravindra’s first Guru was his father Pt Indramani Jain. He started composing bhajans when he was a kid. “You need words to express your feelings and music to say what is beyond the realm of words. Words play important role in a song, but music comes naturally as the Sur exists in the universe. Nature produces divine symphonies and therefore music is closer to the Lord.”

Present day music…

‘Films were Jain’s obsession which brought him to Mumbai from Aligarh via Kolkata. Even today, he loves to compose for films. However, he never denies that he reached out to people through his compositions for television serials. He is happy that music of his recent films ‘Vivaah,’ and ‘Ek Vivaah Aisa Bhi’ was appreciated even by the young generation. Currently, he is working on the mega project ‘Taansen.’ “While accepting new things, we should not ignore the ancestral wisdom. The trends and crazes would come and go, but our classical music will stay unfazed,” he asserted. Jain also expressed concern over increasing importance of talent hunt contests today. “When I was invited as a judge in one of the shows, I told the budding singers that this is just a platform to show talent. What follow this are the long years of struggle,” told Jain, who is credited with bringing great singers like Suresh Wadkar and Yesudas into the industry. He proudly states that his disciples struggled a lot and created their position on their own.

Nagpur connection…

Probably, no one knows that this legendary musician was a Nagpurian for a few years. Jain informed he used to live at Ring Road, Ambazari area with his brother around 1957. “I was in Nagpur for more than a year. I love this place and its people. They have an ear for music and it is easy to read their hearts,” said Jain, even as he finished saying several names from his stay in the Orange City and its peculiarities, rushing back into his memory.
Our boy Ravindra, after all!

(Photos by Anil Futane)

He writes ‘simply’ what his listeners speak...

2009-07-13T14:45:00.007+05:30

(Interaction with lyricist Sameer when he was in Nagpur on a private visit. This was published in The Hitavada on June 12)

After knock on his room’s door, a five-and-a-half-feet fair middle aged man in a French cut wearing a simple white shirt and denim jeans welcomed us with assured smile. When asked for a few minutes from his busy schedule, he sat relaxed and said “Chahe jitni bate kar lo yaar, koi bat nahi.” This is Sameer’s simplicity which makes him the lyricist who, for the past 25 years, has captured successfully the spirit of the Indian youth in his songs. He knows the youths’ pulse, their dreams, their hopes and their concerns. And by articulating them in a language they understand, he has now emerged as the voice of GenNext.

Being updated…

Sameer had worked with all top notch music composers, from Usha Khanna to Anand-Milind to Jatin-Lalit and Anu Malik to Dilip Sen-Sameer Sen, and of course, Nadeem-Shravan. Presently, he is working with the third generation of music directors that is Vishal Shekhar, Adesh Shrivastava, and his favorite Himesh Reshammiya. “As a lyricist, I have to give the composers exactly what they want. With new demands of new generation, I have to keep myself updated. I read a lot, observe a lot, and interact a lot for this,” says Sameer.

Words first or tune?

The conflict is well known. A few senior lyricists believe that arranging words on the pre-decided tune is like a murder of lyricist’s creativity and freedom. However, Sameer has a different opinion. “Vice versa, it may be the murder of music director’s creativity and freedom if he had to arrange the pre-written words mandatorily to the tunes. Making film is a team work, and a very technical thing. We have to adapt our self with the new concepts in order to survive. However, real skill and challenge is in maintaining your quality of words in this scenario,” he adds. He believes that his success from last twenty five years speaks a lot about himself.

Record breaking work …

Till date Sameer has written over 4000 songs for about 500 Hindi and Bhojpuri films and 35 private albums. This is a world record. He has won three Filmfare Awards for best lyricist. However, he works for people and not to make or break any records.

On reality shows…

Sameer believes, reality shows bring good talent to fore, but the contestants rarely have future after the contest ends. He adds, the contests give excessive glamour to the participants. Gradually, they start losing modesty. “This is serious. You must be modest when you are in the field of art,” says Sameer who wrote ‘Mohabbate Lutaunga’ theme song for first Indian Idol Abhijeet Sawant’s debut album. Sameer says, every person is talented; however, the need is to realize and nurture it. “Many youngsters write exceptionally well. They must develop their skill.”

On media…

Sameer believes, celebrities run away from media as it spreads misconceptions to gain TRP. “They misquote us, give wrong opinions. They decide who is culprit and who is innocent even before the court does. This is unfortunate,” he laments.

On Nagpur…

“I am here for the first time. However, this city feels really refreshing. ‘Yaha ki Aabo Hawa me sukun hai, Shanti Hai,’ says Sameer who also praises the greenery of the Orange City.

(Photos by Anil Futane)

Dipadi Dipang... begins and audience rocks!

2009-06-14T16:21:00.006+05:30

(An interaction with Dr Salil Kulkarni and Sandeep Khare, pre-published in The Hitavada)

Honesty is key to success: Sandeep Khare

His identity, ‘Ayushyavar Bolu Kahi’ is heading towards 500th show, and poet Sandeep Khare finds only one secret of this success - Honesty towards work.
“Even after performing these songs for more than hundreds of times, I have to perform in such a way that they should look new. This is possible only when I am honest towards my job,” said Sandeep, who holds a Bachelors degree in Engineering.
According to Sandeep, having a sensitive heart is enough to become a poet. “Poetry is spontaneous reaction of a subconscious mind. You do not have to experience each and everything which you write,” said Sandeep.
Speaking on his unique style of writing straight forward and simple language, he said, “I represent the new generation. Young people are straight-forward. They do not relate with ornamental language. Especially, intellectual Marathi youths like my work, because it was written in their own form - in the way they think.”
When asked about the contemporary poets, and Marathi Sahitya Sangh’s literary meets, Sandeep said, “I never followed the popular style of attending poetry meets, and present poems. Fortunately, I got appreciation, and audience both on my own.” Unlike publishing the poetry collection, Sandeep chose a way to release albums, and perform on stage to reach the audience, which was eventually, a great success. “As my poems are subjective, they form impact when I present them in front of audience, that is why, I published my poems after success of my albums.” This formula brought a grand success to Sandeep as his maiden collection ‘Maunachi Bhashantare’ was a best seller.
Sandeep said, a poet have to think in the third person’s perspective to find the best expression. “Its important to see things around us in third person’s point of view to write effectively.”
When asked about performing in Nagpur, he said, “Unlike Pune, we find an audience with Hindi touch in Nagpur. They are interested in Ghazals, Nazms and many other forms of literature.”

All for our audience, says Dr Salil Kulkarni
“WHATEVER we are today, is because of the love, and encouragement given by the Marathi audience all over the world,” said musician Dr Salil Kulkarni.
“It’s unbelievable that we will perform for the 500th time in the upcoming show of ‘Ayushyavar Bolu Kahi.’ When launched, it was totally a new concept in Marathi. We were not even sure to complete ten shows in all,” accepted Dr Kulkani. Today, the show has 500 stage performances to its credit. The duo Dr Salil Kulkarni and Sandeep Khare have performed in 10 countries all over the world including 31 shows in USA. “We get inspiration, and energy to perform from our audiences enthusiastic response.”
Dr Salil, who is a known face for Marathi audience, through the Sa Re Ga Ma Pa talent hunt, believes that learning classical music is must to become a good singer. An MBBS, Dr Kulkarni runs a music school at Kothrud. For him, life and music are not two different things. He said, the values instilled in childhood by family, and especially, by mother, play an important role in building one’s personality. Refusing the chances of ‘ego-clash’ between him and his lyricist Sandeep, Dr Kulkarni said, “Me and Sandeep are very good friends and we believe on each others’ work. People do like to here such news, but we come with another milestone album, instead of an ego-clash,” he said. Expressing happiness over booming Marathi music industry, Dr Kulkarni said, “It’s due to the teamwork, and a quality of Marathi artists, that we are producing a milestone music, and films these days.”
Being a judge in a talent hunt contest, Dr Kulkarni is well introduced to the emerging talent of Maharashtra. “I am happy that singers coming from rural areas, are achieving a grand success in Mumbai and Pune. Vidarbha has a recent example of Vaishali Made. Hailing from a village near Hinganghat, she has become a Voice Of India,” he said.
“Vidarbha has a huge talent. Just youths have to stop underestimating themselves and and think with a global vision. They have many opportunities welcoming them in larger scenario,” appealed Dr Kulkarni.

Maestros use music to bring alive varied moods of life

IT is rare these days to see Dr Vasantrao Deshpande Hall packed to capacity. However, on Saturday evening, it was a different story. It was a full house as Nagpurians gathered for ‘Ayushyavar Bolu Kahi’, a musical presentation of Marathi poems, popularised by noted musician Dr Salil Kulkarni and poet Sandeep Khare.
The programme made the audience laugh, whistle, dance, introspect and even shed tears during the three-hour musical journey. Organised jointly by Vidarbha Gaurav Pratishthan and Purti Group, the programme was a grand success.
It was the 499th show of ‘Ayushyavar Bolu Kahi.’ Dr Salil Kulkarni started with Omkara Anadi Anant... and set the mood. More musical and emotional shades painted the evening colourful when three rain-songs, love poems, Marathi ghazals, shayaris, some humorous poems were thrown in by the duo. The chirpy children’s songs also won loud applause.
The programme was aptly punctuated with the humourous tit-bits of Dr Salil and Sandeep. The duo cracked jokes, shared funny incidents and made some spontaneous comments which added to the entertainment value of the show.
Aditya Athalye accompanied gave good company on tabla while Sachin Chandrachud arranged the sound system.
At the outset, Nitin Gadkari, President of Vidarbha Gaurav Pratishthan, Prof Suresh Dwadashivar, Editor of Lokmat, Praveen Dixit, Commissioner of Police, Pravin Bardapurkar, Resident Editor of Loksatta, Udaybhaskar Nair, Chariman of Nairsons, lighted the traditional lamp and felicitated the artists. Gadkari, Bardapurkar, and Dwadashiwar were also felicitated by Vidarbha Gaurav Pratishthan on the occasion. Adv Bhanudas Kulkarni conducted proceedings of the programme.

MUGDHA’s ‘Dipadi Dipang; gets them rocking:

While presenting the song, ‘Dipadi Dipang...’, Dr Salil Kulkarni appealed female singers from the audience to join him. On his call, a charming young girl, beaming with confidence walked on the stage, bowed in front of Maa Saraswati, and performed sitting next to Dr Kulkarni like a true professional. The girl, Mugdha Kale, stole the show as the crowd demanded an enthusiastic once more. Dr Salil Kulkarni praised her calling her an exceptional talent while Sandeep Khare demanded copy of his photograph with Mugdha as he felt she was a mega star of future.

Exploring new horizons of classical music

2009-05-16T17:38:00.011+05:30

“GURU Shishya Parampara is the soul of Indian classical music,” believes accomplished Tabla artist Taal Yogi, Pt Suresh Talwalkar, who was in Nagpur to conduct a workshop on music organised by Nadbhrahma cultural organisation, when he shared his views on present scenario in classical music, new concepts introduced by him, his expectations from young talent, and of course, the scorching summer of Nagpur with me. This article is pre-published in The Hitavada on May 15.

On teaching classical music...
HE IS one of the greatest Tabla exponents of present times, has contributed immensely to the glorious tradition of Indian classical music as an expert musicologist, and is a versatile Guru. Pandit Sureshji Talwalkar, inspite of being busy with worldwide solo concerts, finds time to conduct workshops for children.
“My Gurus taught me that Sangeet, even if earned after a long Tapasya, is not your property. It is a cultural heritage of the nation. So, it is my duty to share it with the new generation.”
On Guru Shishya tradition...
Sureshji is an ardent follower of Guru Shishya tradition. He is also the chief Guru for a project based on Guru Shishya Parampara, initiated by a 100-year-old organisation in Kolhapur.
“I am associated with this organisations since last seven years. Importance of Guru is the greatest in music, as it is a Gurumukhi Vidya. It’s not only about information but, about Riyaaz (practise), Anubhav (experience), and Anubhuti (realisation).” He also advised students to follow any one Guru with complete dedication for achieving success.
On being a good disciple...
“A good disciple needs to have six qualities, surrender, devotion, heart, sincerity, punctuality and loyalty. Being a good disciple is the key to success in any field”
On novel concepts...

Pt Talwalkar has the credit of introducing new concepts in Indian classical music. His Taal Yatra, Taal Kirtan, Taal Mala and an idea of using vocal accompaniment for the Tabla solo, instead of only harmonium or saarangi.
“Firstly, when a singer sings, the laya is maintained on the Tabla by providing the appropriate theka. Secondly, words used in a vocal composition help the music lover identify the Tabla performance. It makes the Tabla solo more user-friendly,” said Panditji.

On awards and titles...
Sureshji has been honoured with a number of awards and titles, including ‘Sangeet Poornacharya’ by Poornawad Vishwa Vidya Pratisthan, ‘Swarasadhana Ratna’ by Abhinav Kala Samaj Indore, and most importantly, the title of ‘Taal Yogi’ by the Shankaracharya. “I spent sleepless nights when Shankaracharya announced the ‘Taal Yogi’ title for me. I take the honour as responsibility, and each title adds to the same.”
On Kirtan’s impact on him...
Kirtan is indeed a blend of music, vocal, and other dance art forms, and also an inspiration behind the new concepts introduced by Pt Talwalkar. As he hails from a Keertankar’s family, he is very attached to this art form. “Kirtan not only gives artististic accomplishment, but also instills values and principles in your personality.”
On Nagpur kids, and summer...
“I am quite impressed with the Nagpur kids. The three-day workshop has been a great success,” said Pt Talwalkar, mentioning that city audience has a musical ear.
“Nagpur audience is known to be choosy,” he said. However, conducting a workshop in scorching Nagpur heat was quite a difficult task.
“Its too hot! Moreover, I had a survical spondalities pain before coming to Nagpur. Thanks to efforts of ‘Nadabrahma’; I managed to come and conduct the workshop.”
Message to the new generation...
“I am happy that awareness is developing amongst youths about classical music. I would suggest them to hear more music, and learn from a good Guru. Riyaaz is the only key to success” says Pt Talwarkar with his signature ‘broad’ smile.

Fine screenplay + good director + sincere teamwork = Super hit serial

2009-04-18T00:53:00.002+05:30

(Speaking with Dr Shirish Gopal Deshpande...)

WEEKDAYS, prime time at 8.30 pm. All eyes are glued on ‘Star Pravah’ channel. This is probably the fixed schedule for many amongst us. The inspiring title song, ‘Indrajimi Jambhapar Badav Suambapar…’ hits the TV screens, and the magic begins. And the man behind it, Dr Shirish Gopal Deshpande, who wrote the screenplay for Raja Shiv Chhatrapati, is no stranger to Nagpurians. Dr Deshpande, who hails from the city, is a well known scholar of Marathi literature, HoD of Marathi in SNDT University, Mumbai, and he has mastery over two contrasting subjects; Dnyaneshwari and screenplay writing.
“Screenplay writing is a totally different genre of literature. Whether for films, or for serials, the task is always more challenging than that of subjective writing. The producers of this serial approached me after reading my novel, ‘Raja Shahaji.’ While reading the book, they felt that the script of Raja Shiv Chhatrapati is somewhere in this novel itself,” said Dr Deshpande, while sharing the origin of the concept. “I studied the life and character Raja Shahaji, so was confident about writing the screenplay for Raja Shiv Chhatrapati,” expressed Dr Deshpande, who accepted the offer as a challenge to bring Shivaji’s altogether different perspective before the audience.
“Until now, the story of Chhatrapati Shivaji was restricted to four to five heroic incidents in his life. Several plays were staged and films made, but they highlighted only heroic deeds like Afzal Khan’s assassination, the rescue from Agra, Tanaji Malusare’s sacrifice, and Bajiprabhu Deshpande’s struggle in Pavan Khind. I decided to write a comprehensive screenplay which would bring out each and every shade of this personality.”
This is why Dr Deshpande highlighted Shivaji’s childhood and his youth. Even after almost 90 episodes, Afzal Khan’s assassination is yet to come. “It took time, because we have shown how the King was groomed by his mother, by circumstances and by mother earth. We answered several questions and fallacies regarding Shivaji,” said Dr Deshpande. Depicting Shivaji’s struggle against his own men was the most challenging task for him as it was a point that could fray people’s sentiments. However, Dr Deshpande did it so delicately, that there was no reason for protest.
Asked whether unanswered questions like why Chhatrapati Shivaji negotiated with Mirza Raje Jaisingh, and went to Agra or how he was rescued safely from Agra with all his men, will be answered or not, Dr Deshpande assured that all answers and justifications will be given in the upcoming episodes.
The man who wrote the screenplay, the soul of the serial, and parts of the rousing title song modestly shared the credit of success with the whole team. “Director Hemant Deodhar, Editor Prashand Khedekar and a sincere team have made the project successful,” he said, adding that it is always exciting for him to watch the episodes on TV. “Not only the director, but the actors also consult me several times. After all, it is teamwork.”
A multi-faceted personality, Dr Deshpande is doing research on Newton and Albert Einstein’s laws of gravity. Teaching is his joband writing screenplays a passion. However, his dream is a great serial on Lord Shri Krishna.
“Like Shivaji, many shades of Krishna’s personality are also missing in his depiction. It’s all about his childhood, his youth (Baal Leela and Raas Leela), and Shrimad Bhagwad Geeta in Mahabharata! I have a dream to write a serial which will show several great aspects of Jagadguru Shri Krishna’s personality.”

‘There is no short-cut in classical music’

2008-07-20T01:17:00.004+05:30

(An interview with Dr N Rajam published in The Hitavada recently.)

“ITS GOOD to see youngsters taking interest in classical music. I have students worldwide, which reveals that Indian Classical Music touches hearts surpassing all the boundaries,” said Violin maestro Padma Shree Dr N Rajam while speaking exclusively with The Hitavada, after her spellbound performance at Platinum Hall BRA Association, during the concluding session of SPIC-MACAY’s West Zone Covention on Sunday.
Dr Rajam, introduced ‘Khayal Gayaki Ang’ on the violin with such consummate artistry that most musicians, particularly violinist were stunned at the results.

“Earlier, the violin was mainly the supportive instrument and people used to play it in a technical way. The Gayaki Ang is more like singing a song, it includes human emotions and sentiments,” she said. It was proved earlier through her performance, when the words of Gaud Malhar ‘Barso Badariya Sawan Ki,’ could easily be deciphered by everyone. As she played on, the connoisseurs hummed the tune, enjoying the unique experience of becoming one with the artist across the footlight barrier.
She started learning violin in Karnatik style from her violinist father Narayan Iyer at the age of four, later turned towards Hindusthani music uder the gudance of L R Kelkar. “Karnatik Music, is a different flavour of Indian Classical music, which makes it richer,” said Dr Rajan, who have done Ph D on ‘Comparative study of the Musical System of Northern and southern India.’
She was performing in the city after years. “Its nice to peform for children, I always like it” she said. When asked about the increasing craze of reality shows, she said, “I dont watch the reality shows, there is nothing promising in such shows.”
Dr Rajam has produced many talented students, including her daughter Dr Sangeeta Shankar, Kala Ramnath, Dr V Balaji, Dr Swarna Khuntia and several other young violinists of the present time. “Aspiring students should learn music with devotion, and hardwork. There is no short-cut available in Classical Music,” her message to youths.

(All Pictures by The Hitavada Photo-journalist Satish Raut)

Teejan Bai: Hers is the story of ultimate struggle...

2008-07-20T01:03:00.007+05:30

(This interview of Teejan Bai was prior appeared in the Hitavada)

ONCE SHE was ostracised by her community for singing Pandavani, being a woman. Once, she had to built her small hut herself and had to borrow food from neighbours. None of her three marriages succeeded due to the stubborn attitude of the society towards her art. But, in spite of all the obstacles, she never left her singing. And today, Padma Bhushan Dr Teejan Bai is cultural ambassador of India. The same Pardhi tribe of Chhattisgarh, to which she belongs, respects her as an icon. The queen of ‘Pandavani’ was in Nagpur on Saturday (July 12), when I caught her exclusively after enthralling performance in SPIC MACAY West Zone Convention at B R A Mundley School auditorium.

“Struggle was obvious, as I selected a different path,” said Teejan Bai, who heard her maternal grandfather, Brijlal Paradhi, recite Mahabharata written by Chattisgarhi writer, Sabal Singh Chauhan. Young Teejan instantly took a liking for it and soon memorised much of it. She was formally trained under Umed Singh Deshmukh.

Her real struggle began when she selected the Kapalik shaili (style) of ’Pandavani’ which was till then, a male bastion. At the age of 13, she gave her first public performance in Chandrakhuri village (Durg) for Rs 10. Since then, Teejan Bai performs in standing, sings out loud in her typical guttural voice, and unique enthusiasm. Today, she is the most renowned singer of this style.

“I have no complaints about anyone today. People all over the world showered their love, blessings on me, which values to me a lot than the hatred from a tribe for a few years,” said Teejan Bai, who is busy in passing on her singing to the younger generation. “I have about 150 students all over the world. Ritu Verma, Indu Thakur, Meena Sahu and several others are gaining popularity these days.”

Teejan Bai said that the folk is our oldest cultural heritage, and we must preserve it for next generations. “For that, I try to visit more and more schools. It’s pleasant to perform for students,” she said stressing on the need of a joint effort for this. On the concluding note, she delivered her guru mantra for upcoming artists -- “Add heart to your efforts, and co-operate with all, you will win!”

This is the report of Teejan Bai's performance at SPIC MACAY's convention at Nagpur on Saturday (July 11) evening.
The epic re-told in different manner

THE performance of Pandvani icon Teejan Bai gave a folk touch to the SPIC MACAY’s West Zone Convention on Saturday evening. The audience, mostly comprised of school students experienced a different beat at Platinum Hall of BRA Association.

Padma Bhushan Dr Teejan Bai’s rule began right from her entry in her trademark Chhattisgarhi attire. Her unique style of interracting with the audience, adding a few modern words in her speech, and offering critique on current happenings won the hearts of the audience. On request of a youth, she started explaining the message given by Lord Shrikrishna Arjuna on Kuru Kshetra. As the story progressed, the performance became more intense. With added dance movements, an element of surprise was also used. Later, her ‘Tambura’ became her only prop during the performance. Sometimes she used it to personify a gada, mace of Arjun, or at times his bow or chariot to play various characters with effective ease and candour.
Teejan Bai was accompanied by her team-mates Keshav Thakur (Vocal), Safindas Manukpur (Harmonium), Keval Deshmukh (Tabla), Narottam Netam (Dholak), Khemlal Netam (Manzira), and Tukkaram Thakur (Benjo.) At the outset, Prabhakar Mundle, Chairman of B R Mundle Trust and his wife enlighted the traditional lamp. Komal Jain gave a brief introduction of the performer while Kona Roy Chaudhari, Principal of Centre Point School, Katol Road, feted Teejan Bai and all her crue at the end. Founder of SPIC-MACAY Dr Kiran Seth, Nagpur Chapter head Dr Neeta Kulkarni, Secretary Ravi Satfale and others worked hard.

(This is the report of Teejan Bai's performance at IMA Hall, Nagpur. This performance was specially for the children of Ira International School, Nagpur)
When Gen-X tunes in to folk flavour

A FERVENT wait, a warm reception, untainted delight, magical merriment, and a revelation to cherish for a lifetime and of course, spellbinding Pandvani! Every student of Ira International School experienced this on Monday morning at the jam-packed IMA Hall, where Pandvani Queen Padma Vibhushan Dr Teejan Bai performed exclusively for them. Above 500 students, who rushed in ten school buses to IMA Hall from their school at Butibori, were left awestruck by the lively narration of ‘Draupadi Swayamvar’ by Teejan Bai and her troupe.

The rhythm of folk music captivated the young minds right from the start as these representatives of Gen-X - used to the sounds of DJs, multimedia effects, electronic instruments, and digital sound tracks - tuned in to the Dholak, Tabla, Harmonium, Manzira and Banjo in no time. The power of Indian folk music to transcend the barriers of age and time was proved when many students expressed that though the language was a little difficult to grasp, they understood the sequences and enjoyed the show.

Teejan Bai selected the ‘Draupadi Swayamvar’ episode after noticing a large number of girls in the auditorium. She explained some part of this Chhattisgarhi poetic form in Hindi for the convenience of students. Children were amazed at Teejan Bai’s energy, dance movements, ease, candour, the use of ‘Tambura’ to personify a mace or a bow, or Arjun’s chariot, and rounds of applause echoed round the auditorium several times during the performance.

Fortified with the usual accompaniments of popcorn, chips and chocolates, the students soon got engrossed in the tale that enfolded through Teejan Bai’s hypnotic voice. Finally, when the students were leaving the auditorium, cherishing the lifetime experience, Teejan Bai’s words, “Ye hamare desh ki Sanskriti hai jo bachcho ne sawarni hai…”, struck a chord both with the children and teachers alike.

At the outset, Principal of Ira International School, Reena Dargan welcomed Teejan Bai and her troupe followed by fine recital of school prayer by the students.
Later, the performers were felicitated. Keshav Thakur (Vocal), Safindas Manukpur (Harmonium), Keval Deshmukh (Tabla), Narottam Netam (Dholak), Khemlal Netam (Manzira), and Tukkaram Thakur (Banjo) accompanied Teejan Bai. The performance was the presentation of SPIC-MACAY, Nagpur Chapter.

(All Pictures by The Hitavada photo-journalist Satish Raut)

2008-07-17T01:42:00.006+05:30

FLUTE VETERAN Pandit Ronu Majumdar presented eternal Ahir Bhairav and entertaining pahadi dhun on Saturday (July 12) at BRA Mundle Association’s Platinum Jubilee Hall to mark the day-two of SPIC MACAY’s west zone convention.

Explaining the importance of time conception behind the formation of ragas, Mujumdar said, "The sacred moments of early morning should be celebrated with decent raga like Ahir Bhairav." He started with aalap in madra saptak (low octave) and turned to madhya (medium) and taar saptaks (high octave.) He presented Ahir Bhairav in Zaptal and Teental.

Majumdar was accompanied by Pandit Ramkumar Mishra on tabla and Mukul Lekurwar on flute. In 10-minutes time, left after his performance, Majumdar presented a pahadi dhun, which is the original folk form of the flute. This simpler form directly related with the audience. During last few minutes, he answered the queries of the young students during an interactive session. Majumdar praised the effort done by SPIC MACAY and appealed the young generation to preserve India’s cultural heritage.

At the outset, Majumdar inaugurated the morning session by lighting the traditional lamp. Ratnakar Gore, head of the physics department of Uttar Maharashtra University, felicitated all performers at the end. Rumona Badar of SPIC MACAY’s Nagpur chapter introduced guests and proposed a vote of thanks

(All Pictures by the Hitavada Photo-journalist Satish Raut)

Striking strings of hearts

2008-07-12T14:01:00.007+05:30

(This interview of Pt Shivkumar Sharma was published in The Hitavada on July 12, 2008)

LOOK back in time, fifty years ago the name ‘Santoor’ was not known outside the area of Kashmir and nobody had seen this instrument. And when he started performing, it’s nothing short of a miracle. Santoor and Pandit Shivkumar Sharma become the synonyms.
“According to me, music is not for entertainment. It is the generating force behind the life. The study of Indian classical music is a meditation. It is our heritage. The new generation should strive to preserve it,” said Panditji while speaking with The Hitavada after his performance at B R A Mundley High School Auditorium on Friday July 11. The programme was organised by SPIC-MACAY organisation for young students. Panditji spoke in brief about his musical journey, present scenario of Classical Music and on Nagpur. Here is the treat for all classical music crazies! :

His father Pandit Uma Datta Sharma, who was his first Guru, passed on Santoor to Shivkumar with the responsibility of establishing it on the concert platform.
“Whatever I am today, is because of my Gurus. Indeed, the music is the thing we have to learn from Guru. It takes time to acquire fineness. Unfortunately, the new generation lacks this patience,” he lamented.
On his worldwide popularity, Sharma said, the music is one all over the world. “Only notations differ. The language of heart is same.” Yet, Indian classical music is supreme. “Our Ragas relate to life, Nature and sentiments, which makes makes it best!” About the city, he said, “Having students here, I always like to perform.”
Fir Mulaqat Hogi, he said, in the end with which, wonderful Maruvihar, he played earlier resumed in mind.

Maestro relives the legend of Santoor

(This is the report of his concert held on Friday July 11 at Nagpur.)

Santoor maestro Pandit Shivkumar Sharma’s pleasant performance filled the hearts of Nagpur audience with spiritual satisfaction on Friday evening. He gave the inaugural performance of the West Zone Convention of SPIC-MACAY organisation at BRA Mundle School Auditorium. Panditji presented a wonderful Maruvihar in front of the audience, mostly comprised of youngsters. The question-answer session with school students held at the end of the performance revealed various aspects of Panditji’s personality.
He stepped in with shining white Kurta, the same coloured shawl and his trademark curly white hair amongst the laud applause of orange city audience. As the programme was already late due to additional load-shedding, Panditji started tuning his santoor without wasting time. “You all are waiting since long? Thak gaye kya?,” he asked and “No,” was the spontanious reply of the audience.
Panditji started with Raag Maruvihar’s aalap to made everyone familiar with the tune of his santoor. Later, the beat of the performance was formed in Jor and finally, the fast track version of the aalap enthralled the audience. With Pandit Ramkumar Mishra on tabla, and Walmik Dhande on Tanpura, Pandit ji presented Raag Maruvihar firstly in Roopak taal and then in Trital. The hour-long presentation created the spiritual atmosphere and everybody was bound to clap when Panditji hit the concluding note.

The performance was the first in the series of cultural events to be organised by SPIC-MACAY. (Society for Promotion of Indian Classical Music and Culture Amongst Youth), an international organisation’s Nagpur city chapter. At the outset, Dr Kiran Seth, Founder of the organisation and his mother Teji Seth was welcomed and felicitated by local chapter members. The degnitaries including Group captain Mujumdar and Om Prakash Prajapati were also feted. Dr Seth delivered the inaugural speech and guests elighted the traditional lamp to formally inaugurate the convention. Sakhi and Ridhi convened the programme. Ravi Satfale, Dr Nisha Kulkarni and others worked hard for the success of the programme.

(All Photos by The Hitavada Photo-journalist Anil Futane)

A year at ‘The Hitavada’

2008-07-12T13:57:00.001+05:30

It’s a year passed since I joined The Hitavada. This year was full of excitement, novelty, experiences, and anxiety. The year was full of changes too as I got a chance to work on Jabalpur Desk, Bussiness Desk (even if only for a week) and finally Nagpur City Line Desk of The signature English daily of central India. The year taught me a lot. Gave me many things. It moved me a step forward to be able to face the challenges in this new phase of life. The job anniversary would be the best day to re-view this journey. This would be the best moment to say thanks to all seniors, and colleagues those helped me a lot not only to survive but also to prosper in this altogether different environment.

Joining The Hitavada a year before was like a dream come true for me. Hailing from a small town of Vidarbha, I was completely unaware about the corporate culture, metro manners, and even do not know how to speak good English. Even today, I do not know much of these things, but this institution is indeed a family, which, when accepts you, adjusts with you and all your limitations. Actually, this is due to the accepted wisdom of the head of this family, Mr. Vijay Phanshikar, Editor. Phanshikar sir strongly believes on positive thinking. He notices plus points in you and make you realize them. He praises the good things you did open heartedly and encourages you to do better, which is the best thing. Right from the day one, he let me feel relaxed in the entirely novel circumstances. Phanshikar sir’s kind, affectionate and sensible attitude, his knowledge, his mastery over each and every sector of the business including editing, page-making, cutting, pasting, printing, marketing, survey and advertising and many more make him a perfect man to lead the institution. He is the leader, because of whom The Hitavada survived in adverse conditions. Not only survived, but also burgeoned, and emerged as a signature English daily of central India.

I joined on July 9, six days later than my batch mates – Gaurav Lakhe and Juhi Meshram did. When I joined, they were quiet familiar with the work, especially, Gaurav. We used to sit on sports desk during the day hours to make the practice pages. On day one, In-charge of School Projects of The Hitavada, Prakash Chilkapure introduced me to Tanveer. She told me a few basic things about editorial discipline of the Hitavada. That was the start of my training. Since then, I was introduced to various aspects of the work. I consider myself fortunate that I got sport desk for basic training. The Hitavada Sports Desk is probably the best unit in entire sections of the paper. Under the leadership of Assistant Editor Rahul Dixit, the sports desk has experts like Principal Correspondents Paritosh Pramanik, Roland Lanslot, and Senior Sub-editor Anupam Soni. All these have keen interest in sports activities and excellent fineness in attractive page making. Their understanding, efficiency, and speed together make them the best team. I used to sit behind Paritosh sir and Anupam sir during my training and watch their way to work. It was like watching a film in fast forward motion. In spite of continuous effort to understand which keys and shortcuts these two used for particular application, I never got the key myself. Finally, I used to ask one of them the key. Still, I do the same. I sit behind them, whenever I got the time and ask them a few new things.

After a weeklong training on sports desk, Deputy Editor Subhash Deopujari shifted me to Jabalpur Desk for practical work. The Jabalpur desk is one of the three regional desks of the newspapers. (The other two are Raipur and Vidarbha desks) The desk has the responsibility of the two regional supplements ‘MP Line’ (For readers in Madhya Pradesh) and Jabalpur City Line (for readers in Jabalpur) and an additional work of Bhopal Bureau. When I joined Jabalpur Desk, it was a team of seven working under the leadership of Chief Sub Editor Nikhil Dixit and Chief Sub Editor Ishani Pankule. Senior Sub Editor Hitesh Limachia, Sub Editors Ajay Udar, Nitisha Jain, Megha Sahu and Farina Salim were my seniors. The work in regional desks is completely different from sports or the main desk. Here, reporters send news matter and photos from interiors of Katni, Chhindawara, Balaghat, Seoni and other districts of Madhya Pradesh to Jabalpur Bureau. Here, Resident Editor Anshuman Bhargav, Chief Reporter Piyush Shrivastava and their team comprising of Ashish Rajput, Shivanjali Verma, ASK Dasgupta, Natasha Gyani, Namita Pant, and others manage this stuff and forward it to subbing or copy desk at Nagpur via internet. At Nagpur, sub-editors have to work hard to enhance the quality of the language of the news substance.

The experienced seniors Nikhil sir, Ishani Maam and Hitesh Sir taught me a lot during my stay on Jabalpur Desk. Here I met Ishani Ma’am who can guide (and would guide) me for my entire career. In one word, she is perfectionist. Her mastery over each form of the work, her temperament, and her attitude together make her an ideal journalist, a perfect senior, and the best friend. Here again, I consider myself fortunate that I got Jabalpur desk and the guidance of Ishani Ma’am during my initial days. I was transferred to Nagpur City Line desk in order to assist the reporting team after eight months on Jabalpur Desk. However, I miss the guidance of Jabalpur desk and I strongly believe that if I were completed a year there, my language, writing skills and reporting skills would be better than that of today.

After completing about four months at Jabalpur desk, I was selected to assist Business desk in making pages due to the staff-crunch. Here Prashant Dongre, the lively personality, leads the desk with experienced reporters like Rajiv Ranjan Singh and Rohinikat Matey. Pankaj Mohod, Avinash Iyer, Milind Dantale, and GK sir (I still do not know his real name, as everyone calls him GK Sir) assist in page making. I was here hardly for a week, but it was a refreshing experience. I became familiar with the new short-forms in finance and banking sector, introduced to several new terms, and learned the different kind of page making.

Most exciting thing on business desk is that we have to show our pages to the Executive Editor Mr Alok Tiwari for corrections! Alok sir is very particular for perfection. He personally is man of wisdom, an ideal proficient, and a master of his business. He speaks clear-cut, straight forward, and to the point. These qualities reveal through his column ‘Personal View’ in Sunday Hitavada. Like every junior, I was excited, rather scared when I went to him with my page. Alok sir never raises his voice, never uses slang, never talks in rough manner; rather he is a perfect ‘gentleman.’ He has an exceptional sense of humor. In spite of all this, it’s a tension, may be the ‘scare of respect’ which we call in Marathi, which never let me talk excess with him. I remember, some senior in the field of journalism stated me when my first byline story appeared in The Hitavada, “it’s most difficult to pass Mr Alok Tiwari’s test. If he praises your work, start believing that you really have guts!” I am still waiting for that moment.

I was restored to Jabalpur desk within a week as the staff crunch on business desk finished off. In April 2008, I was shifted to Nagpur City Line; the signature brand of The Hitavada, directly connected to the people which in true sense, completes the slogan ‘The People’s Paper.’ In City Line, we try to cover all important event, achievements, and news in Nagpur city. Being a second capital of Maharashtra and the centre point of India, Nagpur is a happening city. The Reporting team, works under the leadership of City Editor Rahul Pande, has experienced skilled hands. Shirish Borkar, Principal Correspondent handles crime beat with Kaushal Pandey. Ramesh alias Balasaheb or Tiger Marulkar handles Forest beat. Manish Soni handles Nagpur Municipal Corporation (NMC) beat. Kartik Lokhande handles political and other affairs. Vikas Vaidya and Ajay Mardikar handle University and education beat. Sagar Mohod works on Railway and Law beat. Rajendra Diwe handles science while Nandu Andhare, Sneha Telang and others work on general. City editor Rahul Pande is the able leader of this team. Rahul sir, who is a gold medalist in LLM examination, has a best knowledge of law and almost all fields. The reporting team of Nagpur City Line is probably the best team in all newspapers of the city. I feel proud to be associated with this team, though, not for the full time due to my deskwork. Being a sub-editor cum reporter expects both subbing and reporting from you. I am interested in subbing and page making as well as reporting, but I think, It would be unwise to stop subbing for reporting or reporting for subbing. In this year, the unforgettable days begin in April, when I joined subbing desk at City Line and Reporting team simultaneously. On my editorial desk, all are youngsters like me. Sanjay Ranade, Chief Sub Editor, is our chief while all of us are juniors. Geeta Wanjari, Priyanka Bakshi, Poonam Hande are a few months seniors to me, while Yamon Ganguly Shukla and Elina Nayak are a few months juniors. It was simply great to be a part of this team. I am enjoying each day, each moment with each appreciation and each mistake. We are learning day by day and I wish it would continue forever.

Due to the friendly and cooperative nature of all section heads here, I have developed quite a good rapport with most of them. Press Supervisor Khan Sir is one of these. Amol Deokar, who works in Photoshop section, is another. Khan Sir took me to the press to see the printing. He introduced me with many technical terms like cutting, pasting, and plate making. Avinash Kahu and Vivek Vate from advertising section, Ajay Raut, head of the billing section, and Sapate sir and his team of circulation section are worth mentionable names. Deputy editor Aasawari Shenolikar and her magazine desk team including Iffat Jahan, Tanveer Sheikh, and Archana Purohit become my good friends. Iffat Ma’am taught me basics of page making. Aasawari Ma’am guided several times while making reports, and with Archana, I enjoyed the The Hitavada Twinkle Club membership drive. With Tanveer, it’s a precious kind of friendship I share. The Raipur desk, which was my neighbor when I was on Jabalpur desk, is now like my home. Narendra Palkar, the desk head, is a energetic, understanding and skilled professional. His team comprising of Anubhav Dabir, Ujjwal Khopkar, Justin Jacob, Gaurav Lakhe, Kirti Melag, Rubina Sheikh and Humera Meryam is a great unit together. Humera Ma’am, being my senior in reporting, always inspired me to work on stories. Anubhav and Gaurav with others have become lifetime friends. Sumedha Mahorey, who left the Hitavada for her further studies, was also a great friend of mine.

The most responsible desk, the head desk is main desk. Here, Deputy Editor Subhash Deopujari, another perfectionist in the office, looks after the proceedings. Though, I did never worked on main desk, I have a good word with all seniors here including Subhash Sir, Anil Rotkar, Virag Pachpore, Chandana Roy, Paritosh Vinze; and all friends including Hannah Sharique, Rahul Gawande, Dharini, Panchali and others. In Vidarbha desk, Anjaya Anaparthy is my good friend. In Systems, Ankit, Milind, Amit and Sachin are friends. During the cricket matches of SJAN, National Bussiness Manager of the Hitavada Susheem Koley, and others started knowing me. I don’t know the top most bosses like Managing Parter and General Manager Rajendra Purohit and Managing Editor Banwarilal Purohit know me or not, but I am sure that the way they manage the newspaper is really appreciable. I do not have experience of any other management, or something, but I must say that I enjoy each moment in this year, thanks to the full freedom, and timely good stipend given by the attentive, sensible management. The year passed was full of excitement, and hope the excitement would double in year two!

'Audience should support Marathi films

2008-06-24T20:07:00.004+05:30

MARATHI audience should go to cinema halls and watch Marathi films to encourage the young talent in the industry. We have new concepts, directors and producers ready to handle off-beat themes. Due support by the audience would open new horizons for our films,” said Mangesh Dhakde, who composed the music of the recent super-hit Marathi film ‘Valu.’

Mangesh, son of Surmani Prabhakar Dhakde, a veteran musician of the city, was speaking to The Hitavada on a recent visit to his hometown. After learning basic lessons of music till Sangeet Visharad from his father, Mangesh joined Film and Television Institute, Pune, for formal education of Sound Engineering.

“Sound engineering is completely different from music composition and singing. A sound engineer handles technical side of the film including recording, mixing, and dubbing,” said Mangesh, who received an offer of ‘Valu’ as soon as he completed his final year of sound engineering due to his flair in music composition.
“Valu’s director Umesh Kulkarni is my friend, who called me for his film. It was a learning experience of modern-time Marathi Cinema. We are the team of youngsters who work hard to present off-beat themes,” expressed Mangesh.

Mangesh said, there is ample scope for Vidarbha talent in the film industry and welcomed the city youngsters to Mumbai. He also added, the formal education and technical perfection is must to start struggle in the industry. Mangesh is working on several national and international projects other than a few Marathi films. “I am working on an album of ‘Sufi’ songs in which compositions of Bullesha, Mirabai and several other legends would be involved.”

His father, Surmani Prabhakar Dhakde is well-known for violin in the region, but Mangesh enjoys the synthesizer more. He said that he would love to work with Suresh Wadkar and Hariharan while his dream project is to work with legendary Sarangi artist Ustad Sultan Khan. Remarkably, a tele-film made by Mangesh and his team as their university project was the official entry from India for International Students’ Oscar award. A commerce
graduate from Sindhu Mahavidyalaya,

Magesh said, he misses Nagpur all the time in Mumbai and Pune. He expressed concern about limited courses on performing art in Vidarbha universities. “If our universities provide better facilities in performing art and fine art fields, our talent would get the recognition for sure.”

For youngsters who are about to join the film industry, Magesh has a special advice: “There is career in this field. But you have to remain student all the time. Talented guys who are ready to learn would get a fantastic atmosphere in Marathi industry.”

‘Add patience to talent, you will win’

2008-05-12T00:14:00.001+05:30

“A MARATHI artist will never compromise with his pride and honour. However, in the Hindi film industry, you have to put up your respect for sale to gain popularity and opportunities. That is why, several legendary Marathi musicians have smaller career-spans in the Hindi film industry,” rues veteran Marathi music director Ashok Patki, explaining his limited success in Bollywood. Patki, who has over 60 Marathi films, 250 Marathi dramas, over 250 Marathi serials and a record break 5000 ad jingles to his credit, was in the city to participate in a musical concert, ‘Radha Hi Bawari.’ He spoke at length on his musical journey, current music scenario, reality shows, and future of Marathi music industry, even as he went on with his rehearsal with local artists, intermittently answering questions and playing his harmonium.
With timeless melodies like ‘Mile Sur Mera Tumhara’ and ‘Purab Se Surya Uga’ to his name, Patki’s ‘Zandu Balm,’ ‘Dhara oil,’ and ‘Vicco turmeric cream.’ jingles are on everybody’s lips. “I like to work on jingles. It is more challenging. We get not more than 10 to 15 seconds to make a perfect impact.” Patki’s jingles are a part of our day-to-day life and many of us can recite them word to word. However, very few of us know the man behind these lovable tunes. This is because he has shunned publicity all this while.
“After a 40-year-long journey in the industry, I feel satisfied as my hard work has started showing results at last. I believe that it takes a lot to be successful. Constant effort, patience, and enthusiasm!,” feels Patki, while complaining that the new generation lacks these qualities.
“They want everything instantly. They lack consistency and hard work. It is impossible to gain everything through a single reality show or talent hunt.” According to him, reality shows are overrated and have been given undue importance. “No show can produce a perfect singer as it takes time to get perfection. The most irritating factor is SMS voting by which real talent remains unnoticed,” he states.
Surprisingly, Patki is not trained in Indian classical music. His long stint as assistant to Pt Jitendra Abhisheki, the legend of classical music, gives his music the ‘classical touch.’ “A practical work experience with Panditji taught me much more that a formal education,” he admits humbly.
Today, reputed names in classical music, including Pt Ajit Kadkade, Prabhakar Karekar and Shaunak Abhisheki, sing under his guidance.
“It is important to learn classical, but basically music is God’s gift. You have to have something in you before you start polishing the skill,” he says.
Patki is very optimistic about the new era Marathi cinema. The music of his recent film, ‘Sawali’ is a super-hit even though all compositions are based on classical music. “New concepts in the Marathi film industry are providing musicians a ground to experiment. This is why we are producing different kind of music in Marathi these days,” he says.
Apart from his full-time passion, Patki loves to travel. Recently, he also successfully tried his hand at lyric writing. His composition ‘Radha hi Bawari’ is another all-time hit. Words and tunes are equally important for a perfect composition. “Better words arranged to better tune makes the best song,” he says.
A veteran in his field, Patki sees huge talent in youngsters and advises them to wait patiently for their turn. “If you really have talent, they will notice you. They have to, if you work with passion and dedication,” is his message to young aspirants.

‘Jhadipatti’ flourishes despite commercial onslaught

2008-04-08T00:42:00.002+05:30

Pre-published in The Hitavada's 6 March issue

DUE TO increasing impact of satellite TV and booming multiplexes, theatre is threatening to become history in metros. Even plays featuring popular celebrities hardly succeed in garnering a decent audience. In such circumstances, the traditional art movement, Jhadipatti (meaning ‘bush tract’), is still running full throttle. It has not only maintained its audience since decades, but has also succeeded in making and breaking records.
Recently, a Marathi drama, Atmahatya, produced by Shri Venkatesh Natya Mandal, Navargaon, collected Rs 4 lakh for charity in a single show staged at village Vashikora in Chandrapur district on March 14.
“This is due to people’s passion for drama. It was a pleasant surprise for all of us,” reacted Sadanand Borkar, producer of the drama, and head of Venkatesh Natya Mandal, speaking exclusively to The Hitavada over the telephone.
Borkar spoke at length on the Jhadipatti drama movement, present mainstream drama, and Maharashtra Government’s complete disregard towards Jhadipatti.
“Atmahatya is based on the issue of farmers’ suicides in Vidarbha. We expected about 1,000 drama lovers to be there for the show as the figure of advance booking was about Rs 1 lakh, but spot booking doubled the figure. Finally, organisers reshuffled the seating arrangement, and we performed in the open. The show was for charity, so we all are happy to collect a decent (!) amount,” said Borkar.
During the current season, which ended on March 29, Borkar’s Venkatesh Natya Mandal staged total 78 shows of two plays Atmahatya and Maze Kunku Mich Pusale. “All shows were house-full. Collection of Rs 1 lakh or more is usual in one show. People’s love and artists’ dedication are the keys that keep our movement going,” said Borkar.
When Jhadipatti theatre is getting such an overwhelming response in rural areas, what can be wrong with mainstream theatre?
On this, Borkar said, “Jhadipatti movement is altogether different from mainstream theatre. The present professional scene is mostly about cheap humor while the amateur stage is suffering from poor response at the box office and from the audiences.
However, in Jhadipatti, we believe in conveying a message of social interest. Here, we try to involve all aspects of the drama with a social message, which directly touch the hearts of the audience.”
Borkar shared his experience that a huge gathering of thousands of people heard a long monologue on the evil of superstitions at the end of Maze Kunku Mich Pusale, in pin-drop silence. “This is how a drama is staged and watched in Jhadipatti,” he exulted.
Message for others!

We want nothing from Government but attention: Sadanand Borkar, Zadipatti Theatre Activist

JHADIPATTI theatre movement is facing utter disregard from the State Government since generations. “Government spends crores of rupees to encourage cultural activities, especially drama in the State. For amateur drama fests, it allots funds in lakhs while for professional stage, it gives financial assistance to producers. Unfortunately, there is nothing planned for the Jhadipatti movement,” expressed Sadanand Borkar.
Borkar shared an experience from the recent All India Marathi Natya Sammelan, which exposed the ignorance of the Government. During his speech at the Natya Sammelan, Chief Minister Vilasrao Deshmukh appealed to producers to produce plays with a message for farmers. He said, “we do not have a drama on farmers’ pathetic condition and nobody has written scripts on this subject.” This was the reaction when his group was staging the 50th show of Atmahatya at the same time in Jhadipatti, lamented Borkar.
His drama group is one of the oldest groups in Jhadipatti. They are planning to construct their own auditorium at Navargaon, of course without a single penny from the Government.
“We never demanded anything from the Government. Ours is a people’s movement and we are surviving since generations because of the people.”

The Eighth summer…

2008-03-24T17:13:00.009+05:30

March is heading towards its end, which will begin the reign of the eighth summer of the century. Air is blowing warm and warmer with fleeting days and a well known ‘exam heat’ can be felt more easily now. Last year, during these days, I was preparing for my final year exam and this year too, getting ready for first year of MA. However, it is not the real feel of ‘exam heat.’ During college days, when a warm wave of air brings dry leaves of backyard neem to you, when instead of thick reference books, printed notes and guides start attracting you, and when the calendar starts showing the rounds you made around the dates of examination more vividly, you start feeling a real ‘exam heat.’ Friends, their study updates play a vital role in preparation of exam, which I am missing this year. The eighth summer is showing different days. I am away from home after all.
Summer is my all time favorite as after the examination, you get bigger days to enjoy, you get long evenings to stroll, you get sound sleeps under blinking stars, and you get bright early mornings to refresh you. Nowadays, more than vacation, summer is all about personality development camps, adventure camps and sports training camps. For students of class IX and XI, it is no more an enjoyment as their preparations for board examinations are in full flow during summer. Even for class XII students, who are appearing for engineering or medical pre-admission tests, summer is a season of studies. In this way, many ignore all offerings of summer and set their attention to scorching summer noon. Well, they all are unfortunate, who do not enjoy the flavor of this season.
Summer bells ring in mid-February and it start feeling with March. Now, wind flows more desperate and warm. After freezing winter, this warm sensation gives pleasure. If winter’s color is green, summer says hello, with yellow. Trees start shedding yellow leaves and the meadows start forming yellow carpets to welcome the brighter mood Sun. Sparrows’ search for a proper place for their nests becomes more restless. Now, cows prefer to rest under shadows instead of having a few last instants of winter’s greenery. Afternoons turn silent and evenings lively. During these summer evenings, I used to study in the backyard on one of the three big neems. It was so pleasant to behold the yellow, orange, red shades of sun when it sets. But in eighth summer, sun sets behind a multi-stored building. I search for a sparrow searching a place for nest, and a cow resting under a tree shedding yellow leaves. But I am unable to find the same here. After all, I am away from home.
Here summer reveals itself through covered faces of bike-riders, people walking in summer coats and roadside cold drink shops. Afternoons are not quite, and instead of twits of birds resting on trees, we get houses filled with sounds of air coolers. Someone hardly notices stars in the sky, as it is full of artificial lightings. This is different summer. The eighth summer.

Swapnil promises a musical year ahead

2007-12-26T01:28:00.000+05:30

(Following interview is published in The Hitavada on 26th December 2007.)

“MY music is for my audience’s delight. I will continue to work with complete dedication and honesty to please them in the upcoming year,” promised noted musician and singer, Swapnil Bandodkar.
Swapnil, famous for his song ‘Radha Hi Bawari,’ was in Nagpur to perform at the “Athawanitil Gani” concert. He shared his views on light music, importance of classical base and current craze for reality shows with ‘The Hitavada’.
“Learning classical music from maestros like Suresh Wadkar and Pt Vasantrao Kulkarni was the turning point in my life,” said the young face of Marathi music industry about his early days.
“A good voice and basic understanding of music is a God gift. However, formal training and study of classical music make a perfect singer. It is equally important to tap the talent right from the childhood.”
Swapnil gives all credit for this to his parents. “Aai-Baba realised the singer in me and admitted me in a music class. Later on, I realised the importance of music in my life,” said Swapnil, who started learning music at the age of four. “Gradually, it became my passion and finally my life.”
“Learning classical music is like learning theorems and laws of music. After studying the basics, we can improvise further as per our creativity. Young singers are avoiding classical music these days and more inclined towards western music. But such ‘baseless’ music does not last for long,” says Swapnil.
When asked about reality talent hunts, he said “You may win a contest by receiving SMSs, but to remain in the race, study of music is must. Otherwise such singer’s craze is short-lived.”
Expressing reservations about SMS voting, he said sometimes, good talent remains ignored because of this mode. According to Swapnil, very few people know the technicalities of music while masses can be attracted by a good presentation. As a result, one who performs well may get more votes than the one who is a better singer.
On the other hand, Swapnil does not deny the importance of performance. “In today’s audio-visual media, music delights not only the ears but also eyes. Therefore, a graceful performance is also important. But ‘sur’ is eternal and the most important.”
Swapnil’s album, ‘Radha Hi Bawari’ has made him a busy star in the Marathi music industry. Currently, he is doing stage performances, Marathi films, and title tracks for TV channels.
“As a playback singer, I have lent my voice to about 60 Marathi films this year. The present era marks the golden days of Marathi cinema. We are producing good quality films, hence getting good music. Upcoming days are promising and we can expect a lot from the Marathi film industry,” said the young man who has also acted in the film, ‘Sawali.’
“It was the role of musician, so I did it. Currently, I want to concentrate only on music. So, no films, TV serials for now,” said Swapnil, who often receives offers for the big and small screen.
It is the tradition of Marathi artists to try their luck in Hindi. Swapnil too has sung for a few films including ‘Hanuman’, the first animation film of India. “It was a nice experience, but I am not planning any Hindi album in near future. We welcome the music and singers from other languages with great enthusiasm, but others are not as generous as the Maharashtrian audience.”
Besides music, Swapnil loves to enjoy long drives, sports and adventure activities. He reads novels and listens to old-time classical music during his free hours. When asked about his New Year resolution, he said, “I will continue to please my audience with my work. In the coming year, we are planning to launch ‘Radha Hi Bawari-II.’ Besides that, there are many new films, albums and stage shows scheduled.”
When asked about Nagpur, Swapnil said he was excited to perform here. Being a big lover of non-vegetarian food, Swapnil said, “I will definitely try some Saoji fare this time.”

For Prof Ram Shewalkar life is like Paaniyavari Makari

2007-12-10T17:21:00.000+05:30

The following interview was appeared in The Hitavada on 5th December 2007. Prof Ram Shewalkar's autobiography Paniyawari Makari will be published on Dec 11 by President of India Pratibha Patil. This exclusive interview was taken by me when Prof Shewalkar was about to fly for Delhi.

“Books are the messengers; we must learn from them and assimilate the message they convey. After all, mere words are there in books, real meaning lies in life,” said Prof Ram Shewalkar while speaking to The Hitavada on his upcoming autobiography ‘Paaniyavari Makari.’ The autobiography is scheduled to be released at the hands of President of India Pratibha Patil at Rashtrapati Bhawan on December 11.

“Gone by years and accumulation of experience are like birthmarks, we hardly feel their presence, but they remain with us forever. After seven and a half decades of experience in life, it is now time to share these with my readers,” Shewalkar explained his motivation behind writing the autobiography. The literary maestro has authored hundreds of books and edited several of them, and gave expression to his views through a series of lectures. Then what makes him write a special autobiography? “What we write in books is indirect. It is not vivid. It may be phony sometimes. It may be divorced from reality to bring out the beauty in literature. However, autobiography is direct. It is an anthology of the events that made me think in a different way,” said Shewalkar, adding that his autobiography is about the uncommon things done by the common person. “There was no necessity for me to write the autobiography because I do not consider myself such an authority. People write autobiographies to confess their deeds, some for explaining their stand but I do not have anything to confess, neither have any controversy to explain. However, what I did, apart from a routine life as a teacher, as a professor and as a Principal is quoted there in my book. It is a story of a life lived strictly following the great principles,” said Shewalkar who is one of the important members of Acharya Kul; an organization that brought revolution in the educational field. “Joining Acharya Kul, in 1959, was a turning point in my life. It gave me a new perspective to look at life. It made me believe that completing a syllabus and giving good result is not the real and only duty of a teacher. Teacher is an artisan, who shapes the future of the nation. Today, these values and principles are hard to notice. Through the book, they will reappear in thinking process which may bring some good to education field,” he said while explaining the thought process behind his upcoming book. Today, neither teachers nor students are loyal to their profession which resulted in to the degradation in the standard of education. When one sees that even a highly literate person is not averse to indulging in anti-social activities, it poorly reflects on the quality of formal education. It is an indicator of the failure of formal education to mould responsible human beings. When his attention was drawn to Langston Huge’s quote, “To write about yourself, you should first be outside of yourself,” Shewalkar said, “I am impartial while writing, but not impassive. I do not write diary. So, the incidents in my autobiography are simply my remembrances. The incidents that gave me different way of thinking may be the inspiration for all. The literature will not only please but also teach.” The former President of Vidarbha Sahitya Sangh handled many aspects of literature including prose, poetry, criticism, narrative, and editorial writing. While spearheading Vidarbha Sahitya Sangh, Shewalkar started 85 new branches of the literary organisation. During his tenure, literary meets were organised in tribal areas like Aheri, Gadchiroli and Mehkar. He thinks that literature must reach up to the last man on the social ladder, which will enrich the society. When his attention was drawn to critics’ viewpoint that his literature was limited to criticism and study which is not creative writing, he humbly accepted the critics’ views. “I accept that there are very few novels, stories, poetry collections to my credit. But that alone is not the creative writing. Criticism, analytical study on some epic lets you re-live the original work. That brings real delight and new perspective to reading books. This is very much a creative writing which helps you understand the epic.” Shewalkar’s study on Sant Gyaneshwar received high acclaim from all over the literary field. “Instead of being involved in self-made literature, it gives me more pleasure to convey other great litterateurs’ works to the readers, he said, adding that the books edited by him have been acclaimed more than his own creations. During his 75 years long journey of life, Shewalkar successfully played many roles, including a teacher, a Principal, a leader, and a social worker. During this long and cherished journey, many disappointing moments also came as obstacles, but his positive vision and strong faith in God always gave him spiritual strength. “I am satisfied. I never ask for anything from the Almighty. He gave me a lot. Lot more than I deserve” says the man with smile. When asked about the name ‘Paaniyavari Makari’ of his autobiography, he said “It is an expression from Dnyaneshwari. It says that when a makari (crocodile) swims on water, the lines drawn by it disappear within moments. Human life is like that.”

Laksha: for all time

2007-12-01T00:56:00.000+05:30

‘He was not for an age, but for all time’ said Ben Johnson once about the great William Shakespeare. It is possible for very few artists to remain for all time. Laxmikant Berde was one of those immortal figures who will be alive forever through billions of minds and hearts.
The name Laxmikant Berde virtually ruled over Marathi film industry for about two decades. Gifted with the wonderful timing of comedy, this vibrant artist performed all kinds of roles with the same excellence. Regrettably, he hardly got the roles fitting to his ability and talent.
In fact, Laxmikant confirmed his distinction through several serious roles but his typecasting in comic roles shackled him as a comedian. Born and brought up in small village of Kokan, Laxmikant was passionate about stage since his childhood. This passion drew him miles away to Mumbai where he joined ‘Sahitya Sangh.’ Laxmikant’s struggle was full of untiring hard work. He got his first break on commercial stage through the play ‘Tour tour’ that became a milestone in Marathi drama and granted Laxmikant a celebrity status. His ‘Shantecha Karta Chalu Ahe’, ‘Bighadale Swargache dar’, ‘Karti Chalu Ahe’ and many other plays also turned out to be super duper hits. Laxmikant’s dream run began with the grand success on stage and glorified when he entered the silver screen where he portrayed a middle class Marathi young man struggling for a job and a rented house in crowded Mumbai. He portrayed an innocent youth from smallest village of Maharashtra with tiny dreams in eyes. His characters, his talent, and his attachment to the common people made him one among each Marathi family. Laxmikant become Laksha of every Marathi heart.
Laksha’s genuine rule on Marathi film industry began when he paired with Mahesh Kothare. Mahesh was so much fascinated with his talent that he wrote many scripts just keeping Laxmikant in mind. All films by this duo were not only the commercial super-hits but also responsible for keeping Marathi film industry alive in those diverse circumstances when comedy was clutched in Dada Kondke’s duel meaning films and tragedies were out of Marathi film world.
Mahesh and Laksha’s pair gave milestone films like ‘Dhumdhadaka’, ‘Dhadakebaz’, ‘Thartharat’, ‘Maza Chhakula’, ‘Zapatlela’ and Laksha’s very last appearance ‘Pachhadlela.’ With classic filmmaker Sachin, Laksha shared screen in ‘Banvabanwee’, ‘Aytya Gharat Gharoba’ and many all time hits.
Performing art was a god gift for Laxmikant. His sense and timing of comedy was just perfect. Through his long career in drama, he acquired a special quality to grab the public attention within minutes. At one point, his craze was so captivating that a film like ‘Chal Re Laksha Mumbaila’ was produced to cash his popularity. Besides this, many scripts were written genuinely for him.
Meanwhile, Laxmikant and Ashok Saraf created a treasured legacy in the history of Marathi films. These two artists had an incomparable tuning but very few directors made a quality use of it. The Ashok-Laksha pair performed through more than 300 films among which many were mere droops. Whatsoever, their films made billions laugh forgetting all worries and stress.
While on the top of the Marathi world, Laxmikant received the offers from much vaunted bollywood filmmakers like Rajashri Production. In ‘Maine Pyar Kiya’, Laxmikant portrayed main supporting character of Salman Khan’s friend with excellence. Soon, he became the inseparable part of Rajashri films. In ‘Hum Aap Ke Hai Kaun’, Laxmikant got only a single serious scene in which he literally made everyone cry. His forte was to stun the audience at once while laughing but he hardly found such roles in films.
In ‘Ek Hota Vidushak’ written by legendary P L Deshpande, Laxmikant proved his acumen and received acclaim from all over. He expected State award for this film but his dream remained away from reality. Later, he worked extremely hard for ‘Manus’ which was again a strong disappointment for him as the film failed to accomplish his expectations. He was very much keen to do serious kinds of roles but was not fortunate enough to get them. He even planned for an autobiography written in Charley Chaplin’s manner.
In recent times, Laxmikant returned on stage with ‘Lele Viruddha Lele’ and ‘Sir Ale Dhawoon’ but his return was momentary as the destiny was planning for the worst. One who used to bring smiles on weeping faces at once left all of us lamenting and passed away due to serious kidney failure. His demise was a shock not only for his fans but also for his industry as this herald of happiness never let anyone know about the gravity of his illness.
Laksha made his final exit on 16 December 2004, three years before but it is hard to believe even today that he is not with us. Even after three decades and three centuries, his remembrances would remain vivid as ‘Laksha was not for an age, but for all time.’

Advancing the Legacy...

2007-12-01T00:51:00.000+05:30

(Following Article is actually an interview of Famous young Indian Classical Singer Rahul Deshpande. I done this interview on Saturday 24th of November 2007 when Rahul was in Nagpur for his live performance. The interview is pre-published in The Hitavada.)

HISTORY of Indian classical music is incomplete without mentioning the name of the Late Dr Vasantrao Deshpande, the legendary singer, who won the hearts of one and all, specially Maharashtrians.
Now, Vasantrao’s grandson, Rahul, is following his grandpa’s footsteps, in a bid to fill the vacuum created.
Talking to ‘The Hitavada’, Rahul spoke at length on his grandfather, the present music scene, talent hunt shows on television etc.
When asked how it feels to be a grandson of one of the most respected music maestro, “Proud”, pat came a reply from Rahul.
Many critics and those who matter in the music world vouch that Rahul is a gifted singer with pleasant voice and an intimate sense of ‘Sur’, just like his grandfather. How does he feel about it?
“It does always feel good to get acclaim but I am nowhere in front of the legend,” said Rahul with humility.
Speaking about his childhood dream, Rahul said, “I did not want to be a singer though I started learning music at the age of six.”
“When I was 13 years old, my father brought Kumar Gandharva’s audio cassette. I was so fascinated with Kumarji’s music, I at once started taking music learning seriously.” But this doesn’t made him choose music as a means of earning his livelihood.
“I wanted to be a Chartered Accountant. I even completed Master degree in Commerce for this. But when I visited legendary P L Deshpande, I was completely changed,” said 28-year-old Rahul, recalling the turning point in his life.
“I told Bhai (P L Deshpande) that I want to make a career in accountancy and commerce. He asked, how many boards of CAs I saw on way to his house. I said, “many.” “And how many of singers?” he put a poser and said, “I want you to put up a board of singer.”
“Since then, I am into music,” said Rahul.
Rahul got formal training from Gangadharbuwa Pimpalkhare and Dr Madhusudan Patwardhan. His interest in Kumar Gandharva’s music brought him to Mukul Shivpura (Kumarji’s son) who still guides him.
Rahul believes that any kind of music gives pleasure. But classical music is here to stay, he said.
Today, young generation is attracted towards instant publicity platforms. But Rahul finds no potential in such talent hunts.
“When they say that your ‘sur’ was wrong today and you will make improvement till next week, I laugh at them. If improvement in ‘sur’ is possible within a week, there is no need for great musicians to dedicate their lifetime in practicing one Bandish and raag,” said Rahul admitting that real talent never remains unnoticed for long.
The classical music too had many changes since his grandfather’s age. The old time overnight ‘maifils’ are out of date. When asked about the changes in classical music, he said, “We have to accustom ourselves with the changes. Overnight maifils are practically impossible in today’s fast age.”
The ‘Gharana’ and ‘Guru-shishya’ tradition in classical music is hard to find now. However, according to Rahul, the gharana tradition restricts you to a typical type of singing. Like his grandfather, he too is interested in handling all aspects of music. With classical Raagdari, he sings ghazals, bhakti sangeet and semi-classical songs. Through hundreds of stage performances all over the world and several audio cassettes and CDs to his credit, Rahul’s voice is catching attention of every music lover. Through his regular appearances on Marathi television channels like ETV, Me Marathi and Sahyandri, Rahul is reaching to every Marathi house. The talented artist received many honours including Rasikagrani Dattopant Deshpande Award in Sawai Gandharva Music Fest and Sudhir Phadke award for glorious achievement in young age. Besides music, Rahul is interested in adventurous activities like trekking and driving. He is a good player of tennis.
When asked about future plans, Rahul said that he is concentrating only on his classical performances. He received several proposals from Marathi films but he is not interested in acting. His grandfather performed through some Marathi films, “But I can’t do everything that grandpa has done. He was a legend,” says Rahul with a smile on his face. He is not even interested in performing through musical dramas like his
grandfather.
“In February, we will celebrate the 25th death anniversary of grandpa in a grand way by planning an international music festival. We will also organise a competition for budding singers and the winners will be imparted classical music training for free,” said the young man confidently.

Charudatta Aaphale: Shaping e-wings to Kirtan

2007-11-02T16:22:00.000+05:30

(The following report is actually a story made by me for The Hitavada. It appeared in the cityline issue of this newspaper and the original story can be read by Clicking here. The report is written on the occasion of Rashtriya Kirtan Festival .held in Nagpur from 28th October to 3 November.)
Rashtriya Kirtan Festival .in Nagpur is receiving remarkable response from youth. But can you imagine a Kirtankar as a youth icon? One who delivers lengthy lectures on implausible Purana that can attract the Gen X like never before? Making this possible is revolutionary. But not for Charudatta Aaphale, a man committed to making revolutions.

Charudatta’s dedication to Rashtriya Kirtan made him the global ambassador of this unique art. Charudatta, better known as Aaphale Guruji among youths, has large number of followers all over the globe. Besides his popular fan club on youth’s heartbeat website Orkut, two other e-fan clubs on international-level are dedicated to him. All these fan clubs are moderated by the youths and almost all members of these fan clubs are from young intellectual brigade of World Wide Web. Moreover, Aaphale is probably the only Kirtankar whose Kirtans are available on You tubeand Google video. One can easily view and download the clippings from his famous kirtans after a simple web search. Marathi Mandal of Australia dedicated a special webpage to him as well as a group of NRIs from USA run another e-fans club of the kirtan icon. What qualities have drawn together a universal prop up for the man? Charudatta is representative of generation next of Rashtriya Kirtan. The art of kirtan is an ancestral gift to him as his father, Govindswami Aaphale was the pioneer of Rashtriya Kirtan. Charudatta is trained under the legendary kirtankars Dholebuwa, Ghagbuwa and Sundarbuwa Marathe. During the last 20 years of his kirtan career, Charudatta has been traveling all over the country as well as abroad and has conducted over 4,500 kirtan programmes. Most renowned cassettes industries like ‘Venus’, ‘Alurkar’, ‘Zapata’ and ‘Varadhast’ have produced numerous cassettes and CDs of Charudatta, religious as well as dedicated to martyrs of Indian freedom struggle. His kirtan on Swatantryaveer Savarkar is most famous as it is full of positive aggression and groundbreaking thoughts. It’s available on You Tube as one of his disciples from USA, Guruprasad uploaded it for all. Charudatta’s attachment with youth also reveals through his work from the development of kirtan as an art. He imparts training to the students of kirtan through Kirtan-kul. Kirtan is known as blending of all 64 arts mentioned in Indian culture. Charudatta also excels in many arts among these. Besides performing kirtans, Aaphale is one of the best actors on Marathi stage. His forte is musical dramas and his excellent acting skills enabled him to enact most of the pivotal characters in Indian mythology. King Dushyant, Devarshi Narad, Saint Chokhamela, Lord Shrikrishna plus many other contemporary characters like Gangadharbuwa, Nilobarai and Khansaheb. For his outstanding performances, he has been proud recipient of Akhil Bharatiya Natya Parishad Award for consecutive three years. In a documentary on Rajarshi Shahu Maharaj, Charudatta played a key-role of legend of Marathi musical stage, Balgandharva. In a National Award winning documentary on Balgandharva, he played the real life male individual as well as the female characters portrayed by Balgandharva. He also portrayed Saint Gyaneshwar in a documentary on Saint Namdeo. On the occasion of birth centenary of another illustrious singer, actor Master Deenanath - Charudatta staged the late actor’s epic play ‘Ranadundubhi’ in which he portrayed the lead female character. Charudatta is a talented student and analyst of the Natya Sangeet and Indian Classical music. Through his stage shows and television appearances, his singing talent is well admired. Besides all this, his poetry singing has also gained tremendous popularity. His famous “Jay Mrityunjay” on the life of Swatantryaveer Savarkar comprised 40 songs composed and sung by him and has completed 50 shows till date. Through his Kirtans, Aaphale Guruji conveyed the message for all-round development of nation. His views are vivid, words are straightforward and intention is a strong youth. About 40-year old Kirtankar wishes for a strong, independent and confident youth, all set to fly high with firm bonding with the cultural and religious foundation of India. Today’s youth is inspired by his overall appearance and his devotion to the empowerment of the nation. That is why he is globally acclaimed and become the first ever e-kirtankar of India. Through his e-appearances, Aaphale Guruji is shaping the global wings for the divine eagle of Rashtriya Kirtan. So, if you missed his today’s Kirtan from the Mahotsava, don’t be upset. Just log on to ‘You Tube’ and hit the search-box for today’s Kirtan.

On leaving home…

2007-08-30T09:22:00.001+05:30

Since I was doing my graduation, I was preparing for this. It was 27th April of year 2007 when I was in Nagpur to face my first interview for job. It was for The Hitavada. Mr. Vijay Phanshikar, Editor of The Hitavada held my interview. I was so keen to join the job, that when he asked me whether I am ready to join from 1st may, just 3 days after my interview, I said “Yes Sir, I can!”
But the destiny’s arrangement was poles apart. It took two and a half month for me to get appointment letter. Meanwhile, I got my BA final result which was fairly promising. I resolute to utilize these days for my own mental and personality built up. My blogs started between these days, my study regarding literature for post graduation began and I was waiting badly for the result from The Hitavada. One week after my result when I was quiet optimistic about the appointment letter, dad told me to get admission in college for further studies as mere wait was slavish act. The study of Law became my next goal and I reached Law College for admission. It wasn’t that difficult to get admission in Law College as my percentage was enough for spot admission. So, the authorities asked me to fill up the form and fees for the first semester. I submitted the form on 29th June but can’t pay the money as the clerk was not present. It went on 1st July and non stop raining forbidden me to get out of the house on that day. So it went on 3rd of July. This time it was fixed. It was Ganesh Chaturthi; the pious day. I was fully prepared. The money was with me; but I was not willing to pay it in the college. One ray of hope was present about the journalism job. I passed a long time. And finally when it was 11.30, I was tying my shoe-lace, the cell phone rang.
“Hello…”
“Is this Chaitanya Deshpande?”
“Yes!”
“I’m Alok Tiwari from Hitavada press. Your appointment letter is ready. You can come and get it today.”
“I am in Yavatmal now…” I don’t know how I was feeling, but still I said.
“No problem, you can come tomorrow. After ten thirty and receive the letter. “
“I’ll come tomorrow …” I think I was about to ask something when the call ended from either side. With my half-tied shoe-less I just relaxed on the chair. The call was echoing in my ears. This is the thing for which I was waiting since two and half months! Finally, it was all set to leave home. Everyone was happy for me. I remembered quotes from many of my relatives, friends and teachers,
“There is nothing in this small town. We have careers in metros!”
“Once you leave home, you will prosper like anything!”
“You have career in creativity; you can’t get the job of your kind here! Just leave home.”
And finally,
“I’m Alok Tiwari from Hitavada press. Your appointment letter is ready. You can come and catch it today.”
….
On 4th July, I was in Hitavada office with one friend. I got the official appointment letter. Some clerk told me to meet Alok Tiwari sir for further proceedings. Then I realize who the man was…
He was the second head of editorial department; Executive Editor of the Hitavada, Mr. Alok Tiwari.
…

The novel anticipation is building.

2007-07-01T09:21:00.000+05:30

With the result of Matriculation Examinations, the new glitter can be easily noticed among number of eyes around me. Girls, riding on moped at once became somewhat proud about the unknown excitement. Guys are riding little rapidity with musical horns to celebrate the success. All this magic is due to the anticipation of Novel College Life. The proud girls, celebrating guys and college campus full of new colors remembered me my entry in college. The year passed was my last year in college, so the emotions gathered with more intensity. Well, my start of college-life was not so exciting and charming as compared to these guys and gals.

I passed my matriculation with seventy percent of marks and was planning to join Arts stream for my higher secondary exam. But, many of my family members and teachers insisted for the science stream. The discussion cum debate was very long and finally, we decided to choose science field for my 12th class. It was nothing wrong with me, because I was interested in science field too. The only enemy of mine was the ‘Algebra.’ I was very much weak in the numerical problems and equations. My maternal uncle’s friend was well known mathematics teacher in the town who assured me that he will manage my Algebra problems and I can easily get rid of this ghost. He gave me the list of well-known tuition teachers for other subjects like Biology and Physics; and finally I was ready to be a science student. But this process took a long time and the form submission date for science stream was gone off. This was really shocking for me, as I was mentally prepared for Science now. The efforts for my admission began when science stream Junior colleges were ready to hold the classes. I was very much late, but with the help of my uncle and his friends, finally got one seat in Anglo-Hindi Junior College. The final obstacle was overcome by my father who paid two thousand rupees as donation. I was the one unfortunate guy who scored seventy percent, still admitted by submitting the donation. This was really a pain for me and this process; all these actions gave birth to the anti-science stream mind in me. Finally though I was in the science stream, I was not at all happy with my uncle and his friend because they were those who insisted for the science stream and because of them, my father have to pay the donation amount. So, I rejected to join my uncle’s friend’s tuition and never went to the list of teachers provided by him, which was my next adverse action. All these actions result in many ill-fated results in future; which I will share some other day. But today, it’s about my entry in Junior college, which was not that much exciting and promising.

Anyways, my young friends are entering in the new life and I wish them all the best and hope every success for them.

Blessed By the Icon...

2007-06-15T14:18:00.000+05:30

(On President Dr. A.P.J. Abdul Kalam's visit to Yavatmal on 15th of June 2007)

“I work for Strength, Respect and Piece.” The missile man’s response to the question of Yavatmal youth about the idea following the missile mutiny… and finally the excited, power-packed and pleased youth of Yavatmal celebrating the President’s first ever visit to the city.
His Excellency was here to celebrate the golden jubilee year of the famous Amolakchand Mahavidyalaya. Accompanied by CM Vilas Rao Deshmukh and MP Vijay Darda; Mr. President addressed the youth of Yavatmal. His twelve minute long speech was full of optimistic notes about the responsibilities of Indian Youth. Technology, science and role of teachers in new era of education were the foremost points in his speech. With the use of technology and internet in education, the value of teachers also raises as they are supposed to provide enriched perspective to the students. Students also work for an exacting objective in order to enhance the social and economical status of the nation. They must accept the new challenges and face the problems taking calculated risks. Finally, he gave the ten point pledge to all the youth in the campus. The implementation of each oath results in "Individual Development Leading to the National Development"
The whole environment was fabulous when His highness called for the questions from the students. The short but sweet discussion covered many important issues including role of India in Global Warming, the missiles for piece and respect and Dr. A.P.J. Abdul Kalam in person. When asked to choose from the President, Scientist, and professor; his highness selected the term ‘Professor’ as best for himself. On the issue of global Warming, he asked everyone to plant and grow at least one tree a year. Finally, he conveyed his website’s address to all the students who left behind unanswered.
Whole program was right on the clock and Dr. Kalam departed on 11.50. Thousands of students, teachers and citizen waved hands and send off to the most beloved president of India. Students were fully charged after the ten point pledge and the inspiring speech from the President. Though, the authorities tried their level best to arrange the flawless celebration; few people having the legal invitation cards with them, were prohibited by police to enter the venue. Though, the natural rain was not there and the sky was fairly clear; unfortunately the venue roof was splintered and the yesterday’s rainwater was sprinkled over all public which created some snag as well as humor.
Finally, President was here for forty minutes but he gave the lifetime experience to Yavatmal public. Everyone was leaving the venue thanking Mr. Vijay Darda for the Hercules task of bringing President on city’s visit. His Excellency wished all the best to the youth of Yavatmal and honored the progress of Amolakchand Mahavidyalaya by which everyone was feeling blessed by the youth Icon of India.

- Chaitanya S Deshpande
- Yavatmal.
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My Poemz

2007-06-12T23:44:00.000+05:30

The promos of Himesh’s debut film “Aap Ka Suroor” are on the fire and the tunes from the film are catching music-lover’s lips. Actually, Himesh tunes capable to catch anyone’s attraction; never mind, positively or negatively; whatever may be the reason, but his songs are rocking and leading the lists. We must accept that Himesh innovated new era in Bollywood music and he is running the magic single handedly. Before few years, when Bappi Da was ruling like Himesh, the same thoughts were expressed by the people, that Bappi’s music is not long lasting, his sound; his pronunciation is not proper, his tunes lack the melody and will be out of sight within few days. But today, Bappi Da is a legend, and everyone including Indian Classical singers praises his talent. The same thing may apply in Himesh’s case. His voice, nasal pronunciations, high notes, everything was the subject of ridicule for most of the singers and music directors when he launched his first song. Even when his album was in the market, most of the music critics rated it as a one time magic. But all these things were away from reality. His album destroyed all records and a large mob became Himesh fans. He was popular among overseas too due to frequent use of western instruments and electronic sound blows in his songs. Then Himesh era began and his appearance was compulsory in every Masala film of bollywood.

Now, if you ask any music director, or legend in Indian Film Music, he/she will definitely praise Himesh’s style. All criticism and odds are destructed by Himesh’s success. But he was successful not only because he invented rocking tunes but his romantic, slow tunes even are more effective than that of his fast songs. There is one special misery in his sad songs. I remember people enjoyed a lot the sad songs of Kishor Da and Rafi Sahab, and it won’t be exaggeration if I would say that after these two legends, people enjoyed only Himesh especially for sad songs. There is uniqueness in his tunes, even the words themselves feel free to ride on his tunes. That’s why people use to recite full songs in few hearings. He is professional, he is sensible, he is hearty person. I am damn sure that his film is going to be the greatest blockbuster in bollywood and would find the place with Sholey, Kaho Na Pyar Hai and DDLJ like films.

It’s not just the miracle of destiny. There is something in his tunes. His soul involvement, his passion and his faith reflects in his songs. No wonder if Himesh is considered as today’s sensation and tomorrows legend in music industry. He has got public’s point and he is ruling over the music industry of bollywood. Himesh Rocks!
-Chaitanya S Deshpande.

On "Rutu Sparsha"...

2007-05-24T14:56:00.000+05:30

Perpetual Literature stands for Nature.

“Instead of turning unaided facing nature’s zeal, just give up and have the flavor, but while experiencing the excitement, try not to involve in the phony proposes given by maudlin dreams of the season as these assaults of the season are accustomed with time. Time never surrenders to the feathery rule of season. Seasons can influence a moment or a span, but when time comes, season also compelled to leave. They belong to no one. Not even to themselves. Season is a sweet dream of Nature. ”

These are the opening lines of Shyam Pethkar’s “Rutu Sparsha”; the outstanding anthology of fictional pieces subject to the mixture of various essences of nature, for this book shows Shyam Pethkar at his very best – a veritable paean of praise for the beauty and bounty of nature, unsullied by any worry or care.It’s about all petals of bloom of nature. Not only the seasonal makeover of nature, but also its effects on perceptive human hearts have been revealed with excellence by the writer.

“Rutu Sparsha" is a lifetime experience of an observant, sensitive, and accomplished writer which provides the same to the readers having living and feeling hearts inside their bodies. It forms an influence which makes you think regarding what you are trailing while struggling to gain the worldly triumphs.Right from the origin of ancient civilization in India, we are strongly attached with nature. Our culture and customs came into existence regarding the Nature’s mood. With the progress of bits and pieces, regrettably we are forgetting that we are also the element of Nature. This work exposes melancholy of present Indian urban working youth, which is moved to the town from countryside only for their bread and butter and strongly miss the natural gloom under which they developed. The town life is unable to idolize various figures of nature and this made them homesick. But, this is not only about the nostalgia of town life. It’s a worth praising expression of nature’s magnificence and mastery over human conducts and culture. It confirms the spiritual association of nature to human sensitivity. That’s what our Vedas and Upanishads do.

"The excellence of every art is its intensity, capable of making all disagreeable evaporate from their being in close relationship with Beauty and Truth." This is John Keats’s quote and ideal for the fineness of “Rutu Sparsha.” While experiencing this piece of literature, we realize ourselves as an inseparable part of nature and this feeling bound us to believe that this world belongs to me. This book lifts us right from the countryside to the “Citizenship of World.” We conclude while confessing nature’s supremacy over us and bow in front of Almighty Nature.

"The foam frilled waves,
The deep dark caves,
The success smiles
andFailure weeps
The music of dawn
The evening song
The huge skykissing,
Mountain tips.
The joy of love
The cry ofdeath
The strong atheism
And super-strong faith
Everysatisfaction and every pain
Every fragment of every grain
Every drop offalling rain
andEvery word from poetic brain
All belong toyou.
My heart,
My mind,
My life
My soul… Too.

“Rutu Sparsha” is a Perpetual Literature.

I’m PS Crazy!

2007-05-16T10:05:00.000+05:30

“Sony Launches PS3 in India.”
The news began the new sensation in the world of TV and online Gaming. All the PS Crazy people like me are exited to experience the class of PS3. It will show us the never before reality graphics, great surroundings, lively sound effects and will provide the brand new gaming experience. Though, it is launched in India, it will take a long to reach in my town. Till then, all PS lovers like me are waiting disparately for the new creation. But this launch of PS3 recalled all the memories of PlayStation; right from PS1. I lost in past with all those unforgettable actions with these ancestors of PlayStation.
We used to play Video Games those days. I was in 7th or 8th class, when I acquire skill in this business. Almost everyone in my friend circle had his own TV Game and we used to argue on whose Game is best. But we were not extreme about the TV games like today’s youngsters. Our ‘time to play the game’ was the noon time; most prominently the summer noon as we can’t play on ground due to scorching heat. Today, when I see the school goers busy with TV Games in the evening time, I feel pity over them. They are missing such a precious experience of playing on ground due to there thoughtless passion for PlayStations and other TV Games. But on the other hand, I feel pity on my seniors too. Many friends of my age and almost all my elder ones were away from PS when they were young. Most of them were told when they were in college that these games are for kids and not for the college going youth. Many of them were not ready to accept this new type of gaming as they were more familiar with the sports they were playing at that time. Whatever may be the reason, I consider those who never experienced PS as unfortunates. They lost the grand pleasure in their life. Because PS, if enjoyed in intended manner helps to enhance your knowledge, concentration, creativity and sportsman spirit. It provides you a new charm and refreshment and makes you ready to accept new challenges in life. So, I consider myself a lucky person who enjoyed ground as well as PS; both with full delight.
My introduction to PS One was quite like a step forward. We enjoyed the Video games a lot till three four years and many games were fully mastered by us. I was in 11th class at that time and was happy with PC games when one of my friends brought PS One. It was amazing to watch the graphics and effects even better than PC graphics on simple TV. The PS joystick was easy to handle and it was a different experience to play PS. My first game on PS1 was ‘Xena - The Worrier Princess.’ Whenever I got time, I used to try hands on various challenges in ‘Xena.’ The skill of throwing the weapon on target was fairly acquired by me due to regular practice. But Xena was a only ‘one player’ compatible game. Though, it was a great pleasure to complete various stages of this difficult feeling game, it wasn’t always possible to share the charm with friends. So, the ‘Tekken’ and ‘Smack Down’ Era began. Both these games were mastered by me within few days. Though I was not unconquerable like some other friends in my group, I was a good player of both these games. After these three games, I tried my hand in so many games, but unfortunately I was unable to achieve the top in any other game accept these three. I don’t know why, may be due to the fear of failure; but I never liked the games like car race, bike race and gothic missions like ‘Fatal Frame’ and ‘Alone in the Dark.’ Even I never played the games like ‘James Bond 007’ and ‘Matrix’ as I was a big loser in these games.
Well, I was not the biggest loser. It may be possible for me to attain the respect in these games too, but the arrival of PS2 stopped the mission PS1 for me. News about PS2 launch was on Internet and in newspapers like today’s PS3s’, when we arranged the PS2. The graphics were almost like 3D. Even the PC with high end graphics card was unable to show such quality graphics. My favorite mission in PS2 is ‘Onimusha.’ This is not just the game for me. The second part of this game, ‘Samurai’s Destiny’ is I think the best part of the game. Not only the graphics and sounds but the storyline, the characters, emotions, all are of high quality. I was so much influenced by the story of ‘Samurai’s Destiny’ right from the moment I start playing this game. It was nothing but the influence of ‘Onimusha 2’ under which I wrote my first ever series for kids in Marathi Daily ‘Tarun Bharat.’ My story ‘Mahan-Vijay’ was indeed an Indian avatar of this Japanese story. It appeared through the ‘Spandan’ supplement of ‘Tarun Bharat’ regularly till 18 months. In this way this game gave me fame and money besides pleasure and attentiveness.
The missions like ‘Onimusha’ enhanced the creativity, alertness and memory, while the combats like ‘Tekken 5’ and ‘Smack Down – Here Comes the Pain’ awarded the sportsman spirit and self confidence. Like PS1, my first choice in PS2 was none other than ‘Smack Down.’ Actually ‘Here Comes the Pain’ edition of Smack Down is all time favorite edition of most of the players. After this edition, two next generation games were released but the magic of ‘Here Comes the Pain’ is still spanking new. Even today, whenever I got the time, I choose this very game to refresh my mind. Nowadays, time and workload hardly permits most of us to enjoy PS for a long time like old days. But this doesn’t make me sad at all because we enjoyed the magic and ruled on this digital kingdom for quite a long time.
Though, as we know, a kid dwells in every grown up person; I am waiting for newest member of PS family. The online gaming is a stream open for all age groups and the magic of Broadband is spreading rapidly all over. These two events are innovating the new era in gaming. I am waiting for this new taste as I am a PS crazy right from childhood.

‘May’ will make you “Music Crazy!!”

2007-05-09T10:54:00.000+05:30

May bring the Mania!

Usually Month of May is Summer Vacation period for all Indians. Most of the people enjoy holidays with cold stuffs. Especially, the scorching sun in central India never allows people here to work restlessly for full day as a result of which, May is considered as a month of inactiveness and lethargy.

But the Year 2007 may be the exception! This year, May celebrates its grand entrance with not one, not two but three national music talent hunt reality based shows. All set for set India’s Indian Idol III. Zee is turning into a battlefield for the musical combat called as ‘Musical World War I.’ and finally, Star TV also launching the long awaited ‘Star Voice of India’ right in this month. May is the beginning of year’s Music Mania.

Music is passion for common middle class India after cricket. Importantly, after the disappointing world cup, ended with Australian domination, we were desperately waiting for a change. And the change is brought to us by May! Actually, May is the month of blossom and spring in Europe; so, its here with the gift of Musical Blossom for all. Indian Idol; the most beloved reality show in India is back with its third season. Udit Narayan, Alisha Chinoy and Javed Akhtar with the experienced attendance of Annu Malik will search for the third Indian Idol. Honestly, Sandeep Acharya; the second Indian Idol and his entire team of second season was little impressive as compared to the first batch of Indian Idol. So, judges had to work hard this year in order to elect the impressive troop.

Hard work of selecting singers is initially over for the musical mentors of Zee TV’s ‘Sa Re Ga Ma Pa challenge 2007 as all four music directors successfully elected the best talent not only from Indian subcontinent but also from England, America, South Africa and Dubai. As per the popular format of Sa Re Ga Ma Pa, there will be four Musical legacies with six contestants in each. Last year’s victorious mentor Ismail Darbar and Rocking Himesh Reshammiya will celebrate their second successive year with this reality show. Though, people will miss Adesh Shrivastav and Jatin-Lalit this year, they will be replaced by All time favorite Bappi Daa and famous duo Vishal and Shekar. And for the fans of Adesh and Jatin-Lalit, there is no need to be disappointed as these two will appear on Star TV’s ‘Star Voice of India’ from 18th of May.

‘Star Voice of India’ is actually based the basic concept of Sa Re Ga Ma Pa invented by Gajendra Singh. The recent conflicts between Zee TV and Gajendra Singh; one of the oldest associate with Zee Television results in Singh’s new contract with Star Group. The earlier reincarnation of ‘Antakshari’ on Star One was the beginning of this new alliance. The next and vital step is ‘Star Voice of India.’ In this reality show, there will be three teams of judges; made up of one renowned singer and music director each; would take 24 budding singers under their wing and be their guiding light. Abhijit and Alka Yagnik; former judges in ‘Sa Re Ga Ma Pa Little Champs’ will join Adesh Shrivastava and Jatin-Lalit; former mentors in ‘Sa Re Ga Ma Pa Challenge 2005.’ The Show will be hosted by Shaan, who hosted last years ‘Sa Re Ga Ma Pa’ and ‘Sa Re Ga Ma Pa Little Champs;’ all with Zee TV.

The Heat is on –
The confusion and conflict is not over yet. The competition in this field of music is resulting in the conflict between father and son. Aditya Udit Narayan is the host of ‘Sa Re Ga Ma Pa 2007’ whose father will judge the ‘Indian Idol 2007.’ Finally, behind the ‘Star Voice’, ‘Idol’, and ‘Musical World War’, the original war is between the TV Channels. Star, Sony, and Zee; the three milestones in the business will be in the ring as a ‘triple treat’ for the viewers. The comparisons, comments, controversies and conflicts will now form the impact. We witnessed the same type of competition when Star TV created KBC’s first season with Big B. Today, hardly someone may remind the names like ‘Sawal Das Karod Ka’ and ‘Chhappar Faad ke.’ Probably, the theory of ‘survival of fittest’ is applicable to this business also; but we must accept the fact that ‘Anything Can Happen in love and war’ and this competition is love towards music and war between the milestones. Though, the controversy regarding the future of the winners of these types of hunts is still there and will be there, we have to keep our fingers crossed as we are going to get not one, not two but three outstanding singers at the end of the season. The heat is on.

Do we enjoy them at each other's throats?-
From the start of ‘Sa Re Ga Ma Pa’; the concept of ‘war’ between the Gurus also started. The successful music directors actually quarreling for the sake of their contestants, using the language that has to be beeped on TV, are the common incidents during this show. This conflict made the show popular than that of Indian Idol. The controversial statements, the arguments then became the part of the show. Abhijeet’s rivalry with Alka Yagnik during ‘Little Champs’ was the reason for many people to watch the show. Even the channel made publicity of quarrels between these two through the clippings. Himesh and Ismail Darbar’s conflict, Himesh crying over the issue of his contestant’s loss, these types of issues deliberately created to gather the cheap publicity. In ‘Indian Idol’; judges denied the public opinion which created drama of Amey Datey last year. In Sa Re Ga Ma Pa challenge, the votes from Assam, and Arunachal made Debojit victorious, though he was not that promising touch in voice. Public submits SMS’s under the influence of regionalism, language, or any event took place regarding personal or communal comments. So, original talent may be ignored. But we enjoy the controversy. We enjoy the quarrel and the fuming comments from judge’s desk. Do we watch the talent hunt to see our favorite singer or composer using unfair language and quarreling with our another favorite? Anyways, good or bad, happy or sad; the shows are coming to us and we must thank the month of May for bringing out the right of selection.

-Chaitanya S Deshpande.

On Movies, Music and Drama....

2007-05-08T13:49:00.000+05:30

Movies –

I feel little bit lazy to go to the theatre and watch the movie. I don’t have a special choice in this field. Even I don’t have a favorite actor or actresses. I like to see Katrina Kaif, Kareina Kapoor and Sonali Bendre on screen, but not a dying fan of these divas. Moreover, I like Sanju Baba, Govinda, Akshay Kumar in a leading role. The character artists like Paresh Raval, Om Puri, Kader Khan, Sadashiv Amrapurkar, and the villains like late Amrish Puri, Gulshan Grover are the important personalities in Bollywood in my opinion. Among directors, I like Suraj Barjatiya and His production’s films like ‘Hum Aap Ke Hai Kaun’ and ‘Vivaha.’ I don’t like Karan Johar’s films that much, though he is doing great with his ‘cup of coffee.’ Anil Kapoor, Nana Patekar, Nasiruddin Shah, Hema Malini, Aamir Khan, Hritik Roshan are the gems in Bollywood. Amitabh Bachchan is the Lord of Bollywood. I don’t like and don’t want to talk about the ‘Khan’ reign. About comedy side, Johnny Liver, Paresh Raval, Govinda, Rajpal Yadav, Shakti Kapoor and Kader Khan are milestones. Priyadarshan; with his outstanding light comedy films forming the impact like Hrishikesh Mukherjee’s legendary creations such as ‘Golmal’, ‘Naram Garam’, and ‘Chupke Chupke.’ My hot favorite films are ‘Sarfarosh’, ‘Nayak’, ‘Vivaha’, and ‘China Gate.’ With all these, I must quote some names before concluding this section – Amol Palekar, Madhuri Dixit-Nene, Om Puri, Rima, Vikram Gokhale, Om Prakash and Mehmood.
Marathi Films –
Regarding Marathi Film industry, I think its going through the stage of renaissance. In the middle age (1970-90) the Marathi film industry was all about comedy films, and light hearted melodies. Dada Kondke’s duel meaning films reigned on Marathi Industry for some period. Then it went through the era of Mahesh Kothare and Sachin. This era was the golden period when Laxya and Ashok were the rulers of the Industry. Then the era of ‘Halad Kunku’ films was witnessed by this industry. But from last decade, most prominently from last five years, the new blood entered in Marathi Film Industry and the really beautiful films like ‘Shwas’ are being made. Professional standard also enhanced and can be noticed in the films like ‘Khabardar’, ‘Agabai Arechhya’, and ‘Pachadlela.’ Marathi Film Industry can never compete with Bolleywood or South Indian Film Industry, but it is developing as an independent kingdom from last few years. Off course, thanks to Govt. for providing funds to producers.
My all time favorite Marathi films are Mahesh Kothare and Sachin’s creations like Zapatlela, Navari Mile Navaryala, Dhadakebaaj, Banwa-banwee, and Atmavishvas. Ashok Saraf, late Laxmikant Berde, Sachin, Kishori Shahane, Nivedita Saraf, Ashvini Bhave, Dilip Prabhavalkar, Smita Talvalkar, are the great names in Marathi Industry.
English Films –
I hardly watch Hollywood films, so can’t write much about them. Science fictions and graphics used in Hollywood are mind blowing. The Hollywood films are made in order to form material impact while Bollywood films are emotional and sentimental. The huge creations, special effects, marvelous locations, camera works always make Hollywood film an interesting film. The war fictions are really incomparable and I used to watch the war fictions from Hollywood. Jurassic Park series is my favorite series from Hollywood. Angelina Jolly, Brad Pitt, and some professionally super hit actors are notable names in this Industry. ‘Titanic’ is the milestone in worldwide film industry for sure. Some Hollywood actresses and models are unbelievably beautiful for example the English Rose Kate Winslet. I must mention the name of former miss world Natalie Glebova as the word ‘Beauty’ came around.

Music –
Music is my passion and I love to enjoy almost every kind of music. My music interest can be seen right from Hindi Film Music, Indian Classical or Semi-classical Music, Marathi semi-classical songs, to the rocking English numbers. I like to here everyone at different times. My favorite male singer in Bolleywood is Udit Narayan and female is Kavita Krishnamurthy Subramaniyam. In Indian classical music, I must bow in front of Pt. Jeetendra Abhisheki, Pt. Ajit Kadkade, Pt. Jasraj, Pt. Bhimsen Joshi, Kishori Amonkar, and many more. In Marathi semi classical, Arun Datey is my favorite. In English, Shakira, Old time Jackson, Brian Adams, Ricky Martin and the one who made Triple H’s entrance theme are my favorite. In Gazal or Mausiki, Ghulam Ali and Talat Aziz are favorites. Mageshkar Legacy is god’s precious reward to the world. Lata Didi, Asha Ji, Hridaynathji, Ushaji, all these are the legends and I bow in front of these music milestones. Kishore Daa, Manna Dey, Mohd. Rafee, Mukesh all are the legends of Indian Music Industry. The film music is been prospering since last century and all legendary composers including Madan Mohan, O P Naiyyar, Shankar Jaikishan and Laxmikanth Pyarelal are the responsible hands who nourished the film music. Among today’s composers, I think A R Rahman is best, not only in bolleywood but also in the world. Ravindra Jain is the miracle of destiny and his lyrics and music is divine. Among new talent in singing, I like Shreya Ghoshal and KK. About the hot favorite guy of todays youth, Atif, I have one different opinion. I think one can find at least three Atifs in every gully of Karachi and Islamabad. About controversial, Himesh Reshammiya, I think his tunes are really sweet and enjoyment for common viewers. About his nasal singing, I think that’s his own style through which he expresses his emotions like no other can do! Before some years, Bappi Daa’s style of singing was appreciated by all, then why we can’t enjoy Himesh now? Few singers from talent hunt are also brilliant e.g. Abhijit Savant and Himani. But I hate Kazi Taukir, Amit Sana, Sandeep Acharya, Karunya, Debojeet, and all other minus as they lack versatility and originality.
Being a music lover, I like to enjoy all singers as everyone has its own tone here in Bolleywood. I must mention few names before I conclude. Suresh Vadkar, Alka Yagnik, Abhijeet, Kumar Sanu, Sonu Nigam, Shankar Mahadevan, Anuradha Paudval, Sunidhi Chauhan, Richa Sharma, Chitra, SP Balasubramaniyam(Real velvet Voice), Poornima (Voice with Nakhra), Kailash Kher and Sukhavinder.

Drama –
I am a stage performer and I would like to share my views about Marathi drama here as I am not that much familiar with English or Worldwide stage. I think, being an active part of stage since last ten years, I can analyze the drama as I know the plus points and limitations in it. Marathi Drama can be differentiated mainly into three streams; Professional Stage, Parallel Stage and Amateur Stage. Professionals are all about light hearted dramas, comedies and farces. They are doing the business for the sake of business. They never even hesitate to create and comment on Hindu Mythological characters. The professional stage has two levels. High level includes the standard dramas and well known drama groups e.g. ‘Suyog.’ The high level drama groups create standard Marathi Dramas. Prashant Damle, Vandana Gupte, Bharat Jadhao, Mohan Joshi belongs to this elite panel. The second level includes professional but not well settled drama groups who use cheap ways to earn money. High level professional drama is changing slightly as new subjects other that comedies are coming through them.
Now, the parallel stage; which is not that much wealthy as compared to professionals, but this is the group of real drama lovers. They always try new things and provide new options to professional stage. Actors in parallel stage can be successful on professional stage but the vise-versa is hardly possible.
The Amateur stage is living just because Govt. still organizes the State Level Drama Competitions. These people are free to do whatever they want! They can copy the professional stage and parallel stage with in their own style, they can make a drama without any newer facilities for the sake of old feel; they can choose the old time scripts and make them new, they can even break the rules of standard drama and form a new concept. This is the stage which provides new concepts to Parallel stage. And the hit concepts from parallel stage are picked by professional stage. This means all the three stages are interlinked and forms direct or indirect impact on each other. Professional stage forms direct impact on Amateur while Amateur forms indirect impact on professional. Finally, the Marathi drama is one and it is developing constantly though the velocity varies time to time.