A braveheart’s inspiring journey

Journey of Captain Shantaram Lokhande that started from ‘Ghodegaon Kolona’ village near Pulgaon may soon reach a ‘golden’ destination if the Captain’s brave act of saving a drowning passanger’s life gets him Presidential recognition.

Captain Shantaram Lokhande

IT WAS quite a windy afternoon in mid June. Conditions in the Bay of Bengal were tough for sailing, especially for a merchant ship. But sailors are trained for such conditions. Rather, they enjoy sailing in challeging situations. Most of the times, the sea allows them to reach coast with a moderate experience of adventure. But, sometimes, it throws bigger challenges.

Motor Vessel ‘Swaraj Dweep’ of Shipping Corporation of India (SCI) was on her way to Andaman from Chennai when a passager came shouting to the bridge that a person has jumped into the sea. High alert was announced and the ship was called for emergency station. Captain Shantaram Lokhande was Master of the ship. As is the culture of Navy that each person and belongings on the ship are the responsibility of the Master; he immediately rushed to the bridge and ordered to turn the vessel to reverse course in search of the missing person. Life buoys, life jackets were thrown at him. Finally, he was holed with the life buoy and was pulled with the heaving line. He was picked up through gangway and was taken to ship’s hospital for first aid.
All this happened within a span of few minutes. The person who monitored the entire operation was Captain Lokhande, our a young man from Vidarbha, who hails from a small village near Pulgaon in Wardha district. After the brave act of rescuing a passager, he is receiving appreciation from one and all. However, for Captain Lokhande, it was just a part of his duty.

“He believes that he has done nothing great. When we talked after the incident, he was as cool as he always is,” said his wife Maya, who lives in Revati Nagar, Nagpur, with their school-going sons Kamod and Mitul. As captain is still on the ship, Lokhande family has kept the grand celebration of his bravery waiting. However, SCI authorities have alredy started preparing for the same - in a different way.
S Hajara, Chairman and Managing Director of SCI, has sent a special letter of appreciation to Captain Lokhande. ‘It demands a great bit of valour and courage to complete such a difficult task in midst of heavy weather. Your exemplary act has set an example for everyone in SCI and you have made us feel proud,’ the CMD says in the letter. It is very likely that Captain Lokhande’s name may be forwarded for the President’s honour.

Apart from his bravery, journey of Captain Lokhande’s life is also inspiring, especially for the young enthusiasts. Hailing from a poor farmer’s family, Shantaram, eldest in four siblings, completed his education combating adverse situations. As a young post graduate in Electronics, he decided to join SCI. He wanted to earn money to get rid of his poverty that had troubled him all his life.

SCI recruits all crews (deck, engine, saloon and GP rating) directly on its main fleet. Apart from a first class in academics, candidate have to be physically fit as per Merchant Shipping Rules.

Shantaram joined as a cadet and later became chief officer and finally a captain. He has served on three ships -- Sagar Sampada, Sagar Kanya, Hrushikesh before joining Swaraj Dweep. The Captain believes that there are ample opportunities for Vidarbha youths if they try some unconventional career options. He is quite keen to impart career guidance to youths.

Cutting of the same article that appeared in The Hitavada's Sunday, October 7 CityLine Edition

Nagpur-Chicago-Nagpur

Journey of Nagpur girl Gauri Jog whose dance school is teaching much more than just dance to youngsters of Chicago

Gauri Jog (Left) with her dancer daughter Isha during a Kathak performance.

LIVING in Chicago, America for two decades, might have given her the cool American accent, but at heart Gauri Jog is Nagpurian to the core. Be it her love for dancing and propagating the very elegant Indian dance form far and wide or her chaste Nagpuri Marathi, Gauri exudes her love for her city and country. ]

With 'The Hitavada', I called on the Nagpur girl, who runs a leading dance school in Chicago, and has hundreds of students of difference ethnicities learning various Indian dance forms, folk dances and Bollywood numbers from her. Her journey as a dancer is indeed inspiring for many young dance enthusiasts.

"I started dancing perhaps before I started talking," Gauri says, recalling days when she literally dragged her father Bharat Kale to a classical dance school of Guru Madan Pande, where she learned basics of Kathak. Unlike other young girls, who give up their hobbies for studies, Gauri pursued dance seriously along with academics. She completed her post graduation in food science along with 'Visharad' degree in Kathak and graduate degree in Education. This made her a certified teacher.

"After getting married to IT professional Nitin Jog, I got an opportunity to live in many Indian cities where I kept performing on amateur-level. However, dance school concept came into reality only when we shifted to Chicago," says Gauri. She started 'Indian Dance School', a no-profit activity.

"We don't teach for money. Our school does not just teach dance but inculcate values of respect for each other, hard work and positive attitude," says Gauri. Her students mostly comprise of third or fourth generations of Indians settled in USA. "These kids are very much eager to know about our culture. While teaching Kathak, I tell them about Indian mythology - Ramayana and Mahabharata. We present stories from our ancient literature. I have to explain them the references. This enriches their knowledge about our cultural heritage," Gauri states underlining the bigger initiative of her school. She also visits schools, colleges and conducts special lectures about Indian dance forms for foreign students.

"I work out innovative concepts and fusions in order to make them familiar with our dances," Gauri says pointing to an interesting picture in which students are performing Kathak with basketballs used as props. Her daughter Isha, also a versatile dancer, now helps her in conducting school activities. "Thanks to Isha, I got some free time to visit my hometown."

Sharing her future plan, Gauri said he would like to perform in India with Isha sharing stage with her. "In Nagpur, SCZCC will host our dance performance in December. I am looking forward to perform and my theme will be 'Nagpur-Chicago-Nagpur - a journey" - she signs off on an interesting note.

Cutting of the same article appeared in The Hitavada

Crafting a niche

‘Stagecraft’ has now become a synonym for English Theatre in Nagpur. But to reach to these heights, a lot was required from the group. And it poured a lot to turn theatre into a movement that is now finding ready acceptance among common theatre-lovers of Nagpur.

ENGLISH drama is not new to people of Nagpur. However, the following that it commands today is exceptional. Theatre-lovers get to see more than six plays a year — written, produced, directed and acted — all by Nagpur-based artistes. 


In fact, with 250 enthusiastic people — young and old— attached with an English theatre group; hundreds of school children learning nuances of English theatre in regular workshops; and thousands of fans making the show of each play capacity-packed, English Theatre has neatly crafted its way into hearts of Nagpurians like never before. ‘Stagecraft Theatre’ can solely claim the credit of bringing English drama so near, and making it so dear to the city. 


Established formally in 2003, the theatre movement finds its roots way back in 70s and 80s. Theatre Guru Vikash Khurana, founder president of ‘Stagecraft’ reveals an interesting journey of English theatre activity in Nagpur. “English Theatre exists in Nagpur since decades. While I was a primary students of SFS Boys’ School, I remember playing Cinderella, Snow White and other female characters in school plays,” recalls Khurana. 


Inter-school drama contests, Tata School Trophy, Jaycees Drama Festival, and many other festivals used to see English plays being staged by school teams. However, the activity was restricted only to convent school auditoriums. It was Vikash Khurana, who brought it out from the school’s cocoon and made it big. 
“After I returned to Nagpur from Mumbai after completing my graduation in commerce and having a small but very effective stint with Satyadev Dubey’s theatre group; I was eager to start some theatre activity in Nagpur.” Khurana recalls days of 1980s, “we used to stage one play annually at SFS Auditorium. The show used to be for select audience and we continued doing it for many years,” Khurana recalls. 

Vikash Khurana

After trying names like ‘Theatre Group’, ‘Theatre Unit’, ‘Players’, etc (in fact, a new name for every production), Khurana, finally, settled down with ‘Stagecraft Theatre’ in 2003. “New auditorium at St Charles Seminary opened with ‘Stagecraft’s first production ‘My Fair Lady’,” informed Khurana, his beaming smile implying that there has been no looking back. 


One after another, ‘Stagecraft’ kept producing fantastic plays. In 2006, a simplified form of ‘Romeo and Juliet’ became an instant hit making the group a talk of the town. 


“We realised that people preferred entertainment; but only entertainment is not enough. Quality, message, and value for money are all necessary. Nagpur took a little time to welcome English drama, but, when it did open its arms, it did so wholeheartedly,” says Khurana. 


Today, ‘Stagecraft’ is a full-time institution. It produces plays round the year promoting young actors with each production. It also holds workshops for youngsters. “We only demand time and inclination from acting enthusiasts. Training of English and acting is our responsibility”, says the Guru, who is all ready to educate young artistes. 


The recent ‘Summer Fiesta’ of ‘Stagecraft’ was a grand success where theatre groups of Marathi languages too joined hands. “English is our first love. But, we want entire theatre activity in Nagpur to grow. We never restricted ourselves to any particular language. We are ready to produce plays in all languages. The only emphasize being quality,” says Khurana. So while Stagecraft is entertaining people with various productions from old classics to new drama catering to all genre of the art, in process, also educating the audience, theatre lovers of Nagpur have lot to look forward to. 

Sindhi theatre going global…

With the Orange City being its most active hub in Central India, Sindhi theatre that has produced actors, writers and directors of international repute, presents a promising scenario


SINDHI Theatre activity in Nagpur can truly be termed as a silent movement. For it is going and growing, uninterruptedly, since the first Sindhi play was staged in the city way back in 1958. With many amateur artists, writers and technicians from the Orange City making their name on national and international Sindhi theatre, Sindhi plays by Nagpur-based groups are recognised for their entertainment value in Sindhi community all over India.
Nagpur annually produces three to four amateur plays and hosts jam-packed shows of two-three plays from commercial groups. This could be achieved only due with sincere effort by dedicated people, who have worked without much pomp and display. Tulsi Setia, the coordinator of entire Sindhi theatre activity in Nagpur, has been working with same passion since last two decades.

“Sindhi Theatre has a rich tradition of over 125 years. In Nagpur, stalwarts like Daryanumal Jani started theatre activity in 1950s while veterans like Dwarkadas Kalyani, Sunder Butani, and Ashok Senani continued activity during 70s and 80s. In 1994, a group of young theatre artists started ‘Sindhudi Natya Santha’ and picked richly from modern theatre practices,” Setia, himself an award-winning actor, recalls.
“We started with a one-act play event ‘Ekanki Shaam’, and gradually adopted full length plays. In 1995, we celebrated 100 years of Sindhi Theatre by hosting a national-level Sindhi Theatre Festival in Nagpur. In 2004, a similar festival saw around 100 artists from across the sub-continent gather in city. Festival takes place every year, and plays from Nagpur are much in-demand,” Setia adds proudly.

In fact, Nagpur has produced some great Sindhi dramas considered as milestone. Celebrated Sindhi writer Kishore Lalwani is a proud Nagpurian and who enjoys writing scripts for Nagpur’s artists. “During my four-year stay in Mumbai, I was associated with commercial Sindhi theatre groups, which are very few in number. We used to present Sindhi versions of popular Marathi plays,” says Lalwani who’s ‘Diwan Gordhandas Goplani’, adopted from Bharat Jadhav’s hilarious ‘Shrimant Damodarpant’ broke all records of Sindhi theatre. Presently, he writes specialised Sindhi scripts on various subjects.

“Sindhis are basically creative people. Mostly our movies and television portray a Sindhi character in a comic way. However, we have many serious themes with us, too,” Lalwani says while explaining that Sindhi theatre in Nagpur is not only about comedies, but also about serious dramas highlighting socially relevant issues of the community and some about its history.

Nagpur’s theatre is fortunate to have a team of young enthusiasts with good understanding of Sindhi language. “It is because we strictly speak Sindhi in our homes,” says Tulsi Setia. ‘Sindhudi Youth Wing’ and ‘Sindhudi Saheli Manch’, the youth and women wings of the ‘Sindhudi Natya Santha’ are also active in theatre.

“For this year, I have scripted a women-centric drama. Shobha Bhagia and her ‘Saheli Manch’ team are planning to present it this season,” adds Lalwani.

“Entertainment is not the only reason for running theatre activity. We do it to make youngsters aware of our language, culture and traditions,” Setia reveals the motive behind the painstaking effort. “We neither charge tickets for the plays nor demand government aid. We raise money through donations only,” he says.
All other states of India have Sahitya Akademis that sponsor a major amount if someone publishes literature in Sindhi language. Unfortunately, there is no such provision in Maharashtra. “If our plays get published, they might reach a global platform,” Setia says.

However, with regular shows being held in Dubai, Canada and United States, Sindhi theatre is already going global, with a significant contribution of Nagpurians into it.

Once upon a time

Two or three local Tamil theatre groups, their internal competition, and regular stage activity used to instill the spirit of performing art in the Tamil community in Nagpur some fifty years ago. Now, the activity is restricted only to professional groups coming from Chennai to the city, that too once in a blue moon.

It was the black and white era. Nagpur was many years younger, spacious and serene. The city was all about Mahal, Itwari, Sitabuldi and Dhantoli. Ramdaspeth and West Nagpur used to be the outskirts. The South Indian community – from all four states – though very less in number, was active in many fields.

K Jagadeesan, former secretary of South India Association – the oldest organisation of Tamil-speaking Nagpurians, recalling the glorious days, goes into a nostalgic trance. “Ladies Club, Education Society, Bhajan Mandals, Sports Clubs and much more was going on in the mid-fifties. Theatre activity was also at its peak. There used to be two-three amateur theatre groups which used to do Tamil plays. There were even friendly competitions during those days,” he says, describing how Vyjayanthimala, the legendary Bharat Natyam dancer performed to raise funds for the new building of Saraswati Vidyalaya. “Bharat Ratna Dr MS Subbalaxmi was a frequent visitor to the Orange City in those days,” he adds, making one realise how healthy the fine art scene was some sixty years back.

“Some teachers of the same Saraswati Vidyalaya started theatre activity again during the seventies. Those days, plays used to be staged at Mor Hindi Bhavan or VTI Hall, in Maharajbagh premises,” Jagadeesan, who was a student of Nagpur University in those days, shares. “Some students started the Nagpur University Tamil Students’ Association (NATSA) and continued theatre activity. ‘Ganesan Kalai Mandaram’, a fine art group, also worked for Tamil theatre during 1980s. Recently, some SECR employees tried to do some theatre but all this stopped one after the other,” he laments.

Even if the number of South Indians in the city significantly increased all these years, the spirit of fine art was lost somewhere due to over exposure to television and electronic entertainment. “One gets to see Tamil, Telugu channels, movies right in the drawing room nowadays. So, the senior generation is least interested in reforming theatre. And juniors do not even know the language correctly. How could they do theatre then?,” Jagadeesan raises genuine issue. However, all is not lost for Tamil Theatre in Nagpur.

“Under South India Association banner, we call drama groups from Chennai to perform in Nagpur. Fortunately, we have good contacts in Tamil Nadu, and the artists too, are keen to perform in Nagpur as the city is a gateway to Central India for them,” says Jagadeesan, during whose five years’ tenure with the Association, Tamil plays by renowned T V Varadrajan Group were an annual feature.
Moreover, free Tamil learning classes is another activity run by the association. 

“We expect youngsters who cannot even read and write their mother tongue to attend this weekly activity. But, whom we get as students are -- transporters who find it difficult to communicate in Tamil Nadu; or girls, who are engaged to a Chennai-based guy,” Jagadeesan rues. However, art and theatre are integral parts of the Tamil way of life. “Our efforts are on. If they bear desired fruits, you may get to see a Tamil play by Nagpurians someday once again,” Jagadeesan expresses, with a little promise and more concern.

Time to wake up, Tamil youths!

Theatre in God’s language

With the founding headquarters of India’s most renowned institution propagating the study of Sanskrit language placed here along with a special university teaching modern subjects associated with traditional wisdom of Sanskrit, Nagpur’s Sanskrit theatre is set to bloom like never before.

Award-winning director in Marathi amateur theatre, Roshan Nandavanshi dared to submit an entry in the Sanskrit Theatre Festival last year and his experience in his own words was “amazing”.

“We won many prizes and stood third in the contest, on our debut. My artists are proud to speak Sanskrit. They appear more confident on stage, even their Marathi has improved,” says Roshan, reiterating his resolution to participate in the Sanskrit Theatre Festival this year, too.

Many groups like Roshan’s are gearing up to take up Sanskrit theatre these days, thanks to senior theatre activist Shraddha Telang’s dedicated effort since last two decades. A retired teacher of Sanskrit at Bhide Kanya Shala, and Joint Secretary of Sanskrit Bhasha Pracharini Sabha, Nagpur, Telang is the one who has single-handedly nurtured and protected Sanskrit theatre in Nagpur through odd times, helping it turn into a full fledged activity. However, Shraddha Telang humbly gives all credit to the institutions propagating the study of Sanskrit language.
“Sanskrit Bhasha Pracharini Sabha and Kavi Kulguru Kalidas Sanskrit University are the main pillars encouraging youngsters to take up Sanskrit to build their careers,” she says. While the 65-year-old ‘Pracharini Sabha’ is now the leading Sanskrit body in India; Kalidas University, too, is encouraging good Sanskrit plays by giving them exposure as varsity’s official entry in international-level Sanskrit conferences.

Shraddha Telang
(Pic by Anil Futane)

“Drama is regarded as the highest achievement in Sanskrit literature. I used to act in Marathi plays during my college days. As a teacher and being associated with Pracharini Sabha, I now concentrate on Sanskrit theatre,” Telang recalls. She has as many as 25 Sanskrit plays, and many state-level awards to her credit as a director, actor and producer. However, her contribution to Sanskrit theatre, as a promoter and patron, is a lot more than this.

Noted Marathi theatre actors Shweta Pendse
and Abhishek Munshi in a play
‘Narihridayavilasaha’.
Many renowned actors from Nagpur
have proudly worked on the Sanskrit stage
in recent years.
(Pic by Sanjeeb Ganguly)

“As a Sanskrit lover, the ‘dead language’ remark for the mother of all Indian languages is very painful. But, unfortunately, it is true as little significant is being produced as ‘literature’ in Sanskrit these days. We have our greatest wisdom written in Sanskrit only, but, what about new literature?” she asks, raising the genuine issue. She also provides solution to the issue. “We have scholars of Sanskrit around and they are ready to help. When I requested Dr Leena Rastogi to translate a Marathi play in Sanskrit for me, she was more than happy,” says Telang, who has urged many scholars to write, speak in Sanskrit and act in such plays. 
Sanskrit drama is no more just mythology or stories about legends of Kings and Queens. The present theatre deals with contemporary issues of the common man. They use modern techniques and simpler, conversational form of language. Hence, Nagpur’s Sanskrit plays are earning accolades everywhere. Two plays translated in Sanskrit by Dr Leena Rastogi -- ‘Bandu Abhinayam Karoti’ and ‘Gruhahinaha’ -- have been adjudged best in state-level contest in last two years. “If we repeat the performance this year too, our group will earn the prestigious ‘Manyawar’ honour,” Telang says with a smile. Last year, five out of nine entries in State Sanskrit Theatre Festival were from Nagpur. Hence, the contest was held in the city. “We want more and more people to see Sanskrit plays. In Nagpur, we have an ideal atmosphere. Hence, Sanskrit theatre contest should be organised here only,” she demands.

It is difficult, but mellifluent in speech, ancient, but melodious and rigid, but flowing in recitation -- the language of the deities is all set to make re-entry in the Indian lifestyle – this time in the form of theatre – through the Sanskrit plays of Nagpur.

Life. A musical.

Listening a strenuous ‘Ahir Bhairav’ Bandish in his penance-gained voice is celestial.

Feeling an emotion-filled Ghazal of Farhat Shehzad in his velvet voice is sensual.

Moving head with mind and body, on the rocking tunes of his fusion song with Lesly Lewis is electrifying.
But, listening to the thoughts of Padmashree Hariharan, as a human being, and a stalwart of Indian classical music is an experience out of the world.

“Learning classical music is not mere education. It is a way of life. You have to live with the music and within the music. Like our ancestors dedicated their lifetime and took our music quite closer to the Almighty.”
When Hariharan says this, he appears like a Rishi with long Jatas grown on head during ages of penance.
But, he considers himself just a student of world's great school of music.

“Being ‘Guru’ is not easy. Guru only gives, expects nothing,” he says, remembering his mother, his Guru -- not only in life but also in music. “My mother is a great teacher. She teaches Karnatic music to thousands of students till date. Hundreds of them have become well known, including me, but my mother remains in the background -- happy though.”

On Mother’s Day, what a tribute from a worthy son! 

(A conversation with Hariharan on May 12, 2012, the eve of Mother's Day)

Bringing back the past glory

'Theatre Around' my new weekly column started in a special 'Sunday Sundae' suppliment of 'The Hitavada' Nagpur CityLine, from May 13. This column aims to highlight the contribution of non-Marathi theatre activity in Nagpur city's Fine Art scene. It started with an overview of Bengali Theatre, led by noted producer-director Raja Mukherjee. Here is the first part published on May 13, 2012....



Once pride of Nagpur, Bengali Theatre has fallen to hard times since last few years. But now, it is
witnessing a ‘modest revival’ in city with Raja Mukherjee’s Ekla effort...


AYON Mukherjee, all but 12-year-old, loves to be there at the practice hall when his parents — Archana and Raja Mukherjee — rehearse for their latest Bangla play. He observes every movement and can recite entire play, just like his father used to do in his childhood days.
Raja Murkherjee learned nuances of Theatre while watching his father, Shombhu Mukherjee’s plays. Today, he is carrying forward the tradition by running a lone Bangla Theatre activity in Nagpur through his group ‘Drighanchu’. With local artists, his group has been producing Bangla plays continuously for last 28 years, unmindful of public response or revenue.

“Theatre is like ancestral gift to us. When I was a kid, we shifted to Nagpur from Kolkata and my father started ‘Amra Shobai’ (We all), a drama group dedicated to Bangla plays in Nagpur. That was the period when Bengali Theatre was in its full glory in Orange City,” Raja Mukherjee, recalls days of capacity-packed shows of Bengali Association’s full length plays at Dhanwate Rang Mandir; days of year-long active Bengali Theatre — active enough to inspire the then Nagpurian Tarun Kumar Bhaduri’s daughter to opt for FTII and attain fame as Jaya Bhaduri.

Raja Mukherjee

With changing character of the community itself, Puja plays - once a cultural identity of Bengalis – witnessed a steady decline. There was a time in 1960s and ‘70s when the Association would put up four productions a year. Later, it became difficult putting up a single play. However, the Mukherjees continued their commitment to the cause.
“It is my passion. I used to see my father working hard on selecting scripts, searching amateur actors, directing them, and inviting audience for the shows. Today, he watches me doing all this, and feels proud,” smiles Raja, a teacher in Dinanath High School admitting to higher levels of difficulty in present times when many other entertainment options are available to people. There are other problems too as Shombhu Mukherjee points out, “there is a serious dearth of youngsters who can speak flawless Bangla. Writers, too, are not completely conversant with the language,” he mourns underlining the fact that haunts us all. “Poor understanding of mother tongue is India’s national crisis.”
But amid many hurdles, the Mukherjees do find the enthusiasm to carry on. “We, as a family, take every obstacle as a challenge and enjoy every moment of play within the play,” says Archana, Raja’s wife and an award-winning actress herself. 
For, Raja Mukherjee too, the promise he made to himself, is a huge driving force. “Bangla Theatre is one among the richest theaters in the world. It’s our duty to serve it as much as we can,” he says. Dhrighanchu produces at least one full-length play every year and assures at least four shows of the same. The troupe also participates in Spandan – a multilingual national-level Theatre festival organised at Rourkela. Last year, ‘Dhrighanchu’ got an opportunity to participate in Sarthak Rupayan Bengali Theatre Festival in Mumbai, and their debut play ‘Ontorer Tane’ won five important prizes.

“This year, we will have the honour of being specially invited at the prestigious festival,” adds Mukherjee, the proud producer-director of the play. This year, they are planning two plays ‘Alibabar Pachali’ and ‘Sundor’. “Our aim is to bring back lost glory to Nagpur’s Bengali Theatre. We are managing with financial crisis, attitude issues and loads of other problems, but the only thing that we expect is sensitive, aware and committed audience,” Raja concludes leaving a thought for introspection for Nagpur’s Bengali audience.

Cutting of the same article from The Hitavada's City Line Nagpur, published on May 13, 2012

Leader of my town

Uttamrao Devrao Patil
(1943-2012)

‘Dada’ passed away silently, leaving the entire district of Yavatmal in silence. His oneness with silence was proved even at the time of his final farewell. Unlike other loudmouths in politics, this man, who preferred silence throughout his life, brought silent revolution to this region which hardly had any voice on national and international level.

Uttamrao Patil represented Yavatmal in Lok Sabha for more than two decades. His work was like cool breeze -- unseen but deeply felt. One hardly realizes correlation between these two happenings, but some ten years ago, since Dada was kept out of the active politics, Yavatmal started gaining its ill-identity as ‘district of farmers’ suicides.’

Even if being a member of parliament for twenty five years, Patil’s leadership was not charismatic. He never had influential oratory skills. He neither had any ambition of bigger position nor was he counted amongst the great leaders on national level. Still, he was the man who instilled the confidence in farmers of cotton belt that they are not helpless. He preferred to work for villages, as his constituency literally had no big city in it. Yavatmal, his headquarter, too, is a small town and the whole economy of this region runs only on the basis of farming. Being a farmer since generations, Dada was well-aware of this fact. But, is today’s city-oriented developmental mindscape, one sees development only in hi-tech IT parks, industries, and shining corporate firms. Dada’s vision was far ahead of this. He knew what exactly his people want – a good farming atmosphere, for which he worked all the time.

Uttamrao Patil had his own way to do the things. His silent presence, slow and steady work, and freedom given to the young workers, made him people’s leader. It is said that a leader becomes successful in real sense when things go perfect even without his physical presence. Dada had achieved this degree of success. He crafted an entire generation of leaders in Yavatmal region, but never faced any rebel action. He searched people from nowhere and gave them important responsibilities, but never faced any revolt by unsatisfied established workers. In short, Dada knew his workers completely and they loved Dada by heart. That is why, when national leader Gulam Nabi Azad tried his luck from Yavatmal, Dada came into his support as a true Congress loyalist; but his workers and people themselves voted against him. This shows that people were not blindly voting to the Congress’ ‘Panja’, but they were voting to the man – Uttamrao Patil – whose work used to speak louder, not tongue.

Unfortunately, Dada was kept away, ignored and insulted many times by his own party and had to join the NCP as his constituency was broken into three in restructuring. He was and will remain the last Congress MP of Yavatmal Lok Sabha seat. With Uttamrao Patil leaving Congress recently, the party has lost its strength in Yavatmal, its very own bastion. However, something must be paining in Dada’s heart. After all, it was his ancestral association with the Congress. That is why; he must have suffered cardiac arrest before leading the NCP towards success in Yavatmal.

Leaders like Uttamrao Patil are rare in these days of shining and showing. The age is of advertising and marketing. Dada failed in that, like many other Congressmen in past. However, he will be remembered for all the time as a man, who gave Yavatmal an identity of ‘cotton city’.

His smiling struggle



Artist Kishor Pawar with one
of his sculptures.



Destiny planned suffering at every turn for him, but Kishor Pawar’s passion of creativity overpowered each and every agony.

IT IS difficult to find Kishor Pawar in the premises of Government Chitrakala Mahavidyalya, but his mind-boggling sculptures, installed at several places in the campus, compel each visitor to get to know the maker.
Then a teacher calls his name -- once, twice -- and then almost shouts at Kishor Pawar to emerge out of the sculptures’ arena. A thin, dark boy, wearing trendy clothes with his head covered in typical rustic style comes out with a broad smile.

Kishor then takes us to his sculpture placed in the front yard of the campus.
Here is an old, almost-destroyed cassette-player with a recorded cassette of rusted iron plate coming out of it. The cassette is dying and the player has become useless. But still it is making music. “My life. My reel. And the music of my struggle” - Kishor writes at the bottom.

“This is how I see my life,” he starts with the same broad smile. Born in a family of a farmer with only one acre of non-irrigated land in remote Pimpalgaon village of Washim district, Kishor saw poverty at its cruelest in his growing years.

“It was a matter of survival for our six-member family in Pimpalgaon. So, I was shifted to my uncle’s house near Bori-Arab. I don’t remember, how and when, I started painting on stones, trees and then on slates,” he says.

But, Kishor vividly remembers how he officially entered the field on Fine Arts. “I went to Gurukunj Ashram, Mozri, for secondary education, where my teachers noticed my talent. They paid my fees and I appeared for Elementary and then Intermediate examinations,” Kishor recalls.

He was called back to help his father after clearing his XII class examination. Education stopped, but art continued. Kishor used to work as a daily wage labour, or a wall painter, or construction labour to earn for his sisters’ marriages and most importantly, to purchase material for sculpture making. A ‘Shiva’ and ‘Buddha’ sculpture by him is now the identity of his village.

“One day, I noticed an article in a newspaper about the admission process of Sir J J School of Arts. I thought to give it a try. I came to Nagpur, appeared for the entrance and got selected,” Kishor summarises everything in one sentence. In fact, the course which Kishor opted for (sculpture) has only five funded seats in J J School of Arts and students from all over India appear for this scholarship. Having just enough money for entry fee of one test, he opted for sculpture and passed with flying colours.

At JJ during the last four years, Kishor continued displaying his trademark style. He excelled in the degree course with his ‘earn and learn’ formula. He was opting for a fellowship to complete Post Graduation from
Chelsea School of Arts, London; but, the faculty and Dean of Government Chitrakala Mahavidyalya, Nagpur, suggested him to be a part of the maiden MFA batch of the college (The college has introduced this course from the year 2011-12).

Even in Nagpur, he works as painter or labourer or helper to earn money for his art.

But, Nagpur, being his home, is special for him. Here, he gets not only onlookers, but also appreciative eyes for his art; discerning ears for his poetry; and perceptive hearts to see the struggle behind the broad smile.

Meeting Kishor makes one sure that he is a biography in making.

Moving ahead

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.