Hits & Misses: July 2014

Saturday, July 26, 2014

Gatka enthusiasts keep Punjab’s centuries-old martial tradition alive

MUNISH DHIMAN 26th Jul 2014

A young student at the Baba Deep Singh Gatka Academy.

atka is not new to the world. Its practice has persisted in northwestern India for centuries; it even finds mention in our ancient texts. Its structure might have changed over the years and the youth might have little time for it, but a handful of academies and individuals in this part of the world have dedicated themselves to preserving this martial art.

The Punjabi expression "gatka" refers to the wooden sticks used to simulate swords in sparring matches. It also derives its name from the Punjabi expression "gat", which stands for elegance, endurance, and unflinching belief in one's own power, and the word "ka", someone who is an integral part of a group.

Gatka has been an indispensable part of the Sikh ethos and religion for over 500 years. It is believed that Guru Angad Dev wanted his followers to train themselves to keep physically, mentally and spiritually fit and made gatka an integral part of their daily routine. Later, it was Guru Hargobind Singh who emphasised the need for practising gatka as a vehicle of self-defence.

The SGPC-affiliated Shaheed Baba Deep Singh Gatka Academy is one of the most active academies in the region, with five centers across Chandigarh, Panchkula and Mohali. Gurpreet Singh Khalsa, now 72, a retiree from the Military Engineering Service, founded the academy in 1982 to maintain the heritage of this rare art form. "Gatka is our heritage and something that we should feel proud of," says Khalsa, who has practised gatka for over 35 years. "Our aim behind founding this academy was to encourage the younger generation to know about our rich history and consider its survival a moral responsibility."

Besides our day-to-day material needs and mundane duties this is something that infuses life into our soul. We are trying to contribute our mite to protect and preserve our rich inheritance.

— Narinder Pal Singh Gatka Co

The academy has so far trained hundreds of youngsters and has more than 100 learners at present, who are being trained at the different centres of the academy. It also takes part in various competitions held in different parts of the country from time to time.

"Besides our day-to-day material needs and mundane duties this is something that infuses life into our soul," says Narinder Pal Singh, an employee of the UT's horticulture department who is a coach at the academy's Mohali centre. "We are trying to contribute our mite to protect and preserve our rich inheritance."

Is it open to all religions, sex and age? And what else can be termed as essential for learning and performing Gatka? "Yes", he promptly replies. "No discrimination is made on the basis of religion, but yes, for learning gatka, one must follow the guidelines of Sikhism. You can't cut your hair or shave off your beard and whatever we follow in Sikhism, the same is retained in gatka. Age is no bar to learn; I believe anyone who is passionate about it can be a part of it. We have kids who are as young as four years old, and they perform on the national stage as well. It is not gender specific either. Both boys and girls perform it side by side."

The staff and students of Baba Deep Singh Gatka Academy

The practice and performance sessions vary from place to place. Students comprise people from all walks of life — including theatre artists, students, servicemen and doctors — hence the daily practice session starts at 6 p.m. and ends around 9 p.m. The performance is always platform-based, as these Gatkas can be performed for 10 minutes on stage or for as long as two hours in a nagar kirtan.

While elaborating about the importance of Gatka in his life Khalsa says that gatka "is a source of meditation, a mode of exercise that increases your stamina and fitness. It also infuses the sportsman spirit in you."

"In this hi-tech age," says Pal, "our kids stay glued to television and computer screens but can rarely be seen doing physical activities, leaving their parents no option but to send their kids to do other physical activities to keep themselves fit. In the era of nuclear weapons, gatka techniques help you to have control over your mind in order to fight better in different domains of life. It is the need of the hour to find out ways to remember and keep the art alive."

http://www.sunday-guardian.com/young-restless/gatka-enthusiasts-keep-punjabs-centuries-old-martial-tradition-alive-2

http://www.sunday-guardian.com/young-restless/gatka-enthusiasts-keep-punjabs-centuries-old-martial-tradition-alive

Babu Khan follows his ancestors’ footsteps

MUNISH DHIMAN 26th Jul 2014

Babu Khan

elonging to a clan of musicians of the Manganiyar sect, Babu Khan is one of those accomplished folk singers who have dedicated their lives to carry forward the legacy of the traditional folk singing, handed out to them by their forefathers. He has come a long way from his sleepy village near Jaisalmer, where he began performing in front of small audiences; today, his shows sell out in Washington, New York, Canada, Hong Kong and Germany.

In Chandigarh to perform at a well-attended cultural soirée, Khan shared glimpses of his long journey with Guardian20. "My father, grandfather and great-grandfather sang for the kings of their times and at dargahs. Performing at social gatherings is an integral part of the family culture. Even as a child, I knew that I had to carry forward the family legacy. I had my first lesson when I was barely eight. And, then there was no looking back. I still relish my singing as much as I used to during my formative years, even 40 years later."

Those 40 years have not been kind to folk musicians in general, who have had to adapt in order to survive in an increasingly commercialised landscape. "Folk music, be it Rajasthani or from any other part of the country, is not commercially viable nowadays. So singers like me are left with no choice but to try to amalgamate Sufi music or other kinds of folk tunes to rustle up two square meals a day."

"With the incursion of different genres, especially Western music," he went on, "it has become a tad difficult to sell traditional music. Even Bollywood composers go about lifting a folk tune and presenting it to the audience after giving it a lyrical makeover. The tune remains, but the lyrics go haywire. It's a blessing in disguise for us, as it earns us fame — not fortune though — and we feel so proud that our music is being promoted across the globe. Even when we perform abroad, fans ask us to perform 'Nimbuda Nimbuda'."

Khan believes that besides presenting folk songs to an international audience, composers should also take the initiative to provide commercial success to folk singers.

While performing in Chandigarh, Khan was all praise for the appreciative audience. "I adore the Punjabi audience," he said, "as they are great listeners. You get appreciation, feedback and love from people of North India. Punjabis are known for living life king-size, and this is amply reflected in their gestures while showering their love on artistes."

Khan, who has been associated with Ila Arun, a noted thespian and folk singer, for more than 25 years, says she helped him reach Bollywood and showcase his talent there. He has worked with the top composers of the country, including A.R. Rahman and Shankar-Ehsaan-Loy.

The future of folk music looks dismal, unless serious efforts are made to keep its glorious traditions alive. "Folk music has become a genre that is hardly accorded due recognition these days. We need to go into overdrive to save and preserve this rich legacy for posterity."

http://www.sunday-guardian.com/artbeat/babu-khan-follows-his-ancestors-footsteps

Tuesday, July 1, 2014

Shiv Singh: The man who has brought logs to life for half a century

MUNISH DHIMAN 28th Jun 2014

Shiv Singh

orking on diverse themes offers different kinds of challenges, but a log of wood indeed remains the most challenging one", says Shiv Singh, an untiring septuagenarian. For over five decades, Shiv has been infusing life into lifeless objects, be it a log of wood, a stone or a piece of metal. Born and brought up in a peasant family in the town of Hoshiarpur in Punjab, Singh's early childhood was a quiet, normal one. Since plastic toys were not so popular in those days, Singh fiddled around with clay, sand and wood to make toys, aeroplanes, temples and so on. In his sleepy village, with a choe (stream bed) flowing nearby, he saw the imprints of human life on the sands of time. He immortalised all those unforgettable moments in his works of art. Singh's connect with nature is amply manifested in his art, in the paintings, sculptures, and statuettes that portray human life and the socio-economic milieu he grew up in.

Having mastered the art of creating minuscule structures out of sand and clay, it was at school that his structures started taking surreal shapes, a defining moment for him. "I was good at the art of copying sculptures and drawing random sketches," he recalls. "My crafts teacher Malawa Ram recognised my fondness for art and encouraged me to pursue my passion. My interest in studies ebbed while pursuing my intermediate class. Finally, I decided to drop out and embark on my 'real' journey."

With his mission well defined, Singh joined the Punjab College of Arts in 1958. S.L. Prasher, principal of the college and a well-known contemporary artist and sculptor, greatly inspired him. "Prasher was known for working overtime to bring out best out of his theme projects," he says. "When I joined the college, he was working on a sculpture of Bhagat Singh. He knew that I was good at copying. He thought that being a turban-wearer; I could do justice to the dream project. But the real challenge was to sculpt his famous 'Turle wali pagh', which I did. He was impressed by the creation and patted me on the back for it."

After finishing his five-year specialisation in sculptures, Singh joined the Sainik School, Kapurthala as a teacher. But luck had different plans for him. After his maiden participation at the Second National Sculptors' Camp, Delhi, he was offered a three-year scholarship by the German government. This became a turning point of his life. During his stay in Germany, he held more than a dozen exhibitions in the UK, Sweden, Denmark and Germany.

Singh has received various awards and accolades for his contribution to the field. These include the National Award in Sculpture in 1979 and the President's Silver Plaque for the best exhibit of the year in 1982. He has also been honoured by the Punjab Government several times for his work. Many of his creations adorn leading museums and art galleries across the globe.

He believes that his distinct style of handling a theme has virtually invented the artist in him and he credits it to Mother Nature. "I never wanted to be a simple calendar artist," he says. "I wanted to do something off-beat and innovative."

Having been in the field for more than 50 years now, Singh does not believe tastes have improved much over the years. "Paintings have become popular as they fill empty walls, but a sculpture requires ample space. Even the central government has a policy that 2% of the total cost of a building be earmarked for art work. None of the state governments follow it. People like to have calendars hung on their walls but they do not appreciate other media, because they need more space."

When asked about his future plans, he asserts, "My aim is to diligently work on a log which remains my life's biggest challenge. I try to bring it to shape doing the cavities, curves and angles. I look at it and touch it, asking myself 'Is the challenge worth it?'"

http://www.sunday-guardian.com/young-restless/shiv-singh-the-man-who-has-brought-logs-to-life-for-half-a-century

The blood-soaked pages of history

MUNISH DHIMAN 7th Jun 2014

The principal cast of Jaane Kyun

oha Ali Khan and Vir Das, lead actors of a real life story of a family's survival on the night of 31 October, 1984, visited Chandigarh with the stat cast of the movie Jaane Kyun for its promotion.

Besides the lead other actors, co-actors Vineet Sharma, Deep Raj Rana producer Harry Sachdeva, director Shivaji Lotan Patil and Punjabi anchor Gurjit Singh were also present. This will be the first political thriller in Bollywood on the subject.

Both the stars are essaying challenging roles in the film based on the sufferings of various families in 1984 anti-Sikh riots. It showcases Sikh couples' lives and how it was ripped apart by the riots.

Soha has even learnt Punjabi for her character. Soha confirms, "My association to Haryana because of Pataudi is old and Punjab being a neighbouring state I feel myself associated to it as well. My character Tejinder is an intense and beautiful role. I have always loved thrillers and this movie is a political thriller that makes it fall in a genre I like." Soha really likes her new "sardarni" look and believes that more than the character the script of the movie is appealing.

Stand-up comedian turned actor Vir Das told Guardian20, "This role in the film is altogether different from what I have done earlier. In a new look, I play a character who goes through a serious dilemma between losing his life and his family. It had been a learning experience for me".

Shivaji Lotan Patil, who has done rigorous research on the subject says, "The story of the film is very touching and every character has an important role to play. It not only chroniclec a tragic night but also illustrates triumph of companionship over brutality."

Actor Gurjit Singh says, "Hailing from Punjab I have heard about the Sikh massacre from my father and my grandparents several times but as a part of the movie I could feel what all those people must have gone through."

The film is expected to release this October.

http://www.sunday-guardian.com/young-restless/the-blood-soaked-pages-of-history

Live brewing sessions at Ooze

MUNISH DHIMAN 7th Jun 2014

ost people in India don't bother with the nutritional value of beer or ale. On the other hand, beer connoisseurs in other parts of the world not only give importance to taste of the beer but also to other key components including colour, appearance and aroma of a particular beer.

Ooze: The Brauhaus, the Tricity's premium microbrewery, located in Panchkula, has endeavoured to spread awareness about some lesser known facts about beer. "This project will offer some much required newness. Reading about anything seems boring compared to seeing it in front of you. Especially when it comes to liquor; who wants to read about it? So we decided to show the brewing process live to our customers," explains Aaftab Singh Sidhu, managing partner and head brewer at Ooze.

This live session will be shown in parts so that one doesn't get bored of it quickly. "I hope that people will enjoy watching the sessions; it may even change their choice of ale," he chuckles.

http://www.sunday-guardian.com/young-restless/live-brewing-sessions-at-ooze

Open air theatre festival planned

MUNISH DHIMAN 31st May 2014

A scene from a performance by the group

he Fools' Paradise Theatre Group is one of the most prominent and active theatre groups in the city, known for its unique performances. The group is all set to organise its maiden four-day festival in Chandigarh and hopes to receive a warm response from the city's theatre lovers.

"It's summer time and vacations have started in most of the schools and colleges in the Tricity," said Mohneesh Kalyan, founder and director of the group. "We conceptualised the Open Air Theatre Festival with a view to inspire enthusiasts to continue theatre activities in the region. We decided to hold this festival in the open as most of the people stay in houses or offices for long periods of the day and this will break their monotonous schedule. In the absence of airconditioning, an open stage surrounded with lush green lawns will be a treat for the eyes and the soul as well."

Shruti Sarswat, a member of the group echoed similar sentiments. "It will be a challenge for us," she said, "as this is our first festival and people here have seen some really great plays, especially Sudesh Sharma's Court Martial. The play completed its 400th show here in Chandigarh and most enthusiasts may have memorised the dialogs of the play. For us, staging this play with a whole new team and with a different approach will be the challenge that we need to overcome."

Five plays will be staged during the four-day festival, starting with Gurudakshina (written by Deen Dayal Sharma). This story is based on the mythological character Eklavya from the Mahabharata. Bade Bhai Sahab (By Munshi Prem Chand), which will also be staged on the first day, draws its humour from the difference in morality between two brothers.

Phandi, a play by Shankar Shesh about a man compelled to euthanise his father, will be staged on the second day, while Court Martial, to be staged on the third day, is poised to attract a lot of people who will be interested to see the familiar story through the vision of another director.

Shankar Shesh's Nayee Sabhyata Naye Namoone, to be staged on the concluding day, is a social satire with a touch of melodramatic humour. It showcases the shallowness of a society wrapped in modernism.

"The fate of holding such festivals every year will solely depend on the success of this edition," Mohneesh added. "We have done several shows in other festivals that have been received well by the audience, but offering such a bouquet of different plays is new for us and we have to give our best shot."

http://www.sunday-guardian.com/young-restless/open-air-theatre-festival-planned

The building blocks of theatre

MUNISH DHIMAN 31st May 2014

ummer vacation breaks the monotonous academic schedule and offers a new lease of life to kids so that they can rejoice each moment of their childhood. Department of Cultural Affairs, Chandigarh and Tagore Theatre Society offers an entertaining and enriching theatre workshop for children of the tri-city area to help them enhance their knowledge and also to build interest for the art form.

Elaborating about the workshop, Kuldeep Sharma, director of Tagore Theatre says, "This workshop has become an annual affair. Each year, we have been spreading our reach and I am glad that this year we will be training children at five community centres and the Tagore Theatre during the workshop. All enthusiasts can join the workshop for free."

Children in the 6-12 year age group can learn the nuances of acting either at Tagore Theatre or at different Community Centres in the city from 5 June to 25 June. Adding further about the workshop, Sharma says, "Adolescence is the most crucial phase of a child's life and we guide them in this important stage. We offer a creative outlet to youth and help them learn about life through the medium of theatre." The timings shall be from 10.30 a.m. to 12.30 noon. Interested children may register themselves at Tagore Theatre at Sector-18.

http://www.sunday-guardian.com/young-restless/the-building-blocks-of-theatre

“Even rehri-wallahs & rickshaw pullers come to watch plays”

MUNISH DHIMAN 17th May 2014

handigarh-based Padma Shri awardee Neelam Mansingh Chowdhry needs no preface. Her name is synonymous with Chandigarh's theatre movement. Her popular play The Licence was staged recently at the Rock Garden, and was well received by an appreciative city audience. In a candid conversation withGuardian20, Neelam Mansingh speaks about her play and the resurgence of theatre in the city.

Q. Your play is based on stories by two eminent authors Saadat Hassan Manto and Bertoldt Brecht. How difficult was it to merge the two, and why did you choose these particular authors?

A. As an ardent reader, I read a lot about these authors and their works. These two particular stories have a striking resemblance. Both the stories talk about the implications of the economic tumble down due to fast industrialisation in the country. Both talk about the status of the woman in society and also about the hurdles she leapfrogs to survive. There was no difficulty at all in directing this play as improvisation is a tool that gives you a lot of space to work, imagine and enact.

Q. You have witnessed theatre growing in this part of the region. What are the visible changes that you feel are a boon for theatre and can take it to another level of success?

A. There are several such changes that can be cited. But the most important for the existence of theatre is the audience which has definitely changed over the years. I may say that the audience here is really amazing. Intellectuals, students, kids, oldies, even the rehri walas and rickshaw pullers, people from all sections of society come and see the plays. Be it a three-day, five-day or a 10-day event, all the evenings are engaging and the enthusiasm amongst the audience is tremendous. And watching people coming on wheelchairs and even holding sticks in their hands definitely proves that the scenario has changed and theatre is being accepted.

Q. You chose Rock Garden for staging the play. Do the place and the surroundings impact the performance or is there any other reason?

A. Yes, the place and surroundings do matter in a sense. I always choose Rock Garden for my plays because I have an abiding emotional bond with the place. There are two reasons why I prefer Rock Garden for my plays: one, my attachment with the Rock Garden and the city and second, my affinity with its creator Nek Chand. And here too, I would like to mention that the audience is so cooperative. I don't provide them any comforts, but they still enjoy the play in the hot, humid weather amidst mosquitoes.

Q. I have come across many theatre artists who say that "theatre can feed your soul but not your tummy". How do you react to the statement?

A. Yes, I do support the statement and, yes, there is no second thought about it. In the dearth of sponsorships and funding there are no earnings, especially in regional theatre. When it comes to survival, no one can bank solely upon theatre.

Q. Do you think this generation is following your footsteps and will be able to carry forward the legacy of theatre in the city?

A. It depends on the passion, enthusiasm, love and creativity for producing a piece of art. And yes, there are students in the theatre department who are very bright and pushing. They devote themselves and do a lot of hard work for their love rather than wasting their quality time driving aimlessly, hanging around or indulging in nefarious activities.

Q. Where else do you plan to stage the show?

A. We are planning to stage the show in Bareilly, Jaipur and even Pakistan, time permitting.

http://www.sunday-guardian.com/artbeat/even-rehri-wallahs-a-rickshaw-pullers-come-to-watch-plays

Chalo Theatre begins next week

MUNISH DHIMAN 19th Apr 2014

Anurupa Roy

as Kala Manch, one of the most active theatre groups from Haryana is all set to organise "Chalo Theatre", its maiden three-day festival in Chandigarh, from 25-27 April.

Elaborating on the festival, Ravi Mohan, President, Ras Kala Manch tells Guradian20, "We conceptualised this festival with a view to generate enthusiasts to continue theatre activities in the region. Today, it is one of the biggest theatre festivals in the state. We knew the journey was going to be difficult but we also knew that quality work always pays off at the end of the day. We've always focused on how to promote theatre in the state, but this year we wanted to take this festival to another level. That's why we designed this three-day festival that will feature some fantastic award-winning plays."

Echoing these sentiments, Manish Joshi, secretary of the Ras Kala Manch says, "Theatre personalities, including Neelam Mansingh Chowdhry, Tom Alter, Rakesh Bedi, Seema Biswas and Sudhir Pandey have performed at the festival over different seasons. This year we have three plays on the trot — About Ram, Doosra Aadmi Doosri Aurat and Urgent Meeting, all of which, we are confident, will enthral the audience."

The festival will be kick-started with About Ram, directed by Anurupa Roy, an internationally renowned puppeteer. This will be followed by Doosra Aadmi Doosri Aurat on the second day. The play has been directed by Ravi Mohan and is based on extra-marital affairs.

The festival will conclude with Urgent Meeting, a satire directed by J.P. Singh, which seeks to lampoon the bureaucracy that exists in India. The play revolves around how the system has polluted the work environment and how no arena has remained untouched from internal politics.

"We don't promote anything and everything. We believe a play should have some substance and message so that it makes people think about it even after they've left the auditorium." says Joshi.

All the plays will be staged at Tagore Theatre, Sector-18, Chandigarh at 7 p.m. daily.

http://www.sunday-guardian.com/young-restless/chalo-theatre-begins-next-week

Hits & Misses