Friday, September 30, 2016

Dinanath Pathy's swansong Ganjam

Story image for pathi from The New Indian Express

Artist, author and art historian, Dinanath Pathi passes away

The New Indian Express-28-Aug-2016
BHUBANESWAR: Eminent artist, author and art historian, Dr Dinanath Pathi passed away at a private hospital in Bhubaneswar on Monday.

Story image for pathy ganjam from The Hindu

The lighthouse for Odia culture

The Hindu-08-Sep-2016
He was Dinanath Pathy who passed away in his home city of ... village of southern Odisha's Ganjam region that is known for a wide variety of ...

Story image for pathy ganjam from The Hindu

'Ganjam Odissi' is alive and thriving!

The Hindu-23-Apr-2016
Eminent Odia artist and author Dinanath Pathy, who during his childhood in Ganjamdistrict had close links with 'sakhinata', was the literary and ...

Story image for pathy ganjam from The Hindu

Unity in diversity

The Hindu-21-Apr-2016
... of Ganjam District of Southern Odisha, the renowned painter, research scholar, author Dinanath Pathy joining hands with Malaysia's artistic ...

'Ganjam Odissi' is alive and thriving! - The Hindu › Cities › Delhi
Apr 24, 2016 - Like better known 'gotipua' tradition, 'sakhinata' where boys perform Odissi existed independently in Ganjam district. Eminent Odia artist and author Dinanath Pathy, who during his childhood in  ...

Apr 22, 2016 - The working nucleus for this magic production comprised the renaissance man from Ganjam's Digapahandi, author of the book “Rethinking Odissi” Dr. Dinanath Pathy as literary and visual ...

Future Berhampur: 'Ganjam Odissi' is alive and thriving! › 2016/05
May 7, 2016 - For generations a tradition of innovative style of Odissi inspired by folk dances – named Ganjam... Eminent Odia artist and author Dinanath Pathy, who during his childhood in Ganjam district had ...

Dinanath Pathy - Wikipedia, the free encyclopedia › wiki › Dinanat...
Dinanath Pathy was an Indian painter, author and art historian from the state of Odisha. Pathy was the former secretary of Lalit Kala Akademi in New Delhi and Bhubaneswar. He was the founding principal of of the ...

Tuesday, March 22, 2016

Art as discovery of one's deeper self

B Singh
Aurobindo Ghosh pointed out that “All Indian art is a throwing out of a positive thoughtful self-vision created by a obtainable inside to uncover out the covert significance of form and appearance, a discovery of the subject in one‟s deeper 91 self.” In the words of Pran Nath Mago ...

V CHANDRA - Studies in Humanities and Social Sciences, 2016
The role of mind was pointed out earlier but it is, as Sri Aurobindo tells us, only one of the forms of consciousness. Downtrend: Foreign and Local Causes ... 1. Satprem, Sri Aurobindo or the Adventure of Consciousness; Institute for Evolutionary Research, New York; 1984, p. 60. ...
Sep 4, 2009 - Sri Aurobindo: Savitri is represented in the poem as an incarnation of ... The fallaciousness of the argument that Savitri is a “fictional creation” comes out in several respects. ... and Force, Sri Aurobindo's Yoga took a decisive positive upward ... Apropos of the previous comment, here is a thoughtful private ...

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Times of India-20 hours ago
LUCKNOW: Leading bank, HDFC Bank has entered into a partnership with Sri Aurobindo Society to train 4 lakh school teachers in Uttar Pradesh. The initiative ...
Savitri Era of those who adore, Om Sri Aurobindo & The Mother.

Friday, October 30, 2015

Darshan Singh Maini and Diwan Singh Bajeli

1. For a few random comments on James's politics (listed in alphabetical order by critics), see the appendix. The curious mélange of comments offered there hardly yields a significant pattern.

2. In Marxian circles, the subject continues to be vigorously debated. While Arner Zis paraphrases Ernest Fischer as arguing that ideas hardening into ideologies become "petrified moulds or intellectual stereotypes serving to promote the interests of the ruling classes," the view is effectively disputed by Zis and others (see Zis 57-58).

3. It is believed that James modelled Rosy on his own invalid and hyper-sensitive sister Alice, though in the process he inverted the world-view of the latter. For nearly all the references to her in James's letters, as well as her published diaries, clearly establish her radical, anti-imperialist sympathies.

4. James has, it appears, in several striking images used the Keatsian motif throughout the book in relation to Hyacinth's sensibility and aesthetic "mysticism." For a full discussion of this motif, see Tintner. The famous passage about looking at "the good things of life through the glass of the pastry-cook's window" (PC 283) is, incidentally, echoed in W. B. Yeats's poem "Ego Dominus Tuus." The poet sees Keats as "a schoolboy" "with face and nose pressed to a sweet-shop window."

5. In a comprehensive and insightful essay on The Princess Casamassima, Martha Banta applies Fredric Jameson's Marxian views on the relationship between history and fabulation in an elaborate manner. It is her argument that James uses the Hegelian concept of history as "the realization in matter of World Spirit" and that Hyacinth Robinson experiences the pull of "two other allegiances: an aesthetic of history . . . and an ideology of history" (100). Without going the whole hog with her in point-to-point application of Jameson's ideas, I must, nonetheless, say that I share largely the premise of her larger formulations, though I doubt if James himself had any coherent, integrated, and enveloping sense of history in the manner of a Shakespeare or a Tolstoy. 
His "sense" of such things and phenomena is, at best, Balzacian. In such writers, the historicism of the book stems less from a truly historical imagination than from an instinctive grasp of the sociological changes their aesthetic and ethical antennae pick up. I believe that it is in this sense that Lukács considers both Balzac and Scott as having a prognasticative consciousness despite their avowed reactionary world-view. Darshan Singh Maini: Books, Biography, Blog ...

Sep 11, 2013 - Eminent theatre critic Diwan Singh Bajeli relates why he chose to write a book on the theatre of Bhanu Bharti

It is interesting to note that books across a wide spectrum of genres are being published in India these days. Particularly comforting is to see more and more books on theatre. So from an interested reader’s point of view, so also from that of a student of the stage, a book like “The Theatre of Bhanu Bharti” — recently published by Niyogi Books, must be a welcome change. Its author, eminent Delhi-based theatre critic Diwan Singh Bajeli, certainly notes this “change of trend” in our publishing industry with relief. [...]

But how relevant are these Western authorities to understand our theatre practices, our society? Bajeli concedes, “Every society has distinct characteristics and theatre is a mirror of society. Therefore, theatre is not an importable or exportable commodity. At the most, we can take certain elements from the others, incorporate them into our system, our reality.” The basic idea is, “the process should have thesis, antithesis and synthesis…only a few directors have achieved this. Habib Tanvir is one, Bhanu is another.”

Bajeli compares the subjects of his two books thus: “The book on Bhanu is more objective. He is a highly trained professional artiste who seeks to unite both form and content in his work. He seems to be closer to the Nehruvian ideology, a believer in a secular and democratic society that has a socialist pattern. My approach to the book on Upreti was more emotional as I was a member of the Parvatiya Kala Kendra founded by him.

Inspired by Maxim Gorky, Upreti used the folk form as an instrument to make people aware of the exploitative society. For him, the stress was more on the content.”

Next on Bajeli’s list is a book on Kumaoni folk theatre forms. Within its ambit would be “Jaagar, a theatre of guilt and expiation; Hurkiya Baul, a celebration of the transplantation of paddy; Haal Yatra, a collective worship of the plough and Thul Khel, an enactment of Ram Leela in Kumaoni dialect.” Thul Khel, he adds, “is on the verge of extinction.”

Saturday, October 10, 2015

Art is what you respond to

The Navhind Times ARTI DAS | NT BUZZ
Ceramic artist Priya Sundaravalli from Auroville is in Goa to showcase her art at Gallery Gitanjali, Panaji. In conversation with NT BUZZ Priya speaks ...
On a concluding note when asked about viewer appreciation for her art she says that it is something that comes from within. “A viewer either has the vibration or sensitivity to appreciate a piece of art or not. To me pottery items being sold by a lady in a market-square are most precious objects, although these are actually dirt cheap. For me art is what you respond to, what’s inside you and what frees you,” says Priya.
(Gallery Gitanjali, Fontainhas, Panaji is hosting the opening “SYN.APSE” an exhibition of the ceramic works and art installations of Priya Sundaravalli on October 10 at 6.30 p.m. The exhibition is on till October 31 from 9 a.m. to 6 p.m.)

The Hindu - Issues regarding children took the centre stage at the fourth Auroville Film Festival which drew to a close on Wednesday. Questions were raised on ...

KAVYA CHRISTOPHER, TNN | Jun 3, 2015, Jun 3, 2015 - First, the audience decides whether it wants to watch a film or not much before the film is released — irrespective of what the reviews say. Second, I have done subtle films earlier, with very little of what is quintessentially entertaining. Back in the day, they did not work as well as I thought they would. These days, we add those bits of entertainment and they seem to be working. I think the audience has a certain image of an actor, so much so that they know what to expect from him. Having said that, I also don't think the audience has actually expected too much of me from any of my films. At the most, they will say, he performs, and that his films are quite clean. If I do an extra fight, or dance, or a solid dialogue delivery, then that is a bonus. I understand some people are good at those things, so they need to do it. Even I will watch them. But I can't see myself doing all of that all the time.

Do you think that may have affected your popularity at some point?
Every actor goes through phases and I have been through my share of phases too. I wanted to do cinema that I believed in. But one day, I chanced upon a report that featured me in the third line, much after a lot of newcomers. I tried to analyze why I was so far behind and figured that it is not about your talent at all — an actor is defined only by his box office collection. And I knew that I wanted to be there. Talent is a myth. You will just receive compliments. There is nothing more that you can get out of it. But when you are successful, nobody speaks about how talented you are, it is only about how successful you are. I thought, if that is what is required for one to be called a popular actor, then so be it. It was not a small change. It took me at least four to five years to gain some sort of a foothold in the industry. I thank that report to make me want to come forth. I don't know how much ahead I am, but I know where I stand today.

Times of India-26-Jun-2015
After five years in the industry, Aditi Rao Hydari still hasn't lost her spunk .... I agree that bodies and faces are replaceable, but talent cannot be ...
What made you take up a realistic commercial film with male central characters?

For four years now, people have told me what I must do. 'You look too sweet', 'You must look more sexy' are things which I've often heard. It would really confuse me earlier. But I want to be myself now. People must love me for who I am not for who I am trying to be. I love it now because filmmakers pick me for this. Subhash Sir has used the vulnerability in my look that everybody sees and has given me a role that is driven by my acting. He made me play someone else and that is what gives the mystery angle to the character as well as the film. She speaks only with her dagger eyes. Her character is in layers and that is unspooled gradually in the film. I don't want to say too much because there is a lot more that is best reserved for theatres. I am glad my character is such that I got to be one of the boys in the film.

Are you trying to strike a balance between glamorous and meaty roles?
I had come into this movie just after Boss. I enjoy these glamorous roles. But now I have inculcated the mindset that I don't want to be replaceable in a movie. I agree that bodies and faces are replaceable, but talent cannot be replaced. I feel there is more to me and filmmakers are beginning to see that now.

Bollywood Life-06-Oct-2015
Aditi Rao Hydari is arguably one of the hottest women in Bollywood. She is stunning, talented and insanely attractive. Basically she is the ...

Satyajit Ray, ‎Sandip Ray - 2013 - ‎Art
Satyajit Ray, Sandip Ray. toy was an expensive one), and the ... made good films as well as bad ones. Bearing in mind that talent is a rare thing anywhere at any ...

Satyajit Ray - 2005 - ‎Motion picture producers and directors
Satyajit Ray. to cinema. The truth is that, in the absence of a suitable artist, it is futile to expect the creation of great art. Genuine talent is rare in any place, at any time ...

Andrew Robinson - 1989 - ‎Biography & Autobiography
'A Satyajit Ray script is so clear and natural that no discussion is necessary,' says ... This definition does not exclude the rare and lucky breed that gets five or ten ... experience is that people with talent suffer from an inhibiting fear of rejection ...

Wichita Eagle - ‎

Monday, September 21, 2015

Exhibition on Odishi by Sri Geetagovinda Parthishtan

Narthaki - Indian dance online - Forthcoming Events
September 26 - October 4, 2015 Pondicherry
Sri Geetagovinda Parthishtan presents photo exhibition SPLENDOUR OF ODISSI by Dr. Susil Pani
At: Sri Aurobindo Ashram Exhibition Hall, Seaside Gate, next to the Hotel Promenade, 10 to 11.30 am and 4.30 to 7.30 pm

RSS-linked bodies weigh in with suggestions on new education policy

Times of India-10 hours ago
The article says intellectuals like Satish Chandra Mukherjee, Swami Vivekananda, Sister Nivedita, Lala Lajpat Rai, Ananda Coomaraswamy, Sri Aurobindo and ...

Friday, September 18, 2015

Camp on Spirituality in Indian Art

The Sri Aurobindo Centre for Advanced Research is organising a two-day ‘Living Within’ study camp on ‘Spirituality in Indian Art’ on September 19 and 20.

Indian perspective
According to organisers, the camp will be an exploration of some of the fundamentals of the Indian perspectives on art and art appreciation, with emphasis on the approach of Sri Aurobindo and The Mother apart from other notable thinkers.

While Sri Aurobindo was of the opinion that Indian art was “identical in its spiritual aim and principle with the rest of Indian culture”, The Mother offered the view that supreme art “expresses the beauty which puts you in contact with the Divine Harmony”.

The sessions, led by educators Beloo Mehra and Ananda Reddy, would include themes such as the purpose of art, the way of an Indian artist, artistic appreciation, sacred roots of Indian art and art in contemporary India. The camp will involve speaker-led presentations, discussion, film screenings and group activity to help participants assimilate the exploration.

New Race Archives

From the Editor's Desk... A Reflection on Contemporary Art... “Art should never degrade itself to the low level of the general public’s use or understanding. It is they who ought to be raised to the level of necessary health and plenitude where art is meant for the wise and the strong.” … “The future of India will look at the world with the vision of Truth and create anew” said Nandalal Bose, one of the great exponents of Bengal school of Art. Do we actually see his prophetic vision coming true? Have we raised ourselves to the level of Art or have we brought the Art to such a level where everyone calls him/herself an artist without knowing what is expected of him/her. Unlike the Greeks who assigned Art the function of schooling the adults, Indian Art always emphasized on that which would take artist as well as the aesthete a little deeper than the appearance. It is indeed sad to see the nature of Art that is emerging these days. Anything in the name of abstract Art, anything that does not make sense makes  beautiful Art! Perhaps it reflects the inner chaos of the Artist; the inner poverty to see beauty in colour and form. Form may not be required or necessary, but Art, even if abstract, could have a harmonious play of colours. Truly, it is said that Art reflects life. In this  age when  our lives  are almost  directionless and our mental,  emotional  and physical beings most disorganized, the Art thus created could not be expected to be harmonious. However, this chaos does not lead us to conclude that Art would always remain so disharmonious and dark. Perhaps in its evolutionary curve it would degrade further before it takes a deeper spiritual turn. For even now it is portraying the truth of our present consciousness and when humanity turns more and more spiritual, its expression in Art, Literarture and all other forms would reflect his/her inner true self. It is a cyclic movement now in which there is an acute downgrading of everything, later, along with the rise of consciousness in general humanity Art would also rise. A few evidences of this evolutionary cycle may be seen in the contemporary paintings of Sri Krishna which have transcended the affectation and ornamentation but have captured the soothing and meditating poise of the Lord. Such paintings contain simple lives and curves with minimal use of colours but they convey the inner quietude. They are more suggestive than imposing. Art in future is expected to be more and more subjective and suggestive. It may have to go through the outer paraphernalia of presenting the commercial attitude of the society even towards Art. Yet there is a hope, the lines of which are quite clear that the greater dawn of Art is just  across the  horizon. It  remains  with each artist  how soon  he reaches that  zenith and expresses it. Shruti

Saturday, May 23, 2015


Savitri Era of those who adore, Om Sri Aurobindo & The Mother.

Check out @The_RHS's Tweet: could I miss this excellent post?! Anyway, better late than never. The wit, sarcasam and humor of your post is fantastic, and totally on the point. But I have a serious point to make :) Yes, our culture is not weak that it can be so easily shaken by those ill-informed books, non-sensical portrayals in films etc. And I am totally with you on the positives that we should be working on (like not defacing our monuments, protecthing and preserving our heritage temples, encouraging and promoting classical art forms etc.). But I still feel that there is a need for a strong, well-informed, well-articulated defense. I say this because in present times the global discourse on global cultures is still very asymmetric. And culture as a soft power is commonly used for the purposes of international and foreign policy purposes. I am not saying this, many serious thinkers have been documenting this for quite a while now. Of course you would know that I am not speaking of the sort of misinformed and misapplied aggression that protestors of valentines day and those advocating covering up women etc. Every time a book that speaks of Shiv-lingam as phallus (and only that, and nothing else) is used as a textbook in a classroom in the US or anywhere else in the world, a seed for the misperception of Hinduism is planted in young minds right there ! And this is just one small example, there are many such things that happen on regular basis. It is such things that need to be challenged and challenged strongly.


  1. Beloo! I differentiate between the 'preserving' means of upholding culture and the 'destruction' means. A true response to an ill-informed book about our culture IS a well-informed one that gets written and widely circulated and NOT burning copies and filing cases to ban the book. What the latter does is ensure that THAT book gets more publicity and higher circulation than before, if not within this country outside the country.

    In other words, I would rather that we ignore these things, by way of not even referring to them, and concentrated on building a better understanding of our own culture among both our people as well as others. In that, what I mean is that we do tackle the arguments posited by these people but NOT in direct reference so as to be seen to be making a defense. To me, the idea of defending my culture against ill-informed people is to give too much stature to ill-informed nuts :)
  2. Totally with you on this point about not giving too much or any publicity to the ill-informed nuts. And also on the point about doing well informed critiques of controversial books. But my concern still remains that the nuts who oppose a certain book or film and demand their ban and pulping get more publicity in our asymmetric discourse than the well-researched critique. This makes the problem even worse. Ultimately I agree the best defense is to strengthen our own bonds with our cultural roots and encourage others to do the same through meaningful education. But unfortunately there is a lot of apathy, ignorance and indifference among the so-called educated Indians about their own roots.

Monday, August 04, 2014

Conflict between Aesthetic and Ethical tendencies

[Oscar Wilde and Sri Aurobindo in a conversation on the blog, about art, aesthetics, ethics and utility. All Art is Quite Useless": What a Wild(e) Idea! Beloo Mehra
A new post in the series - Satyam Shivam Sundaram A series featuring inspiring words from various sources, words that...]

[Wilde added this Preface to the book, along with several other changes, after the first, 1890 edition of the book was highly criticized. He used it to "address the criticism and defend the novel's reputation." The collection of statements in this Preface also "serves as an indicator of the way in which [he] intends the novel to be read." 
But the main reason why I became fascinated by this Preface is this: It serves as an excellent illustration of what Sri Aurobindo refers to as the conflict between Aesthetic and Ethical tendencies of the human mind. In his major work on social philosophy, The Human Cycle, he writes:]