Reducing relapses
In 2007, dancer Alokananda Roy and former ADG Prisons Banshi Dhar Sharma embarked on a groundbreaking initiative to rehabilitate prisoners through the transformative power of culture therapy.
In 2007, dancer Alokananda Roy and former ADG Prisons Banshi Dhar Sharma embarked on a groundbreaking initiative to rehabilitate prisoners through the transformative power of culture therapy.
The opening artist, young Kathak danseuse Paromita Bhattacharya, disciple of Guru Madhumita Roy, was impressive from the word go due to the combined effect of power and grace in the mangalacharan ‘Niratata Shankar Parvati sang’.
The Oscars are perhaps getting a little tired of the kind feminism that Barbie portrayed.
The crop of new faces in the film is such a delight. All credit goes to the casting director, Romil Modi. Dipak, played by Sparsh Srivastav, and Phool, by Nitanshi Goel, a social media influencer, are outstanding, respectively. Both capture an innocence of India that is still not lost.
“Last year, I depicted myself and my vision of how I perceive design through my art. It was inside a room, but rather than just simple walls or windows, it was designed all around in an array of patterns and forms.”
Dune: Part Two hits all the right notes and gives its predecessor a run for its ‘spice’. It’s like the sequel that not only lives up to the hype but surpasses it with a cheeky wink and a nod. From mesmerising visuals to captivating storytelling, this instalment leaves no sand dune unturned in its quest for greatness. It’s the kind of film that not only does justice to its forerunner but also adds its own flavourful twist to the mix. Strap in, because Dune: Part Two is a wild sandworm ride you won’t want to miss!
None of the films by Kumar Shahani and Mani Kaul, another contemporary of his times, got a theatre release, but their films were critically acclaimed in student circles, among aficionados of cinema, and in international film circuits.
A beautiful interactive session was held the next morning by Dr Padma Subramaniam on Natyashastra and National Unity with a live demonstration by Gayatri Kannan at the Kolkata Centre for Creativity.
Breaking away from the classical format, he liberated the romantic form from Persianized Urdu to convey their pain in a simple verse like Deewaron Se Milkar Rona (1981) and tweaked the plaintive orchestration in Mohe Ayi Na Jag Se Laaj (1988).
Kyogen, a quintessential form of Japanese comedy, serves as a delightful window into the daily lives of ordinary folk during the middle ages.