Wednesday, June 10, 2009

Modern Art Forms and the Tribal World

The International Library and Cultural Centre (ILCC) at Ranchi is trying to reach out to more and more youngsters through its dance, theatre and language classes, besides seminars.

Sriprakash, film maker facilitating the discussion with Bishu Nandi. Bishu has always worked on his fascination with Jharkhand and wildlife. Never into commercial photography, he has put all his energies to pursue this hobby of his, few desires or ambitions.

Mahadev Toppo .. We saw Nanook of the North during the Pune days and the documentary and later Mrigya and Aakrosh. They opened our eyes as how indigenous people like us are portrayed in the media. And has constantly helped me in thinking and analysing the media for the same. Even now, when I am in Banking job, I read and express about adivasi issues and this especially when in the North East and elsewhere the issues of getting critical.

Meghnath, film maker cum activist narrates as to how the first batch of Jharkhand youngsters who did film course from FTII (Film and Television Institute of India, Pune) were contributing to the society .. of which Mahadev Toppo, Biju Toppo, Sriprakash, were a part.

INVITE LETTER

You are invited for a workshop

Modern art form and the Tribal world

on 3rd May at 2.30 p.m. to 9 p.m.

by Mahadev Toppo

Venue-International Library and Cultural Center, Club Road, Ranchi

The main theme of workshop is, how tribal world has been portrayed in various art forms, and how the meaning would be changed when the subject itself becomes the author of the art and the art form, as for instance the great documentary master piece ‘Nanook of the North’- what if Nanook would have done this film by himself…. ?

Now Dalit and tribal literature are emerging very forcefully challenging the casteist and racist paradigm. Thanks to contradiction in capitalism in the age of globalization at least--- digital technology is some how available to common people. In this scenario, is there any possibility of emergence of a new language of cinema?


Better cinema – Better world - Mahadev Toppo,

Sri Toppo is a well known tribal thinker, poet and actor from Jharkhand. In this work shop he is going to read two feature film – ( Mrigaya- 1976 Director: Mrinal Sen and Aakrosh -1980 Director - Govind Nihalani) besides a documentary film- 'In the Forest hangs a Bridge' 1999, Directed by Sanjay kak . He is also going to talk on the photographs of Bishu Nandi and poetry of Nirmala Putul (Santhali poetess)

Ranchi Film Club

Film Appreciation wing of International library and Cultural Center, Ranchi


Schedule (2.30 p.m. To 9 p.m)

Exhibition of photographs by Sri Bishu Nandi

On theme - Still Camera and Tribal Life


Mrigaya (1976)

Director: Mrinal Sen

Music -Salil Chowdhury

Story- Bhagabati Charan Panigrahi

Screenplay- Mohit Chatterjee, Mrinal Sen

Cinematography- KK Mahajan

Cast: Mithun Chakraborty and Mamta Shanker, Sadhu Meher, ,

Language: Hindi

Duration: 1hours 45 min

Awards: National awards plus a lot of international awards

To both Ghinua and the commissioner, a big ‘Shikar’ is a game; this is probably why Ghinua reacts like a terrible ‘hunter’ when the Mahajan tries to steal his wife. He slays him; an avenged man, he brings his ‘trophy’, to the only man who will understand him, the English ‘Bare Raja Babu’. But Ghinua’s trust is betrayed and he is handed over to the court by the Commissioner. Ghinua asks the Commissioner why Dora gets five hundred rupees as a ‘prize’ for killing Shalpu, a person liked by all the villagers and he gets death sentence for killing the Mahajan, who is ‘sabse khatarnak, khun-khar janwar’. Even the villagers fail to understand why Imperial Justice sentences Ghinua to be hanged to death.


'In the Forest hangs a Bridge'

Dir Sanjay kak

India, 1999, 16 mm, 39 min

'In the Forest hangs a Bridge' is a film about the building of a thousand foot suspension bridge by the people of an Adi village, an evocation of the tribal community that makes it possible, and a reflection on the strength and fragility of the idea of community. Located deep in the forest hills of the Siang valley of Arunachal Pradesh, at the north-eastern extremity of India, these elegant structures of cane and bamboo are the distinctive mark of the Adi tribe. Nearly six months of incessant rain in the Siang valley means that the cane and bamboo will eventually rot and fall away, and the bridge needs to be rebuilt every year. In less than three days, a bridge more than a thousand feet long is finished. A day later, we see several hundred men from the village cross to the other side for the annual ritual, as they have for several hundred years.


Aakrosh 1980 Hindi

Director - Govind Nihalani,

Written - Vijay Tendulkar(Screenplay)

Starring - Naseeruddin Shah, Smita Patil Om Puri and Amrish Puri

Award - National Film Award for Best Feature Film in Hindi 1980 & several Filmfare Awards', Golden Peacock' for the Best Film at the International Film Festival of India

Durattion - 144 min

Lahanya Bhiku (Om Puri) a tribal is arrested for killing his wife Nagi(smita patil)and he is tried in the court for it.Bhaskar Kulkarni(Naseeruddin Shah) takes this first case as the govt appointed lawyer.bhaskar kulkarni with all dreams and aspirations to take his first case finds to his frustration that Lahanya does not want to co operate with him. Slowly bhaskar investigates the case which leads to stark ling revelations and the movies comes to a shattering climax.


One of the Narrations in "In the Forests .." was about how inputs from the State in the bridge building process has brought / will bring about change in the collective community efforts and values. Is it not reflective of all external supports, financial or technical, and also unavoidable while the world moves towards global village / globalised community ? (!!)



Poster for the Event ... It was a wonderful experience on the part of the designers. From internet research on the film, grabbing images of the past actors .. great physique of Mithun Chakravorty, anger of Om Puri, the memoirs of Smita Patil .

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