#Career after BA in Bengali

[pijush-maji]

Best Career Options available for Bengali Graduates

[easyfoodnetwork]

‘It Was a Losing Fight to Write Anything That Wasn’t “Ethnic”’

White food writers are often allowed to be generalists, while BIPOC creators are limited to their personal histories, their cultures, and the foods their grandmothers made

In this age of the cook-turned-influencer, Bon Appétit’s video content found astonishing success by capitalizing on the colorful world of the quirky characters featured in its test kitchen. In many cases, the employees’ personalities were turned into their personal brands. This strategy, actively pursued by now-former editor-in-chief Adam Rapoport, piggybacked off an evolving relationship between audiences and celebrity chefs like Alison Roman, whose “authentic” lazy-girl cooking hacks jolted her into almost instant fame. Branding oneself as the creator of a viral dish (“the stew,” “the pasta”) or crafting an identity around a quirk or personality trait, all but eliminates the need for bona fide experts, allowing the internet-friendly celebrity chef to take their place.

But as the casual viewer noticed — and as stories about Bon Appétit’s corporate culture have revealed in recent weeks — it is almost always only white food writers, chefs, and recipe developers who get to adopt personas that go beyond their ethnicity. For every Brad Leone, who gets to be goofy and charming, for every Claire Saffitz, who becomes a sensation for being hyper-competitive and neurotically orderly, you have a Priya Krishna or a Rick Martinez, whose ethnicity, and the “expertise” in a certain cuisine that comes with it, is often framed as their most useful contribution to the team.

Martinez, former senior food editor and current BA contributor, was branded the “resident taco maestro” in the pages of the magazine, yet, as he recounted to Business Insider, then-deputy editor Andrew Knowlton asked if he was “a one-trick pony” for focusing on Mexican cuisine. Argentinian test kitchen manager Gaby Melian’s only solo video on YouTube is of her making her family’s empanada recipe. Fan favorite Sohla El-Waylly, who managed to veer out into more generalist territory with beloved recipes for dumplings, cinnamon buns, and even a carbonara dessert, started her career at BA talking about her riff on a family biryani recipe on the Bon Appétit Foodcast podcast and made an “updated” version of a Bengali snack, piyaju, for her first solo video. Even after expanding out of her “niche” and producing some of the channel’s most creative recipes, El-Waylly’s expertise was considered external to her identity, and — as she revealed in an Instagram story on June 8 — she was compensated as such. Other BIPOC (Black, Indigenous, and people of color) at BA, including contributing editor Priya Krishna and research director Joseph Hernandez, also spoke out against BA’s pay disparities and its pervasive racist culture that, as Business Insider wrote, “does not provide nonwhite employees the same opportunities on the brand’s video side that white employees enjoy.”

The feeling of being slotted into a niche is all too familiar for Martinez. “There’s this idea in food media that it’s somehow easier to cook the food of your culture because you grew up with it or that it’s a part of you,” Martinez tells me. “It completely discounts the skills that it takes to build a recipe for an American audience. To recreate or even create an homage to the original dish requires a lot of creativity, skill, and work.”

The recent changes at BA — Rapoport’s resignation, white BA staffers’ refusal to put out content until their BIPOC colleagues are paid fairly — are a start. Yet the simultaneous compartmentalizing and marginalization of BIPOC in food media goes far beyond one organization or one editor-in-chief. Allowing BIPOC to have more agency within the food media system will require reimagining the relationship white America has both to “other cuisines” and to the people who grew up on them.

There’s this perception in food media, which publications like Bon Appétit subscribe to and perpetuate, that all that nonwhite writers really want is to have their cultures represented “authentically.” But the premise of authenticity is rooted in a white gaze that selectively acquires aspects of nonwhite cultures to package as just exotic enough to remain accessible. In late June, the New York Times published a story about “Thai fruit” that frames common fruit in Thailand as foreign and difficult to understand. The week before, tofu was labeled “white, chewy, and bland” in a since-deleted tweet by Bloomberg Asia. And who can forget the infamous Bon Appétit pho fiasco, which called the Vietnamese dish “the new ramen” and enlisted a white chef to give a “PSA: This Is How You Should Be Eating Pho”? Stories like these serve as reminders that foods outside of whiteness are at odds with an imagined “American” readership, for whom these foods remain distant and other.

“Our white colleagues think that we are speaking out about representation or appropriation because we want to be seen as experts on the subject,” says travel and food writer Dan Q. Dao. “[But] what we are [really] fighting is a long battle for inclusivity and equity in our workplaces.”

“I’m often asked to add a cultural slant even when one does not exist.”

Those workplaces, it should be noted, are overwhelmingly white. In June, Leah Bhabha noted in a Grubstreet piece, citing a 2019 Diversity Baseline study, that 76 percent of all publishing industry professionals are white. “In my own experience, as a biracial Indian writer, I’ve never had more than one coworker of color on my team,” she wrote, “and frequently it’s just been me.” The social media age — and the branding pressures inherent within — exacerbates that experience. Social media allows for real-time feedback that makes creators accountable to an audience that often acts as ad hoc sensitivity readers for people writing about their own cultural backgrounds. Writer and chef Samin Nosrat recently tweeted her frustrations with that pressure: “Instead of criticizing the systems that refuse to allow for greater diversity and inclusion, desis, Iranians, whoever, just pile on individual cooks for our perceived failure to represent their ideal versions of their entire cuisines. (Or even more frustratingly, for failing to cook something *exactly* like maman did it back home. I am not your maman!)”

But as media writer Allegra Hobbs pointed out in October 2019, “in the age of Twitter and Instagram, an online presence, which is necessarily public and necessarily consumable, seems all but mandatory for a writer who reaches (or hopes to reach) a certain level of renown.” In curating this online presence, writers and other creators are often pushed to flatten themselves into an easily legible extension of their identity.

Like many, food writer and chef Lesley Téllez has struggled with the expectations that come with being Mexican in food media. “There’s more pressure on BIPOC to find a niche that makes us stand out,” she says. “Over and over, the faces who look like us are people who specialize in food from their particular countries or backgrounds. It sends an overt message that stepping out as a generalist is hard, and that you will not be hired as such. I have definitely felt pressure to keep non-Mexican-cooking stuff off of my social media, and my old blog.”

For all the claims organizations in food media have made of diversifying their rosters and cleaning up the more egregious offenses in their treatment of nonwhite writers, there is still an association between nonwhite writers and their ethnicity, which is treated as tantamount to other aspects of their identities. BIPOC in food media are routinely not considered for assignments about things that don’t directly relate to their ethnicity or race. “I became a food writer 20 years ago when it was not really a profession,” says Ramin Ganeshram. “Yet, despite my qualifications as a reporter, editor, and chef, it was a losing fight to write anything that wasn’t ‘ethnic.’... I was discouraged and prevented from writing about generalized food technique or profiles, despite French culinary training.”

These assignments are often handed off to white writers, who are seen as “generalists” with the ability to stick their hands into any cuisine and turn it into something palatable (or, more importantly, into pageviews). Ganeshram says, “I was directly told regarding a job I didn’t receive at a New England-based national cooking magazine that they thought of me as more of an ‘ethnic’ writer.”

Instead, BIPOC get stuck with work directly related to their ethnicities. “I’m often asked to add a cultural slant even when one does not exist,” says food writer Su-Jit Lin, “or frame things from a point of greater expertise than I actually have. It’s assumed I’m fully indoctrinated into the culture and more Chinese than American (not true — my lane is actually Southern, Italian, and kind of Irish food).” Even when chefs push back against this compartmentalization, they are turned into caricatured ambassadors for their backgrounds. Chef (and Eater contributor) Jenny Dorsey wrote on Twitter that even though she demonstrated a dish on video that had nothing to do with her heritage, the result was ultimately titled “Jenny Dorsey talks about how her Chinese-American heritage influences her cooking.”

Often, the addition of a “cultural slant” to stories leads to one of the more egregious ways that nonwhite food is pigeonholed and othered — through what writer Isabel Quintero calls a lust for “Abuelita longing.” The term speaks to the way immigrant and diasporic writers (both within and outside food media) are frequently expected to add a dash of trauma or ancestral belonging to anything they write. As a Trinidadian-Iranian chef, Ganeshram finds this association particularly limiting. “When I’ve tried to write stories about my Iranian heritage, not being a recent Iranian immigrant or the child of a post-revolution immigrant has been an issue,” she says. “The editors I dealt with only wanted a refugee/escaping the Islamic Republic story. They decided what constituted an ‘authentic’ Iranian story, and that story was based in strife and hardship only.” These markers of authenticity can only come from the wholesome domesticity presumed of the ethnic other.

The extreme whiteness of the food industry, and of food media, places undue pressure on nonwhite writers and chefs. As food writer and founder of Whetstone Magazine, Stephen Satterfield wrote for Chefsfeed in 2017: “In mostly-white communities, you become an ambassador for your race. The stakes are high, and you try hard not to screw it up for the ones behind you…. Black chefs know this well: we must validate our presence, where others exist unquestioned. And what does it mean to be a black food writer? It means that you’ll never just be a food writer, you’ll be a black food writer.”

In other words, being designated as “ethnic” chefs put far too many BIPOC working in food media in a bind. Either they work against being pigeonholed by pitching stories that mark them as generalists, but lose out on assignments as a consequence, or they double down and tell stories of their culture and cuisine, but risk being limited both career- and compensation-wise.

Martinez was aware of this predicament while signing on to write a regional Mexican cookbook. “Writing a love letter to Mexico is so important in these times, but I had to seriously consider whether it would be a career-limiting move,” he says. He chose to write the book, but others, like Caroline Shin, food journalist and founder of the Cooking with Granny video and workshop series, have had to push against the expectation that anything they publish will be about their ethnic cuisine. “Last year, literary agents told me that I couldn’t sell diversity,” she says. “[I]f I wanted a cookbook, I should focus on my Korean culture.” While Shin chose to start her own program as what she calls an “‘I’ll show you’ to white-dominated institutions,” it raises the question of whether BIPOC in food media can taste mainstream success without operating as spokespeople for their ethnic cuisines.

But if you continue to pigeonhole and tokenize your BIPOC employees, seeing them primarily as products of trauma or perpetuating their marginalization by refusing them fair pay and workplace equity, then your calls to diversify the workplace mean very little, if anything at all.

Mallika Khanna is a graduate student in media who writes about film and digital culture, diaspora and immigrant experiences and the environment through a feminist, anti-capitalist lens. Nicole Medina is a Philly based illustrator who loves capturing adventure through her art using bold colors and patterns.

from Eater - All https://ift.tt/39Jaxcc https://ift.tt/3ffOn2G

White food writers are often allowed to be generalists, while BIPOC creators are limited to their personal histories, their cultures, and the foods their grandmothers made

In this age of the cook-turned-influencer, Bon Appétit’s video content found astonishing success by capitalizing on the colorful world of the quirky characters featured in its test kitchen. In many cases, the employees’ personalities were turned into their personal brands. This strategy, actively pursued by now-former editor-in-chief Adam Rapoport, piggybacked off an evolving relationship between audiences and celebrity chefs like Alison Roman, whose “authentic” lazy-girl cooking hacks jolted her into almost instant fame. Branding oneself as the creator of a viral dish (“the stew,” “the pasta”) or crafting an identity around a quirk or personality trait, all but eliminates the need for bona fide experts, allowing the internet-friendly celebrity chef to take their place.

But as the casual viewer noticed — and as stories about Bon Appétit’s corporate culture have revealed in recent weeks — it is almost always only white food writers, chefs, and recipe developers who get to adopt personas that go beyond their ethnicity. For every Brad Leone, who gets to be goofy and charming, for every Claire Saffitz, who becomes a sensation for being hyper-competitive and neurotically orderly, you have a Priya Krishna or a Rick Martinez, whose ethnicity, and the “expertise” in a certain cuisine that comes with it, is often framed as their most useful contribution to the team.

Martinez, former senior food editor and current BA contributor, was branded the “resident taco maestro” in the pages of the magazine, yet, as he recounted to Business Insider, then-deputy editor Andrew Knowlton asked if he was “a one-trick pony” for focusing on Mexican cuisine. Argentinian test kitchen manager Gaby Melian’s only solo video on YouTube is of her making her family’s empanada recipe. Fan favorite Sohla El-Waylly, who managed to veer out into more generalist territory with beloved recipes for dumplings, cinnamon buns, and even a carbonara dessert, started her career at BA talking about her riff on a family biryani recipe on the Bon Appétit Foodcast podcast and made an “updated” version of a Bengali snack, piyaju, for her first solo video. Even after expanding out of her “niche” and producing some of the channel’s most creative recipes, El-Waylly’s expertise was considered external to her identity, and — as she revealed in an Instagram story on June 8 — she was compensated as such. Other BIPOC (Black, Indigenous, and people of color) at BA, including contributing editor Priya Krishna and research director Joseph Hernandez, also spoke out against BA’s pay disparities and its pervasive racist culture that, as Business Insider wrote, “does not provide nonwhite employees the same opportunities on the brand’s video side that white employees enjoy.”

The feeling of being slotted into a niche is all too familiar for Martinez. “There’s this idea in food media that it’s somehow easier to cook the food of your culture because you grew up with it or that it’s a part of you,” Martinez tells me. “It completely discounts the skills that it takes to build a recipe for an American audience. To recreate or even create an homage to the original dish requires a lot of creativity, skill, and work.”

The recent changes at BA — Rapoport’s resignation, white BA staffers’ refusal to put out content until their BIPOC colleagues are paid fairly — are a start. Yet the simultaneous compartmentalizing and marginalization of BIPOC in food media goes far beyond one organization or one editor-in-chief. Allowing BIPOC to have more agency within the food media system will require reimagining the relationship white America has both to “other cuisines” and to the people who grew up on them.

There’s this perception in food media, which publications like Bon Appétit subscribe to and perpetuate, that all that nonwhite writers really want is to have their cultures represented “authentically.” But the premise of authenticity is rooted in a white gaze that selectively acquires aspects of nonwhite cultures to package as just exotic enough to remain accessible. In late June, the New York Times published a story about “Thai fruit” that frames common fruit in Thailand as foreign and difficult to understand. The week before, tofu was labeled “white, chewy, and bland” in a since-deleted tweet by Bloomberg Asia. And who can forget the infamous Bon Appétit pho fiasco, which called the Vietnamese dish “the new ramen” and enlisted a white chef to give a “PSA: This Is How You Should Be Eating Pho”? Stories like these serve as reminders that foods outside of whiteness are at odds with an imagined “American” readership, for whom these foods remain distant and other.

“Our white colleagues think that we are speaking out about representation or appropriation because we want to be seen as experts on the subject,” says travel and food writer Dan Q. Dao. “[But] what we are [really] fighting is a long battle for inclusivity and equity in our workplaces.”

“I’m often asked to add a cultural slant even when one does not exist.”

Those workplaces, it should be noted, are overwhelmingly white. In June, Leah Bhabha noted in a Grubstreet piece, citing a 2019 Diversity Baseline study, that 76 percent of all publishing industry professionals are white. “In my own experience, as a biracial Indian writer, I’ve never had more than one coworker of color on my team,” she wrote, “and frequently it’s just been me.” The social media age — and the branding pressures inherent within — exacerbates that experience. Social media allows for real-time feedback that makes creators accountable to an audience that often acts as ad hoc sensitivity readers for people writing about their own cultural backgrounds. Writer and chef Samin Nosrat recently tweeted her frustrations with that pressure: “Instead of criticizing the systems that refuse to allow for greater diversity and inclusion, desis, Iranians, whoever, just pile on individual cooks for our perceived failure to represent their ideal versions of their entire cuisines. (Or even more frustratingly, for failing to cook something *exactly* like maman did it back home. I am not your maman!)”

But as media writer Allegra Hobbs pointed out in October 2019, “in the age of Twitter and Instagram, an online presence, which is necessarily public and necessarily consumable, seems all but mandatory for a writer who reaches (or hopes to reach) a certain level of renown.” In curating this online presence, writers and other creators are often pushed to flatten themselves into an easily legible extension of their identity.

Like many, food writer and chef Lesley Téllez has struggled with the expectations that come with being Mexican in food media. “There’s more pressure on BIPOC to find a niche that makes us stand out,” she says. “Over and over, the faces who look like us are people who specialize in food from their particular countries or backgrounds. It sends an overt message that stepping out as a generalist is hard, and that you will not be hired as such. I have definitely felt pressure to keep non-Mexican-cooking stuff off of my social media, and my old blog.”

For all the claims organizations in food media have made of diversifying their rosters and cleaning up the more egregious offenses in their treatment of nonwhite writers, there is still an association between nonwhite writers and their ethnicity, which is treated as tantamount to other aspects of their identities. BIPOC in food media are routinely not considered for assignments about things that don’t directly relate to their ethnicity or race. “I became a food writer 20 years ago when it was not really a profession,” says Ramin Ganeshram. “Yet, despite my qualifications as a reporter, editor, and chef, it was a losing fight to write anything that wasn’t ‘ethnic.’... I was discouraged and prevented from writing about generalized food technique or profiles, despite French culinary training.”

These assignments are often handed off to white writers, who are seen as “generalists” with the ability to stick their hands into any cuisine and turn it into something palatable (or, more importantly, into pageviews). Ganeshram says, “I was directly told regarding a job I didn’t receive at a New England-based national cooking magazine that they thought of me as more of an ‘ethnic’ writer.”

Instead, BIPOC get stuck with work directly related to their ethnicities. “I’m often asked to add a cultural slant even when one does not exist,” says food writer Su-Jit Lin, “or frame things from a point of greater expertise than I actually have. It’s assumed I’m fully indoctrinated into the culture and more Chinese than American (not true — my lane is actually Southern, Italian, and kind of Irish food).” Even when chefs push back against this compartmentalization, they are turned into caricatured ambassadors for their backgrounds. Chef (and Eater contributor) Jenny Dorsey wrote on Twitter that even though she demonstrated a dish on video that had nothing to do with her heritage, the result was ultimately titled “Jenny Dorsey talks about how her Chinese-American heritage influences her cooking.”

Often, the addition of a “cultural slant” to stories leads to one of the more egregious ways that nonwhite food is pigeonholed and othered — through what writer Isabel Quintero calls a lust for “Abuelita longing.” The term speaks to the way immigrant and diasporic writers (both within and outside food media) are frequently expected to add a dash of trauma or ancestral belonging to anything they write. As a Trinidadian-Iranian chef, Ganeshram finds this association particularly limiting. “When I’ve tried to write stories about my Iranian heritage, not being a recent Iranian immigrant or the child of a post-revolution immigrant has been an issue,” she says. “The editors I dealt with only wanted a refugee/escaping the Islamic Republic story. They decided what constituted an ‘authentic’ Iranian story, and that story was based in strife and hardship only.” These markers of authenticity can only come from the wholesome domesticity presumed of the ethnic other.

The extreme whiteness of the food industry, and of food media, places undue pressure on nonwhite writers and chefs. As food writer and founder of Whetstone Magazine, Stephen Satterfield wrote for Chefsfeed in 2017: “In mostly-white communities, you become an ambassador for your race. The stakes are high, and you try hard not to screw it up for the ones behind you…. Black chefs know this well: we must validate our presence, where others exist unquestioned. And what does it mean to be a black food writer? It means that you’ll never just be a food writer, you’ll be a black food writer.”

In other words, being designated as “ethnic” chefs put far too many BIPOC working in food media in a bind. Either they work against being pigeonholed by pitching stories that mark them as generalists, but lose out on assignments as a consequence, or they double down and tell stories of their culture and cuisine, but risk being limited both career- and compensation-wise.

Martinez was aware of this predicament while signing on to write a regional Mexican cookbook. “Writing a love letter to Mexico is so important in these times, but I had to seriously consider whether it would be a career-limiting move,” he says. He chose to write the book, but others, like Caroline Shin, food journalist and founder of the Cooking with Granny video and workshop series, have had to push against the expectation that anything they publish will be about their ethnic cuisine. “Last year, literary agents told me that I couldn’t sell diversity,” she says. “[I]f I wanted a cookbook, I should focus on my Korean culture.” While Shin chose to start her own program as what she calls an “‘I’ll show you’ to white-dominated institutions,” it raises the question of whether BIPOC in food media can taste mainstream success without operating as spokespeople for their ethnic cuisines.

But if you continue to pigeonhole and tokenize your BIPOC employees, seeing them primarily as products of trauma or perpetuating their marginalization by refusing them fair pay and workplace equity, then your calls to diversify the workplace mean very little, if anything at all.

Mallika Khanna is a graduate student in media who writes about film and digital culture, diaspora and immigrant experiences and the environment through a feminist, anti-capitalist lens. Nicole Medina is a Philly based illustrator who loves capturing adventure through her art using bold colors and patterns.

from Eater - All https://ift.tt/39Jaxcc via Blogger https://ift.tt/3jV5hXH

[yogatipsyzcy795-blog]

The Most Innovative Things Happening With bigg boss salman khan 2018

From that point forward, Antara Biswas got viral in Bhojpuri movie industry. Monalisa is the emerge performing craftsman who worked with basically every Bhojpuri masters like Pawan Singh, Dinesh Lal Yadav and others. Monalisa is the principle Bhojpuri on-screen character who significantly sought after on the web. Till date she has done right around 30 thing melodies in films.

Life story

Mona Lisa was destined to a Bengali Hindu family in Kolkata, West Bengal, India. She embraced the stage name of Mona Lisa at the command of her uncle. She learned at Julien Day School in Elgin Road, south Kolkata, and moved on from Ashutosh College of the University of Calcutta, winning a BA degree in Sanskrit before beginning a couple of years back as a little time TV on-screen character and model in Oriya video collections. She acted in a few low spending movies before making her presentation in Bollywood with Blackmail, featuring Ajay Devgn and Suniel Shetty. She then acted and got evaluated in South Indian movies before coming to see through her part in Tauba inverse Amin Gazi. She acted in a Kannada film titled Jackpot. In 2010, The Hindu announced that Mona Lisa (alongside Rinku Ghosh) was the most looked for after performing artist in the Bhojpuri film industry.

Personal life

She wedded her Boy Friend Bhojpuri performing artist Vikrant Singh Rajput in the Bigg Boss house on January 17, 2017. She had a place with a white collar class family and finished her reviews in Kolkata as it were. Her folks totally upheld her while she stepped forward in the Bhojpuri business.

Career

Antara Biswas can be credited for the ascent of the Bhojpuri Industry in current years. Her Quality on-screen nearness is very valued by the gathering of people and has won a great many hearts. Other than acting, she is a spectacular artist too.

According to sources, Antara Biswas used to move to music tunes when she was only 3 years of age. She has given her devotion and love to move, and that is the reason now she can be alluded to as the substance of the Bhojpuri business.

Antara Biswas began her profession in the Telugu business, yet couldn't do much there. Indeed, even while seeking after her profession in the Bhojpuri business, she needed to confront colossal issues; it was extremely troublesome for her to procure a name there. At a certain point in time, all chances conflicted with her. She got to be distinctly baffled and was considering abandoning her vocation. Be that as it may, then out of the blue she stowed some hit movies in her record and after that there was no halting for her.

Acheivements

Mona Lisa has won numerous honors in the Bhojpuri Industry. Her main 3 films incorporate Bole Shankar who was discharged in 2008 and offered her a major reprieve, Ranbhoomi that turned out in 2009 and Devra Bhail Deewana which had hit the theaters in 2014. A great deal is normal from this rising genius of the Bhojpuri business.

Most controversial and squabble show on the Colors TV Channel is Bigg Boss season 11 which is having so many faces in the form of contestants or house inmates or participants of the show. Here we are going to tell you everything about the Bigg Boss 11 contestants who are currently maintaining their positions in this house. As we know, there is a lot of controversies, fight, disputes, and quarrel. So it's really very difficult to maintain a position in the house by getting viewers or fans or followers or audience votes and positive reviews.

Those strong contenders are as Hina Khan (the fame of high TRP Star Plus serial Yeh Rishta Kya Kehlata Hai or the contestants who have been counted in the top 3 in Khatron Ke Khiladi 2017), Arshi Khan (she is a model by profession and she is the same girl who has been made her TRP by involving Shahid Afridi, the Former Pakistan Cricketer), Hiten Tejwani (A television actor and a husband of Gauri Pradhan Tejwani), Akash Dadlani (a self-made man who is running his own business and he is a player too), Shilpa Shinde (she is a television actress who is a fame of AndTV Famous show Bhabhi Ji Ghar Par Hain), Vikas Gupta (he is a director by profession), Luv Tyagi (he is a commoner), Sapna Choudhary (Haryanavi Dancer), Puneesh Sharma (he is a commoner too), Bandgi Kalra, Priyank Sharma (he is a celebrity), and Benafsha Soonawalla. The show Bigg Boss 11 is getting popular day by day only because of these contestants. So just get ready to check out their details here below and especially that, how are they competing for the trophy of the Bigg Boss season 11.

Firstly, we can talk about the Hina Khan then she is being counted as the strongest contender in the Bigg Boss 11 house because her way to express her words, views, and to dominate a discussion make her a strong contender in the house. Although, she is already having a fame from her tv show Yeh Rishta Kya Kehlata Hai because she has played a role of Akshara there and she got a lot of popularity by her character. Apart from this, Shilpa Shinde is also giving a strong competition to Hina Khan. Vikas Gupta is also collecting a number of votes every time and stays in the house for winning a Bigg Boss 11 Winner trophy. Rest contestants are trying hard to compete with each other. Keep watching Bigg Boss 11 show on Colors TV gautam gulati bigg boss 8 romance Channel.

[political-affairs]

Ghulam Azam

Ghulam Azam (Bengali: গোলাম আযম; born. 7 November 1922) is a retired Bangladeshi Islamist political leader, and an alleged war criminal of the Bangladesh liberation war.[1][2] He was the Ameer of Jamaat-e-Islami Bangladesh until 2000.[3] Azam opposed the independence of Bangladesh during the 1971 Bangladesh Liberation War.[4][5]

As a leader of the Jamaat-e-Islami, he was a part of the controversial Peace or Shanti Committees which were formed at the time of the Liberation War alongside other pro-Pakistan Bengali leaders.[6] Azam is accused of forming paramilitary groups for the Pakistani Army, including Razakars, and Al-Badr.[7] These militias opposed the Mukti Bahini revolutionaries who fought for the independence of Bangladesh, and also stand accused of war crimes.[6][8][9][10] However, according to his Defence counsel, as a civilian he played no commanding role within the army and had no superior or command responsibility for any military groups.[11] Azam’s citizenship of Bangladesh had been cancelled by the Bangladeshi Government because of his subversive role during the Bangladesh Liberation War.[12] He lived in Bangladesh illegally without any authorized Bangladeshi visa from 1978 to 1994.[13][14]

Former caretaker government adviser, human rights activist and witness for the prosecution Sultana Kamal said- "In brutality, Ghulam Azam is synonymous with German ruler Hitler who had influential role in implementation and execution of genocide and ethnic cleansing".[15] In response to this statement the defense cousel pointed out that the comparison was a fallacy and 'fake with malicious intention' as Hitler held state power, which Ghulam Azam did not and that in 1971 General Tikka Khan and Yahya Khan held state power.[16]

On 11 January 2012, he was arrested on charges of committing war crimes during the Bangladesh Liberation War by the International Crimes Tribunal.[17][18] The tribunal rejected the plea of bail after noting that there were formal charges against Azam of which it had taken cognisance.[19][20][21][22]

Personal life

Background

Ghulam Azam was born in 7 November 1922 in Dhaka. His father was Golam Kabir and mother Sayeda Ashrafunnisa. He attended a Madrasa in his village of Birgaon (Comilla district) and completed his secondary school education in Dhaka. He went on to complete BA and MA degrees in Political Science at Dhaka University.[23]

Career

Role in Jamaat-e-Islaami

In 1954, Azam became influenced by the ideas of Syed Abul Ala Maududi. On 22 April 1954 he Joined to Jamaat-e-islami and drew end line to his involvement in Tableague-i-Jamat. He soon rose through the ranks of the party and became the General Secretary of Jamaat-i-Islaami in East Pakistan in 1957. In 1964, the Ayub Khan regime banned Jamaat-i-Islaami due to radical religious activities and Azam was arrested. He was kept in detention for eight months. In 1969, he became the Ameer (president) of the Jamaat in East Pakistan, a position he was going to keep until the 1971 Liberation war was over. He was also a participant in the formation of the Pakistan Democratic Alliance in 1967.[23] He was the leader of Jamaat-e-Islami Bangladesh until 2000.[24]

Bangladesh Liberation War

The 1970 elections

Together with leaders of a number of other parties in East Pakistan (including the Pakistan Democratic Party, National Awami Party, Jamiat Ulema-e-Islam and the Pakistan National League), Ghulam Azam protested at the Awami League approach to electioneering for the 1970 general elections in Pakistan, accusing them of breaking up public meetings, physical attacks on political opponents and the looting and destruction of party offices.[25] During 1970, while Azam was the head of Jamaat-i-Islami, a number of political rallies, including rallies of Jamaat-i-Islaami, were attacked by armed mobs alleged to be incited by the Awami League.[26][27]

Activities during 1971 War

During the Bangladesh Liberation War, Ghulam Azam took a political stance in support of unified Pakistan,[28] and repeatedly denounced Awami League and Mukti Bahini secessionists,[29] whose declared aim after 26 March 1971 became the establishment of an independent state of Bangladesh in place of East Pakistan. Excerpts from Azam's speeches after 25 March 1971 used to be published in the spokespaper of Jamaat named The Daily Sangram. On 20 June 1971, Azam reaffirmed his support for the Pakistani army by stating that 'the army has eradicated nearly all criminals of East Pakistan'.[29]

During the war of 1971, it is alleged that Azam played a central role in the formation of Peace Committees on 11 April 1971, which declared the independence movement to be a conspiracy hatched by India.[6][30] It is also alleged that Azam was one of the founding members of this organization.[6] The Peace Committee members were drawn from Azam's Jamaat-e-Islami, the Muslim League and Biharis.[31] The Peace Committee served as a front for the army, informing on the civil administration as well as the general public. They were also in charge of confiscating and redistribution of shops and lands from Hindu and pro-independence Bengalis, mainly relatives and friends of Mukti Bahini fighters. Almost 10 million Bangladeshis fled to neighboring India as refugees. The Shanti Committee has also been alleged to have recruited Razakars.[7] The first recruits included 96 Jamaat party members, who started training in an Ansar camp at Shahjahan Ali Road, Khulna.[32][33] During Azam's leadership of Jamaat-e-Islami, Ashraf Hossain, a leader of Jamaat's student wing Islami Chhatra Sangha, created the Al-Badr militia in Jamalpur District on 22 April 1971.[34] On April 12, 1971, Azam and Matiur Rahman Nizami led demonstrations denouncing the independence movement as an Indian conspiracy.[35]

During the war Azam traveled the then West Pakistan to consult the Pakistani leaders.[36] Azam declared that his party (Jamaat) is trying its best to curb the activities of pro-independence "Miscreants".[37] Azam took part in meetings with General Yahiya Khan, the military dictator of Pakistan, and other military leaders, to organize the campaign against Bangladeshi independence.[36]

On August 12, 1971, Azam declared in a statement published in the Daily Sangram that "the supporters of the so-called Bangladesh Movement are the enemies of Islam, Pakistan, and Muslims".[38] He also called for an all out war against India.[39]

Azam is also alleged to be the chief protagonist and to present the blueprint of the killing of the intellectuals in a meeting with Rao Forman Ali in Early September 1971.[40] In accordance with this blue print, the largest number of Bengali intellectuals assassinations performed by Pakistani Army and the local collaborators, on December 14, 1971.

Allegations

On June 20, 1971, Azam declared in Lahore that the Hindu minority in East Pakistan, under the leadership of Sheikh Mujibur Rahman, are conspiring to secede from Pakistan.[41] On August 12, 1971, Azam declared in a statement published in the Daily Sangram that "the supporters of the so-called Bangladesh Movement are the enemies of Islam, Pakistan, and Muslims".[42] For his part, Azam denies all such accusation and challenges that proof be brought forward to justify them.[43] However, he later admitted that he was on the list of collaborators of the Pakistani army, but denied he was a war criminal.[30]

The military junta of Yahya Khan decided to call an election in an attempt to legitimise themselves. On October 12, 1971 Yahya Khan declared that an election will be held from November 25 to December 9. Ghulam Azam decided to take part in this election. On October 15, the Pakistani government suddenly declared that 15 candidates were elected without any competition. According to the declaration of November 2 as many as 53 candidates were elected without any competition.[44] In this election Jamaat won 14 of the uncontested seats.[45]

A human rights worker Sultana Kamal said- "In brutality, Ghulam Azam is synonymous with German ruler Hitler who had influential role in implementation and execution of genocide and ethnic cleansing".[15] Prosecutor of ICT Zead-Al-Malum said- “He was the one making all the decisions, why would he need to be on any committee? Being Hitler was enough for Hitler in World War II.”[46]

However, New York Times reported in 1992 that Azam left East Pakistan in 1970 due to his opposition to the independence movement.[47]

Anti-Bangladesh Lobbying after 1971

After the victory of the Joint forces of the Indian Army and Mukti Bahini over Pakistan on 16 December 1971 a new nation named Bangladesh was born. Azam continued his anti-Bangladesh and pro-Pakistan activities even after 1971. He tried to convince many political leaders of Middle-East and Pakistan not to support the new born nation. A complete description of these lobbies are found in the writings of Dhaka University Professor Anisuzzaman.[13] Mr. Anisuzzaman submitted all the allegations against Golam Azam to the People's Court in 1992. People's Court was established as a mass movement to try war criminals and anti-independence activists by Jahanara Imam and others. Jahanara Imam held this unprecedented Peoples' Court as a symbolic trial of Ghulam Azam where thousands of people gathered and the court gave verdict that Azam's offences committed during the Liberation War deserve capital punishment.[48]

According to Prothom Alo, three intellectuals submitted allegations of war crimes against Ghulam Azam. The activities regarading Bengali culture were submitted by Syed Shamsul Huq, alleged war crimes during 1971 were detailed by Borhanuddin Khan Jahangir and his pro-Pakistan lobbying after 1971 was detailed by Anisuzzaman.[13] Notable pro-Pakistan lobbying of Ghulam Azam after 1971 are as follows:[13]

After the liberation of Bangladesh Azam, staying in Pakistan, created an organization named Purbo Pakistan Punoruddhar Committee (East Pakistan Revival Committee) along with anti-Bangladesh activists like Mahmud Ali. Azam tried to strengthen the international movement to re-establish East Pakistan. Accordingly he kept claiming himself as the Ameer of East Pakistan Jamaat-e-Islami many years after the elimination of East Pakistan.

In 1972, Azam formed Purbo Pakistan Punoruddhar Committee in London and conspired with others to replace Bangladesh with East Pakistan. In 1973, he lectured against Bangladesh in the annual conference of Federation of Students' Islamic Societies held in Manchester and conference of UK Islamic Commission held in Lester. In 1974, he arranged a meeting of Purbo Pakistan Punoruddhar Committee with Pakistanis like Mahmud Ali. As they had already failed to establish a Pakistan within Bangladesh, they decided to lead their movement towards the formation of a confederation combining Bangladesh and Pakistan. In this meeting Azam explained the necessity of working for the movement within Bangladesh though it was a bit risky then. In, 1977 in a meeting held in the Holy Trinity Church College, Azam expressed it again. He came to Bangladesh in 1978 with a Pakistani passport and Bangladeshi visa only to make his dream of Pakistan-Bangladesh confederation come true.

Ghulam Azam participated in the International Islamic Youth Conference held in Riyad in 1972 and begged the help of all Muslim countries to re-establish East Pakistan. From 1973 to 1976 he met Saudi King seven times and asked him not to acknowledge Bangladesh and never to help this country by any means. He lectured against Bangladesh again in the international conference arranged by Rabeta-e-Alam Al-Islami in Mecca in 1974 and at King Abdul Aziz University in 1977.

Azam lobbyied against the acknowledgment of new born Bangladesh in the conference of Foreign ministers of the Muslim countries held in Bengazi in 1973. In the same year he lectured in the Islamic Youth Conference held in Tripoli which was clearly against the independence and sovereignty of Bangladesh.

In 1973 Ghulam Azam urged everybody to participate in the movement of combining Bangladesh with Pakistan in the annual conference of Muslim Students' Association of America and Canada held at Michigan State University.

Azam lectured against Bangladesh again in 1977, in the international conference of Islamic Federation of Students' Organizations held at Istanbul.[13]

Rehabilitation in independent Bangladesh

In 1978 Azam returned to Bangladesh on a temporary visa with a Pakistani passport.[citation needed] But he had been living in Bangladesh from 1978 to 1994 as a Pakistani national without any valid visa to stay in Bangladesh, refusing to leave a country he considered his home by birth-right.[13][14]

Ghulam Azam announced his retirement from active politics in late 2000. He was succeeded by Motiur Rahman Nizami.[3]

Arrest and incarceration

On 11 January 2012, Ghulam Azam was arrested on charges of committing crimes against humanity and peace, genocide and war crimes in 1971 by the International Crimes Tribunal. His petition for bail was rejected by the ICT, and he was sent to Dhaka Central Jail. However, after three hours he was sent to Bangabandhu Sheikh Mujib Medical University (BSMMU) hospital for a medical check-up due to his old age. According to the Daily Star, Azam was allowed to remain in a hospital prison cell despite being declared fit for trial by a medical team on 15 January.[49][50] The same paper later acknowledged that he had been placed there due to his "ailing condition".[51]

Azam's health has deteriorated rapidly since being imprisoned.[52] His wife, Syeda Afifa Azam was reported in several newspapers as being shocked at his treatment, stating that he has become very weak and has lost 3 kilograms in a month due to malnutrition.[29] She described his treatment as "a gross violation of human rights" even though he was kept in a hospital prison cell.[53][54]

Azam's wife complains about him being denied proper family visits and access to books, saying that this amounted to "mental torture".[55] The Daily Star reported that Azam's wife and his counsels were allowed to meet him on 18 February.[56] On 25 February 2012, The Daily Star reported that Azam's nephew was denied a visit at the last minute just as he was about to enter the hospital prison room. This is despite the application for the visit being initially approved.[57]

Islamic activists from different countries expressed their concern for Mr. Azam. The International Union of Muslim Scholars, chaired by Yusuf al-Qaradawi called the arrest "disgraceful", and called on the Bangladesh government to release him immediately, stating that "the charge of Professor Ghulam Azam and his fellow scholars and Islamic activists of committing war crimes more than forty years ago is irrational and cannot be accepted".[58]

The judicial process under which Azam is on trial has been criticised by international organisations such as the United Nations, Human Rights Watch and Amnesty International.[59][60][61] So far, the ICT has sentenced two of the accused to death and has given a life sentence to another.

The International war crimes tribunal of Bangladesh will deliver its verdict in the trial of Ghulam Azam on 15th July, 2013.[62]

[axomlive]

Hemen Das | Actor, Writer, Critic, Stage and Film Director

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Hemen Das | Actor, Writer, Critic, Stage and Film Director

Mr. Hemen Das is a well known Actor, Writer, Critic, Stage and Film Director. He received the National Cine Award Rajat Kamal for his feature film Jooj (The fight) in 1990. In 2016, his feature film ‘Mriganabhi’ (Musk) got the Best Actress Award (Prastuti Parasar) in 6th Dada Saheb Falke International Film Festivals and the Best Music Director (Tarali Sarma) in Prag Cine Award. Also he got the Silpi Pension and Literary Award from the Government of Assam.

He was a Jury Member for the National Film Award as well as for the Indian Panorama for the Feature and Non-feature category, also the Critics Jury for the 13th International Children’s Film Festival, India.

He was an Ex-Board Member of Central Board of Film Certifications, an Executive Council and General Body Member of Children’s Film Society, India. He is contributing literary, cultural and thought provoking articles in English and Vernacular dailies, periodicals and journals of the State of Assam. His published book Natya Silpa, Pom Khedi, Cinema Cinema, Abhinay, Akonihat- Cinema Nriman Koro Aha, Chalachitrar Prasangat and compailation of books Xilpachinta based on Drama, Acting and Film art art considered to be more significant.

Noted Artiste-Litterateur Hemen Das (Date of Birth : November 1, 1946)

  Mr. Hemen Das is a well known Actor, Writer, Critic, Social-Worker, Theatre person and National Award Winning Film Director.

His debut Feature Film Junj (the fight) received the Rajat Kamal National Cine Award in 1990 for which he wrote the story, screenplay & dialogue, besides directing it. The film was praised for portraying the earthy realism in the field of social differences with conviction. He made Gorakheeya (Cowherd) in 1993, as children’s film based on cowherd’s life who gather knowledge and education from the nature. It was followed by a Tele Film Ahatgurir Natun Baat in 1995 based on the idea of a revolution to set free the new generation from the clutches of blind faith and social exploitation. He also directed the Documentary Marriage Ritual of the Tribes of Arunachal Pradesh and a Video film Dr. Saran’s e-HRD Model for based on Stress Management.

After 22 years back his debut feature film ‘Mriganabhi’ (Musk) focursses on the angst of a deprived woman. In 2016 the film Mriganabhi got the Best Actress Award (Prastuti Parasar) in 6th Dada Saheb Falke International Film Festival, the Best Music Director (Tarali Sarma) in Prag Cine Award in 2016 and Best Supporting Actor (Rajib Goswami) in Ro’dali Cine Award, 2017.

He is contributing literary, cultural and thought provoking articles in dailies, periodicals and journals in the State of Assam. In addition, with the knowledge of Drama Art he wrote two books i.e. Natya Silpa & Pom Khedi; with the knowledge of Acting he wrote the book Abhinay and with the knowledge of Film Art he wrote three books i.e. Cinema Cinema, Akonihot- Cinema Nirman Koro Aha, Chalachitror Prasangat and Compailation of books Xilpachinta which is rare and more significant towards his credit. These books have got wide popularity among the readers- particularly Art-lovers and up-coming Artists. Two of his stage play Ekhan Shanti Yuddhor Babe (for a peaceful war) and Kalpataru are also to be more significant. He was an only delegate from Assam for 3rd National Theatre Festival, Kolkata in 1986.

In 1997, the Bharatiya Dalit Sahitya Academy, India conferred him with Dr. Ambedkar Fellowship Award for his contribution to Arts, Literature and Society, and he is being given Silpi Pension (2010) and Literary Award (2012) from Government of Assam. Also he got the Life Time Achievement Award from the Sanskritik Mahashabha, Assam, 2012.

He was a Jury Member for the National Film Awards as well as for the Indian Panorama in 2002 and for the Non-feature category in 2008. He was also on the Critics Jury for 13th International Children Film Festival, India in 2003 and was a Jury at the State Film Award Festival of Assam 2005.

He was an Ex-Board Member of Central Board of Film Certifications, Government of India and Ex-Executive Council & General Body Member of the Children’s Film Society of India. He was on the Panel of Experts for viva-voce test at Satyajit Ray Film & Television Institute, Kolkata, and for selection of Books for the State Library Service, Assam. Also he was a Member of the Script Committee, NFDC, Govt. of India & Member of the Selection Committee for the artist pension, Govt. of Assam

He got retired from Assam Secretariat Service in 2004. He had been also the Regional Coordinator (NE), RITES Ltd., Government of India in 2007-2008 & 2010. He is a Chief Patron of B. Das Memorial Trust.

  PERSONAL PROFILE :

Father’s Name:  Late Bagasing Das Mother’s Name:  Late Dharmeswari Das Place of Birth:  Ahatguri, Morigaon (Assam) Education: Completed college Education under Gauhati University Nationality:  Indian Religion:  Hinduism Marital Status:  Married Language Proficiency :  Assamese, English, Hindi, Bengali Service Status:  Retired from Secretariat Service,  Government of Assam

  CAREER MILESTONES

  Rajat kamal the National Cine Award, 1990 for the Film JUNJ (the fight) portraying the earthy realism in the field of Social differences with conviction.

Silpi Pension from Government of Assam, 2010.

Literary Award from Government of Assam, 2012.

Dr. Ambedkar Fellowship Award, 1997 from Bharatiya Dalit Sahitya Academy for contributions to the art, literature & society.

Best Actress Award in ‘Mriganabhi’ (Prastuti Parasar) in 6th Dada Saheb Falke International Film Festivals, 2016, focuses on the angst of a deprived woman.

Best Music Director Award in ‘Mriganabhi’ (Tarali Sarma) in Prag Cine Award, 2016.

Best Supporting Actor (Rajib Goswami) in Ro’dali Cine Award- 2017.

Life time Achievement Award from Sanskritik Mahashabha, Asom 2012.

Best Actor & Best Director Award at Morigaon Circle Full-length Drama Competition, 1978.

3rd Best Script Award at Bhikhari Thakur Drama Festival, Ara (Bihar), 2003 for the drama Ekhon Shanti Yuddhar Babe.

  DRAMA ART AND HEMEN DAS

  ACTING IN DRAMA

Ankiya Nat :

Rukmini Haran | Parijat Haran | Ram Banabash | Bhisma Parba Bakasur Badh | Dakhya Jagya | Bali Badh, etc.

(in female character only)

Jatra Nat

Dukhiyar Jiyari | Manik Mala | Rakhya Kumar | Konouj Kouwari | Sakunir Pratishodh | Sirajuddaula | Raja Harischandra etc.

(in female character only)

  Adhunik (Modern) Nat :

Ba-maroli | Bimuson | Urukha Poja | Ahatgurir Natun Baat | Swakhyar | Jorowruwa Poraja | Baro-Ghanta | Janmantor | Achami Iswar Hajir | Emuthi Chaul | Bor Manuhor Dola | Swapna Juddha | Mrityunjoy | Bhutai Deka | Pathorughator Ran | Magribor Aajan | Akhon Shanti Yuddhar Babe | Piyoli Phukan etc.

  At Directorate of Cultural Affairs :-

Sakari Inspector l Bhogjora l Janma (as guest artist)

  At All India Drama Competition :-

Swakhyar (Ahmedabad, 1972) | Aami Swapnatur (Delhi, 1975) | Aachami Iswar Hajir (Bhopal 1976), |Bor Manuhor Dola (Delhi 1977), | Sakari Inspector (Delhi 1977, Kolkata 1978) | Magribor Aajan (Delhi, 1979) | Ahatgurir Natun Baat (Jaipur, 1984).

  Radio Nat :

Ahatgurir Natun Baat | Angulimala | Rupahi Ma’am | Prakash | Dhanantori | Godapani-Joymati | Panipath | Bidarva Kanya | Khemi | Xunpahir Chokulu (Serial) | Ankur | Juiye Pura Xun | Rai | Propanchatantra | Rupohi Mahilar Abhinoy | Sandesh | Proloy | Fehujali | Gadadhar Konwar | Biswashe Miloy Hari | Bhutor Mukhot Ram Nam | Ulai Ah | Byadhor Chor | Nirmal Bhakat | Dakhol | Rukmini Haran etc.

Tele Nat :

Bhoot aaru Bahroni

  DIRECTION IN DRAMA :

Ankita Nat :

Dakhya Yagya (On modern stage with female artists in female character, 1976)

Jatra Nat :

Manik Mala l Rakhya Kumar l Sakunir Pratisodh l Raja Harischandra

Adhunik (Modern) Nat :

Ba-maroli | Urukha poja | Swakhyor | Baro-Ghanta | Ahatgurir Natun Baat | Swapna Yuddha | Bimochan | Chiraj | Achami Iswar Hajir | Mogribor Aajan | Emuthi Chaul | Bormanuhor Dola etc.

  DRAMA WRITING :

Ekhon Shanti Yuddhar Babe (For a War of Peace based on the fallout of a War)

Kalpataru (A fabulous free based on the ideology and teaching of renowned Vaishnava Guru Shri Sankardeva)

DELEGATE :

3rd National Theatre Festival, Kolkata-1986 (only delegate from Assam)

  FILM ART AND HEMEN DAS

ACTING IN FILM :

Feature Film

Ashray (Directed by Dulal Roy) | Kanaklata (Directed by Kuntala Deka) | Junj (Directed by Self) | Pani (Directed by Prafulla Saikia) | Itihas (Directed by Dr. Bhabendra Nath Saikia) | Jatinga Ityadi (Directed by Sanjib Sabhapandit) | Dikchow Banat Palaax (Directed by Sanjit Sabhapandit) | Mriganabhi (Directed by Self)

  Tele Drama :

Bhoot aaru Bahroni (Directed by Dulal Roy)

Tele Film :

Ahatgurir Natun Baat (Directed by Self)

Mega Tele-serial (Hindi)

Mrityunjoy (Directed by Charu Kamal Hazarika)

  DIRECTION IN FILM :

Feature Film :

Junj (The Fight) : Attempting to portray with conviction the earthy realism in the field of social differences, 1990 | Gorokhiya (Cowherd) : About cowherd’s life who gather knowledge and education from the Nature, 1993 | Mriganabhi (Musk) : Focusses on the angst of a deprived woman.

Tele-Film :

Ahatgurir Natun Baat : Based on the idea of a revolution to set fee the new generation from the clutches of blind faith and social exploitation, 1995.

Documentary :

Marriage ritual of the tribes of Arunachal Pradesh.

Video Film :

Dr. Saran’s e- HRD Model for Leadership creativity and stress management.

JURY :

National Jury :

Feature Film Section of 49th National Film Award, 2002.

Indian Panorama Jury :

Feature Film Section of Indian Panorama, 2002

Short Film Section of Indian Panorama, 2008

International Jury :

Critics Jury of 13th International Children’s Film Festival, 2003

State Jury :

Feature Film Section of Assam State Film Awards, 2005

Regional Jury (Eastern) :

Feature Film for the 60th National Film Awards, 2012.

  Chairman :

North East Indian Ethnic Documentary Film Festivals Awards, 2010

Panel of Experty :

Ex-Panel of Expert for the Viva-Voice test at Satyajit Ray Film and Television Institute, Kolkata, 2001-2006

Life Member :

Guwahati Cine Club.

  HEMEN DAS AS AUTHOR

Natya Silpa – Theory Book of Drama Art.

Pomkhedi – Acting, Literature and Culture etc.

Abhinay – Stage, Film, Mime and Magic Acting etc.

Cinema Cinema : Film Study

Akanihat, Cinema Nirman Karu Aha : Study on Children’s curiosity to know how a cinema is made.

Chalachitrar Pasangat : Important articles on Film Art.

Xilpachinta : Compilation of books. (Published by Asom Prakashan Parisad – 2013)

ARTICLE WRITER HEMEN DAS :

Writings on Drama Art :

Need for study on drama | Ankiya Bhaona and mother language Bhaona | National Theature and a Modern Sankardev | Dramatic art and society | Drama and Cinema | From Stage to Cinema | Moscow Art Theatre | Democratic Fighter, dramatist Arthur Miler | Clifford Odates who established as a dramatist himself overnight in American theatre | Chekhov’s dramatic achievement | Oldvick theatre |��Pirandello’s art consciousness | Bernard Shaw and intellectualism in drama | Epoch making dramatist Henrik Ibsen | Brecht and his theatre | Pisquetor and Brecht | Berliner Ensemble and Brecht’s Philosophy | Famous dramatists Albi and Hunchberry | America’s first class dramatist Tenessy Williams | Expressionist dramatist Elmar Rice and Lawson | Striendberg a dramatist of Spiritual conflict | Lorka– greatest Spanish Poetic Dramatist of 20th Century | Dramatist Arthur Pinero | Thought of God in modern drama | Life- a source of drama | Path breaker of English theatre – Gallsworthy | World famous playwright William Shakespeare

Writings on Film Art :

Our films, their films | Mirroring Realities | Film for the young | Life of pi – the urge for keeping alive | Ekhan Nedekha Nadir Sipare – a film with cinematic language and elements. | Shakespeare in Cinema | Example of a Responsible Director – film Kadam Tale Krishna Nache | National Identify and Indian Cinema | The Jugglery of Bollywood Films | Sex and violence in Films | The Smita Enigma | Drama and Film | Novels vs Film | In search of Film Criticism | Film and Individual – Anthropology, Aesthetics in Film | Society and Film | The Basis of Film Criticism | Problems of Regional Film in Assam and their solution | Indian Regional Films and their Development | On completion of platinum Jubilee of Assamese Cinema | The role of Film Journalism | Development of India Talkie Film and its quality | Film Art and the Role of Government | Need of Cinema in Society | Bhumika – a symbol of severe blow | Hiroshima Mon Omur – a film on separation and union | Oka Uri Kotha – symbol of an exploited society | Education on Film

  Other Writings :

On the issue of oil refinery (Sodhanagar Prasanga) | The birth place of Bezboroa (Bezboroar Janmasthan) | Cultural icon Jyoti Prasad (Sanskritir Pujari Jyotiprasad) | Government and art and culture (Sarkar Aru Kala Sanskriti) | On the issue of Kalakshetra (Ekhon Achani- Sankardev Kalakshetra) | It is high time to separate Cachar (Cachar Prithak Karar Eyei Upajukta Samay) | On the track of acting (1st to 9th volume) (Abhinayar Pom Khedi) |  In search of Devadashi system (Devadashi Prathar Pom Khedi) | Cultural life of Guwahati City- latest situation and characteristics, (Guwahati Mahanagarir Sanskritik Jivan- Sehatiya Charitra and Baisistyas) |  Live in the midst of people (Janashaktir Majat Jiyai Thakok) | Context : Language of literature (Prasanga : Sahityar Bhasa) | Context : Birth place of Lakshminath Bezbaroa (Prasanga : Lakshminath Bezbaroar Janmasthan) | All art is created from the urge of own heart (Sakalo silpai prathame nijar babe aru hridayar tagidatei sristi hoi), Bihu dance, song and festival- what is it really (Bihu nritya, geet aru utsav- Achalate ki?) | Our beautiful village (Suwani Amar Gaonkhoni) | Memorable incident of my life (Mor Jivanar Smaraniya Ghatana) | Sankardev Art University needed (Sankardev Kala Viswavidyalayar Prayujan) |  Remembering a source of inspiration- Amulya Kakoti (Anupreronar Utsa Amulya Kakotik Sunwari) | What I wanted to be (Moi Ki Habo Bicharichilo) |  Dinning Hall, Decline of Sankari Philosophy in the Satra institutions, Fake drama in construction of capital at Guwahati (Guwahatit Rajdhani Nirmanar Bheko Bhaona) |  What Assam has got from Dr. Bhupen Hazarika (Dr. Bhupen Hazarikar Pora Asome Ki Pale) | Who will gain from Bhupen Hazarika’s Rajya Sabha membership (Bhupen Hazarikai Rajya Sabha Pale Labhoban Hobo kon) | On Dr. Bhupen Hazarika (Bhupen Hazarika Prasanga) | Where was Hazarika when Assam needed (Asome Bichorar Samayat Kot Achil Bhupen Hazarika) | Advani’s Bharat Uday Yatra (Advanir Bharat Uday Yatra) | How to coexist with floods (Banpanir Lagat Kenekoi Sahawasthan Koribo Pari) | Those who still support Prafulla Mahanta (Jisakale Etiyao Prafulla Mahantak Samarthan Kare) | Will the computer scheme succeed (Computer Achani Safal Hobone?) | Revolution can never be a drama (Biplab Ketiyao Natak Nohai) | Cancer in Assam politics (Asamar Rajnitit Cancer) | A few thoughts on an anti-national politician (Jatidrohi Rajnitik Ejanor Bisaye Jatkinchit) | Studious person Sarat Chandra Sinha (Adhyayansil Byakti Sarat Chandra Sinha) | In search of a healthy employment policy (Sustha Niyog Nitir Pom Khedi) | Problem of unemployment (Karmasansthanar Samashya) | Recognition of the birth place of Sahityarathi Bezbaroa and memorial (Sahityarathi Bezbaroar Janmasthanar Swikriti and Smritisoudh) | Role of artists in society (Samajat Silpir Bhumika) | Death of Padum Barua was not normal (Padum Baruar Mrityu Swabhavik Nohoi) | Kalpataru (Drama) l Capital should be moved to another site to save Guwahati (Guwahatik Raksha Koriboloi Hole Rajdhani Sthanantarit Koribo Lage) | Mizoram begins war against drugs which is more dangerous than terrorism (Santrasbadotkoio Bhayanak Madak Drabyar Biruddhe Juddhat Abatirna Hol Mizoram) | Unification of regionalism does not suit  Prafulla Mahanta’s speech (Anchalikatabador Ekatrikaran Prafulla Mahantar Mukhot Sobha Napai) | Instead of deporting foreigners agitation shoule have been launched for a tribal State (Bideshi Khedar Thait Janajati Rajyar Andolanhe Hobo Lagichil) | Another death of Jyotiprasad Agarwalla (Jyoti Prasad Agarwallar Anya Ek Mrityu) | In pursuance of separatism (Bichinnatabador Jer Tani) | AGP has lost another chance (Agapai Anya Eta Sujog Heruwale) | Floods have come again (Banpani Akou Ahiboi) | Criticism of art and literature (Silpa Sahityar Samalochana) | Mobile Theatre suffers from fear of the future (Bhabishyatar Sankatat Bhugiche Bhramyaman Theatre) | Another Death of Jyotiprasad agarwalla imminent (Jyoti Prasad Agarwallar Anya Ek Mrityu Asanna) | Present situation of Guwahati : Capital Responsible (Guwahatir Bartaman Awastha : Dayee Rajdhanikhon) | Legal Aid to Terrorists (Santrasbadiloi Aini Sahajya) | Large River Dam and Bullet train (Brihat Nadibandh Aru Bullet Train) | Culture and Sankardev (Sanskriti Aru Sankardev) | Another historic blunder of AGP (Agapar Anya Ek Aitihasik Bhool) | Kalpana Lajmi has no right to disrespect the people of Assam (Asombashik Apaman Korar Adhikar Kalpana Lajmir Nai) | Magh Bihu and buffalo fight (Magh Bihu aru Mohjooj) | For whose interest agitation for regionalism (Anchalikatabad Andolane Kar Swartha Puran Kariche) | On the issue of conscience vote (Prasanga : Bibek Vote) | Did Akhil’s shoutings bear fruit? (Akhilar Chiyar-Bakhor Kamat Ahilne?) | Truth of art (Silpasatya), Reality (Bastav) | Sense of life in the midst of confusion (Bibhrantir Majat Jibanbodh) | Taste (Ruchibodh) | Artificial tension (Kritrim Uttejana) | Problem of life (Jivanar Samashya) | Impact of art (Silpar Prabhab) | Man may be ashamed of his own creation (Nijar Sristir Karaneo Manuh Lajjit Hobo Loga Hoi) | Culture and Sankardev (Sanskriti Aru Sankardev) | Noble artiste (Mohan Silpi) | Bhupenda and a few remembrance (Bhupenda Aru Tukura Smriti) l Nobody can rescue Guwahati from artificial floods (Kritrim Banor Pora Guwahatik Koneo Uddhar Karibo Noare) | In company of Mamoni Baideu (Mamoni Baideur Sanniddhayare) | On Bhupen Hazarika’s Memorial Column (Bhupen Hazarikar Samadhi Soudhar Prasangat) | My 18 years in ‘Agradoor’ (Agradootat Mor Othara Bachar) | Sankardev Award (Sankardev Bota) | On G.S. Road episode (G.S. Road Kandar Jer Tani) | Mirroring Realities, On separate Bodoland (Prithak Bodolandor Jer Tani) | Social Science- Main Base of Criticism (Samalochanar Mool Bhitti Samaj Vigyan) | Remembering Dr. Bhupen Hazarika on birth day (Janmadinat Dr. Bhupen Hazarikak Suwanricho) | On tribal status (Janajatikaranar Jer Tani) | Heritage in creation of art and literature (Silpa Sahitya Sristit Aitijya) | Controversy on Srimanta Sankardev Award (Srimanta Sankardev Bota Bitarka) | Floods in Guwahati (Guwahatir Ban) | Let the flag of regionalism fly in Assam as in Jharkhand (Asomar Anchalikatabador dhwaja Jharkhandar dore Uruwak) | AGP is not a regional party, but a Local political party only (Agapa Anchalik Dal Nohoi, e eta sthania rajnaitik dalhe) | Music of ‘Jooj’- Khagen Mahanta, Ramen Choudhury (Joojar sangeet- Khagen Mahanta, Ramen Choudhury) | On artiste pension (Silpi pension sandarbhat) | On Guwahati’s transport system (Guwahatir paribahan byabasthar Jer Tani) | Buffalo fight- One of the traditional customs of Assam (Asamor oitijyapurna kristisamuhar anyatam Moh Jooj) | Guwahati city and transport system (Guwahati Mahanagari aru paribahan byabastha). It was my mistake to make Mriganabhi (Musk) now.

Mr Das has been writing here and there since 1970 but the writings of his initial stages could not be preserved due to ignorance of the importance of preservation. However, the articles mentioned above have been published from time to time in different journals and periodicals of Assam. Itis also mention that, his writing is still going on.

IN OTHERS

Life Member :

Guwahati Senior Citizen Association

Member :

Preliminary & State Selection Committee for Award of Artist Pension, 2013 and 2014, Govt. of Assam.

Participant :

Bhart Ekatma Jatra

(From Kasturba Gandhi’s Samadhi, Pune to Mahatma Gandhi Samadhi, Delhi, 1984)

Panel of Expert :

Ex-Panel Expert for Selection of Books for the State Library Service, Assam.

Inaugurator :

Cultural Night of biennial Session of Asom Lekhika Sanstha, 6th January, 2007, Tingkhang.

 Cultural Rally of 5th Special Annual Dakhinpat Session of Asom Sahitya Sabha, 11th March, 2008.

Regional Coordinator (NE) RITES Ltd.

Total Transport System Study, by Planning Commission, Govt. of India, 2007-2008.

Feasibility Study for a Regional Transport Aircraft Facilitation of Traffic Surveys, 2010 by National Aerospace Laboratories (NAL)

Practitioner (Non Professional) :

Homeopathic System of Medicine, Regd. No. 1805.

Chief Patron :

Bagasing Das Memorial Trust, Ahatguri, Morigaon, Assam.

  IN ORGANIZATIONAL CONTRIBUTIONS

At Ahatguri (Birth place)

Anchalik Sarboday Puthibharal | Anchalik Yuvak Sangha | Agradoor Natya Samaj | Lakhiminath Bezbaruah Girl’s M.E. & High School | Anchalik Rangali Bihu Utsav Samittee | Sankardev Krishti Kanan | Anchalik Moh Jooj Samittee | Anchalik Shakha Sahitya Sabha | Anchalik Auditorium | Establish of Sahityarathi Lakhminath Bezbaruah statue, etc.

At Shillong (Service place)

Ramdhenu Silpi Samaj | Rupalim Sangha | Uronia Sangha | Bongiya Sahitya Parishad | Assam Sachivalaya Sports & Cultural Organization, etc.

At Guwahati (Service place)

Natshala | Pragati Silpi Sangha | Rajdhani Alochana Chakra | Rajdhani Cine Society | Rajdhani Namghar | Lekhok Manch, Asom | Takhya Shilla, Asom, etc.

  Some facts about Hemen Das

Govardhan Panchal— reputed cultural researcher of India and founder faculty of Rastriya Natya Vidyalaya and a commentator of Natya Sashtra of India- Dhiren Das came to Assam in the year 1986 and visited the Satras of Assam for doing research at the invitation of the Govt. of Assam. The Cultural Affairs Department of Assam entrusted Hemen Das to guide them. They smoothly completed their research work. After returning to Ahmedabad Govardhan Panchatji sent a letter to then Chief Minister of Assam Prafulla Kumar Mahanta as a gesture of gratitude on 28-11-1986. In this letter he mentioned highly of Hemen Das in these words- “… give us an escort and guide in Mr. Hemen Das who made our trip to Majuli and planned the tour so well, but he himself got deeply interested in “Ankiya Nat” and said that in future he would like to make a thorough study whenever he had the opportunity and facility to do so.” Another famous drama historian M.L. Varadapande visited the Satras of Assam in 1987 under the sponsorship of the Cultural Affairs Department of Assam. This time also Hemen Das was assigned the responsibility of helping him. After completing his study based visit without any hitch he wrote a letter to then Chief Minister Prafulla Kumar Mahanta in which he mentioned about Hemen Das in this manner— Resourceful Shri Hemen Das acted as our eyes and ears and explained to us the nuance of Assamese culture. With the help I could film a Television Programme and made recording which I will use for my Radio Talk.

It is regrettable that Chief Minister Mahanta did not recognize Hemen Das and being busy with making Assam a golden one forgot even to acknowledge the letters of these two honourable personalities.

An employee of Assam Secretariat Hemen Das made a film titled ‘JUNJ’ (The fight) based on buffalo fight reflecting the state’s cultural heritage. In 1990, this film received national film award ‘Rajat Kamal’. Thus he brought laurels not only to the government and its employees, but to Assam as well. At that time Assam was under President’s rule. Reverred Loknath Mishra was the Governor and K.N. Prasad was the Adviser to the Governor of Assam. The employees of the Secretariat including the then Chief Secretary Haren Das arranged the felicitation meeting, which was held at the auditorium of Janata Bhawan and presided by Nirmal Prava Bordoloi, the then preisent of Assam Sahitya Sabha, where Hemen Das was felicitated by Hon’ble Governor L.N. Mishra and Chief Advisor K.N. Prasad was present in the Meeting. Election to Assam Assembly was held at the end of President’s rule and Hiteswar Saikia was elected as the Chief Minister. After returning to his home state Bihar K.N. Prasad sent a letter to the Chief Minister describing his experience where he referred to Hemen Das like this ‘… Shri Hemen Das who was awarded “Rajat Kamal” for 1990 in an artist of Assam. He has brought credit to the State and therefore, deserves fullest encouragement. We were thinking of providing him a suitable post in the Department of Information and Public Relation. Give an opportunity, I have no doubt that he would do full justice to any assignment which is required to project the image of Assam through the medium of films. I would, therefore, be grateful you kindly consider him for a suitable job.” Hiteswar Saikia completely ignored the decision taken by the Government during the President’s Rule and appointed Nipon Goswami to the post of Film Officer lying vacant in the Information & Public Relations Department. In this case the role of an Assamese IAS Officer was quite regrettable. However Hemen Das retired from the same post of a clerk and leaving the Secretariat complex at Dispur walked back to the residence silently. It is very unfortunate that not to speak of the Secretariat, even the staff of his own Department had not organized a formal farewell for a person who had brought glory to the state by bagging the Rajat Kamal National Award. Had it happened in an another state such a person would have been posted in a suitable job for the benefit of the state. It is hard to conceive why there is lack of goodwill on the part of the authorities concerned in such cases.

A prominent stage director of the country, Sangeet Natak Akademi Awardee and the president of Asom Natya Sanmilan Dulal Roy commented on Hemen Das in 1986 like this ‘… Apart from his economic base profession Shri Hemen Das is associated with various cultural activities including his active association with the Directorate of Cultural Affairs, Assam. He is an established actor and also has proficiency in stage Direction. He has the rare quality of leadership in organising various cultural programmes. He possesses a genuine artistic instinct which has menifested in his socio-cultural activities. Shri Das has also assisted me with full devotion in my self directed film ‘ASHRAY’. In a recently telecast T.V. play, under my direction Shri Das has offered satisifactory peformance.

The winner of Sahitya Akademi Award, Sangeet Natak Akademi Award, Asom Sahitya Sabha Award (Drama), Swami Sankaracharya National Award (Literature), former President of Asom Natya Sanmilan, Padmashree Arun Sarma said about Hemen Das in this way ‘… Shri Hemen Das is a theatre actor of great repute. He has also directed a number of difficult plays drawing acclaims from audience and press reviews in each of his productions. A number of his theatre productions have been outside the State with great success. Shri Das has to his credit a number of books namely Naty Silpa, Pom Khedi and Abhinaya, all related to the art of theatre. He is a regular contributor to important language magazine and news-paper supplements, on subjects dealing with theatre and dramaturgy. Shri Das is very closely associated with various socio-cultural organizations working for the development of the society.’

The founder and Chief Editor of ‘Agradoot’, President of North Eastern Newspaper Association, former President of Asom Sahitya Sabha, Sreemanta Sankardev Award winner Kanak Sen Deka has this to say about Hemen Das “… Shri Hemen Das has written ‘Natya Silpa’ and ‘Pom Khedi’ with his experience in dramatic art since his childhood, ‘Cinema Cinema’, ‘Akanihat— Cenema Nirman Karu Aha’ and ‘Chalachitra Pasangat’ with experience of film knowledge in acting as he has been associated with stage since his childhood. Indeed, instances are very rare of a person to write on all the three art forms. These books are a very valuable contribution to the filed of art and literature in Assam. Moreover, Shri Das has been writing on different subjects, including the burning issues of Assam in various journals and newspapers. These articles have been appreicated well by the readers. It needs not mention that Shri Das is a renowned Actor, writer, critic, social-worker, stage Artist and National Cine Award winning Film Director. Shri Das has been ascoaited with various socio-cultural organisation of the State of Assam.

In 1991 Kolkata Book Fair was held from January 30 to February 10. The main theme of the Book Fair was Assam. Besides Assam Pavilion four Assamese films were screened at famous Nandan Cinema Hall in association with the Govt. of Assam. These films included ‘Sandhyarag’ by Dr. Bhabendra Nath Saikia, ‘Tathapio Nadi’ by Hemanta Das, ‘Uttar Kaal’ by Abdul Majid and ‘Junj’ by Hemen Das. ‘Junj’ was screened at 3 p.m. on February 2. The audience included Goutam Ghosh, Dr. Bhupen Hazarika, Dr. Mamoni Raysom Goswami, father of noted actor Victor Banerjee, retired major S.N. Benarjee among others. ‘Junj’ impressed the audience very much and after the end of the show everyone praised Hemen Das profusely. Even later S.N. Banerjee wrote a letter to Hemen Das on February 4, 1991 where he said- “… The film JUNJ (The fight) is superb and it is one of its own kind. The true life of the Rural Area of Assam has been marvelously depicted where I spent more than three decades of my life. A very realistic one.

We would look forward to see more of this type of film so that, people not only in India but abroad would know the beautiful life of our Rural Villages.

If possible, I would suggest that an English version of the film may be made so that, people in Spain and others would realize that Bull & Buffalow fight could be done without the help of any Red cloth.”

The former Chief Minister of Assam and leader of the people Sarat Chandra Sinha was so impressed with the book ‘Pom Khedi’ written by Hemen Das that he sent a letter to him where he stated-

“The book ‘Pom Khedi’ written by you was sent to me as a gesture of love. I read the book thoroughly. The book written after studying different aspects of the Vedas, culture, literature, scriptures, Natya Sastra etc. is very informative and full of facts. I have come to know various hitherto unknown facts.

The chapter on Devadashi was brilliantly portrayed. Glimpses of nationalist thoughts are reflected in the discussions on art and literature. The theoretical discussion on acting and Natya Sastra is very interesting. There are many things to learn. I respect your creative thoughts. There is no end to quest. Let your quest become successful.

Reading the book ‘Silpa Chinta’ written by Hemen Das and published by Assam Publication Board in the year 2013 one of the leading intellectuals of the country Dr. Hiren Gohain wrote an article in ‘Axomiya Khabar’ on 28th July, 2014. He said- “…Most of the audience who witnessed the film ‘Junj’ made by Hemen Das must admit that unlike other Assamese films this film is entirely free from artificial and melodramatically moments, yet emotions and feelings are boldly reflected in an artistic manner in the film. With his experience in drama and cinema and depth study the director of the film wrote an informative and thoughtful hand book for the benefit of the students of drama and cinema and the artistes as well. Though the Assamese rendering of some of the technical words is not so ripe overall the book is interesting and of good taste. In a nutshell he provides some facts on famous works of art as well as artistes. I congratulate Hemen Das.

An eminent drama historian of the country, Sangeet Natak Akademi Lifetime Achievement Award winner, receipient of Tagore Akademi Sanman Honour and Sreemanta Sankardev Award winner in 2016 M.L. Varadapande sent a letter to the Chief Minister of Assam, Mr. Sarbananda Sonowal where he mentioned about Hemen Das. He wrote- “…1987, when I was invited by Department of Cultural Affairs, Government of Assam and toured extensively in various Satras, Namghars and some other folk cultural hubs of Assam. The Cultural Affairs Department highly deputed to us resourceful Shri Hemen Das who acted as our eyes and ears and explained to us the nuance of Assamese culture. With his direction I could record in video a full length Ankiya Naat, Ojapali and Deodhani Nitya. These were telecast for the first time by Doordarshan in National Network with legendary classical dance artist Sonal Mansingh as its anchor.

Shri Hemen Das is doyen of traditional and modern Assamese art, literature and culture. He is a performing artist par excellence and master of dramatic art and craft. He has written several articles and books on the art and craft of theatrical performances. His books such as Natya Xilpa, Pam Khedi, Abhinay- speaks of his crudition, profound scholarship and stage experience.

He has acted in more than seventy traditional Assamese drama forms such as Ankiya Naat, Jatra Naat and Modern Naat. He has directed number of dramatic performance, traditional as well as modern in State and National Level. He stand awarded for his acting and directional ventures.

His knowledge of these form is virtually encyclopedic and number of prominent scholars from all over India as Gobardhan Panchal (Ahmedabad), Dhiren Das (Orissa) seeked his guidance while conducting their research. Shri Das deserves all accolades, honours and praise from State and National Government. He is genius.”]

From these facts collected from different sources it can be surmised that Hemen Das is a publicity shy, non-glamorous, silent worker. The contributions of Hemen Das to the creative field, be it drama, cinema, literature and society are invaluable and of high standard. Even as a person he has a well accepted and bright image. I think the elite society will agree with me in this respect.

  Edited by-

Hemanta Kumar Bharali (Noted journalist-litterateur)

[jasminemaiacalland-blog]

ESSAY

‘The Influence of Akram Khan in Contemporary Dance’

“As a contemporary dancer I am a bit more masculine and animalistic,” he says, “but when I do kathak I am shifting between femininity and masculinity because somehow the form itself gives you permission to be androgynous, to move between yin and yang.”1

Contemporary dance is an ever-changing, malleable form of dance designed to break preconceptions of what dance ‘should be’. Prior to the introduction of Akram Khan, there had never been before seen a fusion of traditional Bangladeshi Khatak within contemporary dance; Khan changed this. Moreover, he allowed an entirely new form of expressionism where he built an artistic link between cultural differences. The quote above epitomizes the new freedom he has created within the 21st century, to not only fuse culture, but also to fuse new qualities within oneself as a dancer that previously has been ignored.

“He’s bridging the gap between Asian and Western culture. Coming from a Caribbean heritage, Khan in my training made me realise that other cultures makes contemporary dance what it is; an accumulation of a person’s being.”2

Khan: A Background

Akram Khan was born in London in 1974 to a family of duel-heritage, Bangladeshi and British. Growing up, Khan was made aware of his cultural roots and at the age of three he would dance at Mela, an outdoor Indian festival. Khan admitted:

"I didn't want to, because nobody would sit and watch. People were talking and my mother said 'if you can win this audience, this is the test'. That's where I learnt the most."3

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1 Sarah Crompton, Friday 8th January 2016, I’m Terrified My Body Will Give In, The Guardian 2 Harriet Macauley, Thursday 4th May 2017, Interview conducted with (contemporary dancer previously worked with Khan) 3 Christina Patterson, Friday 6th November 2009, Akram Khan: ‘You Have To Become a Warrior’

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Khan admits upon later work, Zero Degrees that his dual-heritage gave him the perception of never entirely belonging; the inbuilt ‘winning over’ an audience from such a young age, it could be considered he was attempting to make UK citizens aware of apart of himself- his Bangladeshi culture. What is more, it could be suggested he was already trying to break boundaries. At the age of seven his mother enrolled him in traditional Bengali folk dancing classes from celebrated Khatak teacher- Sri Pratap Pawar. By the age of 18, he became Pawar’s disciple and displayed his debut solo recital (Manch Pravesh) in London.

“The guru-disciple relationship is special. Ravi Shankar explains; the student learns all the process of life which relates to the art form also”4

Khan received an Aditi Scholarship for Higher Training in Kathak and was awarded the Senior Diploma (First Division), Prayag Sangeet Samati, in 1994, by the Dance Board of India.

‘Kathak today retains its courtly qualities of well mannered formality while emphasizing incisive percussive attack, lyrical fluidity and a sense of calm control.’5

Performance was a quality that naturally resided in Khan, however. He was brought up with notable opportunities that exposed himself to the Arts from a very young age; perhaps why he feels so comfortable to expose raw qualities and anecdotes in his works today in front of large audiences. Moreover, allowing an audience to properly understand two juxtaposing cultures in his works and see how it has enveloped his style. For example, at the age of 10 he achieved his first professional role touring in The Adventures of Mowgli. Furthermore, as a teenager he spent two years in Peter Brook’s play, The Mahabharata. His role as a storyteller within his younger years can most certainly be transmitted into his works as a dancer where he fuses historical Kathak arm gestures to tell stories enigmatically but in a way that is applied to his 21st century adventures. Moreover, this epitomizes the genius mind behind Khan as he uses the best of old to create remarkable new.

In 1994, Khan enrolled at De Montfort University to study a BA (Hons) Performing Arts (Dance) degree to which he had his first experience of both contemporary and ballet techniques. His first contemporary class at De Montfort left him perplexed so

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4 Willis, March 2001, Akram Khan, Dancing Times 5 Lorna Sanders, 1st August 2012, Akram Khan's Rush: Creative Insights

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he watched a video of DV8’s Strange Fish; “I was shocked – but in a positive way. I thought it fascinating.” After a two-year period there, he transferred to Northern School of Contemporary dance, after being enthralled by the genre; he went onto graduate with the highest marks in performance ever recorded, exemplifying his natural take to the stage. Thus, he added classical ballet, Cunningham, Alexander, release based techniques, contact improvisation and physical theatre to his dance repertoire, thus allowing the sophisticated freedom to explore two styles. Arguably, if it was not for his constant yearning for knowledge and perfection in the two, originally thought to be juxtaposing styles, Khan’s success may have not been as heard. Ultimately, Khan became the best at what he trained in. What is more, by doing so he made history in dance and culture to which no one could question.

The Development of Khan

“I believe he to be so successful as he has the ability to perform both solo works and have the ability to produce works on ballet companies, such as Ballet China. Not many choreographers have the ability to perform their own work.’ 6

Immediately after completion of his degree, Khan began the experimentation between a collaboration of contemporary and traditional Kathak dance that had never been before seen, first of all, on himself. The inextricable link between dance styles was formed and boundaries were pushed. It was undeniable, the exuberance yet powerful technique he had behind his works embodied his belief that the collaboration of styles worked. In 1995, ‘Loose in Flight’ was debuted and the imminent feedback was praise as he first divulged in “loosening the bolts”7 of Kathak’s rules that was transmitted by the fluidity of contemporary. Mesmerised by what had been produced, critics roared the upmost praise for this new found fusion, such as: “tension exploding into ... liquid eloquence ... balanced by ... cool aplomb”8

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6 Harriet Macauley, Thursday 4th May 2017, Interview conducted with (contemporary dancer previously worked with Khan) 7 ibid 8 Hale, Oct 2002, Akram Khan, QEH, www.ballet.co.uk

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and “he is extraordinarily present in performance ...his ... arms define distances like Blake’s drawing of God measuring the universe”9.

Not only did Khan allow dance, as an art form, a new means of expression but also through the microcosm of his movement he allowed the audience the macrocosm of rich Bangladeshi heritage. It should be dually noted that throughout Khan’s career, and still today, he never focuses on the same element of Kathak yet continues to broaden his own horizons on the interlocking of the styles; hence why his work still remains so significantly current. Many of his first solo work and group pieces show development of not only stylistic features, but also Khan becoming more aware of recognizing the significance behind the dexterity of each movement.

‘Loose in Flight’ gained a Jerwood Choreography Award that allowed him the opportunity to create ‘Fix’. Here he first experimented with external components to complement his movement- the lighting design by Michael Hulls that opened an entirely new pathway to take his art.

Collaboration

As Khan’s career progressed he used this tool of fusion and applied it to other aspects of theatre that allowed new levels of sophistication to his work that can be most notably distinguished within his work ‘Zero Degrees’ (2005). Not only did he collaborate with unexpected dance partner Sidi Larbi Cherkaoui, who both distinctly juxtapose with their approach to dance, but also he took this opportunity to experiment with sculptor Antony Gormley.

‘For me the point of a collaboration is that every participant should be taken to a place where they couldn't have gone on their own. If my ideas end up having been integrated into the dance that will be great. I will have gone the furthest distance of all from what anyone expected.’10

The beauty behind a work such as ‘Zero Degrees’ is that no element of the piece comfortably coincided, however the contrast that Khan created was a beautiful new way in that 21st Century could perceive both traditional and modern dance. From an

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9 Parry, May 6, 2001, First Class Air Male, The Observer 10 Antony Gormley by Judith Mackrel, July 2005, Opposites Attract, The Guardian

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outside perspective, he is not just advocate for modern dance but also community cohesion. He choreographed traditional Kathak movement upon Cherkaoui, completely out of his normal repertoire thus suggesting of cohesion between cultures once more. What is more, this all the while experimenting with a dummy cast of himself to tell a story of what it is like to be someone from duel-heritage displaying how art itself can be integrated into one another; mesmerizing madness. The innovative nature behind Khan is that he always remains true to his roots, while all the more finding beautiful new ways to present it to an audience.

Conclusion

Akram Khan is a catalyst in contemporary dance as he did not just allow the fusion of two styles to come together, but his influence on the industry allowed dancers to realize their unique differences is what should be used to their advantage. Khan on stage has a distinct quality that has been developed through his own life experiences, hence making him like no other. What is more, Khan does not just have the courage to show his unique choreographic style, but also to place it on himself in which is an extremely bold step for not any choreographer, but as a dancer as well; he encourages a regimented industry to take risks. Thus far, the risks have been extremely successful and through his influence, the industry should be so lucky to see someone as influential again.

[easyfoodnetwork]

White food writers are often allowed to be generalists, while BIPOC creators are limited to their personal histories, their cultures, and the foods their grandmothers made In this age of the cook-turned-influencer, Bon Appétit’s video content found astonishing success by capitalizing on the colorful world of the quirky characters featured in its test kitchen. In many cases, the employees’ personalities were turned into their personal brands. This strategy, actively pursued by now-former editor-in-chief Adam Rapoport, piggybacked off an evolving relationship between audiences and celebrity chefs like Alison Roman, whose “authentic” lazy-girl cooking hacks jolted her into almost instant fame. Branding oneself as the creator of a viral dish (“the stew,” “the pasta”) or crafting an identity around a quirk or personality trait, all but eliminates the need for bona fide experts, allowing the internet-friendly celebrity chef to take their place. But as the casual viewer noticed — and as stories about Bon Appétit’s corporate culture have revealed in recent weeks — it is almost always only white food writers, chefs, and recipe developers who get to adopt personas that go beyond their ethnicity. For every Brad Leone, who gets to be goofy and charming, for every Claire Saffitz, who becomes a sensation for being hyper-competitive and neurotically orderly, you have a Priya Krishna or a Rick Martinez, whose ethnicity, and the “expertise” in a certain cuisine that comes with it, is often framed as their most useful contribution to the team. Martinez, former senior food editor and current BA contributor, was branded the “resident taco maestro” in the pages of the magazine, yet, as he recounted to Business Insider, then-deputy editor Andrew Knowlton asked if he was “a one-trick pony” for focusing on Mexican cuisine. Argentinian test kitchen manager Gaby Melian’s only solo video on YouTube is of her making her family’s empanada recipe. Fan favorite Sohla El-Waylly, who managed to veer out into more generalist territory with beloved recipes for dumplings, cinnamon buns, and even a carbonara dessert, started her career at BA talking about her riff on a family biryani recipe on the Bon Appétit Foodcast podcast and made an “updated” version of a Bengali snack, piyaju, for her first solo video. Even after expanding out of her “niche” and producing some of the channel’s most creative recipes, El-Waylly’s expertise was considered external to her identity, and — as she revealed in an Instagram story on June 8 — she was compensated as such. Other BIPOC (Black, Indigenous, and people of color) at BA, including contributing editor Priya Krishna and research director Joseph Hernandez, also spoke out against BA’s pay disparities and its pervasive racist culture that, as Business Insider wrote, “does not provide nonwhite employees the same opportunities on the brand’s video side that white employees enjoy.” The feeling of being slotted into a niche is all too familiar for Martinez. “There’s this idea in food media that it’s somehow easier to cook the food of your culture because you grew up with it or that it’s a part of you,” Martinez tells me. “It completely discounts the skills that it takes to build a recipe for an American audience. To recreate or even create an homage to the original dish requires a lot of creativity, skill, and work.” The recent changes at BA — Rapoport’s resignation, white BA staffers’ refusal to put out content until their BIPOC colleagues are paid fairly — are a start. Yet the simultaneous compartmentalizing and marginalization of BIPOC in food media goes far beyond one organization or one editor-in-chief. Allowing BIPOC to have more agency within the food media system will require reimagining the relationship white America has both to “other cuisines” and to the people who grew up on them. There’s this perception in food media, which publications like Bon Appétit subscribe to and perpetuate, that all that nonwhite writers really want is to have their cultures represented “authentically.” But the premise of authenticity is rooted in a white gaze that selectively acquires aspects of nonwhite cultures to package as just exotic enough to remain accessible. In late June, the New York Times published a story about “Thai fruit” that frames common fruit in Thailand as foreign and difficult to understand. The week before, tofu was labeled “white, chewy, and bland” in a since-deleted tweet by Bloomberg Asia. And who can forget the infamous Bon Appétit pho fiasco, which called the Vietnamese dish “the new ramen” and enlisted a white chef to give a “PSA: This Is How You Should Be Eating Pho”? Stories like these serve as reminders that foods outside of whiteness are at odds with an imagined “American” readership, for whom these foods remain distant and other. “Our white colleagues think that we are speaking out about representation or appropriation because we want to be seen as experts on the subject,” says travel and food writer Dan Q. Dao. “[But] what we are [really] fighting is a long battle for inclusivity and equity in our workplaces.” “I’m often asked to add a cultural slant even when one does not exist.” Those workplaces, it should be noted, are overwhelmingly white. In June, Leah Bhabha noted in a Grubstreet piece, citing a 2019 Diversity Baseline study, that 76 percent of all publishing industry professionals are white. “In my own experience, as a biracial Indian writer, I’ve never had more than one coworker of color on my team,” she wrote, “and frequently it’s just been me.” The social media age — and the branding pressures inherent within — exacerbates that experience. Social media allows for real-time feedback that makes creators accountable to an audience that often acts as ad hoc sensitivity readers for people writing about their own cultural backgrounds. Writer and chef Samin Nosrat recently tweeted her frustrations with that pressure: “Instead of criticizing the systems that refuse to allow for greater diversity and inclusion, desis, Iranians, whoever, just pile on individual cooks for our perceived failure to represent their ideal versions of their entire cuisines. (Or even more frustratingly, for failing to cook something *exactly* like maman did it back home. I am not your maman!)” But as media writer Allegra Hobbs pointed out in October 2019, “in the age of Twitter and Instagram, an online presence, which is necessarily public and necessarily consumable, seems all but mandatory for a writer who reaches (or hopes to reach) a certain level of renown.” In curating this online presence, writers and other creators are often pushed to flatten themselves into an easily legible extension of their identity. Like many, food writer and chef Lesley Téllez has struggled with the expectations that come with being Mexican in food media. “There’s more pressure on BIPOC to find a niche that makes us stand out,” she says. “Over and over, the faces who look like us are people who specialize in food from their particular countries or backgrounds. It sends an overt message that stepping out as a generalist is hard, and that you will not be hired as such. I have definitely felt pressure to keep non-Mexican-cooking stuff off of my social media, and my old blog.” For all the claims organizations in food media have made of diversifying their rosters and cleaning up the more egregious offenses in their treatment of nonwhite writers, there is still an association between nonwhite writers and their ethnicity, which is treated as tantamount to other aspects of their identities. BIPOC in food media are routinely not considered for assignments about things that don’t directly relate to their ethnicity or race. “I became a food writer 20 years ago when it was not really a profession,” says Ramin Ganeshram. “Yet, despite my qualifications as a reporter, editor, and chef, it was a losing fight to write anything that wasn’t ‘ethnic.’... I was discouraged and prevented from writing about generalized food technique or profiles, despite French culinary training.” These assignments are often handed off to white writers, who are seen as “generalists” with the ability to stick their hands into any cuisine and turn it into something palatable (or, more importantly, into pageviews). Ganeshram says, “I was directly told regarding a job I didn’t receive at a New England-based national cooking magazine that they thought of me as more of an ‘ethnic’ writer.” Instead, BIPOC get stuck with work directly related to their ethnicities. “I’m often asked to add a cultural slant even when one does not exist,” says food writer Su-Jit Lin, “or frame things from a point of greater expertise than I actually have. It’s assumed I’m fully indoctrinated into the culture and more Chinese than American (not true — my lane is actually Southern, Italian, and kind of Irish food).” Even when chefs push back against this compartmentalization, they are turned into caricatured ambassadors for their backgrounds. Chef (and Eater contributor) Jenny Dorsey wrote on Twitter that even though she demonstrated a dish on video that had nothing to do with her heritage, the result was ultimately titled “Jenny Dorsey talks about how her Chinese-American heritage influences her cooking.” Often, the addition of a “cultural slant” to stories leads to one of the more egregious ways that nonwhite food is pigeonholed and othered — through what writer Isabel Quintero calls a lust for “Abuelita longing.” The term speaks to the way immigrant and diasporic writers (both within and outside food media) are frequently expected to add a dash of trauma or ancestral belonging to anything they write. As a Trinidadian-Iranian chef, Ganeshram finds this association particularly limiting. “When I’ve tried to write stories about my Iranian heritage, not being a recent Iranian immigrant or the child of a post-revolution immigrant has been an issue,” she says. “The editors I dealt with only wanted a refugee/escaping the Islamic Republic story. They decided what constituted an ‘authentic’ Iranian story, and that story was based in strife and hardship only.” These markers of authenticity can only come from the wholesome domesticity presumed of the ethnic other. The extreme whiteness of the food industry, and of food media, places undue pressure on nonwhite writers and chefs. As food writer and founder of Whetstone Magazine, Stephen Satterfield wrote for Chefsfeed in 2017: “In mostly-white communities, you become an ambassador for your race. The stakes are high, and you try hard not to screw it up for the ones behind you…. Black chefs know this well: we must validate our presence, where others exist unquestioned. And what does it mean to be a black food writer? It means that you’ll never just be a food writer, you’ll be a black food writer.” In other words, being designated as “ethnic” chefs put far too many BIPOC working in food media in a bind. Either they work against being pigeonholed by pitching stories that mark them as generalists, but lose out on assignments as a consequence, or they double down and tell stories of their culture and cuisine, but risk being limited both career- and compensation-wise. Martinez was aware of this predicament while signing on to write a regional Mexican cookbook. “Writing a love letter to Mexico is so important in these times, but I had to seriously consider whether it would be a career-limiting move,” he says. He chose to write the book, but others, like Caroline Shin, food journalist and founder of the Cooking with Granny video and workshop series, have had to push against the expectation that anything they publish will be about their ethnic cuisine. “Last year, literary agents told me that I couldn’t sell diversity,” she says. “[I]f I wanted a cookbook, I should focus on my Korean culture.” While Shin chose to start her own program as what she calls an “‘I’ll show you’ to white-dominated institutions,” it raises the question of whether BIPOC in food media can taste mainstream success without operating as spokespeople for their ethnic cuisines. But if you continue to pigeonhole and tokenize your BIPOC employees, seeing them primarily as products of trauma or perpetuating their marginalization by refusing them fair pay and workplace equity, then your calls to diversify the workplace mean very little, if anything at all. Mallika Khanna is a graduate student in media who writes about film and digital culture, diaspora and immigrant experiences and the environment through a feminist, anti-capitalist lens. Nicole Medina is a Philly based illustrator who loves capturing adventure through her art using bold colors and patterns. from Eater - All https://ift.tt/39Jaxcc

http://easyfoodnetwork.blogspot.com/2020/07/it-was-losing-fight-to-write-anything.html