Bright Days

The bright days that we had

Are past us, a new world awaits

I have no expectations, I ask no more

But then how glorious it would be

To have a few more

I want to see more of you

There are times when I miss

And then times when I desire

Sometimes feels like fire

I have things to share

For which chocolates do not suffice

I am scared and scarred

Of these games of cat and mice

The new world calls me

To break the ice

I find solace in the sky

Feels like your gaze

I find discomfort even

Disappointment in my own place

Dreams fulfilled aren't a substitute

When desires subside

Even though i have

I fall short and miserably so

I need those few more

The moments we had are now past us

A do ask for more - let's call it a show

And have a few more

-Arpit Kumar

B.A. (Hons.) English; I Year

(written on - June 7 , 2009)

Panel Discussion on the Future of Theatre in India

The Literary Society organised an interactive panel discussion on the future of theatre in India on the 19th of November, 2009. The panel included Mr. Arvind Gaur, Founder, ASMITA; Ms. Misha Singh, Director, Black Cow Company and Ms. Kaustubhi Shukla, Member, Lakshya, Kamla Nehru College.

The discussion began with Ms. Shukla, who shared the motif of theatre in the university. She expressed her concern over the stereotypical approach towards theatre; theatre motivated by clichéd social causes like child labour and dowry. Theatre working with these issues is best suited to the form of street theatre – which, she believed, has become too monotonous. At the same time, she did not downplay these issues at all but stressed on the need to present them in a more entertaining manner. Being a final year student, she also shared her fears and doubts regarding working outside the support system of college life as a theatre professional.

Ms. Singh carried the discussion forward by delving into the problems faced by new-age theatre houses. She gave examples from her own experience, of how it was difficult to first get sponsors and then audiences for a production as hilarious as the Black Cow Company’s ‘Complete Works of William Shakespeare’. Lack of adequate sponsorship forces many a theatre house to transfer the burden on entry tickets, which then discourages people from buying them. A way out of this, she suggested, would be for people themselves to come forward and proactively demand their school/college/municipal authority to provide better infrastructure for theatres on a local level.

Finally, Mr. Gaur changed the flow of the discussion by making a passionate case for not just the survival but the growth of theatre in the twenty-first century. Critiquing the repressive cultural policies of the State, he argued that it was because of the confinement of theatre within elitist academic institutions that theatre is perceived as a dying art form. He drew attention to long-standing theatre groups like his own, ASMITA, which function completely outside the ambit of government or corporate sponsorship. Mass appeal and support, he said, should be the focus of any theatre group for it is through these alone that theatre can bring about changes in society. In this context, he opined, campus theatre has an important role in nurturing holistic individuals better equipped to engage with society.

The seminar concluded with a question-answer session after which each of the panelists summed up their opinions on the topic. The unanimous verdict: in spite of setbacks, theatre is still very much alive and full of transformative potential.

Music in Context

Music is an integral part of social life and social interaction. Having this idea in mind, the Literary Society, Ramjas College decided to hold a two day seminar, Music in Context on the 22nd and 23rd of October, 2009. Incorporating various genres of music, some members of the society made presentations on the type of music that appealed to them and its larger social connotations.

On the first day, proceedings began with Anubhav Pradhan and Rhea Srivastava making a presentation on the Bollywood music of the 1950’s and 60’s. Their presentation made the Natya Shastra’s theory of the ‘Navarasa’ the basis of exploring emotion in this genre of music. They supplemented the evolution and transition of music during this era by showing clips of the songs they had chosen for investigation. The next presentation of the day was made by Mihir Kumar Jha on contemporary Bollywood music. Picking up recent songs such as ‘Jiggy Wiggy’, ‘Tinka Tinka’, ‘Haddipa’ etc, Mihir tried to explore why these songs have such a huge following.

The second day started with a presentation by Ammu Sanyal on western folk music, ranging from the 1960's to the 80's, with special reference to Bob Dylan, Neil Young and Leonard Cohen. She focussed upon the story-like quality of this music, which is embedded with various social reflections and messages, and the centrality of lyrics in it. Abhimanyu Pandey introduced the audience to the music of the Tibetan flutist Nawang Khechog, while also explaining this musician’s contribution to the contemporary Tibetan society and to world music at large. The third presentation of the day was by Isha Banerjee, who spoke on the development of Goth Music in the 1980s. She gave a multimedia Power-Point presentation to demonstrate the 'gloomy, melancholic nature of the genre' and its focus on the darker side of the human psyche. The final presentation of the day and for the seminar was made by Kriti Sharma and Arpit Kumar on the Rock Music of the 1980's and its various sub-genres. The two elaborated upon the evolution of Rock with a sociological analysis of representative songs from its various sub-genres.

The seminar ended with a vote of thanks by the society’s president, Anubhav Pradhan, to all the participants, volunteers and the audience.

There's no point of reference

(Written, 18th August, 2009: inspired by a dream on the night before)

*

There's no point of reference

no sense of presence

only absolute darkness;

I am ruptured, floating

without any structure,

the darkness is cold and soothing

it reminds of the sweet winters

and then there's the white snow

trickling down so slow;

falling into a heap

as if making a snowman by itself,

after the motion was arrested

i don't know for how long

there was no time to know;

a slice of snow withered

off the heap ,as if unvealing a statue

so white and magnifique,

This withered snow undid the darkness

painting this canvas - white with one stroke

and so the statue broke

broke its silence

defying stone by delicate wings

like a butterfly out of cocoon

wings white , white o my fairy white

she whirled and tempted me

ruptured , floating , i followed

She brought with her dense white clouds

she sat on them sensuously

her white gown barely covering her chest

and one leg hanging down

and the other fixed under her thighs

the cloud flew over a path

structured like a rainbow

just no colors , white again

the only other colour

of her skin

her clinched fist opened

like a bud , does on a sleepy morning

her fingers delicate , inviting;

like she hid secrets

of nature in her bosom

ruptured , floating , i followed

The dense cloud , i couldn't touch

i had to climb

no sense of what;

she was no goddess

she was willing to bless

i was ruptured , she healed

her voice of the calm ocean

her eyes its blue essence

no darkness now

only white with snow

I went for the forbidden

sure i couldn't touch

she wasn't there anymore

only the white clouds

which weren't white anymore

poof ! went one and the other

and another, one by one

i fell into the black

spiralling spiralling

back to the darkness

where there's no point of reference

no sense of presence

only absolute darkness

-Arpit Kumar

B.A. (Hons.) English; I Year

My Country, My Pride?

- John Guite

B.Com (Hons.); II year