Youngsters illuminate Manipuri dance & traditions
Ankur 2024 was a programme by the children to show the different dance and music traditions of Manipur, which they are pursuing. Manipur has a rich legacy of Manipuri dance and music traditions.
Ankur 2024 was a programme by the children to show the different dance and music traditions of Manipur, which they are pursuing. Manipur has a rich legacy of Manipuri dance and music traditions.
As we celebrate his birth anniversary every year on 11 May, we remember the writer who inked society as it was, on paper, in all its humanity and inhumanity. After 112 years since his birth, we still read Manto, and his stories make us tremble even today.
In Kolkata’s bustling Maidan area, amid urban life and green spaces, horses face a silent struggle.
This may well be an Indian summer at the Cannes Film Festival, set to roll from 14 May.
Sanjay Leela Bhansali’s much-awaited OTT debut project finally materialised and premiered on Netflix on 1 May. Heeramandi, the period and prestige TV drama by the celebrated filmmaker, has been liberally bestrewed with opulence, baroque architecture, diamonds, intricate costumes, Urdu and Ittar.
“Last year, I depicted myself and my vision of how I perceive design through my art. It was inside a room, but rather than just simple walls or windows, it was designed all around in an array of patterns and forms.”
Dune: Part Two hits all the right notes and gives its predecessor a run for its ‘spice’. It’s like the sequel that not only lives up to the hype but surpasses it with a cheeky wink and a nod. From mesmerising visuals to captivating storytelling, this instalment leaves no sand dune unturned in its quest for greatness. It’s the kind of film that not only does justice to its forerunner but also adds its own flavourful twist to the mix. Strap in, because Dune: Part Two is a wild sandworm ride you won’t want to miss!
None of the films by Kumar Shahani and Mani Kaul, another contemporary of his times, got a theatre release, but their films were critically acclaimed in student circles, among aficionados of cinema, and in international film circuits.
A beautiful interactive session was held the next morning by Dr Padma Subramaniam on Natyashastra and National Unity with a live demonstration by Gayatri Kannan at the Kolkata Centre for Creativity.
Breaking away from the classical format, he liberated the romantic form from Persianized Urdu to convey their pain in a simple verse like Deewaron Se Milkar Rona (1981) and tweaked the plaintive orchestration in Mohe Ayi Na Jag Se Laaj (1988).
