Marinade Magazine by janvikhera

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MARINADE

Published by AL PACINO

EDITOR-IN-CHEIF

Editor’s Letter

Nikhil Shankar

CREATIVE DIRECTOR Lilly Toppo

DESIGNER Smeha Jain

CONTENT WRITERS Shreya Arora Ivneet Kaur Janvi Khera

CONTRIBUTORS Photographers

The Golden Era Oliver Eclipse Big Hass Paramount Pictures Pach Brothers -American Photographic Studio Yasmin Tayag Faith Aylward FPG / Retrofile RF / Getty Images Unsplash Avik Mukhopadhyay Mickey Blog The Movie Database Village Sounds Wikimedia Commons Uta Scholl Ugur Uğur Peter Geymayer Jan Versweyveld John Scanlan Iiona Virgin indianecpress Pwerhumans Michael Afonso Sumit GuptaFollow Nihal Demirci Jordan Donaldso Ethan McArthur Patelton Wikimedia Commons Frizzy Frvnk Dodi Achmad Niicolas J Leclercq Alexandre Dinaut Ian Macharia

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Entertainment is a necessary and broad aspect of our everyday lives. It defines our patterns and helps us listen to stories and expressions from everyone in the world. Any creative piece of work much like any dish that you eat is a work of art and has multiple layers, emotions and experiences associated with it. We have been clouded as a species by the ever expanding nature of how we consume entertainment and information. Rapid technological advancement in the world has undoubtedly saved lives, reunited families, created opportunities and will continue to provide a platform to the voiceless. However, realities that we are fed and experience virtually is designed to create an unsafe amount of craving for information. Everything that you see on a screen is determined by algorithms and data. This magazine was created to take a fresh perspective on entertainment. A point of view that’s clear of superficial assumptions and intrusive comments/opinions.Marinade aims to infuse flavours of culture, acceptance and connection into various forms of entertainment. A well balanced and delicious array of entertainment from different corners of the world. The first ever issue of Marinade focuses on discrimination. It haunts various countries and societies in a brutal and unforgiving manner. Slowly chipping away at society through its various forms. There is no one solution to an issue like this. It is an infectious, intricate virus of conditioning and decisions. Empathy is one of the key factors in defeating/controlling a plague like discrimination. Stories featured in this issue are meant to sensitise and showcase how discrimination affects people and how we as humans can listen to these stories and voices to take one more towards the right direction. Bon Appétit! Nikhil Shankar Editor

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REEL LIFE 02 Banned 08 Death of Television 12 Paromitar: Ek Din 22 Movie Pictures

The Princess & the Frog Gattaca The First Wives Club

28 Animated Film Feature La Planete Sauvage

READY, SET, PLAY 34 Through the Street 36 From the Sets

IN TUNE 44 Interview with SIVA

44 PERFORMING ARTS 66

Footloose Fashion

Rhythm & Grace

BROADCASTS 78

Radio Gaga

Acoustic

BETWEEN THE LINES 84

FEATURE 86

65 Bucket List

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Spotlight: Enam Asiama

GAMES 88

50 Indigene Artists 58 Potpourri

My Friend Dahmer

Horseplay: Hypercasual Games

EVENTS 90

Virtual Events MARINADE

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Banned

How does the outside affect the inside? TV shows banned in different countries due to various legitimate reasons and laws regarding censorship. Culture, perception and beliefs all vary in different regions. WRITTEN BY JANVI KHERA

eople from different cultures often do things uniquely different. Culture defines the characteristics and understing of a particular group of people. People from different cultures have a different language, religion, cuisine, social habits, music, and arts. Culture is more than art, it is a frame for our lives. It affects our values, attitudes, and behavior. Cultures differ in language, dress, and social greetings. Cultures also vary in psychological ways, For example - how someone behaved the way they did, what they notice and remember from social interactions, or whether they try to “fit in” or “stand out” in their peer group. Culture also appears to influence the way we think. People from different countries have different intellects which depend upon the stored knowledge and learning. Cultural differences are the various beliefs, behaviors, languages, practices, and expressions They are considered unique for specific ethnicity, race, or national origin. The difference doesn’t lead to cultural disagreement. Cultural differences lead to different thoughts and social practices and it is one of the

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important aspects of the decision-making process. People from different countries have different intellects which depend upon the stored knowledge and learning. To see, hear, taste and smell are how human senses the outside world, and how these senses are perceived is called perception. Perception is something that people all over the world see, hear taste, and smell, and how these senses are perceived. The following study tells us how differently every individual perceives something that they come across.

“To see, hear, taste and smell are how human senses the outside world, and how these senses are perceived is called perception.”

According to the study by Muller Lyer, A figure was given in which the upper horizontal line is often seen as being shorter than the lower horizontal line even though both lines have equal length. The angled lines at the end of the horizontal lines can make some people see the horizontal lines as being different lengths. People from western societies grow up in environments with buildings and corners. Most of the people fell for the Müller Lyer illusion, that is, they thought that the bottom line was longer than the top line, compared to people from cultures who live in round huts and tents or who live in the rainforest. Many studies show how cultural differences influence the perception of a person because of their environment they focus on or see. To study this, researchers showed Americans and Japanese an animated underwater scene. The scene had a fish in the (foreground) and water snails, plants, stones (as background). Some people focused on the main object in front of them and some on the surrounding objects. Then the participants were asked to describe what they saw. Americans spoke more about the fastmoving fish. Japanese expressed more

about the background. It was observed that the Japanese more often perceived a scene as a whole, taking in both the foreground and the background, whereas Americans, mainly perceived the object in the foreground. An individual can be called a great decision -maker if the person is educated about practices, values, and beliefs that are prevailing in a culture and can understand others’ state of mind before making a decision. A static decision is whether I purchase a pair of trousers or a skirt for myself.

Underwater Scene Still picture from the animated scene shown on the computer screen. The moving fish are regarded as the main objects, the foreground. The plants, stones, and water snails are regarded as the background.

The Müller–Lyer illusion It is used to test visual illusions. Usually people see the upper horizontal line as being shorter compared to the lower horizontal line due to its inward pointing arrow heads. Both horizontal lines, however, have equal length.

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Then there are few decisions which are made during a longer period, i.e. when we make our plans for study, work, etc. There is also a great difference between the cultures of people from western countries and eastern countries. People from western countries i.e US, Canada, Australia have a completely different perspective than that of people from Eastern countries (e.g., Japan, China, Taiwan, Korea, and India). Individualism is the most significant characteristic of people from Western culture. They believe in the same for others i.e others also make their own decisions and should take responsibility for their actions. Our decisions are influenced greatly by our culture. Sometimes, we are not even aware of it, but our decision making depends upon the cultural experiences stored in our brain. There are a lot of mental and emotional processes happening within a certain culture that influence the way we think. Also, the way we see the world greatly depends upon our culture. Sometimes maybe unconsciously we approach problems and try to solve

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them, within the domains of our culture. WHY ARE TV SHOWS BANNED IN OTHER COUNTRIES? When someone creates and owns something, and others want to see them they have to pay for it. And if a streaming service in delivering it to you, someone has to pay for it. This is very common regarding music but also applies to TV shows, movies, and other online content. In the case of movies and TV, royalties are paid to the different studios, actors and directors. Censorship is the most common reason behind, blocking of TV shows. Also, there is some kind of content that is never allowed to go across the borders. Many nations around the world maintain a tight hold on the types of content they allow their citizens access to. Cartoons are supposed to be for kids, Cartoon Network started a show named Cow and Chicken, which was based on the guilty of sneaking in plenty of humor. America banned two episodes of Cow and Chicken because it had crude humor which

Cow & Chicken Cartoon Network TV show for kids

PHOTOGRAPH BY disneyhdwallpapers

was questionable and controversial for kids in America. On the other hand, In India, it had nothing to do with how offensive the show was. It was banned by censors of India because the character of Cow was treated with slap-stick brutality, the cows are sacred in Hinduism. India also banned, The Back of Barnyard, which is a series of animated film of Barnyard for the same reason. In December 1995 Malaysia banned Mighty Morphin Power Rangers. It wasn’t the violence or intense fighting scenes that got this popular show banned. The reason for banning this show was its title, which contained a word that sounded much like the name of a drug. The term “Morphin,” which is just cool slang for “morphing,” sounds very similar to “morphine” The title was confusing and too inappropriate for kids, so they banned the entire show. According to

Power Rangers Power rangers formation pose

them, it may encourage children to stick needles in veins and fill them with hospital-grade opioids.

PHOTOGRAPH BY NETFLIX

Hannibal is a cinematographic and bold series about serial killers and the cat and mouse chase the authorities often have with them. However, in the wake of the Boston Marathon Bombings, NBC decided to pull an episode of its edgiest series, called “Œuf.” Molly Shannon was assumed to guest star as a woman who teaches children to kill other children. Though the episode didn’t air, it was later available on iTunes and the Hannibal Season 1 Blu-ray. SpongeBob is banned in the USA, Russia, Europe, Australia, and later in more than 120 countries. The main reasons for its banning were violence and foul language. Some countries have banned certain episodes. An episode with suicide was taken off the air because cartoons are supposed to be educational, as their target audience is kids. They are also supposed to

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spread positive and kind traits of character. Each Bikini Bottom hero has a negative feature and they aren’t even punished for them. Many countries don’t want their future generations to behave like this. Few episodes of some TV shows are banned because of homesexual kisses or love scenes. There are a few examples also where TV shows are carefully edited before exporting, eliminating the same sex relationship. They try to make it as there was no such romance. Modern Family is a TV series which is banned in Iran beacuse of its homosexual characters. The more surprising thing about this is its remake. Haft Sang is the Iranian version of Modern Family, its not only based on the original show, it’s largely a shot for shot remake. The most important difference is the elimination of the scenes involving Mithell and Cam, the homosexual couple. Netflix has removed a pair of older British comedies “Little Britain” and “Come Fly With Me” over their use of blackface. Both series, from Matt Lucas and David Walliams, were only available to Netflix’s U.K. subscribers. “Little Britain,” is a sketch comedy series which was aired from 2003-07 on the BBC, while the mockumentary “Come Fly With Me” debuted in

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2010. Both series saw Lucas and Walliams play characters from different ethnic backgrounds. The decision to pull the two comes after two weeks of protests against police brutality and racism sparked by the killing of George Floyd by a Minneapolis police officer on Memorial Day.

Modern Family A multi-cultural family just chilling PHOTOGRAPH SOURCE PRIME VIDEO

TV shows all over the world have to undergo lots of editing and revisions before they are aired, and if several episodes are too controversial to be scrubbed clean, they’re simply banned altogether. However, it seems like wiping out unsuitable or explicit content isn’t always enough, because some nations have adopted banning entire shows instead. Sometimes the content is also prohibited for other countries to access and they keep a tight grip on the content which they want to be accessed by their residents. The backgrounds, culture and perception cohere with each other while deciding what to display on the big screen for the viewers to watch. It’s a vicious circle and plays an important role in the TV industry.

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The Death of Television

Shifting from television to digitalized

A silent war between television and other entertainment platforms and the decline in traditional use of television where the viewers have shifted towards digital sapphire streaming various shows/movies/serials on different platforms like Netflix, Amazon Prime, Hotstar etc.

WRITTEN BY IVNEET KAUR

ince replacing radio as the most famous mass medium during the 1950s, television has assumed such a necessary function in present-day life. Television was presented in 1927, there have been numerous changes – an advancement of a few changes, Going back to 1927, nobody would have expected that there would be a day when it is conceivable to watch a show in a drive. There were additionally not many channels, and TV shows being broadcasted watchers offered moderately little in alternatives. That is not similar today, there are numerous shows and projects to browse today. STREAMING Streaming media is a rising technological practice that is altering everyday uses of media, media industry practices, and transnational cultural geography. Streaming, concomitantly, is an audience tactic and a strategic logic of the industry. Streaming is increasingly important to the smooth functioning of the Internet because it allows users to experience negotiated content without downloading all of the files or information before usage. With increased network in the early 2000s, streaming has become integral to not only business practices but also to how we encounter and inhabit interfered culture. Streaming is therefore both a technological innovation and cultural practice that co-configures both audience and industry.

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It was 2007 preceding web speeds got quick enough, and PCs got amazing enough, to permit streaming administrations to take off financially. Netflix came out with a streaming help that year. Just because, clients could watch a TV show or film on a PC, TV screen, tablet, telephone, or gaming gadget. Also, buyers could watch what they needed, when they needed, and how they needed it, without being restricted to a timetable, hindered by plugs, or in any event, venturing out from home. Netflix started delivering unique substance of its own, an unsafe and costly project. When the organizations by and large supported shows dependent on directors that hit certain speeds, Netflix offered series producers and showrunners straightforward agreements to make a whole season or two. Netflix began selling whole periods of built-up TV series on the double, basically making the marathon watching pattern, as opposed to communicating and satellite TV’s previous seven days portion model. Netflix’s creation strategies have constrained TV organizations to be more adaptable and the sky is the limit from there. Presently, Netflix faces extreme rivalry for programming and watchers from Amazon, Google, and Disney, among others. That is the value it pays for thinking outside the box for how television is made and viewed The fast crowd move from television to

digitalized, remaining important in broadcast media is testing yet fundamental for long haul suitability. Broadcast television isn’t dead—however it is advancing quickly and there is a need to change to avoid getting superfluous. Changing methods moving from serving a TV crowd, to serving crowds regardless of where they are. Going from a TV Broadcaster to a general Broadcaster. 10 years prior, TV publicizing had been media’s 800-pound gorilla apparently for eternity. As we enter 2020, the medium is ready to see uncommon spending decreases that we can tie legitimately to the rise of streamed content. Occasions like the Olympics and races will keep on driving TV speculation. Be that as it may, streaming has instigated modifications by publicists in where they go through their cash, since they follow the watcher eyeballs. While the decrease in-crowd has been occurring for some time, TV networks have been keeping costs high, raising them on accessible stock. Audiences no longer have the capacity to focus to endure advertisements and understand data. Rather, audience are depending on utilizing second-screen gadgets which permit them to invest energy in social networks and talk about the show they’re watching or drawing in with, consequently taking on a more drawn in survey work. Going on the web likewise enables watchers to skip ads by and large, interruption, and play content individually and watch what they’re inspired by. Conventional Nielsen evaluations have never been great, the organization has taken a lot of analysis throughout the long term, yet nobody could create anything better, so Nielsen kept on being the main name in appraisals. Streaming has begun to change this. ACCORDING TO BRID TV The popularity of video content has been growing immensely over the last few years. The primary reason behind that is the rapid development of video technology. The advances in that field made videos so popular that research by Cisco predicted that 80% of entire internet traffic would consist of videos by 2021. However, out of all types of video content, one had the biggest impact — live streaming video. Nowadays, 63% of the population aged Static Tevlevisions Display of old TV’s and old monitors PHOTOGRAPH BY LEON WO

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18–34 enjoys live streaming content daily. And experts worldwide are aware of that. Because of such immense popularity of live broadcasting, professionals estimate that the live streaming market will be valued at about $70 billion by 2021. On account of advances in innovation and mobile gadgets’ accessibility, shoppers would now be able to watch their preferred shows anyplace they are. Lately, a few notable link organizations have moved past only contribution just digital television. They have started joining forces with various streaming administrations to empower them to give their supporters much more than they right now do. TELEVISION HAS IMPACTED LIFE Television is a major impact on how we think, say, act, communicate, and how we see ourselves. It shapes and mirrors our lives. Television disperses data, gives us entertainment, and grants social qualities just as an overall belief system. Television will in general effectively impact many individuals. That is the reason for pick-

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ing the correct TV shows and managing individuals’ review propensities will assist them with procuring great qualities. Television highly affects how we invest our free energy. It likely influences more youthful individuals more than grownups, as they watch more TV. Television eliminates our additional time so we need time for various activities like family conversations, perusing, etc. It likewise shows us a world that isn’t genuine. Television frequently makes us feel that the world is more dangerous than it truly is. Through TV we see the captivating existence of individuals and accept that they are in an ideal situation than we are. Television adds to our training and information. Narratives and data programs give us an understanding of nature, our condition, and political occasions. Television also affects governmental issues. In political race years, conversations, discussions, and mission updates on up-and-comers are communicated consistently. Ideological groups purchase TV time to introduce their views and carry thoughts to the crowd. Sports

Streaming Apps TV shows streaming apps PHOTOGRAPH BY NIICOLAS J LECLERCQ

pull in the greatest crowds on television. Regardless, television has changed how we carry on with our lives. News broadcasted on TV gives us valuable information from each side of the world and we additionally can see sports and events that possibly are incomprehensible for us to find. TV’s definitive quality is that it sees how to create extraordinary content that contacts individuals, and any place there is incredible content, it will consistently discover a market. The future of TV is changing rapidly and shows how consumers want customized and helpful content. As information ability increases and features are made, the eventual outcome of TV will be client-driven, all forms of media will continue to evolve far into the future to become more valuable and oriented towards the viewers. We are presently in an experience economy and keeping that in mind the future of TV is energizing, and intuitive content could be significantly more. Youngsters see no requirement for cable. They consume TV on their telephones or tablets through web-based features. For

older people, cable is a traditional way to watch television. This phenomenon will only get worse as more content providers launch streaming services. Once it’s possible to get nearly any content without getting a cable subscription, the losses will increase.

Vintage TV PHOTOGRAPH BY SVEN SCHEUERMEIER

It’s hard to know where the bottom will be for the industry. Some consumers will still want the convenience of having hundreds of channels all in one place. That number, however, will be well below the 86 million people who currently pay for cable. Consumers are not necessarily watching television less, but they are choosing to access television content through online streaming services instead of cable subscriptions, effectively cutting the cord.

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Paromitar: Ek Din Rule

House of memories

An overview of a Bengali Film, Paromitar Ek Din, 2000 explaining various aspects that the movie talks about like gender discrimination and cognitive disabilities. It focuses on two generations of women and how they face some similarities as individuals. WRITTEN BY JANVI KHERA, SHREYA ARORA & IVNEET KAUR

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inema is supposed to be the reflection of the general public. It is the medium of the well-known workmanship and various aspects of Indian culture are depicted. It is said that Indian motion pictures include a rainbow of activities that show sentiments versus fiendish activity and satire all pressed into one. The movies are an impression of the general public on the loose. Films are an immense excitement among all the generations and the incorporated rainbow looks at fulfilling all wants at the equivalent time. From 1960 to 2000, the motion pictures were having their subjects dependent on society and winning conditions in the general public like discrimination on women, economic status of the general public, etc. At the beginning of the 21st Century, a powerful move on the subjects of Indian film was generally arranged for a higher TRP and showcased topics like parody and fiction which had no connection with genuine Indian culture. Most of the present-day films are also focused on platitude areas of society and show the perspective from a bird’s eye view which doesn’t establish any context in the film. These are expanding the brutality and cause significant aggravations in different territories like there have been situations where numerous motion pictures were prohibited in various states because of their subjects. Cinema may be viewed as entertainment for the general population however India has seen numerous talented movie producers who have raised the visual medium to an artistic expression. They have utilized their movies to bring in the idea of people to analyze the delicacy of relational connections, and also used the medium on issues related to women. Aparna Sen is critically acclaimed as an Indian filmmaker, scriptwriter, and actress. Her motion pictures stand apart for the all-around scratched female characters. Her ‘36 Chowringhee Lane’ shows the depression of an older woman, while the hero of Sati manages odd notions and sexual orientation issues. ‘Paromitar Ek Din’ examines the relationship a woman imparts to her relative even after the breakdown of her marriage, ‘Sati’ shows an orphan girl who is married to a Banyan tree and was suggested to be a sati according to her horoscope. ‘Goynar Baksho’ is about the 3 women belonging to 3 different generations.

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The movies are an impression of the general public on the loose

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The characters of women in these movies are usually, yet additionally hindering to the common picture of women in India. Women are frequently observed as victims in this patriarchal society and are degraded simultaneously. Nonetheless, all through the advancement of Indian film, there have been endeavors made to change this restricted perspective on women and to give them more importance in films. Paromitar Ek Din, directed by Aparna Sen, is a sensitively rendered film that attempts to unpack a unique bond of friendship that develops between a mother-in-law (Shanuka) and her daughter-in-law (Paromita). According to Sen, through this film, she wanted to challenge the stereotype that asserts mothers-in-law and daughters-in-law in a perennially antagonistic relationship devoid of any hope of reconciliation, or warmth. It also focuses on the disabilities. Bablu has schizophrenia and Kukhu cerebral palsy, respectively. The stigma that both women face for giving birth to disabled children and the daily hassles of care work, help Shanaka and Paromita develop an affectionate friendship marked by mutual understanding. The film is directed and written by Aparna Sen and Bikash Chowdhury (Assitant Director) and is produced by Rajesh Agarwal and Sumit Agarwal. The photography and sound is handled under Amal Kundu and Anup Mukhopadhyay. The editors of the film were Arghyakamal Mitra and Montu Das. Nikhil Baran Sengupta is

the art director of the film. Costume, hair and makeup is done by Bablu Das, Sharbari Dutta and Rita Dey, Ompi Ganguly respectively. The equipments were handled by Rabi Haldar. The charcters in the film follows by Aparna Sen as Shanaka, Rituparna Sengupta as Paromita, Soumitra Chaterjee as Moni

(top) 36 Chowringhee Lane Aparna Sen (right) discussing a scene with Jennifer Kendal (bottom) Sati (1989) Aparna Sen & Shabana Azmi

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Bandyopadhyay as Alakananda Ray, Rajatava Dutta as Paromita’s husband, Arjesh as Bablu, Rajesh Sharma as Rajeev Shrivastava, Rita Koiral as Shanaka’s elder daughter in law, Dulal Lahiri as Shanaka’s husband, Indrani Haldar, Kaushisk Banerjee, Ratna Ghoshal and Ratna Sarkar. The film starts with a funeral. A woman dressed in crisply, pleated, off white saree and dark thick orotund glasses sits in the courtyard pensively, staring at a distance, thinking and carrying the weight of her heavy memories of a long lost relationship with her companion and her confidante. The woman is Paromita, one of the protagonists of the film, and is crying for her companion, Shanaka, her erstwhile mother in law. It is Shanaka’s funeral that Paromita is at, recalling every last encounter she had shared with her, and re-evaluating her own life and sexual choices against the backdrop of her recollections of Shanaka. The picture she presents is that of intense mourning, but along with it come important revelations on love, sexuality, and her sense of self. It is here that Paromitar Ek Din (2000) begins, revealing flashbacks, drawing extensively upon Paromita’s recollections of her relationship with Shanaka. The way the movie is moving into flashbacks and present times and the use of hues with them is itself a metaphor on the eventual loss of innocence of the two women in the film. Young and naive Paromita makes her first encounter at the house after getting married

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to Shanaka’s son, Bhiru. She was quiet then but was opinionated too. She comes from a well-educated middle-class background, brimming with the neo-liberal modernity that was typical of any resident of South Calcutta in the nineties. But her mother-inlaw Shanaka is raw, relatively uneducated, dependent, and rooted in old-world ideas. They both belong to different contexts and their worldviews clash at first but gradually, they find a lot of similarities between them. As the movie progresses we see Paromita, being curious to know about Khukhu, Shanaka’s daughter whose mind hasn’t evolved beyond girl-age and her brother says she’s schizophrenic– but he clearly doesn’t know what it means. There are two older brothers, the father whose presence is rather in the background and intolerant, and an old gentleman, Moni as Shanaka’s self-pitying former suitor, who is allowed to come around and sit in the deserted drawing-room. Her love for Moni is an open secret to all family members and no one ever raises a question on it. Paromita gives birth to a son, Arjesh aka Bablu, who is apparently spastic and this brings her close to Shanaka and her infantile and unfortunate Khuku. Shanaka suffers from this constant reduction of her world, between dumb men and her tiringly mental daughter. Her solitary needs meet Paromita’s, innocence and rejection by her husband to their son. We also find how the men in the family never really know about their wives or sisters. A scene where, Paromita blames it on menopause for Shanaka’s mood swings to which Hiru feels disgusted

(left) Paromitar:Ek Din Opening scene in Paromitar Ek Din. In frame, Paromita at the funeral of Shanaka (right) Opening scene. In frame, Moni aka Soumitra Chatterjee (Pg.9, top left) The wedding day in Paromitar Ek Din, House of Memories (2000)

and says, ‘Which pause?’ and claims that he doesn’t want to hear anything about her mother. This makes both the women get close to each other and find solace in each other’s happiness. The film takes pace slowly and we see how Paromita’s and Shanaka’s lives change. They eventually bond, relate and start understanding each other. We see them flying kites, applying face masks, ordering Shanaka’s favourite fish in the restaurants, and becoming closer than ever. Khuku and Bablu, figures of innocence, serve as reminders that the human community finds meaning only when it defines itself by integrating its fringe members as well as the “normal” ones. The film which is shown in the handicapped centre serves this purpose. One scene where Khuku is dressed up as a bride and asks her brother why she cannot be a bride too is heartbreaking and explains how a lot of like her are in this shackle of standing amongst others. Khukhu is a powerful symbol in the movie and the director makes her into a repository of innocence and artistic beauty as a gifted musician which becomes a reference against which the other members of the household are compared to. Khukhu sings beautifully, we see her crooning on Rabindrageet in a lot of instances of the movie. The part where Paromita decides to divorce her husband and move on with her life leaving Shanaka to which Shanaka cry her eyes out and begs Paromita to stay, she sings ‘tori aamar hathat dube jay, konkhane re kon paashaner, ghaay, novin tori natun chale, di ni paari agaadh jale, baahi tare khelar, chhale kinar-kinaray’- (my boat sinks

(top) Paromitar:Ek Din Khukhu, Paromitar Ek Din (2000)

suddenly, who knows where? ripped part by which rock, my boat sinks suddenly.) There are multiple scenarios that the movie talks about. There is one scene in the film in which Paromita asks Bablu’s doctor, “E ki kokhono normal life lead korte parbe?” (Will he ever be able to lead a normal life?) to which the doctor remarks “Normal life er definition ta ki Mrs. Sanyal? Amra nijder perception diye normal, abnormal bichar kore tai na? Ar thik moton training payele kintu ader moton aunekeri happy life hote pare?” (What is the definition of normal life, Mrs. Sanyal? We are based on our perception; decide what

(bottom) Arjesh aka Bablu from Paromitar Ek Din (2000)

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of another woman, and reflecting upon themes of sensuality, tyranny, and gender-based discrimination. Memory plays a distinctive role as Paromita recollects everything that Shanaka and her had gone through and evolved their friendship from it. She gains clarity on her own individual actions and circumstances.

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is normal and what is abnormal. If given the right training many such children can lead happy lives). The doctor’s explanation of the experience of disabilities is an enlightened voice on the matter in the film. The explanation provided, though, is confusing. The doctor tries to encourage able-bodied people to question their notions of sanity but quickly adds the need to train bodies with disabilities to alleviate their quality of life. There are moments when Shanaka realizes that women in every marriage suffer under the pressures of the gendered division of labor and the daily humiliation that comes with living within an unequal institution. Unfortunately, she continues to live with anger/sadness stemming from her daughter’s inability to lead a ‘normal’ life and get married. She, therefore, fails to see that it is not Khuku but the heteropatriarchal and ableist nature of marriage itself that is at the root of her suffering. The film ends with Paromita feeling the fetal movement inside her womb while driving back home, symbolizing the death and re birth of her companion, her friend, Shanaka. House of Memories is a clear representation on how women not only marry a man but her complete family and adjusts everything, irrespective of what she really wants. Paromita and Shanaka, both found similarities in each other which bought them close but, at the same time one took a stand of her life whereas other accepted her fate and lived her live

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House of Memories is a clear representation on how women not only marry a man but her complete family and adjusts everything, irrespective of what she really wants

serving other people’s need. It is definitely not a cliché mother in law and a daughter in law story. It is intense and explains how few issues never change in different generations of our society. The film also brings light on how children with disabilities were treated and always struggled to find a balance in outside world. Khuku’s and Bablu’s characters remain one tone. Khuku, especially, is portrayed as an innocent and extremely forgiving woman, who never gets angry or vengeful towards the people who treat her badly. In the film, Khuku and Bablu help bring Shanaka and Paromita together, but in the process, they remain lonely and friendless. Paromitar Ek Din is a study in female subjectivity and is essentially a woman telling the story or rather, recollecting the

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(left) Paromitar:Ek Din From the scenes of Paromitar: Ek Din

(right) Paromitar:Ek Din From the scenes of Paromitar: Ek Din

The film was shot on a shoe-string budget. The budget of the movie was approximately 5,000,000 INR. The film was shot in only four and a half months and they couldn’t stand to shoot a similar grouping more than twice. The shooting of the movie started on April 15th and the movie was censored on August 31st. The cast did considerable practices before each take. The director pottered about the sets, recreated on the floor of Technicians’ Studio in Tollygunge. She put all the ringer metal articles on one rack and tidied the marble-beat feasting table. The director likewise played an elderly, dependent mother-in-law/ wife/mother/woman wearing a white saree with a scramble of dark in her hair. Aparna sen said that “Since I had composed the character I comprehend it quite well. To get another person to play out the manner in which I need... That is a troublesome activity.” The movie is cinematographed by Avik Mukhopadhyay who is an Indian cinematographer and has worked in Hindi and Bengali films. He has won three National Film Awards for the Best Cinematography. The film continually moves to and fro over a wide span of time, and the cinematography purposely mirrors scenes from the flashback. In the film, Paromita recalls her previous relationship with Shanaka, her ex-mother in law, at her funeral. This flashback fills in as a visual identification of her recollections. It offers perpetual movements between the past and the present, continually covering the components of reality, all through the eyes of Paromita. The flashback is utilized to uncover characteristics of the main character, Paromita, and following through the character qualities of Shanaka. The movie producer utilizes the gadget of memory to integrate the tales of these two ladies to offer a bigger discussion on female compassion and shared understanding. In the initial scene of the film, the shoshur bari (house of in-laws) is displayed with void rooms and green-hued windows which give the essence of spooky greenish light, a light which consumes into our memory. We see a photo of the departed Shanaka, with few people gathered in a back yard for

a funeral ceremony. A young lady Paromita is among them, her eyes secured with enormous glasses. The nearby shots are used in the film when they are introducing the characters at the beginning of the film. The present scenes in the movie are full of dull, muted frames. The scene showed in the film where we can see Paromita, her son and Shanaka in a spastic school with the doctor’s explanation of the experience of disabilities is hailed as an enlightened voice on the matter in the film. The doctor tries to encourage able-bodied people to question their notions of normalcy but quickly adds the need to train bodies with disabilities to alleviate their quality of life. In this

(top) Paromitar:Ek Din Set of the film, arranged in different hues and shadows. (bottom) Paromitar:Ek Din Set of the film, arranged in different hues and shadows.

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Testimonials

“

There is no doubt that it is an exceptional film in the way it tries to understand a delicate friendship that grows between two women of the same house. There is some character that had tried to capture an aspect of the female experience that is all too often ignored especially, Shanaka’s fascinating character reminded me of women from my village who has suffered in similar ways and that reason “PAROMITAR EK DIN” film deserves our attention and claps.

”

-Ataul Islam, STUDENT

“

Very insightful screenplay and soulful acting. Both protagonists are very strong and compassionate females, and the movie is essentially about their bonding. It is difficult not to empathize with them. Their similarity of situations brings them together in the first place and from there on the writer does a great job of showing us how they slowly become friends on some level. The supporting cast is spot on, and not one dialog in this movie is overdone or unnecessary.

lead happy lives). The doctor’s explanation of the experience of disabilities is hailed as an enlightened voice on the matter in the film. The doctor tries to encourage able-bodied people to question their notions of normalcy but quickly adds the need to train bodies with disabilities to alleviate their quality of life. In this scene, they have used bright hues, bright reds and greens. After this scene, they show a progression of pictures of Bablu to present the character and they interpreted how impaired individuals can likewise learn things and attempt to lead a respectful life. These scenes are shown in the monochromatic subject i.e, shades of greys and blacks. They have also added music as another element in this particular scene which adds to the theme and justifies the issue. When Paromita reports that she wants to separate from Bhiru to marry the producer she met at the spastic school, Shanaka gets devastated and feels disappointed. The past scenes in the movie are painted in more splendid tones, loaded with brilliant reds and greens and the present scenes comparatively have monotonous shades which are an indication of their changing lives. The movie is made to appeal to all classes of people from different backgrounds as well as critics. It offers connections between two ladies and explores dual themes of friendship and loneliness. Shanaka and Paromita’s differences in age, instruction, disposition towards life, builds a strong connection i.e, intense and is a recollection of a woman’s story by another woman triggering a lot of mothers-in-law and daughters-in-law of that time. 20

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“ (left) Paromitar:Ek Din Arjesh aka Bablu (right) From the scenes of Paromitar: Ek Din (bottom) From the scenes of Paromitar: Ek Din

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- Yash

The movie didn’t show any usual relationship between mother in law and daughter in law and depicts a friendly connection between them which was uncommon to see during those times. My favorite character is Shanaka as she had full control over her emotions and knew how to balance her family, her daughter, Khukhu, her interests and love for Moni (her former suitor). After the death of her husband, we see her enjoying and living her life at the fullest. She watches her favorite TV serials, applies facemasks and chills in her bedroom. We also see her ordering her favorite fried fish and that is where we understand her desires from life. The movie is explicitly based on Bengali culture and has a strong message for all the women around us.

”

- Shakuntala, HOMEMAKER

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Reel life

Motion Pictures The Princess and the Frog

Reviews of movies that talk about social issues like discrimination against, gender, color and bad genes. Its a summation of how the movies take a flow and talk about these issues in their own ways. WRITTEN BY SHREYA ARORA

he Princess and the Frog is a 2009 American animated musical fantasy comedy film directed by Ron Clements and John Musker and produced by Walt Disney Animation Studios and released by Walt Disney Pictures. It’s set in a particular time and place and uses lovingly hand-drawn animation that proceeds at a human pace, instead of racing with odd smoothness. It’s not easy being green, Tiana (Anika Noni Rose) discovers. Born into poverty in New Orleans, Tiana works two jobs and saves every penny, hoping one day to open her own restaurant—a dream she shared with her late father. She is tough, smart, capable girl who fights for her dreams. Her admirer, Prince Naveen (Bruno Campos), is another in a line of puffed-up, handsome romantic leads whom the heroine has no use for until she suddenly does. The villain of the piece is (Keith David), a voodoo man who changes Naveen into a frog for his own criminal reasons. Like her predecessors, she is a strong-willed who finds her muscle-bound boyfriend against all odds. “Finally, here is something

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(left) Princess and the Frog Disney Film PHOTOGRAPH BY JENNIFER FICKLEY-BAKER

that all little girls, especially young black girls, can embrace,” Cori Murray, an entertainment director at Essence magazine, told CNN. The underlying theme that the movie carries is the fact that one needs to pull up their socks and perform endless hours of hard work to achieve something that they want. The film offers a positive message about friends and family and how race, sex, or caste doesn’t matter. It preaches self-reliance and suggests, ever so gently, that what we want isn’t always what we need. There’s a little spiritual context too that we see in the movie, her song, for example, holds the hallmarks of a rollicking gospel spiritual. And when she dances on the roof of her house, the surrounding environs look very much like a soaring, natural cathedral.

(top) Princess and the Frog Disney Film

It is fascinating how the movie impacts on different age groups of people and brings insights individually. There’s so much happening that everyone finds it relatable and pensive. The Princess and the Frog exercises a magical muscle and go a step further, with voodoo. What ends up on the screen may be no more than incrementally darker than Sleeping Beauty, but it evokes real-world superstition in ways that nobody thought of.

PHOTOGRAPH BY MATT PAPROCKI

(bottom) Princess and the Frog Disney Film

PHOTOGRAPH BY LE FIGARO

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Reel Life

Gattaca

attaca, directed and written by Andrew Niccol, starring Ethan Hawke (Vincent and Jerome), Uma Thurman (Irene) is a fully imagined work of cautionary innovative fiction. It’s a futuristic film with humanist values embedded in its theme, and at times these prove to be quite moving. This movie offers a chance to debate the consequences of prejudice and therefore the reality of genetics. It is not a typical science fiction film, there are no aliens, no laser guns, and no mutant powers. It is a drama set in a different world, and is unsettling because of the potential reality of such a world. Gattaca refers to the nucleotides that make up DNA. It tells the story of Vincent Freeman, who was born without the benefit of genetic engineering. He gets diagnosed as 99% likely to have a serious heart defect and with a lifespan of just 30 years. Vincent does not accept his fate. He never has. As a child, he had swimming contests with

(right) Gattaca

PHOTOGRAPH SOURCE IMDB

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his brother, Anton, who is very strong and healthy until Vincent saves him from drowning. Then, Vincent dreams of becoming a crew member at the Gattaca Aerospace Corporation and participate in the first ever managed flight to the moons of the Saturn. Using an illegal DNA broker, he makes a deal with Jerome or Eugene, what he tells Jerome to call him, has the right genes but was paralyzed in an accident. Jerome provides him with blood, urine samples, and an identity which is the perfect

match for Vincent’s dream to come true. Vincent then proceeds to eventually achieve his goal of becoming an astronaut and leaves for Saturn’s moon, Titan. And it all goes perfectly well until Vincent’s boss, the Gattaca flight director, is murdered and the police descend, searching for answers in literally every corner. Led by a few detectives and their assistants. The team of cops investigate everyone in the office and take their samples to find the murderer, Vincent, who is not the murderer but a

suspect because of his eyelash being found near the dead body. Some of Vincent’s attempts to avoid identification are exciting and how he manages to keep up his identity as Jerome. Vincent also finds himself falling in love with Irene (Thurman), another Gattaca employee, who also has a heart defect like Vincent. In the second half of the movie, the suspense opens up and we see perceptions of every person that belongs in the story. The ending of the story is definitely something to understand on how everything is for a cost and affects everyone in different ways. The movie keeps you on the edge of your seat as Vincent struggles to succeed. It tells how a few factors in an individual’s life changes and make them something they aren’t. Gattaca is both slow-moving and low budget. It looks at a plausible future reality where gene-splicing replaces freedom of choice. This film will let you unveil the myth that we are controlled by our genes and to smash the sin of discrimination in our own course of action. The movie explicitly explains about our genetic engineering capabilities which are way more disturbing than our medical engineering capabilities. It tells how Vincent outwits the system but never really attempts to fight it. For all its genre-hopping (science fiction, mystery, love story, socio-political exploration), Gattaca never gets away from itself, welcome to the 21st century, an era when things aren’t that much different, but people? They definitely are!

(right) Gattaca

PHOTOGRAPH BY OLIVER JAMES

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Reel Life

The First Wives Club

“The First Wives Club” directed by Hugh Wilson, starring, Goldie Hawn, Diane Keaton and Bette Midler is a creepy revenge comedy about three women who are dumped by their husbands. The First Wives Club shows the goodtime battle-of-the-sexes satire sparked by snappy one-liners and great physical-comedy gags. Premiered in 1996, the splashy feminist revenge comedy appealing to middle-aged women, many of whom could relate to the plight of three seasoned protagonists who are ditched by their philandering husbands for younger shrewd women, it became a cult classic for generations of young women to come. All three women portray mid-life Manhattanites who have more than a long time friendship in common. After years of helping their hubbies climb the ladder of

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success, each has been dumped for a newer, curvier model. As a film, it is pretty by-the-book, the women are in pain, they unite, they promise revenge, they go at it, and they finally see the greater picture and learn from their mistakes. Nothing in the structure of the story is particularly groundbreaking, but it delivers a lot of aspects throughout. They are all now in their 40s. The story, based on a novel by Olivia Goldsmith, follows them as they grow increasingly disenchanted with men and band together to pull assorted scams and blackmails in order to get what is rightfully theirs, which in each case means their husband’s businesses. After discovering how much they have in common, they decide to avenge themselves upon the cads to whom they gave the best

years of their lives: ex husbands and their new girlfriends. Of the three main characters, Elise, the desperate actress played by Goldie Hawn, is the most fun. She has fought age to a standstill with plastic surgery but moans, In Hollywood, women have only three ages: babe, district attorney and ‘Driving Miss Daisy’. She has had some success in the movies, fears it is mostly behind her, and has a husband, who got a free ride to the top as a “producer” because he was married to her. Brenda, the middle character, is a wise Jewish mother who helped set her husband’s business. She is some of the brains and a lot of the effort behind the success of the chain of stores owned by her husband, but “now that he’s a celebrity” as he appears in his

own TV ads, she’s been dumped, too. She functions as the most together of the three friends, the planner and steadying influence. And Annie (Diane Keaton) deludes herself that her husband, who runs an ad agency, is going to come back after their trial separation. She is a mother too of a grown-up daughter and takes control of her ex husband’s company with the help of her. It’s easy to pick apart “The First Wives Club” in a number of prime areas. The script doesn’t shy away from a lot of issues that exists in stories like, alcoholism, co-dependency, the feeling of not being useful, how horrible it is to be so easily discarded, sexuality, looks and a lot more. What raises The First Wives Club above the male-bashing clichés, some men and at least one marriage are actually redeemed and how these women rebuild their lives through their friendship. The story’s male characters take their fair share of the movie and are heavy on the

incidents but light on the plot and then there’s a protracted happy ending that goes on and on, i.e., a party where every loose end is opened up and then these three women sing ‘You Don’t Own Me’, in a sequence that makes the movie close with a blast.

(top left) The First Wives Club Disney Film PHOTOGRAPH BY FILMFED

(top) Disney Film PHOTOGRAPH BY MITCHELL SUNDERLAND

(bottom) Disney Film PHOTOGRAPH BY ALISHA GRAUSO

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Rule Life Reel

“

The baby crawls to it’s mother and watches her life end in suffering. The camera then reveals the bodies of the large blue hands.

”

a Planète Sauvage (french) which roughly translates to ‘The Wild Planet’ in English is a film based on a book, Oms en série by french author Stefan Wul. The film adaptation was directed by Rene Laloux and was released in 1973 after which it received the Grand Prix special jury prize at the 1973 Cannes Film Festival. It was later released in 2010 in English under the title ‘Fantastic Planet’.

Animated Feature La Planète Sauvage A French animated film with intense allegorical themes, bound to strike questions in the minds of all it’s viewers. WRITTEN BY NIKHIL SHANKAR

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The film opens with a mother running while holding her baby through what seems like a forest. She is later blocked by a large blue hand. It plays around with her flicking her away each time she tries to escape. The hand then reaches to pick her up and then proceeds to drop her. The baby crawls to it’s mother and watches her life end in suffering. The camera then reveals the bodies of the large blue hands. Humanoid figures with blue skin and large, red and beady eyes. It is revealed that these are children of the ‘Draag’ species and they were meddling with the mother and her child. The grandmaster of the Draags, Master Sinh approaches with his

daughter Tiwa. They notice that the mother is dead and that the child needs help. Tiwa picks up the child and takes her home to take care of it and names her new pet, Terr. In this world the humans are referred to as ‘Om’ by the Draags and are kept as pets. They plan to exterminate the Oms as they are deemed unsafe by the council of Draags. The film is narrated from the point of view of the protagonist. This notion opens up the various layers of allegory that this film attempts to portray.

(top) La Planete Sauvage Opening shot: Mother running through a forest (bottom) Trapped: the Draag hand stops the woman from running away

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Rule Life Reel

Important characters are introduced but the film falls short in trying to develop these characters. At one point in the film the protagonist, Terr escapes from his owner, Tiwa after which Tiwa is not mentioned in the story ever again. The film established a strong relationship in the beginning of the movie between Tiwa and Terr but disregarded it towards the end. The chronology of the film is rapid and the narrative has so much spectacle packed into it, leaving little room for internal conflict and development in the characters.

The film is created in a cut-out style animation by French Illustrator Roland Topor. The backgrounds, art direction and character design are all noteworthy as the visual aspects of the film succeed in instilling a dystopian, sci-fi feeling. The forms of the furniture, clothing and all the organic ‘plant’ life have a unique and surreal characteristic to them. The perspective in the background paintings and the scale of the space is conveyed beautifully throughout the entire film. This is an important aspect because of the undertones in the narrative about how small and insignificant humans are. Overall, the cross hatching and fantastic use of colour and form and innovative techniques to represent motion all justify the nature of the story.

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The haunting eerie film score composed by Jazz Pianist Alan Goraguer, fades in from the beginning setting the tone for the entire film. The use of a mellotron and a half-time tempo, reminiscent of progressive rock from Pink Floyd, the blues and jazz origins of the composer all tie in to create a gripping soundtrack. The music is timed to some of the motions and actions and acts almost like a soundtrack in a theatrical production.

(top) La Planete Sauvage Perspectives: Skewed perspectives in many shots of the film (left) Architecture: Surreal and organic forms (right) Details: Cross hatching and beautiful tones of colour

Fantastic Planet has layers of meaning interlaced in the narrative. Allegorical themes of Animal Abuse, Genocide, Totalitarianism, Spirituality and Devotion. The Oms(humans) are always portrayed as pests and pets. They are made to wear collars and act as live dolls for the Draag children. The children dress them up, take them for walks and manhandle them. This is one of the strongest themes in the film, an underlying “See what it feels like?”. The main plot of the film revolves around the aspect of “De-Om” which involves completely exterminating the Oms. The Draag see surveillance intel from the Om’s home planet and discover that they are an intelligent species capable of learning and adapting from their surroundings and experiences. This instills some fear in the Draag council as by this time they have also learned that the Oms can now read and understand their language. Draag children wear learning headsets for education and the information is instantly imparted in the brain. While Tiwa did her learning about the world Terr sat alongside and learned about the functioning of the

world. He was taught how to read and write in the Draag language. This is a key factor and eventually aids him in his mission to liberate the Oms and their ‘humanity’. The sessions for learning or “Infos” have a monotonous voice reciting information about various aspects of Draag life and the science, geography and history of their civilization. The method of learning portrayed in the film is also a reflection of the state of education for children in the real world, they are being

(top) La Planete Sauvage Bonding: Terr(left) the Om and Tiwa(right) his owner (bottom) Infos: The learning headset that Tiwa wears for her education

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Rule Life Reel

fed with immense amounts of information straight to their minds with no real understanding or lessons about real life experiences. At one point in the film, gas pellets are used to murder a large number of Oms, there is a repeating clicking noise of the pellets and the score jumps in along with the visuals of mass genocide to give a frightening and haunting idea of real world issues like Chemical Warfare and the Holocaust. The entire Draag civilization is ruled by a handful of leaders and even though not explicitly mentioned in the film it is clear from their tone and methods of addressing their people that they have some sort of totalitarian government. There’s no doubt that the Draag are a technologically advanced species. In various points there are mant inventions and gadgets that have advanced functionality. The collar that all domestic Oms wear is controlled with a bracelet on the owners wrist.

of our society and understanding of human life today. How insignificant are humans in the vast universe? Is there a composite spirit of a soul that drives our actions and keeps us alive? How ethical are the ways we treat animals and other living creatures? Are we the colored, destructive and decisive organisms that plague our planet? Watching the film, the mind takes a step back in reality, looking at a large powerful organism control the life and death of other small ‘insignificant’ creatures. The film is merely a mirror and the reflection is daunting. Fantastic Planet is an intense, thought-provoking and fast paced film with spell bounding visuals and a masterful soundtrack. Where it lacks in character development it makes up for in an absolutely enticing and introspective watching experience.

(top) La Planete Sauvage Addressing the citizens: Masters transmitting their discussions for the people to watch

The connections between our human lives and the Draag lives are not laid out explicitly but is hinted at throughout the film. We see genocide, torture, animal abuse, pollution, society, rebellion, spirituality and devotion. It challenges and questions many aspects

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Ready,Set,Play

Through the Streets Un(equal)

The importance of street plays and how they help to bring change in society and the mindset of the people. WRITTEN BY SMEHA JAIN

treet play and India share an extended relationship dating back to about 5000 years. The earliest sort of theatre being the Sanskrit theatre. Street play involves presentations in outdoor public spaces without a particular and paying audience but a fairly large group. These spaces could be anywhere, including malls, car parking, street corners, etc. These plays may address serious issues like HIV/AIDS, saving the girl child, birth control and corruption. The actors who perform street theatre may be theatre companies or groups that want to send across a social message or to advertise their mainstream work. In recent years the street play has picked up the pace and has acquired an image of a more moral nature with just the proper kind of fun. Better called ‘Nukad Natak’ it is probably the simplest way to connect with the people. These are much intimate, brief, direct, and address the social/political message head-on with the help of drama. The catchy phrases and songs, crisp script, humor, and loudness help in making a longlasting and powerful effect on viewers. These plays can stir up emotions, create awareness, and lead the way towards positive change. It not only enlightens people but gives us, the citizens to voice our opinion too. These plays can create a positive impact and may lead to drastic changes in our society. Changes towards an improved tomorrow. Change in society comes with the change within the mindset of the people and street plays can rightly achieve that goal.

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As a part of gender week celebrations at IRMA (Institute of Rural Management Anand), IRMA Natya Manch (INAM) a dramatic club, presented its street play ‘UNEQUAL’ on March 8th 2017. The play emphasizes existing stereotypes and gender discrimination in society. They talk about the stereotypical society according to whom men should be the providers of the family, whereas women should look after the home and children. Men and women are wired to accept this construct. And when some people try to change these norms, our society starts opposing it because they cannot be in favor of changes happening for women. The play question’s why there is such difference created for men and women when we all are humans and we all should be treated equally. The conservative thoughts of our society are being a barrier to our nation’s development. Some people with conservative thinking feel that women are not worth having a job. They think that woman can never be good enough and can never do a job better than a man. These plays open our eyes and make us see what is happening around us. Holi is the most celebrated festival in India. “Bura na maano Holi hai” is a famous phrase used at the time of Holi which roughly translates to “Don’t be offended, it is Holi.” We can see that in the play this saying is used as an excuse to throw colorful powders or water on family, neighbors, or even strangers in the week leading up to Holi. But there’s a darker side to the phrase. It’s also used to

justify sexual assault in the form of holiday friendship. The play also speaks about Jhansi ki Rani. She was the bravest women and fought for her people with Britishers. When we remember her we say “Khoob Ladi vo mardana vo to Jhansi vali rani thi”. But why do we refer a brave personality as men? Why do we bring gender into this? Why do we have to compare her with another gender? Such plays show us how deep-rooted are the gender stereotypes which makes it very difficult for society, to look at

gender-related issues being free from biases. As play proceeds we see men and women being a victim of discrimination on different occasions and situations. Such issues can be dealt with, only when we, not only, change our thinking but also pledge to change the lives of upcoming generations. The play dedicates it’s performance to all, who are seamlessly fighting for bringing gender equality to society.

Holi Celebrations AP Photo PHOTOGRAPH BY RAJANISH KAKADE

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Ready, Set, Play

Teatro Olimpico Theatre in Vicenza, Italy. PHOTOGRAPH BY PETER GEYMAYER

From the Sets

An Integral part of Theatres The Evolution of Set Design, an ideal for improving the experience of the audience. The article delivers the importance of this visual element and tells about how it affects the audience as well as the actors. WRITTEN BY JANVI KHERA

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Ready, Set, Play

et design is primarily concerned with enhancing the experience of the audience at the performance. The specific architectural elements are considered ideal for improving that experience of the audience. It differs from culture to culture and sometimes even between subcultures within a given culture. They are divided into two general categories: those who serve the aesthetics deemed appropriate for the art of theatre in a given culture, and those that optimize the experience of that art for the audience. The main function of stage design is to hold the story of the play. A theatre provides a space for the performers to enact their performance and a space for the audience to experience that enactment. The stage designer has always been a crucial member of the artistic production team. Over the many centuries, all across the world set designers have created their unusual art for plays, musicals, operas,

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and worship productions. From a simple painted backdrop to modern LED rojection screens that can project any imaginable image. The most primordial form of Greek theatre had a tamped circle, which was called an acting area, there were benches around it for the audience to sit. Later, the mountain slopes were carved to form the steps, which were used for sitting and a flattened circular area was called the orchestra. The bottom of the slope served as the performing area. The auditoriums were bowl-shaped, in which two-thirds of a circle was covered around the performing space; the remaining one-third was left open to the landscape. In 534 or 535 BC, Thespis astounded audiences by leaping on to the back of a wooden cart and reciting poetry as if he denoted the characters whose lines he was reading. With this advancement, a hut

(top) Ancient Epidauros Theatre Greece

PHOTOGRAPH BY UTA SCHOLL

(top) Roman Theatre of Mérida SPAIN

was constructed in the open one-third of the auditorium. This hut was used for the actors to change their costumes and mask to portray two or more characters during the performance. The hut was called the scene, which is now commonly known as a green room.

level to provide him a prominent position to emphasize his stature and physique. The concept of the Roman theatre was similar to the Greek, but as far as the scenic concept is considered, the Roman theatre has more of its extended form. It had two important features,

Later on, more emphasis was laid on the visual appearance. Now the actors were allowed to make dramatic entrances or exit. For these doors were also introduced. The scene also became more elaborated with different shapes and sizes. The actors were also using different objects which were a part of the scene. Different kinds of paintings were also used to create visual impacts. For example, when the scene had a double-storey building, supported by the pillars, paintings were placed between the pillars, to enhance the visual beauty. When an individual actor performed in the orchestra’s region, the set designers gave him a raised

Firstly the set designers became more conscious about the scenic background. They focused on the idea that man could construct his environment. Secondly, the actor had connectivity with his environment, and a different form of performance would evolve if both of them feel connected. In the Roman Theatre, the scene, orchestra, and auditorium were unified into a single building. The scene became closer to the audience, by increasing its size and converting the auditorium into a semi-circular shape. Elaborate decorations on a long, narrow, horizontal stage also became an integral part of the Roman Theatre.

PHOTOGRAPH SOURCE

blog.fromtheboxoffice.com/

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THE MEDIEVAL THEATRE A few centuries after the decline of the Roman theatre i.e around the 9th or 10th century, the birth of medieval theatre took place with the dramatization of episodes from the Bible and the lives of Saints, the medieval theatre originated within the church which had officially banned the theatre. This period was known as the intermediate period or Dark ages. The dramatic representations mostly took place in front of the Altar and gave rise to the tremendous spectacle in the architecture of, and against the painted and ornamental walls of the church. Choral singing and recitation were also an integral part of these dramas. Progressively, to depict different regions separate booths were built to represent the stories. These booths also included hell and heaven. The steps outside the church were chosen to place these booths where heaven was being placed on the topmost step and the hell on the lower ones. Different aspects of life were revealed with various actions shifting from one booth to the next. The use of visual elements to convey a particular idea became the most striking feature of this period. Now, the theatre has got its

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visual language. In both Greco - Roman and Medieval periods performance were associated with religion. Also, the visual appearance was an important aspect of both periods. THE ITALIAN RENAISSANCE The genesis of the form of modern theatre is perceived during the Italian Renaissance. The theatres constructed were architecturally similar to Roman, though the degree of decoration was extreme. Its classic example is Teatro Omplico, in which the scale and proportion of man were well taken care of. In this period performances mainly emphasized life and religious ideas were absent from the performances. The entire perspective and attitude had changed. The stage floor area was increased with the introduction of wings and proscenium arch. A great emphasis was laid on backdrops. The actors now performed in front of the sceneries which were painted in perspective. These paintings displayed different locales according to the performance. Scene painters in the theatre got a relevant space and then emerged as scenic designers. Space was visually extended because of the use of the third dimension. These paint-

(top) Roman Theatre Merida, Spain

PHOTOGRAPH BY UTA SCHOLL

ings were placed in the backdrop in such a way that they could be changed several times according to the performance. Now it was possible to relate the space with the actor’s body. The period from the 17th to the 19th centuries was one of the extraordinary activities in Europe. The modern scenic design emerged from the production design instead of equipment and camera. Set creator Jan Versweyveld and video planner Tal Yarden increased current standards for an intuitive set plan as they rethought the UBS TV station set for the exemplary 1976 Academy Award-winning film turned Broadway play Network. It’s a section scene and part execution workmanship; the partners take a multidimensional mechanical plan to another level, where crowds feel the unmistakable power of watching a live TV news show. The planners made a working—though disordered and jolting—newsroom, complete with a glass control corner, that offers a look into the inward operations of the news set, alongside a grapple work area where Emmy Award-winning star Bryan Cranston (as Howard Beale) is “distraught as damnation

and not going to take it any longer.” There is even an eatery in front of an audience left, where theater benefactors can eat and encounter the activity firsthand. The highlight of the set is a gigantic one end to the other video screen that barrages the faculties with vintage ‘70s pictures of ads selling tacos, beddings, and hair items, curated by Yarden.

(top) UBS Set Design PHOTOGRAPH BY JAN VERSWEYVELD

Set Design is an integral part of any theatre production. Sets and their designs provide an opportunity for the designer to showcase different concepts and tell a story in many creative ways. With the use of new techniques and some unique, fine, and unusual materials, the set designers can create a beautiful relationship of the set with the actors. The most important thing in the set design is that the set should be innovative and original. The audience gets the information about the concept by just having a look at the set. To connect the audience with the scene, the designing of the set plays a very important role. It also creates a new home for the model to interact with. Designers create a new world in front of the audience where the actors are presenting their ideas and keep the audience visually bound.

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Rule

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In Tune

SIVA

Music for your Soul Exclusive on the musical journey of SIVA, from where he came to how he got here. WRITTEN BY LILLY TOPPO

“

My name is Siva, currently in Cambodia, a recording artist signed to a label called ‘KlapyaHandz’, we, best known for urban/ hip-hop music. I’m from London UK, was born and bred in London but my parents are Nigerian. I’m what we call, or what I call a hybrid

”

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o I would say that I’m the best of both worlds. My parents generation, when they had kids in the West, in the UK mostly, there would come a period of time when they would take them out of school, and send them to Africa for months, sometimes years. In my case I had to go to Africa and I had to stay with my grandma, and I had to move from grandma’s house to auntie’s house and so on, because, its kind of like they’re saying “They don’t want their child to be a lost cause” back then I didn’t know what was going on, I was like “What am I doing here?” “I want to go back to London.” “I hate this place.” You know what I mean? But then, today when I see what’s going on in America especially, I’m glad that I had the opportunity to go there and know that place.

WHO ARE YOUR BIGGEST MUSICAL INFLUENCES? SO WHAT MAKES YOUR MUSIC UNIQUE? It’s interesting to ask that because I was influenced by a lot of artists from the past and some from the present. I could name a few, because the list is long, I could say that the ones that really stood out to me was like the Bob Marley, Fela Kuti, Lauren Hill, I listen to H.E.R, H-E-R. I was heavily influenced by Snoop Dogg, believe it or not, Tupac, Kanye West, A$AP Rocky he’s my favourite rapper, So quite a few yeah, even Maître Gims, the French guy. WHAT MAKES YOUR MUSIC UNIQUE? Honestly I would say the way it’s written versus the vocal style, because like, as no two faces are the same, no two vocal records are the same. Now you could argue “oh yeah, but there are 1.3 billion people in India”, but in 1.3 billion people no two people are the same, everybody is different, you know what I mean? 200,000 million people in Nigeria, no two people are the same, even twins, you know what I mean? I think we make the uniqueness, about the way the songs are stitched together, I think I would say that. HOW WOULD YOU DESCRIBE THE MUSIC THAT YOU TYPICALLY CREATE? People would call it ‘Urban’, but to me, ‘Urban’ is just another way of saying, ‘that’s nigga music’ you know what I’m saying? But that’s what- so you know instead of using the word ’nigga music’, they call it Urban, what is ‘Urban’? You know what I mean? It don’t make sense. So at the end of the day, for me you know, um, I would say that the music that we create is spiritual, cuz it talks to the soul, if you see what I mean. And it doesn’t matter what we’re talking about, whether it’s the goodness of life or

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“

People would call it ‘Urban’, but to me, ‘Urban’ is just another way of saying, ‘that’s n***a music’ you know what I’m saying? But that’s what- so you know instead of using the word ‘n***a music’, they call it Urban, what is ‘Urban’? You know what I mean? It don’t make sense.

”

the appreciations of life, however you want to define it, it reaches the soul right? So for me, I would say the music we create is spiritual music, that’s how I would define it. HAS THERE BEEN ONE PARTICULAR MOMENT IN YOUR MUSICAL CAREER THAT YOU’RE MOST PROUD OF? So with social media, its a whole new age of information right? So for me, I never had any major tracks on social media before coming to Cambodia right? Then I came here, then I signed with ‘KlapyaHandz’, mind you ‘KlapyaHandz’ is not a big, major label, you know its still working, working it’s way to the top right? And I did this song with Vuthea, one of the artists from ‘KlapyaHandz’ and the song is called Oun Sas Ey. And I remember prior to doing that song I used to think “wish I had a million views on YouTube, that would be so dope!” And after doing that song with him, the song has now 5 million views. You know exactly what I’m saying, back in the day I could barely shave 5000 views. (laughs) And after that, Vuthea is still sending me messages on IG and Facebook, thanking me for I don’t know what, specially like following Cambodians in other parts, especially the ones in United States, Australia and France also, they send messages saying “Thank you for doing that song” “Thank you for using you culture to put our culture on the map”

culture on the map” and so on and so on. And I’ve made so many friends, in L.A, in France, Australia, New Zealand that I would have never dreamt of, you know what I mean? WHAT ADVICE WOULD YOU GIVE TO BEGINNERS WHO ARE NERVOUS? The first thing I would say is, you gotta practice. I remember, you could witness that, you probably witnessed it also, you would hear me singing all the time, wherever I was. I would sing everywhere, not necessarily because Im trying to gain anybody’s attention, but it’s like a muscle, if you don’t work the muscle it becomes flabby right? Practice and practice and practice as much practice as you can. You gotta know when to start and when to stop, because you still need to rest that muscle right. I would say most people would go from A to Z in the alphabet table, without touching B to Y. So, which would mean be in the process. People wanna be like “Oh I’m a musician and from nobody wanna be to Tupac level, tomorrow” you what I mean? So I think they should enjoy that process you know? It’s the process that makes you the musician that you will be, you know what I mean? WHO INSPIRED YOU TO MAKE MUSIC? It depends, because some of my inspiration, you know, that’s a good question cuz I was talking about that to a friend the other day, and I realize that inspiration, it varies, right? So, yea you got the musicians who inspire you because “oh they look like you” or “they doing things that seemed impossible” you know? You got that. You got the famous people, or the person who stood out in the clan right? You know, build bridges. Then you got everyday people that also inspire you, you know? like, that woman who has her children to take care of but she still has to go under the heat, to sell whatever it is she has to sell to send her kids to school and whatnot, that’s an inspiration right there. So in the end, I’m inspired by, even animals, you know? How you know they live, their will to survive. So I can’t really place my inspiration coming from just a certain place. It could be the wind, it could be the sound of the ocean, crashing, the waves, it could be the sound of rain, you know? It could be you yourself, the fact that you’re in India doing what you’re doing right now, that’s inspiring, to tell you the truth, you know what I mean? So, it varies. So because I think if you only inspired by, lets say, lets take Bob Marley for instance. If you’re only inspired by Bob Marley, so if you don’t hear a Bob Marley song or you don’t watch a bob Marley this or you don’t listen to a Bob Marley that,

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and listen at will, to whoever, over there, so that’s a big impact for instance. So I think the internet joined bridges. So for instance, I can understand, I can feel or listen to an Indian song, as if it’s right at my doorstep, you know somebody in Colombia can listen to somebody in Nigeria and somebody in Nigeria can listen to somebody in China and so on. So I think that’s the impact that the internet has had on music in general. You get to discover unknown acts faster, quicker, and it’s up to you to decide if you like them or don’t like them, but at least you get to hear about them, from all over the world, so I think that plays an important role also.

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WHAT IS THE BEST ADVICE YOU’VE BEEN GIVEN? The best advice I have been given. Interesting because from 10 years ago I was advised by ‘Keyboard Money Mike’ he’s an American producer, and he was just giving me tips on how to perfect my performance, and my singing in the studio, techniques and whatnot, so it has to be on top of the list. Other best advice that I’ve been given is actually the owner of record label, you know? How he advises us to just try to be as humble as we can always be everyday, regardless of the changes that’s going to occur as we grow bigger. So, he always kind of advises us and he leads by action, you know? So we see him everyday, he doesn’t shy away from working, he seeks solutions rather than stay stuck in the problem, you know? So that would be the best advice I’d say that I’ve gotten verbally and by action.

(top+cover) SIVA

PHOTOGRAPH BY STEVEN GARGADENNEC

then what? You know what I mean? So it has to be all forms of inspiration. So that’s how I’ve learnt it, learnt to understand it. HOW DO YOU FEEL THE INTERNET HAS IMPACTED THE MUSIC BUSINESS? The internet has done wonders, and ill give you one example for instance. We at the studio here 24/7, we know fully well about Bollywood, I’m there’s other smaller ones, the more diverse ones, but, not to shave anything off the top right? We sit in the studio and we go to India, without leaving Cambodia you know? And we listen to a lot of the Indian singers, no shitting you. And sometimes I would say “Man, I wanna go to Bollywood” And just work with these singers, because there is a way that they play with their vocal range you know? You can only be Indian to do that, you know what I mean? And thanks to the internet, we’re able to go

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IF YOU COULD CHANGE ANYTHING ABOUT THE INDUSTRY, WHAT WOULD IT BE? Haha It’s a lot to change I tell you… where do you want me to start? Ok first of all, lets dip into the skin colour thing, for starters, cuz that is just…No. Bleaching shit, you know? That needs to change. This, “you’re not good enough because your skin is looking like this or like that” that needs to go. The contracts that the record labels are giving artists that they believe in, that they want to spend money on, right? As a product, those contracts are like slave trade, that needs to go. I think that needs to change, they use this, I remember it happened to me once, I’m not gonna mention the record label, but they recorded me and wanted me to sing a song that was already recorded, so I thought “oh I’m going to put my voice on this song and dadada-” And then when I got to the studio, it was a big massive studio, so it’s not no small, there was big money involved, and they wanted me, because I looked better than the guy who originally sang the song

what the fuck? So initially I was excited because I didn’t know all the details, right? But then I started asking questions because I thought I was going to the studio to sing to that beat, right? And the guy who’s voice I was hearing was the guy who literally wrote the song but they needed another colour of voice, that suit the beat better, that’s what I thought. On getting to the studio, and asking questions, they were just trying to create the next Milli Vanilli, I don’t want to be these people. You remember Milli Vanilli right? They were the face miming all the songs of older characters, European singers, right? So, I think that, that is still going on. Like, if I’m not mistaken, there was an LL COOL J song “I’m doing it, I’m doing it, I’m doing it now, I’m doing it, I’m doing it-” you know that song? The girl who was singing is not the girl you see in the video singer; yeah, the original girl who sang it is a fat girl, and they at the time, they knocked her off the screen because she was too fat for the screen. Can you imagine that? But her voice was not too fat for the screen her face was, that is disgusting man, you know. When she was singing it for them she wasn’t too fat to sing it, you know what I mean? And then when its time to put somebody on screen, on set, her body type was not good enough. So this kind of mentality, needs to vanish man, because its killing the youth also because the youth now think they need to- another thing that I think that needs to change, that has infiltrated into the industry is this idea that everybody thinks that they need to be naked to be noticed. Its a big thing, especially in the Western world, and its crept into a lot of other markets, you know? They think they need to be naked to sell records, are we listening to your voice or are we watching a semi porn? You know what I mean? I think that needs to change also. That’s the few that I can remember off the top of my head. WHAT’S NEXT FOR YOU? I’m still working, I’m trying to build more fanbase, gain more followers, but organically, I don’t want to buy anything, you know? I don’t accept that you would go and buy 30,000 followers from China, 20,000 from India and 30,000 from Africa, this is like you’re lying to yourself, this is how I perceive it, right? I believe that if you want to build a castle or a house or a mansion or whatever building structure you want to build, you have to build the foundation first; and if the foundation is strong, the building will stand, and withstand whatever hits it, right? So we’ll be completing that foundation and then building that castle and making it grow, that will be what’s next for me.

IF YOU HAD TO GIVE ONE PIECE OF ADVICE, TO AN ASPIRING ARTIST, MUSICIAN, TO ANYONE WHO WANTS TO DO ANYTHING CREATIVE, WHAT WOULD THAT BE? Follow your heart man. Believe in what you do, and sometimes it may not pan out in the way that you think it should, but in the end if you follow your heart, follow your wind, it will never lead you wrong. And don’t compare yourself to other people, because no two persons journey started from the same day, and has to be, there’s no time limit, you know what I mean? Maybe with sports a bit, because you have to use your physical body, you know? So when you have to use your physical body, at a certain point, your body can’t take no more battering, right? But, when it comes to creativity, art, music, there’s no time limit with this, you know? So my thing would be follow your heart, practice, believe in yourself, build, build, build, put your feet (not too sure about this word he said) out there. Even if nobody is watching now, eventually, once upon a time nobody was watching those guys also. And now everyone is watching them you know?

(Pg.47 + top) SIVA

PHOTOGRAPH BY STEVEN GARGADENNEC

DISCOVER MORE ON: YouTube: klapyhands: Siva Instagram: Siva_kyh Facebook: Siva

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Rule In Tune

Indigene Tones

Different cultures, different expressions but one feeling. Indigenous and aboriginal artists from around the world talking about issues and sharing their individual experiences. The article talks about their lyrics and the music that adds up to the essence of the theme. WRITTEN BY SHREYA ARORA

Ziggy Ramo B

orn to an Aboriginal and Solomon Islander father and a mother of Scottish heritage in Bellingen, brought up across Arnhem Land and Perth, Ziggy, whose full name is Ziggy Ramo Burrmuruk Fatnowna is an Indigenous rapper who made 2020’s most important Australian album few years ago. Since his first release in 2016, Ziggy Ramo’s sharp lyricism and effortlessly cool musical talent have made him as an essential voice in Australia’s national conversation. From racial discrimination and toxic masculinity to mental health and even love, Ziggy is insightful, articulate and poignant with a fiery energy to match. His songs reflect the infectious inner-monologue of a person carrying ancestral trauma while navigating the challenges of extant life, and interrogating issues with compassion and courage. During an interview with the Beat, he says: “There are a lot of loud noises, a lot of directions and discussion around and at times, there are people spreading nega-

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tive messages as well. With this society, we are conditioned to innately go against our common sense and our true nature. None of us are born sexist, none of us are born racist. I think we’re conditioned into that.” He also spoke about mankind that is not truly being self-sufficient, instead, thriving and relying on connection but, it’s self-importance that he strongly disagrees with. “It’s ridiculous to think that because of your race or gender you’re born in a higher place than anyone else. If we all ask ourselves honestly, I think we all do believe in equality and that’s to me what it is – that everyone is equal. Ziggy’s latest release, Black Thoughts (2019), is an extended version of the artist’s 2016 debut EP by the same name. Black Thoughts reflects on the recent attention on police brutality against people of colour and Aboriginal deaths in custody in both the United States and Australia. A few lines to the lyrics are:

(right) Ziggy Ramo Indigenous Rapper PHOTOGRAPH BY JAN VERSWEYVELD

“

Darker than the past, darker than our present Darker than the future that we’re surely destined Cause it’s all good to call Mr. Goodes an ape As long as you’re thirteen and have a white face But I ain’t happy man, that shit is a disgrace No game, no cards to play, it’s more than race

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”

In Tune

“

I’m more than what they think of me, More than the colour tones that they see, More than urban and r&b, more than a slang that I speak, Close your eyes, don’t say your word, Don’t speak about what you seen or heard.

Aaradhna

”

orn in December 1983, Aaradhna grew up in Porirua, Wellington, New Zealand. She was raised by a Samoan mother and an Indian father who loved singing and wrote music too. During her teens, she developed her song craft in an unconventional way. Instead of guitar or pianos, there was beat boxing and layering of her voice. Her debut album I Love You, gained a lot of credit and respect and the song entered in the top 20 RIANZ (a non-profit trade association of record producers, distributors and recording artists who sell recorded music in New Zealand.) Her song ‘Brown Girl’ reflects a lot on her childhood and how she came across with it. It’s her fourth album and is a Pacifican story; a daughter of two cultures growing up in a country that is not always as kind as it likes to see itself. Adding to that, there is more universal feeling that goes with love and loss, and you’ve got soul music of a very personal and powerful kind. The song is fantastic and career-defining: quietly proud, resonating with inner strength and belief, and, in its slow-burn build, reminiscent of Sam Brown’s 1980s wonderful stop. The song is a

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direct response to the racist abuse Aaradhna suffered growing up with mixed parentage near Wellington. During her interview with The Guardian she says: “Growing up as an Indian and Samoan New Zealander, I’ve seen and witnessed others including myself being automatically ‘labelled’ for what we look like, what we wore, the way we spoke, where we resided. I’ve been called a curry muncher, a dumb coconut, and all kinds of names in the book…”There are two main themes running through the fourth studio album from Aaradhna. The first is prejudice and the second is that of the breakdown of a relationship with her partner of eight years, Leon Henry, a professional basketball player. Brown Girl resonates with Aaradhna’s deep-felt pride in her heritage and roots, a pride that is tempered with an almost solemn joy and so does the lyrics.

(top) Aaradhna Indigenous Rapper PHOTOGRAPH BY GOLDEN ERA

(right) Indigenous Rapper PHOTOGRAPH BY GOLDEN ERA

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“

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You’re just jealous of my sisters These Mipsters, These hippies These Prissies, These Sufis These Dreddies, These Sunnis These Shii’s, Yemenis Somalis, Libnanis, Pakistanis These Soories, Sudanis Iraqis, Punjabies” Afghanis, Yazeedis Khaleejis, Indonesians Egyptians, Canadians Algerians, Nigerians Americans, Libyans Tunisians, Palestinians Hidden beyond the Mekong in laos Senegalese and Burkina faso I still wrap my hija Wrap my hijab

Mona Haydar

”

ona Haydar is an American rapper, poet, activist, and chaplain and is best known for her viral song “Hijabi (Wrap My Hijab),” a protest song. She is a strong, bold and fierce piece of motivation and one can learn a lot about her by the way she writes in her songs. The lyrics are intense and involve a play of words with theme. She was brought in and mentored by black women who taught her to use her voice as a way to oppose white supremacy and Western culture. One such mentor was Dr. Traci Currie, a professor at the University of Michigan - Flint, when Haydar attended.

diverse group of Muslim women, though Haydar expressed a specific interest in spotlighting Black Muslim American women and their empowerment. While most of the online feedback praised Haydar for empowering minority women, “Hijabi” faced some backlash from traditional Muslims who consider the song to be disrespectful. In her another music video, ‘Dog’, she talks about toxic and abusive masclunity and chauvinism in her lyrics. The lyrics, again, is sturdy and speaks out about issues often pushed out of sight.

Haydar, in her music video, Hijabi, talks about Muslim women who wear the hijab and are increasingly getting targeted in the U.S., as Islamophobia has risen over the past few years. The number of physical assaults against Muslims in the United States since 9/11 has increased every year. The FBI reported 388 incidents of antiMuslim hate crimes in 2017, a 26% increase from the previous year. Furthermore, 55% of surveyed Americans had an “unfavorable” opinion of Islam. The purpose of her music video is to celebrate the hijab and hijabis in general. The music video features a

Following her work as a poet, she’s now stepped out of her comfort zone, beginning her journey into the rap world – inevitably ruffling some people’s feathers. The lyrics in Hijabi says,

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(center) Mona Haydar American Rapper PHOTOGRAPH BY EGYPTIAN STREETS

(right) Mona Haydar American Rapper PHOTOGRAPH BY TUNE FIND

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In Tune

Midnight Oil M

idnight Oil is an Australian rock band composed of Peter Garett (vocals, harmonica), Rob Hirst (drums), Jim Moginie (guitar, keyboard), Martin Rotsey (guitar) and Bones Hillman (bass guitar).

Beds are Burning is arguably the most resonantly subversive artistic gesture ever made by Australians. It is a brisk dispatch from geographical and moral places that Australians generally prefer not to visit and the immense emptiness of our outback, and the sorrow of the Australian Aboriginal people. The album from which Beds are Burning was drawn, was the result Midnight Oil’s 1986 of Indigenous communities groups. Beds are Burning did notably well in countries which had also acquired their territory at gunpoint, charting high in the United States, Canada and South Africa. The lyrics are simple and a piece of clear writing combined with a classic, pop music of guitars and drums. It is an anthem written to drown out the anthem we were scheduled to be singing all the following year. (up)

(bottom) Midnight Oil Australian Band PHOTOGRAPH BY OLIVER ECLIPSE

PHOTOGRAPH REMAKE BY REMEMBERAJ

(right)

PHOTOGRAPH BY THESUPERMAT

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Potpourri Album Art Covers

An exquisite collection of different Album Art Covers, personifying the music and defining how we look at a particular album. Photographic portraits, paintings, collages- all these and many more.

Some Girls was the fourteenth studio album (sixteenth in America) and became one of their most critically and commercially successful albums of The Rolling Stones. The band’s artwork is notable for its bright colors, die-cut design, and its famous lawsuit. Illustrated by Hubert Kretzschmar, it features a series of faces that are die-cut; with images on both sides of the album sleeve that line up with the cut out faces on the cover. Another version of the release was made without the die-cut peepholes, while another was made using hand drawn sketches instead of images of the band and celebrities. The album cover features different colored appearances depending on market. There are 15 known variants of the cover and innersleeve design.

The Rolling Stones, Some Girls (1978) Designer: Peter Corriston Illustrator: Hubert Kretzschmar Release date: 9 June 1978

WRITTEN BY JANVI KHERA, SHREYA ARORA

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Rule

Orgasm Addict is a song by the English Punk rock band Buzzcocks. It was the Buzzcocks’ first single. It was released on November 4th 1977 and was recorded by United Artists. The song is written by Pete Shelly and Howard Deveto. It is a song about a youngster who is fixated on having orgasms, first as masturbation, after that as full-blown sex addiction. In 1977, Linder Sterling, the artist joined the image of iron-headed women from a girly magazine with gnashing teeth for nipples from an Argos shopping catalog. The graphic designer, Malcolm Garrett resized, organized, and formatted the image with the help of a photocopier. He also turned the image upside down and rendered it in a single color to enhance the graphic impact of the sleeve. The collaboration ended up with the iconic design for the single Orgasm Addict by Buzzcocks, the British Punk Band.

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Patrick Nagel created her perfect features, lip-gloss, huge earrings and flowing cloth. Garrett’s work unites the cover together with the band’s name, collection title and photography to complete the packaging. He used the colours that compliments the appearance of the illustration and he used his brand name strong lines which in this design echo the lines in Nagel’s work. Orgasm Addict, Buzzcock Released on : 4 November 1977 Recorded by : United Artists Written by : Pete and Howard Deveto Graphic Designer : Malcom Grrett

In the base right-hand corner of the sleeve, Garrett has made a little tab that folds over onto the back spread to shape a seal. An eye symbol sits either side of a D representing Duran and rather cunningly the words “Arranged Images” – making his own organization’s name part of the plan itself.

Rio, Duran Duran Released on : 10 May 1982 Designed by: Malcolm Garrett/Assorted Images Illustration by: Patrick Nagel

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The album cover features a photograph of model Barbara Cheeseborough taken by photographer Joel Brodsky. In the photo, Cheeseborough is buried up to her neck and appears to be screaming, with the band and album names printed above and below her head. This outright spooky imagery is enough to get anyone’s attention, leading them on a journey that touches on the sadness, joy, and passion of a landmark funk album.

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Funkadelic’s Maggot Brain Designer: The Graffiteria, Paula Bisaca Cover Photo: Joel Brodsky Modeling: Barbara Cheeseburgh Release date: 02. Dec 2014

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Bucket List October 2020 Playlist

A soulful reminiscence of good music and good vibes. Tune in to the songs and relish the lyrics.

Daylight

Teenage Blue

JOJI, DIPLO

DREAMGIRL

Rasputin

Talulah Tate

Hey, Ma

Dreams Tonite

My Kind of Woman

Delicate

Pass The Dutchie

BONEY M.

BON IVER

MAC DEMARCO

MUSICAL YOUTH

JOCELYN FLORES

ALVVAYS

DAMIEN RICE

HALSEY

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ance is a performance that for the most part includes the development of the body, and tries to connect to various societies in all of these dances, costumes play an important role. Dance costumes are one of the most significant aspects of each dance group. Costumes help strengthen the display that dancers aim to complete. They help support the dancer’s forms by making them look more streaming and expound. Costumes give the dancer and their dance performance a new look. India is a country rich with culture and each culture has a dance form and corresponding costume.

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Costumes and body ornamentation are utilized to characterize a particular group dance and the people in the group, other than that it gives an aesthetic appeal. They also help to sometimes recognize societal position, war, customs, and simple entertainment. Moreover, they impart to the crowd, the social condition where such a dance is practicable. Enhancing the mood and making the dance additionally engaging.

Footloose Fashion

Dance costumes for different dance forms The cultural differences in dance costumes around the world. Costumes are a vital and meaningful aspect of various dance forms. WRITTEN BY IVNEET KAUR

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(top) Kichwa Tembo House Malindi, Kenya PHOTOGRAPH BY ETHAN MCARTHUR

ACCORDING TO SCIENTIFIC AND ACADEMIC PUBLISHING Bell-Gam proclaims that costume and hand properties play vital roles in theatre productions. He goes further to state that they do not only explain the characters, social status, age, and moral dispositions of the actors but also reveal the cultural background in which the drama is situated. Bell-Gam illustrates the uses and significance of costumes and other artistic objects by actors during performances in the richness of regalia of the actors in different Nigerian plays. This could be seen in royal regalia in Ola Rotimi’s “The gods are not to blame” where popular admire materials were used to design the costumes of King Odewale to reflect the Yoruba culture, and Zulu Sofola’s: Wedlock of the gods” with the use of local materials for costuming. This will also educate the audience about the indigenous materials used and thereby encouraging people to deviate from western materials and work more on improvisation. Olaosebikan said that what is modest and beautiful in one culture and civilization might be regarded as hilariously funny or even considered insane of outrageous in others. But the determinants of the variations are the customs and social values of such cultural groups. However, Egonwa categorically states that the appreciation and the aesthetic expressions of African art can only be enjoyed and discussed by those who know their cultural values. “These are

the style the way an art looks, the iconography its subject matter and symbolism, and its historical context – the political, social, economic, scientific, and intellectual background that influences the purely art historical events”. Egon goes further to state that early western writers following European expectancy patterns have misunderstood our art because of the error of attempting to interpret art forms using their standards.

(top) Hulu Tribe Papa New Guinea

PHOTOGRAPH BY JORDAN DONALDSO

Therefore the cultural values that give significance to art in Africa and Nigeria in particular are different from those which informed European arts. Social functionality has been an important factor in the validity of most African art. These may be expressed in fine, applied or performing art which may also differ according to their cultural acceptability. Most of these submissions are in the concept and context of Abame festival as this write-up will show in the costume and body adornment in the dance proper.

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OYILATTAM, TAMIL NADU This is a dance of grace and this traditional dance is mainly performed by men in Tamil Nadu. Men stand in a row and perform this dance according to the rhythm, but due to the huge popularity of these dance shows, now many women dancers also participate in these performances. Dancers perform this dance with colorful handkerchiefs and they wear ankle bells. The folk background music which is accompanied by this dance is called Thavil. PAAMPU ATTAM, TAMIL NADU Paampu Aatam (snake dance in english) is a dance that originates from Tamil Nadu. The dancers believe that the snakes protect them from severe diseases. Young girls wear snakelike costumes and try to imitate the writhing and creeping of snakes, making biting movements with their heads and hands. GHOOMAR, RAJASTHAN Women play out this dance wearing long dazzling skirts and dresses during their performance. People from the neighborhood come together to sing melodies and with the ambient sounds of the singing, the dancers pirouette in and out of a circle.

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BALLET DANCE Ballet is one of the most organized and most traditional sorts of dance that is still performed. Ballet requires its dancers to gang similarity, beauty, and solidarity to finish major advancements. These highlights are reflected in the costume of the dancer. Ballet dancers pick straightforward and exemplary dance costumes that make their smooth movements look all the more surprising than they are. Their costumes are basic as to not interfere with their dance performance or engage the crowd from their moves. Leotards permit the dancer to perform with the equalization and adaptability that they need, while showing excellence and adding style to the exhibition. Dance leotards are normally made of cotton or nylon. They are formed with spaghetti ties or tank-style lashes, with a plunge neck. They can have short and long sleeves. Formal ballet studios expect understudies to wear strong white, pink, or dark leotards. Dance leotards can have a tutu or skirt appended, and will in general be more embellished with unsettles or decorations than our gymnastic leotards. CLASSICAL TUTU In the late 1800s, ballerinas began tweaking their tutus so they didn’t sit so low on their legs. That alteration let ballerinas move

(top) Ballet Tutu Ballet Dance PHOTOGRAPH BY ALEXANDRE DINAUT

more freely and gracefully onstage, and tutus continued to get higher and higher until they reached the Classical form we see today. These are made of stiffer materials, so they don’t hang below the dancer’s waist and hips. Today there are several variations on the Classical Tutu. One called the Pancake Tutu is supported by a hoop inside the fabric, and sits on the dancer’s hip. The platter tutu is similar, but it sits on the dancer’s waists instead. One more called the powderpuff tutu is light and fluffy, so it doesn’t need a hoop to support itself. UNDERWEAR The ideal underwear ought to totally cover the bottom. It ought to contain enough texture to contain a little – cushion, to forestall any holes. It ought to be launderable and the shading decision, texture, and style ought to be impacted by the costume itself. Straps are not an ideal decision in hip twirling outfits as they don’t offer a lot of security by method of spread or avoid sweat and different stains. BALLET SHOES/MOON BOOTS Ballet shoes are lightweight because of their capacity, the cowhide is regularly delicate and is related to moving toward issues with intense strength. The ballet shoes are utilized for moving. They can be produced using silk,

canvas, delicate cowhide and they have a delicate sole. The ballet shoes carry steadiness to the wearer while they are playing out their dance. A well-used pair of ballet shoes shows a positive circumstance. This will be ideal for you and all who are around you. We live in a society that has a diverse culture and range of dance forms. Costumes and body ornaments reveal societal position. Some plays like “The Gods are not to blame” and “Wedlock of Gods” used to encourage people to use local material. Tribal dances and costumes are a reflection of the lifestyle and beliefs of a tribe. Indian dance forms reflect the tribal character. The snake dance of Tamil Nadu and Ghoomar of Rajasthan uses special dresses for the dance.

(top) Moon Boots Ballet Dance PHOTOGRAPH BY MICHAEL ALFONSO

TRIBAL DANCE Tribal dances are dance with insignificant advances or developments. These people dance of India are brimming with liveliness, enthusiasm, and spirit. The greater part of these dances are performed with a set clothing standard. These dresses are extremely bright and customary trimmings that are coordinated with them are worn. Tribal dress have played and still assumes a significant role in the conservation of ethnic qualities, social legacy, and the production of a sentiment of solidarity among the individuals. Tribal costumes from one

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viewpoint characterize the personality of a tribal society and on a different viewpoint communicates the connection between an individual and the general public. Costume is an image of the body and not of its wearer’s personality, which under pressure is sometimes forced to adjust to the common life. One can easily recognize tribal characters from their common dance costume. Their dance costume passes on the message of the dance, the qualities and aspects of the domestic society. For most tribal dance organizations, costumes are developing throughout and are used to ensure a proper dance performance. The

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elements used and the usefulness of the costumes give bunch insights in understanding the way of life which one winds up submerged in. Run of the mill costumes are shaped and exist in certain geographic and monetary conditions and are persistently developing inside various conventions.

(top) Rendille People Women wearing “Shuka” robes. Kargi, Kenya PHOTOGRAPH BY IAN MACHARIA

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& Grace

Rhythm Rule

Highlighting traditional dance forms Cultural differences in various dance forms. It is additionally the way that others could have gained information and offer significance to our customs and norms. A collection of dance, customs, cultures and gender. WRITTEN BY IVNEET KAUR

very dance form has its own unique identity. Each dance is beautiful in its own way and has a different appeal to it. When we look around the world we see different types of traditions, cultures, festivals, etc. These things are a part of the society we live in. Every country has a distinctive approach to its dance style, with different backgrounds worldwide merging dance forms, and even creating new ones, transforming the very idea of dance. Tradition and norms are important in every culture that represents the way of dancing. Every dance form represent their own culture. Cultural Dance is really important, this is our way to tell other people about what are the things that they need to know about our culture.

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Gender inequality is the idea that men and women are not equal and that gender affects an individual’s living experience. Gender inequality has long affected artists and the cultural sector, but at first glance, this may not seem so apparent. More women than men study fine art. There are large numbers of female actors, dancers, musicians, arts managers, producers, and creatives on the whole. people of all genders have equal rights, responsibilities, and opportunities. Everyone is affected by gender inequality - women, men, trans and gender diverse people, children and families.

Austin, United States En Pointe Dreams PHOTOGRAPH BY IIONA VIRGIN

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BALLET DANCING One of the significant barriers which dancers face is getting selected or projected and normally, dark dancers endure the worst part of projecting separation inside the classical ballet world. Generalizations of dark bodies are regularly utilized as justification for separation inside classical ballet. There’s a well established thought that dark bodies aren’t appropriate for the lines of ballet. An angled back, distending hindquarters and level feet are stereotypic highlights of dark bodies that some accept don’t fit the light stylish of classical ballet. These opinions are supremacists by documenting all dark moving bodies into one box and suggesting that these highlights are some way or another ugly. GENDER INEQUALITY IN AUSTRALIA Gender inequality has greatly affected the dance platform. Dance is a field filled with images of women and femininity while men are always seen in the form of leadership. The dance industry has been explored by some women, particularly in the establishment of the contemporary dance sector. The Australian Ballet has had more female creative choreographers than males. Throsby and Petetskaya (2017) as of late found that 69% all things considered and choreographers were female, yet female specialists, regardless of

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their advantage and interest rates, are not being similarly spoken to sufficiently cover the entire dance industry. Australian Ballet there are more females than males, with the complete workforce being generally women. The sexual orientation irregularity has happened because of the various interests people hold and one sex may not be attracted to that movement. Unfortunately, this is not the situation for women in the present dance. There are a large number of good female artists, choreographers, and imaginative leaders who have not arrived at similar places as heir male partners. Sex balance, regarding influential leaders of prominent organizations, is significant to state the estimation of crafted by the two sexes and to create a more impact on the Australian present dance. DEBRA AUSTIN Debra Austin started moving when she was eight years of age. At twelve years old, she was granted a grant to move to the School of American Ballet in New York City. While a move understudy at the School of American Ballet, she went to the Professional Children’s School for scholastics. She was handpicked by George Balanchine at age sixteen to join the New York City Ballet, formally turning into the organization’s first African-Amer

(top) Australian Ballet

PHOTOGRAPH BY GEORGES ANTONI

ican female artist at age nineteen. Austin showed up in exhibitions that were broadcast for the PBS arrangement Live from Lincoln Center and the NBC TV extraordinary Live From Studio H. She later left the New York City Ballet to move for the Zurich Ballet in Switzerland, where she was elevated to soloist. After getting back to the United States in 1982, she was employed by her previous individual artist at New York City Ballet, Robert Weiss, at that point the imaginative head of the Pennsylvania Ballet, to be a chief artist for the organization, making her the main African-American lady to arrive at the position of head artist in a significant American artful dance organization. Debra Austin is an American ballet performer who rose to a distinct position in 1982 when she was raised to the position of head dancer at Pennsylvania Ballet, making her the main African-American female head dancer of a significant American expressive dance organization. She was additionally the primary African-American female dancer at the New York City Ballet. She presently loads in as the expressive dance escort for the Carolina Ballet.

awarded a scholarship to dance at the School of American Ballet in New York City. While a dance student at the School of American Ballet, she attended the Professional Children’s School for academics. She was handpicked by George Balanchine at age sixteen to join the New York City Ballet, officially becoming the company’s first African-American female dancer at age nineteen. Austin appeared in performances that were televised for the PBS series Live from Lincoln Center and the NBC television special Live From Studio H. She later left the New York City Ballet to dance for the Zurich Ballet in Switzerland, where she was promoted to soloist. After returning to the United States in 1982, she was hired by her former fellow dancer at New York City Ballet, Robert Weiss, then the artistic director of the Pennsylvania Ballet, to be a principal dancer for the company, making her the first African-American woman to reach the rank of principal dancer in a major American ballet company.

Debra Austin Friday, July 8, 2016 PHOTOGRAPH BY MARTHA QUILLIN

Debra Austin began dancing when she was eight years old. At the age of twelve, she was

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Sarabhai and the incredible space researcher, Vikram Sarabhai, Mallika Sarabhai is likewise an acclaimed entertainer and choreographer separated from being one of India’s making traditional dancers. She started learning dance very right of the stick throughout everyday life and began performing when she was only a young. She has depicted the part of Draupadi in Peter Brook’s “Mahabharata” which was made in two accents, English and French. Aside from that she additionally has worked in some of Gujarati and Hindi movies. She has won the most noteworthy regular citizen grant of France known as “French Palme D’or”. She additionally won the “Best Solo Artist” grant among 44 dancers who had originated from 25 nations.

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BHARATNATYAM The classical dance type of Bharatnatyam is viewed as one of the most seasoned dance frames whose history is enhanced with sanctuaries, sculptures of ladies as an entertainer, and roots that stretch up to Bharat Muni’s ‘Natya Shastra’. It is viewed as a representation of the Hindu legends and culture, and supernatural thoughts that are communicated by the dancer through stances, motions, and developments. What gives Bharatnatyam its situation among the all-encompassing and glorious people, is the legend of Lord Brahma uncovering Bharatnatyam to Bharat Muni. BARNANA HEEMOPRAVA SARKAR Other than being generally viewed as something which exclusively the ‘ladies’ performed. Bharatnatyam was a bad situation for the normal working class layman. It was something which unexpectedly turned into the barrier between orders, totally differentiating a big motivator for workmanship, Unity. Bharatnatyam was not a spot to gain; it was de-marketed with a passionate effort to eliminate its Devdasi history. It was not authorized to be a space to investigate and enhance and was avoided being utilized as a method of articulation of the contemporary society. Indeed, there are occurrences, where Bharatnatyam has been performed on both Bollywood and Hollywood tunes, however, that doesn’t give enough space to investigate the structure as a being.

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MRINALINI SARABHAI A dancer like Mrinalini Sarabhai needs no presentation. Outstanding amongst other known appearances of Indian old style dance, Sarabhai was a specialist in Bharatanatyam and Kathakali, and was likewise a choreographer in addition to a dance educator. Conceived in a Brahmin family, she got her training at Shantiniketan, under the guidance of Rabindranath Tagore. It was there that the acknowledgment hit her that her genuine affection was moving and she chose to seek after a vocation in this work of art.

(Left) Mallika Sarabhai Dancer, performer, actor, social activist, all rolled into one PHOTOGRAPH BY PWERHUMANS.COM

(Right) On stage Mrinalini Sarabhai performing Bharatnatyam PHOTOGRAPH BY INDIANECPRESS

BREAKING STEREOTYPES/ HOW SOCIAL ISSUES HAVE CHANGED OVER PERIOD OF TIME Mahesh Dattani’s works are noted to be of supreme importance in the field of Indian contemporary theatre. They question an amalgamation of social and sexual orientation related issues. His play Dance Like A Man, set in the post-freedom scenario, reflects various concerns innate in the heterosexual Indian society. The subjects which Dattani investigates in his plays are far from conventional and centrally revolves around male generalizing and gendered personality emergencies. The title is nostalgic of the central challenge faced by the male protagonist, “dance like a man”, as the very idea of dance rather than that of maleness and thought about just as a female venture. These inconspicu-

ous suggestions of sex-based issues run all through the play. Dattani, through his play Dance Like A Man, illuminates the patriarchal and heterosexual post-autonomy arrangement of the Indian society where this play is set. Dattani prevails with regards to giving a voice to the voiceless personalities and un-gendered passions and tries to bring to the first concealed issues that his characters engage with by his interesting way of dealing with topics like sex, personality, sexuality. These gender roles in dance, but the dance world is constantly expanding and creating new dances, I think in western culture we are utilized to the possibility of the guys being the person who supports the lady and that is the reason we see it so regularly. Be that as it may, in different societies men and women don’t dance together. Furthermore, in particular sorts of dance, there are similar sexes can move together and have it be accepted. Even though these gender basis jobs are found in dance, dance enables individuals to communicate various kinds of sex jobs or express no functions by any means. That is the reason dance is considered amazing.

Mahesh Dattani Scene from Dance Like A Man by Mahesh Dattani

The energetic dancer accepted that dance structures do develop after some time, yet it was important for them to be created from a typical traditional establishment. She was granted the Padma Shri in 1965 and Padma Bhushan in 1992 for her commitment to old-style dance. Destined to be a social specialist and political lobbyist, her establishment of the Darpana Academy of Performing Arts works around showing various types of dance, music, theatre, and puppetry. The organization likewise progresses in the direction of ladies strengthening and addresses other social issues identifying with basic liberties and condition. Mrinalini Sarabhai dies in January this year at 97 years old, however her heritage is conveyed forward by her girl Mallika Sarabhai. Girl of the old-style dancer Mrinalini

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Radio Ga Ga Rule TV SHOWS

An essential part of our Lives

How the use of radio evolved, keeping pace with technology and is used in education for various purposes in different countries and acts as a medium for one way as well as two way communication. WRITTEN BY JANVI KHERA

adio conveys information using signals without wires. It transmits data in coded form. A radio broadcast is a one-way transmission through radio waves. Transmission of music, news, and other programs is done from a single radio station to a multi -radio receiver. 1895 was the year when a major breakthrough occurred in the radio technology. The patent of radio was done in the name of Guglielmo Marconi. In 1901, the actual devices came in view and were readily available. At that time, radio technology was mainly used for communication with ships, if there was an emergency. The first commercial radio service was created in 1907, from that time it continued to rise, and its technology attracted engineers from various industries. In 1920, the radio became an important part of people’s lives. Then there were around 500 stations broadcasting news, music, drama, variety shows, and sports. Most of the families in the US and Europe had a radio set in their homes by 1930. These radio sets were placed in the living room, where all the family members gathered to listen and enjoy various shows. It might continue for hours when comedy shows by Jack Benny and Charlie McCarthy were broadcasted. Radio technology has always been an interesting topic for scientists all over the world. They have always believed that it is

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a convenient mode of communication. Before becoming an everyday household item radio technology was a fascinating thing for scientists like Hertz. The credit of being the inventor of Radio goes to Guglielmo Marconi, who started working on wireless transmissions after reading the biography of Heinrich Hertz. He duplicated Hertz’s experiments at his home and successfully sent transmission from one side of his home to another. He considered his technology very potential and hence approached the Italian government for support but he didn’t get any positive response, and then he moved to England and got his device patented. Marconi successfully combined the ideas and experiments of other researchers to make a very useful communication device. During World War 1, the significance of radio became apparent and its usefulness increased manifolds. It was now an important device used for sending and receiving messages to the armed forces. The need for a physical messenger was completely abolished. Communication through the radio was not that significant before the 1920s. It was only in case of an emergency. Also, the operators had to rely on the use of the Morse Code messages because Radio Communication was not very clear. In Britain, radio stations started in 1922 with the British Broadcasting Company, or BBC, in London. The transmissions immediately spread over the UK however neglected to usurp papers until 1926 when the papers took to the streets. Now, the radio and the BBC turned into the main wellspring of data for people in general. In both the U.S. what’s more,

(Cover) Ghetto Blaster Behance

ILLUSTRATION BY MARIO IVANOV

(Left) Guglielmo Marconi Developed an early version of the wireless radio. PHOTOGRAPH BY WIKIMEDIA COMMONS

(Right) Family Life in the 1920s Creator: FPG

PHOTOGRAPH CREDIT GETTY IMAGES

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the U.K. it additionally turned into a wellspring of amusement in which assembling before the radio as a family turned into a typical event in numerous families. Before World War 2, the radio was a source of entertainment in the form of serial programs. But after the war was over, it began to play music and more. During this period ‘Top 40’ in music got popularity. The target audience also moved from families to teens and adults in the mid-thirties. There was a time when music and radio became synonymous with each other and their popularity skyrocketed. The original AM stations were replaced by FM stations. New forms of music also began to emerge of which Rock and Roll music became the most popular among teens. During World War 2, the public relied on the radio for news of the war. It became an essential source of communication in the U.K. when television stations were shut down. Many journalists started working for radio stations to provide them news related to war. Both in the US and UK, the radio played a significant role at the time of war. The use of radio as an educational medium is very common in many countries. As radio technology developed, it began to affect human life in various ways. Very

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soon radio became a significant part of our daily life. People became more dependent on the radio not only for information and entertainment but also for educational purposes. Various educational programs have been broadcasted on Radio, worldwide for many years. A wide range of subject areas has been supported by radio in many countries. In Canada, “Farm Radio Forum” which started in 1941 was a radio discussion program. It served as a model for many developing countries. After a few years, UNESCO took an initiative to evaluate its consequences. In 1956 it was introduced in India with the sponsorship of UNESCO. These radio programs were mainly concerned with the problem of agriculture, rural development, rural education, and literacy. Many other countries have various programs like to teach mathematics to school children in Thailand, for management courses in the agriculture sector in Nigeria. In support of family planning in South Korea. In a study sponsored by UNESCO, Paul Neurath (1959, 1960) studied the effects of a Farm Radio Forum project at Poona, India. He compared 145 forum villages with non-forum villages. The forum lasted for ten weeks with a total of twenty programs. Each forum had twenty members who came together twice a week to listen to a

Radio in the Second World War 11 Feb 2010 PHOTOGRAPH BY statelibraryqld

thirty-minute program on subjects such as agriculture, health, and literacy. Forum members were interviewed before and after the project as were samples of twenty adults from each of the control villages. Each forum was visited and observed four times during the project. It was found that forum members learned much more about the topics under discussion than did adults in villages without forums. With current technology, satellite, and streaming internet stations. Radio has become much more than Tesla or Marconi could imagine. Radio has evolved and has always tried to keep up with current technology. Its popularity can be seen everywhere around the world. Now it’s not only a part of every household but also can be seen in every vehicle on the road. The music has reached the common man because of the radio. Other than music, radio talk shows have also become a great option for many people. Leaving the one-way communication behind, radio has reached the two-way front. This technology allows for one to one communication. For communication at work sites, the use of short-range radios has proved very effective. In the same way, handheld radios have been proved as a very essential device in sports, TV production, and air live operations.

Podcast, which is a new trend in radio broadcasting, has enabled the individuals to put together a recording that resembles a radio show which is posted online for anybody to listen to.

A field radio station Camouflaged with brush-wood and straw, in around 1918 PHOTOGRAPH BY HULTON ARCHIVE

For listening to streaming audio from any radio station you just need a simple internet connection. There are also subscription-based services that give both listeners and broadcasters more options to provide them listening pleasure. In recent years there have been a lot of advancements that nobody can tell where the radio technology will lead to next. Radio is considered an easily available and simple device, it has gained much more popularity than the television. The competition is increasing due to new advancements in technologies but the traditional radio in the form of AM and FM broadcasting still remains in a very strong position. Moreover, radio crowds stayed stable all through the 1990s. It helped in increasing radio advertising revenues. Radio has been a very powerful means of communication. Until now, radio is a very effective way to provide news and information to other people. The newer forms of radio such as community radio and campus radio have emerged to support and help the community and society in development.

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CODE SWITCH The hosts are Gene Demby and Shereen Marisol MarajIt talks about the discussions about race. It is hosted by journalists of color, this podcast tackles the subject of race head-on. They investigate how every part of society is affected by different aspects — from political issues and mainstream society to history, sports, etc. This digital broadcast makes ALL OF US a player in the game because we are all aspects of the story. Code-switching includes changing one’s style of speech, appearance, behavior, and articulation in manners that will advance the solace of others in return for reasonable treatment, quality help, and work openings.

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Acoustic

Podcasts, a new Era for voice media The article talks about podcasts influencing brands, cultures, businesses and society and how it is convenient and engaging to use. It has become a new platform which is free and handy to use. WRITTEN BY IVNEET KAUR

f music is motivation then radio is theater for the brain and podcasts are the investigation of the human insight. In this day and age, anybody with the fundamental innovation can make and consume voice media. Regardless of whether it is utilizing well-known stages, like, Apple Music, Spotify or Google Play, it is obvious that voice media assumes an essential part in affecting our comfortable time also, entertainment choices. Regardless of whether it’s music, podcasts, or radio, on -request voice media has eliminated the boundaries of planned and live voice amusement. Individuals are presently tuning in to what they need, whenever they need, and anyway frequently they need. Present-day voice media has reshaped how individuals are devouring diversion in the 21st century. Podcasts have had a quick ascent in prominence as of late. According to Thomas Goldman, in 2014, there were 7 billion absolute Apple web recording downloads, 10.5 billion out of 2016, 13.7 billion of every 2018, and in March of 2018. Apple Podcasts bounced to 50 billion absolute digital recording downloads and streams. Storage (2018), additionally uncovers that podcasts now spread more than 155 nations, with

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at any rate 525,000 dynamic digital recording shows and more than 18.5 million scenes. Individuals are tuning in, and the development is proceeding because of the base innovation necessities, the openness and accessibility of podcasts is far and wide. People can tune in to podcasts when driving, working out, or working. Even though voice media has affected how we can expend media, voice media has since quite a while ago conveyed the shame of exclusively being a type of diversion by general society. The thought that voice media is thought of as only delight or a side interest, drives the general population to neglect any of its different qualities. Podcasts have tremendously become mainstream in an ongoing memory. The quality is generally very high but some efforts can still be hit and miss with dozens of podcasts popping up around the same themes or TV shows. To get you out we minister this each changing rundown of intriguing podcast suggestions spreading over innovation, culture, science, entertainment, information, news, governmental issues, and past. You can hear endless viewpoints on different social issues just as how you can help and there are so various digital recordings out there.

(top) Podcast Condenser microphone in a Studio PHOTOGRAPH BY JONATHAN VELASQUEZ

CTRL ALT DELETE It focuses on conflicts with famous ladies on the universe of work and current life. It releases a new episode every Monday and lasts for about 30 to 45 minutes. Funny and brutally honest, Ctrl Alt Delete carries a genuinely necessary female point of view to the web. As the previous web-based media editorial manager of British Glamor, Emma Gannon draws on her encounters online to examine the universe of work and existing on the web with her prominent visitors. On the off chance that you are stressed over how employable you will be in five years, stress not. From managing savages to exposing your inner feelings via online media, this arrangement has never been more significant for rising ladies in the working environment.

THE RENOVATION GENERATION The background of this podcast is to Renew, Innovate, Change. The stories given in these podcasts are personal: about love, boundaries, parents, and freedom, yet also part of a universal exposition, in the rise of the digital revolution, increasing globalization, and shrewd capitalism. It tells about the life in Vietnam as told by Vietnam’s youth. An imaginative, engaging, and all-around addictive arrangement, The Renovation Generation shares individual records from Vietnam’s youth. An extending crack between the under-30s and their people and grandparents age is restraining. Additionally, the digital podcast investigates how the youthful culture is reconsidering Vietnam and changing its future in a nation with one of the quickest developing populaces.

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My Friend Dahmer Between the lines

A gripping Graphic Novel based on a true story WRITTEN BY LILLY TOPPO

‘My Friend Dahmer’ is a Graphic Novel written by John “Derf” Backderf. The novel is based on his early life friendship with Jeffrey Dahmer, who became a serial killer later on in his life. This Graphic Novel is based on a true story, which also plays as a memoir about his friendship with Jeffrey Dahmer. Jeffrey Dahmer, who is also commonly known as the “Milwaukee Cannibal” or the “Milwaukee Monster” was an American Serial killer and sex offender who committed the murder and dismemberment of 17 men and boys from 1978 to 1991. A number of his later murders involved cannibalism, necrophilia and preservation of body parts such as parts or all of the victim’s skeleton. Legally he was declared sane during his trial, but apart from that he was diagnosed with schizotypal personality disorder, borderline personality disorder and psychotic disorder. On February 15th 1992, Dahmer was sentenced to 15 terms of life imprisonment after he was convicted of 15 of the 16 murders he committed in Wisconsin. This later was increased to a 16 term of life imprisonment for an additional homicide committed in Ohio in 1978. Dahmer was beaten to death in prison by a fellow inmate on November 28th 1994. This Graphic novel is based around the 1970’s, where the author John Backderf takes us through the journey of Dahmer’s adolescent

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life, bringing to light the moments and events that led up to the unfortunate demise of many innocents and the break down of his friend Jeffrey Dahmer. It was 20 years in the making before this novel was finally published in 2012; what started as a cathartic exercise for Backderf after Dahmer was killed, it turned out to be a page turning novel filled with a gory emotional rollercoaster ride. This is a tragic story resulting in a graphic novel that shows the details of Dahmer’s descent from a peculiar 12 year old, to a young teenager helplessly struggling to keep his darkest thoughts at bay from taking over his life, to the exact moment that led up to where he plummeted down to his dissolution. By putting this story out there, it has given a new perspective to the story of Jeffrey Dahmer from what had been portrayed by the media. The writing in combination with the style of art, takes you as a reader to a place where you can envision and feel a part of that hollowness that Dahmer felt day in and day out. It sucks the reader in and drags them down to the raw and gritty reality of what went on in the mind of Dahmer that led him to behave in certain ways and make the deplorable decisions that he made.

AUTHOR Derf Backderf GENRE Thriller AUDIENCE 16+ more intriguing than the rest? Why does a murderer who had committed such heinous crimes been given the time a day to be given a place in a novel? Now knowing that this is based on a true story and if you have the stomach for it, this Graphic Novel would be highly recommended for an insight to the ugliness that still exists in our society and around the world today. This is just one of many stories, but is definitely one worth reading.

Living in the 70’s, for a person like Dahmer could not have come easily, but that too for many more at the time. So what makes his story

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Feature

For some, a lipstick is just a lipstick. But for others, it’s a source of strength, creativity, and expression- Enam Asiama

Spotlight

Enam Asiama

Born and partly raised in Ghana, till 9 years old and moved to Birmingham, England, Enam grew up in a Christian household, a house with modesty and elegance. The culture in Ghana is that women have to look and act like women, and men have to act and be like men, which apparently transcends globally. The beauty standards in Ghana have changed a lot. It was one of the first places in Africa to ban bleaching when, at the time; it was such a prevalent part of Ghanaian and African culture. The lighter your skin was, the “better looking” you were. People treated you differently because of your proximity to whiteness, meaning you came off as classier, rich, educated, well put together. That’s the culture she was raised in. As an adult, she had time to form her own understanding of beauty while curing some of the damage. She is a bastion of body positivity, promoting her black, AfricanBritish, fat, queer and femme style motivating and influencing a thousands of other out there.

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The African-British Model Who Will “Snatch Your Soul” With Her Beauty Looks Special feature of a Black, African British, Queer woman, Enam Asiama who advocates the empowerment of women with selflove and self-esteem. The article talks about Enam and her struggles during her growing years and how she evolved from it as a gem.

(top) Enama Asiama Content Creator

WRITTEN BY SHREYA ARORA

PHOTOGRAPH BY FAITH AYLWARD

She eventually moved to London and gelled up with everyone, encouraging her strength and courage to do something for her and a lot of others out there. With makeup, she tapped into her hyper-femme side by creating colourful brows, overdrawn lips, smoldering smoky eyes, or graphic shapes. She even likes to use flowers or draw hearts or stars with shimmery shadows to be the center of attention not just on arrival.

She also feels that her hyperfemme side will always play into her more masc-appearing self, for balance. As a social media creator, a fashion model and a fantastic woman, she has channeled all her stubborn energy into taking over the world by showing who she is, showing her character, and telling people its okay to focus on positivity and being a light and a voice in someone’s life. Being around a lot of creative content, she has heard so many stories of those around her striving to make the media more inclusive of Black people, something that’s been missing for the longest time. And has dwelled her energy, especially as a plussize Black person, been a part of the fight for inclusivity for every type of person out there. She has been promoting the agenda that Black is beautiful and fat folks are worthy of visibility and love. She has partnered with creative’s such as Black Girl Picnic, Strickly Queens and Missguided, always having in mind that she embodies and makes the voice of a minority. She quotes, ‘If you’re a good person and you have great intentions for others — and for yourself, first and foremost — it will show through as this goddess energy. That is such a massive, driving force in who I am and what my platform represents. That is what beauty is all about.’ Her motto is to advocate the empowerment of women thanks to self-love and self-esteem. On social media, she shows to the world how she characterizes herself, as a “Fat Queer Black woman”.

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Hyper Casual Games

The article talks about how Hypercasual games are the most profitable and popular genre on smartphones. They are also the most crowded genre and is a biggest target for the gaming industry for the last few years. WRITTEN BY JANVI KHERA, SHREYA ARORA & IVNEET KAUR

Hyper casual games are lightweight mobile games i.e, they are easy to understand and play, the user often plays it without a tutorial. They require very little time and attention from the user. They give the user a straight forward gaming experience that gives a moment of fulfillment. They have a larger target audience of different ages, genders, and cultures. These games are often addictive in nature. The other features of Hyper casual games are that they are aesthetically pleasing and have a satisfying progression model. It has one advantage i.e, this kind of gaming application requires less space on the user’s device and this makes it more convenient for the user, and then it has fewer chances to be uninstalled. Flappy bird is the first hyper-casual game. It made a huge entrance to the mobile game scene. It was released in May 2013. Flappy Bird gained global popularity within a few weeks. The game was developed by Dong Nguyen, a Vietnamese game developer. Flappy bird generated $50,000 by January, 2014. It was one of the top free games on the Android and iOS App Stores. The author quickly removed the game under the critique of the design. Space travel and Pong were created in 1969 and 1972 respectively. These games met most of the criteria of hyper-casual games. These games were easy to understand and play. At that time the computers and video consoles were expensive so playing these games was challenging. In 1975 Atari released the home version of the game Pong. This allowed thousands of gamers to access and play the game. Breakout (1976), Pac-Man (1980), and Tetris (1984) games became popular and these games are still played today. The key to Hyper casual games is Simplic88

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ity. These games have instinctive UI and a minimalistic interface, this enables the user to launch the game and play it immediately. These games can remain uniform throughout gameplay. Hyper Casual games eliminate two barriers i.e, time, and effort for the players which is required in other complex games. These games have rearranged mechanics utilizing fundamental calculation that can hold the consideration of your clients. Some examples of mechanics are mentioned below: Puzzle (also known as a “tap mechanic”, this is when the user must tap their screen to complete an action at the right time), Merging (games that use a merging mechanic rely on a satisfying progression model), Stacking (this requires users to

(bottom) Pacman Arcade game PNG BY PNGEGG.COM

stack objects), Sewering (this enables users to accurately maneuver an object on their mobile screen while avoiding certain elements), Turning (games that use turning mechanics require the user to turn left and right within a 3D environment), Agility or dexterity (agility games are completed by repeating a motion with precision and speed), Rising and falling(this mechanic shows an object that rises or falls through a digital environment), Growing (requires the user to become the largest object, often through absorption, to progress), Puzzle (can be completed by applying logic and correctly placing objects around the mobile screen). Some of the hyper casual games are Run Race 3D, Voodoo’s Helix Jump, Roller Splat, Timber man, Aqua park, Merge Dogs, Color Switch, Fire balls 3D, Snake Drift, Candy Crush , Fruit Ninja, Magic Tunes, and Cut the Rope. The casual computer game Angry Birds, designed for mobile phones, tablets, and other platforms, The game includes utilizing a slingshot to push little cannonball-molded birds with truly downright terrible at rather delicate glass and lumber houses populated by fundamentally mental green pigs. The fundamental of the game is to achieve the destruction by making the pigs fall by hitting on them mainly on their heads. This game has impacted the society globally. For example, if we talk about the television industry, people have started using the characters for their advertisements. Brands like Coca-Cola, Kurkure, Cheetos started giving promotions and started giving themed based prizes. After the launch of this game, many gaming companies started making games similar to angry birds like Angry Turds and Chicks’n’Vixens.

2048 game is a fun and addictive puzzle game where your goal is to stack numbers in a grid until they reach the number 2048. Willis says that 2048 and games like it “offer players two of the biggest dopamine boosters.” They love it so much that even if you guess wrong practically every time, your brain will still be releasing dopamine just from predicting any outcome at all. It’s perfect for the endless possibilities of a 2048 board. However, winning is as yet significant as well. The second huge dopamine support 2048 offers is that it is testing, however reachable. If a game turns out to be excessively simple or excessively hard, dopamine creation begins to level off. In any case, a game like 2048, with its vital mix of karma and aptitude, will prop the dopamine creation up securely.

(left) Flappy Bird Hyper-casual Game PNG BY PNGEGG.COM

The rise of the hyper-casual gaming industry progressed slowly over decades and is already raising in popularity and so does the competition. Zynga’s recent acquisition of hyper-casual studio Gram Games for $250 million and a $200 million investment in hyper-casual studio Voodoo by Goldman Sachs show that the race for building hyper-casual titles has already begun. The more recent growth of mobile gaming has brought hyper-casual games to the mass market. As Katkoff points out, “hyper casual and ad monetization are proving to go hand in hand” - changing the landscape of the monetization game. With so many hyper-casual titles coming up every week, developers may have to begin implementing deeper features in order to stand out from their competition, and it will be interesting to see how they do so within the category’s natural parameters. Hyper-casual games are characterized by interactive and are often addictive because of short session length and fun game mechanics. They are a perfect blend of ease and difficulty and gamers don’t find hypercasual games so easy that they get bored after playing it 20-30 times and neither that difficult that frustration takes them to exit doors. The difficulty level steps up as you proceed, but then you master the skills easily with time. The hyper-casual audience is massive and includes every type of potential customer. By reaching users in the hyper-casual setting, growth marketers can add a powerful new channel to their acquisition strategies. While simple games have always been around, the hyper-casual genre is different because of its ability to go viral and scale quickly.

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1. Sitka Music Festival Thurs, October 8, 2020, 6:00 pm 2. Canadian Music Week 2021 October 13 – 20, 2020, 2:00 pm

3. ALL DIGITAL SUMMIT 2020, Wed- Thurs. 7-8 October 2020

4. World Mental Health Day Festival 2020 Sat, Oct 10, 2020 4:30 PM IST

6. Racial Awareness and Mindfulness Festival 2020 Sat, Oct 17, 2020 7:30 PM IST

5. Digital Chocolate Festival 2020 Wed, Oct 14, 2020 1:30 PM IST

Virtual Events October 2020 90

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