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Message from the Committee Asatoma Sadgamaya Tamasoma Jyotirgamaya Mrityorma Amritamgamaya Om shanti, shanti, shanti. (O God!) Lead me from unreality to reality, From darkness to light, From death to immortality. Om peace, peace, peace. Dear members and friends, The world economic crisis, substantial reduction of jobs, the fear of closing of large industrial companies as well as the oil spill in Gulf of Mexico – all these terrible headlines lead to a gloomy outlook also for the current year. Exactly in such a frightening phase, we desperately look for a rescuer. Naturally, people must tackle this by themselves – however a reinforcement would also be desirable from outside. For the Bengali Hindus the goddess Durga is such a figure, that donates the power just in such difficult times, to fight against the bad. The Durgapuja celebration is however no event that is exclusively celebrated by the Bengali Hindus. This festival contributes universal understanding and peoplecommunication both in India and worldwide. In difficult times it is particularly meaningful to bundle forces - then we can only place ourselves together to the current challenges like the world economic crisis or the climate change. We wish ourselves that also in this sense a special meaning is lent to the largest Durgapuja celebration in Switzerland. As every year, we invite you cordially also this year to the Durgapuja celebration in Thalwil.

Pijush Kantha Roy President On behalf of the Executive Puja Committee 2010 Sarbojonin Durgapuja Committee, Switzerland – 2010 President: Pijush Kantha Roy Secretary: Jyotiprasad Majumder Treasurer: Ajoy Kumar Bhattacharya

Working committee: Debashree Banerjee Sumana Roy Choudhury 5


p¤¤¢Qfœ - Index Message from the Ambassador of India L¢j¢Vl ¢LR¥ hš²hÉ / Message from the Committee p¤¤¢Qfœ / Index nË£nË£c¤NÑ¡j¡a¡ (¢Qœ) −dy¡u¡ fËL«¢al −fËjhåe i¡−hl O−l Bp¡ k¡Ju¡ hQfeÚ −L ¢ce i¥m¡ e¡ −ce¡ HL¢V A¢hØjlZ£u Q¢lœ Wir bringen Ihnen Licht Bj¡l −Q¡−M lh£¾cÊe¡b L«o·¡¢‰e£ f§S¡l ¢hhlZ£ / Puja Details Cultural Programme Itenerary A Promise to Fulfil Aladdin's Jasmine Our Kolkata Autobiography of a Pattachitra artist UIKO Der Rosmarin Drawings by children Lissis Tagebuch Madhubani Artwork Mahabharata - Indiens grösstes Epos

p¤¤je¡ l¡u −Q±d¤l£ d£j¡e i–¡Q¡kÑÉ d£j¡e i–¡Q¡kÑÉ dÆ¢e ¢eaÉ−N¡f¡m −f¡Ÿ¡l p¤¤n£m −O¡o ¢hjm −c ¢QeÈu Qœ²haÑ£ ¢cf¡”e¡ −O¡o hp¿¹ ¢hq¡l£ f¡¢ma

Dhiman Bhattacharya Brindarica Bose Mrinal Kanti Ganguly Ananda Chitrakar Nanda Dulal Nandi Usha Palit Abhiraj/Parthiv/Sukrit Ronia Palit Ritika Chakraborty Arabinda Roy

3 4 6 9 10 11 13 13 14 17 21 22 24 30 31 37 38 47 49 50 51 52 53 54 55

****************************************************************************************** * * * * * * * Two vegetarian meals per day, in the afternoon & evening, from Saptami, Wednesday, * th th * 14 October until Nabami, Saturday, 16 October, will be cooked on site by our * * member Somir Simon Mondol & his group. On Dashami afternoon, Sunday, * th * 17 October, he & his group will cook also on site a non-vegetarian buffet lunch. * * * * * * * * * ****************************************************************************************** We are thankful to Mr. Subhendu Das, Kolkata for designing the cover of the Patrika. The editorial work is done by Jyotiprasad Majumder. The copyright of each article remains with the author. All products are trademarks of and copyrighted by their respective companies. The rest of the Patrika is copyrighted by the Swisspuja EPC. The articles reflect the views and opinions of the respective authors and not necessarily that of the Swisspuja EPC. Inclusion in this Patrika does not imply endorsement by the Swisspuja EPC. 6


                                         



dĂůWĂůĂĐĞtŝƉŬŝŶŐĞŶ  dƌĂŵEƌ͘ϭϯďŝƐ ,ƂŶŐŐĞƌƐƚƌĂƐƐĞϮϱ ϴϬϯϳƺƌŝĐŚ dĞů͗ϬϰϰϮϳϭϲϳϮϬ &Ădž͗ϬϰϰϮϳϭϲϭϲϮ ͲDĂŝů͗ŝŶĨŽΛŝŶĚŝĂŶƌĞƐƚĂƵƌĂŶƚƐ͘ĐŚ

tŝƉŬŝŶŐĞƌƉůĂƚnjŽĚĞƌ dƌĂŵEƌ͘ϰďŝƐ ƐĐŚĞƌͲtLJƐƐͲWůĂƚnj


Happy Durga Puja and Sharodiya Shuvechcha to everyone Ajoy & Rosmarie Bhattacharya with Natasha & Sasha

Swisspuja 2010 Executive Puja Committee (from left to right): Sumana Roy Choudhury, Ajoy Kumar Bhattacharya, Debashree Banerjee, Jyotiprasad Majumder, Pijush Kantha Roy 8


 



                  

                                

¢nÒf£͗p¤¤je¡ l¡u −Q±d¤l£

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-- dÆ¢e (RcÈe¡j) Bj¡l i¡−ll O−l c¤x−Ml h¡p¡ p¤¤M L¡−L h−m S¡¢ee¡ j¡, −Q¡−Ml S−m, e¡d¤−m j¡ -j−el L¡m£ j¤R−h e¡ Blz −a¡j¡l −L¡−m Sej Bj¡l, ¢cJ e¡ j¡ c§−l −g−mz c¤xM k¢c c¡J j¡ J−l, n¢š² ¢cJ, a¡ p¢qh¡−ll *****

-- ¢eaÉ −N¡f¡m −f¡Ÿ¡l B¢j kMe −Q¡M h¤−S b¡¢L J−cl R¢h aMe Bj¡l −Q¡−M i¡−p B¢j kMe L¡−e a¥m¡ ¢c−u h¢p J−cl Lb¡ aMe Bj¡l L¡−e B−p B¢j kMe üfÀ −c¢M aMe Jl¡ Bj¡l p−‰ −O¡l¡ O¤¢l L−l B¢j kMe q¡a h¡¢s−u −cC Jl¡ aMe ¢e−j−oC f¡¢m−u k¡uz Jl¡ B−p Bl Jl¡ k¡u LMeJ Aj¡hpÉ¡u, LMeJ f§¢ZÑj¡l l¡−a J−cl −My¡S¡ Bj¡l pñh qu e¡ Jl¡ Bj¡u −X−L ¢e−u −k−a Q¡u −g−m Bp¡ Aa£a ¢c−el j¡u¡uz

***** 13


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Bachpan Ke Din Bhula Na Dena

−Le¡ q−m¡z NË¡j£e Bhq¡Ju¡u jeV¡ −hn ilf¤l a¡S¡ Hhw f−b e¡j¡l Be¾c −hn Ef−i¡N Ll−a m¡Nm¡jz N¡s£ H−p Y¥L−m¡ q¢lf¡m −ØVn−ez HM¡e −b−L HMeJ 5 j¡Cm fb −k−a q−h ¢em¡lf¤l NË¡−jz B−Nl ¢c−e −j−V¡ f¡bl l¡Ù¹¡ d−l NË¡−jl h¡s£−a −ka¡j f¡‚¡ 2 O¸V¡uz HMe LmL¡a¡ −b−L ¢ae O¸V¡l j−dÉ h¡s£l Q¡a¡−m H−p N¡s£ f¡LÑ Ll−m¡z cªnÉfV pÇf¨ZÑ f¡−ÒV −N−Rz hs hs hL¥mN¡R, AnÄbÉ N¡R, L«o·Q¨s¡ N¡R ph −L−V, AeÉ¡eÉ ph h¡s£ q−u−Rz Bj¡−cl h¡s£l f¢l−hn h¡ ÙÛ¡e£u ¢e−cÑn ¢LR¥C −Qe¡ k¡u e¡z iNÀNËÙÛ A–¡¢mL¡l L¡W¡−j¡l j−dÉ −b−L ¢Qe−a f¡lm¡j W¡L¥l c¡m¡−el HLV¡ Awn, h¡C−l O−ll ¢c−L c¤−V¡ b¡jz Bl f§hÑ ¢c−L j¤M L−l cy¡¢s−u l−u−R −cE¢sl L¡W¡−j¡z HV¡C ¢Rm h¡s£l pcl ¢cLz I −cE¢sl ¢ial ¢c−u h¡s£l ¢ial Y¥La¡jz h¡s£l p¡j−e ¢Rm, h¡ HMeJ cy¡¢s−u B−R ¢nh j¢¾cl, 300 hvpl B−NL¡l Øj«¢az fË¡L«¢aL c¤−kÑ¡−Nl p−‰ f¡õ¡ ¢c−u eVl¡S HMeJ ay¡l A¢Ù¹šÄ hS¡u −l−M−Rez j¢¾cl¢V HMeJ dÆwp Ù¹¥−f f¢lZa qu¢ez NË¡−jl −m¡−L HMeJ ¢n−hl j¡b¡u Sm Y¡m−a h¡ f§S¡ ¢c−a j¢¾c−l B−pz B¢j Hhw Bj¡l p‰£hNÑ ph j¢¾cl Q¡a¡−m ¢N−u EWm¡jz C¢aj−dÉ h¡aÑ¡ l−V −Nm NË¡−jz −O¡o h¡s£l −m¡−Ll¡ ¢eSNË¡j −cM−a H−p−Rz i¡h−a −hn Ah¡L m¡−N, e¡e¡ hu−pl NË¡j£Z h¡¢p¾c¡l¡, k¡l¡ Bj¡−L c£OÑL¡m −c−M¢e, h¡ −Q−eC e¡, ph¡C ¢LlLj B¿¹¢lLa¡l p¡−b Bj¡−cl −p¢ce BqÄ¡e S¡e¡−m¡z hs L¡L¡l −R¡V −R−m BS ¢e−Sl NË¡−j H−p−R, HC pwh¡cV¡C a¡−cl L¡−R hs Bfe hs ¢fËu͊ La hvpl −cM¡ p¡r¡v −eC, −L¡e pwh¡c fkÑ¿¹ S¡¢e e¡, Bj¡−L a¡l¡ −c−M−R Bj¡l −R¡V−hm¡u, ¢L¿¹¥ BSJ flj Ec¡l ¢Q−š, flj B¿¹¢lLa¡l j−dÉ Bj¡−L Hhw Bj¡l p‰£hNÑ−L S¡e¡m a¡−cl p¡cl AiÉbÑe¡z H hsC N−hÑl hÉ¡f¡lz HMeJ a¡−cl −pÀq i¡mh¡p¡ −b−L −k h¢“a qm¡j e¡, −pV¡ f¤l¡e Øj«¢a−L j−e −hn Ni£l i¡−hC p¡s¡ ¢c−u −Nmz ͲͲ͞H−pR kMe, aMe HLV¥ X¡m-i¡a Bj¡−cl L¡−R −M−u −k−a q−h͊͟ HC Aj§mÉ p¡cl AiÉbÑe¡u Bj¡l ¢h−cn£ Ù»£ fkÑ¿¹ −j¡¢qaz −LE Bjl¡ ͞e¡͟ hm¡l p¡qp −fm¡j e¡z Lm¡f¡a¡l Efl Nlj i¡az j¤−Nl X¡m, hy¡d¡L¢fl alL¡¢l, −h…ei¡S¡ Bl L¡am¡j¡−Rl −T¡mz −jjÚp¡−qh fkÑÉ¿¹ B‰¥m Q¡¢m−u −M−a Blñ Ll−m¡z ¢Q¿¹¡l Bh−aÑ j−e f−s La Lb¡, La −Qe¡ j¤M, La V¥L−l¡ V¥L−l¡ R¢hz Q¡¢l¢c−L ph i£s L−l Sj¡ q−u−R −Qe¡ A−Qe¡ j¤Mz A−Qe¡C −h¢n, a¡lj−dÉ HL −f±s¡ j¢qm¡l j¤−Ml BcmV¡ Øj«¢af−V −i−p EW−m¡z ¢S‘¡p¡ Llm¡jÚ ¢Qe−a f¡l−R¡? hmÚ−m, Jj¡ −p¢L, ¢Qe−a f¡l−h¡ e¡ ¢L? HLV¥ eu h¤sC q−u−R¡, a¡ h−m j¤−Ml Bcm−a¡ ¢LR¥C f¡mV¡u ¢ez −R¡V−hm¡u Lj −fR¥ m¡N−az ph¡C −qy−p M¤ez ¢S‘¡p¡ Llm¡j, −a¡l e£m¤l Lb¡ j−e f−s? S¡e¡öe¡ A−e−LlC j−dÉ Bh¡l HLV¡ qy¡¢pl −YE EW−m¡z HLV¡ −hn jS¡l hÉ¡f¡l q−u¢Rm, HC e£m¤−L ¢e−u l¡Z¤l f¡L¡−cM¡l ¢cez Bjl¡ −pC hvpl ú¥m g¡Ce¡m ¢c−u¢R, fl£r¡l fl, hå¥ pq −c−n NË£−×jl Bj Ly¡V¡m −M−a pju L¡V¡−a −N¢Rz j¤š² ¢hq−‰l ja hå¥−cl ¢e−u NË¡j j¡¢a−u −hs¡¢µRz l¡Z¤l f¡L¡ −cM¡l ¢ce ¢aeL¢sc¡ HLV¥ N¡e-h¡Se¡l 15


Bachpan Ke Din Bhula Na Dena

B−u¡Se L−l¢Rmz AbÑ¡v Ll−a h¡dÉ q−u¢Rmz l¡Z¤l i¡h£ M¤s-nÄöl ¢R−me i¡l£ Bj¤−c Bl N¡e h¡Se¡ f¡Nmz −kM¡−eC k¡−he, hÉ¡p q¡l−j¡¢eu¡jÚ ¢e−u h−p −N−mez N¡−el Bpl h−p−R, Nm¡ −R−s ay¡l N¡−el WjLÚ Bl ¢NV¢L¢l Qm−Rz h¤T¥L e¡ h¤T¥L W¡VÚ hS¡u l¡M−a −nË¡a¡l Ai¡h −eCz Bj¡−cl aMe 15ͬ16 hvpl hupz N¡−el Bp−l j¡−T j¡−T H−p hp¢Rz e£m¤J p−‰ B−Rz M¤s nÄöl jn¡C Hl cª¢ø −N¡Ql q−u−R e£m¤l e¡¢L M¤h i¡m a¡m‘¡ez E¢e e¡¢L HLV¡ nš² l¡−N N¡−el jS¢m−p Nm¡ R¡s¢R−mez e£m¤ c¤ ¢ae h¡l jn¡ a¡s¡−a V¥pÚ¢L −j−l−R, Bl Je¡l −p¡−jl p−‰ a¡m ¢j−m −N−Rz E¢e N¡−el j¡−T Nm¡ b¡¢j−u, ¢S‘¡p¡ Ll−me, −hq¡C jn¡C, I −R−m¢V −L? f¢lQu −cJu¡ q−m¡z E¢e e£m¤−L ¢S‘¡p¡ Ll−me, L¡l L¡−R eÉ¡s¡ −hy−dR h¡h¡? e£m¤ −X−fy¡¢j L−l h−m −gmÚ−m¡, B−‘ nQ£e c¡pÚ j¢am¡−ml L¡−Rz Bl k¡u −L¡b¡u͊ Sýl£ Sql −Q−ez eC−m −a¡j¡l Hje a¡m‘¡ez −hu¡C jn¡C, ¢h−ul ¢c−e HC −R−m¢V−L Bj¡l Q¡Cz ¢S‘¡p¡ Ll−me, ¢L f¢l−hne Ll−h −p¢ce? e£m¤J JÙ¹¡¢c L−l h−m hp−m¡, clh¡s£ L¡e¡s¡z h¡, h¡h¡ −hnz a¡ e¡ q−m ¢h−uh¡s£ S−j͊k¡LÚ −p ¢ceV¡ −a¡ L¡V−m¡z f−l, B¢j ¢S‘¡p¡ Llm¡j, l¡−úm, a¥C L−h −b−L N¡e N¡C−a f¡¢lp? hmÚ−m, ¢L Ll−h¡ i¡C, JlLj j¡e£ −m¡L fËnÀ Ll−Re, iÉ¡h¡−QL¡ −M−u ¢N−u, B−h¡ma¡−h¡m h−m ¢cm¡j, HCh¡l −Wm¡ −h¡T͊¢aeL¢sc¡l j¤−M Q¥eL¡¢m fs−hz ¢ce 15 h¡−c ¢h−u, ¢L Ll¡ k¡uz hmÚm¡j, a¥C −a¡ i¡m Bhª¢š Ll−a f¡¢lp, clh¡s£ L¡e¡s¡l HLV¡ −lLXÑ ¢L−e a¡l −b−L p¤¤l j¤MÙ¹ L−l ¢e−a f¡l¢h e¡z e£m¤ hmÚ−m c¤V¡ ¢L HL q−m¡? Bj¡l Nm¡u p¤¤lC −eC, j¤MÙ¹V¡ Ll−h¡ ¢L? a¡q¡ qC−m h¡s£ f¡m¡J͊ a¡R¡s¡ −a¡ −L¡e Ef¡u −cM¢R e¡z AbQ Bjl¡ ú¥m g¡Ce¡m fl£r¡l fl, HL p−‰ R¥¢V L¡V¡−a HM¡−e H−p¢R, HLm¡ J ¢L L−l HMe h¡s£ ¢gl−h? Ah−n−o, ph L¡¢qe£ ö−e, hy¡¢Q−u ¢c−me l¡Z¤l −R¡V L¡L¡z Bj¡−cl Q¡C−a hu−p −hn hsz −hn ¢LR¥rZ −i−h, Bj¡−cl hm−me, Ef¡u HLV¡ k¡−q¡L h¡l L−l −ehz e£m¤−L JlLj JÙ¹¡¢c Ll−a h¡le L¢lpz ¢h−ul Qy¡−c¡u¡ M¡¢V−u Bp−ll B−u¡Se q−u−Rz h−ll p−‰ a¡ef¤l¡ O¡−s L−l ih−a¡oh¡h¤l B¢hiÑ¡h, Bj¡−cl NË¡−jl ahm¢Q Ajm −WL¡ ¢c−u Qm−Rz Bpl −j¡V¡j¤¢V Sj−R i¡mCz HCh¡l, ih−a¡oh¡h¤ −My¡S ¢e−me, −R−m¢V−L −a¡ −cM¢R e¡,--e£m¤−L I¢c−el SeÉ AeÉ S¡uN¡u p¢l−u l¡M¡ q−u−Rz −hQ¡l£ ¢h−uh¡s£l Be¾c −b−L h¡c fs−m¡͊l¡Z¤l −R¡VL¡L¡ ¢e−Sl f¡W¡e −V¢mNË¡jÚ¢V f−LV −b−L −hl L−l hmÚ−me, HC −cM¤e e¡ ¢hfc͊f¡b¤−lO¡V¡l j¢õL−cl h¡s£ ¢ce h¤−T BS HLV¡ Smp¡z hs hs JÙ¹¡cl¡ Bp−Re, −V¢mNË¡jÚ −f−uJ e£m¤ −k−a Q¡C¢Rm e¡, B¢jC −S¡l L−l f¡¢W−u ¢cm¤j, hmÚm¡j h¡C−l HLV¥ f¢lQu qJu¡ clL¡lz −hu¡C jn¡u−L h¤¢T−u hmhMe, ¢a¢e HC f−blC f¢bL, h¤T−he, hlw M¤p£C q−he BlJz N¡−el −pC L¢mV¡ j−el j−dÉ …Z …Z L−l −S−N EW−m¡z ͞hQfeÚ hQfeÚ −L ¢ce i¥m¡ e¡ −ce¡z͟L−hL¡l, pjp¡c −hNj Bl ma¡ j−‰pL¡−ll N¡e, S£h−el −no d¡−f H−pJ, f¤l¡e jd¤l Øj«¢a −ce¡ S£he f−b S¡e¡u Ae¡¢hm Be¾cz  ΎΎΎΎΎ 16


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Ekti (A)bismarania Charitra

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Ekti (A)bismarania Charitra

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22


Aamar Chokhe Rabindranath

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23






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f§S¡l ¢hhlZ£ jq¡pçj£ - hªqxh¡l, 14C A−ƒ¡hl, 2010

f§S¡ öl¦ f¤×f¡”¢m påÉ¡l¢a

pL¡m 8:00 O¢VL¡ c¤f¤l 12:00 O¢VL¡ påÉ¡ 6:30 O¢VL¡

jq¡øj£ -

f§S¡ öl¦ f¤×f¡”¢m påÉ¡l¢a

pL¡m 8:00 O¢VL¡ c¤f¤l 12:00 O¢VL¡ påÉ¡ 6:30 O¢VL¡

öœ²h¡l, 15C A−ƒ¡hl, 2010

p¢åf§S¡ - öœ²h¡l, 15C A−ƒ¡hl, 2010

¢hL¡m 2-19 −b−L 3-07 O¢VL¡ Ah¢d

jq¡ehj£ - n¢eh¡l, 16C A−ƒ¡hl, 2010

f§S¡ öl¦ f¤×f¡”¢m påÉ¡l¢a

pL¡m 8:00 O¢VL¡ c¤f¤l 12:00 O¢VL¡ påÉ¡ 6:30 O¢VL¡

¢hSu¡cnj£ - l¢hh¡l, 17C A−ƒ¡hl, 2010

f§S¡ öl¦ f¤×f¡”¢m ¢hpSÑe ¢pyc¤l −Mm¡

pL¡m −hm¡ −hm¡ ¢hL¡m

8:30 O¢VL¡ 10:30 O¢VL¡ 11:00 O¢VL¡ 3:00 O¢VL¡

Puja Details Mahasaptami, Thursday, 14th October, 2010

Puja start Pushpanjali Sandhyarati -

8:00 a.m. 12:00 a.m. 6:30 p.m.

Mahashtami, Friday, 15th October, 2010

Puja start Pushpanjali Sandhyarati -

8:00 a.m. 12:00 a.m. 6:30 p.m.

Sandhipuja, Friday, 15th October, 2010 Mahanabami, Saturday, 16th October, 2010

2:19 p.m. until

3:07 p.m.

Puja start Pushpanjali Sandhyarati -

8:00 a.m. 12:00 a.m. 6:30 p.m.

Puja start Pushpanjali Bisorjon Sindur Khela -

8:30 a.m. 10:30 a.m. 11:00 a.m. 3:00 p.m.

Bijoyadashami, Sunday, 17th October, 2010

30


Cultural Programme Itinerary Saptami, Thursday, 14th October, 2010 7:30 p.m. 1. Dances in Bharatnatyam Style by students of dance school Kalanikethan: Teacher & choreographer: Krishnabavani Sritharan. Participants: Gayathri Sritharan, Tharshika Suntharalingam, Saranya Linganathan, Soorya Thalayath, Merlin Kattathara. 1. Mahishasuramardini & 2. Thillana. 2. Short Drama by Parthiv Kangsabanik & Bodhaditya Deb. 3. Recitations by Sasmit Bhattacharya, Sukrit Rakshit, Abhiraj Roy Choudhury, Debaditya Chakraborty & Arushi Bhattacharya. 4. Dance by Oishika Mukherjee. 5. Group Dance “Amra Shobai Raja” by Sasmit Bhattacharya, Sukrit Rakshit, Abhiraj Roy Choudhury. 6. Dance by Ritika Chakraborty & Srishti Rakshit. 7. Songs by Shruti Banerjee, accompanied on Tabla by Dipan Kundu. Compère: Sumana Roy Choudhury & Anirban Dutta Choudhury. Ashtami, Friday, 15th October, 2010 7:30 p.m. – 1. Dhunuchi Dance by Members & Guests. 2. Group Dance “Ganeshaya” by Saloni Mittal & Dia Rampoore; Teacher: Tandra Chakraborty-Sanyal. 3. Dance by Arushi Bhattacharya. 4. Songs by Arpita Roy-Pal, accompanied on Tabla by Dipan Kundu. 5. Dance “Taal-O-Nritya” by Tandra Chakraborty-Sanyal & Group. 6. Modern Songs by Anirban Dutta Choudhury, Utsav Choudhury, Dipan Kundu, Abhigyan Ghosh & Arnab. Compère: Sanjukta Chatterjee & Santanu Maity. Nabami, Saturday, 16th October, 2010 7:30 p.m. – Artists from Kolkata: 1. Modern Songs by Krishnendu & Kousiki Bhattacharjee. 2. Bharatnatyam Dance by Jalsa Chandra. 3. Violin Recital by Manoj Baruah. 4. Kathak Dance by Jalsa Chandra. Accompanied on Tabla by Suman Sarkar. Compère: Anirban Dutta Choudhury. 31






Krishnangini

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36


A Promise to Fulfil ͲͲDhiman Bhattacharya When and how I parted with all of you, I could not guess I would miss all of you, There was no specific word like “adieu”, But still I promised the relationship to renew. When and how I can again meet you, Like in the past can always greet you, With warmth in my heart can treat you, I hope waiting days ahead are just few. Whether or not the dream comes true I will always cherish the desire and pursue to achieve the most valuable company of you, Because I cannot always keep myself away from you. Tomorrow I will definitely see a day new to remember the past relationship that grew on a different soil to bind me with you. That is my ultimate goal achieved probably by few. *****

37


Aladdin’s Jasmine --- Brindarica Bose “Shunte pelam Posta giye, tomar naki meyer biye? Gonga ram ke patro pele? Shunte chao shey kemone chele?” – Sukumar Ray Shotti karer golpo. Khanti Swiss gorur ghi diye bhaja patro-patri-r golpo. Shunben naki? Switzerland e settle hoya, shei Mukherjee barir golpo. Arko-da aar Aravati boudir cheler bou khonjar kahini. Tader ekti matro chele, Abhishek. Jokhune Abhishek er teerish bochor boyesh tokhune tar ma-babar khub icche holo tader cheler jonno ekta shundor phut-phute Bangali meye khunje biye debe. Kintu chele benke boshlo, bollo “Ekhuno porashona korchi, biye te not interested”. Dekhte-dekhte panch ta bochore aro kete gelo, Abhishek ekhune Poi-treesh, porashuno shesh kore kaaj korche botey kintu ekhuno biyer namey kotha eriye jaye! Shesh-mesh, Abhishek’er ma, Andobazar Potrikate, ekta patri-chai advertisement chapiye dilo. Jei na chapano, chithi, email, telephone-call shob mile Mukherjee barita ekebare ekta Call Centre convert hoye gelo. Ittimoddhe, Abhishek ekdine hothat phone kore achomka janalo taar Ma-ke: “..accha Ma, oi tumi biye tiye niye bolchilena? Well, ami meye select kore niyechi. Siggiri Call pabe“. Tarpor nijer Babake arektu details diye duum kore phone ta rekhe dilo. Tarpor chele chole gelo Peru te kono Health Conference attend korte for a week, mobile e phone koreleo khali voicebox e chole jaye. Ki jalaton. Mr. and Mrs. Mukherjee khushi jotota, tensed tar theke doshh goon beshi. Meye select korechi bollo, kintu kemone meye, Bangali, na Punjabi, na American, na tar nijer jonmobhumir (Swiss), kichui to bollona cheleta?! Shudu bollo, “..Siggiri Call pabe”. Shei week-ei, hothat ek Swiss bhodrolok telephone korlen Mukherjee der, naam janalen Herr Müller, Porichoi dilen, Jasmine Müller er baba tini. Nemontonno korlen tader barite next week, occassion holo, tader to be son-in-law Dr. Abhishek Mukherjee’r familyr shathe alap kora! Baki golper narration ta, English aar Bangla mile, cholun dekhi Arko aar Aravati Mukherjee kemone Bou pelo shesh mesh. SCENE 1: House and Hati Arko: “Pouche gechi, address ta ki chilo arekbar poroto?” Aravati: “Förlibuckstrasse 7, Buchberg. Ora landmark diyeche, white flag with an elephant design. Oi baritai hobe”. 38


Aladdin's Jasmine

Arko: “Hmm. Zurich theke eto dure hobe bhabini. Cholo gari theke neme poro. Tumi oi phulta nao, aar amake oi khabarer packet ta dao”. “Sarita shamle nemo Senorita, shamne kada ache. Kenoje sari porte gele. Indian function naki. Ar eto goyena gati abar keno?!” Aravati: “Thamoto aar jete jeteo dhomok diyona. 24 ghonta tomar ei dhomkanir radio station shunte hoye amake. Ekhune ‘commercial break’, bujhle?” “Jaccho to Cheler BOU dekhte”. “Amake porer por MoU diye cholecho keno boloto?” “Bideshi bou to ki holo. Shasuri to ami-i hobo naki. Ashuk na tomar Bouma miniskirt e, dekhbe nahoye cheye cheye amar longskirt”. Ei, bolte bolte Aravati neme porlo gari theke, ek hate phool, aar arek hate sari'r kuchi dhore. Arko locked the car and swiftly pocketed his keys. Then he picked up the plastic packet with a tin of rasogollas. He had purchased them from Agarwal the day before; and a bottle of French red wine. Arko In his mid-sixties, Arko was a man whom you would not single out as an Indian. He was 6.1 feet tall, with an athletic built and looked more European than Indian. An IIT alumni, he had spent most of his life building dams in Switzerland. Now he was retired and had more time for family engagements, like assisting Aravati in her 'bridal window-shopping' (from newspaper to shadi.com). Other than that, he preferred spending his time gardening or occasionally watching old Bengali movies on youtube. He looked forward to meeting his fellow Bengali friends once in a while in their “club” meetings held at a Tamil restaurant in Baden. His wife often complained that he had a smug attitude towards everything, a knack for always being right, clampy as always. Nevertheless, it was years of togetherness, years of seeing each other day and night, which made them quite inseparable. Aravati Aravati, Arko's wife for the last 40 years, was slightly darker than him but with the sweetness of face and flowing eyes only Bengali women could possess. She looked Indian from all angles, whether in sari or trousers. The way she walked, the areas where she put on weight, she was so very Indian.

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Aladdin's Jasmine

Arko glanced at his wife; 5.3 feet tall, pitch black hair (courtesy Garnier), a peach coloured silk sari complimenting her glowing skin (courtesy Elizabeth Arden makeup), a round maroon teep (Shilpa bindis) and big kolka shaped gold earrings (courtesy Arko, from P. C.Chandra Jewellers, Bagbazar). He noticed that in the last few months she had grown slightly pudgy around her face and had a prominent double chin now. He shifted his attention back to the front door. SCENE 2: Mukherjees meet the Müllers Arko with his long strides quickly reached the front steps leading to the door. By the time Aravati came, Arko had already pressed the doorbell and had rubbed his sweaty palms on his trousers. He was ready for a handshake when the door opened. A lady stood there to greet them with folded hands. “Sawadee-ka”, said a middle aged, attractive Thai lady in a slightly singsong cadence. “Ich bin Frau Müller, please come in”. “Grüezi”, said Arko faltering a bit, not knowing if he should step in or step back. His confidence seemed to dwindle for a moment. He had expected Fr. Müller to be a khanti Swiss afterall. Arko quickly scanned his cache memory. On phone Abhishek had said that he had chosen his bride, and that her name was Jasmine Müller. Meanwhile Aravati in her dazed state had already handed over the flowers to Frau Müller – clearly she too was swept off her feet, by her son's secret keeping ability. Fr. Müller complimented Aravati on her 'dress' politely and led them into the living room. They were asked to sit in the plush leather sofa, with cushions all around, mostly with elephant designs on violet and white silk. Arko and Aravati had removed their shoes at the doorstep as per habit, so the clicking of heels sounded a bit odd inside the house, when Fr. Müller after seating them went to the kitchen to fetch some tea. She was wearing an elegant frock till her knees, with a white shawl draped around her shoulders. Aravati almost wailed as soon as Fr. Müller was out of sight. “Eki-go” eje dekhi China-man! Oma, amader cheletar shesh mesh chera chokher baccha hobe? Chokhta boro boro koreleo je potol chera hocchena, dherosh er motono noi, french beans maximum. Hai re kopal amar! Cheletar shahosh dekho khali, shob lukiye geche, bolchi ami, shob TOMAR dosh! Cheletake eto ROSH 40


Aladdin's Jasmine

bhora shondesh khaoyalam – kintu meye anlo shei RÖSTIr desher. Ki mishti mishti Bangali meyer sombondho eshechilo! Arko rolled his eyes and whispered sternly to Aravati: “Chup koroto ebar! Chele biye te raji hoyeche, etai tomar bhaggi. Loker barite eshe emone kore keu kotha bole? O, Chinese noi, Thai. Shunle na ki bollo 'Sawadee-ka' aar charidike eto hanti, oder holy symbol elephant to. Fr. Müller kintu dekhte tomar thekeo shundor, ektu ektu hingshe hocche naki?” Arko tilted his face towards Aravati and looked at her with a suppressed smile. There was SILENCE followed by a loud sigh. He continued, “Oi mohila ele kintu mukhta omni banglar panch kore rakhbena. Herr Müller nei keno barite? Bouma tomar tahole, Swiss-Thai dekhte hobe. Khub shundor combination ta janoto. Ei je Raag korle naki?” Aravati in her grief moved few inches closer to Arko in the sofa. Her expression remained pensive and excited at the same time. Both looked quite huddled in the huge living room. Arko looked around, there was a 46” flat-screen Samsung TV placed parallel to another couch in the room. There was a wooden book rack covering the meeting point of two walls. Next to it was a huge window. Bright red and violet petunias were hanging from a pot outside. Violet orchids were placed inside. The house looked well maintained, simple and yet classy. Arko's eyes fell upon a photo-frame kept on the book-rack. He got up to have a closer look at it. It was indeed Jasmine. She looked pretty and chubby. It was a black and white photo of a girl with a toothless grin. How lovely, Arko thought. Arko’s mind drifted searching for some cache memory…..Abhishek had mentioned that he had met Jasmine in the Christmas party of their University, in Berkley, one year ago. Jasmine was then doing her PhD in nanotechnology. Abhishek was doing his post-doc in Genetics. Now, Abhishek was an Assist. Prof., whereas Jasmine had returned to Switzerland to complete her Post Doc. while assisting her Supervisor from Berkley at a joint project in ETH, Zurich. He looked back at the photo, and his thoughts drifted to an image he held close to his heart… his five year old Abhi, learning to ride a bike. It was as if just yesterday… Someone cleared his throat loudly. Arko's thoughts came to an abrupt end. He quickly placed the photo in its place 41


Aladdin's Jasmine

and turned around. A man wearing a white kurta and grey trousers was stooping over his wife to kiss her cheeks thrice. Arko walked back next to his wife and extended his hand to greet Hr. Müller. His entire arm got a vigorous shake. Hr. Müller introduced himself in English (with the typical Swiss accent). He was wearing a cream coloured kurta, which was slightly tight across his chest. His hair was mesh coloured with remnants of blonde hair (would his daughter be blonde too?) Hr. Müller had blue eyes (would bouma too have blue eyes?). Arko and Aravati were furiously assembling a mental image from small puzzle pieces which were strewn across – blue pupils, narrow eyes, fair skin tone, blonde, Swiss, Thai, Berkley, and what else? Even the portrait of Monalisa would have lost her smile, if she knew their plight! They settled down in the couch once again, sinking deep inside – an impact from excitement. In between, Frau Müller had come back and was busy pouring tea from a delicate looking pearl-white teapot. She was asking how many sugar cubes they wanted. Arko quickly said, “No sugar please, I have diabetes”. There was a thoughtful expression in Hr. Müller's eyes, maybe he too was wondering if his (son-in-law) had the diabetes gene? Assembling his own 'puzzle -image' of Abhishek. Hr. Müller sat there smiling and looking beyond their heads out of the window, with his hands clasped between his legs, ready to jump as soon as the bell rang. His ears were pricked, as if waiting to catch some sound, or maybe the arrival of a particular blue coloured Audi. Aravati took a sip from the brimming hot Darjeeling tea, asked for some milk and smiled back at Fr. Müller, complimenting the tea. Aravati continued, “This is a lovely house, is this your own?” Fr. Müller immediately said, “Actually, this is a rented house, we shifted here only two years ago, before that we were living in Oerlikon. Stefan (and she pointed to her husband) was working in Zurich University for a while before he retired. Yes, we were indeed very lucky to get this house!” Aravati turned her head towards the porch and said, “Really it is a lovely house, beautiful panorama from the living room”.

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Aladdin's Jasmine

Hr. Müller suddenly got up and announced, “Why don't we finish our teas and take a tour around the house?” He looked so enthusiastic that no one could deny his suggestion. Fr. Müller looked a bit peeved though, when her husband forced their guests to gulp down their hot tea and follow him outside, not giving them a second chance to marvel at her lovely tea-set and specially ordered Castleton’s Darjeeling Tea.

Fr. Müller pointed to their shoes before they went out to the garden. Arko carried their shoes in hand, across the carpet much to Fr. Müller’s surprise. Once outside, Arko couldn't help marveling at the sight. It was an overwhelming panoramic view. It was a valley and not just a blick from the balcony. A lush green valley. The river Limmat intersecting the valley into two halves. He could see some tiny dots (people) bathing in the river. There was a small chapel 100 meters away on the right hand side; with red and yellow mosaic tiles covering the tower’s peak. The Sun was setting glamorously in the horizon, and the valleys were bathed in an orange shimmer. He noticed for the first time that Hr. Müller’s house was on top of the valley. He felt he was sitting in an aeroplane about to land and was engrossed in watching the scenery outside. He took a long, deep breath and felt his body relax finally. Hr. Müller smiled when he saw the usual scene. Guests lost in the landscape. He proudly opened his arms and clasped them again on two pairs of shoulders, gently guiding them around the garden. Hr. Müller kept pointing at blooming petunias, hollyhocks and candytufts and his love-child, his 'garden of herbs' with salbei and basilikum (tulsi-moncho). He picked up a stick from the ground and poked at a naked brown snail, balancing itself on a half eaten salbei twig filled with slime. He muttered something about forgetting to buy a snail-repellant. Arko also liked gardening and he was enjoying the tour. Aravati was busy ensuring her sari didn’t get soiled. Almost 30 minutes had passed when they returned inside the house. Arko cleared his throat loudly, partly to subdue a growl in his stomach and partly to voice his concern at not meeting “The Person” yet. Arko looked at his watch and asked Hr. Müller, “Isn’t Jasmine at home?”

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Aladdin's Jasmine

SCENE 3: Aladdin’s Jasmine Hr. Müller clucked his tongue and apologised for not mentioning this before. Apparantly Jasmine had called almost 40 minutes back saying that she was stuck in the highway due to heavy traffic. Both Herr and Frau Müller excused themselves once again and went to the kitchen. Arko and Aravati were left alone again. Both looked at each other. Arko's stomach gave another loud growl. It was almost 7.30 pm, where was their Abhishek's 'Aishwarya'? There was a screeching sound outside. Hr. Müller opened the main door and went outside.

Aravati stood up in tension, partly to help Fr. Müller at the table and partly to catch a glimpse of Jasmine. Arko adjusted his watch and fixed his stare at the living room entrance. A door opened and closed. There was some muffled whispering. A girl's voice speedily saying something in Swiss German. Hr. Müller stood at the entrance of the living room this time with a big smile and apologized profusely on behalf of his daughter, in Swiss German. Mid-way he started apologizing second round when he realised he had used Swiss German instead of English. Amidst all this, someone came and stood behind Hr. Müller. A pair of beaded slippers, black toe nails. A long navy blue sarong and a matching sleeveless blue blouse. Slim, peach skin tone, wavy hair covering her shoulder blades. A prominent ruby locket dangling at the base of her neck. A lovely smile, sharp nose, no earrings, big blue-black eyes – searching her guests face – black hair with blonde streaks – in one word very pretty! Jasmine stood there filling the room with her fragrance. Like a Jui phuler tora, in a 44


Aladdin's Jasmine

hot summer evening. She eventually slipped past her father's figure and came towards Arko and Aravati extending her hands. Arko shook her hand and Aravati, clasped her hands on her cheeks and gave Jasmine a peck on her forehead. Arko looked at Aravati and was pleased to see the same 'enchanted' look in her eyes. Hr. Müller took few steps to stand behind Jasmine, placed his hands on her shoulders and proudly said, “Apparantly, my Jasmine has already met her Aladdin”, and he laughed at his own joke. Jasmine's eyes sparkled and she said, “Daaknaam Bijoya, ami Bangla bolte pari, a bit out of practice though. Babao Bangla bole”. SCENE 4: STUPEFIED SILENCE. Arko and Aravati's jaw dropped almost simultaneously, first 1 inch then 1.5 inches. Jasmine continued, “Amar Ma, Shantiniketan e thakten, Babar shathe Kolkataye alap (and she smiled and looked up at her father). Amar jokhune 8 bochore boyesh tokhun amar Ma mara jan ekta car accident e (here her voice turned a bit formal), tarpore amra Switzerland pherot chole ashi. Baba shobi bole thakbe apnader…”.

Hr. Müller chipped in then, in emaculate Bengali with a slight accent. “Agey apnader shathe Bangla bolte ektu lojja korchilo, tai bolini, maf korben. Actually amar ashte ektu deri hoye, kenona apnara nijeder moddhe kichu serious discussion korchilen bodhoi” (and he smiled mischievously at Aravati). Then Hr. Müller started stroking his kurta and continued in a lower tone. “Amar prothom Bou, Durga Mitra (Jasmine-er Ma) shathe amar Kolkataye prothom dekha, ore Baba- diplomat chilen, aar amake amar UNESCO’r project e help korchilen. Praye 10 bochore ami Bharot-e chilam. Tarpor Durga chole gelo hothat…aar amar okhane thakar icche chilona. Ami Bijoya ke niye pherot chole elam Geneva te. Next kichu bochore, University Zurich er Anthropology Dept. e kaaj korlam. Tarpor, I was lucky again …and met Mae-Pia in Zurich (he turned his 45


Aladdin's Jasmine

head towards the kitchen). At that very moment, Fr. Mae-Pia Müller came into the living room, wearing a kitchen apron and said enthusiastically, “Dinner is ready...come everyone”. “I have prepared – 'Khao-phad Poo' (fried rice with crab meat) and 'Tom-kha Kai', spicy chicken with Galangal coconut soup and for sweet dish I have....umm Apfelmuess, some Swiss cheese and rasogollas”. Arko's stomach growled louder this time, and they all went to the dining table with delectable palates, tempting fragrance of Jasmine rice and an Aladdin's lamp placed at the centre of the table filled with potpourri.

*****

46


OUR KOLKATA --Mrinal Kanti Ganguly Most modern Indian cities strive to rise above ethnicity. Tell anybody who lives in Bombay that he lives in a Maharashtrian city and (unless of course you are speaking to Bal Thackeray) he will take immediate offence. We are cosmopolitan, he will say indigenously. Tell a Delhiwalla that his is a Punjabi city (which, in many ways, it is) and he will respond with much self-righteous nonsense about being the nation’s capital, about the international composition of the city’s elite, etc. And tell a Bangalorean that he lives in a Kannadiga city and you will get lots of techno-gaff about the internet revolution and about how Bangalore is even more cosmopolitan than Bombay. But, the only way to understand what Calcutta is about, is to recognize that the city is essentially Bengali. What’s more, no Bengali minds you saying that. Rather, he is proud of the fact. Calcutta’s strengths and weaknesses mirror those of the Bengali character. It has the drawbacks: the sudden passions, the cheerful chaos, the utter contempt for mere commerce, the fiery response to the smallest provocation. And it has the strengths (actually, I think of the drawbacks as strengths in their own way). Calcutta embodies the Bengali love for culture; the triumph of intellectualism over greed; the complete transparency of all emotions, the disdain with which hypocrisy and insincerity are treated; the warmth of genuine humanity; and the supremacy of emotion over all other aspects of human existence. That’s why Calcutta is not for everyone. You want your cities clean and green; stick to Delhi. You want your cities, rich and impersonal, go to Bombay. You want them high-tech and full of draught beer. Bangalore’s your place. But if you want a city with a soul, come to Calcutta. When I look back on the years I’ve spent in Calcutta – and I come back so many times each year that I often feel I’ve never been away – I don’t remember the things that people remember about cities. When I think of London, I think of the vast open spaces of Hyde Park. When I think of New York, I think of the frenzy of Times of Times Sqare. When I think of Tokyo, I think of the bright lights of Shinjiku. And when I think of Paris, I think of the Champs-Élysées. But when I think of Calcutta. I never think of any one place. I don’t focus on the greenery of the maidan, the beauty of the Victoria Memorial, the bustle of Burra Bazar of the splendour of the new Howrah ‘Bridge’. I think of people. Because, finally, a city is more than bricks and mortars, street lights and tarred roads. A city is the sum of its people. And who can ever forget or replicate- the people of Calcutta? When I first came to live here, I was told that the city would grow on me. What nobody told me was that the city would change my life. It was in Calcutta that I 47


Our Kolkata

learnt about true warmth; about simple human decency; about love and friendship; about emotions and caring; about truth and honesty. I learnt other things too. Coming from Bombay as I did, it was a revelation to live in a city where people judged each other on the things that really mattered; where they recognized that being rich did not make you a better person - in fact, it might have the opposite effect. I learnt also that if life is about more than just money, it is about the things that other cities ignore; about culture, about ideas, about art, and about passion. In Bombay, a man with a relatively low income will salt some of it away for the day when he gets a stock market tip. In Calcutta, a man with exacity the same income will not know the difference between a debenture and a dividend. But he will spend his money on the things that matter. Each morning, he will read at least two newapapers and develop sharply etched views on the state of the world. Each evening, there will be fresh (ideally, fresh-water or river) fish on his table. His children will be encouraged to learn to dance or sing. His family will appreciate the power of poetry. And for him, religion and culture will be in inextricably bound together. Ah religion! Tell outsiders about the importance of Puja in Calcutta and they’ll scoff. Don’t be silly, they’ll say. Puja is a religious festival. And Bengal has voted for the CPM since 1977. How can godless Bengal be so hung up on a religions festival? I never know how to explain them that to a Bengali, religion consists of much more than shouting Jai Shri Ram or pulling down somebody’s mosque. It has little to do with meaningless ritual or sinister political acitivity.The essence of Puja is that all the passions of Bengal converge: emotion, culture, the love of life, the warmth of being together, the joy of celebration, the pride in artistic expression and yes, the cult of the goddess. It may be about religion. But is about much more than just worship. In which other part of India would small, not particularly well-off localities, vie with each other to produce the best pandals? Where else could puja pandals go beyond religion to draw inspiration from everything eise? In the years I lived in Calcutta, the pandals featured Amitabh Bachchan, Princes Diana and even Saddam Hussain! Where else would children cry with the sheer emotional power of Dashami, upset that the Goddess had left their homes? Where else would the whole city gooseflesh when the dhakis first begin to beat their drums? Which other Indian festival - in any part of the country - is so much about food, about going from one roadside stall to another, following your nose as it trails the smells of cooking? To understand Puja, you must understand Calcutta. And to understand Calcutta, you must understand the Bengali. It’s not easy. Certainly, you can’t do it till you come and live here, till you let Calcutta suffuse your being, Invade your bloodstream and steal your soul. But once you have, you’ll love Calcutta forever. 48


Our Kolkata

Wherever you go, a bit of Calcutta will go with you. I know, because itâ&#x20AC;&#x2122;s happened to me. And every Puja, I am overcome by the magic of Bengal. Itâ&#x20AC;&#x2122;s a feeling thatâ&#x20AC;&#x2122;ll never go away. ********************************************************************

I am Ananda Chitrakar resident of Village Noya, West Midnapore, West Bengal, India. My father was a famous Potua (practitioner of Pattachitra a traditional folk art form of Orissa & Bengal) Pulin Chitrakar. His body of works included Manasha Mangal, Chandi mangal, Sati Behula (prominent folklore from Bengal). I was under the tutelage of my father since the age of 7. For the last 30 years, I have extensively travelled all over India exhibiting my works at various Melas/ Exhibitions/ Workshops. My family members are also integrally involved in practising this art form. Apart from traditional subjects like the great epics Ramayana & Mahabharata, I have also tried to extend this art form to cover diverse and contemporary subjects like Tsunami, Family welfare, Kali kal, etc. The Patta Murals adorning the Puja venue as also the Puja motif providing the back drop of the Durga Idol are creations of Shri Ananda Chitrakar organised with the active coordination of Shri Saibal Das, a Kolkata based prominent artist. The Pattachitras depict the Dashamahavidya, tantric tenets of the Ten Wisdom Goddesses, representing a spectrum of feminine divinity and Akal Bodhan, Lord Rama`s worship of Goddess Durga during the battle with Demon king Ravana, symbolising victory of good over evil. Pattachitra painting was born out of the cult of Jagannath Dev - the presiding deity of Orissa. Incredible pictorial conceptions, characteristic conventions and vibrant colours make the Pattachitra a unique treasure in the rich coffer of Indian traditional art. Executed primarily on cloth, using natural colours, these handcrafted paintings have charmed admirers from all over the world.

The artist Ananda Chitrakar holding one of his artworks on Manasha 49


UIKO -- Nandadulal Nandi A mild autumn evening; Kyoto, Japan. A soft breeze from Imperial gardens. I met her. Was it foreseen? Uiko, Daughter of the Winds. In the dim light of an inn, Music in the air; Pervading! Japaneese? Her silent oblique glances; Contemplative? Uiko, Daughter of the Winds. She spoke softly; Me, aloud! Her gentle eyes Gazing on my face; Never-ending! Transcending? Uiko, Daughter of the Winds. The scene changes; Time also. It rains in Kyoto. Me, holding her umbrella; She, moving gently; To which shore? Uiko, Daughter of the Winds. Saturday noon; A dancing lesson. Her elegant steps Waving across the mother Earth. Her bereaved heart, In search of her eternal lovemate? Uiko, Daughter of the Winds. 50


UIKO

The time nears; We have to part. I look at her face Through the lens of my camera; 'Please, smile'! She could not. Uiko, Daughter of the Winds. Note: The name 'UIKO', in Japaneese language, personifies the daughter of the Winds. *****

Der Rosmarin --Usha Palit Der Auszug steht bevor. Alles was lieb und wertvoll erscheint, geht mit, nein, nicht alles, nur kleine Stücke zur Stützung der Sentimentalitäten und einer Vision von grosszügigem und herrschaftlichem Leben im eigenen Haus. So herrschaftlich wie es eben nur möglich war mit den kleinen Mitteln und den grossen Ideen, die nur mit grösstem Einsatz von Fleiss und noch grösserem Einsatz von Sparsamkeit zu ermöglichen und realisieren waren. Nicht nur das Haus wurde mit den gängigen Kostbarkeiten gefüllt, auch der Garten ist entsprechend aufgewertet worden, die Muttererde wurde eimerweise den Berg hinaufgeschleppt und mit unzähligen und mindestens 49 Ballen Torf angereichert. Die gehegten und gepflegten, jahrelang getränkten und betreuten Lieblingspflanzen dürfen mit. Der Sonnenhut, ja auch der wird ausgegraben. Während des Einpflanzens in einen Topf - plötzlich riecht er so gut. Noch ein wenig Erde um die Wurzeln drum herum und festgedrückt und er ist fertig für die Abreise. Und jetzt finde ich es sehr merkwürdig, dass er so aufreizend gut duftet. Der Sonnenhut hat doch noch nie gerochen. Er riecht auch heute nicht. Oh, nein. Da reibt sich etwas an meinem Ellenbogen und signalisiert mir mit seinem köstlichen Duft, bitte, nimm mich auch mit. Sehr gerührt zupfe ich die vertrockneten Blättchen und Ästchen weg und bereite einen neuen Topf. ***** 51


    

    

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52




Lissis Tagebuch -- Ronia Palit (12 jährig) Mein Name ist Lissi. Ich bin 10 Jahre alt, aber werde 11 im kommenden Januar. Mit meinen Eltern und Geschwistern wohne ich an der Pichelstrasse. Ich habe einen jüngeren Bruder und eine jüngere Schwester, welche mir ständig auf die Nerven gehen. 20. Dezember: Noch vier Tage, dann ist es endlich soweit. Weihnachten! Aber zu Weihnachten gehört natürlich ein Tannenbaum, den wir aber noch nicht haben. Wir besorgen ihn jedoch heute noch. Im Moment lese ich das 20. Kapitel meines Adventsbuches. Jeden Tag „ ein Häppchen“ und das ist viel gesünder als Schokolade! Plötzlich ertönt eine Stimme von draussen. Ich werfe meinen Adventskalender auf das grosse Bett, hüpfe in meine Gummistiefel und ziehe mir eine warme, gepolsterte Jacke über. Ich stampfe die Treppen hinunter. Die Stimme kam wohl von nebenan, denn niemand ist zuhause. Ich entdecke einen Zettel auf der Küchen-theke mit der Überschrift „Nicht vergessen“. Darauf steht nur, dass meine Eltern und Geschwister kurz einkaufen gegangen sind und in der Zwischenzeit sollte ich den Tannenbaum alleine besorgen. Ich nehme den Schlüssel und schliesse das Haus gut ab. Dann mache ich mich auf den Weg zum Rathaus. Dort werden Tannenbäume zu einem günstigen Preis angeboten. Ich wähle einen mittleren, runden Baum aus und renne nach Hause. Gerade als ich mein Buch nehme, piepst mein Handy. Eine SMS! Es steht: „Liebe Lissi, ich hoffe, du hast dir einen schönen Baum ausgesucht. Schmückst du ihn auch noch? Es macht dir sicher Spass. Ich weiss, du wolltest es mit mir zusammen machen. Aber du kennst ja deine Geschwister. Sie wollen unbedingt zum Weihnachtsmarkt gehen. Morgen unternehmen wir zwei gemeinsam etwas. Kuss. Mom.“ Versteht ihr jetzt, was ich meine, wenn ich sage, meine Geschwister gehen mir ständig auf die Nerven? So schmücke ich den Baum, mache mir ein Sandwich und gehe duschen. Ich möchte früh ins Bett. 21. Dezember: Mom kann heute leider nichts mit mir unternehmen. Sie hat einen Starauftritt bei den „Singenden Sechs“. Heute ist nicht wirklich mein Tag.

53


Lissis Tagebuch

 24. Dezember: 19 Uhr. Meine Familie und ich packen die Geschenke aus. Danach essen wir Raclette. Nachher spielen wir mit den Geschenken. Wir geniessen die Zeit als Familie zusammen. Ich liebe Weihnachten!!! ******

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Mahabharata - Indiens grösstes Epos -- Arabinda Roy Fortsetzung von Puja Patrika 2009 Bisher erschienen Anfangsgeschichte von Mahabharata und das 1. Kapitel, die „Adi Parva“ 2. Kapitel „Sabha Parva“ d.h. Versammlungen 1) Nach dem Überleben des Dämonen Moy ging dieser zu Krishna und Arjuna um sich zu bedanken. Krishna befahl ihm, für Yudhishthira einen Palast zu bauen. Aus Dankbarkeit hat er ein wunderbares Königs- Parlament gebaut. 2) Der heilige Narada kam zu Yudhishthira und riet ihm, ein königliches OpfergabenFest zu organisieren. 3) Derjenige, welcher dieses Fest macht, wird von den Königen als Kaiser geehrt. Jarasandha, König von Magadha, war heldenmütig und gewaltsam. Deshalb zog Shri Krishna mit Bhima und Arjuna als erstes gegen ihn in den Kampf. Bhima tötete ihn beim Ringkampf. 4) Somit konnten die Pandavas alles erreichen und mit allem Reichtum in die Hauptstadt zurückkehren. 5) Mit größtem Pomp wurde das königliche Opfergaben- Fest eröffnet, alle Könige von Indien haben Yudhishthira als Kaiser geehrt und ihm teuerste Geschenke überreicht. 6) Eine solche Puja Zeremonie war jeweils nur einer Ehrenperson gewidmet. Grossvater Bhishma hatte Shri Krishna empfohlen, eine Puja zu machen, damit er Anbetung bekomme. 7) Der König von Chediraj, Shishupal, hatte Shri Krishna gar nicht gern gesehen und ihn grundlos getadelt. 8) Shri Krishna köpfte Shishupal mit seinem Diskus und das Puja wurde erfolgreich beendet. 9) Duryodhana war sehr eifersüchtig auf die Pandavas, weil sie so viele Geschenke und Lob bekommen hatten. Nach Beratung mit Shokuni und Dushasana lud Duryodhana sie zum Würfelspiel ein. 10) Weil damals niemand eine solche Einladung ablehnte, nahm der schwache Spieler Yudhishthira trotzdem aus Ehrengründen das Wetten an. Für Duryodhana spielte Shokuni, der sehr erfahren war in diesem Spiel. Natürlich verlor Yudhishthira nach und nach alles Geld, sein Königreich, seine Brüder und seine Frau Draupadi. 11) Dann holte Dushasana Draupadi in die Versammlungshalle und beleidigte sie sehr. 12) Schmerzlich und ärgerlich konnten die Pandavas dies nicht hinnehmen. Bhima schrie und sagte: „ Ich will alleine alle Kauravas töten.“ 13) Voller Angst liess Dhritarashtra Draupadi und die Pandavas aus der Sklaverei frei. 14) Weil die Pandavas befreit waren, lud Duryodhana sie nochmals zum Würfelspiel ein. Diesmal war die Abmachung, dass der Verlierer 12 Jahre lang im Wald und 1 Jahr lang versteckt leben musste. Noch einmal verlor Yudhishthira das Spiel. 55


Mahabharata - Indiens grösstes Epos

15) Der Heilige Bidur war der Stiefbruder von Dhritarashtra und Pandava. Er übernahm das Sorgerecht für die Mutter von Pandavas, Kuntidevis. Die Pandavas verliessen einfach bekleidet alles und zogen mit Draupadi in Richtung Wald. Der Priester des Pandavas, Dhaumya, ging auch mit. 3. Kapitel „Vana Parva“ d.h. Waldleben 1) Die Pandavas waren in den Kamyok Wald gekommen; dort wurden sie täglich besucht von vielen Priestern, Mönchen, Brahmanen und Verwandten. Die Tage vergingen mit ehrlichen Diskussionen und mit Bücherlesen. 2) Ein Dämon namens Kirmir griff die Pandavas an. Aber Bhima besiegte den Armen und tötete ihn. 3) Eines Tages besuchte Vasudeva die Pandavas und riet Arjuna, Gott Mahadeva zu beten. 4) Nach Hinweisen von Vasudeva reiste Arjuna ins Himalaya- Gebirge und zur Befriedigung von Mahadeva fing er an, intensiv zu beten. 5) Einmal griff ein Wildschwein den betenden Arjuna an. Er zielte mit Pfeilbogen auf das Tier. Sofort kam ein Riese, Kirat, aus den Wald heraus und zielte auch auf dieses Schwein und sagte: „ O Brahman, diese Beute ist meine, warum haben sie auch auf sie gezielt? “ 6) So fingen sie an, sich zu streiten, wem das Schwein gehörte und kämpften miteinander. Arjuna zielte mit dem Pfeilbogen auf Kirat, dieser aber schluckte mit offenem Mund alle Pfeile. 7) Da war es klar für Arjuna, dass es nur Mahadeva sein konnte, der ihn als Kirat testen wollte. Arjuna entschuldigte sich nun. Mahadeva zeigte sich in seinem eigenen Körper und schenkte ihm ein tödliches Gewehr namens Pashupata. 8) Zu dieser Zeit fingen im Himmel die Götter und die Dämonen einen Krieg an. Indra, der König der Götter, wählte Arjuna aus, um für die Götter zu kämpfen und ordnete seinem Kutscher Matolika an, ihn zu holen. 9) Arjuna besiegte im Himmel die Dämonen und die Götter bekamen nun Ruhe. Der König der Dämonen, Nibatkobacha, hatte im Kampf mit Arjuna sein Leben verloren. 10) Die Götter Indra, Varuna, Todesgott Yama, Kuber etc. schenkten Arjuna voller Freude viele Kriegswaffen. 11) Arjuna konnte gut tanzen und singen. Im Himmel konnte er noch mehr lernen. 12) Nach längerem Aufenthalt im Himmel kehrte Arjuna zu den Brüdern zurück. Somit bereitete er den Pandavas die grösste Freude. 13) Duryadhana hatte mit Karma und Shokuni besprochen, er sollte den Pandavas seinen Reichtum im Wald Kamyok zeigen und mit ihm kamen auch viele Leute und Hofdamen. 14) Dort befand sich Gandharbaraj Chitrasens Vergnügungs- Palast. 15) Duryadhanas Leute und Chitrasens Anhänger begannen zu streiten. 16) Beide Parteien fingen einen Krieg an, Chitrasen selber zog auch in den Krieg. Mit der Schlangen- Waffe nahm er Duryadhana und seine Hofdamen gefangen. Karna und Shokuni konnten fliehen. 17) Als Yudhisthira dies hörte, sandte er Bhimarjuna um alle zu befreien. Chitrasen war sehr zufrieden mit der Grosszügigkeit der Pandavas. 18) Somit vergingen die 12 Jahre Waldleben gut. Sie hatten entschieden, das verbleibende Jahr des verstecktes in Viratnagar zu verbringen. 56


Mahabharata - Indiens grösstes Epos

4. Kapitel „Virat Parva“ d.h. zurück von dem Waldleben 1) Vor der Stadt Virat hatten die Pandavas einen grossen Shomibaum entdeckt. Nach Hinweisen von Arjuna versteckte Nakula alle Waffen verpackt oben im Baum und ging dann in die Stadt. 2) Yudishthira kam in der Königs- Parlament von Virat und sagte:“ Mein Name ist Kanka- ich habe in Yudhisthiras Parlament gearbeitet, kann gut Diskus spielen und möchte bei ihnen bleiben.“ Der König nahm ihn mit Freude auf. 3) Draupadi ging zu Königin Sudeshna und sagte: „ Ich war Königin Draupadis Begleiterin. Sie ist im Wald leben gegangen, jetzt bin ich obdachlos. Wenn sie mir helfen, dann kann ich überleben.“ Die Königin gab ihr einen Platz. 4) Bhima konnte gut kochen, er arbeitete unter dem Namen Vallava im Königshaus als Koch. 5) Arjuna konnte gut tanzen und singen. Traditionsgemäss unterrichtete er als Musiklehrerin und als Frau Brihannala mit Zopf die Prinzessin Uttara und ihre Freundinnen. 6) Nakula und Sahadeva kümmerten sich als Namen Granthik und Tantipal, um das Königs Pferde und seinen Stall. 7) König Viratas Schwager Kichaka, ein guter Krieger, war General. Eines Tages sah er die einfach bekleidete Draupadi und wollte sie heiraten. 8) Als Draupadi ablehnte, war Kichaka ihr sehr beleidigt. 9) In der Dunkelheit der Nacht ging sie zu Bhima in die Küche und erzählte ihm, was alles passiert war. Bhima beruhigte sie und sagte: „Schon morgen will ich ihn töten.“ 10) In der nächsten Nacht brachte Bhima Kichaka um, aber niemand wusste, wer der Mörder war. 11) Nach dem Tod von General Kichaka griff Trigortaraj Susharma das Königreich Virat an. Sofort marschierte der König von Virat mit seinen Soldaten in den Krieg. Yudhishthira, Bhima, Nakula und Sahadeva gingen verkleidet mit ihm. 12) Der König von Virat besass 100 000 Milchkühe. Plötzlich kam die Meldung, dass die Kauravas mit ihren Soldaten diese Kühe stehlen wollten. Im Palast war nur Prinz Uttara als einziger Krieger. 13) Prinz Uttara sagte zu den Damen: „Was soll ich machen ohne gute Krieger und Wagenführer. Sonst hätte ich den Kauravas eine gute Lektion zeigen können.“ Draupadi sagte: „ Prinz, nehmen sie doch Brihannala als Fahrerin, und sie werden gewinnen.“ 14) Uttara zog mit Brihannala in den Krieg. Uttara bekam Angst, als er so viele Kuru Soldaten sah und sprang zu Boden. Brihannala nahm den Prinzen mit zum Shomibaum und zeigte ihm die im Baum versteckten Waffen. Da das versteckte Leben zu Ende war, gab Arjuna seinen und alles anderen richtige Namen bekannt. Sie sollten aber noch ein par Tage lang geheim gehalten werden. Mit grosser Freude zog Uttara weiter in den Krieg. 15) Der verkleidete Arjuna zog ebenfalls in den Krieg gegen die Kauravas. Diese mussten nach verlorenem Krieg ohne Kühe fliehen. 16) Nachdem der König von Virat mit Hilfe von Bhima den Krieg gegen Trigarta gewonnen hatte und die Nachricht erhielt, dass Uttara auch gegen die Kauravas gewonnen hatte, sprach er das größte Lob für seinen Sohn aus. Aber Uttara sagte: „ 57


Mahabharata - Indiens grösstes Epos

Vater, ich habe nicht gekriegt, es war ein anderer Königssohn, der die Kauravas verjagt hat.“ 17) Die Pandavas hatten einen guten Tag, alle gaben ihre richtigen Namen bekannt. König Virata bot Arjuna voller Freude seine Tochter Uttara zur Hochzeit an. Aber Arjuna war nicht einverstanden. Er sagte: „Uttara, meine Schülerin, ist wie meine Tochter, aber mein Sohn Avimannu könnte sie heiraten.“ 18) Es wurde für Avimannu und Uttara ein grosses Hochzeitsfest veranstaltet. An diesem Fest waren Shri Krishna, sein älterer Bruder Balarama, König Dhrupada, Draupadis Bruder Dhristadumma, Arjunas Schüler Satyaki und aus der Yadava Dynastie (Shri Krishnas Dynastie) viele Kutscher und Bekannte anwesend. Die Kurzversion der restlichen Kapitel möchte ich später bringen. *****

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