Tuesday, February 24, 2009

NGOS/VOLUNTARY ORGANIZATIONS IN KOLKATA

There are number of good NGOs in Kolkata . Some of them I know are:

1. Tollygunge Women In Need (TWIN) is a not for profit social organization, founded by a dedicated couple from Belgium. Its objectives and programmes are adapted from the experience and understanding, evolved from poverty and development issues. The main focus was always been underprivileged children and women – the most vulnerable section of the society.
The goal of TWIN is to improve the socio-economic situation of unprivileged people by means of prevention, education and income generation. TWIN was designed an effective holistic approach for achieving its goal by ensuring education, health, capacity, building and micro finance for the targeted communities in & around the city of Kolkata. The targeted communities are divided into three categories.
  • Slum children and their parents
  • Child labours and their parents
  • Commercial sex workers and their children






## Incidentally my father is one of the Board members of this organization.

2. Women’s Interlink Foundation (WIF), established in 1990 was registered in 1992 under the Indian Charitable Trust Act . The organization comprises of a group of members having expertise in multifarious fields of social work and experienced representatives from other related professional fields.


Through it’s projects WIF has successfully opened new avenues of scope for these women and children that will enable them to make a new beginning for a safe and secured future in which they can take care of themselves and their families without resorting to illegal or unsocial means.The projects encourage them to take up a vocational training that will help them to earn a living.

They have an interesting Rural Tourism programme near Shantiniketan with locals and tribals

THEIR PROJECTS AT A GLANCE:

PROJECTS IN RED LIGHT AREAS

INTEGRATED CHILD DEVELOPMENT PROGRAMME (ICDS)

NEGLECTED ONES

HIV/ AIDS

ADOPT A GRANNY

PREVENTION OF TRAFFICKING IN WOMEN AND CHILDREN BETWEEN BANGLADESH AND WEST BENGAL

PREVENTION ACTION AGAINST TRAFFICKING AND SEXUAL EXPLOITATION OF CHILDREN (ATSEC) WEST BENGAL

INTEGRATED PROGRAMME FOR STREET CHLIDREN, CHILD LABOUR; CHILDREN IN SLUMS, (SOUTH AND NORTH KOLKATA)

MAINSTREAMING & RETAINING OF DEPRIVED URBAN CHILDREN
SWANIRBHAR (Self Reliance)

NIJOLOY – A HOME FOR RESCUED, TRAFFICKED AND ORPHANED GIRLS AND
CHILDREN OF AIDS VICTIMS


ICHAPUR HANDICAPPED

ENDOGENOUS RURAL TOURISM

3. Calcutta Rescue
Founded in 1979, Calcutta Rescue is a registered non-governmental organisation (NGO) working to serve the most socially and economically disadvantaged people in Kolkata and rural West Bengal - regardless of gender, age, caste or religion.
Their wide range of projects include :
four Urban Clinics offering primary healthcare as well as specialist medical programmes
Rural Clinics
an active Outreach Programme (Mobile Clinics, Street Medicine, Health Education)
two Schools educating over 500 children
a Clean and Safe Drinking Water Programme
a Vocational Training Programme creating sustainable employment
a Fair Trade certified Handicrafts Workshop


4. Calcutta Social Project


Calcutta Social Project has been working for over 40 years among impoverished mothers and children of the streets and slums (bastis) of Kolkata. Their office was beside my house. My father and my sister knows them quite well.

5 Outside Kolkata

1. Atma Foundation or Magic Bus in Mumbai
2. Oxfam in Bangalore
3. www.educatorstrustindia.org - s based in Goa about 10 km from calangute/baga.The good thing is that there's lots of after hours things to do, good beaches, restaurants etc.
4. children walking tall is doing super work in goa http://www.childrenwalkingtall.com/
5. http://charitiesinindia.net/sitemap
6. In Ladakh secmol http://www.secmol.org/index.php  and for other places around Indiahttp://charitiesinindia.net/sitemap

source : all referred by CS.

Sunday, February 15, 2009

60 reasons to love India - Kushalrani Gulab , Hindustan Times



This article tells you a lot about India in a funny way and captures the spirit of India (with some editing)

Our ability to adapt other cuisines to our tastes: Hot and Sour Chinese soup has desi tadka. Sandwiches aren’t thinly sliced and lightly buttered slices of bread with slivers of cucumber. We add green chutney and sliced aloo and beetroot. We invented Chicken and Veg Manchurian, developed Udipi pizzas, concocted onion omelettes, created veg kheema, de-Japanesed Japanese food by cooking up gajjar-ka-sushi, and now are well on the way to Indianising the seafood diet of penguins in Antarctica just in case that becomes the hot new phoren cuisine of 2010

Faith and spirituality: Tell someone you don’t believe in God. Go on. You’ll find yourself arguing so vehemently to make your case that you could well be accused of having a severe case of faith – faith in no God in this case. Because that’s what we do – believe. Hard. With passion. In anything we want to believe. Which is why practically every faith known to God is right here in India, and we’re not above inventing several more if we think we haven’t enough.

Our many and varied stories: Our history goes back 5,000 years – and so do our epics that contain every emotion, possibility and philosophy that humans have ever managed to come up with. Not to mention a frightening amount of maths, if we’re considering the ages that make up the four yugas. Add to that the epics of Islam and Christianity, local folk traditions and tales that simply emerge from our fertile brains, and we’re wondering why our TV channels need to import bad reality shows from phoren and inflict them on us.

Chai: It’s raining. We need chai. It’s cold. We need chai. It’s hot and sweaty and miserable. We need chai. Yes chai, not tea. The over-boiled, over-milked and over-sweetened stuff that could rot our teeth and turn our insides into shoe leather, yet never fails to put life back into our tired frames. Then there’s also tea. Darjeeling, Assam, Nilgiri, Kangra... Mmmm, the fragrance.

Monsoon mania: Who needs marijuana or Ecstasy? The monsoon is what we get high on. After a long summer spent gazing up at the sky through a magnifying glass looking for the merest hint of a cloud (and in imminent danger of setting our eyebrows on fire), we see the sky begin to darken, then the first drops of rain hit the earth, then we breathe deep and our nostrils fill with the delicious scent of wet earth... and then we complain bitterly about floods.

Weddings and family occasions: Our weddings are attended by family, relatives, friends, past and present neighbours, people who invited you to their or their siblings’ weddings, past and present colleagues, random strangers because we had 300 wedding cards extra and didn’t want to waste them, plus gatecrashers – a guestlist so long it rivals the population of the whole of Africa. If however, our homes are filled with the population of only one small country, like Nepal, we’re just having a family dinner.

Bollywood jhatkas: Hips swirl in one direction while the torso twists in another and the shoulders go somewhere else entirely even as the head moves so violently, it could spin off the neck entirely. We’d make excellent weather vanes, only no one would know where the wind was actually coming from.

Autos: Germany had its cute little Volkswagen Beetle, we have our cute little autos – three-wheelers packed with hi-tech music systems and disco lights that would put nightclubs to shame, which trundle up and down roads as their drivers overcharge everyone in sight, including themselves by mistake.

Bargaining: Worry about being cheated, who us? It’s the people we’re buying from who are tense. That’s because we don’t see bargaining only as a legitimate means of lowering prices. We see it as a sport. So we will not move an inch from the thelawalla even if the sun is blazing down at 53 degrees. We want that 30 paise off our kilo of apples and that is that.

Desi hospitality: Atithi devo bhava… and we will be devo-ed till our stomachs burst. (Perhaps because our hosts bargained so hard with the thelawalla that the apples were practically free?) When we step into anyone’s house we are fed, watered and pampered so much, we’d never believe there was a single nasty person on this planet. The only difficulty is getting away – if they could, our hosts would adopt us on the spot.

Tel maalish: Even as we read the stories by our lifestyle journalists on the joys of spa massages, we are getting our hair cut in full anticipation of the head massage that will follow. It’s hard to fathom why the phoren people get so excited about massages. Haven’t we been tel-maalished from the second we were born?

We’re child-friendly: Aside from the fact that we love children so much that we’re soon going to produce enough to populate the entire world, everything in our lives is geared towards their happiness. So much so that our parents never want us to leave home.

So many newspapers and magazines: Whatever the rest of the world may think about reading, we have so much respect for knowledge that many of us literally worship our books (i.e., take them to temples to be blessed, instead of actually opening them). This may explain why new newspapers and magazines are constantly being launched even as marketing people complain that nobody reads any more.

We survived the recession: That’s because even though we are clambering up the conspicuous consumption ladder just like those phoren people who drove their economies to the brink of extinction, unlike them we have a culture of caution and saving that pulled us through when entire countries had to declare bankruptcy. That’s why. Our stash of black money certainly had nothing to do with it.

We’re a democracy, thank God!: You say, I say, she says… we all can say. And many of us do say – very, very loudly. Ideas and arguments are alive and though some of us (call them Party A) feel a great desire to clonk some others (call them Party B) over the head for having foolish opinions, we’re lucky because still others (call them Party C) are just as thrilled by the idea of clonking some of us (Party A) over the head for their ideas, as meanwhile, Party D lurks about, thinking hard thoughts about Party C. So a balance is maintained at all times.

Raddiwalas: When those phoren people start making noises about our carbon credits – ours, for heaven’s sake, when we are the most frugal people on this planet always trying to save 10 paise here and 20 paise there, never mind that there are actually no coins in those denominations any more – we can tell them that we are green without even trying because ours is a country where recycling has always been a business, thanks to the raddiwalla.

Jugaad: Nothing in India need only be what it was originally meant to be. A motorcycle can be attached to a cart and become a bael-gaadi, a tangle of wires could become a satellite dish, and when prissy parents refuse to serve alcohol at weddings, the boot of a car is a bar.

The sheer number of holidays: There’s a New Year’s Day practically every month, not to mention some festival or the other courtesy one community or the other. And if we don’t take the holiday, we are nasty exclusionists who do not believe in unity in diversity. So there is a minimum of three holidays every month not counting weekends and if we live in Kolkata, we also have bandhs.

Our values are still (mostly) intact: Family – check (see the millions who turn up for our weddings). Friends – check (see movies like 3 Idiots). Frugality – check (ask the thelawalla if you need proof). Hospitality – check (look at the size of our stomachs and we haven’t been home for weeks). Modesty – uh oh. What’s that we keep telling ourselves about Asian tigers?

Amazing diversity of food taboos: We have vegetarians who won’t touch anything that once had the potential to move (though we don’t understand this too well – don’t palak leaves flutter in the breeze?), we have vegetarians who will eat all vegetables but won’t touch garlic or onion, we have eggetarians who will only eat vegetables and eggs, we have chickenatarians who only eat vegetables and chicken but not eggs, we have fishitarians who will not touch dairy with a bargepole and non-vegetarians who think green veggies are a form of mould. We have so many people with so many dietary problems that it’s a wonder we get to eat anything at all.

Amazing diversity of food: Food taboos, shood taboos! When we set off for school or the office clutching our tiffin boxes, we know very well we’re not going to eat anything that’s in them. Because the second it’s time for lunch, tiffins are exchanged for what our classmates or colleagues have brought. Which is why, in one day, we could find we have eaten anything from akoori (Parsi) to aloo poshto (Bengal), to sai bhaji (Sindh), to bisi bele bhaath (Karnataka), to aloo-bhaji (UP), to tandoori chicken (Punjabi), to biryani (Muslim) to de-Japanesed Japanese like gajjar-ka-sushi (wholly Indian, mera Bharat mahaan).

Amazing diversity of us!: For a people who have so much in common, we come from a wide variety of races. Across the world, we are mistaken for Chinese (anyone from the North-East), Caucasian (Parsis and Sindhis), Italian and Spanish (Goan people, especially with curly hair)... You name it, we’ve got the gene.

Amazing belief that anything worthwhile could have originated only in india: We don’t care what anyone says about Africa being the cradle of civilisation, we know for a fact that we invented everything in the world – including the world’s genes, so there! We’re responsible for shampoo (champi), bungalow (bangla), thug (thugee), chicken tikka masala... Err... Well, we’re responsible for the chicken tikka and the masala and since the combination is so ghastly, we’re fine if the Brits take the credit for that.

Our wealth of healing plants: If there’s one tree we cannot do without, it’s neem – and it’s here. It takes care of almost every ailment known to human and animal kind – and it gets rid of pests. Then there’s haldi, there’s cloves, we even have soap growing on trees, there are a host of plants that are ours – and if phoren people use their convoluted legal language to patent these and take them away from us, we’re going to sing Hum Hindustani, pick up our frying pans and clonk them over their heads.

Singing: What do you get when two of us, even if we’re perfect strangers or deadly enemies, are hanging around with nothing to do? A sing-song, that’s what. Because we luuurrrve singing. We sing everywhere and anywhere, we have contests for bathroom singers and enormous national-level singing contests called antakshari – whether we can actually sing or not.

Indian English: So here we are, writing in the phoren language our one-time colonisers bequeathed to us, and here you are, reading it. But let’s not get all chauvinistic about this. Because just as we have de-Japanesed Japanese food and come up with gajjar-ka-sushi, we have de-Englished the English language and now only speak Indian. Indian is only superficially English. That’s because we translate phrases directly from our local languages into Indian so it’s no wonder that at times we feel there’s someone eating our heads. And if we’re in too much of a hurry to translate anything, we just bung in words from all over the place, so there are five separate languages in a single sentence. And come to think of it, do we really need that poet-for-hire? Don’t we rhyme-shyme everything in sight-shight all the time-shime?

Yoga: While the phoren people are doing horrible things to their abs with sit-ups and crunches, we are standing on one hand with one leg wrapped around our heads, experiencing an inner, spiritual glow, because – aha! Yoga isn’t just a workout for the body, it’s also a workout for the mind and soul.

We’re a hardworking bunch: (Except at our government offices.) Out there in the West, everything shuts at 7 pm, so if you need bread or a life, you have to go to an Indian shop. Here, you lose your key at 2 am and the chabiwalla is by your side at 2.03 am.

Mahatma Gandhi: One frail old man took on an entire imperial empire. And he did it in such an inspired manner – non-violent non-cooperation, brilliant! – that we’re still seen as the most moral country on the planet.

Thelawallas selling cut cucumber, peanuts, chuski, bhel etc: Because as we all know, food provides fuel and without fuel we can’t function, so never mind the tiffin boxes from home, if we don’t have a small snack every 20 minutes or so, we will simply collapse in a heap.

Mangoes: Mumbaikars will kill for Alphonso. Northerners swear by Dussheri and Langda. The ones down Vindhya way will die for Begum Palli. Goans will eat any mangoes that ripen in their backyards. There are also Rajapuri, Kesar and a hundred other varieties of this best of our summer fruits. If, after all that, you don’t like mangoes, we might consider you anti-national.

Indian stretchable time: What time do we need to report for work? 9.30 am? Ah, that explains why we phone the trade union when we arrive at the office at 1.30 pm and learn we’ve been docked half a day’s pay. Indian Stretchable Time is in a zone of its own – and no one can understand it but Indians.

Our child-like enthusiasm: The Nano finally hits the roads? You can be sure that everyone on the road – including the world-traveller in his BMW will be tailing the Nano, just to look at it. We win the T-20 World Cup? Everyone will abandon work to line the streets to look at the team – everyone including the bosses.

Drinking water: Everywhere else in the world, we’ve got to pay roughly the sum of a two-bedroom flat in Mumbai for a bottle of water, but in Indian restaurants, waiters will swoop down on you and refill your glass even if you take so much as a sip.

Domestic help: By which we mean servants. One to cook the food. One to wash the dishes. One to sweep and swab the floor. One to dust. One to wash the clothes. One to clean the toilet. One to make chappatis. One to watch each baby. One to man the gate and run the errands. One driver per car. One to wash the cars. One to cut vegetables. One to massage the baby. One to water the plants. Why do we have so many? Since we obviously can’t complain about household chores, we’ve got to complain about something, no?

Indian Railways: From Kashmir to Kanyakumari, Jhansi to Jhumritalaya, there are only a few places in the country we can’t reach by train. And while the journey is not always what we might call comfortable, we can’t deny that it presents us with a magnificent tableau of everything that makes India India.

The way mobiles have taken over everything: Need veggies? Phone the veggie man. Burning desire for panipuri? Phone the chaatwalla. Practically no one in the country doesn’t have a mobile phone any more – even the beggars on the streets (and we do want to know how their phones are so much fancier than ours)!

Superb scenery: We’ve got ice deserts in Ladakh and actual deserts in Rajasthan. We’ve got the Himalayas – the highest mountains in the world! We have the Ghats on either side of our peninsula, islands, stunning beaches, the seas, the lakes, the jungles, the wildlife, the rivers, the waterfalls… we’ve got the whole planet, right here. Who needs a passport, for heaven’s sake? (Though, because it says Republic of India, we’re very proud of ours.)

BPO power: We are not concerned ourselves about minor things like getting to work on time, but if people around the world need traffic movements for their commutes, they have to phone us. We’ve become so good at fixing their things from a distance, doing their homework from a distance and even reminding them about their anniversaries from a distance, we’re wondering how the world turns without us.

The riot of activity in every household every morning: It’s chaos till 11 am – even if there are only two people in the house. People being dragged out of bed, people queuing for the loo, people rushing about looking for shoes, people eating breakfast on the run, the domestic help switching off fans and sweeping us literally off our feet – you’d imagine no one had ever woken up in the morning before.

Nothing is beyond repair: When your computer man tells you that your machine has died, call the raddiwalla – if he can’t tell you how to fix it, he’ll certainly show you how to convert it to another purpose altogether. This is India. Nothing is ever so broken that it’ll never work again.

The way we have a name for every single person we may be even remotely related to: Ma, baap, dada, dadi, nana, nani, taya, tayi, chacha, chachi, bua, phupha, mama, mami, beta, beti, potaa, naati, poti, naatin, behan, jija, bhanja, bhanji, bhai, bhabhi, bhatija, bhatiji, pati, patni, saas, sasur, damaad, bahu, jeth, jethani, nanad, nandoii, devar, devarani, saali, salaa, samdhan… And that’s only in Hindi. Need we say more?

Indian movies: Bollywood, Tollywood, Mollywood, any wood – but the films that we make are definitely not Hollywood. Our films are our films – wherever in the country they’re made, in whatever language, there will be laughter, tears, songs, dances, action, family values, principles (and even principals) – all in three hours. Talk about paisa vasool.

The way we force MNCs to Indianise: McDonald’s had to invent the McAloo Tikki, the Paneer Wrap and the chicken burger. Pepsi came up with Masala Lays. Coke never used celebrities in their ads abroad till they came here. Whatever the MNCs are famous for in phoren, when they’re here, they’ve got be us.

Our need for heroes: We love people who achieve things – even if what they achieve is notoriety. Hey, as all PR people know, there’s no such thing as bad publicity.

Galli sports: Sports arenas, sphrorts arenas, who needs them when we have gallis, bits of crate and an aged tennis ball? While we hate it that our kids have little opportunity for organised sport, our kids calmly play on the streets – and then walk straight into international arenas.

Every occasion is a celebration: Complete with cards, clothing, eating out opportunities, gifting options, holiday options – nothing is safe from this relentless need to party – including this. Happy Republic Day!

Mukhwaas: You wouldn’t notice it in public, given how we have to skip lightly from garbage heap to garbage heap, but we like everything about us to be fresh. Which is why we’re such big fans of supari. We can’t avoid body odour, but we can eliminate bad breath.

Pet names: In Bangkok, Tuk-Tuk is an autorickshaw. In Bengal, it is the name of a person. Or in Punjab, we could be called Sweety, Cutey, Happy, Jolly, Pinky or Frooti (just add Sneezy or Dopey and we’ve got the seven dwarves). Our parents take great pains to name us in such a way that we are ensured safe and happy lives – and the second our names are registered, they call us Goldie or Pappu.

We can stay with our parents for life: Indian parents never, ever want their kids to leave home. So it doesn’t matter how old we are, we are at liberty to sail through the door at all hours every night, expect to be served, have our chores taken care of, pay almost no bills, and enjoy all the comforts of home. Because Indian parents never, ever want their kids to grow up.

Saris: What’s sexy, modest, graceful, classic, cool, hot, well-ventilated and gorgeous all at the same time? One word: the sari.

The tiger and the peacock: And the lion and the crocodile and the Ganges dolphin and the elephant and the rhino and the hornbill and every single creature of the natural world that makes our country so special.

Paanwallas: Because it doesn’t matter what household need we run out of and when – need a toothbrush at 3 am? Go to the paanwalla

Wednesday, February 11, 2009

Basic concepts of terracotta temples


Before I start talking about Terracotta temples, let me start with some concepts of structures of temples :


































































































































Rangan Datta ( 98300 08933) has a website www.rangan-datta.info, shyamal chatterjee is a member of
Asihee , set up for heritage restoration. His websites are: przmn.blogspot.com, hubpages.com/shyamalchat


SOME OF THE WEBSITES ON TERRACOTTA:





bengal.com Mukul De Surul, Supur


visitkolkata.co.in - Sribati near Katwa - Chandaneswar temple





Baronagar near baharampore is varanasi of bengal nr Azimganj

Gangeshwar temple -best jorbangla temple; motif: dragon as motif

Ziagang - Jain temple


HOOGHLY

In Bansberia of Hoogly:Ananta basudev temple - Nandalal Bose drew pics on this - Jatayu, Dashamahabidya motifs can be seen.


Sunday, January 25, 2009

Dover Lane Music conference and Indian Classical music



I have been fascinated by Hindustani classical music. When I was only 8 years old I used to learn drawing, poetry and Tabla from Bani Chakra, opposite Deshapriya Park, with the insistence of my mother.

Later with the insistence of Mainakda, my maternal cousin, I started learning Tabla from Shri Anil Palit (Mainakda is also a disciple of Guruji) , disciple of Pt Kishen Maharaj, legend of Benaras Gharana. He is a recipient of highest civilian award Bharat Ratna. He fled his house at a young age to be trained under Pt Kishen Maharaj at Benaras. After entering the class I was suppose to do Pranam/blessing by touching his feet (which I used to dislike and often avoided it, until I am reminded by him to do it!!!) and buy Pan for him (which I rarely did!!!) .

In fact Didi (my sister) , Mita(my cousin) and Bubludi (our neighbour) , later , used to learn classical vocal music from Deoshankarji ( closed friend of Anil Palit ) , because of insistence of Chorda (Supriyo Datta - another cousin , Professor in Engg. of Purdue University ,USA and a great lover of music. Every year he used to come to Calcutta during winter holidays. Since we also used to idolize him, Didi and Mita (di) could not refuse him. He is an authority on Nano Technology in all over the world. I have been told, he might even get Nobel Prize for his seminal work). Anil Palit used to play Tabla in the class (like all Ustads his knowledge of vocal was also very good and used to supplement Deoshankarji when he was absent). Didi, Mita and Bubludi sometimes used to come to our house for reyaz (practice) in the afternoon under the guidance of my mother. Every year on an auspicious day we used to have Guru Purnima , where he had to worship him and all other gurus of Benaras Gharana( or Benaras school of music) like Kanthe Maharaj, Kishen Maharaj and of course Anil Palit. In the evening of Guru Purnima, we used to go Lake Road (Kolkata- 29) to Sanghamitra Gupta's house for an evening soiree. There I saw Anil Palit playing some amazing Tabla - often one hand. He used to utter words like "Ki Vichitra....." and then play it in Tabla.

Anyway, my talent of music was extremely poor and could not progress much. After some Didi and Mita stopped going to the class. But I became attracted to Hindustani Classical music thanks to some captivating records of Nikhil Bannerjee (Malkauns) and Shiv Kumar Sharma (Malkauns and Chandrakauns). My knowledge of its grammar is rather limited.
I also became fan of Western Classical music thanks to an enchanting record "Joy" featuring Mozart (http://www.youtube.com/watch?v=mChJmHWLpII 9th symphony) , Beethoven, and Bach......

We first went to see a live classical music programme at Dover lane music conference (at Vivekananda Park) with Naba, Mita, Didi and Debashish (our neighbour). Jethu (uncle - Anindya Datta, who was professor of Economics, New Hampshire, USA) sometimes used to come to Kolkata and he gave us money to purchase ticket to see the Dover lane music conference. It is regarded as one of the most famous conferences in India. It is every artists dream to come to Dover lane music conference and that TOO IN KOLKATA. In fact almost all the artists respectfully acknowledge this before starting the programme. The Dover Lane Music Conference held every January celebrates the tradition of Indian Classical music. It is also said that Kolkata has the finest connoisseurs of Western classical music in India. After the programme we went inside Green room to take the autograph of Ustad Ali Akbar Khan. He autographed in Bengali. Later some other day Didi and Mita also took the autograph of Ustad Zakir Hussain(Punjab Gharana) and became fan of Zakir due to his charismatic character and also interacted with him.

That is how my association with Dover lane music conference started. I can safely say I am going there for last 20 years (although not every year - because I was out of Calcutta for quite some time). It is like going to Woodstock. Every year I try to go there, whether tickets are given by Jethu (Anindya Datta) or standing in front of Nazrul Mancha (place where Dover Lane conference is being held) at 10.30 pm. Normally it starts from 8 p.m. and ends at 6 a.m. .It goes on for 3-4 days. Many people (mostly from organizers) sell the ticket in black market in front of the hall. I invariably target those who come out of the hall after attending 2 and half hours programme!! Most of the time, I buy the ticket from them at a cheaper rate (say Rs. 80- Rs100). Some kind soul sometimes gives it for free!! (Actually due to my active life, it is quite difficult to tell when I will be free to see the programme. This seems to be a better option for me). Once (2006 or 2007) we (Ma and me) got a VIP ticket and I sat in the front seat, just beside Governor of West Bengal, Gopal Krishna Gandhi!


This year, Anindya came all the way from Siliguri to see the Dover Lane music conference. I was also there as usual. But this year is special!

Today I have been able to enter the greenroom and got some photos and videos of Ustad Amjad Ali Khan and Ustad Rashid Khan with my spy camera!


Just before the start of his(Amjad) programme at 2.55 a.m.; Rashid Khan has just finished his song.


Amjad Ali Khan practising in the greeroom with Tanmoy Bose and Samir Chatterjee at 2.30 a.m. Rashid Khan was singing at this point of time.



Anindya touching the feet of Rashid Khan and Amjad Ali Khan after the end of the programme at 6 .30 a.m.


Rashid Khan at 3.05 a.m. in the greenroom on 26th Jan 2009. Anindya taking blessing of Rashid Khan.


Some of my favourites Ragas are:
1. Malkauns - I can probably listen to them non stop for 365 days!
a) Sitar: Nikhil Bannerjee http://www.youtube.com/watch?v=7DwI3bbXGlA

b) Sarod: Amjad Ali Khan http://www.youtube.com/watch?v=kwE-G0CFgtg&feature=related
c) Senhai Bismillah Khan http://www.youtube.com/watch?v=hveeMDC6Dro&feature=related
2. Chandrakauns
a) Santoor etc. : Indus http://www.youtube.com/watch?v=3pDrTo3ajEY
b) Flute: Hariprasad Chaurasia http://www.youtube.com/watch?v=U5h19sgkuGk&feature=PlayList&p=BA00533AF53C9213&playnext=1&playnext_from=PL&index=10
c) Jaltarang:Milind Tulankar http://www.youtube.com/watch?v=7Q3_feKINcY
d) Sitar: http://www.youtube.com/watch?v=C4tau7qStic
e) Sitar: Habib Khan http://www.youtube.com/watch?v=QEpJNv-61yY&feature=related
3. Darbari Kanada
a) Sarod: Amjad Ali Khan http://www.youtube.com/watch?v=FTh2gk6L4EI
b) Sitar: Vilayat Khan and Kishan Maharaj http://www.youtube.com/watch?v=RH0A1L0mchk&feature=related
Vilayat Khan http://www.youtube.com/watch?v=4v6r0OrnIAc
4. Asavari:
a) Sarangi : Surjit Singh http://www.youtube.com/watch?v=5C1k1-WUB-4
5. Bhairavi:
a) Sitar : Nikhil Bannerjee http://www.youtube.com/watch?v=ZDKrFcFIfm8
6. Madhukauns
a) Sarangi : Md. Aslam Khan http://www.youtube.com/watch?v=PySy05HUErs
Ravi Shankar with George Harisson: http://www.youtube.com/watch?v=erLZ-zW9Ti4&feature=fvw

I recommend beginners should start with these Ragas only. The collections here are handpickedand lot of thought has been given to it. They are probably the most popular Ragas too. In fact most of the religious songs have their genesis in Raga Malkauns.

Time of playing different important Ragas:

1. Raga Ahir Bhairav (daybreak) (tintal)
2. Raga Alhaiya Bilaval (late morning) (tintal)
3. Raga Asavari (late morning) (tintal)
4. Raga Bageshri (midnight) (tintal)
5. Raga Bhairav (daybreak) (tintal) Hariprasad Chaurasia (tintal)
6. Raga Bhimpalasi (early afternoon) (tintal)
7. Raga Bhupal Todi (morning) (jhaptal)
8. Raga Bhupali (early night) (ektal)
9. Raga Bihag (late night) (tintal)
10. Raga Bilaskhani Todi (morning) (tintal)
11. Raga Chandrakauns (late night) (tintal)
12. Raga Darbari Kanada (midnight) (tintal)
13. Raga Desh (late night) (tintal)
14. Raga Durga (late night) (tintal)
15. Raga Hansadhvani (early night) (tintal)
16. Raga Hindol (after midnight or early morning) ( dhamar tal)
17. Raga Jaijaivanti (late night) (tintal)
18. Raga Jaunpuri (late morning) (tintal)
19. Raga Jhinjhoti (any time; late night) (tintal)
20. Raga Jog (late night) (tintal)
21. Raga Kafi (any time; midnight) (addha tintal)
22. Raga Kedar (early night) (tintal)
23. Raga Khamaj (late night) (tintal)
24. Raga Kirvani (night) (tintal)
25. Raga Lalit (before sunrise) (ektal)
26. Raga Madhuvanti (late evening) (tintal)
27. Raga Malkauns (late night) (tintal)
28. Raga Maru Bihag (early night) (addha tintal)
29. Raga Marva (sunset)(ektal)
30. Raga Megh (any time Rainy season)(jhaptal)
31. Raga Miyan Ki Malhar (any time Rainy season; midnight) (tintal)
32. Raga Miyan Ki Todi (late morning) (tintal)
33. Raga Pilu (any time) (addha tintal)
34. Raga Puriya (sunset) (tintal)
35. Raga Puriya Dhanashri (sunset) -(tintal)
36. Raga Puriya Kalyan (evening) (tintal)
37. Raga Shri (early evening in Winter season) (tintal)
38. Raga Shuddh Kalyan (early night) (tintal)
39. Raga Tilak Kamod (late night) (ektal)
40. Raga Yaman (early night) ( tintal)

One of the unique characteristics of Indian music is the assignment of definite times of the day and night for performing Raga melodies. It is believed that only in this period the Raga appears to be at the height of its melodic beauty.

There are some Ragas which are very attractive in the early hours of the mornings; others which appeal in the evenings, yet others which spread their fragrance only near the midnight hour.
There are Ragas associated with the rainy season (Raga Megha and Raga Malhar), the autumn season (Raga Basant) and the spring season (Raga Bahar). Seasonal Ragas can be sung and played any time of the day and night during the season allotted to them. The obligation of time in case of such melodies is relaxed.
This connection of time of the day or night, with the Raga is based on daily cycle of changes that occur in our own moods and emotions which are constantly undergoing subtle changes in that different moments of the day arouse and stimulate different moods and emotions. The mental and emotional responses in the autumn or winter or during the rainy season are different from the spring. Each Raga or Ragini is associated with a definite mood or sentiment that nature arouses in human beings.
In the beginning, music was confined to rituals, worship and prayers. As specified seasons and hours of day and night were fixed for different religious rites, music relating to them came to be associated with such time and later on these times were crystallized into rigid rules. In time, music ceased to be confined to religion, and with the patronage of kings it took its home in the royal courts. From here, the original rules of time were slackened and revised by the order of those kings.
Ragas having their Vadi/King/ main note in the Poorvang region (Sa - Pa) are usually played during evening and Ragas having their Vadi note in the Uttarang region (Pa - Sa) are usually performed during morning.

Ragas to be performed during the hours of twilight and dusk, when neither the day, nor the night dominate, are called Sandhi Prakash Ragas. The approximate allotted time of such melodies is between 4 and 7 in the morning or evening.

The 24 hour period is divided into 8 beats each three hours long, as follows:
• 1. 7 a.m. - 10 a.m. first beat of the day. Daybreak; Early Morning; Morning;
• 2. 10 a.m. - 1 p.m. 2nd beat of the day. Late Morning; Noon; Early Afternoon;
• 3. 1 p.m. - 4 p.m. 3rd beat of the day. Afternoon; Late Afternoon;
• 4. 4 p.m. - 7 p.m. 4th beat of the day. Evening Twilight; Dusk (sunset); Early Evening;

• 5. 7 p.m. - 10 p.m. first beat of the night. Evening; Late Evening;
• 6. 10 p.m. - 1 a.m. 2nd beat of the night. Night; Midnight;
• 7. 1 a.m. - 4 a.m. 3rd beat of the night. Late Night
• 8. 4 a.m. - 7 a.m. 4th beat of the night. Early Dawn; Dawn (before sunrise); Morning Twilight;



Tansen or Miyan Tansen or Ramtanu Pandey (born 1493 or 1506 at Behat near Gwalior, India) is known as the Sangeet Samrat - meaning the Monarch of Indian Music who holds the most distinguished position in the arena of Indian cultural tradition. He was the foremost musician of the Royal Court of Akbar. Known to have created many ragas, which now hold prominent position in Hindustani music, Miyan Tansen left a treasure-house of music as his legacy. He is amongst the greatest composer-musicians. The son of Makrand Ram Pandey, a poet, gifted musician and a temple priest in Varanasi, he improvised and popularized rabab, originating from Central Asia.

Tansen, one of the Navaratnas (nine jewels) in the famed court of the Mughal Emperor Akbar, was conferred the title Miyan, an honorific title that means a learned man. Muhammad Ghaus became his spiritual master and Tansen’s name finds mention in the Shuttari Tariqat, the lineage founded by the master. He married Husseini. He is supposed to have died in 1586 or 1589. His final resting place is Gwalior at the mausoleum complex of Shaykh Muhammad Ghaus, his Sufi guru, indicating that he was a prominent disciple.


Fusion of Music


Tansen influenced the fusion of Central Asian and Persian ornamentation with Indian classical music creating the texture that is Hindustani classical music, which were further enriched by Tansen’s disciples. Most Gharana claim some connection with Tansen lineage.

His raga compositions in the Hindustani tradition usually had ‘Miyan ki’ (of the Miyan) prefixed such as Miyan ki Malhar, Miyan ki Todi, Miyan ka Bhairav (known today as Bhairav), Miyan ka Sarang, Miyan ki Malhar, and Miyan ki Mand. He created major ragas including Darbari Kanada, Rageshwari and Darbari Todi. He authored the important documents on music namely Rajmala and Sangeeta Sara.The Dhrupad style of singing was formalized mainly through the practice of such composers as Tansen, Haridas and Baiju Bawra, a contemporary.

Sarod (Persian word) emerged from the infusion of the ideas of Tansen on the rabab to the veena. Sarod which does not have frets has become very popular today. The famous qawwals is said to belong to the lineage from Miyan Tansen. Legends abound about his melodious voice that he could make it rain with Raga Megh Malhar or light fires with Raga Deepak.

Singers are always accompanied with the tanpura or the harmonium.

Indian Classical music is mainly divided into two branches, North and South.

A music, which follows certain characteristics are called classical - in opposition to Western classical music, where classical means belonging to a period of time (approximately from 16th to 17th century). All classical music follows this rule even if some completely different styles exist side by side.

Indian classical music has 7 basic notes, Sa Re Ga Ma Pa Dha Ni, with five interspersed half-notes, resulting in a 12-note scale. Unlike the 12-note scale in Western music



Another division of ragas is the classification of ragas under five principal:

1. Hindol,
2. Deepak,
3. Megh,
4. Shree
5. Maulkauns

From these five ragas, other ragas are derived. Each of the five ragas has five raganis under them. There are 25 raganis for the above five ragas.
Further derivatives from these raga and raganis resulted in attaching to each principal raga, 16 secondary derivatives known as upa-raga and upa-raganis.
All the ragas are supposed to have been derived from their thaat.

Every raga has a fixed number of komal (soft) or tewar (sharp) notes, from which the thaat can be recognized.

In other words, a certain arrangement of the 7 notes/Surs with the change of shuddh, komal and tewar is called a thaat.



About Thaat or Scales

The set of Seven Notes or Scale which can produce a Raga is called a Thaat in Urdu or Hindi and raga produces a Song. In other words a thaat is defined as that set of seven notes from which a Raga can be made.
The system of classification for the ragas, in different groups is called a thaat.
There are again several systems of classification of the raga. Presently in Indian or Pakistani Classical Music the 10 Thaat (Scales) classification of raga is prevalent.


If you want to learn how to play keyboard or harmonium, the practice of thaat is important.
If you want to bring beauty in music , then raga practice is important.
If you learn one thaat or scale then you can play many songs in that particular thaat or scale.


There are certain rules for these that:

Thaat must have seven notes in ascending order.
• Thaat has only one Arohan (or Arohi) or Ascent.
• Thaat are not be sung, only played, but the ragas produced from Thaat are sung. You can play music of film songs with thaat.
Thaat are named after the popular raga of that Thaat.
e.g. Bhairavi is a popular raga and the thaat of the raga Bhairavi is named after the raga.


Raga - Thaat

Piloo - Kafi
Kafi - Kafi
Mand - Bilawal
Dhani - Kafi
Bhairavi - Bhairavi
Gaud Malhar - Kafi
Miyan Malhar- Kafi
Ahir Bhairav - Bhairav
Asavari
Bairagi - Bhairav
Basant - Poorvi
Bhoopali Todi - Bhairavi
Bhatiyar - Bhairav
Bilawal - Bilawal
Bilaskhani Todi - Bhairavi
Bhairav - Bhairav
Desi - Asavari
Gurjari Todi - Todi
Nat Bhairav - Bhairav
Lalit - Poorvi
Jaunpuri - Asavari
Hindol - Kalyan
Todi - Todi
Poorvi - Poorvi
Madhuvanti - Todi
Bhimpalasi - Kafi
Multani - Todi
Bhoopali - Kalyan
Kamod - Kalyan
Desh - Khamaj
Yaman Kalyan- Kalyan
Hansadhvani- Bilawal
Khamaj - Khamaj
Yaman- Kalyan
Shuddh Kalyan- Kalyan
Maru Bihag - Kalyan
Puriya Dhanashri- Poorvi
Puriya - Marwa
Pahadi - Bilawal
Marwa- Marwa
Shree - Poorvi
Bahar- Kafi
Tilak Kamod - Khamaj
Bageshri - Kafi
Charukeshi
Malhar - Kafi
Raageshri - Khamaj
Nand - Kalyan
Malkauns- Bhairavi
Shivranjani - Kafi
Jhinjhoti- Khamaj
Kirwani
Chandrakauns
Kedar- Kalyan
Darbari - Asavari
Durga- Bilawal
Jaijaiwanti - Khamaj
Hamir - Kalyan
Bihag - Kalyan


What is a Raga?



The combination of several notes woven into a composition in a way, which is pleasing to the ear, is called a Raga or Raag. The raga is an Indian scale which utilizes varying ascending and descending patterns – certain notes on the way up and certain notes on the way down – but always in the set sequence. The raga never has less than five notes - the minimum required for a tune. Each raga creates an atmosphere, which is associated with feelings and sentiments. Any stray combination of notes cannot be called a Raga.



We can ascribe to a raga certain meta-characteristics that define a Raga:


. Every raga is said to be born/derived of a Thaat which is its parent. Every raga is composed of notes.

• A simple combination of notes is not a raga unless it sounds good. As mentioned earlier though, it is difficult to accurately define what sounds good.

A minimum of five notes are necessary in a Raga. Therefore a Raga can have five, six or seven notes.

• Every Raga has an Arohan (or Arohi) or Ascent and an Abarohan (Amrohi) or descent. The base note Sa cannot be absent from a Raga.

The notes Ma and Pa cannot be absent from a Raga at the same time.

A raga is also identified by a King/Vadi/ main note and a Queen/Samvadi/ second note. The Vadi is a note that is stressed the most in the raga. The Samvadi is stressed after that. Two Ragas can have the same set of notes but differing vadis and samvadis which then make them different ragas. For instance both the ragas Bhupali and Deshkar have the same set of notes and the same Arohan (or Arohi) or Ascent and an Abarohan (Amrohi) or descent but they have different vadis and samvadis which make them different ragas. Bhupali has a vadi ga and samvadi dha but Deshkar has a vadi dha and samvadi ga.

It has been said earlier that a Raga can have five, six or seven notes in the Arohan (or Arohi) or Ascent and an Abarohan (Amrohi) or descent. Based upon this a raga can be classified in to categories. A Raga sequence (arohi or amrohi) with five notes is said to be Odho (five). A Raga sequence with six notes is called Shadav or Khado (six) and a raga sequence with seven notes is called Sampoorn since seven notes is the maximum number that the raga sequence can have.
Raga is the basis of classical music. A raga is based on the principle of a combination of notes selected out the 22 note intervals of the octave. A performer with sufficient training and knowledge alone can create the desired emotions, through the combination of notes.


Ragas are placed in three categories (as mentioned above):

• Odho or pentatonic, a composition of five notes or
• Khado is hexatonic, a composition of six notes
• Sampoorn is heptatonic, a composition of seven notes.

1. In every raga, there is an important cluster of notes by which the raga is identified.
2. The ascent and descent of the notes in every raga is very important. Some raga in the same scale differs in ascent and descent. The principal/main note, ``KING" is the note on which the raga is built. It is emphasized in various ways, such as stopping for some time on the note, or stressing it. The second important note or the "queen" corresponds to the ``King" as the fourth or fifth note in relation to it.


Raga Melody:

Melody is based on our ability to hear and perceive changes in frequencies. Although it is more than just the pitch going up and down, but as the frequency goes higher, the note is sharper.In any octave(http://en.wikipedia.org/wiki/Octave), (http://en.wikipedia.org/wiki/File:Perfect_octave_on_C.mid) the highest note always vibrates at the double rate from the lowest note. So an octave is the interval between one musical note and another with half or double its frequency.

After the unison, (two things vibrating at the same rate), the octave is the simplest interval in music. The human ear tends to hear both notes (upper and lower) as being essentially ‘the same’. For this reason, notes an octave apart are given the same name in Indian music.


The same is true for Western Music. And just like in western notation system, Northern Indian music recognizes 12 places in one octave as Notes. Most musicians use the same notes as we see them on a guitar’s fret or on a piano. But it hasn’t been always like this. In ancient times, Indian music was based on the ‘Sharuti’ system. The intervals were measured with sharuties.
Melody of Northern Indian Music is based on the ‘Thaat’ (parent Scale) and ‘Raga’ theory. Ragas have their minimum requirements of five notes in an octave. Based on that principle, 484 Ragas can be created mathematically from any given ‘Thaat’. Every Raga has its own personality. There are many special things about every Raga, which make it possible to separate one Raga from another.


Secret of Phrasing in Ragas

Even though many popular musicians do not study Ragas and most of the popular music is not even in any certain Ragas, there are many ‘phrasing’ secrets hidden in the Ragas, however. Ascending and descending do not make music. Whole art of music is hidden in phrasing. You must have listened to hundreds of songs composed in ‘C’ or ‘E’ major. They still sound different from one another. That is because music we hear affects us in phrases, not scales.
This theory (music in phrases) was the origin of Ragas. Ragas start with that in mind and grow from there. To learn a Raga you have to learn its ascending or descending etc., but you also must know its flow and important phrases. There are thousands of available lists of hundreds of Ragas everywhere, but they have no practical value as one will never know how to proceed from there. You will find yourself improvising in a certain Raga in no time by mixing and shuffling its phrases and flow.
Globally acclaimed instrumental virtuosos in Hindustani classical music like Ustad Ali Akbar Khan, Pandit Ravi Shankar, Radhika Mohon Maitra , Ajoy Chakarabarty , Ananda Shankar , Bismillah Khan , Enayet Khan and son Vilayat Khan , Imdaad Khan, Imaraat Khan, Bade Ghulam Ali Khan ,Nasir Aminuddin Dagar , Asifuddin Dagar,Nikhil Banerjee , Amjad Ali Khan, Budhaditya Mukhopadhyay, Shahid Pervez, Anindo Chatterjee , Grammy Awardee Bikram Ghosh, Shankar Ghose, Kumar Bose,Pannalal Ghose, Tanmoy Bose, Gyan Prakash Ghose Louis Banks among others hail from Kolkata. Source: http://infao5501.ag5.mpi-sb.mpg.de:8080/topx/archive?link=Wikipedia-Lip6-2/1774396.xml&style

Chronological order

Followers