N C R   S T O R I E S


Court rejects plea for roll number

NEW DELHI: The Civil Judge (Junior Division), Ms Rajni Yadav, rejected the plea of a BA final year student, Anju, for the release of her roll number issued by the Maharishi Dayanand University (MDU), Rohtak, for appearing the final examination.

The student had filed a petition against Dr Shamim Sharma, Principal of the local Hindu Girls College. According to a report, the judge held that the petitioner had failed to fulfill the norms of the university in connection with the attendance of lectures during her studies. If the roll number is issued by the principal, it would affect the discipline of the college.

It was argued that the principal was empowered to fulfill the norms of the university and was authorised to withhold the roll number of a student who had failed to fulfill the norms of the university.

The roll number of the student concerned was withheld by the principal as she was short of attendance. The student has now filed another petition in the court of the District and Sessions Judge, Sonepat, challenging the order passed by the lower court. 


Moods - creating an artistic story
Ravi Bhatia

Art Alive Gallery is presenting “Moods” - a two-man show by Laxman Aelay and Fawad Tamkanat. The two artists belong to Hyderabad. The show will remain open from 9th to 24th April, 2004.

Fawad has worked on treated teak wooden boxes with acrylic. The works are presented in composition of three, eight, six, nine boxes each, showing an interesting interpretation of “Moods,” creating a story in itself. Laxman’s muse is Kadirenigudem in Telangana, Andhra Pradesh, the place of his birth. His works present a complete picture of the village men and women in their rustic environment.

Laxman was a much sought-after and admired designer and illustrator in the Telugu literary circles. Before this, he even painted signboards. However, the creative artist in him compelled him to undergo a regular study of painting. Hence, he joined the College of Fine Arts at Hyderabad and, after that, took up full time free-lance painting. His paintings are nostalgic depictions of the rural milieu in which he grew. Life of people in his poverty stricken village Kadirenigudem, a hamlet in Nalgonda disrict near Hyderabad, has so far been the source of his inspiration.

The artist shows a strong feeling for his land. The paintings are remarkable for many reasons. Richness of content, variety in subjects, perfection in anatomy, aesthetic sense in use of colours and an eye for detail.

Laxman’s people are powerful. They have strong backs, small foreheads and thick lips. They have large eyes that pierce through your body. Whatever he has painted and, even if the images in them are abstract, they are sensitive and true depiction of the idyllic world where he spent his childhood. The content of the paintings is so rich that they cover different facets as if one is going through an anthropological study, say critics.

The image of Kadirenigudem presents a complete picture of the village - the streets, the cattle, the flora and fauna, the walls, the doors, the wells, the people...

All his images emerge form the village where he spent his childhood. Perhaps, the village itself has now ceased to be like the one he had seen when young, yet the people, their lifestyle and everything else remain the same in his memory. One novel feature of his charming group of recent paintings is that some of them are grouped together in a composite frame, consisting of a long and small frame depicting various characters in the village. Documenting instances and elements of his home, Aelay in this series works on a rhetoric, which equipped him with a language and focus.

Fawad was born in 1962. Son of a renowned Urdu poet, Shaz Tamkanat, he did his post graduation in fine arts from the university of Hyderabad. He has participated in several group shows with Indian artists like Hussain in New York, Singapore and Hong Kong. His solo exhibitions were held in India as well as in Denmark. He has participated in several international shows. Critics say that Fawad is always ready to take up challenges. He never bothers to stick to a style or medium.

The theme of most of Fawad’s paintings is charming and sensuous women, whom he had seen locally, most of them capture their different moods. They were drawn with a few studied acute lines; some had added colour washes to accentuate the desired effect. Fawad’s works are neither based on any concept, nor on any belief in giving a strong message to the society. His works are simple and direct; moreover any layman could follow what the artist has depicted. The surroundings, the everyday life and the things around interest Fawad. Any object — shoes, iron boxes — are depicted with sharp and lucid cross-hatchings. .

The human face — its characteristics, facial expressions, the human body –its actions and movements, found prime importance in his works. Fawad paints beautiful, attractive and sensuous nudes. He calls them “bare figures”. His bare bodies evoke the sexuality between the man and woman. The beauty and the beast theme is effectively brought out in his small but beautiful works. Fawad believes in usage of few colours and overlapping of these limited colours in the right way, leading to the development of the other colour.

The dream

Anant Art Gallery here presents The Reminiscence of a Dream, an exhibition of artworks by Barnali Nandy and Curated by Roobina Karode, from April 15, till Sunday May 2,2004.

Barnali’s allegorical narratives are shaped by her unusual approach to art making. She energizes the two-dimensional surface by incorporating the indirect process of batik on chikankari with the direct process of painting on handmade paperboards. Retaining the identity of these distinct processes to conceptualise a single image, she creates a witty dialogue between the two, transforming the image from one onto the other with some refreshing insights and formal deliberations.

Barnali Nandy graduated in painting from the Department of Fine Arts, Jamia Millia Islamia, New Delhi, and then attained a Master’s Degree, specializing in Print Making from Kala Bhavan, Santiniketan, in West Bengal. Barnali continued learning the process of image making in the context of time, place and person after she returned to Delhi from Santiniketan. Her primary interest is in the structural formation of a conceptualized image, and she consciously experiments with varied materials and treatment in energizing two-dimensional surfaces.

Patti ka kaam

“Patti-ka-kaam”, once favourite with the Nawabs and the royalty, is a form of delicate applique embroidery that originates in Rampur & Aligarh. NAZNeen, the only label that represents “Patti-ka-kaam” in the Capital, in its effort to revive and resuscitate the dying art, is putting up an exhibition-cum sale at Agha Khan Hall, 6 Bhagwan Das Road, from 8th to 10th April, 2004. This exhibition is to celebrate the eleven years of excellence in `phool-patti’ work.

The exhibition showcases NAZNeen’s new `Spring Summer Line’, a collection of stunningly styled outfits that pays ode to womanhood in its purest form. The new collection witnesses a profusion of cool virgin whites which share bench space with summery shades like daring lime green, soothing pinks, sunny yellows, creamy creams and shades of beige. The collection consists of beautiful salwar-kameez, sarees, lehangas, ghagra-cholis, short kurtas, long dupattas, churidars and kurtis in cotton, crepe, chiffon, georgette, silk, crushed tissue, brocade, organdi, jute, kota, organza, silk, georgete, mul and khadi. The outfits have been an embellishment with exquisite and intricate motifs in Patti-ka-kaam, zari and Haat-ke-kaamdani.

Om - the key to universe

The Rabindra Bhawan Art Gallery here is exhibiting the paintings of Lee Hee-Sung, a Korean artist. The exhibition entitled “Om,” chanting with colours, is curated by Devendra Shukla and will be on view till April 10. According to the artist, “Om” is the key that opens the universe.


music zone
Vienna Boys

The twice Grammy-winning Vienna Boys’ Choir will perform in Delhi on April 9 at Shri Ram Centre before moving to Mumbai on April 11 at Jamshed Bhabha Theatre and finally in Kolkata in April at Kala Mandir.

About 23 boys, together with the renowned conductor and music maestro Gerald Wirth, will showcase a wide range of compositions, ranging from medieval to contemporary, as well as special pieces like qawwali, Haq Ali, Marathi bhajans, Jogwa and an African song, Oremi.

They will meet the President in Rashtrapati Bhavan on April 8, 2004, where the choir will perform short compositions for him.

The history of the Choir dates back to more than 500 years, when in 1498 Emperor Maximillan 1 of Austria issued specific instructions that there were always to be at least six boys among his musicians to perform exclusively for the Imperial Court.

In 1918, after the breakdown of the Habsburg Empire, the imperial boys’ choir was re-established as the Vienna boys `Choir, whereby the imperial uniforms were replaced by their famous sailor suits. The choir, which has been the learning school for greats like Heinrich Isaac, Wolfgang Amadeus Mozart, brothers Joseph and Michael Haydn, Franz Schubert and Clemens Krauss, continues with the imperial tradition and provides every Sunday the music for Sunday mass in Vienna’s Imperial Chapel.

Conductor and artistic director Gerald Wirth has an impressive background, having served as choirmaster with leading Austrian choirs. As a composer he is constantly seeking new challenges and frontiers.

His works are often inspired by myths and philosophical texts. Wirth is much in demand as a choral clinician, and has held international workshops on choral conducting, voice training and performance.

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