Metro Ride in Kolkata

Have you ever enjoyed a tide in the metro rail at Kolkata (previously called Calcutta) in the eastern state of West Bengal? If not you have missed something in life! Visit Kolkata soon and explore the pleasure already enjoyed by the teaming millions. Are you ardent to know more- about the metro railways in Kolkata? Read on…

A Brief Overveiw of the Kolkata Metro Railway: The city of Kolkata boasts of the metro rail network in the undergrounds. The metro railway way of Kolkata has achieved the status of zonal railways. The operations started in 1984. In those days the metro railway in Kolkata used to ply between Esplanade and Bhowanipur. With the passage of time the metro railways started growing in length (well literally). Now, the expansion of the metro railways is between Dumdum (in north of Kolkata) and Garia (in the southern fringe of the city). There are plans of constructing the metro railways between the eastern and western parts of the city.

The idea to build underground railway station was conceived in 1949 by the Late Bidhan Chadra Roy (a noted political figure and reformer). In that time the coaches had ordinary revolving gates. The first metro coach was flagged off from Esplanade to Bhowanipur (now Netaji Bhavan) carrying eminent personalities under the ministership of Abu Barkat Ataur Ghani Khan Choudhury. He served as the Railway Minister between 1982 and 1989. In 1986, the line was extended in the southern end till Tollygunj (now Mahanayak Uttam Kumar). The modernization and maintenance of the metros have been hindered at regular intervals due to political events post 1986.

However, as the years passed by the popularity of the metro rails in Kolkata grew phenomenally. Hence, the number of coaches grew with time. Recently, air conditioned coaches have also been introduced. The numbers of trains have been increased. In the office hours the trains ply more frequently compared to the lean hours. The weekdays see more footfall in the metro and therefore the frequency of the trains are higher than the holidays.

Initially manual tickets were sold at the ticket counters. Then the magnetic tickets were introduced to help the metro staff track the errant riders. The gates accepted the magnetic tickets with certain built in checking process. The systems of package rides were introduced. Individuals could purchase tickets and use it for many rides within the stipulated period. Now, there are escalators to provide additional comforts to the metro users.

The stations of the metro railways were previously names according to the locations. In the recent times Madam Mamata Banerjee of Trinamul Congress (who is also the railway minister) has renamed these stations paying ode to the famous personalities of the yesteryears who had made a difference to the country, and especially Bengal.

MAIN FEATURES OF THE METRO RAIL (IN KOLKATA):

The metro systems in Kolkata are complex and imbibe applications of many new technologies. The engineers who are employed to maintain the same have personal expertise and foreign qualifications and experiences. These seasoned and well-trained professionals maintain the metro railways with vim and vigor making use of may new technologies.

• Cut and cover process have been followed in the city making use of the diaphragm walls.
• Shield Tunneling used compressed air as well as airlocks were used.
• The stations are air conditioned. Ventilation system is maintained to control the environment of the stations.
• Transformers (dry categories) and circuit breakers are used.
• Some stations controlled trains by making use of micro-processors.
• Introduction of automatic ticketing systems are on cards.

METRO COACHES EXCLUSIVELY FOR WOMEN:

In the recent times there had been an effort to introduce women’s special coaches in the Kolkata Metro. This did not work out. During the rush hours it was not convenient for people to find which coach was allocated only for the women- leading to unwanted incidents. Also, the men felt it was unfair that the women could get up in any coach as per their preferences, while they had to avoid some coaches. There was also loss of time in searching and getting into or avoiding these coaches. Families found it difficult as the women had to get up in separate coach and the men in others. Boys as young as 10 or 12 years were asked not to board these coaches, separating them from their mothers. It was inevitable that these coaches approach did not work out well.

BENEFITS OF RIDING THE METRO RAILWAYS IN KOLKATA:

• It utilizes one-fifth energy to carry each passenger when compared to other road based transportation systems.
• It generates less noise, nil air pollution and is an environment friendly transportation system.
• It does not occupy any road space in the areas where it is underground.
• In the zones where metro plies above ground, it is usually located on elevated land.
• It is more comfortable, safe and reliable compared to the other transportation systems of the city.
• It generally maintains time.
• Journey is fast and saves time.

THE KOLKATA METRO RAILWAYS PROVIDE:

Better Connectivity: People can travel from Tollygunj to Dumdum (a distance of kilometers) in less than half an hour. Can you imagine such facilities in any of the road transport facilities?

Train Timings: The metro railways in Kolkata maintain proper timings in general. There are trains at frequent intervals so ease out the commute for the users of the metro.

Basic Comfort: Yes, metro railways do provide a lot of comfort but barring the peak hours. If you are riding the metro for pleasure, endure that you do so in the lean hours or holidays.

DEATH TRAP:

It is unfortunate that many people are choosing the metros tracks in Kolkata to end the woes and miseries of their lives. The smooth plying of the rails is hampered on those fateful days when such an incident occurs. Commuters are delayed in their journeys to their destinations which is not at all a good sign. This should come to an end. The high officials of Metro should adopt strict measures to avert such attempts.

Folk Dances of Eastern India: Unfold the mystical charm!

A land of diverse tradition and culture, India is a beautiful country to be a part of! Every state in India is known for its unique culture that is evident in different art forms of the region. When it comes to music and dance, almost every region of India offers us something specific and unique. The dance and music of the region can very well be said to be the beautiful expression of the many communities and their traditions.

One very beautiful example of the richness and diversity of culture and varied ethnicity in India happens to be the folk dances, which have beautifully survived the taste of time; and in spite of the touch of modernization into every single thing, it has continued to withstand over the years. Different regions in India takes pride in different forms of folk dances each of which bears a special significance. Like the other parts in India, Eastern India has been home to some hundred years old tradition of folk dances. The Folk Dances of Eastern India reflects the tradition of the region. The essence of these folk dances is the rawness present in them. Be it the Chhau of Bihar, Bihu of Assam, Dalkhai of Orissa or Brita Dance of West Bengal, each of the eastern India folk dances takes you to the deep sited traditions and beliefs of the diverse cultural groups.  So with Folk Dances of Eastern India: Unfold the mystical charm!

Chhau (Bihar)

Among the popular folk dances in Bihar, Chhau dance portrays virility and vitality. Derived from the Sanskrit term ‘Chhaya’ that means shade, Chhau means mask. Masks play an important role in this dance form of India that makes extemsive use of steps from a system of exercise known as ‘Pharikhanda’. Chhau performers are seen holding shields and swords as they perform.

That which forms a major aspect of this folk dance in India is the 3 important elements from classical dance, Raga (melody), Tala (rhythmic timing) and Bhava (mood). The dance form portrays the animal world and nature that are confirmed with different forms like Sarpa Nritya (serpent dance), Sagara Nritya (ocean dance) and Mayura Nritya. Themes from everyday life and mythology also form a part of the Chhau dance.

Unlike many other forms of Indian dances, Chhau dance is about vitality and robustness. Powerful and poetic happens to be the body language. People believe that on the 25th day of the month of Chaitra, Lord Shiva invoked this dance and that is how the dance form began. The leading exponents of this mostly men dominated form of art, Chhau are royal princes in Mayurbhanj, the rabble and Purulia farmers, tillers etc.

The main base to the Chhau tunes is provided by the Hindustani ragas of music. The musical instruments that accompany the dance are Nagara, Dhol and Sehnais. The dance lasts for about 7-10 minutes.

Brita Dance (West Bengal)

The abode of thinkers, poets and artists, West Bengal also happens to be the home of traditional folk dances. Vrita or Brita dance happens to be among the important folk dances in Bengal. Usually performed by women in rural areas, the dance takes place at the temple premises for appeasing the deities and invoking blessings. One of the popular beliefs concerning the dance is that when any wish is fulfilled, the Brita dance then performed out of gratitude. Also, following the recovery of any contagious disease such as small pox, the dance is performed.

Dalkhai (Orissa)

Performed mostly in the Sambalpur District in the state of Orissa and other districts such as Sundargarh, Sambalpur, Dhenkanal, by the tribal women of Binjhal, Mirdha, Sama, Binjhal, etc the ‘Dalkhai’ happens to be a virile dance that is rendered at the time of festivals. The women in the dance are given company by men who play on the musical instruments. The drummers are often seen joining the dance. Several musical instruments are played such as Dhol, Nisan, Tasa, Tamki and Mahuri. Though the main occasion for the dance happens to be Dusserah yet this famous folk-dance of western Orissa is also performed during festivals like Phangun Puni, Bhaijauntia, Nuakhai etc. The Dalkhai dance has been named so because the beginning and the concluding stanzas uses this word for addressing a girl friend.

The songs of the dance represent episodes from Mahabharata and Ramayana, love stories of Radha and Krishna, descriptions of sceneries etc. The women are dressed in Sambalpuri Saris and scarf and of course the traditional jewelry. The Dalkhai dance has many adjunctive forms such as Rasarkeli, Gunji kuta, Mayalajada, Jamudali, Jhulki, Sainladi, Banki etc. Dalkhai basically happens to be a secular form.

Goti Puas (Orissa)

All credit goes to the pioneering efforts of Raja of Khurda in Orissa, Ramchandradeva following which in the 6^th century, Goti Pua (or boy dancers) came into existence. Ramachandradeva offered refuge to those Mughal soldiers, whom the Afghan troops defeated. Hence Ramachandradeva was quite liked by Mughal Emperor Akbar and also designated as King of Orissa or Gajapati, with loyalty towards the Mughal Emperor.

He was also the Superintendent at the Puri Jagannath temple. During his time, devadasis and maharis became very popular owing to the patronization by the court. An enlightened and sensitive man, it was the initiative of Ramachandradeva that resulted in goti puas coming into being.

Another reason for the emergence of the goti puas could be that the Vaishnavas strongly disapproved women dancing just for a false reason of. Hence as a solution to this problem, the tradition of boys dancing by dressing themselves as girls, came to be introduced.

The term goti means ‘one’ or ‘single’ while Pua means ‘boy’. However, this dance is executed in pairs always. Boys start dancing from the age of 6 and continue performing till the age of 14 after which some become the dance teachers while others join the drama troupes.

At present the goti puas belongs to professional teams called dals that is led by one Guru. Initially the boys are made to learn the very basic of the dance techniques after which they are taught the dance items, expressional and ornamental.

“Bandha”, one among the demanding aspects of the dance forms in the state of Orissa consists of complicated body positions and contortions – this forms the domain of the goti puas. A goti pua dance generally begins with Bhumi Pranam that is a salute of honor to the Mother Earth and concludes with a Bidahi Sangeet, which happens to be a farewell dance and song item. The complete performance continues for about 3 hours.

Three musicians playing gini or cymbals, pakhawaj and harmonium accompany a goti pua performance. The singing is done by the boys only, most of the times. The goti pua dance performance is very organized and consists of items such as Bhumi Pranam, Panchadevta Puja and Battu. At the time of Chandan Jatra festival, the goti puas perform in front of the deities at Narendra Sarovar, a sacred tank located in Puri.

Presently the goti pua dals that have survived are generally found in the villages. Some of well-known groups come from places like Raghurajapur and Dimirisena near Puri, and Darara, close to Bhubaneswar.

Bihu, Assam

Associated with the Bihu Festival of Assam, Bihu is a popular folk dance in the region that marks the coming of New Year. Young women and men both perform the Bihu dance in their traditional Assamese attires. Generally performed under the open areas like tress and other natural surroundings, Bihu happens to be the dance of quick steps with rhythmic movements of hips and arms and specific movements of shoulders and chest. Particular songs ranging from themes of love to village life and greeting the New Year, accompanies the Bihu folk dance in Assam.

Cheraw Dance, Mizoram

Popularly known as the Bamboo Dance, Cheraw is mainly performed by the different tribes from Mizoram. At almost every festive occasion, the dance form is performed. Such dance forms are well-known in the Phillipines and the Far East. So it is quite possible that the Cheraw dance may have got a foreign origin and it came to be popular in Mizoram during the time of migration. Long poles made of Bamboo are put 1 at each end across the logs, fitted on the ground. A person holds each of the pole pairs at each of the ends. Many a times several of the similar pairs are put parallel to one another while sometimes the pairs are laid in crosses. As the bamboos are struck to each other and the logs, the dancers dance to the rhythm of the music. They jump in and out of the bamboos, thereby avoiding getting caught amidst the bamboos. Mostly young girls and women put in their traditional attires and execute the dance, thereby weaving beautiful patterns making their way through the bamboos. The steps are often the mimic of the bird movements and other similar actions. The particular folk dance of Eastern India demands fast and precise footwork since its gets even faster as it continues to proceed!

Satyajit Ray and Indian Films!

Kolkata, West Bengal

Satyajit Ray is possibly the finest filmmaker from India to the west and undoubtedly one of the masters of world cinema. Although most of his films were in Bengali, yet his films are of great universal value and interest. His films were based on themes of reality such as emotions, relationships, struggle, joys, conflicts and sorrows. The films showcased notable humanism, intricate observation and fine handling of situations and characters.

Satyajit Ray was born on 2nd May, 1921 in the city of Joy, Calcutta in one of the distinguished families of Bengal. Upendra Kishore Ray, his grandfather was an astronomer, scientist, musician, writer, illustrator, and a publisher. Ray’s father Sukumar Ray was an excellent writer while his mother was a phenomenal singer. Ray graduated from Presidency College, Calcutta and left for Shantiniketan, West Bengal where he developed interest in graphic design.

After returning to Kolkata (Calcutta) in the year 1943 he worked in a British advertising agency. In the year 1949 he got the chance to meet Jean Renoir, the great director from France. Jean Renoir encouraged and inspired Ray to make films. The film Vittorio de Sica’s Bicycle Thief (1949) inspired Ray greatly who then started working on his first film Pather Panchali.

Pather Panchali is the first part of the Apu trilogy. The movie upholds the village life of Bengal from the view of Durga and Apu, two children of an impecunious Brahmin priest. The film is based on one of the famous novels by Bibhutibhushan Bannerjee where Satyajit Ray turns the most apparently dull events into a significant experience. A few of them includes an approaching train making Apu and Durga mesmerized or the scene of Apu’s admiring eyes seeing Durga dancing at the downpour. Another memorable experience is the use of appropriate music when the poor priest was being told about her beloved daughter’s death. This film was successfully shown in movie halls for 13 weeks in Calcutta and even won a unique prize for the ‘Best Human Document’ at Cannes.

Pather Panchali was succeeded by two other films Aparajito and Apur Sansar in the years 1956 and 1959 respectively which completes the Apu trilogy by portraying his adulthood and marriage. In spite of having many outstanding moments and firm creation, these films had a deficit of the poetic quality and unfussiness of Pather Panchali. But still, as a whole, the trilogy has the tempo and gush of life. Even Aparajito won the ‘Lionne d’Ore’ in a jury supervised by Rene Clair at Venice. Apur Sansar witnessed the starting of Ray’s long-term relationship with the well-known Soumitra Chatterjee.

Though Satyajit Ray had a creative period of remarkable filmmaking which includes Jalsaghar in the year 1958, Devi in 1960, Teen Kanya in 1961, Abhijan and Kanchenjunga in 1962 and Mahanagar in 1963 which is his first movie in colour, the most flawlessly crafted one was Charulata in the year 1964. The period during 1879 in Calcutta known as Bengal Renaissance, was meticulously projected in the film through the costumes, the wallpaper, the Victorian furniture, the typeface of Charu’s husband’s journal etc. A one-liner dialogue in a total duration of seven minutes is so prominent that it is sufficient to project Charu’s loneliness and boredom while wondering aimlessly in the opening series. Charulata’s role was brilliantly performed by Madhabi Mukherjee and the astonishing musical pattern set the attitude of the movie.

In the film Nayak (1966), Ray kept in mind superstar Uttam Kumar while creating the lead character of actor Arindam Mukherjee. People felt the film to be the autobiography of Uttam Kumar. The sense of disquiet and impatience of the renowned actor epitomized Uttam’s diffidence regarding his phenomenal achievement along with the fear about the lasting of his superstardom. Uttam Kumar got into the character of Arindam and even post-completion of the film, Ray confessed that the movie would have been abandoned by him if the superstar had refused to act in the same. They worked again in another film named Chidiakhana in the year 1967.

Distinct from his contemporaries, Ray’s work didn’t have any fixed genre. He thus gifted the film industry with varying movies ranging from a dance and song fantasy movie for the children to modern metropolitan trilogy and detective crime fiction. To name the most famous are Goopy Gyne Bagha Byne in the year 1969, Pratidwandi in 1970, Seemabaddha in 1971, Jana Aranya in 1975, Sonar Kella in 1974, Jai Baba Felunath in 1978 etc. Satyajit Ray’s first Hiondi film was Shatranj ke Khiladi, one of the historical in 1977.

In 1978, Ray was ranked one of the three “all-time best directors” by the managing committee of the Berlin Film Festival. Ray was forced to stop his film making in the 1980s for his deteriorating health condition though later in 1988, doctors permitted the great director to work again provided the shooting is strictly restricted to indoor.

Post this period, the only film where Satyajit Ray was seen in his original form was Agantuk in the year 1991. The movie covers the story of a lost uncle landing up in the life of his young niece and her husband unexpectedly. His claim to be the wife’s uncle was being suspected by the couple. They thought him to be after her ancestral property though their son gets enthralled with his travels and adventures. In the end, the uncle departs having bared the meanness of the couple. Though the film could not make much business in India but was figured in one of the first ten box-office hits in Paris. Satyajit Ray was finally awarded with the honorary Academy Award for Lifetime Achievement in 1992.

To put it in the words of the excellent film director Akira Kurosawa from Japan,

“The quiet but deep observation, understanding and love of the human race, which are characteristic of all his films, have impressed me greatly. … I feel that he is a “giant” of the movie industry.” … “Not to have seen the Cinema of Ray means existing in the world without seeing the sun or the moon.” “I can never forget the excitement in my mind after seeing it (Pather Panchali). It is the kind of cinema that flows with the serenity and nobility of a big river.

While Martin Scorsese said-

“Ray’s magic, the simple poetry of his images and their emotional impact will always stay with me.”

Ray not only made and directed films but also wrote all the screenplays of the films that he made. He composed some amazing music for his movies and could also operate the camera. He was truly a wonderful screenplay writer and a composer and young tlents have definitely a lot to learn from him. Satyajit Ray wrote an autobiography in the year 1982, called Jakhtan Choto Chilam. The autobiography encompassed his childhood years. Essays on several films like Bosoy Chalachchitra (1976), “Our Films, Their Films (1976) and Ekei Bole Shooting (1979) were also written by him. Majority of the stories and novels written by Ray were published by Ananda Publishing in Calcutta while the screenplays were published by the Eksan Journal in Bengali.

Many popular documentaries were created on Satyajit Ray, by eminent film makers and personalities like Shyam Benegal and K Bikram Singh. Ray was also the subject of biographies written by Marie Seaton in 1971, Das Gupta in 1980 and Robinson in 1989.

Once Darius Cooper, the Film Critic said-

“In film after film, he investigates India’s social institutions and the power structures to which they give rise, or vice versa. He works out, in concrete terms, the conflicts and issues of his times, both in his own state of Bengal and in the larger Indian nation….” (The Cinema of Satyajit Ray: Between Tradition and Modernity, 2000)

To quote the talented Film Director Elia Kazan-

“I have admired his films for many years and for me he is the filmic voice of India, speaking for the people of all classes of the country…”

Robert Steel, a Film Critic said that-

“[When] I did see [Pather Panchali]… I was bowled over. Here was an Indian film that was a film or that matched my concept of a film and a great one at that. It was the first film made in India that I had ever seen which did not embarrass, annoy, or bore me.” (Montage Special Issue on Satyajit Ray, 1966)

Satyajit Ray was not just restricted to film making. He was a literary genius as well. From the year 1961 to 1992, he wrote many non-fictions, novels and stories. In the year 1961, Ray revitalized and invigorated a magazine for the children called “Sandesh”, which was created by his grandfather. Ray added to this magazine immensely and throughout his complete life, by enriching the magazine with inspiring and interesting verses, stories and illustrations.

Ray was also into writing many articles and short stories. Children’s literature, specially that I Bengali was benefited hugely and significantly, through the valuable contributions made by Stayajit Ray. Children specially liked the novels and detective stories written by this great writer. His writings are self-effacing, unpretentious and at the same time very entertaining. Subjects ranged from detective stories, fantasy, adventure, science fiction and horror. Satyajit Ray was an amazing painter too.

In the year 1978, Satyajit Ray was ranked as one of the 3 all time best directors, by the organizing committee of Berlin Film Festival.

In the year 1992, Satyajit Ray was awarded with the very prestigious honorary Academy Award for Lifetime Achievement. He was recognized for his rare mastery of art and his deep and insightful humanitarian approach that influenced the audiences and the filmmakers from all across the world in a major way.

Other prestigious honors received by Satyajit Ray are “Lègion d’Honneur”, from France and “Bharatratna” (Jewel of India) by his very on country, India.

Further, this legendary filmmaker was also felicitated with numerous other esteemed awards as a film maker for both the personal achievements that he made and also the films made by him. Satyajit Ray and Indian Films are like the two sides of the same coin. Both are incomplete without the presence of each other! They are simply inseparable.