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The two-day extravaganza on the heritage instrument ‘Mohanveena’ of Radhika Mohan Maitra ended with a bang

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The Satyajit Ray Film and Television Institute (SRFTI), an academic institute under the Ministry of Information & Broadcasting, Government of India, organized a two-day festival on Mohanveena – now a heritage instrument of India which was created by the legendary musician the late Pt. Radhika Mohan Maitra in 1948, on 25th and 26th of July. The festival started with the screening of the documentary made by Prasar Bharati, Government of India during the late 1990s entitled “Mohanveena – a Genesis”. The screening was attended by several cinema buffs of the city and the students, staffs of SRFTI at the main auditorium. The hall was almost houseful for the 90-minute documentary and ended with a great applause. This documentary was telecasted in the National Television several times till 2010.

The next day was much more exciting. There was performance on Mohanveena by Joydeep Mukherjee, a dynamic and iconic musician of Gen X, and a grand disciple of Pt. Radhika Mohan Maitra followed by demonstrations and a short recital by Somjit Dasgupta, a disciple of Pt. Maitra. Mukherjee started his recital with Raag Megh and there was pin-drop silence in the hall. This technically sound and aesthetically brilliant performer started with alaap, jor, & jhala followed by two compositions – one in 12 bit Chowtaal demonstrating the ‘been-baaj’ and next was in 16 bit Teentaal demonstrating the sarod style playing. Raag Megh ended with a super jet speed jhala which received standing ovations. Mukherjee then played a couple of very popular tunes composed by Satyajit Ray in Mohanveena – “Ese Hirok Deshe, Dekhe Hirer Chomok” and “Feluda theme music” which the audience enjoyed to the fullest.

Next item was of Somjit Dasgupta where he first explained the history of Mohanveena. He said, “In the year 1943 when my Guruji Pt. Radhika Mohan Maitra played a jugalbandi in Sursingar with Ustad Sadik Ali Khan in Veena, he conceptualized a special instrument which should have the tonal quality of the Veena, resonance of a Sursingar and the ability to execute high speed taans like the Sarod. In 1948 he finalized a new instrument which had all the above qualities and on the same year Thakur Jaidev Singh, the then Chief producer of All India Radio named this instrument as “Mohanveena” after the middle name of Pt. Maitra. After that he performed some 22 National programs and countless recordings with this Mohanveena which are the assets of the Akashvani archives now. Today this 76-year-old ‘parampara’ of Mohanveena is still running among his disciples, grand disciples and great disciples,” He then played a melodious alaap in Raag Chhayanut followed by a composition in Raag Khamaj. Shree Mrinal Bhattacharya accompanied both the artists very sensitively in the tabla. His work on the left hand drum was quite admirable.

The next part of the festival was the most interesting one. The open house – direct interaction with the audience and the artists, moderated by Prof. Prajna Dutta – a nascent ex faculty of the SRFTI. Prof. Dutta gave a very contextual introduction to start the conversation and asked both the artists about the idea of musical instruments in cinema. Somjit Dasgupta told, “As per my Guruji cinema is analogous to Maa Durga with 10 hands and family members with their riders – implicating lots of characters, props, music, production crews, directors, producers etc. The same is there for music too where we have several raags, taals, tempos and playing styles.” Asking the same question to Joydeep Mukherjee he told, “Presenting a raag is just like making a cinema. Here the musician has to establish the raag note by note, just like several shots create a scene. Then continuity in music is much more important same like that of the cinema. A musician slowly builds the raag and goes to the climax at the end, just like I approached to the high speed jhala from the slow alaap -without letting a single audience any continuity jerk. The same is applicable for the director, editor & post production crews in the cinema.”

There were musicians like Bhabani Shankar Dasgupta, son & disciple of Padma Bhusan Late Buddhadeb Dasgupta, Subir De, a disciple of Pt. Maitra and distinguished persons like Prof. Sukanta Majumdar, HoD of the department of sound, SRFTI, Prof. Dr. Nabinanda Sen, Dipankar Dasgupta, head of cultural wing at USA Consulate, Dipankar Dasgupta, a former journalist among the audience as distinguished guests.

While both the musicians (Mukherjee & Dasgupta) avoided gently on the controversy regarding another namesake instrument Mohanveena created atleast four decades after Pt. Maitra, Bhabani Shankar Dasgupta clearly explained in the open house, “Any instrument except this Sursingar-Sarod blend is just a misnomer. Please don’t get confused. Do remember a patent is on the design and process and not on the name. For name there is trademark which has already been objected and the patent is challenged at the Honourable court. The namesake instrument is a matter of sub judice and no one can’t talk about that publicly. At the same time Radhika Mohan Maitra’s Mohanveena is a traditional instrument and can be freely discussed upon.”

It was a hyper packed house as several audience sat on the floor and stairs to listen to the program.

This program is an ongoing series organized by the Department of Sound Recording and Design under “Voices: Lecture Series”, under the leadership of Prof. Sukanta Majundar.

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Dance, Art, and Inclusion at Scottish Crango Centre: Debabrata Pal Showcases “Sensory Escapism”

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The Scottish Crango Centre recently hosted a powerful and inclusive performance by multidisciplinary artist Debabrata Pal, who presented his signature Dance while Painting concept alongside a demonstration of his pioneering technique, Sensory Escapism.

The event explored how the deaf and blind community can engage with dance through sensory pathways beyond sight and sound. Using body vibrations, gestures, and subtle movement cues, Pal illustrated how art transcends conventional boundaries of perception. His technique, Sensory Escapism, invites participants to immerse themselves in rhythm, flow, and collective energy—proving that dance is not limited to hearing or vision, but is instead a universal language of the body.

Audiences witnessed an innovative dialogue between movement and painting, where brushstrokes followed the rhythm of dance, creating a canvas that captured not only colour but also emotion. The performance resonated deeply with the spirit of accessibility and inclusivity, inspiring conversations on how art can bridge diverse communities.

Speaking about the performance, Pal noted:

“Dance is not only entertainment or storytelling—it is a way of connecting every body, every ability, to expression. Through vibration, signs, and shared energy, the deaf and blind community can experience dance as profoundly as anyone else.”

The Scottish Crango Centre’s collaboration with Debabrata Pal highlights Scotland’s growing commitment to inclusive art practices, reinforcing that art belongs to everyone, without barriers or discrimination.

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Purvanchal Film City’s “Kattebaaz”: Why This Upcoming Bhojpuri Thriller Web Series is So Special

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Purvanchal Film City’s upcoming Bhojpuri thriller web series “Kattebaaz” is creating quite a buzz, and for all the right reasons. This series promises to bring something fresh and exciting to the Bhojpuri web space, blending action, emotion, and social commentary in a way that sets it apart from the typical fare.

The story follows Chiju, a man who leaves his dark past behind and begins a new life with an adoptive family in a peaceful village. However, when the family’s son is in danger, Chiju is forced to confront his past and return to his old ways to save him. As the plot unfolds, viewers are taken on a journey of action, sacrifice, and moral conflict.

What sets “Kattebaaz” apart is not just its thrilling plot, but also its powerful social angle. A group of college students, realizing that the local police are ineffective against the rising crime in their area, decide to take matters into their own hands. Their journey raises important questions about justice, responsibility, and whether the law is always the right path.

This series is not just another run-of-the-mill thriller. It brings to light the human struggles of making tough decisions and the cost of doing the right thing. Set in real locations, “Kattebaaz” captures a sense of authenticity that makes it feel close to reality, offering both an intense and thought-provoking viewing experience.

Produced by R Prasad and directed by Manish Sharma, “Kattebaaz” brings together a talented team to create a unique Bhojpuri web series that is sure to captivate audiences. With a gripping storyline and complex characters, “Kattebaaz” is poised to be one of the most anticipated Bhojpuri web series, offering a perfect mix of action, drama, and emotion. The teaser and cast announcements are expected soon, and fans are already eagerly awaiting the release.

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Upcoming Film “Jazaa ” Promises an Intriguing Tale of Struggle and Strategy

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Kolkata, India – Unique Creation has unveiled its latest cinematic venture, Jazaa, a gripping drama that follows the life of a seemingly ordinary man navigating an extraordinary path to success. Directed by Pranjal Chakravarty and penned by Chakravarty himself along with associate writer Supriyo Bhowmik, the film is set to captivate audiences with its nuanced storytelling and compelling performances.

A Story of Grit and Ambition

At the heart of Jazaa is its eponymous protagonist, played by Balram Pandey. Once an accountant in a small firm in a remote town, Shankar leads a monotonous life, waking up to the chime of his old alarm clock early in the morning and setting out in his age-old sedan to fulfill a mysterious daily routine—tracking the movements of a wealthy real estate businessman, played by Jammy Banerjee.

What starts as mere observation soon takes an unexpected turn when Shankar, through a series of calculated moves, manages to secure a meeting with the businessman. With the company struggling financially, Shankar seizes the moment, convincing the businessman of his potential value. His strategies yield impressive results, bringing the firm back to profitability. But just when everything seems to be falling into place, a dinner invitation hints at deeper motives yet to be revealed.

Stellar Cast and Production Team

The film boasts a talented ensemble cast, including Swati Mukherjee, Urja M, Riya Saha, Suma Dey, and Soumitra Chakraborty, who play pivotal roles in Shankar’s journey.

Under the banner of Unique Creation, the production promises a visually engaging experience, blending the rustic charm of old Kolkata’s alleys with the sophistication of the city’s elite business world.

What to Expect?

With themes of perseverance, deception, and ambition, Jazaa is poised to be a thrilling cinematic experience. As Shankar’s true intentions slowly unravel, audiences can expect unexpected twists and moral dilemmas that will leave them questioning what success truly means.

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