Press Release- Documentary film ‘Factories of Death and Despair”



Lucknow, 9 June.  A special screening and release function of ‘Factories of Death and Despair’ – the first documentary film presented by Arvind Memorial Trust was held here today at the UP Press Club.

The film, produced by the audio-visual division of the Trust Human Landscape Productions is focussed on frequent accidents and horrific working conditions in the thousands of factories in the national capital region. The film shows the sprawling industrial areas adjacent to the shining posh locales of national capital where workers still toil in conditions as horrible as 100 years ago. Millions of workers in order to survive work daily under the shadow of death. Safety precautions are thrown to the wind in pursuit of quick profits. Accidents happen, people are killed or maimed, but things go on unchanged behind a cold veil of silence.

The film also shows how a nexus of police, factory owners and politicians suppresses all mention of the deaths after an accident. It also reveals the flaws in compensation laws and how the workers and their families are denied fair compensation by corrupt union leaders, touts and labour officers.

Senior poet and filmmaker Naresh Saxena who presided over the function said while releasing the film that the subject of the film has become even more relevant in the backdrop of increasing industrial mishaps in the recent past. He said the audio-visual medium has become very important today to reach out to the vast masses and educate them about their rights.

The director of the film Charu Chandra Pathak shared his experiences while making the film. He said he plans to take this film to the industrial areas and workers colonies to show it to its real audiences.

On this occasion, Satyam of the Arvind Memorial Trust said that the Trust has organised its audio-visual division named Human Landscape Productions which will produce documentaries on the life and struggles of working people and common masses, mass movements and social-political issues and feature films. It has already completed the production of its first documentary film. The Trust plans to establish a fully equipped film editing and audio recording studio. The audiovisual division of the Trust is also working for audio-visual documentation of various social-political mass movements and important events. It is making a collection of world famous revolutionary and progressive films, arrange for their sub-titling and dubbing in Hindi and organise regular shows and discussions on them in different cities.

Well known poet Katyayani said that an alternative peoples media is the need of the hour and audio-visual and new media have become very important. This division of the Trust will also produce CDs and DVDs of revolutionary music and compositions. It will also organise workshops and trainings on various aspects of digital film technique and animation etc. All these projects are being implemented without taking any kind of institutional grants and solely on the basis of contributions collected from the public.

The cultural troupe of ‘Pratyush’ presented a song ‘Zindagi ne ek din kaha ki tum lado…’ at the start of the program. Age number of media persons, writers, intellectuals, social and cultural activists and students were present on this occasion. A discussion on  various aspects of the film followed the film show .

(Meenakshy)

Managing Trustee

Arvind Memorial Trust

 Phone: 8853093555/9936650658, Email: info@arvindtrust.org

———————————————————

विकास की चकाचौंध के पीछे मज़दूरों के जीवन के नारकीय सच को सामने लाती है ‘मौत और मायूसी के कारख़ाने’ 
औद्योगिक दुर्घटनाओं पर डॉक्युमेंट्री फिल्म का प्रथम प्रदर्शन
लखनऊ, 9 जून। अरविन्द स्मृति न्यास द्वारा प्रस्तुत पहली डॉक्युरमेंट्री फिल्म ‘मौत और मायूसी के कारख़ाने को आज यहाँ एक कार्यक्रम में जारी किया गया।
न्यास के दृश्य-श्रव्य प्रभाग ‘ह्यूमन लैंडस्केप प्रोडक्शन्स द्वारा निर्मित यह फिल्म राष्ट्रीय राजधानी क्षेत्र के कारख़ानों में आये दिन होने वाली दुर्घटनाओं और औद्योगिक मज़दूरों की नारकीय कार्य-स्थितियों पर केन्द्रित है। फिल्म दिखाती है कि किस तरह राजधानी के चमचमाते इलाक़ों के अगल-बगल ऐसे औद्योगिक क्षेत्र मौजूद हैं जहाँ मज़दूर आज भी सौ साल पहले जैसे हालात में काम कर रहे हैं। लाखों-लाख मज़दूर बस दो वक़्त की रोटी के लिए रोज़ मौत के साये में काम करते हैं। सुरक्षा इंतज़ामों को ताक पर धरकर काम कराने के कारण आये दिन दुर्घटनाएं होती रहती हैं और लोग मरते रहते हैं, मगर ख़ामोशी के एक सर्द पर्दे के पीछे सबकुछ यूँ ही चलता रहता है, बदस्तूर।
फिल्म में यह भी अत्यंत प्रभावशाली ढंग से दिखाया गया है कि किस तरह दुर्घटनाओं के बाद पुलिस, फैक्ट्री मालिक और राजनीतिज्ञों के गंठजोड़ से मौतों को दबा दिया जाता है। मज़दूर या उसके परिवार को दुर्घटना के मुआवज़े से भी वंचित रखने में श्रम कानूनों की खामियों और दलालों और भ्रष्ट अफसरों की तिकड़मों को भी इसमें उजागर किया गया है।
कार्यक्रम की अध्यक्षता कर रहे वरिष्ठ साहित्यकार श्री नरेश सक्सेना ने फिल्म जारी करते हुए कहा कि पिछले कुछ समय के दौरान बढ़ते औद्योगिक हादसों की पृष्ठभूमि में इस फिल्म की प्रासंगिकता और अधिक बढ़ गई है। उन्होंने कहा कि आज के दौर में व्यापक आबादी तक अपनी बात पहुंचाने और उन्हें अधिकारों के बारे में जागरूक बनाने में दृश्य-श्रव्य माध्यम की भूमिका काफी महत्वपूर्ण है और इस दिशा में यह परियोजना एक जरूरी कदम है।
इस अवसर पर फिल्म के निर्देशक चारु चन्द्र पाठक ने फिल्म बनाने के दौरान अपने अनुभवों को साझा करते हुए बताया कि औद्योगिक मज़दूरों के काम के हालात और नारकीय जीवन स्थितियों को नज़दीक से देखने के बाद उन्होंने तय किया कि ग्लैमर और शोहरत की फिल्मी दुनिया में जगह बनाने की कोशिश करने के बजाय वे इस कला का इस्तेमाल उन तबकों के जीवन को सच्चाई को सामने लाने में करेंगे जो इस देश के विकास की नींव होने के बावजूद मीडिया की नजरों से दूर हैं। उन्होंने बताया कि वे इस फिल्म को मज़दूर बस्तियों और कारखाना इलाकों में लेकर जाएंगे क्योंकि वही इसके असली दर्शक हैं।
अरविन्द स्मृति न्यास की ओर से सत्यम ने बताया कि न्यास ने मज़दूरों के जीवन और संघर्ष, आम जनजीवन, जनान्दोलनों और सामाजिक-राजनीतिक मुद्दों पर डॉक्युमेंट्री और फीचर फिल्मों के निर्माण के लिए अपना दृश्य-श्रव्य प्रभाग ‘ह्यूमन लैण्डस्केप प्रोडक्शन्स’ नाम से संगठित किया है। न्यास का दृश्य-श्रव्य प्रभाग विभिन्न जनान्दोलनों और महत्वपूर्ण घटनाओं के दृश्य-श्रव्य अभिलेखन (आडियो-विज़ुअल डाक्युमेण्टेशन) का काम भी कर रहा है। यह विश्वप्रसिद्ध क्रान्तिकारी, प्रगतिशील फ़िल्मों का संग्रह तैयार कर रहा है जिनकी उनकी हिन्दी में सबटाइटलिंग और डबिंग का प्रबन्ध किया जा रहा है। जल्दी ही अलग-अलग शहरों में ऐसी फिल्मों का नियमित प्रदर्शन एवं उन पर परिचर्चा आयोजित की जायेंगी।
कार्यक्रम का संचालन कर रही कात्यायनी ने बताया कि जनता का वैकल्पिक मीडिया खड़ा करना आज बेहद जरूरी है और आडियो-विजुअल माध्यम तथा इंटरनेट आदि का उपयोग इसमें बहुत महत्व रखते हैं। उन्होंने बताया कि न्यास का यह प्रभाग क्रान्तिकारी गीतों और संगीत रचनाओं की सीडी-डीवीडी भी तैयार करेगा। समय-समय पर इसके द्वारा डिजिटल फ़िल्म तकनीक के विभिन्न पक्षों और डाक्युमेंट्री निर्माण, एनिमेशन आदि पर कार्यशालाएँ भी आयोजित की जायेंगी। ये सभी काम किसी प्रकार के संस्थागत अनुदान लिए बिना जनता से जुटाए गए संसाधनों के बूते किए जा रहे हैं। इस वजह से इनमें देर भले ही हो लेकिन ये किसी दबाव से मुक्त होकर पूरे किए जाएंगे।
दिवंगत सामाजिक कार्यकर्ता एवं बुद्धिजीवी अरविन्द के चित्र पर उनकी जीवन साथी तथा अरविन्द स्मृति न्यास की मुख्य न्यासी मीनाक्षी द्वारा माल्यार्पण से कार्यक्रम की शुरुआत हुई। इस अवसर पर ‘प्रत्यूष की ओर से ‘जिन्दगी ने एक दिन कहा कि तुम लड़ो…’ गीत प्रस्तुत किया गया। कार्यक्रम में बड़ी संख्या में पत्रकारों, लेखकों, बुद्धिजीवियों, सामाजिक कार्यकर्ताओं, संस्कृति कर्मियों तथा छात्रों ने भाग लिया। फिल्म प्रदर्शन के बाद उसके विभिन्न पहलुओं पर दर्शकों के साथ चर्चा भी हुई।

(मीनाक्षी )
मुख्य न्यासी
अरविन्द स्मृति न्यास

फोनः 8853093555/9936650658 ईमेलः info@arvindtrust.org

 

Indian Film on Tarapur Nuclear Project “High Power’ nominated for Yellow Oscar #mustshare


Documentary on Tarapur Nuclear Project affected people

‘High Power’ nominated for Yellow Oscar

World Premier on 23rd May at Rio-de-Janerio, Brazil

About 50 years ago India’s first nuclear power plant established at Tarapur. In the emotional patriotic feelings the locals happily gave their fertile lands. Today after 50 years we heard some news that the second generation of those patriotic farmers are agitating at Tarapur for their basic amenities. We the city dwellers read such news and forget next day. But what exactly happened in Tarapur in last 50 years in Tarapur? What happened to the dreams which were shown to them in those days? That’s is untold. To enlighten the world outside about the dark sorrows of the villagers whose village is now producing light, a documentary was planned, which further named as ‘High Power’. The film which was made to give voice to the pains of those thousands of people is produced through people’s participation. Then some veteran artist from Hindi, Marathi stage and cinema world came forward to mix their voice with these people. The National Award winner actor Vikram Gokhale and leading Marathi actress Ila Bhate narrated for Marathi version of the film and senior actor from Hindi and English film and stage Tom Alter and Shivani Tibarewala narrated the English version of   film. Along with these celebrities few technicians and producers from film industry helped a lot to make this film happened.  Now the film is translated in seven languages which includes some foreign languages like French, German, Japanese, Chinese and Portuguese along with Hindi and English. So now the film is truly International and now set to talk to global media and audience, but as the Censor Board has raised objections film cannot be released in India.

Though the project is named as Tarapur, it is not standing on the land of Tarapur village. Few villages in the vicinity of town Tarapur were displaced about 50 years back. Their issues related to rehabilitation are still pending, they lost their traditional business of fishing at the same time they did not get new jobs in this project, there are very serious issues related to their health like cancer, TB, kidney failures and also impotency. A protagonist is roaming in villages and whatever he sees there that is the film. The film never talks on this issues or gives its comments but as per the common middleclass mentality film only suggests what a common, middleclass person can do at his best.

The film High Power is sent to participate in different International Film Festivals and it was a great pleasure that it got nominated for ‘Yellow Oscar’. Every year in the city of Rio-de-Janerio of Brazil an International Uranium Film festival calls nuclear related films from all over world. This year more than 150 films participated in this festival, out of which 48 got selected in three sections of feature film, short film and animation film, in which High Power selected in short film section of 19 films. Today High power is within best eight of entire festival. On 23rd May High power will be screened in festival at rio-de-Janerio and it will be its World Premier. To be present in this world premier and the festival, film director Pradeep Indulkar and one of the displaced fisherman from Popharan village Chandrasen Arekar are going to Brazil. This is an opportunity for the representative of displaced people Arekar to talk to the global media and the international audience.

For this trip the expected expense is around two and half lakh rupees. The team High Power appeal the city dwellers who are using the power of Tarapur Nuclear Plant from last 50 years and those who really feel that the local people who scarified their land, homes and in some cases lives should be heard, could take the burden of this expenditure together and the sensitive people could come forward to bear this expenses. Those who wish to contribute for this venture can drop a cheque in favor of High power – Big Dreams at the address 29, Kaushik, Shreenagar, Sector-1, Thane – 400 604 along with their name and address or transfer the fund through net banking in A/c No 003120100013362 (High Power-Big Dreams) in Thane Janata Sahakari Bank’s Naupada, Thane branch (IFS Code-TJSB0000003) and inform us on e-mail highpower.bigdreams@gmail.com

 

 

Delhi Cops after trying sexual assault say- ‘ This is just a trailor’ #VAW #WTFnews


An SOS message on my phone received from friend Jhuma Sen  from Delhi late last night says

“Delhi Cops just tried to sexually assault me and beat me , while I was waiting  with a friend  outside 24 7  to get some  food and beverage . When  I told them  that they have no right to touch me  ( there was no woman officer ), they said this is just trailor more will follow”

 

Delhi Govt Insults Shaheed Ashfaqullah Khan by Naming Fish Market After Him #WTFnews


It is a matter of national shame that the insensitive authorities of
the Delhi Government have so recklessly renamed the fish market at
Ghazipur as Shaheed Ashfaqullah Khan Fish Market supposedly to honour
the memory of this great son of India and famed Urdu poet.

To set this right, we have created petition to the Chief Minister of Delhi and
requested her to rectify this horrendous faux pas ASAP.

This matter not only relates to the Urdu-speaking populace, freedom fighters
and concerned citizens, it is a  transgression on the sanctity of the
Indian nation which was formed from the blood and toil of such freedom
fighters and martyrs as Shaheed Ashfaqullah Khan.

The petition states that if  Delhi Government has run out  of
ideas to constructively and judiciously commemorate our martyrs,  poets
and intellectuals, it should at least refrain from making a  mockery of
their sacrifices and dedication to the cause of the nation.

Below is text of petition and do sign at

http://petitions.halabol.com/2013/02/18/case-shaheed-ashfaqullah-khan

Ms Sheila Dikshit
Chief Minister of Delhi
New Secretariat
IP Estate
New Delhi-110002

Dear Chief Minister,

On the behest of Anjuman  Taraqqi Urdu ( Hind)   I would like to bring to your notice an intriguing issue thatcan only be considered a matter of national shame as it not only shows an Urdu poet, and by corollary the entire Urdu community, in poor light but also runs the risk of provoking the ire of freedom fighters.

I am sure many concerned citizens like me would not like that the erstwhile
Murga Machli Market of the the Jama Masjid area (shifted to Ghazipur
area) should be named Shaheed Ashfaqullah Khan Fish Market. The fact
that it is located right in front of the Murga market is double jeopardy
which even a student of class V will testify. This supposedly to honour
the memory of a great son of India and an eminent poet of Urdu, the
national language! There cannot be a more apt example of myopic policies
and bad taste. It is even more surprising as this atrocity has been
committed under the auspices of an urbanized chief minister such as you
who claims to be a Dilliwali! To drive home my point let me quote a few
lines on the sights and sounds of Delhi, with reference to this market,
described in one of Delhi’s premier magazines Time Out:

‘If you are up for a more pungent olfactory sensation, dive into
Shaheed Ashfaqulla Khan Fish Market, created in 1999 in the sahdow (sic)
of a landfill as a replacement for the famously filthy Jama Masjid fish
bazaar. Around 4am daily, the trucks roll in with catfish and crabs in
water tanks, lobsters, tuna, mackerel, kingfish, prawns and hilsa on
ice.(Time Out on August 31 2012 9.51am, Time Out website, emphasis
added).

Do we want to pay homage to our national heroes with glowing
commemorations or shower them in a deluge of crabs, lobsters, tuna and
prawns? Is this the legacy we want to bequeath to our young generation?
This is surely nothing but a disservice to the memory of this brave
freedom fighter and martyr for the cause of the nation and also to Urdu
which has been a victim of linguistic genocide by the State in free
India.

Shaheed Ashfaqullah Khan should only be remembered as an Indian who was
an Urdu shayar par excellence, a brave freedom fighter and a martyr who
gave up his life for his country at the young age of 27. Therefore, it
will be a great service to his memory, if you rectified this grave faux
pas and reconsidered honouring his martyrdom in a more appropriate
manner befitting his stature.

I will be grateful if you could put right this bungle as soon as
possible and an acknowledgement of this note will be greatly
appreciated.

Sincerely,

 

Invitation- #Mumbai- Theatre of the oppressed- ‘ Tapori” @2Feb


TAPORI

Theatre-Art Performance Open for Rahiwasi Interaction

      • The Theatre of Oppressed

Zindabad!

Umang theater group and YUVA (Youth for Unity and Voluntary Action) are proud to present before you the first performance on stage of TAPORI which has been performing street theatre in various parts of the city.

TAPORI, an acronym for Theatre- Art Performance open for Rahiwasi (Residents) Interaction’ is a group of youth from Bandra who through theatre highlight the issues of their community and their daily struggles.

Munna Bhai Basti Chale’ is a satire on the lack of basic services such as water and sanitation in urban slums while ‘Kaam Karane ka Doosra Option’ is a humourous take on corruption.  Both these plays will be performed on the 2nd of February 2013 at 7:30pm.

 

Where: PL Deshpande Auditorium Maharashtra Kale

Academy, Near Siddhivinayak Temple, Sayani

Road, PrabhadeviMumbai – 400025

+(91)-(22)-24365990 | 24312956 | 24365997

Date: 02/02/2013 Time: 7:30 pm

We look forward to your presence at the performance.

In Solidarity

Contact : Aquila Khan 0929597546 Shabana Ansari 09594234789 Dinesh Mishra 09029956626

 

# India – Applications invited for Radio stations


 ( ANY NGO, SOCIETY IF YOU GET IT,  THEN EMPLOY ME 🙂

Ministry of Information & Broadcasting, Government of India

radio

Registered User’s should Sign in for using the site

In December 2002, the Government of India approved a policy for the grant of licenses for setting up of Community Radio Stations to well established educational institutions including IITs/IIMs.

The matter has been reconsidered and the Government has now decided to broad base the policy by bringing ‘Non-profit’ organisations like civil society and voluntary organisations etc under its ambit in order to allow greater participation by the civil society on issues relating to development & social change.

There are several stages to the Application process as well that needs to be kept in mind.

  • Step 1: Filling up the Application Form and submitting the requisite documents to the Ministry of Information and Broadcasting (Community Radio Station Cell), Shastri Bhawan, New Delhi. (The list of documents will be highlighted below/ in a foot note)

  • Step 2: Applying to the Wireless Planning & Coordination Wing (WPC) for :(i) Frequency Allocation;

    (ii)SACFA (Standing Advisory Committee on Radio Frequency Allocation) Clearance

  • Step 3: Signing of the GOPA (Grant of Permission Agreement)

  • Step 4: Applying for the (WOL) Wireless Operating License to the Wireless Planning & Coordination Wing (WPC)

Let us now take a look at the genesis of the CRS Online Application Form

Earlier on, the CRS applicants had to fill in a physical form, more recently, the Ministry of I& B, GOI, has decided that an online application form may be easier to fill as well as monitor and fast track the process of application. Hence, the new online form has been designed to facilitate a self explanatory, self contained application from that ensures faster delivery and access.

However, there are some important factors that need to be kept in mind before you begin filling in the online application from……..

http://www.cronlineindia.net/Procedure%20to%20fill%20the%20Application%20form.pdf

 

#Goa- The year of Rapes : 50 cases this year #Vaw


rape11

By , TNN | Dec 28, 2012, 03.17 AM IST

PANAJI: The year 2012 started started with the betrayal of teacher-student relations. The first rape case of the year was registered against Kanhaiya Naik, a married art teacher, who allegedly raped his student. It was the first of around 50 rape cases this year.

Till November 2012, 982 cases have been registered across the state, across crimes. Police have registered 42 murder cases, 50 rape cases, four dacoity cases, 23 robbery cases, 820 thefts and 46 drug cases.

Compared to last year, rape cases have increased by 29, to 50 cases (till November), and a majority of victims are minors, while the accused persons are teachers, friends or unidentified persons.

The first case came to light on January, 18, 2012, when Naik was arrested by Panaji police for allegedly raping his student. On December 29, 2011, Naik picked up the girl from her residence, stating that he would give her career guidance, and took her to his flat at Ribandar. Police sources said that Naik clicked photographs of the girl and molested her. The incident came to light on December 31, 2011, when the girl’s mother saw some marks on her neck. Sources said that when her mother questioned her, she revealed that Naik had molested her.

After Naik was granted bail on July 10, 2012, the victim committed suicide, succumbing to 90% burn injuries. Naik was again arrested for abetment of suicide and later, he was released on bail. Police have filed a chargesheet in the case.

In another case in January, a16-year-old girl was raped in a bus at Dona Paula. Police registered a case of rape and arrested 22-year-old Shrikant Baranappa of Hubli.

The girl had gone to work at a house in Taleigao, as her mother, who was working as a domestic help at the house, had fallen ill. As she found the house locked, she sat at a garden in Taleigao waiting for her mother’s employers to return, when she met Baranappa, who was known to her.

The girl said Baranappa approached her and told her that it was unsafe to sit alone in the garden and that he would drop her home on his bike. Since she knew the man and trusted him, the girl went with him but instead of taking her home, Baranappa took her to Dona Paula, pushed her into a parked bus and then raped her there.

Police added that Baranappa forcibly kept the girl in the bus throughout the night and only allowed her to go in the morning, after threatening her that if she told anyone about the incident, he would trace her and kill her. Frightened, the victim, instead of going home to her parents, went to her grandparents’ home in Hubli, police said. She was then convinced to return to Goa and narrated the incident to her mother and the mother lodged a complaint. Police have filed the chargesheeted in the case.

On September 26, 2012, an unidentified person took a minor girl to Panaji and after confining her to his house in Porvorim, raped her. He later handed the victim over to another unidentified person, who took her to Miramar beach and molested her. After confining her to his house till October 6, he brought the minor to Margao and left her at the KTC bus stand. While at the KTC bus stand, Wassim Kalaigar, a resident of Margao, got acquainted with the minor and took her to an ice cream parlour at Margao, where he too raped her. Kalaigar then brought her back to the KTC bus stand, Margao, from where she left for Panaji.

After the victim’s relatives noticed her in Panaji, they dropped her back to her house and after the victim narrated the incident, a case was lodged at Margao police station. Three accused are released on bail, while two are in judicial lockup. The case is under investigation.

In December, a 16-year old girl was raped by two persons at two different locations, while one of the accused was a classmate of the victim and also a minor.

Police sources told TOI that the accused lured the girl to a cinema hall to watch a movie after skipping classes. Both are students of a higher secondary school near Margao. After watching the movie together, he forcibly took her to a toilet within the complex and had sexual intercourse with her.

The minor accused then called up one of his friends and asked him to meet him at the nearby KTC bus stand, Margao. The other accused person then came to the KTC bus stand on a bike, and forcibly took her to some unidentified, isolated place, where he also raped her. The accused also took video clippings of the act.

Police have arrested the minor boy and kept him in a protective home. The unidentified person is yet to be traced.

 

#Bangalore- Kathalaya’s three day course on storytelling- Nov 27- Nov 29


Kathalaya has been traveling the length and breadth of the country since 1998 training teachers, representatives of non-governmental organizations, and parents to “Use story telling as an educational and communicative tool to effect a change in society”.

Kathalaya works with storytelling centers around the world in both urban as well as rural scenarios. The main aim is to enrich the curriculum by introducing stories in the classroom related to the curriculum. Kathalaya”s Story Educators motivate learning in children using stories, anecdotes and experiences throughout the year in schools.

It has catered to specific segments and customized storytelling to address language development, skill building, vocabulary enhancement, awareness of the environment and to revive interest in Social sciences. Above all Kathalaya evokes innovative thinking with its Thinking, Telling and linking programs both for children and corporate.

With the growing need, Kathalaya felt it was time to set up an Academy of Storytelling. It has two centers in India, Bangalore and Chennai. Kathalaya conducts short term and long-term certificate courses in Storytelling and is affiliated to the International Institute of Storytelling, Tennessee, in U.S.A. The course includes the essentials of integrating storytelling into education, storytelling techniques, extrinsic and intrinsic qualities of a storyteller, importance of gestures and body language, use of chitrakathas, toy theatre, mask making, origami, clay modelling, and puppetry in project presentations.

 

#India- FM radio stations under scanner #Censorship #FOE #FOS


FM radio stations under govt's scanner

The government is planning to set up a facility that will monitor the programme content that is broadcast on FM Radio stations during the 12th Five year plan. Information and Broadcasting secretary Uday Kumar Varma said there was a need to monitor radio content as nearly 800 more FM channels are likely to come up in the next couple of years.

Speaking at a function at the Electronic Media Monitoring Centre (EMMC) here, he said, “The whole world of monitoring of radio content is still to be handled and addressed in a meaningful manner. We do have a mechanism but I think we need to keep that mechanism evolving. With 800 plus FM channels expected to come in next one to three years, there will be quite a handful that will need to be addressed”.

He said private channels in the coming days would get permission to broadcast news which makes the need to monitor content important. “They will begin with AIR news but local news in any case, they may be allowed to generate and broadcast and that would have several manifestations which will need to be monitored,” Varma said.

Later speaking to PTI, Ranjana Dev Sarmah, Director EMMC said the content monitoring body was planning to expand its operations to include radio content and increase the number of television channels. “During the 12th five year plan period, we intend to set up the mechanism to monitor radio content as per the I&B ministry’s instructions,” Sarmah said.

“We also plan to increase the number of TV channels which are monitored from the current 300 to upto 1200 in the coming days,” he said. The EMMC is a department under the I&B ministry which monitors TV content round-the-clock and reports violations of rules and also carries out analysis. Earlier in his speech, the I&B secretary said EMMC was presently confined to satellite transmission but with the onset of digitisation of cable services, new technologies could be looked in to to see what content goes into the cable viewers’ homes.

Varma said that analysis of television content was another challenge that faced the EMMC. “It is good to know which channel is transmitting what kind of programme….which channel is the one which actually uses maximum time for advertisements on may be weekly basis or half yearly basis,” he said. “What kind of rural reporting the channels actually resort to in terms of their overall time devoted to matters which relate to the villages of India or developmental dimensions of the country…may be women, may be children or may be physically challenged and then there are sensitive analysis from the political point of view,” Varma added.

Secretary I&B said that the EMMC could set up its own Research and Analysis Wing which could be known as EMMC – RAW.

Agency/Source
Press Trust Of India

Turban Legend- Shivaji underground in Bhimnagar- Shanta Gokhale #Sunday Reading


Turban legend

SEPARATING THE BEST FROM THE BANAL ON MUMBAI’S CULTURESCAPE

Mumbai Mirror

The play is in Marathi, the title is in English. Marathi theatre loves this combo. But the title is not your innocuous All the Best or Lovebirds. It is
Shivaji Underground in Bhimnagar Mohalla. Sounds potentially explosive. In times when we dare not touch Shivaji, not in plays, novels, short stories, reminiscences or history, particularly not in history, this play puts him upfront in the title itself. I look over my shoulder to see who else has noticed and is rolling up his sleeves for action.
Anyway, why is Shivaji underground? Isn’t he always on a magnificent Arab steed, raised sword in hand? Or sitting majestically on an opulent throne? More than why, where has he gone underground? In Bhimnagar of all places? What’s he doing hobnobbing with Dr Bhimrao Ambedkar’s followers?
The whole thing is a mystery. But if the title isn’t intriguing enough to take you to the nearest theatre where the play is showing, the three names attached to it should do the trick. The first is Shahir Sambhaji Bhagat’s. He is the radical balladeer whose rousing call to the exploited of this country to wake up and recognise the faces of their enemies, ‘Inko dhyaan se dekho re bhai/ Inki soorat ko pehchano re bhai,’ has become an all-time hit. The concept of the present play, its music and its songs are his. The second name is Nandu Madhav’s. He’s the actor who gave flesh, blood, passion and madness to the character of Dadasaheb Phalke in Paresh Mokashi’s multi-award winning film, Harishchandrachi Factory. He directs this play. The third name is Rajkumar Tangde’s. We first heard of him when Nandu Madhav brought him and his group of farmer actors down from Jalna to perform their play Aakda in Mumbai. It was about stealing power, and was staged in near-darkness to give the audience an immediate taste of what life in the actors’ villages was like without power. Tangde wrote that play, and has written this.
So there I am in Shivaji Mandir, a-tingle with expectation without quite knowing what to expect. This much I know. With these three names attached to it, the play cannot be a wishy-washy regurgitation of a formula. It has to be something new and energising. And it is.
The curtain goes up on a large ensemble of actors placed geometrically on different levels, dressed in costumes suggesting the era of Shivaji. Two performers of gondhal (a ritual performance that marks celebrations) begin singing a traditional mythological tale. A woman interrupts them saying, we are fed up with mythology. Come into the present and sing about today.
This introduction gives us an idea of which way the play is headed. Through song, humour and discussion, it pits mythology against history with a hilarious running gag that often brings the house down. Yama (Pravin Dalimbkar) has being sent to earth to fetch Shivaji up, along with his ideas. Shivaji forgets his ideas and returns to earth to get them. He leaves his turban behind as surety, but doesn’t return. Yama (now Yamaji) runs around looking for a head on which the turban will fit. The turban thus becomes a symbol of Shivaji’s ideas; and the political party headed by the opportunistic Akka (Ashwini Bhalekar), which is all set to celebrate Shiv Jayanti, proves that it is the least likely candidate for the turban.
The central idea of the play is that Shivaji has been mythologised by the very people whose ancestors had opposed his coronation because he wasn’t a Kshatriya, but who now claim him as their idol for political mileage. The argument culminates in a brilliant jugalbandi between Dharma Shahir (Sambhaji Tangde), a minion of the myth-makers and Milind Kamble (Kailas Waghmare), who sees Shivaji’s greatness not only in his wars but in his policies regarding women, caste, religion, agriculture and revenue which made him such a just and compassionate king.
Unlike the typical urban middleclass play that confines itself to drawing rooms and kitchens, folk forms offer theatre the freedom to address the big issues of the day. This play comes close in form to the old Ambedkari jalsas, mixing music, humour, even slapstick, with pure didacticism.
Nandu Madhav rehearsed the cast for 100 days, mostly in the fields of Jalna. His hard work shows in the easy precision with which the actors speak and move. Finally, you are so grateful to see Shivaji taken away from myth-making chauvinists and given his true greatness by those who know and respect history.

SHANTA GOKHALE

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