Santals and Santiniketan: Rabindranath’s concept of raising everyday life on to a higher level – West Bengal

Source: Martin Kämpchen quoted by Prabir Chatterjee in “Santals and Santiniketan” (originally published by The Statesman)Address: https://www.mail-archive.com/jharkhand@yahoogroups.co.in/msg04356.htmlDate Visited: 23 June 2021 Tagore & the GeheebsThis book is a study of the Indo-German cultural exchange in the early 20th century that was initiated by three educators and their pedagogical vision… A review. | Read the full … Read more

India’s tribal cultural heritage – Meghalaya

In the village of Nongtraw in Meghalaya, one of the world’s wettest region, honey is quite sought after by the Khasi indigenous community who go to the forest to collect it. When they reach a beehive, they introduce themselves to the bee, “informing the bees” that they will only take what is required. This legacy … Read more

India’s tribal cultural heritage – West Bengal

“The smart boy or clever girl who is deprived of the opportunity of schooling, or who goes to a school with dismal facilities (not to mention the high incidence of absentee teachers), not only loses the opportunities he or she could have had, but also adds to the massive waste of talent that is a … Read more

Adivasis’ profound influence on modern Indian art: “The Triumph of Modernism” by Partha Mitter

Primitivism in modern Indian art drew on adibasis. […] At Santiniketan, art was to be an integral part of an all-rounded education; Tagore had long considered Abanindranath’s pupil Nandalal [Bose] the best person to give this shape. The triumph of modernism: India’s artists and the avant-garde, 1922-1947 by Partha Mitter (New Delhi, Oxford Unitversity Press, 2007), p. 79 … Read more

Video | The representation of tribal women in Indian cinema: A comparison between Assamese cinema and Satyajit Ray’s classic “Days And Nights In The Forest” – Assam & West Bengal

The immediate impression of Indian movies is that all are depicting an established formula, where the good woman is usually vulnerable and innocent, mostly good looking and also helpless or lacking in intelligence. The bad woman is either sensuous or scary and wicked even in appearance. But Assamese cinema, especially as seen through most of … Read more