Oct 072013
 

A version of this post first appeared on the Shakespeare Birthplace Trust blog on 9 May 2013.

7 May 2013 was the 152nd anniversary of the birth of the Bengali creative genius and philosopher Rabindranath Tagore. This year is also the centenary of Tagore winning the Nobel Prize for Literature.

We celebrated the occasion at Shakespeare’s Birthplace on 4 May 2013, two weeks after the Shakespeare birthday celebrations.

tagore-ceremony-pic

Board in the garden of Shakespeare’s Birthplace announcing the ceremony

I had outlined the connection between the two Bards and presented the programme for the afternoon in my blog post Two bards’ birthdays. The annual tradition of celebrating Tagore’s birth anniversary by the bust in the garden of Shakespeare’s Birthplace was started by my parents and their Bengali cultural group Prantik in 1997, the year after the bust was installed in the garden.

This year, the event attracted many people, including HE Dr Jaimini Bhagwati, the High Commissioner of India to the UK, and HE Mohamed Mijarul Quayes, the High Commissioner of Bangladesh to the UK.

As High Commissioner Bhagwati noted in his introduction, the national anthems of both India and Bangladesh are songs which were written by Tagore.

high-commissioner-tagore-ceremony

HE Dr J Bhagwati,
High Commissioner of India

With the help of Shakespeare Aloud! actors Jennifer Hodges and Jenny Jenkins, we gave the first performance of Tagore’s Nobel Prize in the garden of Shakespeare’s Birthplace, by the bust of Tagore. The show explained, through poems and songs by Tagore, how he came to win the 1913 Nobel Prize for Literature.

The opening poem was recited in Bengali by Mousumi Basu, who was also one of the singers. The other singers were Supratik Basu, Chhaya Biswas, Kaberi Chatterjee and Tirthankar Roy. We were accompanied on esraj by Tirthankar Roy.

Of course, behind the scenes, there had been weeks of preparation by the Shakespeare Birthplace Trust team: Dr Diana Owen (its Director), Julia Howells, Jennifer Stone (Shakespeare Aloud!), Chloe Malendewicz (Operations manager) and Charles Rogers (Centre manager).

Tagore’s Nobel Prize recalls how Rabindranath Tagore was invited to London by the painter William Rothenstein, a friend of Rabindranath’s nephew Abanindranath Tagore. In July 1912, Rothenstein introduced Rabindranath to his literary friends, including W.B. Yeats. They became mesmerised by Rabindranath’s English Gitanjali.

By February 1913, Tagore had been nominated for the Nobel Prize for Literature by Thomas Sturge Moore, a member of the Royal Society of London. Meanwhile, 97 members of the Royal Society had nominated Thomas Hardy.

tagore-ceremony-pic-two

Me narrating Tagore’s Nobel Prize
in the garden of Shakespeare’s Birthplace

By September 1913, members of the Swedish Academy of the Nobel Committee were considering awarding the Nobel Prize to Emile Faguet, a French literary historian and moralist. However, a letter by Swedish poet and novelist Verner von Heidenstam (who went on to win the Nobel Prize for Literature himself) convinced them to give the Prize to Tagore:

“I read them with deep emotion and I cannot recall having seen for decades anything comparable in lyric poetry… and if ever a poet may be said to possess the qualities which entitle him to a Nobel Prize, he is precisely the man… we should not pass him by… the privilege has been granted us to discover a great name before it has time to be paraded for years up and down the columns of the daily newspapers. If this discovery is to be utilized we must not delay and lose our chance by waiting another year.”

We concluded the performance by moving next to the bust of Tagore and singing two Tagore songs which are usually sung on his birth anniversary.

tagore-ceremony-pic-three

Singing by the bust of Tagore
in the garden of Shakespeare’s Birthplace

After a break for tea and a chance to look at the Tagore section of the ‘Shakespeare Treasures’ exhibition, HE Mohamed Mijarul Quayes, the Bangladesh High Commissioner, launched the CD collection of all 2,222 songs in Tagore’s Gitobitan (the compendium of his songs) and presented a framed portrait of Tagore to the Shakespeare Birthplace. He then gave this excellent introduction to the UK premiere of our film version of Chitrangada.

You can watch Chitrangada here.

In his introduction, High Commissioner Quayes also mentioned the other two dance-dramas by Tagore: Chandalika and Shyama. Our film versions of these dance-dramas had their world premieres in Stratford in 2011 and 2009, respectively. Chitrangada completes the Tagore dance film trilogy.

You can watch Chandalika here.

You can watch Shyama here.

May 012013
 
Painting by Rabindranath Tagore: Three witches from Macbeth

Painting by Rabindranath Tagore: Three witches from Macbeth

On April 23, (with a little help from our friends AJ and Melissa Leon) people all over the world celebrated Shakespeare’s birthday. Those who used Twitter to wish Shakespeare a Happy Birthday included Stephen Fry, Arianna Huffington and Geri Halliwell.

Shakespeare’s birthday is certainly one I cannot miss, since it happens to be my birthday too. It is also St George’s Day – and you can imagine that I have supported calls to make St George’s Day a national holiday for years, but to no avail … !

Next week, on May 7, it will be Rabindranath Tagore’s birthday. Apart from becoming known as ‘the Bard of Bengal’ for his major impact on Bengali literature, Tagore was quite strongly influenced by Shakespeare. One of the tasks he had been given by a tutor at the age of 13 was to translate Macbeth into Bengali. This probably contributed to his deep respect for Shakespeare’s work.

We came across this painting of the Three witches from Macbeth at an exhibition of Tagore’s paintings in Bruges last year, where our film versions of Tagore’s dance-dramas Shyama and Chandalika were shown at the Cinema Novo festival. The collection of paintings had been brought together by the Indian Council for Cultural Relations and the exhibition was arranged by the Indian Embassy in Brussels.

In 1995, the then Indian High Commissioner, Dr L M Singhvi, arranged for a bronze bust of Tagore by Kolkata sculptor Debabrata Chakraborty to be installed in the garden of Shakespeare’s Birthplace in Stratford-upon-Avon. The bust was dedicated in its current position on 20 September 1996. Flowers were laid by Jyoti Basu (then Chief Minister of West Bengal), Buddhadeb Bhattacharya (then Cultural Affairs Minister of West Bengal), Dr L M Singhvi and Professor Stanley Wells (then Chairman of the Trustees of Shakespeare’s Birthplace).

My parents were among those who attended the ceremony. When the then Director of the Indian Cultural Centre in London had told my father that he hoped that there would be a regular celebration at the bust, my father promised to make sure that Tagore’s birthday would be celebrated at the bust each year.

So on Saturday May 4, with the kind help of the Director of the Shakespeare Birthplace Trust, Dr Diana Owen, and her team, we will be continuing this annual tradition started by my parents and their group Prantik in 1997.

This year, the programme will be as follows:

Tagore Nobel centenary celebrations at Shakespeare’s Birthplace – 4 May

2.30pm Ceremony around Tagore’s bust in the garden at Shakespeare’s Birthplace

Introduction by the High Commissioner of India, His Excellency Dr J Bhagwati.

Tagore’s Nobel Prize – a show telling the story of how Tagore came to win the Nobel Prize for Literature in 1913, through his poetry and songs. I will be narrating the story, the English poems will be presented by Shakespeare Aloud! actors John Robert Partridge and Jennifer Hodges, the Bengali poetry and songs will be presented by Mousumi & Supratik Basu, Chhaya Biswas and Kaberi Chatterjee. We will be accompanied on esraj by Tirthankar Roy.

3.30pm Tagore archive exhibition

4pm UK film premiere: Chitrangada

Introduction by the High Commissioner of Bangladesh, His Excellency Mohamed Mijarul Quayes.

Chitrangada (90 minutes) – Our authentic, colourful, feature film version of Nobel laureate Rabindranath Tagore’s classic, 1936 dance-drama with an ensemble cast featuring leading dancers, singers and musicians from Tagore’s home town of Santiniketan, India. Perhaps best described as a cross between opera and ballet, Chitrangada was part of Tagore’s campaign to encourage women to have be given a greater role in society. It was based on his earlier play Chitra, which Tagore had directed and designed for a production at the Prince of Wales Theatre in London in 1920.

Kaberi Chatterjee stars as Princess Chitrangada, with the singing voice of Manini Mukhopadhyay. Sourav Chatterjee is Arjun, with the singing voice of Jahar Kumar Dutta, and Nibedita Sen is Modon, with the singing voice of Ritwik Bagchi.

The dance director and production designer is Shubhra Tagore. The music director is Bulbul Basu.

The film completes the Tagore dance film trilogy of authentic, widescreen film versions of Tagore’s dance-dramas, the others being Chandalika (1938) and Shyama (1939). Elements from Chitrangada were included in the promotional trailers and videos created for UNESCO’s Tagore, Neruda & Césaire programme. Chitrangada had its world premiere in Brussels in September 2012.

The film will be followed by a Question & Answer session with Kaberi Chatterjee and me.

6pm End

Tagore Nobel centenary celebrations at Shakespeare’s Birthplace – 5-6 May

During the rest of the bank holiday weekend, the Shakespeare Aloud! actors will be including poems by Tagore in their performances in the garden. One of them will be the poem which Tagore wrote in 1916 for the Tercentenary of Shakespeare’s death:

When by the far-away sea your fiery disk appeared from behind the unseen, O Poet, O Sun.
England’s horizon felt you near her breast, and took you to be her own.
She kissed your forehead, caught you in the arms of her forest branches.
Hid you behind her mist mantle and watched you in the green sward where fairies love to play among the meadow flowers.
A few early birds sang your hymn of praise, while the rest of the woodland choir were asleep.
Then at the silent beckoning of the Eternal you rose higher and higher till you reached the mid sky, making all quarters of heaven your own.
Therefore, at this moment, after the end of centuries, the palm groves by the Indian sea raise their tremulous branches to the sky murmuring your praise.

Feb 102013
 
Left to right: Kaberi Chatterjee, Ranajit Roy & Shipra Roy at Bolpur Station in January 2004

Left to right (foreground): Kaberi Chatterjee, Ranajit Roy & Shipra Roy at Bolpur Station in January 2004

Ranajit Roy was renowned and widely respected for his integrity.

His father, Shibdas Roy, was one of the early students at the school Tagore founded in Santiniketan. Thanks to being a very good singer, Shibdas Roy became one of Tagore’s favourite students and, later, an honorary teacher at the China Bhavan, teaching English to Tibetan monks. The family used to live in their ancestral home in Moukhira, about 18km from Santiniketan.

One day, when Ranajit Roy was still a little boy, Shibdas Roy took him to Santiniketan to present him to Tagore. It was a Wednesday morning and Tagore was coming down the steps of the Mandeer after prayers. The young Ranajit was so impressed by the image of the strikingly handsome, long-white-haired Tagore in this setting that he asked his father, “Is this God?” Shibdas Roy introduced his son to Tagore, who gave him a toffee.

Later on, Ranajit Roy followed in his father’s footsteps and joined Tagore’s school, Patha Bhavan. This was probably the source of his keen artistic sense and his love of nature. The latter led him to study Agriculture at University.

He became very good at football and cricket, particularly as wicket keeper. He was an artist and a keen photographer, processing and developing his own photos. He also encouraged his wife Shipra Roy to follow art studies at the Kala Bhavan at Visva-Bharati University.

From 1970, he, his wife and daughter Kaberi started living in Ratan Palli, Santiniketan. As soon as he returned home from work, he would start a new drawing in his sketch book. Later in the evening, he would pick up the collection of Tagore’s songs (Gitabitan), select a song whose lyrics he appreciated and ask Kaberi to learn how to sing it. He would also advise and help his wife with her artwork.

As Block Development Officer for a number of different areas of the district of Birbhum in West Bengal over thirteen years, among other things, he was responsible for authorising licences to sell various commodities such as rice, cement, fertiliser and kerosene in those areas. This could have allowed him to accept gifts in return for preferential treatment but he always refused them, returning any which arrived nonetheless at his house. He always followed what he felt to be the fairest and most honest course of action.

The Ajoy River flood of 1978

‘Ranjitda’, as many knew him, became a local hero after saving many lives when the Ajoy River burst its banks in 1978. It was typical of his sense of responsibility that, if he heard that someone was in trouble, he would drop everything and do whatever he could to help. One rainy night, in the middle of a power cut, he was called to the Ratan Kuti Guest House, which had the only telephone in the area. As Block Development Officer for Illambazaar at the time, he was asked to oversee the situation at Illambazaar, which had been flooded.

The Chief Medical Officer’s car was going to pick him up from the Guest House and take him there. However, in the forest, they found that the road to Illambazaar had been blocked by a fallen tree and there was no way to cut through it to reopen the road until it was daylight. He didn’t return home but went to Bolpur Health Centre, where he stayed until dawn before heading back towards Illambazaar.

Daylight revealed that the water level had risen considerably and the 1km-long Ajoy Bridge at Illambazaar was shuddering as the swollen river flowed past it. ‘Ranjitda’ found hundreds of bewildered people waiting at his office. Those people and animals who had been lucky enough to hold onto something which would float (bales of hay, palm trees, sacks of wheat, etc) were being swept past the bridge by the fast current. An old lady, sitting on top of a sack of rice was praying and counting religious beads as she floated past.

‘Ranjitda’ sequestered nearby shops to find ropes which could be used to pull people to safety from the river. When the District Magistrate arrived later to see what was going on, the crowds rose to attack him. Many villages had been flooded and people had been made homeless. ‘Ranjitda’ was given District Magistrate powers to deal with the emergency. He ordered rice, lentils, utensils, etc to be taken from the shops so that they could be used to feed and shelter the homeless.

Meanwhile, many students from Santiniketan, where the school and university hostels had closed for the holidays, became stranded on the way to their homes in Calcutta, on the other side of the river. Supriyo Tagore, then Principal of Patha Bhavan, had decided to escort a group of the students. With ‘Ranjitda’s help, they made it across the river.

Back at his house, after waiting for three days, the 10-year-old Kaberi started sitting at the window crying because her father hadn’t come back while other fathers had returned for the puja celebrations. ‘Ranjitda’ was busy helping people. Mrinal Mukherjee (the father of Tuli Mukherjee, who was a dancer in the Shyama in Egypt team) was then working for ‘Ranjitda’ and ferried clothes and food from the house for him.

Moukhira too had not escaped the floods. The villagers made their way to Illambazaar so that they could have something to eat at the shelter.

‘Ranjitda’ found the mental strength to deal with the emergency with the moral support of his guru Mohonanda Maharaj. Although ‘Ranjitda’ had originally been sceptical of gurus, his father had been a friend and devotee of Maharaj. Reluctantly accompanying his father to see Maharaj, he had been astonished to find later that Maharaj had correctly made a number of predictions.

Encouraging Kaberi

Kaberi and her father understood each other very well. When she was nervous about sitting her Higher Secondary exams, he reassured her that she shouldn’t be afraid and that she should carry on and do whatever she could. Everything would be fine.

When it came to the decision to study dance at the Sangeet Bhavan of Visva-Bharati University, he was the one who encouraged her to do so as that was the subject she was most passionate about. He had also told her that if she did something else and the passion went away, she would never be able to come back to it.

When she had initially decided not to try for the Indian national scholarship in Manipuri dance because she didn’t think she would get it, her father had told her that, even if it meant that they would have to travel to Delhi for the exam, they could all take the opportunity to do some sight-seeing once the exam was over. Even if she didn’t succeed, he told her that at least they would all have been on holiday together.

Of course, she did succeed and it was also through his encouragement that she started her PhD in dance and became one of few people in India to have such a PhD.

Later years

Although, ‘Ranjitda’ had been known for telling humorous anecdotes, in recent years, he fell increasingly silent. As well as being separated from his beloved daughter after our marriage, he became absorbed with the property-related tension between him and his younger brother, who had been very close.

‘Ranjitda’ was the eldest of four children but, other than identifying parts of the land in Santiniketan and Moukhira for ‘Ranjitda’, their parents had not left a will setting out how the rest of their property in Santiniketan and in Moukhira was to be divided between the children. It became apparent that the younger brother had been selling off agricultural land around Moukhira which had been assigned to ‘Ranjitda’, without his knowledge and without giving him any share of the proceeds. The younger brother refused to register a division of the property which had been agreed by the four siblings and had not spoken to ‘Ranjitda’ since 2004.

That was the last year ‘Ranjitda’ went to the annual Durga Puja festival he used to enjoy at the ancestral house in Moukhira. His near-exile from Moukhira was an open secret among the villagers. Having brought up his younger brother like a father and paid for his education, ‘Ranjitda’ felt a deep sense of betrayal and shock. This was probably the main reason for the depression and Alzheimer’s which eventually led to his death on Friday, four days before his 85th birthday, after several years of suffering. Unfortunately, we found out too late that coconut oil might have helped to treat the Alzheimer’s.

Tagorean spirit

Through everything I have seen and heard about my father-in-law, I recognise his sincere belief in Tagorean values and humanism, including his sense of social justice and his aversion to corruption and insincerity. Needless to say, we got on with each other very well as a result and he always gave me a very warm welcome.

Of course, these beliefs and principles live on in Kaberi and they are the common message of the dance-dramas we have filmed together. He was always keen to watch dance, music and theatre performances. If ever he wasn’t able to attend one himself, he would want to hear a full account of the performance from anyone who went.

In spite of his illness, he continued to encourage us as we made the films, enjoying the rehearsals and filming of Shyama in 2007 and making a special effort to visit us in the Lipika Theatre as we were filming Chandalika and Chitrangada two years ago.

However, my favourite memory of him is probably from the first visit of Kaberi’s parents to Europe in 2005. Together with my father and Kaberi, we had all spent a gloriously sunny day in Belgium’s Ardennes. Towards the end of the day, as we sat having a drink at a riverside bar in Dinant, Kaberi had asked him how he felt. He had replied that he thought he was in heaven. Perhaps it was the combination of the beauty of the natural scenery, being with Kaberi again and being away from the family tensions in Santiniketan.

In any case, probably this poem by Tagore sums up how he felt:

যাবার দিনে এই কথাটি
বলে যেন যাই —
যা দেখেছি যা পেয়েছি
তুলনা তার নাই ।
এই জ্যোতিঃসমুদ্র-মাঝে
যে শতদল পদ্ম রাজে
তারি মধু পান করেছি
ধন্য আমি তাই —
যাবার দিনে এই কথাটি
জানিয়ে যেন যাই ।

বিশ্বরূপের খেলাঘরে
কতই গেলেম খেলে ,
অপরূপকে দেখে গেলেম
দুটি নয়ন মেলে ।
পরশ যাঁরে যায় না করা
সকল দেহে দিলেন ধরা ।
এইখানে শেষ করেন যদি
শেষ করে দিন তাই —
যাবার বেলা এই কথাটি
জানিয়ে যেন যাই ।

রবীন্দ্রনাথ ঠাকুর (গীতাঞ্জলি ১৪২)

Tagore’s English version of this poem was as follows. The phrases in square brackets come from his manuscript, which seems to me to be closer to the original than the published version (which is recited by Prajña Paramita in the video below from The Story of Gitanjali):

When I go from hence, let this be my parting word, that what I have seen is unsurpassable.
I have tasted of the hidden honey of this lotus [yonder] that expands on the ocean of light, and thus I am blessed—let this be my parting word.
In this playhouse of infinite forms I have had my play and here have I caught sight of him [that eludes all forms].
My whole body and my limbs have thrilled with his touch who is beyond touch; and if the end comes here, let it come—let this be my parting word.

by Rabindranath Tagore (English Gitanjali – poem 96)

Nov 152012
 

Background image for the first two poems of The Story of Gitanjali

I realised this morning that I had missed this year’s European Day of Multilingual Blogging, which was actually yesterday. Now in its third year, it’s the brainchild of my friend Antonia Mochan at the European Commission’s UK office. As it’s still Internet week Europe, I hope she will accept this slightly late entry! [Update: She did, awarding this post the prize for the entry with the most languages involved – thanks, Antonia!]

In my previous post, I wrote about the world premiere of the third and final film of our Tagore dance film trilogy: Chitrangada. The first half of the evening was a performance of The Story of Gitanjali . This included poems from Tagore’s English Gitanjali recited in 13 European languages and the corresponding Tagore songs performed by Manini Mukhopadhyay, Sayan Bandyopadhyay and Kaberi Chatterjee, with Asit Ghosh on tabla and Tirthankar Roy on esraj. I narrated and directed the show.

So, for my contribution to the European Day of Multilingual Blogging, here are the poems from that performance.

1 Dutch: Jee Reusens – This is my delight, thus to wait and watch at the wayside – Translation by Victor van Bijlert

2 French: Arlette Schreiber – Where the mind is without fear and the head is held high – Translation by André Gide

3 Polish: Maria Glowacz – Clouds heap upon clouds and it darkens. – Translation by Jan Kasprowicz

4 Romanian: Raluca Zaharia – The day is no more – Translation by George Remete

5 Italian: Adriana Opromolla – You came down from your throne and stood at my cottage door. – Translated by Adriana Opromolla

6 German: Konstanze Hanreich – Thou hast made me endless, such is thy pleasure. – Translation by Marie Luise Gothein

7 Hungarian: Ágnes Kaszás – Thou hast made me known to friends whom I knew not. – Translation by Babits Mihály

8 Spanish: Luisa Castellanos – Light, my light, the world-filling light – Translation by Zenobia Camprubí Aymar & Juan Ramón Jiménez

9 Russian: Alexandra Shlyopkina – I am here to sing thee songs. – Translation by J Baltrushaitis

10 Greek: Olga Profili – When my play was with thee I never questioned who thou wert. – Translation by Olga Profili

11 Swedish: Sofie Gardestedt – Thus it is that thy joy in me is so full. – Translation by Andrea Butenschön

12 Czech: Josef Schwarz – I know not how thou singest, my master! – Translation by Dušan Zbavitel

13 English: Prajña Paramita – When I go from hence – Version by Rabindranath Tagore

Oct 012012
 

As you will have realised, last Sunday was the world premiere of Chitrangada in Brussels. The English-subtitled version of the film is now available worldwide via the Internet. Before midnight on Sunday, 28 October, if you watch it or host a screening of it for friends or for people in your area, you can be part of its global premiere. If you can watch the trailer above, you have everything you need to be part of the global premiere: basically a screen and an Internet connection.

Singers and musicians from Santiniketan
(Photo: Enrique Nicanor)

At the start of the evening, the audience was greeted with a glass of champagne, courtesy of a well-wisher. Thanks to the Indian Embassy in Brussels, the audience was able to see two Tagore exhibitions from the Indian Council for Cultural Relations. One exhibition was of framed, digital prints of some of Tagore’s paintings. The other exhibition comprised a series of panels describing Tagore’s travels.

The evening was introduced by our guest of honour, His Excellency Shri Dinkar Khullar, the Indian Ambassador.

Obhi narrating The Story of Gitanjali
(Photo: Enrique Nicanor)

Our multilingual performance of The Story of Gitanjaliexplained how Tagore came to write the English Gitanjali – the collection of English poems which led to his international fame and the Nobel Prize for Literature.

Each of the thirteen poems were recited in a different language, while the Tagore songs corresponding to most of them were performed by a team of singers and musicians from Santiniketan. For the cast and their biographies, please see here.

Almost all the actors who read poems from the Gitanjali in their native languages.
(Photo: Ekaterina Tarliouk)

The talent on the stage was complemented by a large-screen display above the singers and musicians for the subtitles. You can get an idea of the setting from this photo.

View of the stage with the on-screen subtitles
(Photo: Enrique Nicanor)

Many in the audience were apparently inspired by the show to read Tagore’s poetry. One of them, Sandeep Kalathimekkad, was even moved to write a poem as he was watching the show – he kindly gave me the poem on a slip of paper during the interval. The Story of Gitanjali was filmed. So you will have a chance to see it in due course, together with the subtitles.

After the interval, the world premiere of Chitrangada was introduced by Her Excellency Ambassador Ismat Jahan of Bangladesh. Tagore is a national icon in both India and Bangladesh, whose national anthems are both Tagore songs. Ambassador Jahan, who is a member of the UN Committee on the Elimination of Discrimination against Women, introduced the film as being part of Tagore’s campaign for women’s emancipation.

Many people came up to congratulate us about the film as well. Even before we had got home after the premiere, a post by Sophie H on Facebook summarised the feedback we have had ever since about the evening: “Thanks to Obhi Chatterjee and Kaberi Chatterjee for an amazing evening! The first part, with the poems in different languages was beautiful, and the second part, the movie, was excellent! Such a pleasure! I also discovered (a small piece ) of the art of Tagore. Thank you!”

Sep 192012
 

In my blog post at the end of July about staging The Story of Gitanjali in Brussels during the charity gala premiere of Chitrangada, I had mentioned my idea to have each poem presented in a different language. I am very pleased that, thanks to a very talented and international group of performers, this idea has been transformed into a reality. So this is how we will be presenting The Story of Gitanjali during Sunday’s premiere.

As you will see from the cast profiles on the web page for The Story of Gitanjali, in addition to our singers and musicians from Santiniketan, India, we have a full complement of 13 languages for the 13 poems in the show: Czech, Dutch, English, French, German, Greek, Hungarian, Italian, Polish, Romanian, Russian, Spanish & Swedish. In case you don’t understand all of these languages, there will be English and French supertitles on a screen above the stage.

Although we had originally planned to relay the show live, we realised over the summer that this would have added an extra layer of complexity to the show. In addition, it was going to be difficult to provide subtitles in several languages during such a live relay.

So the show will be filmed by a team which specialises in ‘in-the-moment’ filming. It will then be edited in the days after the premiere. The resulting video will be made available soon afterwards with subtitles in different languages. This will allow those who are not able to join us in Brussels on Sunday to catch up with the show later.

Our thanks to Cayetana and Enrique Nicanor for having already prepared the French and Spanish subtitles. Together with English, these will be the first languages in which the show will be published.

The process of putting together the show over the summer has been an enriching experience for both Kaberi and myself. Particularly through the personal experiences of the performers in the show, we have been thrilled to discover the high esteem for Tagore and his poetry all over Europe. You will see some of these personal experiences in their biographies on the web page of The Story of Gitanjali.

The translations of the Gitanjali poems in all these languages came from a variety of sources. Each time I came across an online version of the Gitanjali in a language I hadn’t found it in before, I added the link to my original blog post .

As I mentioned in my previous post, the quest for a Dutch translation led me to Dr Bhaswati Bhattacharya and Dr Victor van Bijlert. So now Sunday’s show will begin with a new, Dutch version of the poem from Tagore’s Bengali original (in Gitymalya) by Dr Victor van Bijlert. We are very pleased that both he and Dr Bhaswati Bhattacharya will be attending the premiere.

For some translations, our performers have had to do their own research or translation. Josef, who will be reading the Czech poem, persuaded a friend in the Czech Republic to find a suitable translation of the Gitanjali in the archives of the Czech National Library. Similarly Sofie obtained a Swedish translation of the Gitanjali from the archive of her library in Malmo.

Although Adriana found an Italian translation of the Gitanjali in a bookshop, she was unhappy with it and refined it with reference to the English, French and Bengali versions. In the same way, Olga has revised the Greek translation.

An added complication is that Tagore’s English poems were not direct translations of his Bengali originals. Some of the translations into other European languages were based on the English versions while others were based on the French version by André Gide.

So, in bringing this show together, we have learned a lot about Tagore’s European exposure. Many thanks to our excellent team for sharing their enthusiasm for Tagore with us and for giving us this unique opportunity to see Tagore through European eyes.

 Posted by at 1:58 pm
Sep 022012
 

The process of finding actors to perform each of the 13 poems in The Story of Gitanjali in a different language has been a fascinating journey. We have discovered that there are theatre groups for the different language communities in Brussels and that there are six English-language theatre groups (who kindly announced my quest for actors on their website).

The actors who have come forward have also been rediscovering the Tagore connection in their respective home countries.

A Bulgarian friend and colleague, Mariya Dimitrova, to whom I’d mentioned our multilingual project was surprised to find that there are about 70 editions of Tagore’s works in Bulgarian. She was also impressed that Anna Akhmatova, one of the biggest Russian poets, and Boris Pasternak had translated Tagore’s poems into Russian.

From online extracts of a 2008 biography of Tagore by Bulgarian author Stefania Dimitrova (whose video interview is at the start of this post) called Rabindranath Tagore – The Mythical Sentinel, Mariya found that Tagore’s poetry (The Gardener) was translated into Bulgarian for the first time in 1918. GitanjaliThe Home and the WorldSadhana were translated into Bulgarian in the 1920-1930’s. In 1985 Gora, poetry, plays, stories, memoirs and essays were published in three volumes. In 2009, a luxurious edition with some of Tagore’s works (GitanjaliThe GardenerStray Birds, excerpts from Fruit Gathering, The Fugitive etc.) was published.

Tagore visited Bulgaria in 1926 during his Europe tour.  He arrived by train from Belgrade and at the first railway station in Bulgarian territory a crowd was waiting to see him. Sofia railway station was also crowded and more than 10,000 people were massed between the rail station and his hotel. All the schools and universities were closed in his honor. Tagore was extremely touched and said he felt Bulgarian and he celebrated his birthday again in Bulgaria.

Unfortunately, we don’t (yet) have a Bulgarian actor for our show on 23 September. However, actors have come forward to recite poems from the Gitanjali in Czech, English, French, German, Greek, Hungarian, Italian, Spanish and Swedish. Dutch and perhaps Romanian, Lithuanian and Hindi should complete the 13 languages for the 13 poems in the show.

My search for a good Dutch translation of the Gitanjali led me to this review by Dr Bhaswati Bhattacharya of one translation. Having established contact with her, Kaberi and I were delighted to discover another kindred spirit. She introduced us to Dr Victor van Bijlert, who has translated Tagore’s Gitali into Dutch from the original Bengali. He has kindly agreed to translate one of the Gitanjali poems in our script from Bengali to Dutch.

Rabindranath Tagore’s bust in Prague

Trying to find translations of the Gitanjali in Czech, Josef Schwarz realised that there is a street named after Tagore in Prague near where his mother grew up: Thákurova Street in Prague 6, home to the city’s Technical University. The bust in this photo stands there. It looks quote similar to the one we saw on Tagore Sétany in Balatonfüred.

An article based on a Radio Prague programme about Rabindranath Tagore: an Indian poet who inspired a Czech generation provided more details of Tagore’s special significance for Czechs and identified Dr Dušan Zbavitel as the Czech Republic’s foremost scholar of Tagore’s poetry. Sadly Dr Zbavitel passed away last month.

Now we have started rehearsing with each of the actors one-by-one. It is really fascinating to hear the Gitanjali poems in all these different languages. Each has its own distinct character, as I hope you will be able to see and hear quite soon. Even today, over 100 years after Tagore wrote the original poems, they clearly resonate with people from quite different cultures and languages. Perhaps this illustrates Tagore’s global relevance in the most tangible way.

Aug 302012
 

While researching the different translations of Tagore’s English Gitanjali for our performance of The Story of Gitanjali on 23 September, I came across this talk by Deepak Chopra about Tagore’s relevance for the future of spirituality and humanity. He gave the talk at the Tagore Festival last year at Dartington College of Arts, Devon – the UK college founded by Dorothy and Leonard Elmhirst according to Tagore’s educational philosophy.

As so often happens when I settle down to find out more information online about Tagore, this led me to start exploring what others have suggested about Tagore’s relevance to modern society. After all, in our world of 2012, why should people be interested in the ideas of someone who spent half of his life in the 19th century?

Professor Amartya Sen, the Nobel Prize-winning economist and former student at the university founded by Tagore, had this to say.

Professor Amartya Sen

In fact, Professor Amartya Sen’s thought-provoking analysis What happened to Europe? earlier this month seems to echo Tagore’s ideas about social justice. Last year, he had explained in another article Why Rabindranath Tagore still matters.

A few years ago, Uma Das Gupta and Anandarup Ray contributed this article on Rabindranath Tagore and his contemporary relevance. They concluded “Like Tagore, we also live in the age of science and internationalism. Today we call it globalisation, and our education is still similar to Western-style colonialist education. Given how troubled our world is becoming, there is a growing awareness of the need to reconcile the values of ‘universal’ and ‘diversity’, a conviction that Tagore pioneered not only in thought but also in his life of action.”

Aug 182012
 

Poster for the Brussels premiere of Chitrangada

On Thursday, we received the posters and ‘visiting cards’ for the premiere from the printers. Kaberi and I were both excited to see the results. Between this and travelling, I am again running over a day behind schedule with my blog post. To catch up, I include an update for yesterday’s developments as well.

One of these was the confirmation that our friend Adriana Opromolla, who translated the subtitles of Shyama into Italian, will be in Brussels to recite a poem in Italian during The Story of Gitanjali at the premiere of Chitrangada. While looking for the Italian translations of the poems in The Story of Gitanjali for her, I discovered that there have been around 12 Italian editions of the Gitanjali over the years.

Adriana had also kindly provided the Italian voiceover of one of our first audiovisual efforts: a trailer for Kaberi’s Manipuri dance performances.

I had mentioned in my previous post that Tagore’s works are being translated into Chinese. Yesterday morning, I heard that Chitrangada has been translated into Chinese by Professor Mao Shichang of Lanzhou University. In March 2012, at his initiative, students at Lanzhou University staged a Chinese language production of Chitrangada for the first time.

In January 2011, Professor Shichang wrote a paper on Tagore’s philosophy of universal love – Tagore and China. Professor Shichang is clearly a fan of Tagore. His PhD from Jawarhalal Nehru University in Delhi was on the depiction of women in Tagore’s literature.

According to an article in China Daily reporting on the performance of Chitrangada in March, when Tagore visited China in 1924, an English adaptation of his play Chitra was performed to celebrate his birthday. Tagore had originally written Chitra in 1892 and returned to it over four decades later to develop it into the dance-drama Chitrangada in 1936.

In an interview with the Hindustan Times, Professor Shichang revealed that his association with Tagore began in his childhood, when he had read Tagore’s poems, “which refreshed and warmed my thirsty soul like spring wind”. It was his dream to study Tagore in India, as he did from 2002. The performance of Chitrangada in Chinese with 60 students from eight departments of Lanzhou University became a tribute that he had never imagined he would be able to give to Tagore.

According to Professor Shichang, “Chinese people like the natural and fresh style of [Tagore’s] writing. His spiritualism echoes in people’s hearts. … [Chinese people], no matter whether they believe in religion or not, feel some supernatural power through his works. …Modern people can seek peace and sobriety, and avoid the hustle and bustle of their lives, through Tagore.”

Ambassador Jaishankar, the Indian Ambassador to China, added that “There is a sense of Tagore as an intellectual bridge between India and China, and as a person who stood up for China during difficult days. There is also a much greater appreciation of Tagore today, and of the things he said back in the 1920s. … there isn’t a single Chinese university where they do not know Tagore.”

I hope some day Kaberi and I have the opportunity to meet Professor Shichang.

Aug 152012
 

Sayan performing at the Rabindra-Okakura Bhavan, Kolkata, 10 September 2011

Oops! While translating the subtitles of the penultimate scene of Chitrangada last night, I missed my turn to give you an update on our daily progress. So here it is – better late than never.

I realise that my introduction to Sayan Bandyopadhyay in my post about gathering the team for The Story of Gitanjali was quite brief. Now I have the opportunity to provide more detail.

Sayan’s solo performance at the Rabindra-Okakura Bhavan, Kolkata, September 2011

Kaberi and I began yesterday by exploring Sayan’s page on ReverbNation. We ended up listening to all 12 of his songs published there, which included 8 from his solo performance at the Rabindra-Okakura Bhavan in Kolkata on 10 September 2011. If you are one of the many millions of fans of Rabindrasangeet (Tagore songs) around the world, you will be impressed. We are very pleased and honoured that Sayan has agreed to join us in Brussels for The Story of Gitanjali on 23 September.

Later in the day, I spoke to flamenco teacher and dancer Luisa Castellanos about reciting one of the Gitanjali poems in Spanish for The Story of Gitanjali. Meanwhile, Kaberi continued to explore online ticketing options.

I also started to prepare the sequence which will be projected above the performers during The Story of Gitanjali. It’s quite a challenge to include live subtitling but I now know how we’ll be doing it.

I also realised that the Wikipedia article on the Gitanjali hardly did justice to its subject. At least I think I’ve managed to resolve the long-running conflict between authors disputing how to reflect the distinction between the Bengali Gitanjali and the English Gitanjali. It still needs further fixing – perhaps someone else would like to do so?

A friend mentioned that Pankaj Mishra refers to Tagore in his new book, From the ruins of empire. This article about A Poet Unwelcome is an adapted extract from the book about Tagore’s ‘unkind reception in China’ in 1924.

This reminded me to see if we could make contact with the team which has been translating Tagore’s works into Chinese. In doing so, I noticed that the first Chinese collection of Tagore’s songs was released recently and that Chitrangada was staged at the Lanzhou University.

The day ended with going back to translating Chitrangada … and my missing my blogging cue!

Finally, as today is the 65th anniversary of Indian independence, a ‘happy birthday’ to Indians around the world. A reminder of my blog post exactly a year ago about Tagore and the Indian national anthem.

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