I have recently been reminded about my visits over the years to Dartington Hall, near Totnes, Devon in South-West England. The connection between it and my family is, of course, through Rabindranath Tagore.
My first visit there was with my parents as part of a small group accompanying the late Tagore singer Kanika Bannerjee, a long-standing friend of my father. It was to organise a concert with her at the Conway Hall in London in 1976 that my parents had launched the cultural organisation Prantik.
Some years later, when Dr Frances Shepherd was the music director at Dartington College of Arts, she had persuaded the late Pandit Sharda Sahai to become artist in residence at Dartington. During this period, he started giving tabla lessons every weekend at Toynbee Hall in East London. As he was from the same gharana as my original tabla teacher (Binod Bihari Sarkar in Kolkata), my parents took me there to help me to develop my tabla playing.
Before long, it was time to do my tabla exams. However, as they were only a week or so after my university finals, I had had little time to prepare. So Shardaji kindly offered to let me stay with his family for the week before the tabla exams, so that I could prepare for them with his students in Dartington. It was a memorable week.
Dartington College had been established by Dorothy and Leonard Elmhirst, who bought Dartington Hall and the land around it in 1925. Leonard Elmhirst had been rural development adviser to Tagore in Santiniketan. Dartington College was modelled on Tagore’s educational principles (which are similar to the ‘self-organised learning environments’ that Professor Sugata Mitra was advocating at the Learning Technologies conference in London last week).
More recently, Kaberi and I visited Dartington with my father in 2004 so that she could do some research for her PhD in Tagore dance in the Elhirst archives at Hill Cross House.
“To kill an error is as good a service as, and sometimes even better than, the establishing of a new truth or fact.” – Charles Darwin, 1879
I was reminded of our connection with Dartington recently when I decided to write to the Chair of the Commons Health Select Committee to call for an investigation into the apparent problems I had come across while exploring how best to help my father’s dementia. I was fascinated to see that Dr Sarah Wollaston, the Chair of the Committee, is the MP for Totnes. Dartington falls within her constituency.
As I mentioned in my previous post, I have drawn attention to these problems in my film You must be nuts! – the business of dementia.
I gave the letter I sent to Dr Wollaston last night the title ‘Doubts about dietary/medical guidance and research funding’. As you will see, it has four annexes – on dietary advice, medical guidance, medical research and chronic regulatory failure affecting the nation’s health.
My thanks particularly to those who provided me with background information for the letter, including Jerome Burne (medical journalist), Patrick Holford (CEO of the Food for the Brain Foundation), Dr Stephanie Seneff (Senior Research Scientist at MIT), Justin Smith (Producer/Director of Statin Nation and Statin Nation 2), Nina Teicholz (investigative journalist and author of The Big Fat Surprise), and Dr Verner Wheelock (nutritionist). I am also grateful to Zoë Harcombe (author of The Obesity Epidemic), Dr Malcolm Kendrick (author of The Great Cholesterol Con) and cardiologist Dr Aseem Malhotra for their articles and blog posts.
Over the weekend, it emerged that doctors are being offered incentives to prescribe statin drugs (which Dr Stephanie Seneff described as ‘toxic’ in her interview for You must be nuts!). After sending my letter, the morning news revealed that MPs from the Public Accounts Committee had called for radical change to make the NHS sustainable.
On the last page of the fourth annex of my letter, I draw attention to a model highlighted by Frederic Laloux in his RSA talk ‘How to become a soulful organisation’. Maybe it could suggest a humanist and more cost-effective way forward for the NHS.
So 2012 is over. If you click on the above image, you’ll find the statistics for my blog in 2012 (courtesy of wordpress.com and Jetpack).
Just to give you an overview, my blog had about 9,200 views during the year, of which just over 4,000 were in September. My most popular post was actually one I’d written in 2010 about our experience of watching the film Julie & Julia ! The next most popular posts in 2012 were:
My thanks to all who have found my blog posts of interest.
Looking ahead, 2013 is the centenary of Rabindranath Tagore winning the Nobel Prize for Literature. If you are on Facebook, you may wish to ‘Like’ the Facebook page Rabindranath Tagore: Nobel Prize centenary. Even if you are not on Facebook, you can see the contents of the page.
For now, here is a 50-second audiovisual tribute to celebrate the start of the centenary year and to allow me to wish you a Happy New Year!
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
As you will have realised, last Sunday was the world premiere of Chitrangadain 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!”
Publicity photo for the Gold Hall, Square Brussels
The Story of Gitanjali may not be as elaborate as the opening ceremony of the Olympics. However, it does need careful preparation and planning. Apart from the audience in the Gold Hall of the Square Brussels, where we will be on stage, we also need to keep in mind those who will be watching it on screens elsewhere.
On Thursday, I visited the Gold Hall with the team which will be filming the show. It’s quite a large auditorium which is part of a complex which was built in 1957, at the same time as the iconic Brussels Atomium. The complex used to be known as the Palais des Congrés but was extensively renovated a few years ago. It reopened in 2009, since when it has been called the Square Brussels. The annual Magritte Awards ceremony (the Belgian equivalent of the French César Awards and the American Academy Awards) is held in the same hall.
The foyers we will be using for the charity gala premiere have original murals by the Belgian surrealist painters Paul Delvaux and René Magritte. Courtesy of the Indian Embassy in Brussels, we should have two exhibitions in the foyers, one on Tagore and the Romance of Travel and the other of digital prints of some of Tagore’s paintings.
The Story of Gitanjali begins with the above poem. I haven’t yet decided which language it will be recited in – that will depend on the actors. As I mentioned in my previous post, I’ve been looking for actors in Brussels who could each recite one of the 13 poems in a different European language. Several actors have come forward, particularly thanks to our friend Lilian Eilers and the English language theatre groups in Brussels, as well as my colleagues Béla Dajka and Stephanie Mitchell.
The languages and actors confirmed so far are French (Arlette Schreiber, a leading actress with the Belgian National Theatre for many years) and English (Prajna Paramita, who recently performed as Cleopatra in a production of Anthony & Cleopatra). Both already knew Tagore’s poems. I’ve also heard from/about Czech, Danish, Dutch, Hungarian, Italian, Romanian, Serbian, Slovak and Spanish actors.
The 11 songs in The Story of Gitanjali will be performed by a small team of singers and musicians. The singers will be Manini Mukhopadhyay, Sayan Bandopadhyay and Kaberi.
Manini is one of the top Bengali female vocalists in this style (known as Rabindrasangeet). She sang the title roles in all three of our film versions of Tagore’s dance-dramas, including Chitrangada. You can hear her singing in the clip from Shyama on the right of this page.
Sayan is a rising male vocalist in this style. Has will be singing at a concert on 22 August at the 1,100-seat Rabindra Sadan hall in Kolkata. He is also the grandson of Professor Somendranath Bandopadhyay, the internationally recognised authority on Tagore who has been our mentor throughout the Tagore dance film trilogy project.
In parallel with this, I will need to prepare what will be projected on the screen above the singers and musicians, including the English and French subtitles of whatever is happening on stage. This draws on our experience of using a screen to provide a virtual set at London’s Purcell Room when Kaberi was giving a solo Manipuri performance there, as well as the technique we used to project English and Arabic subtitles for the tour of Shyama in Egypt with Kaberi and her team.
A couple of weeks ago, Kaberi and I were celebrating our ninth wedding anniversary. I was going to post a photo from the wedding on Facebook to mark the occasion when I realised that we didn’t have any of the wedding photos uploaded. In fact, we didn’t have any digital photos from the wedding.
It then came back to me that we only had a small memory stick in the video camera at the time of the wedding on which we could take a handful of low resolution digital photos. We got our first digital camera at the end of 2002, almost a year after the wedding: a 2 megapixel Sony Cybershot DSC U20. Our next one came the following year, a 3.2 megapixel digital SLR – the Minolta Dimage Z1 . This took over from the 35mm Minolta X-700 SLR camera I’d been using since my father gave it to me as a birthday present in 1985.
Since then, we have only taken digital photos. We now use an 8 megapixel Sony Cybershot T200 and a 10 megapixel Samsung GX10, which I used, for example, for the still photographs I took while we were filming Chandalika and Chitrangada. Of course, now we’re using both less often than before as we usually have our iPhones with us, which can film high definition video as well.
Nowadays, if you go to a wedding or any other event, there are people all around snapping away or taking video, often on their mobile phones. Some weddings have even become international phenomena as a result of people sharing the images online, such as the JV Wedding Entrance video.
Nine years ago, a lot of things did not exist which we and hundreds of millions of people around the world take for granted today, such as YouTube, Facebook, Twitter and Skype. Combined with the falling cost of taking, editing and storing digital photos and videos, these sharing platforms have transformed the world we live in.
In our case, Kaberi and I first started to explore the possibilities of digital filmmaking using our home computer in 2005, when Kaberi was completing her PhD thesis on the dance influences of Rabindranath Tagore. One of her supervisors suggested that, since the topic was dance, it would be useful to include some kind of video in the thesis to illustrate this.
This led us to put together a 40-minute documentary incorporating material from videos of her own past performances and performances from other dance styles, linked with a narrative based on her thesis. A DVD with the documentary, edited in iMovie and authored using iDVD, was included in her final PhD submission.
At about the same time, we realised that few international arts centres were aware of the dance styles in which Kaberi has specialised: Manipuri and Tagore dance. Kaberi would need a similar DVD to persuade them both about the styles themselves and about her dance skills.
First, we used our video camera and my father’s one to film a Manipuri dance performance she gave at the Durga Puja in Bremen. I thought a short, film-style trailer would be useful both to introduce Manipuri dance to people who had not come across it and to encourage people to watch the 15-minute video of the performance on the DVD. In parallel, we would need to improve Kaberi’s website, to which the trailer and DVD would refer people.
After preparing a script for a 1-minute trailer, we hired some stage lights and used a roll of black paper to create a “studio” in the living room of our apartment. Within limited space and without a very versatile tripod, we filmed some sequences and also shot some still photographs, which were to be added to the home page of Kaberi’s website.
Here is the English version of the trailer, for which some friends helped us to create French, German, Italian and Spanish versions.
The promotional DVD led to higher profile performances in Europe (at London’s Nehru Centre in January 2006, the Museum of Asian Arts in Nice in May 2006 and London’s Purcell Room in June 2006). While Kaberi was performing at the Nehru Centre, I noticed a poster about a short film competition organised by the Satyajit Ray Foundation. The theme was ‘the experience of Asians’ and the maximum duration was 25 minutes.
It occurred to me that many Asians migrate to the West and I was curious to see how easy it would be to use iMovie to put together such a film. Kaberi’s experience, which I had been watching at first hand for the previous three years, was perhaps a more extreme example than most: after our marriage, she had left behind a promising dance career in India to join me in Europe, where she was once more unknown.
Kaberi and I were also often being asked how we met. So I decided to make a short film called Adapting which focused on Kaberi’s experience and used video material we had been shooting since we first met. I reviewed the material we had, which included a sequence which Kaberi had filmed to try to explain to her parents what a supermarket is, and developed a script with a voiceover linking a selection of clips from the material.
We filmed some additional sequences, such as showing Kaberi shopping in London for Indian food ingredients, and so on. We also filmed a sequence with three European friends who had travelled to India for our wedding: Beatriz, Gemma and Vincent.
Originally, I had invited them so that we could film a sequence where Kaberi and I were telling them the story of how we met. However, by the time they arrived, I had realised that this would not look very interesting and persuaded them to do some role playing instead. You can see the result towards the end of this 8-minute excerpt from Adapting.
As you can imagine, we all had a lot of fun filming the sequence with Beatriz, Gemma and Vincent. I had given them two alternative scenarios, both of which we filmed. The first was where Vincent, the prospective groom, and Beatriz, the prospective bride, fell immediately in love at first sight and Gemma, the chaperone, was left to keep them apart. The second was where Vincent and Beatriz took an instant dislike to each other, so that they asked each other the most aggressive questions.
The latter version was the one which I kept in the film. I should mention that, in reality, Vincent and Beatriz are husband and wife. At the time, Beatriz was in the early stages of expecting their first baby, which added a certain relevance to the discussion about children. The dialogue was completely improvised, based on my outline of how each of their characters should behave.
Towards the end of the editing process, our then iMac was struggling to cope with all the processing involved and we had to buy a new, faster iMac. Adapting didn’t win anything in the competition but it was a good way of exploring what we could do on our computers.
I’d intended to finish Adapting in time for our third wedding anniversary, so that it could be my anniversary present to Kaberi. However, I had to find another present as it took me a lot longer to edit than I had imagined! Still, when we showed it to about forty of our friends the following month, several were quite moved by it.
Kaberi’s performance as part of the Bahar Festival in London in June 2006 was originally supposed to be on the 30m-wide stage of the Queen Elisabeth Hall. It was going to be a challenge for Kaberi to fill such a wide stage on her own. So I used Keynote to create a dynamic virtual set for her.
We hired a high definition camera to film some sequences and used them as part of an introduction to Manipuri dance which I presented while she was off-stage doing a dress change. The festival eventually took place in the Purcell Room since the competition from the World Cup was quite intense! We put the iMac on a corner of the stage so that I could see its presenter disply and control it using its remote control. The output from the iMac allowed us to project the virtual set onto a screen at the back of the stage.
For the rest of that summer, I was composing and recording the music for Kaberi’s Indian dance workout. The idea of making such a workout DVD came to Kaberi after a friend recommended that she could keep fit using fitness videos. She realised that a lot of the movements were similar to exercises and movements she knew from Indian dance.
The workout DVD has probably been the most technically demanding project we have done up to now because we wanted to create a fully interactive project. Kaberi first had to design the overall workout and break it down into sections. We studied a range of different workout DVDs to see how they had been structured and presented.
The music had to fit the sections and also had to be the right pace for the movements. This was why the easiest solution was for me to compose and perform the instrumental music specially for the workout, based on Indian classical themes and on songs by Tagore. Our living room became a recording studio.
We arranged to film the workout DVD over a weekend with six of Kaberi’s dance students. We cleared all the furniture from our living room and they came for rehearsals every evening for the five days before we filmed it. Since it would otherwise be quite late by the time everyone got home, each evening, Kaberi prepared an Indian dinner for all of us. After the others left, we still had to record Kaberi’s commentary over the music.
We were very lucky with the weather for the two days we were filming the workout. It was an intense schedule but the really nice people in the team helped to create a great atmosphere. Again, we hired a high definition camera over that weekend.
This trailer for the workout gives you an idea of the end result.
In preparing to edit the workout, I realised that I had outgrown iMovie and needed to upgrade to Final Cut Studio to achieve such a technically complex project. At about the same time, Kaberi went to India to collect her PhD. Meanwhile, YouTube was rising in popularity, having been founded in February 2005, and Google bought it in October 2006.
By the time Kaberi returned to Europe, she had had another idea. Initially, it had been to stage a performance of Tagore’s dance-drama Shyama in London with a team of dancers, singers and musicians from Santinketan. However, having grown up with my parents organising shows like this, I knew that this was going to take several months to prepare and, if it was to be a large team from India, would probably need to be part of a European tour.
It seemed to me less risky to make a film version of Shyama instead and use it both to create a permanent record and then use the internet and subtitling to allow people all over the world to see it. In any case, the first step was to film it.
We finally decided to go ahead with the project in November 2006. It was clear that we would not finish the workout before travelling to India to film Shyama. The plan was for Kaberi and the team to rehearse for it in Santiniketan in January 2007 and we would record and film it during seven days in early February 2007 at the main theatre there.
We looked into the costs of hiring two high definition cameras in India but discovered that each camera would come with a minder, a cameraman, a sound recordist and a sound man with a boom microphone. They would have to travel from Kolkata the day before filming began and return the day after filming ended. We didn’t need the sound to be recorded live since we were recording the music first. Since this team would have to stay in a hotel for four nights, and we would then need to hire another camera back in Europe to edit the material.
In the end, we bought two, small high definition cameras from the US (so that they were filming in NTSC, which is easier to convert to the film frame rate of 24 frames per second than using the European and Indian PAL standard). These were portable enough for us to carry with us to and from India, together with a laptop, on which we did the sound recording.
By the time we came back to Europe, I had all the material from Shyama and all the material from Kaberi’s Indian dance workout to edit, in between my daily work, which was and is quite demanding. As a result, the process of editing both projects took over a year.
A test screening of the workout in autumn 2007 revealed that people would need a slower explanation of the movements as they were too difficult to grasp at the normal speed of the workout. So we used our own video cameras to film some additional sequences in which Kaberi explained each movement in slow motion. Putting this onto a DVD so that it was fully interactive meant I had to learn how to program a DVD using DVD Studio Pro.
Meanwhile, I realised that we would have to translate Shyama from scratch as it hadn’t been translated before. My father did the initial translation, which Kaberi and I refined to match the on-screen movements of the dancers.
Test screenings of Shyama led to the addition of explanations of the characters at the beginning and captions during the film to explain where the action is taking place. They also led to a number of friends volunteering to translate our English subtitles into their own languages.
Kaberi’s Indian dance workout was finally launched on DVD in July 2008, with the double soundtrack album being released online. Shyama had its world première at Shakespeare’s Birthplace in May 2009.
We added the various language versions to the DVD of Shyama by September 2009. In parallel, we filmed two episodes of what should ultimately be an 8-part podcast series about Shyama and Tagore. Each episode requires a lot of background research, which is the main reason why we haven’t gone beyond part 2 yet.
Over summer 2010, at fairly short notice, we filmed three episodes of Kaberi’s Indian cooking – a web series published on Facebook. Only the first of these has been published so far. The other two are still in the pipeline!
In October 2010, we accompanied Shyama to the Ourense Film Festival for its Spanish première. This was about the time when I started this blog. It was also when we started thinking about making film versions of Tagore’s other two dance-dramas, Chandalika and Chitrangada, to complete the Tagore dance film trilogy to mark Tagore’s 150th birth anniversary.
The première of Chandalika was in May 2011 in Stratford-upon-Avon, courtesy of the Shakespeare Birthplace Trust.
The tour of Shyama in Egypt in January 2012 with Kaberi and her team from Santiniketan perhaps marks the start of the next phase of our adventure. Of course, we still have to launch Chitrangada (probably in September 2012) before this phase is complete. Nonetheless, we do hope to be able to get back to our friends, who haven’t really seen us for the past five years thanks to all of these projects!
While our ideas and projects have become more and more ambitious, the possibilities offered by the digital revolution have accelerated. These projects have brought us many new friends around the world, especially through Facebook and Twitter.
Looking back over the past nine years reminds us how much the world has evolved. A whole generation has been growing up without knowing what the world was like before the internet, a feeling eloquently presented by Piotr Czerski in his article ‘We, the web kids‘. Even Kaberi and I have forgotten what that world was like, that we couldn’t speak to friends and relatives around the world for free and that we didn’t always avoid staying at hotels without wifi. As our friend Sheri Candler says, people are having to find their digital mindset.
Our creative projects have allowed Kaberi and me to work together very closely on a subject in which we have a passionate interest: Rabindranath Tagore and particularly the dance form he created. None of it would have been worth the effort if Kaberi hadn’t been the amazing, gentle, loving, modest but extremely talented person she is.
It has been a wonderful nine years … and there seems to be even better to come!
Inner Eye’s Tagore dance film trilogy with Kaberi Chatterjee in the title roles
Five years after starting to prepare filming Shyama, we are now close to completing Chitrangada, the third and final feature film in our trilogy of authentic versions of Tagore’s dance-dramas (the other two being Chandalika and Shyama). As a result of making these films and translating Tagore’s texts for their subtitles, I have now had the opportunity to explore all three dance-dramas intensively and from a western perspective. This has made me realise that they are no less worthy of the international stage than classical western ballet or opera. Perhaps it’s time for a new dawn in the world of ballet and opera to come from the East … .
Up to now, few outside the Bengali diaspora have been aware of Tagore’s dance-dramas, even though they attract large Bengali audiences whenever they are staged and most of their songs are well-known to Bengalis. This is perhaps because the dance-dramas have not been translated before and their performances outside India and Bangladesh tend to be one-off events aimed at Bengali-speaking communities. As a result, even among those around the world who are aware of Tagore’s literary genius but who do not understand Bengali (and perhaps the children of Bengali parents brought up in non-Bengali environments), Tagore’s dance-dramas might appear to be little more than a quaint experiment in his later years.
In reality, the dance-dramas are probably the most accomplished works created by Tagore, combining his poetry with music, drama and the semi-classical dance form he created. The plots of all three were based on legends which Tagore adapted to express his humanist message about powerful, timeless and universal themes: the hurt inflicted on people by social prejudice, the difficulties of reconciling public image with private life and the sacrifices people are prepared to make for love. Kaberi’s forthcoming book ‘Tagore Dance’, based on her PhD research, reveals the original creation of the Tagore dance form. Kaberi has made the introduction to her book available as a free download from her website.
In the case of Chitrangada, which is based on an episode from the epic Mahabharata, Tagore had written a play based on the same episode almost 50 years earlier. It was called Chitra, which you can read in the Internet archive. It’s not clear exactly when Tagore wrote Chitra: there are online versions with the dates 1892 and 1896 but, according to the preface of the 1913 edition printed in English by the India Society, it was written ‘about twenty five years ago’, ie, in about 1888.
Incidentally, thanks to Dr Asok Chaudhuri, I learned that the Tagore notebook from autumn 1928 which will be auctioned by Sotheby’s in New York on Tuesday includes the lyrics of two songs which were later included by Tagore in Chitrangada.
In recent years, opera houses around the world have been equipped to show subtitles of operas being performed in their original language, whether above the stage or on the backs of seats. We will be using the subtitles from our film version of Shyama (in English and, we hope, Arabic) when Kaberi and her team from Santiniketan perform Shyama live next month in Egypt, including at the Cairo and Alexandria Opera Houses.
Through the Tagore dance film trilogy and its subtitles, apart from preserving Tagore’s original concept, we would like to ensure that Tagore’s dance-dramas join Western operas and ballet on the world stage. We have decided to postpone the release of Chitrangada until around 7 May 2012, the end of Tagore’s 150th birth anniversary year. This is to allow more time to arrange its gala charity world première in a way which brings Tagore and his dance-dramas to the attention of dance and opera lovers around the world.
If you would like to help us, please comment below or post on the wall of the Facebook page of the Tagore dance film trilogy. Your help could take one or more of a variety of forms:
telling your friends about Tagore, the dance-dramas and the films;
downloading the introduction to Kaberi’s book Tagore Dance and joining the mailing list for news about it (see button below);
hosting a screening of one or more of the films; translating the subtitles into more languages;
helping out at the gala charity world première of Chitrangada;
persuading a local hall with a digital projector to join a global première by screening the (live) introduction from the main gala charity event followed by Chitrangada subtitled in the local language;
recommending potential sponsors for the première, including the online global promotion and distribution of the films;
moral support by liking this post and/or the Facebook pages of the trilogy and each of the films;
In case you don’t know, I’m about to make my second and third feature films back-to-back. Like the first film (Shyama), they are ‘dance-dramas’ by Nobel laureate Rabindranath Tagore.
We will be filming in Tagore’s home town of Santiniketan, India, at the university set up by him. In both of the films, Kaberi will be dancing the title role, as she did in Shyama.
UNESCO will be celebrating Tagore’s 150th birth anniversary next year, although the celebrations started in May this year. Last month, the Spanish version of Shyama had its premiere at the Ourense Film Festival, Galicia, as part of a special section dedicated to Tagore’s 150th birth anniversary.
Kaberi also performed at different events during the week. See my blog post Shyama at the Ourense Film Festival for more details, including links to the extensive press coverage of our activities during the festival.
There’s a 2-minute video explaining the project on its crowdfunding campaign page: http://trilogy.fundbreak.co.uk . You’ll find rewards ranging from updates and digital downloads of all three films to a one-to-one dance lesson with Kaberi via Skype and your name in the end credits of the films. To become a supporter, the minimum pledge is just £1 (US$1.61 / €1.18 / Rs72).
If you could circulate the link to your various networks, that would be very helpful. We have to reach our ‘seed money’ funding goal of £5,000 by 17 November at midday UK time, to avoid all the pledges made by then going back to the supporters. We still have quite a long way to go!
Today being the European day of languages, I hope you will excuse me attempting to write essentially the same post in English, Galician and Castellano (please let me know of any embarrassing errors!). This is partly to support Antonia Mochan’s idea of a day of multilingual blogging, partly to note Rabindranath Tagore’s quest for his writings (mainly in his native Bengali) to cross linguistic boundaries and as a sign of respect to any Galician and Spanish readers.
I should begin by thanking Enrique Nicanor, Director of the Ourense International Film Festival in Galicia, Spain, for including a ‘Homage to Tagore‘ section in this year’s festival to mark Tagore’s 150th birth anniversary, in conjunction with the Tagore Library of Ourense founded by José Paz. It is one of the first, fairly comprehensive tributes to Tagore’s 150th birth anniversary, which UNESCO is marking in 2011.
The programme for the section is as follows:
Saturday, 2 October
21:30-midnight Opening ceremony, during which Kaberi will perform two Tagore dances to inaugurate the ‘Homage to Tagore’ section – Auditorio Municipal
Sunday, 3 October
13:00-14:00 Tribute to Tagore, with José Paz, founder of the Tagore Library of Ourense, at which Kaberi and I will give an illustrated presentation about Tagore’s journey from poetry to dance, including live performances – Centro Cultural Deputación Ourense
Monday, 4 October
20:00-22:00 Premiere of the Spanish version of Shyama (which has been translated with the help of our friend Carlos Moreno-Leguizamon), introduced by José Paz, Kaberi and me – Teatro Principal
Tuesday, 5 October
16:30-18:30 Masterclass: Shyama & the digital revolution, at which I will be explaining how our film version of Tagore’s classic ‘dance-drama’ (which is perhaps one of the first ‘digital end-to-end’ films) is taking advantage of the production, global distribution and promotion opportunities created by the digital revolution to raise international awareness of Tagore and the dance form created by Tagore towards the end of his life – Centro Cultural Deputación Ourense
17:00-19:00 Screening of Satyajit Ray’s Charulata (The lonely wife) based on Tagore’s Nashtanir (The broken nest) – Teatro Principal
Wednesday, 6 October
17:00-18:15 Screening of Satyajit Ray’s Monihara (from Teen Kanya) based on the short story by Tagore – Teatro Principal
Thursday, 7 October
17:00-19:30 Screening of Satyajit Ray’s Ghare baire (The home and the world) based on the novel by Tagore – Teatro Principal
Friday, 8 October
17:00-17:30 Tagore-style tree-planting ceremony (Brikkhoropon) led by Kaberi, who will be teaching the steps for the procession to a group of dancers from the Escuela de Teatro y Baile de Ourense
23:00-00:30 Screening of the Spanish version of Shyama – Cinebox 8
Saturday, 9 October
17:00-19:00 Screening of Satyajit Ray’s Charulata (The lonely wife) based on Tagore’s Nashtanir (The broken nest) – Teatro Principal
17:00-18:30 Screening of the Spanish version of Shyama – Cinebox 8
20:00-22:30 Screening of Satyajit Ray’s Ghare Baire (The home and the world) based on the novel by Tagore – Teatro Principal
For those who note the absence of Satyajit Ray’s 1961 documentary Rabindranath Tagore, made for the 100th birth anniversary celebrations (like the Teen Kanya trilogy), we weren’t able to locate a good quality version of the film which could be projected at the festival … so far. If you can help us find one, please let me know.
The nearest airports to Ourense are Porto (which is served by various international airlines, including Easyjet and Ryanair), Vigo and Santiago de Compostela (which have mainly domestic flights from other parts of Spain).
Online artwork for webseries Kaberi's Indian cooking
You may be wondering why Kaberi and I have suddenly turned our attention to Indian cooking. Well, it’s not the first time Kaberi has thought of something less specialised than pure Indian dance – see Kaberi’s Indian dance workout. We’ve been thinking about this cooking webseries for a few months but never quite found the time to launch it. A discussion last month with our friends Martin and Nathalie, which I mentioned in my blog post ‘Food for thought’, spurred us into action.
At the beginning of August, we invited them and our friends Judy and Ian to spend a Sunday evening with us to help us film the first episode. The concept is that Kaberi explains to a maximum of four guests how she is preparing the evening dinner for all of us, including how she allocates her preparation time between the different dishes (a practical detail quite often absent from cooking programmes). The videos and recipes are published on a dedicated Kaberi’s Indian cooking Facebook page, inviting people to post their feedback, photos and experience of making the recipes. The contents of the Facebook page are visible to anyone but only Facebook members are able to ‘Like’ the page and contribute to it.
If nothing else, we would spend a series of pleasant evenings in the company of our friends preparing and eating original, Indian food. However, we hope that the series will find an audience, whether among non-Indians interested in learning how to make quick, healthy Indian food or among expatriate Indians in search of ways to recreate familiar dishes in unfamiliar surroundings.
Kaberi wants to use the series to pass the message that not all Indian food is served with a rich, heavy sauce – a practical shortcut taken by many Indian restaurants outside India – or so hot as to require a fire extinguisher to hose down the remains of your taste buds after the meal. From the initial feedback on the Facebook page, we’ve realised that the series will be of particular interest to those who relocate outside India whether for work or after marrying – an experience Kaberi went through herself, as documented in my short film Adapting.
We already have two HD cameras since filming Shyama, which we’ve been using to film the Shyama podcast series. Having seen in Gerd Leonhard’s presentation about the future of film and cinema that the HD video capabilities of the iPhone 4 have already been used to make a short film, we used my iPhone 4 as a third HD camera. With one camera on a tripod, the iPhone 4 mounted discreetly in a serviette holder on top of the microwave oven (you’ll spot it if you look very carefully in the video), and the other camera on a Steadicam Merlin, we covered all angles of the worktop and cooking area, while following the action and explanations.
Then, editing with Final Cut Pro and titling using Motion, as well as composing and recording the title music using Logic Pro, Soundtrack Pro and a couple of the Indian instruments I play, we have arrived at episode 1 of the webseries. As you will see, it’s around 30 minutes, divided into two parts of just under 15 minutes each. Apart from recognising that people have limited time these days, this fits within YouTube’s recently increased upload limit, as well as Facebook’s slightly longer limit of 20 minutes. Episode 2, which we filmed last weekend, should require less time and effort to complete!
The choice of focusing on the Facebook page rather than on Kaberi’s website is not entirely accidental: apart from Facebook now having over 500 million members, the Facebook community page on Cooking is one of its most popular, with over 3.5 million fans at the time of writing. Facebook provides an impressively well-connected way for people to find out about and interact with content such as Kaberi’s Indian cooking. People, starting with our immediate circle of Facebook friends, can ‘Like’ the page [please take a look and do so now if you’re on Facebook], post their own comments, photos and recipes and interact directly with Kaberi. Each time they do so, they raise awareness of the page, the webseries and Kaberi among their friends.
The webseries is available free to its viewers. Like all of the audiovisual works, music and books produced by Kaberi’s company Inner Eye, it is released under a Creative Commons licence allowing personal copying. If enough people like it (as evidenced, for example, by the number of fans on the Facebook page and/or the number of views and the rating on YouTube), maybe a sponsor might be interested in having their logo at the start of future episodes but certainly more people would be aware of Kaberi … and perhaps follow the link to her website or explore the favourite pages on the Facebook page of Kaberi’s Indian cooking to discover her other projects related to Indian dance and Tagore. Maybe a broadcaster or cable channel might pick up the series. Maybe the people who like it might even join the crowd funding effort for our next two film projects (film versions of Tagore’s other two dance dramas, Chandalika & Chitrangada, to complete our Tagore dance film trilogy). The episodes and recipes (fine-tuned via the Facebook discussion) might even be combined for an iPhone/iPad app and the recipes might go into a book to accompany the series which people could consult more easily while cooking. Who knows?
This is where I should thank our friend Sheri Candler (@shericandler on Twitter), the independent film marketing and publicity specialist, for all the information and advice in her tweets and for recommending me to follow media futurist Gerd Leonhard (@gleonhard on Twitter). As Gerd noted in his recent article about the future of content in a connected economy, “transactions are always a consequence of attention and attraction, interaction, communication, engagement, and trust. It is never the other way round.” This is why, as well as being fun to do, Kaberi’s Indian cooking should contribute to the revenues of Kaberi’s company in due course, one way or another.