42 Team Anandomela is back with a bang to celebrate the 35th year of Purbapalli Durgabari Samiti Durgotsav. And coincidentally, we have 37 chef participants to ensure this turns out to be a mouthwatering festival of food and fun , which showcases “Epaar Bangla – Opaar Bangla”. The participation is overwhelming with 37 chefs offering varied item. It is also heartening to see the active participation of new members. ANANDOMELA This year, Anandomela is on Chaturthi evening, instead of the usual Panchami prelude to the grand Garba. This is mainly to thoroughly enjoy the elaborate events planned, including, competitions for the chef participants, fireless cooking competition for the kids and exciting "Rosogolla" and "Phuchka" competition for the members. We look forward to having a blockbuster opening to Durgotsav 2023, with lots of fun and frolic amidst a spread of mind-blowing delicacies! Agomani Sengupta Aparna Chatterjee Arpita Roy Arup Das Disha Roy Jayati Ray Jayita Sen Jayita Bhaduri Krishna Chatterjee Manashi Chatterjee Mili Majumder Mita Kundu Monidipa Mukherjee Neeru Chaudhuri Odita Pori & Nevan Priyanka Purabi Ghosal Rudrendu Mondal Sampa Sanyal Sarmistha Ghosh Sarbani Saha Dr Soma Bhattacharya Soma De Sonali Roy Souditi Das Soumi Sarkar Suparna Dutta Majumder Sutapa Roy Supriya Ghosh Suchandrima Mondal Tulip Biswas Urmi Karmakar Srotoswini Karmakar Barnini Sen Apala Bhattacharya Our Chefs
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44 GARBA DANCE Raas or Dandiya Raas is the socio-religious folk dance originating from Indian state of Gujarat and popularly performed in the festival of Navaratri. Garba-Raas is traditionally a recreational social dance form that is done in large groups. The structure of dance consists of 12-16 or more dancers who perform 8-9 continuous dances which are a combination of Garba, dandiya-raas. Here we have made some more innovations by inserting and merging certain Durga Vandana or Durga Stuti and few very popular peppy Bengali songs on Maa Durga. Hence the costume chosen is also an amalgamation of traditional costumes of both Bengal and Gujrat PART 1 Direction & Choreography: Smt. Souditi Das PARTICIPANTS IN PART 1 PART 2 Direction & Choreography: Smt. Indrani Goswami PARTICIPANTS IN PART 2 1.Preeti Duttagupta 2.Barnali Panda 3.Aditi Ganguly 4.Mili Majumdar 5.Anjali Grover 6.Jaitee Ray 7.Suchandrima Mondal 8.Krishna Chatterjee 9. Soma De 10.Taina Ghosh 11.Roma Mondal 12.Mithu Chakraborty 13.Rupa Bhawal 14.Lipika Roy 15. Sugata Mukherjee 16.Puja Modi 17.Purabi Ghoshal 18.Agomani Sengupta 19.Deepika Chatterjee 20.Ruma Biswas 21.Aparna Chatterjee 22. Supti Datta 23.Tulip Biswas 24.Sushmita Dutta 25.Neelabrithi Chatterjee 26.Neelanjana Deb Burman 27.Sudeep Chakraborty 28.Amulyo Ray 1.Indrani Goswami 2.Sreemanti Dutta 3.Sushmita Dutta 4.Odite Deb 5.Supti Dutta 6.Indradyumma Dutta 7.Soumi Sarkar 8.Sonia Mitra 9.Bhaskar De 10.Swapan Biswas 11.Ruma Biswas 12.Sangita Bhartiya 13.Shailesh Bhartiya 14.Subhankar Sanyal 15.Dipa Mukherjee 16.Rushita Sarkar 17.Subhshree Ray 18.Aparna Chatterjee 19.Pritish Chatterjee 20.Aniruddh Nandi Poster and Promo : Arijit Das
45 Technical Director: Barnini Sen Singers: Pritha Dutta, Aparna Chatterjee, Ruma Biswas, Animita Mitra, Sampa Sanyal, Chhandita Warkare,Suparna Dutta Mazumder, and Barnini Sen Music: Srotoswini Karmakar Light: Souditi Das Narrator: Urmi Karmakar Back Stage Support Team: Agomoni Sengupta , Supriya Ghosh, Indrani Goswami Prompters: Ruma Biswas, Tanushree Mondol Actors: Krishna Chatterjee, Animita Mitra, Monalisa Palit, Arshia Sengupta, Swapna Sanyal, Suparna Dutta Mazumder, Supriya Chatterjee, Anjali Grover, Aparna Chatterjee, Purabi Ghoshal, Neeru Choudhuri, Shampa Biswas, Supriya Ghosh, Barnini Sen and Sampa Sanyal Direction: Indira Mitra Like every year, this year too, we are staging ladies' drama during Durga Puja. We are very excited that it's our 35 years' celebration of Purba Palli Durgabari Durgotsav. Since a long time one theme have been engraved in my mind to dramatize some of the memorable events in the lives of our senior members. Luckily, we got 2 Masimas to give their consent and they were agreed to share their special life incident which I want to replicate in our play in the most dramatic way. Don't know how much we would be successful while projecting their life scenarios, however this will be a great tribute to our senior fraternity of Purbapalli Durgapuja. We are entirely leaving that to audience. And there is another special surprise this drama is based on a story of famous author Shri Shirshendu Mukhopadhyay edited by Soumo Dev- Bagha Jatin Alap's Presentation which we are executing in our own way. This drama is presented by all the respected ladies members of Purbapalli the name of the play is"BOTOBRIKHHO" which represent roots of big banyan tree which hold the earth strongly and help in spreading branches likewise family where Mother, Mother –in-Law, Grand Ma, Mashima, Masimas, Pishima etc all these icons hold the family united with their love, discipline, caring and affection. They play pivotal role and hold relationships like a garland. Their contribution to family is invaluable. We don't want to narrate more. Let's get into the play mode and witness "BOTOBRIKHHO". Hope you will like it. BOTOBRIKHHO
46 MAYAR KHELA TAGORE'S MUSICAL OPERA Purpbapalli on its 35th Year of celebration, bows to Tagore with" Mayar Khela ". Love is a magical illusion, and a chance of encounter between two beloveds. Mayar Khela, the musical drama by Nobel Laureate Rabindranath Tagore, provides an unconventional take on this concept. It has two female and one male protagonist. Love is a maze of illusion that surrounds us. The world we see is a mere series of coincidences intertwined with time. Tagore creates an unusual atmosphere of ecstasy with the dream maidens (Mayakumari) telling the story in chorus. They spin illusions in the minds of the protagonists. Pramada sees love as an art, as pleasurable as possible while Shanta stands for sacrifice. Amar faces monotony with Shanta, and swipes at the outer world wondering what more is in store for him, other than Shanta. Pramada rejects Amar when Amar falls in love with her later. Gradually, Amar gets back to Shanta, and what happens next emphasizes the mastery of Tagore. In the inevitable turn of events, Pramada seeks Amar, and the story takes an emotional twist. The maidens remain the narrators, they sing and seek love for happiness, but happiness eludes them. The Dance Drama is Directed and choregraphed and brought to you by Nilanjana Deb Burman. She has been ably supported in this by Souditi Das in overall coordination, including the makeup. The Cast: Amar:Neelabrithi Chatterjee Shanta: Souditi Das Pramoda:Barnali Panda Ashok: Ria Saha Kumar:Disha Roy Narrators: Preeti Duttagupta, Anindita Mondal Sokhis: Mili Majumder, Aditi Ganguly, Animita Mitra, Jaitee Ray, Malobika Roy Sarkar, Pia Ghosh Roy Shokhas:Ruma Biswas, Suchandrima Mondal, Sutapa Roy, Anindita Mondal Mayakumaris: Rushita Sarkar, Amaneeta Ganguly, Akaarshi Chatterjee, Arpita Ghoshal, Akshita Ghoshal, Riddhima Sengupta, Subhshree Ray Background Narration:Arnab Das, Sampa Sanyal Light Management and Anchoring Script:Jayita Sen Overall Coordination: Souditi Das, Neelabrithi Chatterjee Direction, Concept and Costume:Nilanjana Deb Burman
47 Shambhunath Arnab Bhattacharya Tutul Kalpan Mitra Anima Sutapa Roy Somen Anjan Ganguly Hari Satyajit Ganguly Ramesh Tanmay Chatterjee Bela Anindita Mandal Ganesh Tanmay Chatterjee Dr Khastagir Prashant Goswami Gita (Boudi) Priyanka Mitra Play Badal Sarkar Music Satyajit Ganguly, Sampa Sanyal Music play Kalhan Mitra Light Nilabrithi Chatterjee Stage Rajesh Sinha, Chinmoy Roy Poster Abhinav Duttagupta Promo Satyajit Ganguly Narrator Kajari Sengupta Prompter Shampa Biswas Presentation Purbapalli Durgabari Samiti Special thanks Niladri Bhattacharya Direction Sampa Sanyal
Surer Akashe Matee'r Anuranan 48 Both traditional folk music and the folk tune-based music in India are unique and multifaceted because of their vast cultural dynamism throughout the country. Folk Songs and Folk Styles have often been used or adapted for different genres of music. Many renowned Composers in India have used Folk Melodies and Folk Styles in their works. Rabindranath Tagore, a towering figure in Indian Music, used Indian Classical Music and traditional Folk Music as sources. The other prominent music composers, whose contributions have left a distinguishable mark in the history of film industry are Sachin Dev Burman, O.P.Nayyar, Shankar Jaikishan, R.D. Burman, Salil Chowdhury, Hemant Kumar and many more, as well as the contemporary music composers Anindya Chattopadhya, Amit Trivedi and the likes of many more new generation musicians. The Bauls of Bengal were an order of musicians in 18th, 19th and early 20th century India who played a form of music using a khamak, ektara and dotara. They are mainly known as minstrel mystic and travel in soul searching through their soulful renditions. Surer Akashe Matee'r Anuranan is a musical bonanza presenting before us the folk flavour and styles of different regions of India. This musical journey is not all about a hardcore folk music presentation, rather it is a musical treat that emanates pleasant tunes of folk music from Bengal to Assam, Maharashtra to Rajasthan and so on ……. its beguiling undertones in various songs mainly selected from Hindi and Bengali films can be unmistakably heard. PARTICIPANTS INDRANI GOSWAMI SUDEEP BHATTACHARYA SHAONI MUKHERJEE RAJIB DUTTAMAJUMDAR SURELA GANGULY SOUMEN SAHA AMRITA PURKAYASTHA SUDIP CHACRAVORTY BARNINI SEN KINKAR MUKHERJEE CONCEPT AND COORDINATION: KINKAR MUKHERJEE
49 Sare Chuattor In the olden days, "Sare Chuattor" was a code used to mark letters as private, intended to be read only by the person to whom the letter was addressed. Set in 1950s Calcutta, the story revolves around a "mess-bari," the main character, and its inhabitants. Rajani Babu owns and runs the 'not so' peaceful, men-only abode called Annapurna Boarding House in Calcutta. On weekends, he returns home to his family in the suburbs. Rajani Babu has a large family, and his perpetually harassed wife is not reassured by the fact that her husband's work in Calcutta keeps their home afloat. The population of the Annapurna Boarding House, except for Shibbabu, a senior learned man who sometimes acts as a killjoy, primarily consists of a rambunctious group of young men and their man-Friday, Modon. Among the main ringleaders are Kedar, Kamakhya and Rampriti. Little do they know that their lives are about to be turned topsy-turvy when Rajani Babu's relative and her family, along with their young and beautiful daughter Romola, come seeking shelter at the boarding house after being thrown out of their rented house. The comedy unfolds as the residents of the boarding house adjust to this "new normal," and the story culminates with a love letter falling into the wrong hands. But who is the intended receiver, and who is the sender of this love letter? An adaptation of the classic Bengali comedy film released in 1953, "Sare Chuattor" is considered one of the most iconic films in Bengali and Indian cinema. Please bear with us as we make a daring effort to recreate the film on stage. We pay homage to the glorious cast each one of whom was a master at his or her craft. Cast Rajani Babu – Arnab Das Rampriti – Aurindam Mukherjee Shib Babu – Arup Das Modon – Sagnik Das Kali Babu – Tarun Sarkar Aghor Babu – Shoubhik Sen Kedar – Pratim Brahmachari Padma – Urmi Karmakar Kamakhya – Sandipan Mukherjee Romola – Shreya Sen Khurana Akhil Babu – Santosh Sinha Sinha Bokul – Jayita Sen Haridas – Rahul Ghoshal Sokhi – Sudheshna Gupta Kanhai – Pritam Biswas Jogeshwari – Shahana Dosajh Jhi – Sanjukta Bhattacharya The children – Pori, Hiya, Snehesh, Saanvi, Arihant, Aarini Backstage: Prompters – Mili Majumdar, Moumita Kundu Costume & Props – Souditi Das Stage Coordination – Jayita Bhaduri, Ayan Jyoti Sarkar, Jaya Banerjee Sets & Lights – Rajib Dutta Majumdar Music – Bikram Gupta Music Assistance / Anchor : Sudeep Bhattacharyya Direction - Shoubhik Sen
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53 Flying Colours The world around us is a vibrant tapestry of colours, and the way these colours harmoniously blend with nature is nothing short of breathtaking. Among the myriad wonders of nature, birds stand out as some of the most fortunate beings, blessed with a mesmerizing array of hues adorning their plumage. Mother Nature has bestowed upon these winged marvels a stunning palette of colours, spanning the entire spectrum of the rainbow. In the enchanting realm of colourful birds, India boasts an extensive inventory that stretches from the northern reaches of the majestic Himalayas to the pristine southern tip of the subcontinent. Within this diverse avian population, you'll encounter exquisite species such as the long-tailed broadbill, the emerald dove, vibrant sunbirds, graceful flycatchers, and a multitude of captivating waterfowl exemplifying the sheer magnificence of India's biodiversity. Emerald Dove Broadbill Redstart Sunbird - Text and Photographs by Satyajit Ganguly
54 Indian Peacock Naturally, the Indian Peafowl, commonly known as the Peacock, takes center stage and proudly bears the honour of being India's National Bird. However, even when we set aside the resplendent Peacock, there are three other avian gems renowned for their multi-coloured plumage. These avian treasures are the Indian Pitta, the Himalayan Monal, and the Oriental Dwarf Kingfisher (ODKF). Each of these species stands as a testament to the sheer wonder of India's rich avian heritage, captivating us with their vivid and diverse hues, reminding us of the stunning tapestry of colours that nature so generously bestows upon us.
55 The dweller of conifer forests -Himalayan Monal, a true marvel of the avian world, presents itself as a living kaleidoscope of colours. The males are resplendent in their magnificence, flaunting a remarkable ensemble of twelve iridescent hues that shimmer and dance in the sunlight. Each feather seems to be meticulously painted with colours that range from deep blues and vibrant greens to radiant reds and shimmering purples, creating a breathtaking spectacle that defies imagination. It's no exaggeration to declare the Himalayan Monal as one of the most captivating and colourful pheasants to grace the natural world. Its vivid and diverse plumage serves as a testament to the sheer beauty and diversity that can be found in the world of birds, reminding us of the boundless wonders that nature has to offer. To encounter this avian masterpiece is to witness a living work of art that leaves an indelible mark on anyone fortunate enough to behold its radiant splendour. Himalayan Monal The uniqueness of variant colors is due to the photonic structures present in the internal structure of Monal feathers. The photonic structures are composed of one or more different types of nanometric architectures such as single or multi-layer thin-films, diffraction gratings, and photonic crystals which results in display of iridescence( Angledependent) colors.
56 Decked head to toe in multicolored plumage and exhibiting a long green metallic crest, The Himalayan Monal is one of the iconic pheasants from the Himalayas and thus is the national bird of Nepal, the state bird of Uttarakhand—owing to the spectacular iridescent plumage and stunning metallic colors seen in the males Himalayan Monal
57 Indian Pitta The Indian Pitta, a bird of remarkable and dazzling beauty, is often lovingly referred to as 'Nourang' due to its astounding diversity of colours. This avian masterpiece boasts a plumage that can only be described as a living canvas, adorned with an astonishing array of nine distinct hues. Amongst its breathtaking palette, one can marvel at the rich interplay of brown, black, fiery orange, delicate pink, vibrant red, warm buff, pristine white, lush green, and deep blue. Each of these colours blends seamlessly into a symphony of natural artistry, turning the Indian Pitta into a living masterpiece that captivates the senses and stands as a testament to the boundless creativity of the natural world.
58 In an attempt to commemorate the bird species unique to India, India Post had issued a set of four bird stamps in 1975.Being a passerine bird endemic to the Indian subcontinent -Indian Pitta or the Pitta Brachyuran is one of the four birds featured on 25 paise postal stamps Indian Pitta
59 My personal favourite, popularly known as the “Colour Bomb” or the “Flying Rainbow” the Oriental Dwarf Kingfisher(ODKF) , always stands as an irresistible subject for photographers, thanks to its truly mesmerizing colours. Its distinctive features make it an easily recognizable gem among its feathered peers. With a striking red bill that seems to have been dipped in liquid fire, a warm and inviting yellow-orange underbelly that catches the eye, and a regal coat of lilac-red oxide adorning its upper parts, this diminutive kingfisher is nothing short of a living work of art. The vivid contrast of its blue-black back against the vibrant backdrop of its plumage further accentuates its natural splendour. Capturing the Oriental Dwarf Kingfisher through the lens of a camera is a pursuit of pure delight, as it offers a canvas of colours that seems almost too exquisite to be real. This avian jewel serves as a vivid reminder of the breathtaking beauty that nature can conjure, again a testament to the artistry that lies within the world of birds. Oriental Dwarf Kingfisher -ODKF The oriental kingfisher is one of the smallest kingfisher species measuring four to six inches long .It is also known as the black-backed kingfisher or three-toed kingfisher. This bird is a cold-blooded sharp killer and can make approximately 18+ kills per day. Thus, also known as a Bullet speed bird as it makes up for flash speed and its victims or prey will never see it coming.
60 Oriental Dwarf Kingfisher hunts from a perch. It mainly feeds on insects, as well as small lizards or frogs. Before eating lizards or frogs, it kills them by holding them in the beak and continually hitting them against a stone or tree stump. This pocket size predator goes more aggressive in hunting while gathering food for its new- born chicks after breeding. It begins to breed with the onset of the southwest monsoon in June. The nest is a horizontal tunnel up to a meter in length. The clutch of four or five eggs hatches in 17 days with both the male and female incubating. Oriental Dwarf Kingfisher -ODKF
61 vydk xxZ ¼Lojfpr vkSj ekSfyd½ xq:xzke 'kfä mikluk ¼ekrk ds ukS :i½ çFke :i ek¡ 'kSyiq=h%& ekrk rsjs :i gtkj]rw gh dkyh rw gh paMh rw gh nqxkZ dk vorkj-- çFke fnol ek¡ rq>s iwtrs]'kSyiq=h dk :iA o`"kHk okfguh 'kSy lqrk]vfr lqanj rsjk Lo:iA gkFk f='kwy dey I;kjk]vuqie 'k`axkj rqEgkjkA n{k firk]f'ko ifr rqEgkjs] fd, ;K lc nso i/kkjsA ugha fn;k Hkkx 'kadj dk]lg u ldha vieku ifr dkA dwn ;KkfXu esa rts çk.k]tUeh fQj fxfjjkt ds /kkeA ————————& f}rh; czãpkfj.kh ek¡%& gLr deaMy czãpkfj.kh ek¡ ds nwts #æk{k ekyA rifLouh dk :i gS lqanj Vhdk HkkyA ekrk us miokl fd;k R;kxs vUu vkSj tyA fuokZg fd;k gtkj o"kZ [kk dj dUn QyA 'kkd vkSj csyi= Hkh ek¡ us cjlksa [kk;sA ri ls eq[k+e.My dk rst pedrk tk;A dfBu riL;k ls feyk czãpkfj.kh ukeA ,slh esjh ekrq dks 'kR 'kR esjk ç.kkeA ——————————& r`rh; ek¡ paæ?kaVk%& r`rh; fnol ek¡ us /kjk paæ?kaVk :iA 'ksj lokjh 'kksHkrh ek¡ foxzg vuq:iA yky oL= /kkj.k fd, eLrd v/kZ pUæA nlksa Hkqtk esa 'kksHkrs ukuk vk;q/k ;a=A dey] pØ ]ryokj] /kuq"k]xnk]f='kwyA efg"kklqj enZu fd;k nkuo Fkk vfr ØwjA ddZ'k ?kaVk /ofu lqu Mjrs nkuo çsr ;ksfuA nso ekuo [kq'k gksrs lqu ?kaVk e/kqj /ofuA —————————————— prqFkZ ek¡ dw"ekaMk%& ek¡ dw"ekaMk gS txnack dk pkSFkk :iA v"VHkqtk flagokfguh gS ek¡ dk Lo:iA lkr Hkqtkvksa esa lts fHkUu fHkUu 'kL=A Hkqtk vkBoha esa gS ti ekyk vfr fl)A l`f"V ds vkjaHk esa Nk;k Fkk re ?kksjA ek¡ us fut va'k ls fd;k çdk'k lc vksjA fLer gkL; ls ek¡ us mRiUu fd;k czãkaMA blhfy, eS;k dk uke gqvk dw"ekaMA
62 ik¡pok¡ Lda/kekrk%& iape fnol esa gS ek¡]dk Lda/kekrk :iA gLr dqeqn flag 'kksHkrh]vfr lqanj Lo:iA pkj Hkqtk/kkjh 'kkar lk]ekrk dk foxzgA dey iq"i ekrk dk]lqdksey lk vL=A xkSjh ek¡ dk :i gS] eS;k dk bl ckjA dkfrZds; dh ekr dk]:i fy;k bl ckjA ————————& NBk& ek¡ dkR;k;uh%& NBs fnu vkbZa ekrk /kj dkR;k;uh :iA vfr rstkse; :i gS 'kkar ljy Lo:iA yky oL= yky pqujh ekrk ds gSa oL=A prqHkqZth ekrk ds ,d gkFk gS vL=A dr _f"k ds iq= gq, dR; _f"k egkuA muds xks= esa tUes dkR;k;u _f"k ukeA dkR;k;u _f"k us nsoh iwtu fd;k çFkeA blhfy, ek¡ dk uke iM+k dkR;k;uh ikouA ————————& lkrok¡ dkyjk=h%& dkyjk=h ek¡ nqxkZ dh lkroha 'kfä dk ukeA nq"Vnyu bl :i dks 'kR 'kR esjk ç.kkeA 'kadj xkSjh ls dgs c<+k vlqj vR;kpkjA txkvks viuh 'kfä djks vlqjksa dk lagkjA ifr vkKk ls ekj fn;s 'kaHkq fu'kaHkw nÅ nkuoA jächt ds jä ls mB tkrs dbZ nkuoA ekrk us lagkj dks :i /kjk cM+k fodjkyA L;kg o.kZ jfäe us= xys fo|qr dh ekyA ————————& vkBok¡ egkxkSjh%& v"Ve fnol esa ekrk dk egkxkSjh dk :iA lkSE; ]'kkar ]e`nqy ]rstkse; ]HkO; Lo:iA o`"k vk:<+ gks ekrk vkbZa prqHkqZth gS :iA ,d gkFk esa Me: lkts ,d gkFk f='kwyA ekrk us f'ko dks ikus dks fd;k ri dfBuA ?kke]rki]'khr]o"kkZ ls gks x;k L;kg cnuA 'kadj th us xaxkty ls /kks;k ';ke ruA vfr rstLoh :ioku vkHkk;qä gqvk onuA ————————& uoe fnol&ek¡ flf)nk=h%& uoe fnol dks ek¡ flf)/kk=h dk fnuA vfr 'kkar lkSE; :i vk:<+ deykluA f'ko us flf)/kk=h ds fy, ri fd;k HkkjhA rc mudks çkIr gqvk vk/kk -'kjhj ukjhA efg"kklqj jk{kl gqvk Fkk vrho cy'kkyhA ekrk us lagkj fd;k djds flag lokjhA /kjk fu'kkpkj eqä gqbZ çk.kh gq, Hk;eqäA ekrk flf)/kk=h dks ueu djsa lc Hkä A uo fnu ds uojk= dk ;s gksrk gS lekiuA NBs eghus fQj gksxk ek¡ dk 'kqHk vkxeu---
63 Taking a sneak peek at childhood memories now gives me the realization (not to miss the goosebumps) of what I was taught as a child. Although I unknowingly remembered those moments, these are the ones that shaped me into what I am today & enabled me to experience knowledge in a very different light. The time spent with my grandfather (Thakurda in Bangla) strongly imprinted on my mind. I clearly remember to cherish my time with him. (Don't even think it was not because I was a good child. Quite the contrary). Let me enlighten you with an amazing fact about my childhood. I was the smallest edition of Ravana as I was the beholder of weird ideas with only one head, though the intense emotion toward Shri Hari remains intact (please read love in this case). I was literally addicted to all the stories about his freedom fight. It made me feel like one seeing a hero in real life without the glamour on the outside but the dedication to righteousness and ethics inside. Once, I asked him why he did it. He laughed heartily and confessed his love for "matrubhumi." Looking back, I found the memory closer to my heart, yet too far away. Looking back, I found him quite different from an extremist (religious aspect); I could say he was spiritually enriched. Strangely enough, his firm belief in righteousness and ethics without expectations mirrors the Geeta Gyan "deZ.;sokf/kdkjLrs ek Qys"kq dnkpu". I heard "/kekZs j{kfr jf{kr% " many years after his death, but now it feels like he was a meritorious soul and conscious enough to imply the 10 principles of /keZ in his lifetime. Analyzing his life principles now at this age is intellectually enriching and exhilarating. The 2nd memory that I have seen in a completely different light is with someone whose name I didn't remember clearly (Nope, No short-term time memory loss. It's way back in the 90s; I was too small) He was a Brahmachari. I was especially fond of him as he was the ever-smiling one & that too with good stories. Sometimes, he often miscalculated the salary dates of our beloved uncles and my Bapi. He used to come to our home with a broad smile, hoping for small donations. Sometimes, we couldn't even provide him with a little something, but never saw his smile falter. It amazed me even at that tender age, and I wished to be like him. I'm still trying to be like him with all my spirit, though it's the hardest thing I have encountered. I came to my senses, literally. I have been given the second lesson by life through him. Though a person looks young, age does not demand respect. It's your deZ and your attitude towards bearing your /keZ that urge people to show respect to you. SEEING CHILDHOOD MEMORIES IN A DIFFERENT LIGHT -- Animita
64 My childhood was quite colorful. Be it religion or lifestyle, I have experienced unity in diversity. I grew up in an environment where I experienced Hinduism, Christianity, and Islam. My mumma never restricts me, not even for once. She later recalled the memory and told me that it was an important step to become tolerant as /keZ allows you to learn tolerance and unbiasedness. Acceptance is the root of all spirituality. While throwing lights with the memories of my mother, I couldn't forget one astonishing moment that left me spellbound. My Didun (maternal granny) was a homemaker, and she was pretty ordinary for me even a few days before her death. Things could have been different if she never said what she told my mother. Just a few days before her death, I jokingly said I would steal all her jewels if she died while staying with us. She was silent for two straight minutes and then calmly stated that once the soul leaves the body, it is just a rag that nobody would like to touch. It's the very soul for which she is thankful to the Almighty. It does not matter what I take. Her karma is the last thing she will carry with her. Truthfully speaking, even I haven't anticipated this. It was seeing a person in a different light. Lastly, I would wrap it with a memory I experienced while traveling Mount Abu. We (me, mumma & bapi) visited Brahmakumari (I was in 9th standard). I still remember the first line as clear as water. It was a question, "Who Am I?" Do you know the answer to it? It seems benign if it asked casually, but things could be pretty intense if you start thinking about it. Though I was young, I had an idea what she was talking about as my uncles encouraged me to read Mahabharata and listen to Geeta Saar. But believe me, the very remembrance of that day still gives me goosebumps. The moments were endless. Those childhood remembrances became my very existence while growing up and even as a grown woman. What seems to be good memories become the learning of my life and the pillars of my strength to move forward in life. Those magical moments made me realize to cherish everything souls give you. Encourage me still now to live life like a human being, remembering that vkRek is nothing but a part of ijekRekA
65 In the early days of Information technology (the Mainframe era), only large organizations could afford to employ IT staff. So they used to hire engineers from reputed engineering colleges and train them in-house on the specific technology. Computer Science as an undergraduate subject was not available, and hiring was done primarily based on aptitude and specific interest. Many of these engineers eventually left for lucrative overseas jobs, and I belong to that generation. Unlike my peers, I returned to India after spending 15+ years abroad and started my new innings here. Most of my colleagues predicted that I would not be able to settle and be back within six months, but I proved them wrong. In the year 2000, there was a new India. Programming courses were available in every nook and corner, and most engineering colleges offered Computer Science degrees at the undergraduate level. The trend was to do some certification in Java or similar technology, and you will get a passport to go to the USA, the land of opportunity. During my tenure with Microsoft, I visited many engineering colleges for campus hiring and spoke to many aspiring engineers. So it is how the conversation went with most of them. Do you enjoy coding? “No. Not at all.” Then Why did you waste four years to do a computer science degree? “This is the only way you can get a job these days.” But how can you keep your job if you do not enjoy programming? “I will survive two to three years and then move into management.” I was puzzled as this was the standard reply I received from most aspiring engineers in 2000. With Y2K, there were more opportunities for the engineers to go overseas. Then I changed my job to IBM Global Services, where we needed to hire many IT professionals (primarily engineers) every year. So I took note of the culture and thought process of most of the Indian IT services companies. Ÿ Programming is seen as a low-end job. Therefore, it is meant only for freshers or less experienced resources. Ÿ You will still find a fifty-year programmer writing code in the western world, but it is unthinkable in India. Ÿ If you are experienced and still writing code, it means you are a loser. Ÿ The only way to progress is to put a managerial title in front of your name. Ÿ The easiest way to achieve that is by doing a PMP certification. Mid-Life Crisis within the Indian IT industry By: Punya Palit
66 Ÿ Indians have somehow mastered the art of passing the certifications by studying the dumps, i.e., memorizing past Q&A Ÿ Once you become a project manager, it is beneath your dignity to do programming. It is meant for junior folks or those who cannot be a manager. Someone correctly said, “it is beyond their capability” once they reach this level. As a result, if you take a sample of the middle management population, they are totally hands-off and only involved in administrative functions. They survive only because of their relationship and active participation in company politics and away from reality. When the onsite/offshore model started, a considerable margin and organizations could employ many of these managers in nonbillable roles. But over the year, with steep competition, these managers will find it extremely difficult to keep their job. As a result, most IT services companies will have very few non-billable positions in the future. Once the middle managers lose their jobs, they become unemployable. In Australia, I found a 40-year-old person enrolled for an undergraduate degree course at night. When I asked him why he had made such a late decision in life, he replied, “ I am not doing this course to get another job, but it will help me do my current job better.” In India, most of us study to get a job, not because we like the subject. Studying MBA or MCA or a B.Tech degree in Computer Science has become a fashion. The common perception is it will be easy to get a job if you do so. What happens when you cannot cope with emerging trends and do not have an aptitude for the subject you have studied? It is better to struggle in the beginning and get it right. When you are in your forties, you have financial commitments, and losing your job at that stage will be catastrophic for the entire family. That is the story of the middle managers in the IT industry today. A few years ago, the problem started when you were in your fifties, and with recent generations, it will affect you much before reaching your retirement age. So, one has to prepare oneself for all kinds of eventualities. So, I advise the new generation to stay hands-on and not fall into this managerial trap. Instead, learn continuously and keep up to date with the changing trends if you want to remain employable. Looking back over thirty years, I was part of the Head office Technical Support team for NEC Australia. We used to support different branches in Australia and New Zealand and had more than four hundred customer installations. It was the era of computer hardware, and three of us were called “Astra Gods” by our colleagues. There was no cell phone in those days; my desk phone used to ring continuously, and we provided different answers and solutions to customers and branch support engineers. Occasionally we needed to visit a customer site to solve a specific problem. But we would have simulated the scenario in our lab and already found an answer to the problem so that we could spend minimum time at the customer premise. So even though we were at the bottom of the pyramid, we used to get tremendous respect from the sales leadership and management team. So, the mantra for survival is “Stay current, Stay relevant, Learn continuously and Enjoy the Journey”? Does it sound right? Are you hands-on or hands-off?
67 Jeena Isi Ka Naam Hai Philosophy Behind the Movie Songs - Sudeep Bhattacharyya Imagine the B. R. Chopra classic of 1957, Naya Daur. It is often cited as a classic example of a cinema addressing social and cultural issues while entertaining audiences with beautiful melodies. It has gone into the annals of landmark Indian films for its themes of progress and tradition. Naya Daur means to New Era wherein, the film explores a clash between traditional rural life and modern industrialization and concludes with a message that the modernity doesn’t mean that tradition should be done away with. They can co-exist! The theme is effectively buttressed with impactful situational songs such as Saathi hath batana, a timeless classic that has left an indelible impression on the mind of music lovers and has become a theme song for team work. The film songs, particularly those from what is called the golden era of Indian cinema - from the 1940s to the 1970s, carry a deep and profound philosophy that reflect various aspects of life, love, emotions and society. These songs were not only created for entertainment but often meant to convey meaningful messages and portray the complexities and intricacies of our life, its challenges and our ups and downs. Some of the philosophical themes in songs from films include (to explain my point of view, the examples I have given below are of Hindi songs, given my familiarity): Ÿ Love and Romance: Love has been a central theme in innumerable songs that explore various dimensions of romantic relationships. The songs delve into the joys, pains, and sacrifices that love brings, whether fruition of love or a heartbreak; and there are songs for every situation and every state of mind. They highlight the beauty of emotions and the depth of human connections. The enormity of the treasure trove of songs on love and romance won’t allow it to be explained adequately with examples to the satisfaction of the readers. However, here are few timeless ones that convey various moods, Lag ja gale (Woh Kaun Thi, 1964), Kora kagaz tha (Aradhana, 1969), Chandan sa badan (Saraswatichandra, 1968) and Aap ki ankhon mein kuch (Ghar, 1978). Ÿ Suffering and Pain: “… Our sweetest songs are those that tell of saddest thought.” - P. B. Shelley Numerous songs have been penned and sung that express the pain of life's struggles, heartbreaks, personal loss, the harsh realities and circumstances of the society. Many songs provide an emotional release for both the characters in the films and the listeners. They offer empathy and emotional catharsis while evoking feelings of joy, sorrow and nostalgiato those going through difficult times. They also inspire us to face difficulties with courage and determination.
68 Zara si aahat hoti hai to dil sochta hai (Haqeeqat, 1964) is an example of a song with emotional depth and the portrayal of the longing and pain that one experiences on being separated from a love one. Koi lauta de mere beete hue din (Door Gagan Ki Chhaon Mein, 1964) is another such example of a song that express a deep seated pain, nostalgia and the longing to relive the past. Ÿ Social Issues: Numerous songs, particularly the old ones across languages, were written and composed that tackled societal issues such as poverty, inequality, and communal harmony. They aimed to raise awareness and inspire positive change in society.Awaara Hoon (Awaara, 1951) represents the emotional struggles of a wandering soul and reflects on the idea of finding acceptance and understanding in a judgmental world. Ÿ Optimism and Hope: Numerous songs carry messages of hope and optimism that intend to instill positivity and encourage listeners to look forward to and believe in a brighter future.An example of such a song that exudes optimism is Main zindagi ka saath nibhata chala gaya (Hum Dono, 1961) that carries a message of optimism and resilience. It tells us to take life as it comes, face challenges with a positive attitude and continue the journey with a steadfast determination to make the best of every situation. Ÿ Patriotism and National Pride: During India's independence movement and afterwards, particularly following incidences of external aggressions, several songs on patriotism were made that celebrated patriotism and national pride. These songs invoked a sense of unity and patriotism and encouraged people to work together for the nation's cause. The subject still continues to inspire people and films with patriotic storyline still attract a huge audience. While there is hardly any song more loved than Ae mere watan ke logon, a non-film patriotic song, there is perhaps nothing that has stoked the patriotic fervor more than Vande Mataram (Ananda Math, Bankim Chandra Chattopadhyay, movie 1952). The movie, based on the novel Ananda Math portrayed Bharat mata as the divine goddess and us Bharatiyas as her santans and gave a clarion call to rise up and free her from the clutches of foreign occupation. Ÿ Philosophical Reflections: Some songs are on the philosophical contemplations about life, mortality, worldly attachments and the universe. They ask existential questions, and encourage introspection and reflection on the deeper meaning of life. Man re tu kahe na dheer dhare (Chitralekha, 1964) is a beautiful example of a philosophical song that reflects on the impermanence of worldly attachments and tells us to detach from material desires and embrace a more spiritual outlook on life. It encourages us to find inner peace and contentment by seeking the eternal truth within. Yeh duniya agar mil bhi jaaye to kya hai (Pyaasa, 1957) questions the value of worldly success and fame. It says that true happiness lies beyond
69 material achievements and that finding one's passion and purpose is more important. While there are numerous philosophical songs that we can talk about, I can’t help but mention about Zindagi kaisi hai paheli (Anand, 1971), which muses on the enigmatic nature of life and its uncertainties. It reminds us that life is like a riddle with ups and downs, and it's essential to embrace both joy and sorrow with grace and acceptance. “Babumoshai, zindagi badi honi chahiye, lambi nahi” is one such iconic line that the protagonist of the movie says, which sums up this philosophy. Ÿ Spirituality and Devotion: Devotional songs have been integral to Indian cinema. They express reverence and devotion to the divine, and they often carry messages of faith, belief in the almighty and spiritual growth. O duniya ke rakhwale (Baiju Bawra, 1952) is one such song, which is a heartfelt expression faith on the god and implores the divine for an intervention to help surmount the challenges and difficulties and for the almighty to take care of the world and its people. Allah tero naam, ishwar tero naam (Hum Dono, 1961) is another timeless song with devotional undertones that celebrate the oneness of the divine, irrespective of the name with which we address the almighty. It emphasizes the idea of universality of spirituality. Ÿ Celebration of Life and Festivals: These songs celebrate life's moments and various festivals, promoting the idea of cherishing every experience and spreading joy. Holi kab hai, kab hai holi! The philosophical depth and poetic brilliance of numerous film songs that convey profound meanings and life lessons, particularly of the yesteryears and their soulful melodies have made many of them timeless classics that continue to resonate with us even decades after they were produced. These iconic songs that are cherished by music lovers across generations are not only a reflection of our psyche or our cultural heritage but also as a source of inspiration; and they give comfort and apply a soothing balm, particularly to those who broken hearts. Living with all these situations that life poses and various emotional states that life puts us in is what defines life – jeena isi ka naam hai. With some friendly inputs in the form of stories from old friends from canteen and hostel days who found solace and comfort in the lyrics of various timeless classics that we love to listen and sing even today.
70 Embarking on a Serenading Symphony: A Journey into the African Wildlife Sudeep, Sanjukta & Noyonika Bhattacharyya In the midst of the hustle and bustle of our modern lives under the bondage of technology, a trip to the wild serves as a poignant reminder of the world that once enveloped us. A trip to the wild, particularly in Africa takes us back to our primal roots, offering an escape from the artificial world and a chance to reconnect with the raw, untamed essence of nature. The boundless diversity and untamed landscapes of Africa beckons travelers to step into its tapestry of life, where every heartbeat of nature is a melody waiting to be heard. From the sweeping savannas to the dense jungles to where the desert meets the sea, a journey into African wildlife is an odyssey that kindles the senses, creates excitement and awakens the spirit. It reminds us of the delicate balance that sustains life and challenges us to become better stewards of the planet, we call home. Few memorable journeys to Africa that have left indelible imprints on our minds: Tanzania, a land of remarkable landscapes and abundant wildlife, offers a safari experience that is as close to the quintessential African adventure as one can imagine. From the iconic Serengeti plains to the captivating Ngorongoro Crater, this journey immerses a wildlife lover in the rhythms of the wild, where the drama of predator and prey unfolds against a backdrop of breathtaking natural beauty. The 15,000 Sq. Km Serengeti National Park, which is over 90% of the twin Serengeti-Masai Mara national parks, stands as one of the world's most celebrated wildlife sanctuaries. Its seemingly endless plains, called Siringit in Swahili from which the park derives its name, is the stage for the Great Migration, a breathtaking spectacle that involves millions of wildebeest, zebras, and other grazers in search of fresh grazing pastures. This migration is not just a marvel of nature but a living testament to the intricate balance that sustains life in this ecosystem. As one traverses the Serengeti and Masai Mara’s open savannas, the wildlife unfolds before the eyes. Lions lounge in the golden grass, cheetahs stealthily stalk their prey, and elephants meander gracefully across the landscape. The rich diversity of the ecosystem also includes leopards, giraffes, hyenas, whole host of antelopes and an array of bird species that create an enchanting and captivating mosaic of life. Splendours of Tanzania: Exploring the Endless Plains and the marvels of Ngorongoro Crater
On the other hand, Ngorongo crater takes a wildlife lover to a truly unique natural wonder. Often referred to as the ‘Garden of Eden,’ this vast volcanic caldera harbours an enclosed ecosystem that support an astonishing concentration of wildlife. From its grassy plains to its dense forests and sparkling soda lake, the crater is a microcosm of African wildlife diversity. Descending into the crater is like stepping into a living diorama. Herds of buffalo roam, flamingos wade in the shallow waters, and the blackmaned lions of Ngorongoro keep a watch over their kingdom from their rocky perches or at times laze around nonchalantly on the grassy plains. The crater's distinct topography creates a natural amphitheater where both predator and prey coexist in a delicate dance of survival. One of the remarkably spectacular view is the setting of sun. As it goes down the horizon casting a golden glow over the savanna, it leaves a visitor with a unique experience of what he or she witnesses. Tanzania and Kenya’s wildlife safaris with exploration of Ngorongoro Crater or a visit to Lake Nakuru in Kenya, a rhino sanctuary known for both the black and white rhinos, awaken a profound appreciation for the natural world. The experiences have left us with lasting memories of encounters with creatures that have roamed these lands for millennia. Nestled in the heart of East Africa, Uganda stands as a beacon for adventurers seeking an encounter with some of the world's most captivating creatures. Among its many natural wonders, the opportunity to trek into the dense jungles to observe mountain gorillas in their native habitat is a truly once-in?a-lifetime experience that leaves an indelible mark on the soul. We would cherish the experience till our last breath. The mist-shrouded mountains of Uganda provide the backdrop for this extraordinary journey. Inhabiting the highlands of Bwindi Impenetrable National Park, where we went on a trek and Mgahinga Gorilla National Park, the endangered mountain gorillas thrive in these remote and rugged terrains. The trek begins with a sense of anticipation and a hint of trepidation, as the forests are aptly named "impenetrable" for their dense undergrowth and challenging trails. Yet, it's this very sense of adventure that ignites the spirit and prepares trekkers for the adventure ahead. Trekking guides, with their intimate knowledge of the terrain and its inhabitants, lead the way, imparting their wisdom about the forest and its residents. The gorillas' movements are governed by their own rhythms, and their locations can vary from day to day. Each step forward is accompanied by the growing heartbeat of excitement – the prospect of coming face-to-face with a creature that shares 98% of our DNA. For us, the moment arrived after about 6 hours of trek in dense forest. As we stepped into their presence, we instantly came Into the Heart of the Jungle: Gorilla Trekking in Uganda 71
under the awe of these gentle giants in their natural habitat - mothers cradling their young, adolescents playfully moving around, and the silverback, the patriarch of the group, chewing leaves and watching over them all with a wise and powerful demeanor. Their eyes, so familiar, reflect intelligence and emotions that are unmistakably akin to our own. The experience left an indescribable impression on our minds, as though we met them yesterday. In the vast and untamed landscapes of Namibia, a self-driving wildlife safari unveils a unique adventure where one becomes both the explorer and the observed. Driving around from the capital Windhoek to the rolling dunes of the Namib Desert to Walvis Bay through the Trans Kalahari Highway where the desert meets the sea to the game-rich plains of 24,000 Sq. Km Etosha National Park, this journey offers an unparalleled opportunity to witness Africa's iconic wildlife. The self-driving aspect adds an extra layer of intimacy to the encounter with Namibia's wilderness. As we drove through the open roads, dusty tracks and through the desert for nearly 4,500 Km, we got imbued in the ever-changing tapestry of landscapes – from the ethereal sunrise over the dunes to some really dense forests. The path led us through varying terrains, each with its own surprises. The Namib Desert, with its towering dunes that shift from burnt orange to deep red, stretches as far as the eyes can see. A visit to Sossusvlei and Deadvlei, ancient clay pans surrounded by sand mountains gave an experience of a breathtaking panorama, which was surreal. The safari experience truly unfolded at Etosha National Park, which is a sanctuary for a whole host of African wildlife that one can imagine. The Etosha Pan, a vast salt flat, forms the heart of the park and provides an otherworldly backdrop for both dramatic predator-prey interactions and the serenity of grazing herds. With each sighting, one develops a deeper appreciation for the intricacies of these creatures' lives and their essential role in the ecosystem. As we navigated the open roads, our hearts raced not just from the thrill of adventure, but from the deeper understanding that we were a part of something much larger – a shared story of life on this majestic continent. In the heart of the Democratic Republic of Congo, a journey into the lush and untouched forests unveils a remarkable encounter with our closest relatives, the chimpanzees. This adventure is a voyage into the wild realms of the world's second-largest rainforest, where every rustle of leaves and distant calls of the forest inhabitants serve as a prelude to an awe-inspiring rendezvous with these intelligent and charismatic creatures.Chimpanzees, our closest living relatives, thrive in these remote and biodiverse rainforests. The Democratic Republic of Congo, with its pristine habitats, is a haven for these apes, particularly the endangered pygmy chimpanzee, called Bonobo. Roaming the Namibian Wilderness: A Self?Driving Wildlife Safari Adventure In the Realm of the Great Apes: Chimpanzee Sighting in Congo 72
Observing them in their natural habitat is a humbling experience. As I (Sanjukta, since I traveled alone to DRC) watched them groom each other, playfully wrestle, and communicate in a language of gestures and expressions, I was struck by the uncanny similarities between their behaviors and our own. Their curiosity, intelligence, and capacity for emotion are undeniable, reminding us of the interconnectedness of all life on Earth. In the heart of the Indian Ocean, lies Madagascar, a land like no other. Renowned for its unique flora and fauna, this enchanting island is a haven for biodiversity, with one of its most captivating inhabitants being the lemurs. Embarking on a journey to spot these charismatic creatures in their natural habitat is an expedition that immersed us in a world of wonder and intrigue. As we ventured into Madagascar's lush rainforests, we were immediately greeted by variety of sounds as though they were orchestrated – the haunting calls of indri lemurs echoing through the trees, the chirping of birds, and the rustling of leaves underfoot. This created an atmosphere of anticipation and excitement, as we set out to witness the enigmatic lemurs up close. Lemurs, found only in Madagascar, are a diverse group of primates that have evolved in splendid isolation. Their behaviors and appearances are as varied as the ecosystems they inhabit. From the inquisitive ring-tailed lemurs to the playful sifakas with their unique sideways hopping, each species presents a different facet of the island's evolutionary tapestry. Lemurs foraging for food, displaying playful acrobatics and leaping gracefully from branch to branch is quite a sight, and a photographer’s delight too. We were able to see fifteen different types including the extremely shy mouse lemur, which is the smallest of all with the help of our guide, an experts with an intimate understanding of the forests. He skillfully navigated the intricate network of trails to locate lemurs hidden among the foliage. We were able to witness behaviors that are usually reserved for the quiet solitude of the wilderness. Beyond the lemurs, Madagascar's landscapes including the avenue of baobab trees are a sight to behold. A journey into African wildlife is more than just about observing the beautiful creatures in their natural habitat. It unveils moments that make the wild unforgettable. It's a pilgrimage to the very essence of life itself. It is about reconnecting with the untamed spirit of our mother Earth. At the end, we can promise to you that once you travel to Africa, you would want to go back again; yes, we have fallen in love with this beautiful land that has amazed us every time we went there. Madagascar's Enigm atic Charm: A Lemur Sighting Adventure 73
THE SHIVA TRILOGY, THE CORNERSTONE OF MY LIFE The profound connection I share with SHIVA has endured through the ages, and my search for its deeper meaning continues to inspire me. Over the past three years, my journey has taken me to three incredible Jyotirlingas, each one leaving a lasting impression on my heart and soul. Lord Shiva,one of the most revered deities in Hinduism, is worshipped in a multitude of forms across the diverse states of India. Each state has its unique way of venerating Lord Shiva, and this has led to the creation of countless temples dedicated to Him throughout the country. Just after the COVID pandemic, during my second visit to Kashi Vishwanath, Banaras, in 2021, I was searching for unperceivable energies that are distinct to realize once you visit Kashi at the right time and frame of mind. Shiva’s power of OM is within us, and it is not difficult to realize this through self-reflection. Spirituality and religion are often used interchangeably, but they are distinct concepts.My ‘khoj’ of spirituality involves a personal quest for meaning in life. I know visiting the temple early in the morning, like 3:00 AM, is the right time to get the maximum absorption of the highest energy at Brahma Muhurta. I was inside the temple for a few minutes and worshiped Linga with Ganga jal and bel pat. Yes, that’s true; your journey is incomplete without visiting Annapurna temple, and by 5:00 AM, reaching Assi ghat for Ganga Aarti. Traveling by auto in Banaras in the morning is safe and easy. And the temple premises showcase India’s diversity. My second quest happened at Mahakaleshwar Jyotirlinga, Ujjain, in 2022; it is considered to be one of the most sacred abodes of Lord Shiva. This was an extremely different experience and journey. Here, I found Shiva to be decorative, stylish, and moody. During the evening aarti, I made direct eye contact with Shiva, which gave me the spiritual energy I was seeking. - Seema Ghosh 74
My third and most adventurous journey was at Kedarnath, Uttarakhand, in 2023, where I think the location of the temple and the whole climb of the higher Himalayas is mesmerizing, and once in a lifetime. Kedarnath looks and sounds extremely different until you are at the top of a mountain surrounded by high valleys covered with snow. The weather is most unpredictable. I was welcomed by lord SHIVA with snowfall, my first experience, and my eyes were even more eager to locate the temple. Which was nowhere in sight, so instinctively, I looked at the sky with an interrogated expression! As I moved towards the temple, I found a long and sincere queue of people visiting the temple with conviction. It took me 8 to 10 hours to reach the temple. My various destinations provided me with numerous mysterious experiences and contacts that aided me in reaching Linga more quickly and easily. I started my journey from Phata at 12 midnight and reached Kedarnath on a pony at 9:00 AM the next morning. Extremely exhausted with cold and pain, I was not interested in food until I met BABA and saw the power of conviction. I was inside the main temple at 11:00 AM in front of Kedarnath. I couldn’t stop my tears from flowing during the speechless lifetime experience. Bhim Sheela is an eyewitness to the fact that the energy and power of Shiva can be felt and experienced everywhere. I aspire to continue my spiritual journey and share my experiences. 75
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Rivulet ...My Companion A rivulet's gentle murmur guides me in a tranquil forest. Wading through meadows, vibrant and bright, rivulet dances with sheer delight. Sparkling water,so pure like a silver strip She gracefully flows through mossy rocks Carving her path, whispering secrets, uknown to me. During her journey,she experienced moments of both joy and pain. She whispers tales of love, Lost and found Of dreams that soared and hearts that bound. As I stand here, by her side I can endure a connection, deep and wide. For just like her, I too seek my way To carve a path, in this world Till I breathe. I'll follow her lead, with every twist and turn. As we wander, side by side I'll learn from her with humble pride. In her flow, I see resilience gleam. A lesson for life, like a beautiful dream. On this journey ,we promise to remain together forever, till we survive. Rivulet ...My Companion - Rajib Datta Majumder 79
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The city lights shine bright as ever The cars on the road making a river of light There’s so much noise everywhere And the smoke fills the air so tight, It is almost choking you. Oh, how I wish I could go back To my little town that was once my home, Where evenings meant the gentle river breeze And fireflies lit lanterns of love all around Where aromas from the jungle flowers filled the soul. Oh, my quaint little town How I wish I could nestle back in your arms And you’d gently rock me to sleep. Amrita Purkayastha The butterfly of my heart You are everything I wanted My sunshine wrapped in gold Your tiny feet are my lilies Fresh in the morning dew You, my child, are my biggest blessing You are every wish I made Your love has helped me find myself You are my elixir of love The Rising How often does it happen That you are let down by them Whom you thought as your own And how often does it happen That you feel you’ve lost your sheen And you are merely carrying on. And how often does it happen That relations you thought you had for life Suddenly crumble into pieces And you lose a friend for life. And how often does it happen That when you think you’ve hit your worst And a ray of sun creeks through your panes To let you know that it is a new day again. Nostalgia An Anthology 81 My Love & Life
TREASURE HUNTS (THE MAP) In a little town there was a poor farmer. He always thought he would become rich one day, but he never had any luck. One day, when he was sitting in his shop the wind was strong, an old paper just fell on his things. He took it, just when he was going to throw it, he saw a few red dots on it he thought strange red dots on an old paper. He said to himself this paper is not an ordinary paper it must be an important paper. He took it in his hands and saw it was half torn and it had a letter ‘T’ on it. The red dots pointed to a house, its number was 215. The number on the house was a house in his town and the people who were living in it had gone. And people living in the houses near it had gone too. Now he understood this was just no paper, it was a ‘Treasure Map’. SECRET WAYS He made up his mind that he would go and find this treasure. He closed his shop and set of, to find the house number 215. When he found house no.214, he didn’t see house no. 215. He saw a stone and thought to take a rest as he was tired of walking. When he just put a foot on it, it just moved down. And to his astonishment he saw a hole, it was just as small as him and out of it came out a small house, but in a minute, it was as big as a house and its number was 215. He was so much surprised that he almost fell on the ground, but he got up and thought for a moment that should he go inside or should he stay outside. He made up his mind and he went inside the house but he was clever he tapped all the stones on the walls and suddenly when he tapped a stone it moved back and a paper same as the old one that he found in the morning came out. He took it out and saw it also had red dots and both sides of it were torn, the dots pointed to a stone. And on top of it were a few letters, they were ‘R’,’E’,’A’,’S’,’U’,’R’ and again ‘E’. When, he joined both of the maps he saw they made word ‘Treasure’. And to his astonishment he saw near it was his house number 159, he always saw a big stone near his house but never thought it was of any use. So, he set of to go back to his house. When he reached his house, his legs pained because of so much walking but he never felt it because he was so exited. He went near the stone and tapped all around it but he couldn’t find anything. At last he tapped the top of the stone and the portion fell down and a same kind of paper came out of there. He took it and opened it, it’s both sides were also torn and it’s, red dots connected to a tree near his house and another path of red dots connected to small cave. He knew both of their routes. On the top of it were letters too. They were ‘I’,’N’,’T’,’O’,’W’ and ‘N’. When he joined both of the maps, they made word ‘Treasure in town’. He couldn’t understand what they meant, but he went. First, he went to the tree and he tapped around it too. But found nothing, at last he tapped at the bottom of it and that part went underground and a same type of paper came out. But he didn’t open it and saw what was inside. He went to the cave, when he entered the cave there lay a dead lion skeleton. He understood that the paper must be inside the cave. He went inside the cave but didn’t tap at-all, who knows what is going on in his mind. The cave was as long as a road from India to Russia. When he reached the end 82
of the cave, he tapped, but only on the back of the cave. While he was tapping, he heard a roar from behind him he quickly jumped behind the big rocks. He understood that people who owned the treasure didn’t want anybody to see it so they hid it and made its map and torn it and hid them in secret places. He peeped through the rocks to see what it was, to his astonishment he saw it was the dead lion’s skeleton. He then understood that the lion was not dead, it was the lion which was alive but somebody put a chemical on him and now everybody thinks that it is a dead lion but the lion is alive and free. THE ESCAPE He wanted to peep one more time but when he peeped, he saw nothing. But he heard a lion’s roar again. He understood that the lion had gone to the entrance of the cave. He thought of an escape plan but nothing came in his mind. It was almost lunch time and he felt hungry and tired. He was so tired that he almost felt to take a rest. Just when he was relaxing, his hand pressed a stone and it was a kind of a bomb blast and he had a black-out. At last when it was night he could get up. When he got up, he saw that the cave was broken he heard a low sound of a roar from under the fallen bricks. He understood that the lion had died now, and he was safe. He thought to stay the night there. The next morning when he woke up, he decided to go back to his house. When he was sitting and counting the maps the stone on which he was sitting broke, and he fell on the ground. When he was going to see what the matter with the stone was, he saw that the stone was broken, suddenly his eyes saw something else was there too, he took it and saw it was a same paper so he went back to his house happily and excitedly. THE TREASURE In the first map it had only got a few red dots on it and a few letters. The few letters were ‘O and F’ but the second map there were a few red dots pointing to a treasure chest in Delhi and a few letters they were ‘D, E, L, H, and I’ it all meant ‘TREASURE IN TOWN OF DELHI’. So, he went to Delhi by train. After he reached Delhi, he thought of going to the hotel he had booked. So, after a day at the hotel, he went in search of the treasure. He entered a thick forest and he went to the exact location. So he dug the ground. After he dug a little he found a treasure chest. But the chest was locked so he couldn’t open it. He thought of using the keys he had so after he tried all of them only one of them was left and it was the house key, he tried it and it opened. It had got a photo of his great great great great grandfather and he was so happy to know that he was rich, and he now also knew that once his family was also rich. THE END Satwik Mondal, Class- VI 83
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