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Of Poetry and Folklore: Day 2 of M.I.L.A.P. Unfolds – The Manipal Journal
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Of Poetry and Folklore: Day 2 of M.I.L.A.P. Unfolds

 

MANIPAL: The second day of Manipal International Literature and Arts Platform (M.I.L.A.P.) began with a panel discussion featuring Charu Nivedita and Deepti Sreeram titled, ‘Symbols of Diversity in Writing’. The session comprised of many topics including his own life experiences in terms of writing and his spiked interest in the French community. Following this was a question and answer session where the discussion ranged from his upcoming work to freedom of expression. || Photography Courtesy: Bhavya Joshi 

 

“Theatre became became my medicine and therapy,” said Atamjit Singh whilst in conversation with Animesh Bahadur. He spoke about the adverse effect that theater has had on him. In his talk titled, ‘The Relevance of My Dramatic Efforts’, he covered issues such as dysphoria with reference to Punjabis facing foreign waters and the cultural shock that follows. || Photograph Courtesy: Vanessa Shingare

 

“One thought that has always troubled me is if my work will impact the crowd,” added Singh while speaking about the effect of his plays on common people and his wish to portray specific themes in his work. || Photograph Courtesy: Bhavya Joshi 

 

The session that followed was titled, ‘My Name is Ocean: History, Memory, Poetry’ by Ranjit Hoskote and Ajinkya D.Ranjit Hoskote is a poet, art critic, cultural theorist, and curator. When asked about the ocean having no memory, he replied, “Water can retain memory. What we often fail to look at is how the ocean has very contingent history for us. That’s how most cities are born— on its shore.” || Photograph Courtesy: Vanessa Shingare

 

The panel on ‘What We Talk about When We Talk about the North-East’ was moderated by Romal Singh and the speakers were Patricia Mukhim, Mitra Phukan, and Prasenjit Biswas. || Photograph Courtesy: Vanessa Shingare 

 

The panel discussed North-Eastern literature, from its birth to its flourishing. “It’s the North-East of India; for us it is the center, for us it is home,” said Mitra Phukan while speaking about ethnicity and the turmoil attached to it.“Acceptance is a difficult phase. There is still graffiti which reads, ‘Khasi by birth, Indian by accident,’” she added, talking about how the difficulty faced by North-Eastern youth in finding acceptance. || Bhavya Joshi 

 

A talk on ‘Theater Music: Marathi’ was conducted by vocalist Sameer Dublay. The talk chronicled the evolution of theater music from the British era to present time. || Vanessa Shingare 

 

“The range of folk poetry is such that it can’t be condensed into one single session,” said B Surendra Rao when examining the path of Tulu poetry to the current millennia. He elaborated on the history of Tulu poetry and its origins. || Photograph Courtesy: Vanessa Shingare

 

“Kabitha or ‘work song’ is a form of popular Tulu poetry narrated by women while working on the fields. This kind of poetry originated within the community of women who used to toil on fields, thereby lessening their workload,” says Surendra Rao. At the end of the discussion, professional kabitha singers came onstage to give us a glimpse into the world of Tulu folklore and poetry. || Photograph Courtesy: Vanessa Shingare

 

The day came to an end with a street play by ‘Kalamanch’— a theater group from School of Communication. Their themes included body shaming and India’s fair skin obsession. || Photograph Courtesy: Vanessa Shingare

 

Featured Image Courtesy: Aradhika Jain 

Edited by: Bhavna Subramanian

Aminah Neemah

neemkalmata28@gmail.com

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