Archive for the ‘Africa’ Category
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The train has always been a symbol of adventure, discovery, magic as it elegantly snakes its way down mountains and forests, across mystical landscapes. The poems in this book eloquently capture the spirit of train journeys undertaken and imagined, in a most memorable way. Amitabh Mitra has chosen well.
Poet, Translator, Filmmaker, Politician
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Trainstorm is a collection of poems from poets all over the world. The book was created with the concept that there is no actual real train but there is a train running continuously and surreptitiously within. This is the train of encountering our first love and thereafter many loves. This is a train, a poet feels but can express in images and not in words. This is the train of the Trainman in Matrix who tells Neo, here in the train station, he is the God. Trainstorm is this revolution, I have tried to create, a reason is perhaps an extinct word. There is a storm approaching much like the Chambal storms at Gwalior. We continue to live in such Trainstorms.
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Daily Dispatch, South Africa’s premier daily features Splinters of a Mirage Dawn, Anthology of Migrant Poetry of South Africa
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There was always something wonderfully counter-intuitive about Neil Aggett as an anti-apartheid campaigner—he was white, qualified in medicine, and young. He had a life of privilege ahead of him and could have chosen to live comfortably with those of his skin feeding off the benefits of white advantage. It would of course have been easy to fit-in with the powerful socialisation that comes through family; as I understand it, his father left Kenya to escape black majority rule and establish home in white South Africa. Then there was the rigid discipline and compliance demanded by his school culture, hardly an environment for breeding left-wing radicals. Yet he stares power and privilege, school and family socialisation, in the face, and goes the other way.
This is what I call uncommon leadership, and it is a quality as rare and needed under apartheid as it is rare and required after apartheid. This is the relevance of Neil Aggett to all of us today. It was much more difficult then to lead against the grain and to defy the expectations of your community for imprisonment, torture and even death were very real threats everywhere, but especially under the sadistic sense of duty of the Eastern Cape High Command. And yet it is difficult today in a culture that allows for expressions like “our turn to eat” and where speaking out against wrong can, once again, threaten life and limb.
And so my approach to this 9th Neil Aggett Lecture is to speak to this important legacy of the first white man to die in detention (at 28 years of age), and to challenge especially our future leaders, the young men and women of this distinguished South African school, to map out for yourselves a path of uncommon leadership in our troubled country.
Rector of the University of the Free State
Born in Montagu South Africa
Jonathan Jansen is the Rector and Vice-Chancellor of the University of the Free State. He is the Honorary Professor of Education at the University of the Witwatersrand and Visiting Fellow at the National Research Foundation. Jansen also serves as an Independent Non-Executive Director for Advtech Limited and is the Chairman at the School Evaluation and Teacher Appraisal.
Charcoal Portrait of Neil Aggett by Amitabh Mitra
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Noted artist Vijay Mohite, whose works were on view at the Lalit Kala Akademi recently, was a master of creating abstracts which spoke the common language of love
Encountering Vijay Mohite Sahab and his wife Aruna at Gwalior during 1970s was the most formidable experience for a young doctor keen on mastering visual arts and poetry. Both Mohite Sahab and I belong to Gwalior. I imbibed his words and they still stay with me. His art, the few that I saw then, remain etched in my mind.
Medicine took me to remote parts of the world but in a tiny corner of my mind, the vastness that is Vijay Mohite remains. Each time I came back home to my parents at Gwalior, the fort and his art made me think, and I was left trying to find words for creations so beautiful, so magical, and yet so hard to explain.
Vijay Mohite’s works have always been acclaimed as abstract compositions. They were probably seen as removed from the place and his life at Gwalior.
If one analyses all the pieces, his art comes out as a spectacular understanding of familiar forms and shapes. Feelings are the mobile language of Vijay Mohite’s art. In dynamic proportions, its relative understanding of the earth, the sky, the people and the fort all being of Gwalior is depicted in mammoth togetherness of strokes that might be mistaken for impatience.
In the clever mastery of juxtaposition of colours, the eye sometimes rolls to create a bonding.
In the immediacy of such flavours, such organised textures, such ways of recall, Vijay Mohite continues to talk to us about blistering summers and severe winters, he tells us about the earthly foliage that lives within all of us.
Rhythm and suggestiveness in sudden blues, reds and oranges that sparkle from his huge canvases are of a caring togetherness. I would even think of his sudden laughter, such sudden shower of colours happening in total awareness. A curtain seems to have moved apart.
For togetherness was always the theme of Vijay Mohite’s work. His togetherness with his wife Aruna, daughter Nandita and stranger dawns and dusks that he revered, were all his inspiration for such work, such language never created by any other Indian artist.
During the same time as Vijay Mohite’s most creative period, poetry and visual art in a unique Indian juncture revolutionised the landscape of global creativity. Thoughts entangled in colours and words gave way to a new religion in India.
This movement had artists like Sabavala, Ram Kumar, Krishen Khanna, Akbar Padamsee and others; each proved that they had streaks of brilliance in them.
Vijay Mohite took to this movement like a heretic; his poems in colour were of savage radiance, rehearsing in unforgettable ways, themes embedded in life within many lives at Gwalior.
Today, in the absence of Vijay Mohite Sahab, I go through his work again and again.
It’s just like a poem stuck on to my memories. His structures were different but spoke the common language of love.
Amitabh Mitra is an artist/poet/emergency medicine and a trauma physician in East London, South Africa.
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Gopalkrishna Gandhi was appointed India’s High Commissioner after the Apartheid rule fell in South Africa. A rare insight of the world of Nadine Gordimer who passed away on 13 July 2014 and her feelings about India as narrated by Gopalkrishna Gandhi in an article published in the Hindustan Times
My tribute – Charcoal on Paper
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Delhi – a city described as home to everyone yet belonging to no one. I feel that that is the best feeling ever. A city that has the ability to make one feel such emotions simultaneously is quite rare. I came to live in this city ten years ago and at that time I never wanted to be a part of it; I wanted to go back home- to that sheltered, protected environment where I had grown up. Something made me stay; several years later I can’t think of living anywhere except in this city. The charm and the spell that it casts on one’s mind are indescribable. The people, the food, the history- it takes years to understand this city and I believe ages to know every nook and corner of this mysterious place. Mysterious, yes that’s the word for this city. It can make you experience different worlds as one move from one corner to another. The fascinating bit about the city being that every part is distinct from the rest.
To celebrate and to meditate about the city, Dr. Amitabh Mitra came up with the wonderful idea of publishing an anthology which talked about the city and the interesting angle that was added was that the city be described by women poets who were below the age of 30. We got a tremendous response and it took a lot of time to go through all the submissions and finally select the poets we have featured in this anthology.
It was a delight to go through all the works and each work is distinct and unique in its own way. The way this city has been described in so many beautiful ways is for you to read and be mesmerized.
Celebrate with us the city called Dilli !
I met Dr. Amitabh Mitra a few years ago through my 1978 released album “Train to Calcutta”; I was humbled by his kind words. His many artistic attributes besides being in a busy occupation of being a Doctor makes me respect him for the way he so constructively uses his time, and therefore, whenever he asks me to be a part of any project he undertakes, I only feel grateful for the faith he reposes in me. Thank you Doc!
I am so glad that Dr. Amitabh Mitra has compiled this anthology of poems on Delhi, and especially by women poets of Delhi, and that too below the age of thirty – a perspective I am really looking forward to reading.
I came to Delhi as a young boy of ten in 1960 with the little boy’s excitement of being in the capital of the country, with a sort of chip on my shoulders and that feeling that I had arrived. I have loved Delhi with all its past and its present, from the Indraprastha to the high-rising concrete and the NCR and its ever-changing chameleon temperament, but I don’t know if I really share its ethos now. Being a singer/songwriter, I always listened to the lyrical and poetic Delhi, its political and social attitudes. The city gave me so much to think and I just reacted through my urban folk songs. I am excited to read these young poets to experience the influence that Delhi has had on them.
My curiosity in reading this anthology is more because I understand that the poets are all below thirty years of age, which means they were all born in the eighties. Lots happened before then, in fact, according to me, the best time in Delhi were the seventies. It was the watershed and a milestone period which possibly dictated the modern times in India and I am curious to know if their poems are based on stories they have heard from their parents about the preceding years or are the poems typical reactions to the mid-nineties that we from the previous generations were trying to resist and the youth were trying desperately to get back and hold on to the ethos and emotions of the seventies through music and the arts.
I grew up in those dichotomous times – the Vietnam War, a tragedy of human barbarism, the moonwalk, and a technological invasion of outer space and arrogance of the human mind. There were these great movements of Women’s liberation, Leila Khaled’s of the Popular Front for the Liberation of Palestine ( PFLP) hijacking of a plane, Marianne Faithfull’s assertion of female sexuality, and the turbulence of the Naxal uprising. On the more gentle side of human emotions, there were the Hippies, a community that grouped together to resist consumerism and materialism in their developed nations and who came to India looking for Nirvana through transcendental meditation. New concepts of Spirituality and, Universality came about while an undercurrent of the corporate market was slowly raising its ugly head. People like Pete Seeger, Bob Dylan and so many others were singing in support and in solidarity with young people. It was our first attempt at globalisation, not through the market but through people.
Emotionally Delhi has always fascinated me and always will, perhaps because it is the seat of power and it dictates the governance of this huge and diverse nation. I came to Delhi with its big houses, wide avenues and beautiful historical monuments. I lived in Delhi witnessing the enormous changes that were taking place and changing its social patterns. I anguish over Delhi’s aspiration of becoming a Super “A” Capital and completely ignoring life.
As a songwriter/singer I have sung about the vibrancy of Janpath in the 70’s, I have sung about the children huddled together around a fire while others danced at nightclubs in five star hotels on Christmas and New Year’s eve. I have sung about the various voices needing to be heard in protest for the rights of people. And I have sung about the great epic Mahabharata which this city experienced many centuries ago.
I am excited about the relationship of these modern poets with this great city and how they perceive it through their poems. And I am sure; they have re-lived the decade before them through their parents, who grew up in the dichotomous times that I have mentioned.
Really looking forward to the book and thanking Amitabh for his thought.
Art by Amitabh Mitra
A Poets Printery / Cyberwit.net India Publication
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Edited by Glory Sasikala
Published by Poets Printery and Pubros Consultants
Cover Art – Amitabh Mitra
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