Saturday 20 October 2012

CALL FOR PAPERS
After the proud publication of our first issue on Ognijug, the age of revolutionary nationalism in Bengal, and the second issue on Bengali Cinema: Bengalis and Cinema, Journal of Bengali Studies (JBS), a peer reviewed academic interdisciplinary online journal (ISSN: 2277- 9426) meant for discussions into the history and culture of the Indic Bengali people, is happy to announce the Call for Papers for its third issue (Vol.2, No.1) on Bengali Theatre: Bengalis and Theatre, due to be published on the occasion of Boshonto Ponchomi, i.e. Saraswai Pujo, 15 February 2013. The final date for submission of article/review/creative workshop is 1 February 2013.

 
Owing to certain unavoidable circumstances, the previously announced CFP titled Bengalis and Power has been temporarily withdrawn, we deeply regret this decision and JBS pledges to return to it in future.
 

Call For Papers
Bengali Theatre: Bengalis and Theatre


"The really conspicuous talent for histrionic art possessed by the Bengali, cannot be seen to better advantage than in this drama."
-The Englishman (1873)


7th December 1872 was a historic day for Bengali Theatre as well as the socio-cultural spectrum of India as the nation witnessed the inception of a public theatre with the staging of Nildorpon. It was the first time that a public space was thrown wide open to the common masses in lieu of ticket and not on the basis of class, caste, creed, race, religion or gender. Every inhabitant of Bengal was welcome in the playhouse, which would now be the site of mass agitation, nationalist revolutionary awakening and cultural-spiritual cultivation in the coming decades.
Dinabandhu Mitra’s Nildorpon (translated by Michael Madhusudan Dutt as Indigo Mirror) signaled a new herald of nationalism that swept the Bengali stage to evolve into a potent weapon of protest against the British colonialism. The legacy of Bankimchandra Chattopadhyay in Bengali literature was carried on by the likes of the "Shakespeare of India", Girish Chandra Ghosh who pioneered modern play writing in Bengali. Soon, the Bengali stage acquired importance beyond socio-economic and cultural boundaries as spiritual leaders like Ramakrishna Paramhamsa patronized it and the British rulers despised it by drafting one coercive legislation after another.
The immortal words of Ramkrishna,"Theatre e lokshikkhe hoi" (Theatre provides mass enlightenment) catapult theatre from the mud of rich man’s entertainment and forced prostitution of actresses like Binodini by patrons to an aesthetic art form with an immense potential to influence people, that was evident in case of Binodini playing Sri Chaitanya Mahaprabhu in Girish Ghosh's theatre. As time progressed, better technology, innovation and indigenous features and an imminent Bengaliness characterized Bengali theatre with the likes of Notosurjo Ahindra Choudhury and Natyacharjo Sisir Kumar Bhaduri coming to the forefront. Tagore's contribution to Bengali theatre was noteworthy too.
During the 1940s, with the advent of Leftist ideology in theatre, nationalism took a back-seat; anti imperial struggle was displaced and sabotaged under the name of class struggle in renowned plays like Nobanno. IPTA became the buzzword and Bengali theatre appeared in new avatars like Gononatyo, Nobonatyo and finally to the present form of Group Theatre. It has changed parallel to the change in Bengali society, values, norms, ideologies.
The present issue would like to throw open arguments, broadly regarding the change in Bengali theatre from its glorious nationalistic beginnings to the domination of leftist ideology and to what extent this has affected Bengali theatre and its environment.
The topics for contribution will include the following sub-themes but will not be exclusively limited to the same:


Sub themes
1. Bengali theatre and society.
2. Nationalist/Revolutionary awakening & Bengali theatre.
3. Bengali drama and Bengali language, culture, politics and history.
4. Bengali literature and Bengali theatre: Bankim, Sharat, Tagore et al.
5. Economics, publicity and stagecraft of Bengali theatre.
6. Issues & subjects of Bengali theatre.
7. Bengali influence on Indian and world theatre (on the plays in languages other than Bengali).
8. Leftist ideology in Bengali theatre.
9. The legendary commercial-popular theatre of Bengal. Group theatre movement.
10. Contemporary Bengali theatre & their polyphonic voices.
11. Women in Bengali theatre.
12. The relation of Bengali theatre to the traditional performing arts of Bengal, like dance, Jatra, Kobigaan etc.
(the authors are encouraged to extend beyond the given theme and sub themes)
 

General details about submissions to Journal of Bengali Studies:
Journal of Bengali Studies is published in English and is an online journal. A Contribution must be electronic and in English language. It should consistently follow any one of these three scholarly styles of citation: MLA style, Chicago Manual of Style and APA style. Contributions must always be double spaced. An article, with notes and bibliography, should not be more than 10000 words. In case of reviews, the upper limit is 2000 words; we welcome reviews of new books as well as old and out of print ones, not necessarily of books written in English alone; we accept reviews of old and new plays alike, as well as reviews of theatre related books, new and old alike.
From our Cinema issue, we have started a section (in addition to articles and reviews) called Creative Workshop: Theory in Practice. This section features creative writings which are related to our theme. Any kind of creative writing that concerns the relationship between Bengalis and Theatre is welcome for this issue; a priority may be given to maiden theatre scripts, which may be originally written in Bengali, in which case it has to be in English translation, or it may be originally written in English. In either case, it should touch our theme and be relevant to the CFP; for example, a meta-theatrical play about Bengalis and theatre (immediately coming to mind is Utpal Dutt's Tiner Toloyar) would be very much welcome. So will be any play that explores the question of Bengaliness. Upper Limit of Creative Workshop: 10000 words.
We have no lower word limit for the contributions, the authors are free to use their discretion. Contributions should either be in MS Word, Open Office, or RTF format and should be emailed to
editorbengalistudies@gmail.com, editjbs@gmail.com and shoptodina@gmail.com.
Before submission, please see our Submission Guidelines and Terms and Conditions for further details at http://bengalistudies.blogspot.in/. For further ideas about the objectives of our journal, please see the JBS Manifesto at http://bengalistudies.blogspot.in/.
Editor: Tamal Dasgupta
Editorial Board: Sourav Gupta , Rishi Ghosh, Sandeep Chatterjee, Mousumi Biswas Dasgupta, Sujay Chatterjee, Amit Shankar Saha.

For this Theatre issue of JBS, Sourav Gupta (+919938902001) and Rishi Ghosh (+919432862316) will be Executive Editors.




Tuesday 21 August 2012

JBS Vol 1 No 2 has been published


After the proud publication of our first issue on Ognijug, the age of revolutionary nationalism in Bengal, Journal of Bengali Studies, a peer reviewed academic interdisciplinary journal meant for discussions into the history and culture of the Bengali people, is happy to announce the online publication of its second issue. The Monsoon Issue (Vol. 1 No. 2) of Journal of Bengali Studies is now online. The theme of our current issue is Bengali Cinema: Bengalis and Cinema.



Download the complete issue.

To read it on scribd, click here.

Have a brief glance at the content of JBS Vol.1 No.2 .




Contents



Editorial 5



Articles



Towards a Historiography of Bengali Cinema

Or, Everything You Enquired about Herbert Sarkar, but Were Dismissed by the Coffee House Intellectual

Tamal Dasgupta 8




Utopias of Celluloid Love: The Golden Era of the 1950s & Popular Culture in Bengali Cinema

Kaustav Kundu 51





Adivasi Women in the Bengali Literature and Cinema

Debasree De 76





Writing a Biography of Bengali Film Publicity: the Logic of Differentiation, and a Journey of Desire

Spandan Bhattacharya 87





Adaptation of Films from Plays: A selective study in post colonial Bengali Cinema

Sourav Gupta 104





From Tollygunge to Tollywood: The Transformation of Bengali Film Industry between 1980 and the Present

Anugyan Nag 120





Film Reviews



Pather Dabi and Revolutionary Nationalism in Bengali Cinema: A Review
Sujay Chatterjee 169





Promoting Kolkata on a Global Scale: A Review of Kahaani

Abhijit Mallick 176





Kahaani and Bhooter Bhobishyot: Two Reviews

Mousumi Biswas Dasgupta 179





Creative Workshop: Theory in Practice



A Script Adaptation of a Poem

Debanjan Das 189

Friday 18 May 2012

Deadline for the monsoon issue (Bengali Cinema: Bengalis and Cinema) is extended till 20 July 2012. The monsoon issue will now be published on the occassion of Janmashtami.

Editorial Board, JBS


Inaugural issue of JBS

Saturday 11 February 2012

Spelling of Ognijug: A Case for a Bengali System of Transliteration


Whether to follow the letter, or to follow the spirit is a perennial dilemma of the literate world. A frequent moot point in all legal and constitutional matters, this question can in fact arise in any matter that involves written representation of any idea/object/sound, in other words in any literate matter. This letter/spirit dilemma regarding transliteration of Bengali words into English by using Roman alphabet is what I am going to draw your attention to.



The Sanskrit standard of transliteration into English is pretty evolved, is standard and undisputed. Bengalis have followed it probably out of their natural affinity (an affinity that may not be just limited to upper castes) for Sanskritic structures, and also because it is always easier to conform to an existing universal standard than undertaking a trouble of founding a new local one. The question of a new one comes, because the received Sanskritic standard (from North-West India) does not adequately represent the Bengali nuances.



But then again, do we have a strange spelling custom in Bengali language that in order to preserve the original shape of the word has so entirely ignored its current form in received/standard Bengali pronunciation (i.e. the Kolkata/Nadia standard)? There is no use in suddenly being fond of diversity and plurality and giving the excuse of multiple living dialects that should ostentatiously force us to retain the Sanskrit system of spelling, not when all (plural) the living forms of the word widely differs from such a spelling.



It brings the issue of tatsama/totshomo vs tadbhava/todbhobo once more to the fore. I think it was Tagore (or Suniti Chatterjee, or may be both) who once said that the presence of tatsama words in Bengali will be drastically reduced once the words are stripped of their conventional clothing and restored to their phonetic and morphological actualities. Most of the Bengali words which we consider as tatsama, actually are tadbhava. The word tatsama itself, in fact is pronounced as totshomo. There can be righteous indignation over this discrepancy once we no longer operate within a closed audience of the native-language users, the cognoscenti who are familiar with spelling customs and conventions, this is the case that might happen when you meticulously remind a non Bengali who is unfamiliar with the Bengalis' spelling customs that though it is spelled as Satyajit, it is actually Shottojit. So perhaps fresh customs need to be invented when we deal with a new audience, keeping in view the nuances and demands and rules of representation of a new medium.





Surely any foreign custom of spelling cannot be introduced in an intact manner in a transliteration into Bengali without some serious loss of data that needs to be transmitted. Silhouette is not pronounced as it is written, so a transliteration into Bengali will most probably try to capture the essence of the word and not the spelling custom. But the fact is, we shall still spell Padma in Roman alphabet, quite ignoring the phonetic and structural constitution of the Bengali word. Exactly why do we conform to a standard that is visibly inadequate to transliterate Bengali words into English?


The desire to conform to an existing powerful standard is akin to finding employment while searching for a standard of one's own is akin to founding a business. Bengalis are conformists and employment seekers: that's a piece of timeless wisdom we have inherited from our forefathers. Our natural propensity for shying away from confident and powerful self-assertions is only matched by our anxiety to conform to the standards of power. That's why we are always so very enamored by those who can speak impeccable and pucca English. If there can be an Indian English, why there cannot be a Bengali Inglish, or Benglish (I am instantly reminded of “Kolaveri di”. This song has kind of shown the appeal of a broken Indian English).





I remember an anecdote about a Bengali Pandit (the term pondit in Bengali means a scholar, sometimes more particularly a Sanskrit scholar, unlike the north indian pandit which simply and invariably means a brahmin by birth) in Kashi.



A Sanskrit symposium was held at Kashi. This Pandit of ours attnded every session of it, sitting at a corner, following the proceedings attentively. After a few sessions, a person sitting next to him asked, “sir if you don't mind, are you a Bengali?” The Pandit was surprised and enquired what gave him away. The person, a local, replied, “it was your silence. Bengalis know Sanskrit well, but because of their pronunciation, are full of inhibitions and usually don't speak in such gatherings.”



Bhanu Banerjee, noted Bengali actor, once spoke of his frustration, “what is this huge fuss over my Bengali accent in the Hindi movie I acted in (yes, Bhanu did a Hindi movie once)... If there is a Marathi way of Hindi speaking, if there is a South Indian way of Hindi speaking, if there is a Punjabi way of Hindi speaking, then why not a Bengali way of Hindi speaking as well?”



In their anxiety to conform to the standards of power, Bengalis are perhaps losing some valuable resources of their own. Silence, censuring and censorship are some of the aspects of our conformist anxieties.



But there is a sporadic but not negligible resistance to this replication of Sanskritc structures of Bengali spellings in English transliteration. Spelling Aurobindo the way it is done is one such instance of Bengali resistance. I know a Bengali residing in Delhi who writes his surname Gupto just the way it sounds in Bengali, and not as our Sanskritic transliteration system demands, which is Gupta. Freud once coined a concept called Narcissism of minor difference. This is a classic illustration of this idea. When identities are built, the minor differences really become the rallying points. So when a community wants to celebrate its uniqueness, and its separate identity, it celebrates the minor difference that separates it from its immediate neighbour/s.


Non-Sanskritic words like roshogolla, mishti doi and macher jhol (and they are our great cultural capitals as any restaurateur doing brisk business in Bengali cuisine will tell you, so it is only imperative that their transliteration should reflect that essential Bengaliness as “maach” as possible) immediately render themselves unto transliterations closer to Bengali sounds. But what about Gandhi's pronunciation and spelling of the Sanskrit word for untouchability, as “asprushyata”? Well, “rru” is how a lot of Indians including Gujaratis (even Oriyas do the same) pronounce the same Sanskrit vowel Bengalis know as “rri”. The fact remains that neither the Bengali nor the Gujarati pronunciation is able to capture the original Sanskrit vowel, so the logic here is that each should be free to construct its spelling according to their own standards. Another such example is the representation and transliteration of the compound consonant “ksha”. “Murdhanya sha” is not the same as sha. The Sanskrit “murdhanya sha” is a sound closer to the Gemran “ch” (as in the word Brecht), as Syed Mujtaba Ali once pointed out. Murdhanya sha of Sanskrit was actually somewhere between “kh” (as in Urdu words “Khaled”/“khali”/“khayal”) and “sh”.



We have, following the Eastern/Purbo Magodhi linguistic culture, retained the kh component in the word dikkha, while the North Indians have gone for deeksha. Under such circumstances, one should be free to construct a model of transliteration according to the local Sanskrit/Prakrit traditions. This in fact brings us to the question, was there ever a single monolithic Sanskrit standard, or were there many local Sanskrits (sounding however hopelessly liberal in the process of asking so) since there were so many Prakrits which were derived from Sanskrit?



I believe that our words have a distinct morphological shape that is being hidden beneath the Sanskritized spellings (Bengali language is unusually Sanskritized; even today, compared to the lately generated Sanskritization of Hindi, Bengali outshines Hindi in its gamut of Sanskrit repertory in everyday lived vocabulary). I trace the beginning of this process to the Sen experiment, let me say this at the cost of repetition. An archeological excavation is not required to find out the Eastern Indic characteristics of Bengali language: our words celebrate those roots as these are preserved within living traditions of speech (the synonym of word in Bengali and Sanskrit is Shabda, which also means sound). What I want to emphasize is that the eastern Indian people have a linguistic cultural history that modern modern day Bengalis must recognize and celebrate: that history cannot be stifled with the excuse of Sanskrit. There were many Sanskrits, otherwise many Prakrits could not have evolved. Bengali bhadraloks are remarkably different from their counterparts from the other nationalities in one attitude of exclusion and elitism in their speeches: we usually purge our lived speeches of indigenous words (unlike the rest of India: our comprador characteristic is born out in the fact that we shy away from using the language of ordinary people and consider their vocabulary akin to slang) and prefer to use choice words from English and Tatsama. Thus the bhadralok's language becomes further reified, and distant from the lived ordinary Bengali speeches.



The Sanskritization of spelling results from bhadralok obsessions with conformism and chastity. Needless to say, such obsessions stem from concrete material conditionalities. Because Bengali upper classes exhibit comprador characteristics, they have an anxiety to conform to norms of established power and perform acts of chastity in speech. Our refusal to Bengalicize our spellings is a result of comprador anxieties of performance and conformism.



Noted Indologist Dr Prithwin Mukherjee objected against Agni Yuga being spelt as Ognijug, and in recently pointed out in a letter to me that j stands for “bargiya ja” in Bengali, so if one transliterates back the term jug in Bengali, it will create a confusion. First of all, I think there is no confusion when we transliterate back Bagha Jatin (Prithwinbabu's grandfather) or Jatin Das from English to Bengali, as we dont think of using a “bargiya ja” in our transliteration. Still, Jatin is only partially close to our language: Jotin is closer.



Anyway, Jatindranath Mukherjee surely was not wrong in spelling his name as Jatin, and nor are we. Secondly, I am not worried about the audience at home that is familiar with the rules of the Bengali spelling game, I.e. the native Bengalis and those who know their ways. I am concerned about that reader of JBS who is not familiar with the Bengalis and does not know that Agni Yuga in Bengali is pronounced as Ogneejoog. I have tried to convey the spirit of Bengaliness to such a reader, while being fully respectful to the anxiety of some of the nationalists from the (existing) old schools.



Identity, independence and self-assertions (in transliteration as in elsewhere) are always matters of great anxiety for the Bengalis, because they involve a democratization, it involves an empowering of the lived experience, something that has remained a taboo since the rulers imposed Sanskrit, Persian and English respectively and people knew that they need extraneous certification for their experience to be valid and that they need to conform to the standards set by power-centre in order to be legitimate, though Sanskrit was not an alien language like Persian and English, and could inform parts and bits of the lived experience.



I remember meeting a Ukrainian youth (this was some 10 years after Ukraine became independent), whose name's spelling was Volodymyr. This is closer to how the name is pronounced in his mother language, that is Ukrainian, though the Russian Vladimir is more standard, known and established. He confidently privileged his free, easy-flowing and natural lived speech over the Russian norm. It asserted his uniqueness, celebrated his culture's “minor” difference with Russian and gave his an identity.



One argument against a Bengali standard for transliteration is that it will look unfamiliar and alienating to our eyes if we attempt it. The same can be placed as an argument in favour of the loss of Bengali identity, because identity/communal feeling looks awkward to many Bengalis who have dispensed with it and are quite happy about their achievements. Let us not bring this excuse now into a left, postmarxist, revolutionary discourse of Bengali nationalism, which has to by default deconstruct the familiar cliches and dare to rush in where angels fear to tread. Here I give a call for a Bengali system of transliteration.



One quality that such a transliteration system embodies is that it is far sighted. With the advent of Avro and phonetic typings in unicode Bengali, I believe that we shall increasingly see a switch over to phonetic spellings among the computer savvy digital writers of Bengali language of new generation, because we cannot sustain a dichotomy for long. I shall swrite tomal if I want to write my name in Bengali letters, following Avro. I write my name as Tamal in English now. In Avro, typing Tamal will give টামাল. Unicode typing of Avro might appear insignificant now, but its effect will be seen in the long run.



Bengalis must become self-sufficient and strong: time has come when they will have to become powerful in their own right. That is the only way to a strong Eastern India and a strong Indic identity (and a strong India). Harping on a false but deeply ingrained uniformity of Sanskritized spellings defeats the very cause of Indigenous interests of a resourceful Bengaliness which we believe is important for India. If we can have an Eastern Indic system of transliteration, we can place Bengalis within the Eastern Indian cultural space, within the Bengali group of languages and cultures. A Universalist, internationalist, elitist and Westernized Bengal is restored to Its place in Eastern India and is reunited with Bihar, Orissa and Assam in such a transliteration project, as I envisage.


I invite scholars from linguistics to take this debate further. I lack the authority, expertise and scholarship to do anything else apart from providing a take-off point for a critical debate on transliteration. Let us begin this debate; let us not be deterred by the possible resistances put up by old habits: after all we were able to change Calcutta to Kolkata, were not we?


--Tamal Dasgupta, 11 February 2012, 15:12 IST


Friday 10 February 2012

First Issue of JBS