The executive council of the State University in Bhopal recently passed a resolution asking the M... more The executive council of the State University in Bhopal recently passed a resolution asking the Madhya Pradesh government to rename the institution to Vagdevi Bhojpal University. "Vagdevi" refers to Goddess Saraswati, and "Bhojpal" is the old name for Bhopal, tied to Raja Bhoj. Saraswati is the goddess of knowledge and wisdom, and Raja Bhoj was a legendary scholar. Back in 1970, it used to just be called Bhopal University. This new proposal might seem perfectly fine-until you realize that back in 1988, under Congress Chief Minister Arjun Singh, it was renamed Barkatullah University to honor a massive figure in the freedom struggle from the Ghadar Party. So, the real question here is: is this name change actually about celebrating Raja Bhoj, or is it just an excuse to strip a Muslim name off the university?
The roots of Greek, Sanskrit, and Brechtian theatre lie in their traditions, social conditions, h... more The roots of Greek, Sanskrit, and Brechtian theatre lie in their traditions, social conditions, historical time, and ways of life; little arises outside these spheres. Although theatrical consciousness is deeply related to technique, different techniques can sometimes produce similar effects. Hence, the many similarities between Sanskrit and Brechtian techniques—even as their content and purpose are entirely different. Sanskrit drama conveys that all is well and that the Almighty ensures justice for one and all; we should submit to His will. Greek theatre foregrounds destiny, which can be cruel, whereas in Sanskrit drama, destiny does not go against good people. Brechtian theatre absolutely rejects the concept of destiny; rather, it raises questions and provokes human beings to fight against it. In short, Brecht emphasized distancing or alienation to awaken critical awareness, while Kanhai Lal experimented with creating awareness through deep actor involvement. Brecht’s contribution to promoting mindfulness is enormous and unparalleled, but this objective can also be achieved through non‑Brechtian methods.
In a fascist regime, the power generally is centralized in or around one person and such a rule u... more In a fascist regime, the power generally is centralized in or around one person and such a rule unfailingly tries to convince us that we are best taken care of. The fascist always tries to elevate the 'nation' and its 'people' to establish superiority on other 'nations' and 'people'. He also establishes the supremacy of his race, heritage, history, scriptures etc. And he openly suppresses his opposition within the nation and the people; any dissent or protest is met with crushing force. In a fascist regime regressive nationalism takes the centre stage; which is narrow in its approach and propagates a parochial patriotism. The fascist always dictates, personally or through his party; eventually killing the spirit of democracy. He uses democracy is a rubber stamp. Unfortunately, we are becoming the victims of such a fascist regime that is trying to gather strength with a mix of new and orthodox means.
Makhan Singh is a lesser known great man that history has produced. Born in India but grown up in... more Makhan Singh is a lesser known great man that history has produced. Born in India but grown up in Kenya he was one of the leading fighters for the freedom of his adopted land who remained behind the bars for nearly 17 years. He was put under detention by the British colonialists in India for 5 years and then in Kenya for about 12 years My Punjabi play is weaved on the life, contribution and predicaments of this distinguished personality. This article details all the implications of writing a play on such a unique person who fought for the rights of the common people of his adopted land and in the process antagonised his family and the religious minority that he belonged to. The article also brings into light the concerns of the family members of such a person who will naturally resist to anything that comes from the imagination of a creative writer and how the playwright is able to move forward. The play is already published in Punjabi and this article is part of the book edited by Shiraz Durrani : 'Makhan Singh, A Revolutionary Kenyan Trade Unionist'.
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Papers by Atamjit Singh
The play is already published in Punjabi and this article is part of the book edited by Shiraz Durrani : 'Makhan Singh, A Revolutionary Kenyan Trade Unionist'.
Drafts by Atamjit Singh