Anshuman Dasgupta talks about the mural Life on Campus by Indian artist Benodebahari, at Cheena Bhavana, first floor, freco secco, 1942. Santiniketan, second workshop, 2014.
Ginwala talks about the translations of The Post Office in Poland. Tagore, however, was never in Poland. The reception of his play is beyond him as figure. The Post Office was read as an anti-Fascist narrative. Janusz Korczak making the play with orphan children from the Jewish Ghetto in Warsaw during the second worlds war. Later made into a film by Andrzej Wajda. Implication of death through the script becomes manifest in the film.
Excerpt of the 1916 Japan a Lecture, Delivered for the Students of the Private Colleges of Tokyo and the Members of the Indo-Japanese Association, at the Keio Gijuku University.
At first, I had my doubts. I thought that I might not be able to see Japan, as she is herself, but should have to be content to see the Japan that takes an acrobatic pride in violently appearing as something else. On my first arrival in this country, when I looked out from the balcony of a house on the hillside, the town of Kobe,—that huge mass of corrugated iron roofs,—appeared to me like a dragon, with glistening scales, basking in the sun, after having devoured a large slice of the living flesh of the earth. This dragon did not belong to the mythology of the past, but of the present; and with its iron mask it tried to look real to the children of the age,—real as the majestic rocks on the shore, as the epic rhythm of the sea-waves. …
Kodwo Eshun reads a 1916 lecture from Tagore. Evocation of the roots of Kobe as Dragon. In the letter the traveler the person that brings a specific optic. Kodwo Eshun talks about reception, misgivings and curiosity.
During ‘Tagore’s Universal Allegories’ exhibition Anna Boghiguian’s sat in the gallery writing imaginary letters to or from Tagore, but also between other people and places.
Anshuman Dasgupta talks about Indian artist Benodbehari’s 1946 mural ‘Life of Medieval Saints’.
The mural was done just before India’s Independence and in response to riots such as Noakhali’s; and is Benod Behari’s response to the division between Hindus and Muslims, by representing a nation of Saint poets. Medieval and contemporary figures come together, as the river Ganges joins different civilizations. The mural celebrates different ideas as well as it uses different techniques and styles, with modernist and traditional ways of depicting spaces and characters. Multi-focality and cohabitation being its central themes.
Anshuman Dasgupta talks about some of the murals at Santiniketan’s Campus.
on Benod Behari Mukherjee Life of Medieval Saints
on Nandalal Bose’s Natir Puja
on Benod Behari Mukherjee Life on Campus
on K. G. Subramanian’s Mastermoshai Studio mural
on Nandalal Bose and campus aestethics
Anshuman Dasgupta talks about the mural Natir Puja (Tagore’s Dance Dramas) by Indian Artist Nandalal Bose, at Cheena Bhavan, Santiniketan, second workshop, 2014.
In that early dusk of a distracted age,
When God in scorn of his own workmanship
violently shook his head at his primitive efforts,
an impatient wave snatched you away, Africa,
from the bosom of the East,
and kept you breeding in a dense enclosure of niggardly light,
guarded by giant trees.
There you slowly stored
the baffling mysteries of the wilderness
in the dark cellars of your profound privacy,
conned the signals of land and water difficult to read;
and the secret magic of Nature invoked in your mind
magic rites from beyond the boundaries of consciousness.
Excerpt of poem Africa by Rabindranath Tagore, published in English in ‘Poems’, Visva-Bharati, Kolkata, 1946.
Anjalika Sagar points out that Tagore has actually never visited Africa.