V. Sambasivan’s populist Othello for Kerala’s kathaprasangam

2021 ◽  
Vol 5 (1) ◽  
pp. 9-27
Author(s):  
Thea Buckley

Through the verve and beauty of V. Sambasivan’s (1929–97) recitals for Kerala’s kathaprasangam temple art form, performed solo onstage to harmonium accompaniment, Shakespeare’s Othello has become a lasting part of cultural memory. The veteran storyteller’s energetic Malayalam-language Othello lingers in a YouTube recording, an hour-long musical narrative that sticks faithfully to the bones of Shakespeare’s tragedy while fleshing it out with colourful colloquial songs, verse, dialogue and commentary. Sambasivan consciously indigenized Shakespeare, lending local appeal through familiar stock characters and poetic metaphor. Othello’s ‘moonless night’ or ‘amavasi’ is made bright by Desdemona’s ‘full moon’ or ‘purnima’; Cassio’s lover Bianca is renamed Vasavadatta, after poet Kumaran Asan’s lovelorn courtesan-heroine. Crucially, Sambasivan’s populist introduction of Othello through kathaprasangam marks a progressive phase where Marxism, rather than colonialism, facilitated India’s assimilation of Shakespeare. As part of Kerala’s communist anti-caste movement and mass literacy drive, Sambasivan used the devotional art form to adapt secular world classics into Malayalam, presenting these before thousands of people at venues both sacred and secular. In this article, I interview his son Professor Vasanthakumar Sambasivan, who carries on the family kathaprasangam tradition, as he recalls how his father’s adaptation represents both an artistic and sociopolitical intervention, via Shakespeare.

2001 ◽  
Vol 47 ◽  
pp. 293-310
Author(s):  
Alan Windle

Born in Budapest in 1925, Andrs Keller was the only child of Jewish parents. He entered the University of Budapest in 1943 on a Jewish quota to study natural philosophy. Studies became increasingly difficult because of the activity of fascists in the university as Hungary was an ally of Nazi Germany and was expected to be seen to pursue an anti–Semitic policy. Perhaps inevitably, he had to join a Jewish labour battalion, which is where Jewish men of military service age were sent instead of into the armed forces. After several days at a drafting centre in a Budapest brickworks, he was taken east to Ruthenia, which was in Slovakia and is now in the Ukraine, and was put to work building airfields. His battalion was moved around and it is difficult to know exactly where he was sent and when. However, one possible fixed point is that he remembers his train alongside a train of German troops who were celebrating the assassination of Hitler (as they thought), which would indicate a date very soon after the 6 July 1944 plot; false rumours of its success had been circulated initially to aid in the hunt for those involved. The food was poor and they were overworked, so they supplemented their diet by cooking mushrooms on shovels. The Russians were advancing and almost completely encircled Ruthenia, leaving just one narrowing corridor towards the west. As the work battalion was being marched towards it, Keller and a friend jumped the column into nearby undergrowth and hid. For several days they lived off the land and then separated as Keller wanted to wait until the Russian front had passed by. He hid behind hay in the roof space of an abandoned barn and was nearly found when the barn was searched; however, the soldiers did not look behind the hay, they just prodded it and departed. Keller watched the Russian troops occupy the village led by a mounted cavalry officer followed by an ox cart. He heard later that only one of his group survived the winter of 1944/45. He tried to work his way westwards behind the front, but was soon picked up by the Russians near to Szatmr (now known by its Rumanian name of Satu–Mare), who sent him to a displaced persons' camp in Bessarabia in Rumania. Although the Russians were tolerant, they left the day–to–day running of the camp to the senior German prisoners, who made life particularly hard for a young Jew. Keller noted batches of prisoners being taken away in trains, and he suspected, correctly, that they were being taken deep into Soviet territory. He decided to escape, and on the next moonless night he managed to crawl under three rolls of barbed wire where they had been stretched across a depression in the ground, and then over a wooden palisade that collapsed under him and alerted the guards. However, the guards did nothing, Keller surmising that they had orders to stop escapers they could see, but no orders that told them what to do if the fence fell over. He ran into the night, unhurt, and started once again to trek back to Budapest. Initially he reached Bucharest, where he was helped by a Jewish resident called Goldfarb, and finally back to Budapest, which he reached in February 1945, shortly after the city's liberation by the Red Army. Most of the surviving remnant of Hungarian Jews was in Budapest, the majority of the prewar Jewish population of 600 000 having been deported to death camps during the spring of 1944. These included Keller's father, uncle and aunt, who were all sent to Buchenwald and never seen again. At that time his young cousin had been sent across Budapest to his mother, with the family gold hidden in the head of her doll, and together they survived the holocaust, as did his paternal grandparents.


For many years amateur entomologists have considered that on nights of full moon it is of little use going out to catch specimens, as insects will be few in number. This belief applies to all methods of collecting, including bait (sugaring) and light, and is supposed to apply particularly to the Lepidoptera. Scattered through the literature on Agricultural Entomology one finds occasionally references to the use of light traps for the destruction of pests, and statements, usually from the tropics, that the catches were less at times of full moon ; but so far as I am aware no proper statistical study of the question has ever been made. One of the most striking series of figures is that produced by Pagden (1932) by trapping with a light trap the two Pyralid moths Diatraea auricilia and Schoenobius incertellus which are pests of rice in Malaya. He found, between 18 January and 29 June, 1931, six periods of maximum catch in both sexes of both species corresponding more or less to the no moon periods, and six periods of minimum catch corresponding even more definitely to the full moons. Scarcely any insects were captured at the time of full moon.


1961 ◽  
Vol 2 ◽  
pp. 67-76
Author(s):  
Kalman A. Burnim

Perhaps no family in the history of any art form has so completely dominated and influenced the artistic production of its century as did the Galli-Bibiena family from Bologna. Certainly in the sphere of theatrical scene design and decoration it was the family genius of the Italian Bibienas, working almost as a composite entity, that founded and maintained the Baroque Period of scene design as the age of supreme illusion.


2019 ◽  
pp. 207-220
Author(s):  
Scott MacDonald

In the months following the Islamic Revolution in Iran, filmmaking itself looked to be an endangered art form. Some Iranian filmmakers left the country; Abbas Kiarostami stayed—though for a time he was not making films. He turned to photography and produced a distinguished body of landscape representation. Then he returned to filmmaking, working far from Tehran in the Iranian countryside and in a low-key, but powerful and passionate way distinct from his more urban pre-revolutionary work. This public interview (at Bard College) with Kiarostami focuses on his experimental film Five (2003), a film originally made for an event in honor of Japanese filmmaker Yasujirō Ozu. Five is made up of five very minimal scenes, filmed at the edge of the Caspian Sea: scenes of a quiet surf, of several dogs hanging out on the beach, of a gaggle of geese and ducks, of men walking on a boardwalk, and, in the longest scene, a full moon reflected in the water. Five now seems a premonition of the final film Kiarostami finished before his death in 2016, 24 Frames (2018).


Author(s):  
Ryan Neighbors

James Agee was an American film critic, journalist, and novelist, who, like his modernist contemporaries, pushed against the constraints of his genres. Born in Knoxville in 1909, Agee attended Harvard University before working as a journalist for Fortune, TIME, and The Nation. In 1936 he and photographer Walker Evans spent time among Alabama sharecroppers with the intention of writing a journalistic story about their plight during the Depression. The essay and photographs that they produced were rejected by their editors but were later incorporated into their book Let Us Now Praise Famous Men (1941). Although the book sold poorly, it would become a modern classic and a groundbreaking work of literary journalism. During the 1940s Agee served as a film critic, and his intellectual film reviews elevated the medium from marketing device to literature. He lauded the work of Alfred Hitchcock, revived interest in silent film comedians, and hailed cinema as the preeminent art form of the 20th century. Eventually, he worked in film production himself, co-writing scripts for The African Queen (1951) and The Night of the Hunter (1955), before dying of a heart attack at the age of 45 years. Two years later, his semi-autographical novel A Death in the Family was published and then won the Pulitzer Prize, securing his place in the canon of American writing.


Author(s):  
Dr.Vikrant Shah Vikrant

If there is any priority for mankind with bread, cloth and house then it will be said to be an expression of his art, his feelings. This is the reason why pre-historic man   has also painted on the walls of caves, which today help historians to understand that ancient civilization are the center of interest of tourists. "Sanjhya" is a very ancient and the goddess traditional art form of Indian. Perhaps it is a spiritual image to connect the divine to the earth. Apart from Madhya Pradesh, "Sanjhya" is spread in the terrain of Punjab, Rajasthan, Uttar Pradesh, and Haryana etc. Most of the women and youth are making Sanjhya in specific art form. The specialty of these folk art is that these are three-dimensional art on wall consider it to be a reflection of simplicity and culture of ordinary living being through his arts.  These artworks show how colorful the imagination of a human can make even a simple straight life. Animals such as peacocks, lions, bears, deer, crocodiles, fish, rivers, mountains, fields, trees, moon are the subjects of their art work, which these community give a multi-colored look on a wall of length and width. These artwork made from unique images of human and divine also. Sanjhya is used on the entrance of the house and on the walls in the courtyard and portrays the family wedding, death or other religious occasions. These pictures are a simple demonstration of the nature and living conditions of these people.


1988 ◽  
Vol 62 (03) ◽  
pp. 419-423 ◽  
Author(s):  
Baba Senowbari-Daryan ◽  
George D. Stanley

Two Upper Triassic sphinctozoan sponges of the family Sebargasiidae were recovered from silicified residues collected in Hells Canyon, Oregon. These sponges areAmblysiphonellacf.A. steinmanni(Haas), known from the Tethys region, andColospongia whalenin. sp., an endemic species. The latter sponge was placed in the superfamily Porata by Seilacher (1962). The presence of well-preserved cribrate plates in this sponge, in addition to pores of the chamber walls, is a unique condition never before reported in any porate sphinctozoans. Aporate counterparts known primarily from the Triassic Alps have similar cribrate plates but lack the pores in the chamber walls. The sponges from Hells Canyon are associated with abundant bivalves and corals of marked Tethyan affinities and come from a displaced terrane known as the Wallowa Terrane. It was a tropical island arc, suspected to have paleogeographic relationships with Wrangellia; however, these sponges have not yet been found in any other Cordilleran terrane.


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