South Korean picture book artist Baek Heena was announced as the 2020 winner of the prestigious Astrid Lindgren Memorial Award (ALMA) on Tuesday (March 31).

South Korean picture book artist Baek Heena wins top children and young adult literature award

Producer and solo artist Ethan Gruska's song "Enough for Now", which features Phoebe Bridgers, is starting to hit the radio playlists in the United States.

John Williams's grandson hopes to emulate his musical success

Belgian pianist Jean-François Maljean composed the song "Chime of the dawn bells" to encourage Chinese people to fight and eventually defeat the novel coronavirus plaguing the country.

Belgian pianist composes song of encouragement for Wuhan

The first exhibition entirely dedicated to twentieth century British sculptor Barbara Hepworth will open at the Rodin Museum in November, over 40 years after her death.

'Overshadowed' artist Barbara Hepworth finally gets first Paris show

Despite having her leg amputated in 2007, Latvian-born performance artist Viktoria Modesta transforms her disability into opportunity and her prosthesis into designer jewellery. Having appeared in the closing ceremony of the 2012 London Paralympics and gone viral with her performance in the video of her 2014 song "Prototype" -- in which she appears in a tutu with a spiked prosthetic leg -- she is currently guest of honour at the Crazy Horse in Paris, where she stars in several specially-created scenes with the cabaret's troupe of nude dancers.

'Bionic showgirl' Modesta, the Crazy Horse guest of honour

<p>Actor<a href="https://www.wionews.com/entertainment/on-r-madhavans-birthday-a-look-back-at-tv-shows-that-made-him-a-household-name-223369"> R Madhavan</a>, who is aging like fine wine, turned 49 today and shared the most thoughtful gift from Prajesh Sen, the co-director of his upcoming film <a href="https://www.wionews.com/entertainment/r-madhavans-transformation-for-rocketry-the-nambi-effect-will-leave-you-stunned-192034">`Rocketry: The Nambi Effect`.</a></p>

<p>The dashing actor took to Instagram to share a picture of him posing along with his `prolific` birthday present. Prajesh sent him a `Rocketry` customised portrait of the actor. It is indeed a thoughtful gift for Madhavan as the actor is currently busy with the respective film.</p>

<p>In his caption, the actor thanked Prajesh for thinking of something so special.</p>

<p>He wrote, "Thank yousoooo much @prajeshsen .. what a thoughtful and wonderful Birthday gift.. Rocketey on my head..and in my mind ..cannot get more prolific."</p>

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<p style=" margin:8px 0 0 0; padding:0 4px;"><a href="https://www.instagram.com/p/ByJFKMoj6O5/" style=" color:#000; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:normal; line-height:17px; text-decoration:none; word-wrap:break-word;" target="_blank">Thank youbsoooo much @prajeshsen .. what a thoughtful and wonderful Birthday gift.. 🚀Rocketey on my head..and in my mind ..cannot get more prolific #Rocketey #actormaddy #rmadhavan</a></p>

<p style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; line-height:17px; margin-bottom:0; margin-top:8px; overflow:hidden; padding:8px 0 7px; text-align:center; text-overflow:ellipsis; white-space:nowrap;">A post shared by <a href="https://www.instagram.com/actormaddy/" style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:normal; line-height:17px;" target="_blank"> R. Madhavan</a> (@actormaddy) on <time datetime="2019-05-31T21:24:12+00:00" style=" font-family:Arial,sans-serif; font-size:14px; line-height:17px;">May 31, 2019 at 2:24pm PDT</time></p>
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<p>The actor is quite active on social media and often treats his fans with selfies and candid stills.</p>

<p>Having acted in a host of Hindi, Tamil, Telugu films, Madhavan is inarguable, one of the most talented actors and with every film, the star only gets better. Currently, the actor is gearing up for his upcoming film `Rocketry: The Nambi Effect`.&nbsp;</p>

<p>Madhavan is playing the role of scientist S Nambi Narayanan in the movie. The film focuses on the life and achievements of scientist Narayanan, who was falsely accused of being a spy and arrested in 1994. Though free, he is still fighting against those police officials, who allegedly falsely implicated him and are still free.</p>

<p>Besides acting, Madhavan is also directing, writing and producing the film.</p>

<p>It will release in English, Hindi, and Tamil. The movie is scheduled to hit theatres in 2019. The `Three Idiots` actor was last seen in `Saala Khadoos` (2016) and `Zero` (2018).&nbsp;</p>

<p><br />
&nbsp;</p>


Actor R Madhavan, who is aging like fine wine, turned 49 today and shared the most thoughtful gift from Prajesh Sen, the co-director of his upcoming film `Rocketry: The Nambi Effect`.

Actor R Madhavan, who is aging like fine wine, turned 49 today and shared the most thoughtful gift from Prajesh Sen, the co-director of his upcoming film `Rocketry: The Nambi Effect`. The dashing actor took to Instagram to share a picture of him posing along with his `prolific` birthday present. Prajesh sent him a `Rocketry` customised portrait of the actor. It is indeed a thoughtful gift for Madhavan as the actor is currently busy with the respective film. In his caption, the actor thanked Prajesh for thinking of something so special. He wrote, "Thank yousoooo much @prajeshsen .. what a thoughtful and wonderful Birthday gift.. Rocketey on my head..and in my mind ..cannot get more prolific." View this post on Instagram Thank youbsoooo much @prajeshsen .. what a thoughtful and wonderful Birthday gift.. 🚀Rocketey on my head..and in my mind ..cannot get more prolific #Rocketey #actormaddy #rmadhavan A post shared by R. Madhavan (@actormaddy) on May 31, 2019 at 2:24pm PDT × The actor is quite active on social media and often treats his fans with selfies and candid stills. Having acted in a host of Hindi, Tamil, Telugu films, Madhavan is inarguable, one of the most talented actors and with every film, the star only gets better. Currently, the actor is gearing up for his upcoming film `Rocketry: The Nambi Effect`. Madhavan is playing the role of scientist S Nambi Narayanan in the movie. The film focuses on the life and achievements of scientist Narayanan, who was falsely accused of being a spy and arrested in 1994. Though free, he is still fighting against those police officials, who allegedly falsely implicated him and are still free. Besides acting, Madhavan is also directing, writing and producing the film. It will release in English, Hindi, and Tamil. The movie is scheduled to hit theatres in 2019. The `Three Idiots` actor was last seen in `Saala Khadoos` (2016) and `Zero` (2018).

R Madhavan receives a special gift on his birthday, calls it prolific

Leonardo Da Vinci drawings go on display at Buckingham Palace

<p>An Italian museum says it plans to carry out DNA tests on a lock of hair it believes might have belonged to the Renaissance artist Leonardo da Vinci, who died 500 years ago this month.</p>

<p>However, some experts have thrown doubt on the exercise, saying the hair almost certainly did not belong to the Italian master, while credible DNA testing may prove impossible.</p>

<p>Da Vinci died in May 1519 and was buried at the Chateau d`Ambroise near the French city of Tours.&nbsp;</p>

<p>The castle was badly damaged following the French Revolution of 1789 and many graves were destroyed, including that of Leonardo.</p>

<p>Alessandro Vezzosi, the director of the Ideal Leonardo da Vinci museum in Vinci, the artist`s hometown in Tuscany, said the strand of hair was collected from the site in 1863 by a man tasked by a royal commission to try to locate Leonardo`s remains.</p>

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<p dir="ltr" lang="en">Italian museum looks to unlock Leonardo da Vinci hair mystery <a href="https://t.co/x14ZApinYS">https://t.co/x14ZApinYS</a> <a href="https://t.co/DAG8ayYcJc">pic.twitter.com/DAG8ayYcJc</a></p>
— New York Post (@nypost) <a href="https://twitter.com/nypost/status/1125443276490801154?ref_src=twsrc%5Etfw">May 6, 2019</a></blockquote>
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<p>'In 1925, an American collector bought this relic in Paris .&nbsp;</p>

<p>Later, before dying aged 95, he sold it on to another American collector, who contacted us,' Vezzosi said.</p>

<p>He said the museum planned to extract DNA from the sample and compare it with the DNA from a group of descendants that the museum says it identified in 2016, using genealogical records.&nbsp;</p>

<p>The testing should also be able to prove if the remains identified in France in 1863 really belonged to da Vinci.</p>

<p>'What is important is not to take for granted a result before the scientific testing is completed,' said Vezzosi.</p>

<p>But some experts are already pouring cold water on the whole exercise.&nbsp;</p>

<p>'It is highly improbable that this lock (of hair), which was presented like a (religious) relic, would be in anyway related to Leonardo da Vinci,' said Eike Schmidt, the director of the prestigious Uffizi Gallery in nearby Florence.</p>

<p>Finding a DNA link with living descendants will prove an added complication, with tracing only possible via the mother and an unbroken female line, or the father and an unbroken male line.&nbsp;</p>

<p>The identity of Leonardo`s mother is unknown.</p>

<p>The artist himself never married and left no direct heirs, so the DNA will be checked against that of the descendants that Vezzosi said had been found by following the family trees of other children born to Leonardo`s father.</p>

<p>The chance of recreating an unbroken male line over 500 years is extremely unlikely.</p>


An Italian museum says it plans to carry out DNA tests on a lock of hair it believes might have belonged to the Renaissance artist Leonardo da Vinci, who died 500 years ago this month.

An Italian museum says it plans to carry out DNA tests on a lock of hair it believes might have belonged to the Renaissance artist Leonardo da Vinci, who died 500 years ago this month. However, some experts have thrown doubt on the exercise, saying the hair almost certainly did not belong to the Italian master, while credible DNA testing may prove impossible. Da Vinci died in May 1519 and was buried at the Chateau d`Ambroise near the French city of Tours. The castle was badly damaged following the French Revolution of 1789 and many graves were destroyed, including that of Leonardo. Alessandro Vezzosi, the director of the Ideal Leonardo da Vinci museum in Vinci, the artist`s hometown in Tuscany, said the strand of hair was collected from the site in 1863 by a man tasked by a royal commission to try to locate Leonardo`s remains. Italian museum looks to unlock Leonardo da Vinci hair mystery https://t.co/x14ZApinYS pic.twitter.com/DAG8ayYcJc — New York Post (@nypost) May 6, 2019 × 'In 1925, an American collector bought this relic in Paris . Later, before dying aged 95, he sold it on to another American collector, who contacted us,' Vezzosi said. He said the museum planned to extract DNA from the sample and compare it with the DNA from a group of descendants that the museum says it identified in 2016, using genealogical records. The testing should also be able to prove if the remains identified in France in 1863 really belonged to da Vinci. 'What is important is not to take for granted a result before the scientific testing is completed,' said Vezzosi. But some experts are already pouring cold water on the whole exercise. 'It is highly improbable that this lock (of hair), which was presented like a (religious) relic, would be in anyway related to Leonardo da Vinci,' said Eike Schmidt, the director of the prestigious Uffizi Gallery in nearby Florence. Finding a DNA link with living descendants will prove an added complication, with tracing only possible via the mother and an unbroken female line, or the father and an unbroken male line. The identity of Leonardo`s mother is unknown. The artist himself never married and left no direct heirs, so the DNA will be checked against that of the descendants that Vezzosi said had been found by following the family trees of other children born to Leonardo`s father. The chance of recreating an unbroken male line over 500 years is extremely unlikely.

Italian museum looks to unlock da Vinci hair mystery

A reggae artist has returned from self-imposed exile in the United States to his native Sudan to perform for thousands of fans in Khartoum in the wake of the removal from power and imprisonment of longtime President Omar al-Bashir.

Sudan musician returns home after al-Bashir ouster

Donning a hat she made out of beach chair fabric and a necklace from disposable Chinese soup spoons, artist Debra Rapoport struts down a West Village sidewalk with purpose, in search of treasure, hidden in a dumpster and piles of garbage.

NY artist Debra Rapoport turns garbage into high-end fashion

<p>A striking installation made up of 168,000 discarded straws arranged to form surreal blue and green waves are triggering a storm against plastic waste in Vietnam, a country that dumps some eight million tons of plastic in the sea every year.</p>

<p>The installation to visualize the hazards of plastic waste has been created by Canadian artist Benjamin Von Wong to spur the consciousness of the Vietnamese.</p>

<p>Titled "Parting of the Plastic Sea" in reference to Biblical division of the Red Sea, the 3.3-metre straw structure is to make people aware of the environmental problems triggered by the amount of plastic residue that ends up in seas and rivers, according to Wong.</p>

<p>The structure is on display at a Ho Chi Minh City mall and will remain there until March 24.</p>

<p>Visitors get attracted to the stunning installation. They click pictures and most of them don't leave without seeing an explanatory video on the making of the creation as they walk through the passage between the waves in the sea of straw.</p>

<p>Wong told EFE that he wanted to create something that could not be ignored by those who see it.</p>

<p>He chose discarded straws and called it Strawpocalypse. Straw, because it can be easily given up and does not require any sacrifice.</p>

<p>The project began last May when Julia Mesner, founder of Saigon Zero Waste, contacted Wong to help generate awareness using an artwork about the problem of plastic waste in Vietnam.</p>

<p>Dozens of Saigon Zero Waste volunteers then collected thousands of discarded straws over two months.</p>

<p>Wong also teamed up with Starbucks, regularly criticized by environmentalist groups for the plastic waste it generates across the world.</p>

<p>Mesner said Starbucks helped in the straw collection at their branches and also helped the project financially.</p>

<p>She said straws at Starbucks across Vietnam were hidden and were given only when customers asked for them.</p>

<p>Mesner said her organization in the last year and half of its existence has convinced over 100 establishments in the city to use eco-friendly, metal or bamboo straws.</p>

<p>Mesner and her husband Michael Burdge decided to set up Saigon Zero Waste when they were on an excursion where they saw a monkey chewing a plastic bag. They realized the magnitude of the plastic problem in the country.</p>

<p>According to Science magazine report in 2015, Vietnam was at the fourth place in the world among the countries that dump the largest amount of plastic in the sea with eight million tons annually.</p>

<p>Another study of the Ho Chi Minh City University of Technology in collaboration with France's research institute for development in 2018, found out that the level of microplastics in rivers and canals of the city was thousand times more than rivers in Europe.</p>

<p>Wong said the Vietnamese ensure that the roads in front of their homes were clean. But they would dump garbage in drains, thinking that they have solved the problem and not realizing they have actually created them.</p>

<p>However, Wong added, the situation is no different in the rest of Southeast Asia.</p>

<p>Overwhelmed by the statistics that forecast more plastic in the oceans than fish in 2050, Wong prefers to put more emphasis on small actions to create global changes and highlight a positive mentality that he has found in many young Vietnamese during the execution of his work.</p>

<p>Wong said it was motivating and inspiring to see new generations concerned about environmental problems and dedicating their time and effort in helping out in the project.</p>


A striking installation made up of 168,000 discarded straws arranged to form surreal blue and green waves are triggering a storm against plastic waste in Vietnam, a country that dumps some eight million tons of plastic in the sea every year.

A striking installation made up of 168,000 discarded straws arranged to form surreal blue and green waves are triggering a storm against plastic waste in Vietnam, a country that dumps some eight million tons of plastic in the sea every year. The installation to visualize the hazards of plastic waste has been created by Canadian artist Benjamin Von Wong to spur the consciousness of the Vietnamese. Titled "Parting of the Plastic Sea" in reference to Biblical division of the Red Sea, the 3.3-metre straw structure is to make people aware of the environmental problems triggered by the amount of plastic residue that ends up in seas and rivers, according to Wong. The structure is on display at a Ho Chi Minh City mall and will remain there until March 24. Visitors get attracted to the stunning installation. They click pictures and most of them don't leave without seeing an explanatory video on the making of the creation as they walk through the passage between the waves in the sea of straw. Wong told EFE that he wanted to create something that could not be ignored by those who see it. He chose discarded straws and called it Strawpocalypse. Straw, because it can be easily given up and does not require any sacrifice. The project began last May when Julia Mesner, founder of Saigon Zero Waste, contacted Wong to help generate awareness using an artwork about the problem of plastic waste in Vietnam. Dozens of Saigon Zero Waste volunteers then collected thousands of discarded straws over two months. Wong also teamed up with Starbucks, regularly criticized by environmentalist groups for the plastic waste it generates across the world. Mesner said Starbucks helped in the straw collection at their branches and also helped the project financially. She said straws at Starbucks across Vietnam were hidden and were given only when customers asked for them. Mesner said her organization in the last year and half of its existence has convinced over 100 establishments in the city to use eco-friendly, metal or bamboo straws. Mesner and her husband Michael Burdge decided to set up Saigon Zero Waste when they were on an excursion where they saw a monkey chewing a plastic bag. They realized the magnitude of the plastic problem in the country. According to Science magazine report in 2015, Vietnam was at the fourth place in the world among the countries that dump the largest amount of plastic in the sea with eight million tons annually. Another study of the Ho Chi Minh City University of Technology in collaboration with France's research institute for development in 2018, found out that the level of microplastics in rivers and canals of the city was thousand times more than rivers in Europe. Wong said the Vietnamese ensure that the roads in front of their homes were clean. But they would dump garbage in drains, thinking that they have solved the problem and not realizing they have actually created them. However, Wong added, the situation is no different in the rest of Southeast Asia. Overwhelmed by the statistics that forecast more plastic in the oceans than fish in 2050, Wong prefers to put more emphasis on small actions to create global changes and highlight a positive mentality that he has found in many young Vietnamese during the execution of his work. Wong said it was motivating and inspiring to see new generations concerned about environmental problems and dedicating their time and effort in helping out in the project.

Fighting back plastic pollution with a sea of straws in Vietnam

<p>Narthaki Nataraj, the first transgender to be awarded the Padma Shri, opined that she was chosen for the civilian decoration not because of her gender or identity but solely on the basis of merit and her talent as a Bharatanatyam artist.</p>

<p>"I was chosen not because of my transgender identity but on basis of merit as a Bharatanatyam artist. I have given more than 30 years of my life in the service of Bharatanatyam," she told news agency ANI.</p>

<p>Nataraj, a professional Bharatnatyam artist specialising in Thanjavur-based Nayaki Bhava tradition of dance, said that though she is in her fifties, she still feels like a 16-year-old.</p>

<p>"On Facebook, I have mentioned myself as Nityakalyani, because I feel like a beautiful angel from the core of my heart, I feel like a beautiful transgender woman, a beautiful dancer. Though I have a lot of wounds, I hide them," said Nataraj.</p>

<p>Union Ministry of Home Affairs on Friday announced the name of 112 recipients of the Padma awards, one of the highest civilian awards of the country on the eve of the country's 70th Republic Day.</p>

<p>The Padma awards are conferred in three categories, namely, Padma Vibhushan, Padma Bhushan and Padma Shri, the second, third and fourth highest civilian awards of the country respectively, only after Bharat Ratna.</p>

<p><br />
This year's awardees comprise four Padma Vibhushan, 14 Padma Bhushan and 94 Padma Shri recipients.</p>


Narthaki Nataraj, the first transgender to be awarded the Padma Shri, opined that she was chosen for the civilian decoration not because of her gender or identity but solely on the basis of merit and her talent as a Bharatanatyam artist.

Narthaki Nataraj, the first transgender to be awarded the Padma Shri, opined that she was chosen for the civilian decoration not because of her gender or identity but solely on the basis of merit and her talent as a Bharatanatyam artist. "I was chosen not because of my transgender identity but on basis of merit as a Bharatanatyam artist. I have given more than 30 years of my life in the service of Bharatanatyam," she told news agency ANI. Nataraj, a professional Bharatnatyam artist specialising in Thanjavur-based Nayaki Bhava tradition of dance, said that though she is in her fifties, she still feels like a 16-year-old. "On Facebook, I have mentioned myself as Nityakalyani, because I feel like a beautiful angel from the core of my heart, I feel like a beautiful transgender woman, a beautiful dancer. Though I have a lot of wounds, I hide them," said Nataraj. Union Ministry of Home Affairs on Friday announced the name of 112 recipients of the Padma awards, one of the highest civilian awards of the country on the eve of the country's 70th Republic Day. The Padma awards are conferred in three categories, namely, Padma Vibhushan, Padma Bhushan and Padma Shri, the second, third and fourth highest civilian awards of the country respectively, only after Bharat Ratna. This year's awardees comprise four Padma Vibhushan, 14 Padma Bhushan and 94 Padma Shri recipients.

Awarded for my art, not my transgender identity: Padma Shri Narthaki Nataraj

<p>A coil of dark braids. Colorful Mexican dress. And a signature unibrow.&nbsp;</p>

<p>Sixty-three years after her death, Mexican artist Frida Kahlo has achieved a level of fame she never reached in her lifetime, her image emblazoned on mugs, T-shirts, keychains and even underwear. But scholars and the painter`s descendants lament she has been reduced to a set of distinctive physical features that often overshadows her actual work.&nbsp;</p>

<p>The debate heated up this spring when toymaker Mattel&nbsp;released a Barbie in Kahlo`s image, over protests from her family.&nbsp;</p>

<p>The Barbie and other merchandise do not capture Kahlo’s complex legacy as a feminist icon, a disabled woman who channeled her pain into art, an ardent communist and an inspiration to the LGBT community, scholars say.&nbsp;</p>

<p>"Frida Kahlo is not a product or a brand…. Frida Kahlo is not a doll," said photographer Cristina Kahlo, the artist`s great-niece. "For us, it is important to maintain the image of Frida Kahlo as the painter that she was."&nbsp;</p>

<p>This month, a new project aims to return the focus to her art. Alphabet`s Google, working in collaboration with the Kahlo family, has dedicated a portion of its Arts and Culture app to the artist`s life and work.&nbsp;</p>

<p>The search giant partnered with 33 museums to digitize Kahlo`s most famous paintings and bring new work into the public eye. The app also features rare letters, diary entries, and sketches, in addition to a virtual tour of her famous blue home.&nbsp;</p>

<p>The Kahlo family played an active role. U.S. artist Alexa Meade and Mexican musician Ely Guerra collaborated on a piece of "living art" honoring Kahlo, working under her great niece`s guidance.&nbsp;</p>

<p>"These projects that are related to Frida from a cultural point of view, spreading her painting, works and story… are projects I like and feel comfortable participating in," Cristina Kahlo said.&nbsp;</p>

<p>The museums and cultural institutions that Google partnered with managed the rights. Google says no money changed hands.&nbsp;</p>

<p>Kahlo`s husband, artist Diego Rivera, established a trust supervised by the Banco de Mexico to operate museums dedicated to the couple’s work, and the trust also oversees the copyright to the works.</p>

<p>Kahlo`s brand and image are more contentious. In the early 2000s, one of Kahlo`s nieces, Isolda Pinedo, and her daughter, Mara Romeo, assigned rights to the Kahlo brand to a company known as the Frida Kahlo Corporation, according to court papers.</p>

<p>Tension boiled over in March when Mattel released a Kahlo Barbie, licensed by the Frida Kahlo Corporation.</p>

<p>In a case launched by family members, a Mexican civil court judge issued a preliminary injunction blocking the sale of the doll and other products licensed by the Frida Kahlo Corporation in Mexico. Mattel asked a federal court to lift the injunction, and a ruling is expected in June, a Mattel spokeswoman said. "This Barbie doll is meant to honor Frida Kahlo`s great legacy and we hope it will be back on shelves in Mexico soon," Mattel said in a statement.</p>

<p>Pablo Sangri Gil, a lawyer for Romeo, told Reuters the Barbie was an example of the Frida Kahlo Corporation operating without consulting with the family, in violation of the rights agreement.&nbsp;</p>

<p>In turn, the Frida Kahlo Corporation sued Romeo this month in a Florida federal court, alleging that she violated the contract by licensing Kahlo-branded products of her own.</p>

<p>Gil said he had not been formally notified of the Florida lawsuit.</p>

<p>The feud underscores the challenges of managing celebrity legacies, said Jonathan Faber, CEO of Luminary Group, a licensing firm.&nbsp;</p>

<p>Guitarist Jimi Hendrix`s family battled over his image, licensing dueling products. A memorial fund for Princess Diana tried to block Franklin Mint from selling dolls and other memorabilia modelled after the royal, but a U.S. court ultimately allowed the products to stay on shelves.&nbsp;</p>

<p>Kahlo, who died at age 47, gained greater prominence with the publication of a landmark biography in the early 1980s, and her popularity has only grown since. In contrast with many famous male artists, Kahlo is better known for her appearance than her work, scholars say. They welcome a return to the art.&nbsp;</p>

<p>Kahlo "has become a Halloween costume," said Oriana Baddeley, a professor at University of the Arts London.&nbsp;</p>

<p>There is irony in her reincarnation at the hands of Mattel, said Charlene Villasenor Black, an art history professor at the University of California, Los Angeles.&nbsp;</p>

<p>"How many other communist Barbie dolls are there?" she said.</p>


Sixty-three years after her death, Mexican artist Frida Kahlo has achieved a level of fame

A coil of dark braids. Colorful Mexican dress. And a signature unibrow. Sixty-three years after her death, Mexican artist Frida Kahlo has achieved a level of fame she never reached in her lifetime, her image emblazoned on mugs, T-shirts, keychains and even underwear. But scholars and the painter`s descendants lament she has been reduced to a set of distinctive physical features that often overshadows her actual work. The debate heated up this spring when toymaker Mattel released a Barbie in Kahlo`s image, over protests from her family. The Barbie and other merchandise do not capture Kahlo’s complex legacy as a feminist icon, a disabled woman who channeled her pain into art, an ardent communist and an inspiration to the LGBT community, scholars say. "Frida Kahlo is not a product or a brand…. Frida Kahlo is not a doll," said photographer Cristina Kahlo, the artist`s great-niece. "For us, it is important to maintain the image of Frida Kahlo as the painter that she was." This month, a new project aims to return the focus to her art. Alphabet`s Google, working in collaboration with the Kahlo family, has dedicated a portion of its Arts and Culture app to the artist`s life and work. The search giant partnered with 33 museums to digitize Kahlo`s most famous paintings and bring new work into the public eye. The app also features rare letters, diary entries, and sketches, in addition to a virtual tour of her famous blue home. The Kahlo family played an active role. U.S. artist Alexa Meade and Mexican musician Ely Guerra collaborated on a piece of "living art" honoring Kahlo, working under her great niece`s guidance. "These projects that are related to Frida from a cultural point of view, spreading her painting, works and story… are projects I like and feel comfortable participating in," Cristina Kahlo said. The museums and cultural institutions that Google partnered with managed the rights. Google says no money changed hands. Kahlo`s husband, artist Diego Rivera, established a trust supervised by the Banco de Mexico to operate museums dedicated to the couple’s work, and the trust also oversees the copyright to the works. Kahlo`s brand and image are more contentious. In the early 2000s, one of Kahlo`s nieces, Isolda Pinedo, and her daughter, Mara Romeo, assigned rights to the Kahlo brand to a company known as the Frida Kahlo Corporation, according to court papers. Tension boiled over in March when Mattel released a Kahlo Barbie, licensed by the Frida Kahlo Corporation. In a case launched by family members, a Mexican civil court judge issued a preliminary injunction blocking the sale of the doll and other products licensed by the Frida Kahlo Corporation in Mexico. Mattel asked a federal court to lift the injunction, and a ruling is expected in June, a Mattel spokeswoman said. "This Barbie doll is meant to honor Frida Kahlo`s great legacy and we hope it will be back on shelves in Mexico soon," Mattel said in a statement. Pablo Sangri Gil, a lawyer for Romeo, told Reuters the Barbie was an example of the Frida Kahlo Corporation operating without consulting with the family, in violation of the rights agreement. In turn, the Frida Kahlo Corporation sued Romeo this month in a Florida federal court, alleging that she violated the contract by licensing Kahlo-branded products of her own. Gil said he had not been formally notified of the Florida lawsuit. The feud underscores the challenges of managing celebrity legacies, said Jonathan Faber, CEO of Luminary Group, a licensing firm. Guitarist Jimi Hendrix`s family battled over his image, licensing dueling products. A memorial fund for Princess Diana tried to block Franklin Mint from selling dolls and other memorabilia modelled after the royal, but a U.S. court ultimately allowed the products to stay on shelves. Kahlo, who died at age 47, gained greater prominence with the publication of a landmark biography in the early 1980s, and her popularity has only grown since. In contrast with many famous male artists, Kahlo is better known for her appearance than her work, scholars say. They welcome a return to the art. Kahlo "has become a Halloween costume," said Oriana Baddeley, a professor at University of the Arts London. There is irony in her reincarnation at the hands of Mattel, said Charlene Villasenor Black, an art history professor at the University of California, Los Angeles. "How many other communist Barbie dolls are there?" she said.

Artist Frida Kahlo's popularity soars, but family struggles to manage legacy

<p>For art connoisseurs in India, Viveek Sharma is a familiar name. In a career spanning little over two decades, the artist had made quite an impact in the art arena, with his work which is modern and relatable. Sharma has a degree in art from the prestigious J.J. School of Arts and has hosted art exhibition around the world -from Switzerland, Germany, France, to India and, most recently in Dar es Salaam, Tanzania. Sharma has also dabbled in acting and has featured in films like No Smoking, Asoka and Jhoom Barabar Jhoom.</p>

<p>For his work, he draws inspiration from daily life. Born and raised in Mumbai, the artist has taken inspiration from the city for many of his works. Sharma has also done an unique series called Reflections on actress Vidya Balan which the actress herself inaugurated.</p>

<p>Viveek spoke to WION about having Balan as his muse, art in present society and the importance of Indian artists globally. Here are the excerpts.</p>

<p><strong>Q: Where do you see Indian art on the world map? Has it gained more prominence over the years?</strong></p>

<p><strong>A: </strong>Have you ever seen the huge piece of art, &#39;Cloud Gate&#39; at Chicago Art Institute? It&#39;s popularity as a &#39;Bean&#39; by Anish Kapoor a world-renowned name of fame, is that of an Indian. Indian Artist&#39;s might be slow in achieving that status, but surely many would make it up in the world scenario. There are quite a few names from the contemporary art scene who are making waves in the west. To do justice to all known and unknown to me, I shall prudently refrain from quoting their names. The fact that we are able to host a Biennial of International stature is evident that India is promising.&nbsp;</p>

<p><strong>Q: What inspired you to work on your new compilation &#39;Silence, Please&#39;?</strong></p>

<p><strong>A:</strong> I am not only a part of, but I live and breathe this overwhelming landscape of Mumbai. It has always been a source of inspiration right from my early years. It all began subconsciously I believe. I used to reside in Chembur earlier, just off the Eastern Express highway. At first, things were smooth, I was oblivious to the background but then as time went by the constant noise became more and more apparent. It would disturb my every moment. I finally looked for and found a new apartment, one morning I woke to realise that I had chosen a location that overlooks a church, surrounded by greenery and away from the main road that mornings and evenings are a relief from the chaos of daily routines.</p>

<p>In fact, my east facing window was the main inspiration for the light source that is a signature in all my work.</p>

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<p><strong>Q: You had Vidya Balan as one of your subjects once. Tell us more about that series? What was her reaction to your work?</strong></p>

<p><strong>A:</strong> Vidya Balan was the subject of my body of work titled Reflections in 2012. It was my tribute to Andy Warhol and the iconic Marilyn Monroe who was his muse. I substituted the original subject with Vidya, bringing in a culturally relevant subject. The technique of screen-printing was replaced by handmade multiplication using oils on canvas. The concept follows from substitution on the iconic actress, the contrasting time and place and the medium or technique used.</p>

<p>It all started in 2012 when I went to see her iconic film, The Dirty Picture. Watching her on screen and carrying herself in a sari that way, was so impressive. Vidya is a brilliant actress and really got into the skin of the character she portrayed - Silk Smitha and her life. I also felt that there were so many similarities between Marilyn and Smitha. Both of them enjoyed success so early in their careers. However, as the years went by, they didn&#39;t get the roles they wanted and both died very young in their mid-30s.</p>

<p>I did nine paintings of Vidya, in the same posture -- the one that became famous overnight from the film, but in different colours like red, green, brown, black and blue. When I finished the work, I showed it to the renowned columnist, author and art collector, Shobhaa De. So impressed was Shobhaa with the work that she asked me if I wanted Vidya to open the show! And that&#39;s how Vidya inaugurated my Exhibition.</p>

<p>Vidya is such a wonderful, humble and down to earth person. She was very appreciative of my work and was quite touched and seemed impressed with how I had captured her on canvas. The paintings have found buyers not just in India, but across the world!</p>

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<p><strong>Q: What is that one quality that every artist should possess?</strong></p>

<p><strong>A:</strong> Based on my own experience over the last couple of decades, I share a simple piece of advice with all my young artists pursuing their dream in the art world -- never compromise on time dedicated to a piece of work - it reflects in the details.</p>

<p><strong>Q: A lot of artwork is often scrutinized and criticised by society. Artists like MF Hussain have in the past received criticism for their work. You feel our society is still not open to out of box ideas?&nbsp;</strong></p>

<p><strong>A: </strong>Nothing in nature changes, clouds, mountains, sunset, sunrise and so on. But, with the advancement in science and technology, a lot has been transformed. We still live in a world that is embroiled in controversies. Contradictions arising between traditional values and modernity is the strongest. &ldquo;Nothing is more dangerous than a representational fallacy,&quot; says Herbert Read in his book on Philosophy of Modern Art. This is where the master painter had faced the controversial statements made as perceived by strong religious fundamentals. This has happened earlier when Artist&#39;s were victimized during Russian Revolution, French Revolution or even during German holocaust period where Artist&#39;s by force fled to other parts of the world and took asylum in countries where they felt safe.</p>


Mumbai based Viveek Sharma draws inspiration from the city for his art work.

For art connoisseurs in India, Viveek Sharma is a familiar name. In a career spanning little over two decades, the artist had made quite an impact in the art arena, with his work which is modern and relatable. Sharma has a degree in art from the prestigious J.J. School of Arts and has hosted art exhibition around the world -from Switzerland, Germany, France, to India and, most recently in Dar es Salaam, Tanzania. Sharma has also dabbled in acting and has featured in films like No Smoking, Asoka and Jhoom Barabar Jhoom. For his work, he draws inspiration from daily life. Born and raised in Mumbai, the artist has taken inspiration from the city for many of his works. Sharma has also done an unique series called Reflections on actress Vidya Balan which the actress herself inaugurated. Viveek spoke to WION about having Balan as his muse, art in present society and the importance of Indian artists globally. Here are the excerpts. Q: Where do you see Indian art on the world map? Has it gained more prominence over the years? A: Have you ever seen the huge piece of art, 'Cloud Gate' at Chicago Art Institute? It's popularity as a 'Bean' by Anish Kapoor a world-renowned name of fame, is that of an Indian. Indian Artist's might be slow in achieving that status, but surely many would make it up in the world scenario. There are quite a few names from the contemporary art scene who are making waves in the west. To do justice to all known and unknown to me, I shall prudently refrain from quoting their names. The fact that we are able to host a Biennial of International stature is evident that India is promising. Q: What inspired you to work on your new compilation 'Silence, Please'? A: I am not only a part of, but I live and breathe this overwhelming landscape of Mumbai. It has always been a source of inspiration right from my early years. It all began subconsciously I believe. I used to reside in Chembur earlier, just off the Eastern Express highway. At first, things were smooth, I was oblivious to the background but then as time went by the constant noise became more and more apparent. It would disturb my every moment. I finally looked for and found a new apartment, one morning I woke to realise that I had chosen a location that overlooks a church, surrounded by greenery and away from the main road that mornings and evenings are a relief from the chaos of daily routines. In fact, my east facing window was the main inspiration for the light source that is a signature in all my work. Vidya Balan admiring her portrait created by Viveek Sharma. (WION) × Q: You had Vidya Balan as one of your subjects once. Tell us more about that series? What was her reaction to your work? A: Vidya Balan was the subject of my body of work titled Reflections in 2012. It was my tribute to Andy Warhol and the iconic Marilyn Monroe who was his muse. I substituted the original subject with Vidya, bringing in a culturally relevant subject. The technique of screen-printing was replaced by handmade multiplication using oils on canvas. The concept follows from substitution on the iconic actress, the contrasting time and place and the medium or technique used. It all started in 2012 when I went to see her iconic film, The Dirty Picture. Watching her on screen and carrying herself in a sari that way, was so impressive. Vidya is a brilliant actress and really got into the skin of the character she portrayed - Silk Smitha and her life. I also felt that there were so many similarities between Marilyn and Smitha. Both of them enjoyed success so early in their careers. However, as the years went by, they didn't get the roles they wanted and both died very young in their mid-30s. I did nine paintings of Vidya, in the same posture -- the one that became famous overnight from the film, but in different colours like red, green, brown, black and blue. When I finished the work, I showed it to the renowned columnist, author and art collector, Shobhaa De. So impressed was Shobhaa with the work that she asked me if I wanted Vidya to open the show! And that's how Vidya inaugurated my Exhibition. Vidya is such a wonderful, humble and down to earth person. She was very appreciative of my work and was quite touched and seemed impressed with how I had captured her on canvas. The paintings have found buyers not just in India, but across the world! Portraits of Vidya Balan created by artist Viveek Sharma. (WION) × Q: What is that one quality that every artist should possess? A: Based on my own experience over the last couple of decades, I share a simple piece of advice with all my young artists pursuing their dream in the art world -- never compromise on time dedicated to a piece of work - it reflects in the details. Q: A lot of artwork is often scrutinized and criticised by society. Artists like MF Hussain have in the past received criticism for their work. You feel our society is still not open to out of box ideas? A: Nothing in nature changes, clouds, mountains, sunset, sunrise and so on. But, with the advancement in science and technology, a lot has been transformed. We still live in a world that is embroiled in controversies. Contradictions arising between traditional values and modernity is the strongest. “Nothing is more dangerous than a representational fallacy," says Herbert Read in his book on Philosophy of Modern Art. This is where the master painter had faced the controversial statements made as perceived by strong religious fundamentals. This has happened earlier when Artist's were victimized during Russian Revolution, French Revolution or even during German holocaust period where Artist's by force fled to other parts of the world and took asylum in countries where they felt safe.

Why artist Viveek Sharma chose Mumbai and Vidya Balan as his muses

<p>One had to&nbsp;travel&nbsp;through rural Assam&rsquo;s greenery and at that very instant listened to Bhupen Hazarika singing somewhere around to appreciate what Gulzar meant when he said Assam&rsquo;s nature oozes through Bhupenda&rsquo;s voice. A particular combination of opulent tenderness, seductive nasality and inexhaustible vocal melody, not uncommon among Assamese folk singers, assumed a different proportion in Bhupen Hazarika through his specific style of singing. What factors contributed to acquiring that style will require a different space for fuller discussion, but certainly, his years of training as an activist/singer/composer in the IPTA was one of the most important ones among them.</p>

<p>Sudakshina Sharma - Queen as she is lovingly called - Bhupen&rsquo;s sister and a veteran singer gave me an interview in which she reminisced about his initial years as an IPTA activist: &quot;When Bhupenda returned from America &ndash; that was way back in 1953 - Hemango-da (Hemango Biswas) brought him into the fold of the IPTA. Hemango--da was by then one of the chief organisers of Assam IPTA and he was quite close to our family which has always been a family of singers and musicians.</p>

<p>We used to live in Kharghuli - up in the hills - where Hemango-da was a regular visitor. Bhupenda and Hemango-da travelled together to distant places in Assam for organisational work. I remember once while returning from such a place halfway through they realised they had not a single anna left.&nbsp;The evening was descending, at a corner of a street they started singing impromptu, you can understand the effect of these two voices singing together. After they finished, people from the crowd started giving money to them thinking they were a group of itinerant street musicians. Whatever they gave was sufficient for the team to get back to Guwahati.&quot;</p>

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<p>It was much before that that Bhupen came into contact with Jyotiprasad Agarwal and Bishnuprasad Rava, doyens of Assamese culture and the two most important names of the Assam IPTA. Jyotiprasad made him sing in his film Indramalati (1939) when he was just 12 years of age.&nbsp;When Bhupen Hazarika returned from America, upon finishing his Ph.D., Jyotiprasad had passed away. But IPTA by that time went from strength to strength in Assam, after its first and second conference in Silchar (1947) and Dibrugarh (1949) respectively.</p>

<p>IPTA was the first organisation that spoke about the need of highlighting the syncretic nature of its culture in a multi-ethnic and multi-lingual state like Assam. In the first conference in Silchar, the two hundred odd representatives who participated consisted of artists from Tripura hill tracts, Jayantiya, Bodo, Manipuri, Dimasa - Kachhari, Miri and other ethnic communities along with Bengalis, Assamese and tea- plantation labourers.</p>

<p>IPTA in Assam held on to this tradition and to the spirit of the draft proposal that declared that it is meant to be a platform where every ethnicity is part of a larger collective in which it contributes voluntarily, knowing that its own cultural distinctiveness will not be compromised or co-opted in the process.</p>

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<h5>Many people have discussed at length how Bhupen Hazarika was influenced by Paul Robeson whose acquaintance he made during his stay in the USA as well as by Pete Seeger&rsquo;s protest songs.</h5>
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<p>Many people have discussed at length how Bhupen Hazarika was influenced by Paul Robeson whose acquaintance he made during his stay in the USA as well as by Pete Seeger&rsquo;s protest songs. The initial years when Bhupen started composing songs for the IPTA, certain signs of their influence were undoubtedly pronounced. And yet, the&nbsp;way he used Assamese traditional music (Bihu, bangeet, borgeet or jhumur) at that point and throughout his later life was something extremely unique.</p>

<p>He could pull off a melodic structure with major notes and a strong rhythmic pattern like &lsquo;Nami Axa&rsquo; and another with predominantly minor notes and zero or soft rhythm like &lsquo;Haradhon Rongmon katha&rsquo; (co-composed with Hemango Biswas) with equal ease and elegance. Even when one keeps in mind the rich oeuvre of Jyotiprasad, Bishnu Rava, Parbatiprasad Barua or Anandiram Das whose pioneering creations influenced IPTA artists in composing their own, it is not difficult to see why Bhupen Hazarika&rsquo;s place in Assamese modern music is still singular on many counts.</p>

<p>As Hemango Biswas writes, &lsquo; In the musical milieu of Assam, IPTA ushered in a new legion of songs about life and revolution.&nbsp;In this work, the musical tradition of the revered Jyotiprasad was our chief inspiration. Works of our folk composer Anandiram Das, the late Hemen Thakur and later those of Abdul Malik helped us. But the true architect of this genre was Dr&nbsp;Bhupen Hazrika. The ordinary lives of Assam like that of the lumberjacks, the stone breakers, the train drivers, tea-plantation worker Jagnu, farmer Rongmon, weaver girl Rodoi and palanquin bearer Dolabhari - these characters succeeded in sweeping aside the impersonal genre of music devoid of social consciousness that had been prevalent thus far.</p>

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<p>Newer expressions and styles made their presence felt in the creation of the tunes. The local musical form remained intact, but its narrow structures were broken down in a fresh attempt to showcase a new reality. Numerous songs of the IPTA spread to various cities and villages. This metamorphosis in Assamese music is a widely acknowledged fact today&rsquo;.</p>

<p>Nothing perhaps better describes how in Bhupen Hazarika such diverse musical styles had found their easeful co-existence beyond the usual divides of traditional, modern, eastern or western forms. As a singer, his internalisation of this was so complete that anything that he performed: From kamrupi folk to bangeet, from &lsquo;sa banuar geet&rsquo; (tea- plantation songs) to Bihu, from lullabies to protest songs &ndash; he seemed to be a natural denizen of all the territories he travelled.</p>

<p>It is true that Bhupen Hazarika&rsquo;s political views took a significant turn in his later life and in many ways he became the cynosure of conservative politicians of different hues. We should add to it our collective misfortune that there is no dearth of politicians in this country who can appropriate a cultural capital towards a political end and turn it to material/ military/ electoral gain- a very recent example would be the inauguration by the political who&rsquo;s who of the Bhupen Hazarika Bridge in Assam which is supposed to be the longest bridge in India (not undisputedly, though).</p>

<p>But because of this very reason, it seems all the more necessary to document Bhupen&rsquo;s immense contribution to the leftist cultural movement in India &ndash; his long and hard creative years in Assam, Bengal and outside of those before he finally moved to Bombay. Perhaps we got to remind ourselves now that that period also coincided with the genesis of many of his greatest creations the history of which needs to be written urgently.</p>


Through his musical composition, Bhupen Hazarika played a key role in sweeping aside the impersonal genre of music devoid of social consciousness that had been prevalent before the formation of IPTA.

One had to travel through rural Assam’s greenery and at that very instant listened to Bhupen Hazarika singing somewhere around to appreciate what Gulzar meant when he said Assam’s nature oozes through Bhupenda’s voice. A particular combination of opulent tenderness, seductive nasality and inexhaustible vocal melody, not uncommon among Assamese folk singers, assumed a different proportion in Bhupen Hazarika through his specific style of singing. What factors contributed to acquiring that style will require a different space for fuller discussion, but certainly, his years of training as an activist/singer/composer in the IPTA was one of the most important ones among them. Sudakshina Sharma - Queen as she is lovingly called - Bhupen’s sister and a veteran singer gave me an interview in which she reminisced about his initial years as an IPTA activist: "When Bhupenda returned from America – that was way back in 1953 - Hemango-da (Hemango Biswas) brought him into the fold of the IPTA. Hemango--da was by then one of the chief organisers of Assam IPTA and he was quite close to our family which has always been a family of singers and musicians. We used to live in Kharghuli - up in the hills - where Hemango-da was a regular visitor. Bhupenda and Hemango-da travelled together to distant places in Assam for organisational work. I remember once while returning from such a place halfway through they realised they had not a single anna left. The evening was descending, at a corner of a street they started singing impromptu, you can understand the effect of these two voices singing together. After they finished, people from the crowd started giving money to them thinking they were a group of itinerant street musicians. Whatever they gave was sufficient for the team to get back to Guwahati." IPTA was the first organisation that spoke about the need of highlighting the syncretic nature of its culture in a multi-ethnic and multi-lingual state like Assam. × It was much before that that Bhupen came into contact with Jyotiprasad Agarwal and Bishnuprasad Rava, doyens of Assamese culture and the two most important names of the Assam IPTA. Jyotiprasad made him sing in his film Indramalati (1939) when he was just 12 years of age. When Bhupen Hazarika returned from America, upon finishing his Ph.D., Jyotiprasad had passed away. But IPTA by that time went from strength to strength in Assam, after its first and second conference in Silchar (1947) and Dibrugarh (1949) respectively. IPTA was the first organisation that spoke about the need of highlighting the syncretic nature of its culture in a multi-ethnic and multi-lingual state like Assam. In the first conference in Silchar, the two hundred odd representatives who participated consisted of artists from Tripura hill tracts, Jayantiya, Bodo, Manipuri, Dimasa - Kachhari, Miri and other ethnic communities along with Bengalis, Assamese and tea- plantation labourers. IPTA in Assam held on to this tradition and to the spirit of the draft proposal that declared that it is meant to be a platform where every ethnicity is part of a larger collective in which it contributes voluntarily, knowing that its own cultural distinctiveness will not be compromised or co-opted in the process. Many people have discussed at length how Bhupen Hazarika was influenced by Paul Robeson whose acquaintance he made during his stay in the USA as well as by Pete Seeger’s protest songs. × Many people have discussed at length how Bhupen Hazarika was influenced by Paul Robeson whose acquaintance he made during his stay in the USA as well as by Pete Seeger’s protest songs. The initial years when Bhupen started composing songs for the IPTA, certain signs of their influence were undoubtedly pronounced. And yet, the way he used Assamese traditional music (Bihu, bangeet, borgeet or jhumur) at that point and throughout his later life was something extremely unique. He could pull off a melodic structure with major notes and a strong rhythmic pattern like ‘Nami Axa’ and another with predominantly minor notes and zero or soft rhythm like ‘Haradhon Rongmon katha’ (co-composed with Hemango Biswas) with equal ease and elegance. Even when one keeps in mind the rich oeuvre of Jyotiprasad, Bishnu Rava, Parbatiprasad Barua or Anandiram Das whose pioneering creations influenced IPTA artists in composing their own, it is not difficult to see why Bhupen Hazarika’s place in Assamese modern music is still singular on many counts. As Hemango Biswas writes, ‘ In the musical milieu of Assam, IPTA ushered in a new legion of songs about life and revolution. In this work, the musical tradition of the revered Jyotiprasad was our chief inspiration. Works of our folk composer Anandiram Das, the late Hemen Thakur and later those of Abdul Malik helped us. But the true architect of this genre was Dr Bhupen Hazrika. The ordinary lives of Assam like that of the lumberjacks, the stone breakers, the train drivers, tea-plantation worker Jagnu, farmer Rongmon, weaver girl Rodoi and palanquin bearer Dolabhari - these characters succeeded in sweeping aside the impersonal genre of music devoid of social consciousness that had been prevalent thus far. Nothing perhaps better describes how in Bhupen Hazarika such diverse musical styles had found their easeful co-existence beyond the usual divides of traditional, modern, eastern or western forms. × Newer expressions and styles made their presence felt in the creation of the tunes. The local musical form remained intact, but its narrow structures were broken down in a fresh attempt to showcase a new reality. Numerous songs of the IPTA spread to various cities and villages. This metamorphosis in Assamese music is a widely acknowledged fact today’. Nothing perhaps better describes how in Bhupen Hazarika such diverse musical styles had found their easeful co-existence beyond the usual divides of traditional, modern, eastern or western forms. As a singer, his internalisation of this was so complete that anything that he performed: From kamrupi folk to bangeet, from ‘sa banuar geet’ (tea- plantation songs) to Bihu, from lullabies to protest songs – he seemed to be a natural denizen of all the territories he travelled. It is true that Bhupen Hazarika’s political views took a significant turn in his later life and in many ways he became the cynosure of conservative politicians of different hues. We should add to it our collective misfortune that there is no dearth of politicians in this country who can appropriate a cultural capital towards a political end and turn it to material/ military/ electoral gain- a very recent example would be the inauguration by the political who’s who of the Bhupen Hazarika Bridge in Assam which is supposed to be the longest bridge in India (not undisputedly, though). But because of this very reason, it seems all the more necessary to document Bhupen’s immense contribution to the leftist cultural movement in India – his long and hard creative years in Assam, Bengal and outside of those before he finally moved to Bombay. Perhaps we got to remind ourselves now that that period also coincided with the genesis of many of his greatest creations the history of which needs to be written urgently.

Bhupen Hazarika's political melody

<p>The queen of thumri has gone silent. The death of Girija Devi marks yet another poignant moment in the annals of Hindustani music; her life and labors embodied both the extraordinary turns that music itself underwent in course of the twentieth century as well as the spirit of Benarasi musical culture which she identified with very closely.</p>

<p>Born to a zamindar and a devadasi mother, young Girija responded naturally to the talim she received from a number of accomplished teachers. She was trained to specialise in a number of genres, especially the thumri and the dadra.&nbsp;&nbsp;</p>

<p>Like so many of her counterparts who came into the folds of nationalist reform activity and middle-class domesticity, Girija Devi took up music in right earnest and used her own creative imagination to make the thumri her very own medium of expression. In her artistic conception and through her voice, the thumri became more than a genre that was always associated with a particular community and its aural imagination; it was expanded to transform the very soundscape of Hindustani music. Her talim that carried the markers of traditional seni practice and her ability to use the new institutions in independent India, notably the Radio, made her a household name and the most influential exponent of the purab ang thumri.</p>

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<p>While her inner artistic life was shaped by the city of Benaras and its rich musical culture her individual personality pushed her to seek new pastures, especially on the public stage. Moving away from private mehfils, she came to dominate the public concert stage in major Indian cities and, thereby, carved a distinct space for the rendering of genres, such as the thumri, dadra, hori, kajari and chaiti all of which had been relegated to the domain of the light classical. This was possible only because Girija Devi comprehended the niceties of language and the layers of meaning in the song texts that she performed.</p>

<p>When Girija Devi sang in her full-throated voice &lsquo;ras ke bhare tore nayan&rsquo;, the listener could not but respond to the rich emotional overtones of the song that blended poetry and music to produce a sensorial feast.</p>

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<p>Girija Devi&rsquo;s tryst with music like so many of her counterparts in the north and the south had a private as well as a public face. She often talked of the enormous support she received from her father and husband but more striking was her experience of an intense practice session in Sarnath. This supposedly gave her an unusual insight into the acoustic elements of music and made her the artist she became.</p>

<p>As a public personality, she was equally at ease &ndash; having breached the public domain, as early as 1949 when she performed for the All India Radio in Allahabad, she went on from strength to strength, thrilling listeners and performing in India and overseas. A recipient of several awards, she was a generous teacher and collaborator. She worked closely with the Sangeet Research Academy in Kolkata and the Benaras Hindu University as well as displayed her ability to negotiate very different modes of pedagogy than what she had been used to.</p>

<p>In every sense, Girija Devi was a trendsetter and wore her personality in her voice and imagination. The confidence and energy that characterised her transition from an older world of patronage and performance to a new milieu of public concerts and institutions made Girija Devi truly magisterial. The world of music will miss her &ndash;the city of Benaras especially so.</p>


The confidence and energy that characterised her transition from an older world of patronage and performance to a new milieu of public concerts and institutions made Girija Devi truly magisterial.

The queen of thumri has gone silent. The death of Girija Devi marks yet another poignant moment in the annals of Hindustani music; her life and labors embodied both the extraordinary turns that music itself underwent in course of the twentieth century as well as the spirit of Benarasi musical culture which she identified with very closely. Born to a zamindar and a devadasi mother, young Girija responded naturally to the talim she received from a number of accomplished teachers. She was trained to specialise in a number of genres, especially the thumri and the dadra. Like so many of her counterparts who came into the folds of nationalist reform activity and middle-class domesticity, Girija Devi took up music in right earnest and used her own creative imagination to make the thumri her very own medium of expression. In her artistic conception and through her voice, the thumri became more than a genre that was always associated with a particular community and its aural imagination; it was expanded to transform the very soundscape of Hindustani music. Her talim that carried the markers of traditional seni practice and her ability to use the new institutions in independent India, notably the Radio, made her a household name and the most influential exponent of the purab ang thumri. Girija Devi expanded thumri to transform the very soundscape of Hindustani music. × While her inner artistic life was shaped by the city of Benaras and its rich musical culture her individual personality pushed her to seek new pastures, especially on the public stage. Moving away from private mehfils, she came to dominate the public concert stage in major Indian cities and, thereby, carved a distinct space for the rendering of genres, such as the thumri, dadra, hori, kajari and chaiti all of which had been relegated to the domain of the light classical. This was possible only because Girija Devi comprehended the niceties of language and the layers of meaning in the song texts that she performed. When Girija Devi sang in her full-throated voice ‘ras ke bhare tore nayan’, the listener could not but respond to the rich emotional overtones of the song that blended poetry and music to produce a sensorial feast. In every sense, Girija Devi was a trendsetter and wore her personality in her voice and imagination. × Girija Devi’s tryst with music like so many of her counterparts in the north and the south had a private as well as a public face. She often talked of the enormous support she received from her father and husband but more striking was her experience of an intense practice session in Sarnath. This supposedly gave her an unusual insight into the acoustic elements of music and made her the artist she became. As a public personality, she was equally at ease – having breached the public domain, as early as 1949 when she performed for the All India Radio in Allahabad, she went on from strength to strength, thrilling listeners and performing in India and overseas. A recipient of several awards, she was a generous teacher and collaborator. She worked closely with the Sangeet Research Academy in Kolkata and the Benaras Hindu University as well as displayed her ability to negotiate very different modes of pedagogy than what she had been used to. In every sense, Girija Devi was a trendsetter and wore her personality in her voice and imagination. The confidence and energy that characterised her transition from an older world of patronage and performance to a new milieu of public concerts and institutions made Girija Devi truly magisterial. The world of music will miss her –the city of Benaras especially so.

Girija Devi: The queen of thumri has gone silent

<p>Shobha Sen, the doyenne of Bengali theatre passed away yesterday in Kolkata at the age of 93. Bengali theatre fraternity would remember her not only as a wonderful actress in some of the remarkable performances both on stage and on the silver screen but also as a champion of the rights of female performers in a male-dominating theatre society.</p>

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<p>She emerged as a class performer in her own right but the aura of her husband, the legendary actor-director-playwright-scholar Utpal Dutt, somewhere overcast her presence in theatre. Perhaps Sen would have objected to my reading, and critics may also take exception to my views, but it would always remain an important question in the history of Bengali theatre whether she got her due.</p>

<p>Soon after graduating from the Bethune College, Kolkata she joined the IPTA (Bengal chapter), played the female lead in the historic IPTA production of Bijan Bhattacharya&rsquo;s Nabanna. In the early 1950s, she joined Dutt&rsquo;s Little Theatre Group (LTG), which was later renamed as People&rsquo;s Little Theatre (PLT), and performed in a number of remarkable productions by the group, under the direction of Dutt. Acting and performance brought Dutt and Sen closer to each other, which culminated into a lifelong conjugal relationship. She was also a staff artist of the Akashvani (All India Radio); her voice could be heard often in Friday-radio dramas (Bibhash Chakraborty, Amader Theatre-e Matriarch Hoe Benche Thakun Sobha-di, Bangodorshon, acc. 13 August 2017).</p>

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<p>She also acted in some landmark movies like Bedeni (unfinished; 1952), Ek Adhuri Kahani (1972), Ek Din Pratidin (1979), Baisakhi Megh (1981), Shadows of Time (2004), etc. Bibhas Chakraborty recounted her spontaneity, and easy acting style against theatrical acting of Ritwik Ghatak and Bijan Bhattacharya in the first neorealist movie Chhinnamul (1950), or in Nagarik (1977). In his opinion, Bengali film industry failed to provide her with the opportunity that she deserved (ibid.). Sen&rsquo;s daughter, Professor Bishnupriya Dutt points out that she has observed Brechtian dialecticalism in her acting without any duplication of roles in her entire career.</p>

<p>Her autobiographical work is titled Smarane Bismarane: Nabanna Theke Laldurgo (2nd edition, 1996). In spite of increasing frailty, she had been closely monitoring the works of the Utpal Dutt Foundation for International Theatre Studies.</p>

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<p>Bishnupriya Dutt thinks that Sobha Sen along with Utpal Dutt tried to defy profit motive, corporatism in their theatre practice. They practised Marxism in theatre their own ways, the fundamental idea of which was egalitarianism. Indeed, when we remember how Sen struggled to promote female performers, identify talents in them, we realise that she will be missed by many in a theatrical world which is fragmented and dominated by people who believes in male supremacy. Even in death, she tried to help the community of people around her by donating her body for medical research.</p>


Sobha Sen tried to defy profit motive and corporatism as well as promote women artists in her theatre practice.

Shobha Sen, the doyenne of Bengali theatre passed away yesterday in Kolkata at the age of 93. Bengali theatre fraternity would remember her not only as a wonderful actress in some of the remarkable performances both on stage and on the silver screen but also as a champion of the rights of female performers in a male-dominating theatre society. It would always remain an important question in the history of Bengali theatre whether she got her due. × She emerged as a class performer in her own right but the aura of her husband, the legendary actor-director-playwright-scholar Utpal Dutt, somewhere overcast her presence in theatre. Perhaps Sen would have objected to my reading, and critics may also take exception to my views, but it would always remain an important question in the history of Bengali theatre whether she got her due. Soon after graduating from the Bethune College, Kolkata she joined the IPTA (Bengal chapter), played the female lead in the historic IPTA production of Bijan Bhattacharya’s Nabanna. In the early 1950s, she joined Dutt’s Little Theatre Group (LTG), which was later renamed as People’s Little Theatre (PLT), and performed in a number of remarkable productions by the group, under the direction of Dutt. Acting and performance brought Dutt and Sen closer to each other, which culminated into a lifelong conjugal relationship. She was also a staff artist of the Akashvani (All India Radio); her voice could be heard often in Friday-radio dramas (Bibhash Chakraborty, Amader Theatre-e Matriarch Hoe Benche Thakun Sobha-di, Bangodorshon, acc. 13 August 2017). Bengali film industry failed to provide her with the opportunity that she deserved. × She also acted in some landmark movies like Bedeni (unfinished; 1952), Ek Adhuri Kahani (1972), Ek Din Pratidin (1979), Baisakhi Megh (1981), Shadows of Time (2004), etc. Bibhas Chakraborty recounted her spontaneity, and easy acting style against theatrical acting of Ritwik Ghatak and Bijan Bhattacharya in the first neorealist movie Chhinnamul (1950), or in Nagarik (1977). In his opinion, Bengali film industry failed to provide her with the opportunity that she deserved (ibid.). Sen’s daughter, Professor Bishnupriya Dutt points out that she has observed Brechtian dialecticalism in her acting without any duplication of roles in her entire career. Her autobiographical work is titled Smarane Bismarane: Nabanna Theke Laldurgo (2nd edition, 1996). In spite of increasing frailty, she had been closely monitoring the works of the Utpal Dutt Foundation for International Theatre Studies. Sen struggled to promote female performers, identify talents in them, we realize that she will be missed by many in a theatrical world which is fragmented and dominated by people who believes in male supremacy. × Bishnupriya Dutt thinks that Sobha Sen along with Utpal Dutt tried to defy profit motive, corporatism in their theatre practice. They practised Marxism in theatre their own ways, the fundamental idea of which was egalitarianism. Indeed, when we remember how Sen struggled to promote female performers, identify talents in them, we realise that she will be missed by many in a theatrical world which is fragmented and dominated by people who believes in male supremacy. Even in death, she tried to help the community of people around her by donating her body for medical research.

Shobha Sen, the doyenne of Indian theatre, will be forever remembered

<p>Who knew drawing was different from doodling, up until the time Google started innovating with its logo on the homepage of its search engine. Most of us, including I thank the web giant for bringing the much-loved art form into the mainstream. Every kid&rsquo;s favourite pastime would have otherwise remained between the last pages of school textbooks or on the paper napkins.&nbsp;<br />
&nbsp;<br />
While Google in its everyday doodles commemorates important events of the world and people&rsquo;s contribution in different fields of study, there is a software developer in India who doodles away his time while travelling in the modest metro train, to and fro work.&nbsp;<br />
&nbsp;<br />
The Delhi-based artist features his work under the label Metrodoodle on both Facebook and Instagram but he got famous when he first published an Instagram post on October 29, 2016. Users on the picture-sharing social network app poured in their appreciation for the doodle with some even saying: &ldquo;You have made our day with this&rdquo;.&nbsp;<br />
&nbsp;<br />
He has never stopped since.&nbsp;<br />
&nbsp;<br />
Metrodoodler says, &ldquo;I&#39;ve been doodling all this time since I was a kid. It started with doodling on the last pages of the notebooks during school. You can find something in every notebook that I&rsquo;ve ever used. Now I doodle on my phone as it is always with me. It&rsquo;s amazing how I can draw anytime, anywhere whenever I feel. Metrodoodle basically helped me to put my time in travelling to some use. One thing is that I was able to create doodles for people to enjoy, another was that it was a daily practice for me to work and improve my skills.&rdquo;<br />
&nbsp;<br />
Doodling monsters, aliens, fictional characters, superheroes and mythical animals, he keeps reinventing with his doodles. He says, &ldquo;There isn&rsquo;t any specific area the inspiration comes from rather it&rsquo;s a mixture of so many things. The stuff I like to watch, read and think about, the people, the conversations and almost everything. The Metro gives me a huge canvas to imagine things and draw. When I am creating my artwork, I try to keep it different from reality.&rdquo;</p>

<p>&nbsp;</p>

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<p style=" margin:8px 0 0 0; padding:0 4px;"><a href="https://www.instagram.com/p/BSgc8X9hNeh/" style=" color:#000; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:normal; line-height:17px; text-decoration:none; word-wrap:break-word;" target="_blank">That&#39;s some serious MartialArts there!! ? . #MetroDoodle #Doodle #MartialArts #Illustration #sketch #Metro #DigitalArt #yinyan #legsplit #graphicdesign #artwork #instaart #Creatures #india #instagram #Artist #PhoneClick #instagood #instamood #Artofvisuals #subway #phonography #scenes #stories #Artoftheday #Inspiration #photography #Artfeature #Art #Sketchbook</a></p>

<p style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; line-height:17px; margin-bottom:0; margin-top:8px; overflow:hidden; padding:8px 0 7px; text-align:center; text-overflow:ellipsis; white-space:nowrap;">A post shared by MetroDoodle (@metrodoodle) on <time datetime="2017-04-05T14:29:57+00:00" style=" font-family:Arial,sans-serif; font-size:14px; line-height:17px;">Apr 5, 2017 at 7:29am PDT</time></p>
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<p>I asked him whether this requires professional training in drawing or software.&nbsp;<br />
&nbsp;<br />
Metrodoodler says, &ldquo;I haven&rsquo;t learnt it anywhere. I have grown drawing and sketching, so I would say it has come naturally to me. I am a software developer by profession and I take up freelance art projects for my weekends.&rdquo;<br />
&nbsp;<br />
Doodles are a new way of expressing creativity among the new generation of artists. According to a paper titled What does Doodling do? by Jackie Andrade in 2009, doodling has a couple of benefits for the artist. In his paper, he theorised that doodling helps you concentrate. &nbsp;<br />
&nbsp;<br />
Doodling also helps artists from coming out of a creative block, experienced by almost all practising artists. Initially used as a tool to pass the time before setting out to work, many artists feel that it can be taken up as a career. Metrodoodler says, &ldquo;I do consider this to be a career option. Right now there aren&#39;t any monetary benefits involved.&rdquo;<br />
&nbsp;<br />
Using his imagination to doodle animate and inanimate objects around people, he talks about his inspiration: &ldquo;I am constantly inspired by the work of all the artists shared on Instagram by them. Instagram is probably my favourite app. The work done by Subwaydoodle triggered me to start something of my own, as a result Metrodoodle happened. I made sure to keep my artwork different and unique by portraying my own imagination in my work. I try to put in some humour in my doodles, whenever possible. It feels nice if you can bring a smile on people&rsquo;s face.&rdquo;</p>

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<p>Do you ask for permission before clicking images of people?</p>

<p>He says, &ldquo;Till now, there hasn&rsquo;t been a situation where I have been stopped from clicking pictures but in case it happens, &nbsp;I&rsquo;ll introduce them to me and the purpose for which I am clicking the photograph and if they still don&rsquo;t want it taken, then I won&rsquo;t. On the contrary, I keep getting requests from people who want to be featured in my artwork.&rdquo;<br />
&nbsp;<br />
He adds, &ldquo;Whenever I am clicking pictures, I am not sure if I&rsquo;ll be using it for my doodles. I look to capture raw and candid pictures, without grabbing people&rsquo;s attention. Sometimes my camera shots are planned, but most of the time I just keep clicking whatever interests me and look for the idea for my doodles later. I never draw anything that would upset someone in my drawing. In case I feel it might, then I try to make them unrecognisable by adding things or blurring their face.&rdquo;<br />
&nbsp;<br />
Working on doodles only when he has the time, the artist behind Metrodoodle hopes that his work is appreciated by all. He is happy that people identify doodling as unique and can connect with it. He believes that currently no one apart from him is doodling in India.&nbsp;<br />
&nbsp;<br />
(WION)&nbsp;<br />
&nbsp;<br />
&nbsp;</p>


A software developer by profession, Metrodoodler doodles all that he sees and all that he doesn't

Who knew drawing was different from doodling, up until the time Google started innovating with its logo on the homepage of its search engine. Most of us, including I thank the web giant for bringing the much-loved art form into the mainstream. Every kid’s favourite pastime would have otherwise remained between the last pages of school textbooks or on the paper napkins. While Google in its everyday doodles commemorates important events of the world and people’s contribution in different fields of study, there is a software developer in India who doodles away his time while travelling in the modest metro train, to and fro work. The Delhi-based artist features his work under the label Metrodoodle on both Facebook and Instagram but he got famous when he first published an Instagram post on October 29, 2016. Users on the picture-sharing social network app poured in their appreciation for the doodle with some even saying: “You have made our day with this”. He has never stopped since. Metrodoodler says, “I've been doodling all this time since I was a kid. It started with doodling on the last pages of the notebooks during school. You can find something in every notebook that I’ve ever used. Now I doodle on my phone as it is always with me. It’s amazing how I can draw anytime, anywhere whenever I feel. Metrodoodle basically helped me to put my time in travelling to some use. One thing is that I was able to create doodles for people to enjoy, another was that it was a daily practice for me to work and improve my skills.” Doodling monsters, aliens, fictional characters, superheroes and mythical animals, he keeps reinventing with his doodles. He says, “There isn’t any specific area the inspiration comes from rather it’s a mixture of so many things. The stuff I like to watch, read and think about, the people, the conversations and almost everything. The Metro gives me a huge canvas to imagine things and draw. When I am creating my artwork, I try to keep it different from reality.” × × That's some serious MartialArts there!! ? . #MetroDoodle #Doodle #MartialArts #Illustration #sketch #Metro #DigitalArt #yinyan #legsplit #graphicdesign #artwork #instaart #Creatures #india #instagram #Artist #PhoneClick #instagood #instamood #Artofvisuals #subway #phonography #scenes #stories #Artoftheday #Inspiration #photography #Artfeature #Art #Sketchbook A post shared by MetroDoodle (@metrodoodle) on Apr 5, 2017 at 7:29am PDT × I asked him whether this requires professional training in drawing or software. Metrodoodler says, “I haven’t learnt it anywhere. I have grown drawing and sketching, so I would say it has come naturally to me. I am a software developer by profession and I take up freelance art projects for my weekends.” Doodles are a new way of expressing creativity among the new generation of artists. According to a paper titled What does Doodling do? by Jackie Andrade in 2009, doodling has a couple of benefits for the artist. In his paper, he theorised that doodling helps you concentrate. Doodling also helps artists from coming out of a creative block, experienced by almost all practising artists. Initially used as a tool to pass the time before setting out to work, many artists feel that it can be taken up as a career. Metrodoodler says, “I do consider this to be a career option. Right now there aren't any monetary benefits involved.” Using his imagination to doodle animate and inanimate objects around people, he talks about his inspiration: “I am constantly inspired by the work of all the artists shared on Instagram by them. Instagram is probably my favourite app. The work done by Subwaydoodle triggered me to start something of my own, as a result Metrodoodle happened. I made sure to keep my artwork different and unique by portraying my own imagination in my work. I try to put in some humour in my doodles, whenever possible. It feels nice if you can bring a smile on people’s face.” × × × Do you ask for permission before clicking images of people? He says, “Till now, there hasn’t been a situation where I have been stopped from clicking pictures but in case it happens, I’ll introduce them to me and the purpose for which I am clicking the photograph and if they still don’t want it taken, then I won’t. On the contrary, I keep getting requests from people who want to be featured in my artwork.” He adds, “Whenever I am clicking pictures, I am not sure if I’ll be using it for my doodles. I look to capture raw and candid pictures, without grabbing people’s attention. Sometimes my camera shots are planned, but most of the time I just keep clicking whatever interests me and look for the idea for my doodles later. I never draw anything that would upset someone in my drawing. In case I feel it might, then I try to make them unrecognisable by adding things or blurring their face.” Working on doodles only when he has the time, the artist behind Metrodoodle hopes that his work is appreciated by all. He is happy that people identify doodling as unique and can connect with it. He believes that currently no one apart from him is doodling in India. (WION)

The artist who draws aliens in Delhi's Metro train

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