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| Tuesday, January 29, 2002, Chandigarh, India
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Kirti wins declamation contest Ludhiana, January 28 Students from over eight schools participated in the contest. Kirti from BCM Arya Model Senior Secondary School spoke on ‘Om as the name of God’ and won the first prize. Nidhi was declared second for speaking on “The true form of religion”. Poonam from Springdale Public School got the third position. Tarunpreet Chawla from DAV Public School, Deepinder Singh Mann from Guru Nanak International Public School, Richa from Lal Bahadur Shastri Public High School, Nisha from S.A. Jain Model School, Deepti from BCM Public School, Manisha from BVM Public School, Gaganpreet from Satyawati Oswal Senior Secondary School and Naresh Gupta from New SMD Senior Secondary School were given consolation prizes. Dr Yograj Angrish from Kamla Lohtia Sanatan Dharam College, Prof Navdeep Sharam from AS College, Khanna and Prof Simmi Malhotra from SDP College were the judges. Mr Roshan Lal Arya and Mr Deevan Rajinder Kumar organised the contest. |
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250 take part in calligraphy contest Ludhiana, January 28 The students were divided in three categories. Group ‘A’ included students from classes I to V, group ‘B’ had students from classes VI to VIII and group ‘C’ included students from classes IX and X. Each group was told to pen down a given passage. Among group ‘A’ students, Ritesh Tiwari (Class IV) won the first prize. Anjala Chadha and Simranjeet Kaur from the same class were declared second and third, respectively. Sahil Dutta won the consolation prize. From group ‘B’, Pawanpreet Kaur (Class VI) stood first, followed by Priya Harjai (Class VIII). Priyanka Daga (Class VI) was declared third and Jagtaran Singh (Class VIII) won the consolation prize. Among group ‘C’ students, Sandeep Goraya (Class X) was first. Baljeet Kaur from the same class was declared second. Gagan Chawla (Class IX) stood third and Prabhjeet Kaur Sidhu from the same class received the consolation prize. Top three students from all classes were also awarded trophies on the occasion for bringing good results in the last session. Ms Avinash Kaur Walia, Principal of the school, appreciated the efforts of the students. |
Forum quashes PSEB demand Ludhiana, January 28 According to the complainant, the PSEB officials had inspected and changed the electricity meter installed at his residence in June, 2000. The representative of the consumer, Mr S.S Sarna stated, that a demand of Rs 64,960 was raised by the PSEB on September 20,2000. After that the wife of the consumer met the Chief Engineer to apprise him about the case and the officer marked the case to his junior officer, but the officer concerned did not take the necessary action, he added. No enquiry was held and the electricity supply to the consumer was disconnected. Mr Sarna said that the PSEB officials did not seal and packed the meter properly after removing it which was mandatory. Moreover, the consumer or his representative was not invited in the M.E. laboratory during the checking which was necessary as per the PSEB rules, he further added. It was alleged that the demand had not been raised rightly and there was a clear deficiency on part of the respondent. The consumer demanded from the forum that the demand should be quashed. The PSEB pleaded that the meter was checked on September 20, 2000, and it was found that the speed of energy consumption disc was less by 70 per cent. The respondent stated that the meter was removed and sent to M.E. laboratory on September 25, 2000 and it was checked as per rules. It stated that according to the laboratory report, M.E. seals and clamps were tampered with while the internal investigation of the meter revealed that the current coil was changed and it was recording less consumption of energy by 85 per cent. The respondent stated that since it was a clear case of measured theft, the account of the consumer was overhauled and the disputed demand had been raised. It demanded from the forum that since the demand had been rightly raised, the complaint was liable to be dismissed. The forum observed that there was no mention of presence of consumer or his representative in the spot checking report, besides there was no evidence that the meter was packed and sealed properly before sending it to M.E. laboratory. The forum further observed that there was no proof of giving any notice to the consumer regarding checking of the meter in the laboratory and moreover the report did not bear signature of complainant or his representative which was mandatory. |
‘Yug’ to be telecast in Punjabi
He further informed that though the serial had 600 episodes, but he has got the permission to telecast only 156 episodes. The star cast of the serial include Hema Malini, Priya Tendulkar, Kiran Juneja, Durga Jasraj to name a few. The powerful male cast comprises Mukesh Khanna, Sudesh Berry, Bharat Kapoor, Mangal Dhillon, Asrani, Raza Murad and Sudir Dalvi. The story is based on the ‘freedom struggle’. The serial narrates the story of bravery and resilience of human spirit. It deals with various situations and emotional turmoil of the people who were involved in personal problems and conflicts and their determination to rise above them and fight for “Pooran Swaraj”. Yug expresses the struggle before the freedom and happiness after getting freedom. |
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His intensity sets screen on fire HE
can veer from menace to tenderness in milliseconds, and though he’s physically compact, he has, as one of his directors put it, “screen presence for miles.” Om Puri. has been a dominant big-screen presence in the country for two decades, and his recent English-language films have awakened western critics to a talent that equals or surpasses that of Morgan Freeman or Al Pacino. What Faulkner saw as the center of true literature — “the human heart in conflict with itself” — is at the core of Puri’s acting. His broad, expressive face is like a relief map of discordant emotions. Even when he plays a cameo, as he does in “Such a Long Journey” (an exquisite Canada-U.K. production filmed in Bombay), he digs into a character’s internal contrasts. As a secret agent’s trusted lieutenant, he makes us confront the honour as well as the ruthlessness of military loyalty. In Udayan Prasad’s “My Son, the Fanatic” (1999) and Damien O’Donnell’s “East is East”, he plays parallel Pakistani patriarchs: a cabbie in a contemporary British Midlands city in “Fanatic” and a fish-and-chips shop owner in 1971 Manchester in “East.” Transcending class and ethnic stereotypes, Puri turns embattled fathers into figures as robust, funny and poignant as the immigrant parents in American melting-pot fables by Clifford Odets or Mario Puzo. Critic Armond White contended that the best performance of 1999 was Puri’s in “My Son, the Fanatic” — “hands down,” he wrote acidly, “but not in a culture that only celebrates white actors.” More likely the culprit was not racism, but low profile. Released as alternate programming in the summer of “The Phantom Menace,” this tale of a liberal grappling with his son’s Muslim fundamentalism and his own love for an English whore never achieved the American following it deserved. At the end of “My Son, the Fanatic,” when Puri’s cabbie tells his son, “There are many ways of being a good man,” it both summarises this great phase of the actor’s career and registers as a piece of profundity for our multicultural age. In “East is East,” Puri triumphs in an even more difficult role. He brings out the humour and humanity of a tin-pot household tyrant named George Khan, who is trying to force his English wife, Ella (Linda Bassett), and their children into following the ways of his old country: Pakistan. About
facing the challenge of playing, virtually back to back, characters who are so alike yet so dissimilar as Parvez in “My son, the Fanatic” and George Khan in “East is East”, he says. It’s true. Both share almost the same background. Both are working class. Both had an upbringing conditioned by traditions. Parvez falls in love with an Englishwoman; George Khan has married an Englishwoman. But Parvez is an absolute liberal, a modern man who can assimilate himself into any given set of circumstances. George Khan is still struggling —limited in his outlook and slow in his growth. Parvez can articulate himself, his emotions and ideas. George Khan can’t. He can use only one language, the fist, to nail his children down and to convince them of what he believes is right.
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Kiran guides students through intricacies of Odissi Ludhiana, January 28 Unparallel led in her intensity and sensitivity of expression, Kiran brought out the traditional aspect of Odissi in her work. Incidentally, it was her first performance after receiving Padma Shri Award on the Republic Day. Kiran wanted the students to be involved with the intricacies of the dance. She told the students that dances originated in temples and till today a dance performance starts by offering homage to Gods. Her communicative skills were excellent and throughout the performance of different types of the dances, she involved the audience completely by asking them questions and counting the ‘matras’ with her. Namita started with ‘Manglacharan’. The dancer performed three ‘namaskaras’ to God, guru and the audience. The students were asked to pick out various ‘namaskars’ and demonstrate to her. Sukanya, another one of her students, performed ‘Sthai Nacham’. During her performance with her various ‘mudras’ she played four different instruments. The students were again asked to identify the instruments. The students guessed that she had played veena, flute, mardal and manjira. But the students could not make out from her action what she was doing while getting dressed up inspite of Kiran giving them clues. Kiran informed the students that four basic steps of Odissi dance were ‘chawki, tribhang, aubhang and ardchira’ and rest of the steps originated from those four basic steps. She along with her disciples performed a typical Odissi dance called “Pallavi” , that starts gradually and later on catches on fast and complicated rhythm. Sukanya started in slow rhythm and later Kiran and Namita joined and the pace was breathtaking. The trio were a riot of colour on the stage. The execution of footwork was masterly. The three performed with extreme dexterity and agility. She again asked the students to count the ‘matras’. Students response, made it evident they had gained rudimentary knowledge of this oldest dance form of India. Kiran said Odissi had majority of steps of feminine grace but there were some forceful steps to depict male power of 10 ‘avtars of Vishnu. Later, she told students about different day to day gestures which in stylised form become ‘patakas’ in the dance. She invited 16 students on the stage and asked them to learn some basic exercises to strengthen muscles of the body. The learners have to exercise for one year. Lamenting the fact the our cultural heritage is being wiped out, she said, “Thanks to the
exposure to western culture on television, our modern generation is forgetting our own culture. Now after the dance performance the interest about the dance would be generated among the students. The students ask me that they would like to learn but from which teacher. There is dearth of teachers. Why don’ t the cultural zones of the region arrange for teachers who can teach different forms of dances. SPIC MACAY indeed is doing a good job of bringing different aspects of Indian dances, instrumentalists and great artists of repute but that is not enough. She urged the students to exercise their choice and try to learn more about ‘culture’ and not flow with the stream that can take them away from their culture.” |
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Art Theatre to present ‘Neem Hakeem’ Ludhiana, January 28 Mr H.S. Randhawa stated in a press note that the play had been presented by Art Theatre more than 20 times and every production was a success. The play is adapted from Moliere’s world-famous comedy ‘Dr Mock’ by Mr Randhawa and also directed by him. A team of 14 artistes, including Raman, Raj Kumar, Mandeep Kalra, Pardeep Joshi, Prince, Baljeet K. Randhaata, Rabia, Surinderjeet Simmi, Karamjeet Kaur, Vishal, Karamjeet Singh, Sharanjeet and Amrit Kaur are participating in this play. It is a light comedy which entertains the people so as they should forget the tensions of daily life. Mr Randhawa was honoured by the Finance Minister, Capt Kanwaljit Singh for his contribution in the 31st National Games 2001 as coordinator and his efforts to promote Punjabi theatre and literacy. Mr Anupa Nanda of the Art Theatre was also honoured by the District Administration for his contribution in the National Games. |
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Lively performance Ludhiana, January
28 Youngsters as well as middleaged enjoyed the dance party. |
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Ludhiana, January 28