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June 7, 2002, Chandigarh, India
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MDU suspends Reader of English Rohtak, June 6 An extended meeting of the Executive Council was held today in Haryana Bhavan in Delhi. The Vice-Chancellor, Maj-Gen (retd) Bhim Singh Suhag, presided over the meeting. The meeting also decided to drop the disciplinary proceedings initiated against the Controller of Examinations, Dr K. C. Bhardwaj, and Mr K. C. Dadhwal, Accounts Officer, on the charges of defying Chancellor’s orders in 1999. Dr N. K. Rattan has been suspended for alleged violation of study leave rules. He was granted study leave (with pay) for one year from April 19, 1994 to April 8, 1995 by the Executive Council for completing his PhD research project from CCS University, Meerut. The study leave (with pay) was extended for another year by the Executive Council. After availing of the study leave, Dr Rattan reported back for duty on April 9, 1996. The university alleged that Dr Rattan had submitted his PhD thesis to CCS University, Meerut on July 27, 1995 and it was incumbent upon him to resume his duties on July 28, 1995. He, however, did not do so and instead continued to avail of the study leave without any work from July 28, 1995 to April 8, 1996 and also drew his salary for that period. Dr Rattan was asked to explain his position. But, according to the university, he had taken a wrong plea that he had to wait for a call for viva-voce examination from CCS University, Meerut, which was held in February 1996. He did not join even after the viva-voce and had taken the plea that nothing was known to him as to whether he had cleared the viva-voce and that sometimes a candidate was again called for the viva-voce. In his reply, Dr Rattan maintained that he completed the PhD and received the same on June 16, 1996, whereas he had already joined his duties on April 9, 1996. The Executive Council directed the Vice-Chancellor to institute an inquiry into the whole affair besides recommending suspension of Dr Rattan. The Executive Council also approved the recommendations of the Academic Council to close the Department of Rural Development. The faculty of Social Sciences had on March 30 last year recommended that the Department of Rural Development be merged with its parent Department of Economics. But the Academic Council of the university, in its meeting held on March 20 this year, resolved that arrangements should be made for running the second year classes of MA (Rural Development) students during the 2002-2003 session. The Executive Council today said that the teachers in the Department of Rural Development should be transferred to their parent department. |
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Too many students chasing too few seats New Delhi, June 6 “The DU authorities can provide for more seats in the evening colleges. I have put across this viewpoint but the problem lies with the infrastructure,” says Dr Hema Raghavan, Dean, Students’ Welfare, Delhi University. “Delhi University accommodates at least 1.25 lakh students every year and that includes seats in the School of Correspondence Studies. We possibly can’t admit every candidate,” said Dr Raghavan. With the number of applicants increasing every year and the number of seats in the general category remaining virtually unchanged, the rate of rejection has naturally increased. Last year, there were several cases of suicides by students, who were either unable to get admitted or did not get the course of their choice. According to university officials, among the 45 percent reserved seats, there is a 22.5 per cent quota for SC/STs, five per cent each for foreign students and sportspersons, five per cent for Nepalese and Bhutanese students, three per cent for physically challenged and kin of the personnel killed or disabled in action, one per cent for students from the North East and five per cent for children/widows/wives of the officers and men of the armed forces, including paramilitary forces. “If some of the reserved seats are left vacant, applicants from the general category can be admitted,” pointed out Dr Raghavan. To increase the total number of seats, Delhi University has launched its new range of language courses in Spanish, German and Italian at the undergraduate level like the one in Jawahar Lal Nehru University. JNU offers its bachelors in language courses for five years whereas DU has it for only three years. A candidate can now utilise the other two years in gaining a masters degree,” pointed out Dr Raghavan. “The admission to such courses is solely on the basis of performance in the entrance test,” she added. |
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DUSU vice-chief goes on indefinite hunger strike New Delhi, June 6 Apparently, the Centre for Bharatiya Marketing Development (CBMD), a unit of the Swadeshi Jagran foundation, in collaboration with the ABVP, was supposed to organise an Education and Career Fair from today till June 11 at the Arts Faculty, North Campus to offer career guidance to all the prospective Delhi University students. The proposal was given the green signal by the DUSU members as well as by pro Vice-Chancellor C. R. Babu on May 16, but Neetu Verma rejected the idea of holding such an event saying that it would not be of any use to the students, but would only be a profit-making enterprise and would inspire other bodies to hold such money-minting fairs in the name of counselling. “How can she (Neetu Verma) think of scrapping such an event as we are working for the students’ welfare. Such melas only help students to clear their confusion. She is not doing justice to all the prospective students as she is engrossed with other political agendas, said Nakul Bhardwaj. “The time which Delhi University has given to submit the admission forms is 10 am to 1 pm. How is it possible for a student to submit forms in such short duration. I even told the authorities last year to set up regional centres, which will facilitate the process of admissions, but no one cared. This strike is not only for the cause of holding educational fairs but also to address such issues,” said Bhardwaj. “This kind of demonstration is certainly not good for the DUSU,” said Neetu Verma. She agreed that the ABVP was an effective body but that did not mean they should take undue advantage of it. This so-called educational fair was a mere eyewash just to mint money from the naive students. “And I won’t let that,” she claimed. |
ARTSCAPE Kathak, though essentially a solo dance form, is the ideal medium of expression for India’s only dancing twins. A synergy of grace and rhythm, of perfect understanding shared from birth. This is what is said about the dancing twins of India, Diksha and Divya. The duo have given some scintillating performances both in India and abroad and earned a name and fame for themselves. Born in the beautiful hills of Almora in the state of Uttaranchal, the girls finished their schooling from Delhi. They were born into a family that loved and practised fine arts. Their father, a retired teacher, played tabla as a part-time ritual and mother is deeply involved in drawing Alpanas. Diksha says that it was primarily at her parents’ initiative and the environment at home that made them strictly follow their strenuous dance schedule. She says that it was the constant pushing and prodding by their parents to perform better and work harder, that they were able to take up ‘Kathak’ dance as a profession, something nobody had ever done in their family. They took up dancing at the tender age of six, along with their regular schooling. They began from Shriram Bharati Kala Kendra, initially for two years, under the able guidance of Vaswati Mishra. Then they shifted to Kathak Kendra, to complete a five-year foundation course and a three-year diploma course under the able guidance of Bharati Gupta. This was followed by a three-year diploma honours course and a two-year post diploma course under the tutelage of Guru Shri Munna Shuklaji. Their process of learning and trying to excel in their art is still on. They consider their family as the dominant influence on their career and their parents as their guides. They are unanimous that had it not been for the support and care of their parents, they would not have reached this level of excellence in their art. When they took up dance in their early years, they found it tough to cope with both studies and dance at the same time. They were often unhappy and considered the whole exercise futile and purposeless. Their hectic schedule comprised late school hours, followed by dance practices and rehearsals. Commuting from the residence to dance school was always a sleeping ride for them. In spite of all this, their parents persisted with their strenuous dance practice schedule. Gradually, as their interest began to grow, a liking to all that they were doing developed. Slowly and steadily, their performance began to be recognized on various occasions at school and other places, and they realized that dance was providing them with name, fame and recognition. It inspired them to work harder and reach out for greater heights. Their strenuous dance routine was not an excuse for performing badly in academics. Interestingly, the innate bonding between the twins saw a new dimension when they secured almost the same percentage in their board examinations. When asked about their dancing achievements, they proudly reply in unison that they are the only dancing twins in the country. Both of them have received the national scholarships at the same time. Presently, Diksha is pursuing a teaching career in dance at the Heritage School in Vasant Kunj, New Delhi. Divya, on the other hand, is associated with an NGO, which lectures and provides insight into the wondrous dancing culture of India, particularly among the rural people. For the moment, they are satisfied with their work. However, their goal is to reach the zenith of classical dancing. Clearly, they are two graceful forms moving in unison, individual and yet, inseparable in real life.
Moods of Mandu An exhibition of photographs titled ‘Moods of Mandu’ was held at the Visual Art Gallery, India Habitat Centre, by Varun Maira, an IAS officer of the Gujarat cadre. An alumnus of St. Stephen’s College and Delhi School of Economics, he joined the IAS in 1975. In his last 20-year stay in Ahmedabad, he has created a niche for himself as a landscape photographer and theatre person. Mandu, the “City of Joy”, is a celebration in stone, of life and joy and the love of the poet-prince, Baz Bahadur, for his lady-love, Rani Roopmati. Crafts, music and dance of all sorts flourished in one of the most important cities of medieval India. The monuments built there are a beautiful expression of the intermingling of Afghan, Persian and Tughlaq architecture and Hindu-Muslim synthesis in building art. Moods of Mandu is Mandu from the perspective of a landscape photographer. The photographs showcase the exquisite palaces like the Jahaz and Hindola Mahals, the Jama Masjid, Baz Bhadur’s Palace, Roopmati’s Pavilion and so on. Jahaz Mahal’s photograph, named ‘Steps to Heaven’ presents a beautiful and lush green landscape. The Jahaz Mahal seems to have captivated the photographer’s fascination as it was the subject of largest number of photographs. Nilkanth, the sacred Shiva shrine situated in a magnificent setting, at the very edge of a steep gorge, presents an amazing colour showcase. The picture, which stood out was titled, ‘Reflected Grandeur.’ It was Darya Khan’s Tomb taken as a reflection through a pond. This reflective photograph was truly breathtaking. ‘Nostalgia’, representing Mandu lake, was an evening shot, where sunlight is shown playing with the waters of the lake. Throughout the photograph, an orange halo is formed, giving it a very serene outlook. Painting expo
An exhibition of drawings and paintings by noted painter, Ajay Kumar ‘Samir’, is on these days at the Dhoomimal Art Gallery. These paintings based on Gulzar’s poetry, brings a refreshing change in the contemporary slump art world. The paintings and drawings are a mixed work of watercolours, ink and pencil. All the paintings and drawings present a very livid and true-to-life imagery of Gulzar Saab’s poetry. Having his roots in the Garhwal Hills, this young and talented artist has done B.F.A. Painting from College of Art, New Delhi. He has been a part of many group shows and has to his credit a number of solo shows. At present, he is working as an Art Teacher. |
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MUSIC ZONE Qawwali, as truly said and believed, is the musical path to spiritual ecstasy. It is a recognized musical genre only in India and Pakistan, despite the fact that Islam has a following all over the world. Musicologists attribute this to the fact that perhaps it was only in the sub-continent that music played such an essential part in religion. And in our country, qawwali is not limited just to the religious field but has also spread itself in our cinema. Qawwali or sama means listening. The word qawwali is derived from qual, meaning ‘saying’ in Arabic. Qawwal means the one who says or the singer of a verbal message. Sufi poetry is the basic source of qawwali texts. Qawwali, thus, is the musical performance of texts, which shares a poetic idiom rich in image and metaphor. It is the authentic spiritual song that transports the mystic towards union with God. To the Sufi participant, qawwali is ‘a method of worship’ and ‘a means of spiritual advancement’ and ‘a feast for the soul’. To the performer, it is mainly a musical genus ‘with a definite focus on worship’. And to the observer or the listener, it is ‘music par excellence’. Qawwali as music is a group song performed by qawwals (professional musicians) led by one or two solo singers. They present numinous poetry in Farsi, Hindi and Urdu with a combination of solo and group passages characterized by repetition and improvisation. A qawwali song normally begins with an instrumental introduction on the harmonium, then an introductory verse is sung as a solo recitative without drums, leading into the proper song which is a mystical poem performed by the entire group of qawwals. Qawwali began in the 12th century. In the beginning, it was written in Farsi, Arabic and Sanskrit. As of today, qawwalis are sung either in Hindi or khadi boli (Hindi dialect that is used by common people). The singing of Qawwalis in khadi boli was started by Hazrat Amir Khusro. He was the disciple of Hazrat Nizamuddin Aulia, whose tomb stands in New Delhi. The main purpose of singing qawwali is to praise the lord (khuda ki ibadat). In the beginning, therefore, it was only sung at the Muslim place of worship (the dargah). The dargah of Nizamuddin Aulia was a centre of qawwali, for it represents the personal legacy of the great poet, musician and statesman, Amir Khusrau, who was also saint Nizammudin’s favourite disciple and is buried next to him. Qawwalis are an integral part of ‘urs’, the religious fest of Muslims that are held at mazars (tombs) of different Muslim saints or peers. They used to comprise verses in honour of Prophet Mohammed or Hazrat Imam Hasan Hussain. Just as singing of qawwali is an art, listening to them is also to be done with a great deal of respect and manners. For example, those who sat amongst the audience were to cover their heads with caps to give this art its due respect. In ancient times, no musical instruments other than a ‘daf’ or ‘dhapali’ (bass drum) were used. Qawwali which was earlier named and known as Naatia qawwali, has now been drastically transformed into ‘disco’ qawwali. The main cause for this change may be attributed to the latest kind of music that is an integral part of our Hindi films. The word “Naat” implies poetic composition in praise of Prophet Mohammed. It is not the case that qawwalis in Hindi films have not been melodious. The famous qawwali from the film ‘Barsaat ki Raat’ is one such example, which attracted an altogether different fan following to this dimming art form. However, filmi qawwalis were a far cry from the original form. Many liberties were taken which transformed it into a different art form altogether. Commercialization of qawwalis came about and traditions were broken. A good qawwal is one who follows the traditions and the rituals of the art with utmost sincerity and truthfulness. Everything has to be done within a specific meters of music. To change with the time is important but it is equally important not to neglect the actualities of the art form. However, even today we have artists who have kept the traditions and the values of this changing art form alive and intact. The Sabri Brothers are termed as the undisputed kings of qawwali. Interests have also grown after the noted musician and qawwal, the late Ustad Nusrat Fateh Ali Khan, gave his touch of class and his serene music to qawwalis. His artistic presence made the listeners spellbound and transformed them to greater spiritual heights. It is sad that this classical art form has to make so many efforts to survive in today’s world. One of the purest way of remembering and worshipping God now has to depend upon other arts to make its existence felt. But nonetheless, it can be said that qawwalis are here to stay even though everything goes through a sea of change. |
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