Monday, February 23, 2009

My Italian publication: Co-authored a book on Kumbha Mela



Kumbha Mela.
Pellegrinaggio indiano



Autore/i: Delahoutre Michel - Titoli dello stesso autore
Deleury Guy
Roy Arindam
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Notizie: Fotografie di: BAMS photo - Rodella Giuliano Radici
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Con 150 fotografie a colori
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Tradotto da: Alberto Pelissero
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Prezzo: Euro 72,30
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Argomento: Religioni / World religions
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Commento: Nel febbraio 2001 in India ad Allahabad, alla confluenza fra Gange e Yamura, si è svolto un grande pellegrinaggio di oltre otto milioni di persone. Due fotografi italiani vi hanno partecipato. Uno studioso di arte indiano, uno di induismo e un giornalista indiano suggeriscono una lettura precisa di questo grande evento.
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Anno di pubblicazione: Settembre 2001
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Pagine: 208
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Collana: Varie fotografia
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Disponibilità: Disponibile
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ISBN: 8816-60272-4
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(Link: http://www.jacabook.it/ricerca/schedalibro.asp?idlibro=2526)

Sunday, February 15, 2009

Child labour in rural areas with a special focus on migration, agriculture, mining and brick kilns

By Neera Burra

d. Children working in mines and quarries


The working of children in mines and quarries is banned. However, the incidence of child labour, whether as part of family labour or as individuals recruited for work continues regardless. Stone quarrying is one of the biggest sectors attracting migrant labour. According to Santulan, a Pune-based NGO, there are 4-5 million workers in this sector in Maharashtra alone of which 800,000-10,00,000 are likely to be children.

Arindam Roy writes about the Kol tribes of Shankargarh, a block just 50 kms from Allahabad where he says almost every person in the area is a bonded labourer, forced to work for silica sand mining sub-lessees. The major occupation in the area is mining of silica. The rate is Rs. 150 per tractor load. Two persons can be expected to mine and load a tractor in 3 or 4 days.

According to Roy, “The slavery of kols is complete. Their children, eight years upwards are not spared either. When children are not breaking the stones, they are made to carry headloads (‘taslas’) to the waiting trucks or tractors. For each head load, they are given a pebble (‘kauri’). They are paid Rupee 1 for carrying 40 head loads, at the rate of 2.5 paisa per head load. After running endlessly, carrying some 400 head loads, these little children are paid about Rs. 10”

(Matter quoted from: Roy, Arindam (2000) “Breaking the Shackles. Kol Tribal Labourers”, Economic and Political Weekly,February 5-11, Vol. XXXV, No. 6, pp.425-426.)


NOTE: Neera Burra is a Sociologist and works on the issue of child labour and poverty. This report draws extensively from her earlier research work.

http://www.ncpcr.gov.in/Reports/ Child_Labour_in_Rural_areas_with_special_focus_on_Migration_Agriculture_%20Mining_by_Neera_Burra.pdf

SP's ties with BJP exposed: Malviya.

Publication: Asia Africa Intelligence Wire

Publication Date: 22-APR-04


COPYRIGHT 2004 Financial Times Ltd.

(From The Times of India)

Byline: Arindam Roy


ALLAHABAD: Satya Prakash Malviya, a veteran Socialist, is contesting as the Congress candidate from Allahabad parliamentary constituency. He is pitted against MM Joshi, Union HRD minister of BJP, three-time winner and the Samajwadi Party candidate Reoti Raman Singh, the transport minister of UP.

Malviya was yet to begin his campaign trail on Wednesday morning. His Allapur residence was abuzz with party workers. In an exclusive...

Read the full article for free courtesy of your local library.

(Link: http://www.accessmylibrary.com/coms2/summary_0286-21088972_ITM )

The Lion of the Goddess Durga

Tuesday, October 16, 2007


The lion of Durga is a gift from a Greek goddess
Arindam Roy
Merinews 11 October 2007, Thursday


Durga was created by the powers of Brahma, Vishnu and Shiva. They opened their third eye and she was born. Various gods decorated her with weapons. A Greek goddess’ gift was forgotten, it seems. A report on the evolution of Durga iconography.

THE WHITE LION of Mahisasur-mardini (Durga) has been imported from Greece. The lion, as a vehicle, was incorporated in the Durga iconography between sixth century AD and 12th century AD. It was ‘imported’ from (read, gifted by) the Greek goddess, Nanaia.

We find occasional representation of Nanaia riding a lion on some Kushan coins and seals. Historians point out that on the basis of the development of the Durga iconography, it might be said that the prominence of the war-goddess grew in 700 years.

In the early Kushan period, around first century AD, Durga was a lesser goddess. The terracotta figurines and stone sculptures of this period depict the goddess with two or four hands, wrestling with the demon (Mahisasur), locked in hand to hand combat. Most of these figurines and sculptures were excavated at a site called Sonkh, near Mathura. It forms a rich legacy of the Mathura Art. For 300 odd years, during the Kushan period, the lion is not seen.

"The Mahisasur-mardini icon of goddess Durga, as we see it today, evolved in the Gupta period, undergoing changes in iconography. Around this time, we find examples of Devi with eight, 10, 12 and even 16 hands. As her stature grew, her iconography evolved," informed Dr Sriranjan Shukla, the assistant keeper of Allahabad Museum, in an exclusive interview.

Durga is the most widely worshipped aspect of Shakti, till today.

The Gupta period is a time of transition. Referring to a sandstone relief, of the latter part of the fifth century AD, of a Chandrasala (which were placed outside temples to indicate the ruling deity), we see Mahisasur-mardini combating the asura (demon). It shows the goddess place one of her feet contemptuously on the head of the vanquished demon. She lifts his hindquarters by the tail and pins him down with her Trishul (trident). A short male figure, as her attendant, establishes her glory. He is a gana of Shiva, consort of the goddess. The locks of the gana and the goddess are elaborately treated, in the style of that period.

The Kushan artists of the Mathura Art School are credited to conceptualize Mahisasur-mardini, or the form of Durga defeating the buffalo-demon. From a lesser goddess, depicted in terracotta figurines and sandstone relief, she attained glory in the Gupta period. Most of the Puranas were authored in the Gupta period, which was a golden era of Indian art, literature, trade, commerce and polity. It was a time of peace and prosperity.

Shukla explained, "The sculpture of the Gupta period is marked by serenity, poise and calm, which is reflected in the face and postures of the images. There are few ornaments. The divine beings are comfortable disposition, as they are in Lalit-asana and Sukha-asana. There is liveliness and energy in the art of this period. Even the standing images are not static. For example, a standing image of Lord Buddha, show a foot raised, knee bent, moving forward. This was the spirit of this era."

Dr Sunil Gupta, an art-historian, said, "It was probably in Gupta period, between fourth century AD and sixth century AD that Durga icon was introduced in Bengal. The worship of the female principle is reflected in popular terracotta art, since ancient times, in Bengal. I have seen the famous mother goddess figurines, in terracotta, from the ancient port of Tamralipti (presently, Tamlute, in Midnapore district, West Bengal) in the Ashmoleon Museum, Oxford. This is from the first century AD, and the icon is not that of Durga. It was only natural for the people of the eastern state to accept Durga and assimilate it in their lifestyle."

Swami Harshananda, of Ramkrishna Math, in his book, ‘Hindu Gods and Goddesses’, says, "Lion, the royal beast, her mount, represents the best in animal creation. It can also represent the greed for food, and hence the greed for other objects of enjoyment which inevitably leads to lust. To become divine (Devatva) one should keep one’s animal instinct under complete control. This seems to be the lesson we can draw from the picture of the Simhavahini (the rider of the lion)."

(Link: http://goddesschess.blogspot.com/2007/10/lion-of-goddess-durga.html ) --- PHOTO CAPTION: A rare image of Mahishamardini Durga from the 5th AC found at Chadrashala, M.P. Preserved at Allahabad Museum PHOTO CREDIT: Bhaswati Bhattacharya

Thursday, February 12, 2009

Do stars shiver in cold blue sky?


Arindam Roy

I ask again:
Do stars shiver in cold blue sky?

You smile…

You hold me tight on your breasts
Afraid that I like my twin would leave and go…

With drops of milk,
I suckled my brother’s life from you

A hurt lily dwelled in your eyes.
You hid the gnarled beauty of your roots
To bloom in my fractured dreams, but

I sought my revenge, dear Mummy.

Perhaps I shivered
And wailed, when you slapped me hard –
To arrive in countless fears, hopes and dreams
When miles lay between us

You wept –
My pain returned through your tears
When you heard, a youth
Was slain, by a bullet in Bombay
Like a fool, you made my
Stern father nervous that night.

But, now I let all your
Joys and fears evaporate
Like mists of swirling cloud
From my sweet, child-like mouth

With soft flap of wings
You burst forth like a bird on flight,
You gushed with the strength of a newborn river:
Free, spreading your wings
In the slight flutter of your raucous breath;
And, your listless eyes lay still.

I am mad, a howling lunatic
I say that I cannot live without you

Perhaps the silly doctors would never know
The little game that we two played:

The silly doctors pronounced you dead –
From when have they become judges, O Mummy?

I laugh and play…
I am mad, a howling lunatic.

No, don’t be sad:
You did not go!

It was my command that you leave, and
You left –
You obeyed me, like I did as a child

The wheel moved full circle
I took my revenge, dear Mummy.

The revenge of your selfless love
I hurt you and fought with you:
Madly in love with you,
I even bade you goodbye!
--

You suffered in silent coma,
Tormented by fever
Spaced across four days and nights
As your brain swam within your skull
In a pool of blood,
It clotted all over your organ
The way I soiled
My crisp clothes as a child…

Amidst fears and hope,
Unmindful of loud crackers
And starry sparklers
You lay still,
With me watching you, helplessly –
As you had watched my twin brother
Die in baby gasps – until
His listless body was snatched from your youthful lap.

You told me that you had wailed and cried
But, they took his frail, still body from you!

My prayers were his curse,
His prayers, my curse:
Did he conspire with daddy?
Did he also call him ‘Bapi’?

Together, they were waiting for you…

You warmed a cold October night
With agonizing fever,

I ordered you to leave…

And I told you
That perhaps we will meet in another life!

Go, go away Mummy,
I am mad, for I love you madly.
And if you don’t go now
I will never be able to leave you.
--

No, you did not leave me, Mummy
I cast you, away:
Like a broken toy,
Like a love letter that lost its meaning.

Your framed picture, garlands and all,
Hangs like a shrunken, empty net
Against a white wall,
Flanked by pictures of
My father and uncle, on either side;

I hold you in my thoughts –
You held me too, tight, in your countless worries and joys!

You once told me that you would die
If something were to happen to me.
Though nothing happened to me,
I let you die…
--
It’s morning, now –

You look at me with a smile
From your frame on the wall

Let me confess,
I no longer feel the sadness
That I felt, when I lovingly smeared
‘Ghee’ on your still, sweet face and breasts
And washed your forehead with salty tears –
As you once oiled and bathed me

I no longer feel the pain,
That I did, when I
Torched your howling pyre
Beside the cold, grey Ganga

My pain has gone,
It’s a huge void, now

Vacant like the cold blue sky –
Without a bird,
Silent like a tomb,
Lost in deep slumber
For centuries, stellar years;
Older, perhaps, than the wrinkled earth!

You, now, sleep sound amongst the stars –
As I, a child, slept quietly
In the circle of your arms crushed on your soft kind breasts.

(I lost my mother on October 26, 2003, to brain hemorrhage. She was in deep coma for four days, battling with life)