http://www.telegraphindia.com/
http://www.xcp.bfn.org/goswami.html
Adda: rendezvous; meeting placeI stood where the Rajgarh Road ended, just beyond the railway crossing and watched Moni Bhattacharjee stripping down to hias skin. The occasion: a 3 hour-long film festival being held there in a makeshift open-air theatre. It was organised by a group of young people wanting an audience to showcase their work. The setting: incongruous in the extreme. There was the railway track at the back, noisy cycle and auto rickshaws in front and in between, an audience thousand or more in number. Over it all, was the larger than life image of Moni suffering the ennui of life in silence. The film: Wind of Change by Rajiv Borthakur. It is a depiction of life fragmented in today’s topsy-turvy times, and of the mundane activities of life: waking, sleeping, walking, waiting, dressing, undressing…To my surprise, I noticed that none among the audience shuffled uncomfortably in their seats or coughed discreetly or made catcalls either as they watched Moni undress. I felt then that it had been wrong of me to attribute puritanism as endemic to the Guwahati psyche. But then, I had drawn my inference from events like vandalisation of fashion shows in the name of cultural preservation, and from the lived experience of my neighbour Mrs. K complaining to my mother that I, as a girl, should not return home very late every day. I just had to thank the young people from one of the various addas of Guwahati for acquainting me with this other face of the city.***Guwahati is where the capital of Assam, one of the seven states (federating units) of the Northeast frontier of India, is located. It used to be a sleepy town till the acceleration of commercial development reached such a pitch in the last decade or less that it lost its balance – it remains, as in the peoples’ attitudes, a small town; outwardly however, it can compete with any third world metropolis today.And like any growing city, it attracts a large number of people who come here looking for livelihood avenues.***Most of the members of the adda Moni frequents are not from Guwahati. They came to the city from different parts of Assam to pursue their respective professions – mostly connected to the film industry. While some of them have been in the industry close to ten years, some are relatively newcomers. But everybody shares a common passion – cinema. It was this passion that dominated most of their daily conversations and culminated in the film festival where the Wind of Change had been screened. The adda members called it the Addabazor Suti Sobi Prodorxon: Screening of Short Films by the Addabaz (adda lovers).***The adda culture is nothing new to the Guwahati scene. An informal get together of like-minded individuals, addas have a dichotomous nature and are viewed with wide ambivalence. On the one hand are some addas outside pan shops, under roadside trees and in hip and happening food joints, where the members meet regularly to play cards or carom and to gossip. These regular hangouts are mostly identified with loafers and the general inclination is to equate adda with decadence. On the other hand are the addas of poets and writers, or professionals and workers, also maybe on roadsides, or in coffee shops, tea stalls and other eating joints or perhaps at a member’s house. These addas are looked at with much awe as the spawning ground of brilliant ideas and intellectual innovations.The older generation of Guwahatians met at Panbazar, the book land of Guwahati – also considered the intellectual hub of the city. Addas still happen here, some of them having survived decades. But today’s young and happening destination is Rajgarh, opposite the Guwahati Commerce College, where one can see different kinds of addabaz. One of these kinds represents the flashy and consumerist pop-culture of Guwahati, which has placed the city among the topmost in the purchasing power index of the country. Rich kids with big cars and ‘modified’ bikes may be seen parked outside fashionable eating joints, enjoying their money power. Close to them however, might be another adda where a group of people would be equally enjoying themselves talking about art, literature, world affairs, family gossip, and what have you.The adda which Moni and Rajiv and a number of their friends frequent also meets at the Rajgarh Link Road. This particular adda had its genesis with its members meeting between long working hours in the nearby editing studios. They would get together to smoke or chew tamul (betel nut) or sip tea and to have some conversation. Gradually a fraternity developed with the realisation of their common passion. Numbers swelled. The adda became their permanent address. So much so that anybody looking for young people associated with the industry would either meet them at the adda or in the event of their absence, leave a message, delivery ensured.***The idea of organising a short film festival came up in the course of regular adda discussions. Notwithstanding what was portrayed in the introductory film of the festival, Moments (of Adda), these young people met not merely to talk into their cell phones and drink tea with cigarettes dangling from their fingers. That was part of it. But they also had moments of intellectual introspection and times when they constructively contemplated on their shared desire to ‘do something different’. The idea took a few months to grow roots. Then, Amar Gogoi, one of the earliest adda members, took it upon himself to push the project through. Owing mainly to his enterprise, the adda members and their friends put together their films, publicised the event, pooled the required funds and set up the modest infrastructure for the screening within just a month.The leitmotif of the festival was freedom – of expression, of participation, of appreciation. The idea of freedom was inherent in the choice of setting: the open-air theatre in the street. The entire process by which the festival was put together also spoke of the same idea of unrestraint. None of the 32 films submitted for screening were rejected. Any subject matter was allowed – the painfully moralising Values and Vision was screened as was the intensely erudite Las Vegasot. No limit was set on the length of the film or the age of the maker. Thirteen year old Raeesha Tanvir Altaf, for instance, showcased her film Khakuar Paro Sorai. Neither was experience a precondition: from a veteran like Altaf Majid to an amateur like Abinash Lahkar, everybody was provided a platform. And finally, nobody was barred from viewing the films or from airing their views about the films.Those who did air their views though, chose to talk not so much about the individual films as about the entire event. For them the remarkable fact was the ‘something different’ that the festival signified, and the intellectual labour and out-of-the-box thinking that went into making it a reality. The genre of the short film also provided novelty. Larger significance to the phenomenon came from the realisation that it was all done by a group of talented but cash strapped young people without any institutional support. It was the sole urge to ‘do something’ that had made them put together an innovative film festival in such a short time and with funds less than INR 10,000 (USD 217 approx) – most of it contributed by the members of the group.As it happened though, the films showed a poor understanding of the short film genre. In fact, technical, grammatical and dramatical shortcomings in most of the films were quite conspicuous. Most of the filmmakers suffered from poor execution of ideas and inability to translate individual visions into moving communicating pictures. Language barriers also often proved insurmountable. Where amateurs were making the films this is perhaps understandable, but quite a few of the adda members are professionals. Paucity of time has been cited as one cause of all shortcomings. But one of the possible reasons could have been that everybody tried to do everything. An editor trying his hand at direction or an actor or a director turning scriptwriter may not have been the best use of their respective specialisations. What if they had pooled their expertise and come up with one extraordinary flim? A different experience would then have awaited the Guwahatians.***The adda film festival was one burst of enthusiasm, a sustained effort of a month, and a temporary shedding of the characteristic Assamese attitude of lahe lahe (sloth in equivalent terms) by a group of young people and it exposed an entire city to the possibility of alternatives to established institutions, avenues and perspectives. It also made people realise they had an aptitude for such alternatives. There’s hope for the city yet. But what about Mrs. K?***
Daylong fest for cine buffs | ||
| A STAFF REPORTER | ||
Dec. 22: If you love watching movies, yet are wary of spending three long hours glued to your seat inside a movie hall, then the 8th ADDA Short Film Festival is the place for you. The film festival, to be held at the Gauhati Commerce College auditorium here tomorrow, is likely to draw movie buffs in large numbers. First held in 2004, the festival organised by the socio-cultural organisation ADDA every year, has managed to win accolades from the public over the years. Short movies made by filmmakers from different parts of the country as well as abroad will be screened during the daylong film festival. A total of 25 films will be screened, comprising 17 shortlisted films and 8 other films especially invited by the organisers. “Like the previous years, upcoming as well as experienced filmmakers from across the country and abroad will showcase their work. From an entry of 60 short films, our jury members have shortlisted 17 movies in both fictional and non-fictional categories. Each film will be screened for 15 minutes and they portray different topics of interest,” said Debojit Gayan, secretary of ADDA. The shortlisted filmmakers are Meghali Deka, Rishi Barua, Deep Jyoti Handique, Parikshit Dutta, Chida Bora, Rishik Barua, Deep Jyoti Kakati, Sandeep Verma, Sanjib Sarkar, Anjana, Kangkan Rajkhowa, Ranjan Bora, Monami Sen Roy, Nayan Saikia and Monalisha. The guest filmmakers are Chaitanya Tamhane from Mumbai, Issam Echchikh from Algeria, Mansour Foruzesh from Iran, Gaurav Panjwani from Mumbai, Angshuman Barkataky from Assam and Saptaraj Chakraborty from Delhi. A film made by the MGR Government Film and Television Institute from Tamil Nadu will also be shown. “There are many talented filmmakers who are unable to make feature films for lack of funds. But such film festivals provide them with a platform to showcase their work. In fact, filmmakers making short movies now get ample opportunities to participate in international short film festivals across the globe,” Gayan said. “Students undergoing different courses on filmmaking will get to interact with the filmmakers in person. They will be able to learn different techniques. With filmmakers from Algeria and Iran participating this time, we hope that we will be able to take this film festival to the international level. We have plans of bringing in more participants from different countries next year,” said Gayan. The organisers also hoped that the state government would take an interest in such film festivals. “It would be nice if the government was associated with such festivals as it would help revive the ailing film industry in the state. So far, we have not received any cooperation from the government,” Gayan said. |
Adda: rendezvous; meeting placeI stood where the Rajgarh Road ended, just beyond the railway crossing and watched Moni Bhattacharjee stripping down to hias skin. The occasion: a 3 hour-long film festival being held there in a makeshift open-air theatre. It was organised by a group of young people wanting an audience to showcase their work. The setting: incongruous in the extreme. There was the railway track at the back, noisy cycle and auto rickshaws in front and in between, an audience thousand or more in number. Over it all, was the larger than life image of Moni suffering the ennui of life in silence. The film: Wind of Change by Rajiv Borthakur. It is a depiction of life fragmented in today’s topsy-turvy times, and of the mundane activities of life: waking, sleeping, walking, waiting, dressing, undressing…To my surprise, I noticed that none among the audience shuffled uncomfortably in their seats or coughed discreetly or made catcalls either as they watched Moni undress. I felt then that it had been wrong of me to attribute puritanism as endemic to the Guwahati psyche. But then, I had drawn my inference from events like vandalisation of fashion shows in the name of cultural preservation, and from the lived experience of my neighbour Mrs. K complaining to my mother that I, as a girl, should not return home very late every day. I just had to thank the young people from one of the various addas of Guwahati for acquainting me with this other face of the city.***Guwahati is where the capital of Assam, one of the seven states (federating units) of the Northeast frontier of India, is located. It used to be a sleepy town till the acceleration of commercial development reached such a pitch in the last decade or less that it lost its balance – it remains, as in the peoples’ attitudes, a small town; outwardly however, it can compete with any third world metropolis today.And like any growing city, it attracts a large number of people who come here looking for livelihood avenues.***Most of the members of the adda Moni frequents are not from Guwahati. They came to the city from different parts of Assam to pursue their respective professions – mostly connected to the film industry. While some of them have been in the industry close to ten years, some are relatively newcomers. But everybody shares a common passion – cinema. It was this passion that dominated most of their daily conversations and culminated in the film festival where the Wind of Change had been screened. The adda members called it the Addabazor Suti Sobi Prodorxon: Screening of Short Films by the Addabaz (adda lovers).***The adda culture is nothing new to the Guwahati scene. An informal get together of like-minded individuals, addas have a dichotomous nature and are viewed with wide ambivalence. On the one hand are some addas outside pan shops, under roadside trees and in hip and happening food joints, where the members meet regularly to play cards or carom and to gossip. These regular hangouts are mostly identified with loafers and the general inclination is to equate adda with decadence. On the other hand are the addas of poets and writers, or professionals and workers, also maybe on roadsides, or in coffee shops, tea stalls and other eating joints or perhaps at a member’s house. These addas are looked at with much awe as the spawning ground of brilliant ideas and intellectual innovations.The older generation of Guwahatians met at Panbazar, the book land of Guwahati – also considered the intellectual hub of the city. Addas still happen here, some of them having survived decades. But today’s young and happening destination is Rajgarh, opposite the Guwahati Commerce College, where one can see different kinds of addabaz. One of these kinds represents the flashy and consumerist pop-culture of Guwahati, which has placed the city among the topmost in the purchasing power index of the country. Rich kids with big cars and ‘modified’ bikes may be seen parked outside fashionable eating joints, enjoying their money power. Close to them however, might be another adda where a group of people would be equally enjoying themselves talking about art, literature, world affairs, family gossip, and what have you.The adda which Moni and Rajiv and a number of their friends frequent also meets at the Rajgarh Link Road. This particular adda had its genesis with its members meeting between long working hours in the nearby editing studios. They would get together to smoke or chew tamul (betel nut) or sip tea and to have some conversation. Gradually a fraternity developed with the realisation of their common passion. Numbers swelled. The adda became their permanent address. So much so that anybody looking for young people associated with the industry would either meet them at the adda or in the event of their absence, leave a message, delivery ensured.***The idea of organising a short film festival came up in the course of regular adda discussions. Notwithstanding what was portrayed in the introductory film of the festival, Moments (of Adda), these young people met not merely to talk into their cell phones and drink tea with cigarettes dangling from their fingers. That was part of it. But they also had moments of intellectual introspection and times when they constructively contemplated on their shared desire to ‘do something different’. The idea took a few months to grow roots. Then, Amar Gogoi, one of the earliest adda members, took it upon himself to push the project through. Owing mainly to his enterprise, the adda members and their friends put together their films, publicised the event, pooled the required funds and set up the modest infrastructure for the screening within just a month.The leitmotif of the festival was freedom – of expression, of participation, of appreciation. The idea of freedom was inherent in the choice of setting: the open-air theatre in the street. The entire process by which the festival was put together also spoke of the same idea of unrestraint. None of the 32 films submitted for screening were rejected. Any subject matter was allowed – the painfully moralising Values and Vision was screened as was the intensely erudite Las Vegasot. No limit was set on the length of the film or the age of the maker. Thirteen year old Raeesha Tanvir Altaf, for instance, showcased her film Khakuar Paro Sorai. Neither was experience a precondition: from a veteran like Altaf Majid to an amateur like Abinash Lahkar, everybody was provided a platform. And finally, nobody was barred from viewing the films or from airing their views about the films.Those who did air their views though, chose to talk not so much about the individual films as about the entire event. For them the remarkable fact was the ‘something different’ that the festival signified, and the intellectual labour and out-of-the-box thinking that went into making it a reality. The genre of the short film also provided novelty. Larger significance to the phenomenon came from the realisation that it was all done by a group of talented but cash strapped young people without any institutional support. It was the sole urge to ‘do something’ that had made them put together an innovative film festival in such a short time and with funds less than INR 10,000 (USD 217 approx) – most of it contributed by the members of the group.As it happened though, the films showed a poor understanding of the short film genre. In fact, technical, grammatical and dramatical shortcomings in most of the films were quite conspicuous. Most of the filmmakers suffered from poor execution of ideas and inability to translate individual visions into moving communicating pictures. Language barriers also often proved insurmountable. Where amateurs were making the films this is perhaps understandable, but quite a few of the adda members are professionals. Paucity of time has been cited as one cause of all shortcomings. But one of the possible reasons could have been that everybody tried to do everything. An editor trying his hand at direction or an actor or a director turning scriptwriter may not have been the best use of their respective specialisations. What if they had pooled their expertise and come up with one extraordinary flim? A different experience would then have awaited the Guwahatians.***The adda film festival was one burst of enthusiasm, a sustained effort of a month, and a temporary shedding of the characteristic Assamese attitude of lahe lahe (sloth in equivalent terms) by a group of young people and it exposed an entire city to the possibility of alternatives to established institutions, avenues and perspectives. It also made people realise they had an aptitude for such alternatives. There’s hope for the city yet. But what about Mrs. K?***
As the film industry in northeast India struggles to keep itself afloat, there is an emerging trend that might just become its lifeboat - short films.
A group of young filmmakers from Assam who are part of a group called Adda, which is Assamese for ‘informal gathering’, has taken up the cause of promoting alternative, new and creative cinema in the region.
Formed in 2004, this socio-cultural forum organises a short film festival every year in October. This year, the festival is to start Oct 31.
“Our motive is to take quality films, irrespective of the length, to the people. We lay emphasis on short films that do not exceed 15 minutes. And we are lucky to have got a good response not only from the intelligentsia but also from common people,” says Amarjyoti Deka, the coordinator for this year’s event.
“Our shows are held in open grounds by the roadside to encourage the public to come. The entire ambience of film viewing is given a different perspective with the pleasant autumn weather adding to it,” says Deka.
Last year, the festival received 52 entries, from which the jury chose 22 for screening. The jury comprised prominent filmmakers from the region, Bidyut Chakraborty, Sanjeev Hazarika and Sagar Sangam Sarkar.
The event showcased award-winning films like Gitanjali Rao’s “Printed Rainbow” and also films from the Films Division of India. This year too the organisers are expecting a similar, if not greater, response in the three categories, namely short films, documentary and animation.
“We receive entries from all northeastern states and we have plans to take the festival to other venues around the region, which we had been unable to do so far due to various constraints,” says Deka.
“But we have managed to take our films to different places in Assam like Tezpur, Silchar and Karimganj. In fact, we got a tremendous response in the Barak Valley. We would also like local clubs in rural areas to help us take our films to the masses,” he adds.
The basic idea behind this festival is to provide an alternative genre to the people who are time and again subjected to typical Bollywood ‘masala’ films.
The Assamese film industry, which has had a rich history ever since its beginning in 1935, is facing its worst crisis ever. The same can be said of the other regional language films in this part of the country.
Films have lost their charm leading to dwindling audiences in the cinema halls, further resulting in the closure of many theatres. This novel approach hopefully will turn the fortunes of the industry, he says.
Altaf Mazid, a noted Assamese filmmaker and critic, feels filmmakers who have followed the Bollywood style of making movies have failed dismally.
“We now need a creative approach, which is modern, young and fresh in outlook for filmmaking to fill this vacuum. Assam and the neighbouring states have many languages and communities and short films, if made in different languages, have a huge potential for income generation. But we also have to take our films outside the region and therefore the films have to be of international standards,” he says.
“When in Cannes, I got to see wonderful films from Paraguay and Rwanda. These countries did not have such an early start but they are taking the entire world by storm,” he says.
“And it is not because of big budgets or anything but because they portray their own cultural ethos and at the same time cater to a larger audience,” he adds.
India’s northeast has produced many stalwarts who have received international acclaim like Bhabendra Nath Saikia, Jahnu Barua, Aribam Syam Sarma and so on. Mazid feels Adda films also have the potential to make a mark internationally. What they lack is distribution and marketing networks.
But things may look up. “We have decided to take select films to European film festivals this year,” Mazid says.
This would definitely encourage the film industry in the region to make good films and help revive the fading glory of regional cinema.
— IANS
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A group of young filmmakers from Assam who are part of a group called Adda, which is Assamese for ‘informal gathering’, has taken up the cause of promoting alternative, new and creative cinema in the region.
Formed in 2004, this socio-cultural forum organises a short film festival every year in October. This year, the festival is to start Oct 31.
“Our motive is to take quality films, irrespective of the length, to the people. We lay emphasis on short films that do not exceed 15 minutes. And we are lucky to have got a good response not only from the intelligentsia but also from common people,” says Amarjyoti Deka, the coordinator for this year’s event.
“Our shows are held in open grounds by the roadside to encourage the public to come. The entire ambience of film viewing is given a different perspective with the pleasant autumn weather adding to it,” says Deka.
Last year, the festival received 52 entries, from which the jury chose 22 for screening. The jury comprised prominent filmmakers from the region, Bidyut Chakraborty, Sanjeev Hazarika and Sagar Sangam Sarkar.
The event showcased award-winning films like Gitanjali Rao’s “Printed Rainbow” and also films from the Films Division of India. This year too the organisers are expecting a similar, if not greater, response in the three categories, namely short films, documentary and animation.
“We receive entries from all northeastern states and we have plans to take the festival to other venues around the region, which we had been unable to do so far due to various constraints,” says Deka.
“But we have managed to take our films to different places in Assam like Tezpur, Silchar and Karimganj. In fact, we got a tremendous response in the Barak Valley. We would also like local clubs in rural areas to help us take our films to the masses,” he adds.
The basic idea behind this festival is to provide an alternative genre to the people who are time and again subjected to typical Bollywood ‘masala’ films.
The Assamese film industry, which has had a rich history ever since its beginning in 1935, is facing its worst crisis ever. The same can be said of the other regional language films in this part of the country.
Films have lost their charm leading to dwindling audiences in the cinema halls, further resulting in the closure of many theatres. This novel approach hopefully will turn the fortunes of the industry, he says.
Altaf Mazid, a noted Assamese filmmaker and critic, feels filmmakers who have followed the Bollywood style of making movies have failed dismally.
“We now need a creative approach, which is modern, young and fresh in outlook for filmmaking to fill this vacuum. Assam and the neighbouring states have many languages and communities and short films, if made in different languages, have a huge potential for income generation. But we also have to take our films outside the region and therefore the films have to be of international standards,” he says.
“When in Cannes, I got to see wonderful films from Paraguay and Rwanda. These countries did not have such an early start but they are taking the entire world by storm,” he says.
“And it is not because of big budgets or anything but because they portray their own cultural ethos and at the same time cater to a larger audience,” he adds.
India’s northeast has produced many stalwarts who have received international acclaim like Bhabendra Nath Saikia, Jahnu Barua, Aribam Syam Sarma and so on. Mazid feels Adda films also have the potential to make a mark internationally. What they lack is distribution and marketing networks.
But things may look up. “We have decided to take select films to European film festivals this year,” Mazid says.
This would definitely encourage the film industry in the region to make good films and help revive the fading glory of regional cinema.
— IANS
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Curves & Shades' exhibition held
http://www.assamtimes.org/Social/2752.html
Eastern Confluence, a socio-cultural platform for young talents, where youth from different spheres of Northeast India come together to portray artworks depicting people, life, culture and nature. These art forms manifest themselves through the works of EC’s array of artists, painters, photographers and filmmakers at “CURVES & SHADES”-a painting and photography exhibition which was held from 15th Feb to 19th Feb.Among the artists participating in the exhibition are Ranjan Engti,Jinny Barman,Pranjal Dutta,Pallavi Sarma,Jibesh Chakma,Kaushiki Sarma,,photographers are-Dhritiman Deori,Pankaj Dutta,Amit Singha,Arnab Gayan etc.The exhibition was inaugurated by Dr.P.C. Deori ,Joint Director,Health Services,Assam.on 15th Feb. Delivering his inaugural speech ,Dr.Deori acknowledged enterprising initiatives of EC teams adding that EC s confluence of different folds of aesthesism reflecting North East India is simply testimony to harmony and co-existence of diverse cultural set-up of this land.One of the legendary artist of Assam ,Nilpawan Barua present at the inauguration get emotionally upsurged at the bold strokes of young painters ,he says it can bring new rays of hope and aspiration for upcoming artists of the region.
J.Ghosh, prinicipal of Guwahati Art College comments that creative pursuit of ECs artists and E commendable effort to collectively bring out those hidden talents to the fore would be a milestone in the field of exotic art and culture.
Among others dignitaries who have paid a visit to the exhibition are famous artist Champak Barborah,artist Robiram Brahma, singer Jubeen Garg and his wife Garima Garg,veteran Assamese film actor Pranjal Saikia,internationally acclaimed artist Buddhi Thapa,and many more.
EC celebrates celluloid legacy of the land and the progressive acclamation of its film-makers through A day long Film Screening in association with ADDA on 18th Feb from 10.30 morning.The screening is inaugurated by prominent Assamese filmmaker Johns Moholoiya.Speaking on state of short films today ,he lays stress on making thought provoking ,crispy and meaningful short films.He is very upbeat about ADDA s collection of films and its promising budding filmmakers works.Some of the remarkable films screened were “Printed Rainbow”,Village Football”,”Guard Dog”.The screening met with spectacular success by the heavy presence of film freaks flooding the auditorium from the city and being there till the end of the session.
EC collaborates its artistic expedition with Karbi Cultural Society holding painting exhibition of ECs selected artists and karbi local artist on 61st death anniversary of Semsong singh Ingti from 25th to 28th Feb 2009.Committed to give platform to young artists of the region,the exhibition cum painting competition marks huge success by participation of youth in large scale.Speaking to the press Executive Director of EC Ranjan Engti and project director Dhritiman Deori expressed their views that they will extend their activities to other areas of North East offering support and giving platform to upcoming artists in terms of organizing exhibition and bringing their works to limelight.
