Vol. 32-5

Community News
B e n g a l i
A s s o c i a t i o n
O f
G r e a t e r
C h i c a g o
pj¡S pwh¡c
Volume 32 ,Issue 5
November 2007
c¤−NÑ¡vph -1414 p¡m
1
Dance Drama …
4
"¢Lnm−ul' N¡−el Bpl
4
Musical Mesmerism..
6
Drama Review … Chor
7
Review … Kaya
7
Review Tanushree Sankar 8
öi¢ja¡l p−‰ ¢LR¥re
8
−R¡V−cl h¡wm¡ LÉ¡Çf
9
−c−nl
9
Mhl
h¡P¡m£l L¡¢mf§S¡
….
10
l©fˆl….
11
l¢Pe f¡¢M ..
12
Clay Oven
12
Anuronon
13
Different Strokes
13
Aeeɡ
13
P r e s i d e n t ’s M e s s a g e
Dear Friends,
Heartiest Bijoya Greetings to all
your families from the 2007
Committee! I am sure you enjoyed the Durga Puja celebrations this year. Since the dates
of the actual Puja (per the Panjika) fell over the weekend this
year, we felt especially blessed
by Ma Durga to have been able
to worship her on the prescibed
puja dates. Perhaps because of
this we had huge turnouts during the celebrations. The numbers peaked at 1400 on Saturday (Navami) evening. We take
this opportunity to thank the
numerous volunteers of our
community, whose unstinting
help in every area made the
Puja days so successful and
enjoyable. They include our
Purohit Ramanuj Bhattacharya
for flawlessly performing the
ceremony, assisted by Subrotada and others, Achintyada,
who helped secure the Puja
venue and all those who officiated and executed different responsibilities. The list is just too
long! Special thanks go out to
our valued advertisers and
sponsors whose generosity enabled us in staging the wonderful
program. Kudos to the Banga
Bhavan Exploratory Committee
for their presentation and their
effort for the last several months.
Thanks to all our generous members who have already pledged
over $ 240,000 for the Banga
Bhavan project.
This year filled with joyous and
successful activities is drawing to
a close. We now look forward to
the last scheduled event on our
calendar, Kali Puja, which is going to be celebrated on 17th November at Bartlett High school.
Our annual GBM will be held on
that day, when we will elect our
2008 Committee. The meeting
will also include a presentation
on the Banga Bhavan project
followed by a chance to vote on
whether we should ‘Go ahead
with’ this long range strategic
initiative. The result is going to
have a significant impact on our
long term growth and evolution,
so we urge you to attend the
meeting and make your opinion
count. We were especially fortunate to have our tremendously
supportive members, encouraging and helping us in all our
activities: the three Pujas, Naba
Barsha day, Picnic, Bengali
Summer Camp, Independence
Day Parade, FIA Cultural function, Children’s Day, Mahalaya,
Library, the seven sports
events, and the Banga Bhavan
project. On behalf of our committee I would like to thank all
those in our community, whose
selfless effort was pivotal in the
successful hosting of these
events and activities. Personally, I would like to thank all my
committee members for their
dedicated time and effort they
spent throughout this year to
make all this happen. And wish
all success to the Committee of
2008! Let us grow into a greater
organization in size and character and be a model sociocultural organization in America.
Long live BAGC!
Eõ¡−p il¡, SeSe-−S¡u¡−l Ef−Q fs¡ c¤−NÑ¡vph (1414) -A¢Q¿¹É l¡u
f−s Bpæ c¤−NÑ¡vp−hl Øfø
C¢‰a −fa¡j kMe Bj¡−cl
f¢l¢Qa BNje£l N¡e…−m¡
−h−S EWa f¡s¡l A¢m−aN¢m−a; LMeJ h¡ ¢nE¢m
g¥−ml ¢j¢ø Nå −i−p Bpa
cjL¡ h¡a¡−pz HM¡−e öd¤
−g−m Bp¡ ¢ce…¢m−a j−e a¡l Bi¡p f¡C f−bl
c¤'d¡−l N¡−Rl f¡a¡…−m¡l lw
f¢lhšÑ−e- E‹Æm l¢š²j
f¡a¡…−m¡ ¢LR¥V¡ j−e L¢l−u
−cu "Amp NË£×j' −no q−u
HMe H−p−R "LjÑj¤Ml' nlv
! B−hNju h¡‰¡m£−cl L¡−R
nlvL¡−ml −ch£ c¤ N Ñ ¡ l
Bl¡de¡ öd¤ Bl HLV¡
d¡¢jÑL OVe¡ eu, Hl
p¡j¡¢SL J AbÑ°e¢aL
…l¦aÆJ A−eL z a¡C HC
−pl¡ Evph Efm−r
B−u¡¢Sa Ae¤ù¡e…¢ml SeÉ
¢nL¡−N¡l h¡‰¡m£l¡ fËÙ¥¹a qu
−L¡jl −hy−d z f¢lLÒfe¡
Ll¡ (continued to pg5)
Page 2
pj¡S pwh¡c
Volume 32,Issue 5
Volume 32,Issue 5
pj¡S pwh¡c
Page 3
Editors’ desk
Shubha Bijoya and Happy Deepavali! Hope you all are doing great.
While the hang over is not completely gone yet we are preparing another fun
filled big festivity “Kali Puja”. In the process we are kind of stretched to the
power infinity. Only those who did it before and those who are doing it for this
year, know how tough it is to organize these back to back big festivities. We are
trying our best and hopefully this time as well you all will enjoy our Kali Pujo
Bonanzas. In this issue we could not publish photographs covering all events of Durga Puja as
they were not available at the time of publication, this is unintentional; my apologies to those
who are hurt by this. I am saddened by our inability to publish any photograph of the beautiful
kids presentation ‘Rangin Pakhi..’, my apologies to all of you. And guess what me and my coeditor are finally done. This will be the last issue from this team. Those who liked and encouraged our publications, our heartfelt gratitude to all of you. Thanks to my co-editor and Subham
for being such a team player. And for those who disagree, good news for you as well—you do
not need to put up with this any more. See you all at Kalipuja -
- Shaibal Talukder
¢hSu¡l ö−iµR¡ S¡e¡C pLm pcpÉ−L-f§S¡ ¢eÕQu Be−¾c −L−V−R
pL−mlCz e¡ −L−V ¢L Bl Ef¡u B−R ? Hh¡l −a¡ f§S¡l ¢ce…¢m−aC
ph¡C ¢j−m HLp¡−b ¢Rm¡j- Hm¢Se ú¥−m j¡"−L A”¢m ¢c−u −i¡N M¡Ju¡
−b−L N¡eh¡Se¡ −n¡e¡-c¤−n¡ jS¡u pju L¡¢V−u¢R pî¡Cz Hh¡−ll pj¡S pð¡c
−pC Be−¾cl ¢c−el −l¡j¿Û−el ü¡c ! pcpÉ−cl jdÉ q−a e¡e¡eS−el Øj«¢a−a dl¡
c§NÑ¡f§S¡l ¢ce…¢ml −R¡V −R¡V R¢h Hy−L a¥−m dl¡ qm Hl f¡a¡u f¡a¡u! Bn¡ L¢l
Bfe¡l¡ H pwMÉ¡¢V−L −e−s−Q−s −c−M ¢g−l −k−a f¡l−he f§−S¡l ¢ce…¢m−a, ea¥e L−l
¢j¢m−u −e−he i¡m m¡N¡l j§ýaÑ…¢m ¢e−Sl Øj«¢al p¡−bz p¡j−e Bp−R nÉ¡j¡f§S¡l ¢cez H
f§S¡l jd¤l −L¡jml©f¢V h¡P¡m£l HL¡¿¹ ¢eSü- f§S¡l −pC ¢h¢nø l©f¢Vl ¢hL¡n ¢L i¡−h
qm, −pC ¢e−u M¡¢eL Bm¡f B−m¡Qe¡ Hhw j¡−ul Ù¹¥¢aJ lCm Hh¡−ll pwMÉ¡l f¡a¡uz
M¤−c pcpÉ−cl −mM¡ Bj¡−cl pL−mlC i¡¢l ¢fËu-a¡l¡C −a¡ H¢N−u ¢e−u k¡−h Bj¡−cl
BN¡j£−L p¡bÑLa¡l ¢c−L! a¡C a¡−cl L¡R q−a k¡ ¢LR¥ f¡Ju¡ k¡u, Wy¡C ¢c−a −Qø¡ L¢l
Bjl¡ hl¡hlz Hh¡−lJ a¡l AeÉb¡ L¢l¢ez HR¡s¡ Bfe¡−cl ‘¡a¡−bÑ −c−nl e¡e¡e Mhl
Bl BN¡j£ Ae¤ù¡−el ¢hhlZ£ −a¡ lCmC z
2007 p−el −N¡s¡u Bj¡−cl q¡−a a¥−m −cJu¡ q−u¢Rm p¡l¡ hR−ll SeÉ pj¡S
pwh¡c p’¡me¡l i¡lz L¡S¢V pqS ¢Rm e¡ qu−a¡ ; Hahs HL pcpÉ−N¡ù£l p¤¤M c¤xM
Be¾c Eõ¡p−L L¡N−S d−l l¡M¡, ay¡−cl pL−ml pª¢øn£ma¡l E¢Qv ¢QœZ Ll¡-H L¡S
Bj¡−cl f−r …l¦i¡l qJu¡l Bnˆ¡ ¢Rm, ¢L¿¹¥ hvpl −n−o ¢g−l a¡¢L−u −cM¢R L¡S¢V
L−l Bjl¡ −Lhm Be−¾cl gpm a¥−m¢Rz Hl L¡lZ AaÉ¿¹ pqS-Bjl¡ H −N¡V¡ hRl¢V
HL¡ fb qy¡¢V¢e, Bj¡−cl f¡−n f¡−n fb −qy−V−Re Bfe¡l¡ ph¡Cz kMe −k ¢ho−u
fË−u¡Se,AL¥ã p¡q¡kÉ L−l−−Re fË−aÉ−L Bfe¡l¡-p¡q¡kÉ −Q−u f¡C¢e, Hje LMeJ qu¢e,
Efl¿¹¥ −f−u¢R Evp¡q, fl¡jnÑ J ¢e−cÑne¡z i¥m œ¥¢V k¡ ¢LR¥ L−l¢R, pq¡e¤i¥¢af§ZÑ j¡SÑe¡
−f−u¢R h¡lh¡lz Bj¡−cl −N¡ù£ −k La p´OhÜ J j¡¢SÑal¦¢Q, Bj¡−cl HC A¢i‘a¡ a¡l
fËj¡Zz ¢hNa hR−l "pj¡S pwh¡c' k¢c ¢LR¥ Be¾c ¢c−u b¡−L, a−h a¡l L«¢aaÆ phV¥L¥C
Bfe¡−cl fË¡fÉz ÙÛ¡e¡i¡h J pju¡i¡−h Bm¡c¡ L−l pL−ml e¡j ¢mM−a −f−l EW¢Re¡ky¡l¡ ky¡l¡ NÒf, L¢ha¡, fËhå, Øj«¢aQ¡lZ B−m¡Qe¡ ¢m−M ¢c−u−Re, Mhl −S¡N¡s L−l H−e
pð¡cÙ¹ñ °al£ L−l ¢c−u−Re, (L¡l¦ L¡l¦l L¡−R Bh¡l Bë¡l L−l¢R HL¡¢dL h¡l-¢L¿¹¥ ¢L
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R¢h Hy−L ¢c−u−Re f¡a¡u f¡a¡u, hÉÙ¹ S£h−el n−aL L¡−Sl j¡−TJ h¡−l h¡−l HLV¥J
¢hlš² e¡ q−u fË¥g −cM¡l ja HL−Oy−u L¡S L−l−Re q¡¢pj¤−M,-öd¤ L«a‘a¡ S¡e¡−m ¢L
ay¡−cl L¡−R LaÑhÉ g¥l¡u! a−h HLS−el L¡−R ph¡l p¡j−e L«a‘a¡ ü£L¡l e¡ Ll¡V¡ i¥m
q−h, Bj¡−cl öij p¡eÉ¡m, fË−aÉL¢V ¢ho−u, fË−aÉL¢V −r−œ a¡l p¢œ²u pq−k¡N e¡
b¡L−m HL¢V pwMÉ¡J −hl qJu¡ pñh ¢Rm e¡zL¡m£ f§−S¡l ¢ce Bh¡l ph¡C ¢jmh j¡−ul
f§S¡l B¢Pe¡uz −pC ¢ce e§ae HLTy¡L j¤M H¢N−u H−p a¥−m −e−h Bj¡−cl q¡a q−a
BN¡j£ hR−ll SeÉ pj¡−Sl a¢Òf hJu¡l i¡lz ay¡−cl ph¡l fË¢a Bj¡−cl Ae¡¢hm
ö−iµR¡ lCm Bl lCm −kje H hRl Bjl¡ −fm¡j, −aj¢e L−lC p¡q¡−kÉl fË¢anË¥¢az
-−ch£¢fËu¡ l¡u
pj¡S pwh¡c
Page 4
Volume 32,Issue 5
Dance drama on the debate of knowledgeknowledge-faithfaith-love - Krishna Chakraborty
Despite the somewhat intimidating trilingual
title, the above presentation on Saturday,
October 20, was a treat for our eyes and
ears. After watching this multi-splendoured
extravaganza layered with eleven intricate
numbers of music/dance/ recitation/drama in
three languages, the audience was left with a
sense of awe. However, the lack of a printed
program describing the story and the names
of participants in the overcrowded auditorium left a significant percentage of the audience feeling " I liked it, but didn't really get it"
feeling. The story was about two close
friends Aparajita (Apu, played by Samarpita
Saha) and Amartya (Amu, played by Kanishka Chaudhuri) . Both had come to USA as
students. Amu had gone back to India. Apu
had stayed on in America. Meanwhile, 9/11
happened. After years of silence, Apu gets
an email from Amu. "−Lje B¢Rp'?In answer to this simple question, a big debate
follows. They try to figure out the reason for
the miserable state of the world. Could it be
because of too much knowledge? Is faith in
God the answer or does it lead to fundamentalism? Are we so busy with our own problems that we don't have time to understand
"¢Lnm−ul' N¡−el Bpl
¢nL¡−N¡l C¢aq¡−p
A−e−LC Bj¡−cl
h¡wm¡ −nM¡−e¡l c¡¢uaÆ
L−l−Rez
a−h
¢h¢iæ pj−u
−R−m−j−u−cl
p¤¤ù¥i¡−h f¡me
Hh¡lC fËbj
¢hH¢S¢pl −ea«−aÆ L¥¢s¢V ¢nö−cl
¢e−u h¡wm¡ LÉ¡−Çfl EcÚ−h¡de q'mz
h¡wm¡ Arl f¢lQu, −mM¡ J fs¡,
L¢ha¡ J NÒf f¡W CaÉ¡¢cl p¡−b
others? Finally they agree that love and un-
derstanding between human beings is the
only answer that can prevent conflict and
bring peace in the world. "pÇf¨ZÑ q−h n¡¢¿¹l
pw‘¡
A¢eh¡kÑÉ q−h −fË−jl EµQ¡lZ'z
The above story was put together by the
combined effort of 70 individuals (age
range , 8-45) under the uniquely artistic
direction of Indrani Mondal, who also doubled as Lights Lady. A team of highly tal-
-AӢm
i–¡Q¡kÑ
p¡−b h¡wm¡ p¡¢q−aÉl Bl HL¢V
¢cLJ H−cl L¡−R EeÈ¥š² Ll¡ q'mz
−pC ¢cL¢V q−µR h¡wm¡ N¡−el ¢hn¡m
pñ¡lz h¡wm¡ LÉ¡−Çfl ¢LR¥ ¢nö J
ented choreographers (Tapasi Jarvis, Anindita Sen, Sulagna
Gangvani, Rupa
Chaudhuri, Aindrila
Datta and newcomer
Debdatta Ghosh),
dancers and reciters
presented one innovative number after
another spanning
across temporal,
spatial and cultural
boundaries. The
poem c¤xpju
by
Rabindranath Thakur
was salsa-danced to
the tune of percussion music by Bikram
Ghosh . Sanchita Chaudhuri danced to her
own rendition of a Hindi poem by Rekha
Maitra. There was the popular song "¢d¢L
¢d¢L B…e SÆ−m' by the Bangla Band
MILES along with Indrani's poem. I personally loved the dance number "I hope you
dance" and the song "Raunak Ishkse hai sari
duniyaki" (love lights up the whole world) by
(continued to pg 12)
j−e¡l”e Ll−m¡z N¡e …¢m q'm
c¤¢V lh£¾cÊe¡b W¡L¥−ll, "Bjl¡ e§ae
−k±h−el c§a' J "jj ¢Q−š ¢e¢a
eª−aÉ −L −k e¡−Q' Hhw HL¢V p¢mm
−Q±d¤l£l p¤¤−l, "Bu−l R¥−V Bu
f§−S¡l Nå H−p−R'z
Ae¤ù¡−el
f¢l−hne¡ HaC p¤¤¾cl q−u¢Rm −k
N¡uL-N¡¢uL¡l¡ pj−ha −nË¡a«hª−¾cl
fËQ¥l fËnwp¡ J q¡aa¡¢m L¥¢s−u−Rz
f¢l×L¡l h¡wm¡ EµQ¡lZ J p¢WL p¤−¤ ll
pjeÄ−u N¡e…¢m ¢Rm nË¢¥ ajd¤lz Su¡
hÉ¡e¡SÑ£l N¡−el fË¢nrZ M¤hC fËnwpe£uz
Efl¿¹¥ HC ¢nö−clJ
Evp¡q J EŸ£fe¡l −no ¢Rme¡z
HL¢V OVe¡ ¢h−noi¡−h E−õMÉ −k
H−clC j−dÉ HLS−el j¡œ fy¡Q-Ru
¢ce B−N HL¢V …l¦aÆf§ZÑ AÙ»−f¡Q¡l
qJu¡ p−aÆJ −p Ap¤¤ÙÛ nl£−l H−p
¢eMy¥ai¡−h N¡e ¢ae¢V f¢l−hne
L−l−Rz
AeÉ¡eÉ Bl L−uLSe pcpÉ ¢e−u
k¡œ¡lñ h¡wm¡ N¡−el c−ml, e¡j
Bjl¡ ph¡C ¢Lnm−ul R¡œ R¡œ£−cl
"¢Lnmu'z ¢Lnmu c§NÑ¡f§−S¡l −no
HC L«¢a−aÆ AaÉ¿¹ N¢hÑaz
¢c−e ¢ae¢V N¡e −N−u Bj¡−cl
pj¡S pwh¡c
Volume 32,Issue 5
(continued from page 1) qu ¢Rm
¢ae¢c−el f¤−S¡V¡−L BlJ La −hn£
Be¾cju Ll¡ −k−a f¡−l z
Hh¡l f¤−S¡l ¢ce…¢m f¢”L¡l Ae¤l©f
qJu¡u pL−ml Evp¡q J EŸ£fe¡
hª¢Ü f¡u hým f¢lj¡−Z; Ef¢ÙÛ¢a qu
−lLXÑ pwMÉ¡u z fËL«¢a −ch£l
Ae¤LÇf¡u ¢ce…¢mJ ¢Rm AaÉ¿¹
j−e¡lj z ÙÛ¡e£u R¡s¡J ¢eLVhšÑ£ ¢iæ
fË−c−nl hý h¡¢p¾c¡l¡J H−p¢R−me
f¤−S¡ −cM−a z Bjl¡ pQl¡Ql −kC
q¡Cú¥−m Evp−hl B−u¡Se L¢l,
c¤ i Ñ ¡ NÉhnax a¡ e¡ f¡Ju¡u
A−fr¡L«a −R¡V ú¥m "Hm¢Se q¡C
ú¥−m'l à¡lÙÛ qC z HC fËp−‰
E−õM−k¡NÉ haÑj¡e L¢j¢Vl −fË¢p−X¾V
J AeÉ¡eÉ pcpÉl¡ hý −Qø¡ L−lJ hs
S¡uN¡l p¾d¡e f¡e¢e z üi¡haC
ÙÛ¡e¡i¡h pjpÉ¡ q−u cy¡¢s−u¢Rm
zLÒfe¡a£a i£−sJ i¡lfË¡ç LjÑ£l¡
¢L¿¹¥ A°dkÑÉ q−u f−se¢e, ¢e−S−cl
L¡S p¤¤ù¥i¡−h L−l¢R−me p¡l¡rZ z
−L¡o¡drÉ nË£l¡j−L p¡d¤h¡c S¡e¡C
Hhw −pC p¡−b −l¢S−ØVÊn−e ky¡l¡
p¡q¡kÉ L−l¢R−me ay¡−clJ, −kje
L«o·¡¢c, l¡Z¡, pe¡ae, p¢”ac¡ J
BlJ A−eL−Lz
fËnwp¡ S¡e¡C
Ef¢ÙÛ a hÉ¢š²hNÑ − clJ, ky ¡ l¡
−l¢S−ØVÊne h¡ M¡Ju¡l p¡¢l−a A−fr¡
Ll¡l pju a¥me¡q£e °d−kÑÉl f¢lQu
¢c−u¢R−me z −L¡elLj ¢hnªwMm¡ −cM¡
k¡u¢e HL j¤ý−aÑl SeÉJ z
j¡−T j¡−T Bjl¡ i¥−m k¡C Evp−hl
fËd¡e A‰ "f¤−S¡' z Hh¡−l −pC
A‰¢V−a, f¤ − l¡¢qa l¡j¡e¤ − Sl
f¤´M¡e¤f¤´M l©−f f¤−S¡ Ll¡ Øføi¡−h
A”¢m J fËZ¡j j¿» fs¡ J a¡l
p¢h−no hZÑe¡ Ll¡ pL−ml fËnwp¡
ASÑe L−l z kb¡l£¢a p¤¤hËac¡ Jyl
p¡−b p¡l¡rZ −b−L p¡q¡kÉ L−le J
pqS L−l −ce A−eL¢LR¥ z ÙÛ¡e¡i¡h
pîÑœ z a¡ p−šÄJ f¤−S¡l
−S¡N¡s, fËp¡c °al£ J ¢halZ,
iš²−cl hp¡l S¡uN¡ phC ¢WL
B−Nl jaeC q−u¢Rm z p¢Qhàu
j¢m J nË£l©f¡−L AeÉ¡eÉ−cl p−‰
p¡q¡kÉ L−le jZ£o¡, −p¡j¡(p¡eÉ¡m) J
−f±mj£ z hm¡ h¡ýmÉ Jy−cl L«¢aaÆ
A−eL z fË¢aj¡l p¡Sp‹¡l c¡¢u−aÆ
¢R−me p¤¤¢ja l¡uz H L¡−S ay¡l
p¤¤MÉ¡¢a pîÑSe¢h¢ca z Hh¡−lJ ¢a¢e
L¡E−L ¢el¡n L−le¢e z
Page 5
¢g−l Bp¡u −L¡e AOVe O−V¢e; öd¤
−m¡L NZe¡l B¾c¡S Lj qJu¡u
m¡−’ fËbj¢c−L ¢MQ¥¢sl j¡œ¡ Lj
f−s k¡u z AhnÉ ¢LR¥ pju f−lC
−pV¡ f§lZ Ll¡ q−u¢Rm Hhw −pC
L¡l−Z L¡l¦l Bl −L¡e A¢i−k¡N
b¡−L¢e z "JÙ¹¡−cl j¡l −no l¡−a'
fËh¡c¢V kb¡bÑ L−le fËa£L z cnj£l
¢ce (l¢hh¡l) m¡−’ fË¢a¢V fc ¢Rm
j−el jae, ¢h−no L−l j¡−Rl j¡b¡
¢c−u j¤−Nl X¡m z Af§hÑ l¡æ¡l ü¡c
pLm−L öd¤ M¤n£C L−l¢e, QjvL«a
L−l¢Rmz p¡wú«¢aL Ae¤ù¡−el fl
¢Xe¡−l ¢Rm l¡ua¡l p−‰ ¢h¢lu¡e£ z
HC “pleasant surprise” V¡ −f−u
pL−m M¤n£ j−e h¡s£ −g−le z
Bn¡L¢l HC ea¥e hÉ¡f¡l¢V BN¡j£
hR−lJ hq¡m b¡L−h z
M¡cÉp¢Qh fË a £L Aøj£l ¢ce
(öœ²h¡l) l¡−œ M¡h¡l f¢l−hn−el
ea¥ e fÜ¢a (h¤ − g) Ahmðe
L−l¢R−mez
a¡yl E−ŸnÉ ¢Rm
hÉhÙÛ¡¢V−L aÆl¡¢eÄa Ll¡ z c¤x−Ml
¢hou −pV¡ L¡kÑÉLl£ qu¢e z k¡yl¡
fËb−j M¡h¡l ¢e−a k¡e, ay¡−cl j−dÉ
A−e−LC A−qa¥L M¡h¡l AfQu f§S¡l påÉ¡u p¡wú«¢aL Ae¤ù¡e…¢ml
L−le, gmax f−l fkÑ¡ç M¡h¡l e¡ j¡−T p¾c£f, A¢e¾cÉ J A¢ja¡ic¡
"h‰ihe' pð−å ay¡−cl fË¢a−hce
−fn L−le z p¾c£−fl −O¡oZ¡u
L¢j¢Vl L¡−R pcpÉ−cl fr q−a
$ 200,000 pledge H−p−R S¡e−a
−f−l −S¡l Lla¡¢m ¢c−u pcpÉl¡
ay¡−cl M¤n£ fËL¡n L−le z f−l
L«o·¡¢c J ¢hœ²j −ØV−S H−p ph¡C−L
HC 'Pledge Drive' H −k¡Nc¡e Ll−a
Ae¤−l¡d L−le z
(f¤−l¡¢qa l¡j¡e¤S f¤−S¡u..)
b¡L¡u AeÉl¡ −hn AM¤n£ qe J
LjÑLaÑ¡−cl L¡−R A¢i−k¡N S¡e¡e z
ehj£l ¢ce (n¢eh¡l) f¤−l¡e hÉhÙÛ¡
f¢l−n−o, ¢LR¥V¡ fË¢aL¨m AhÙÛ¡−aJ
HC Evph¢V−L pÇf¨ZÑ pgm J
Be¾cju L−l −a¡m¡l SeÉ
−fË¢p−X¾V öijÚ p¡eÉ¡m J a¡l
L¢j¢Vl fË−aÉL pcpÉ−L Bj¡−cl
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S¡e¡C z
Page 6
pj¡S pwh¡c
Volume 32,Issue 5
Musical Mesmerism :Year:Year-End Fitting Finale!
..and after the Durga Puja 3-day cultural
feast, when you think you have seen it all,
you find there is still more to come at the Kali
Puja Cultural evening. The Cultural celebration is split in two, each half a professional
treat in itself, with a sumptuous dinner in
between. In the first, ascend ‘Sopan’, the
stairway to Heaven, as you journey on a
musical voyage steered by Arindam and
Rajesh,… from Lalan Fakir’s Baul to Bhatiyali and Bihu from Bengali folk, to modern
‘Fusion’, to their own original compositions.
After your hearty meal, get set to tap your
feet and catch the breeze, as you listen to
the awesome musical magic of Shamit, one
of the Top Five contestants of Sony TV’s
Fame Gurukul, arriving for the first time in
Chicago !
3 albums to his
credit,
Chandra
bindoo’s
‘Twaker
Jatno Nin’, ‘Gadha’
and ‘Ar Jani Na’. An
exceptionally
talented songwriter,
composer and performer, Arindam has
appeared on TV
and radio several
times,
including
ZEE TV's ‘Sa Re
Ga
Ma’ special
show. He has composed music for
renowned director Bratya Basu’s theatre
group Ganakrishti. He started performing in
USA from 2005 with a mixed bag of Bengali
folk, ‘baul’, rock, and modern songs.
Rajesh, began learning tabla at the
age of six, and went on to play conga,
tumba, harmonica and guitar. Born and
raised in a musical family, his musical interests encompass a wide variety of styles. In
In ‘Sopan’ the Musical Voyage, the helmsmen are Arindam and Rajesh, formerly members of the famous Bengali band ‘Chandra
bindoo’. They moved to USA to pursue their
respective careers but have now ‘come together’ to charm us with their spectrum of
spectacular music.
Arindam, singer and keyboard
artist of ‘Chandrabindoo’ for 5 years, left the
band to pursue his PhD in Geological Engineering at the University of Missouri. He has
1993 Rajesh and his schoolmate Pritam
(now a leading music director in Bollywood)
teamed up to produce the album ‘Jotugriher
Pakhi’, released by Symphony music. Apart
from numerous TV appearances, music videos and jingles, Rajesh has played guitar for
the famous instrumental band ‘Spectrum’ in
New Delhi for 8 years. He has enthralled
audiences since October 2003 by his crea-
tive and lilting compositions, linking subtle
Indian rhythms and Indian raagas with elements of modern rock and blues.
In the ‘Musical Magic’ after the
dinner listen to Shamit, the talented, accomplished young singer, who reached international fame through Sony TV’s first reality
music show Fame Gurukul. After being one
of the Top Five contestants at Fame Gurukul and First Runner-up at Sony TV's Dus
Ke Dus Le Gaye Dil, he became a star
worldwide. He draws huge crowd wherever
he goes, be it Delhi or Dhaka. His fans are in
the age group of 8 to 80, to whom he is more
than an icon.
Shamit, trained himself in Hindustani classical for 15 years, from Shri Haridutt Sharma and Shri Anant Vaidyanathan.
He is now learning from Shri Satyanarayan
Mishra. Apart from Hindustani Classical,
Shamit also learnt Western Classical for a
while from Mr. Hurchul Young at the Delhi
School of Music. He is a complete performer,
who sways the crowd through his tunes and
foot tapping numbers. Currently based out of
Mumbai, Shamit does stage shows across
India and abroad. His recent performances
include more than 40,000 people audience at
the Indira Gandhi Stadium(Delhi), Delhi
Medical College music festival, at Chandigarh, Kolkata, Murshidabad, Mumbai, Bangladesh and now for the first time… in Chicago !
pj¡S pwh¡c
Volume 32,Issue 5
Page 7
Review of the play “CHOR”
Part of the prime-time cultural program on Saturday evening of the Durga Puja
festivities was the presentation of the play
“Chor” by our BAGC. The play is written by the
such a feat. It either becomes a senseless
comedy or it becomes a message play without
much humor. This play also was not very
funny—I counted perhaps a couple of times
plays before. So my expectations were perhaps a bit too high that I would be able to see a
good play. Not that I did not enjoy the play but
something was missing! And I believe, the
problem lies not with the actors and director of
the play but rather with the play itself.
The play was well directed and the
actors acted well, albeit with some traces of
overacting in a few cases. The set and costumes were well thought out and presented
well. The props could be better such as the
spear which looked more like an oversized
arrow. This is, of course, a small thing but
shows the attention to details.
I need to make one other point. Because of the desire to be in line for dinner,
most of the audience left well before the end of
the program. By the end of the play, I counted
only 70-80 persons left in the auditorium out of
the 1300 or so who were present at the Puja.
This is unfortunate since putting on a play
takes a lot of effort and time on the part of the
actors. I would urge our organizers to consider
this aspect while setting schedules in the future.
well-known playwright Manoj Mitra and was
directed by our member Souvik Dutta. Like
many of Manoj Mitra’s plays, it is a “message
play” which is also a comedy. These are the
most difficult ones to stage, for it is very hard to
convey the message while making the audience laugh. Very few plays can accomplish
when the audience laughed vocally. Yet when
I got informal feedback from a couple of people who watched the play till the end, they
both thought it was fine.
Souvik, as everyone knows, is an
accomplished actor and has directed several
Kaya — The Bangla Band
Three days of grand celebration at the Bengali
Association of Greater Chicago’s 2007 Durga
Puja ended with a bang featuring a performance from ‘KAYA,’ a newly formed ‘Folk Band’
from Kolkata.
The first two days of puja’s cultural celebration were filled with tempo-building and mindblowing performances (I’ve been watching too
much Sa Re Ga Ma on Zee-TV). Naturally,
anyone who followed up such a grand display
of talent and entertainment would have to perform a show of equal or greater caliber. And
‘KAYA’ certainly delivered!
Their musical talent, team work and song
selections kept an energetic pace and pleased
most everyone in the audience, old and new
generations alike. Few of their selections: Ek
Poshla Brishti, Sha Na Na, Jigicha Gichang,
and the hindi–bangla combination of Ratey
Vigi Vigi–Prithivi brought crowd to their feet.
This is the first time in the history of
BAGC I saw the audience dancing in the
front of the auditorium. That alone indicates
the popularity and success of this new cultural trend that is sweeping Bengal and rest
of India today. Their carefully selected medley of songs from Bengal’s golden era of the
70’s brought a feeling of nostalgia and took
me back to my years of listening ‘Anurodher
Asore’ on a Robibar dupur bela. I was especially touched by the beautiful rendition of
‘Tak Doom-Tak Doom Bajey’ punched in
with ‘Durga Maai Ki Joy’ that brought the
— Debanshu Bhattacharya
celebratory sensation of puja to a climax.
I also had the privilege to meet this group off
the stage at friends’ houses and found them to
be very friendly, down-to-earth and respectful. At
these get-togethers, they happily gave us an
encore performance and they were just as wonderful. In these homely environments, I could
truly feel just how talented this group really is.
Any music lover would be able to see that this
group will continue to be very successful in
years to come.
Let me introduce the band members: Pulak
(Key board and vocal), Archan (vocal), Arindam
(bass guitar), Raju (lead guitar), Subir (flute) and
Bubai (percussion and acoustic drums).
I wish them a very bright future!
- Papri Chaterjee
pj¡S pwh¡c
Page 8
Innovative Dance Performance
Tanusree Shankar Dance Company performed for a packed audience on Friday,
October 19, inaugurating the cultural
programs for BAGC Durga Puja 2007.
This was their concluding weekend in the
U.S., after touring with the Margaret Jenkins Dance Company of San Francisco.
Durga Puja was a poignant ending for a
dance company away from
its home, Kolkata, for the
past two months.
Most of us have
previously seen Tanusree’s
choreography in Uday
Shankar’s style, set to Ananda Shankar’s music. This
time around, we saw some
innovations to her creative
dances, perhaps incorporated after working closely
with a modern dance company. For the first time, we
saw partnering and lifts,
where the male dancers
assisted the female dancers with jumps and leaps.
This gives the appearance of time standing still while the dancers are airborne.
Another enhancement Tanusree made was the use of a choreographic
tool known as canon, where dancer move
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c¤NÑ¡
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påÉ¡u
öi¢ja¡
p¤¤−l, a¡−m, R−¾c jq¡ø¢jl påÉ¡u
in succession. For those of you familiar with
western musical terminology, the form is
called in the round, just as we sing Row,
Row, Row Your Boat.
In the dance Night Sky, the costumes played an integral part in the choreography. The women wearing white and silver,
Volume 32,Issue 5
Some of the other dances that
intrigued us, had music by composers Taufiq
Qureshi, and Amaan and Ayaan Ali Khan, as
well as vocal pieces by traditional Bengali
singers. Dhin Tak Kur was performed by the
two male dancers and was so vivacious, that
their energy resonated though out the auditorium even after the dance ended. The
concluding piece, an excerpt from Chiranutan, was impressive with dance, music, and
poetry flowing seamlessly together conveying an universal message of triumphant love.
Tanusree
Shankar Dance Company toured in the U.S.
with a modern dance
company and received
rave reviews from a
western dance audience.
Perhaps our audience of
hundreds of Bengalis
gave them a sense of the
Durga Puja festivities
they longed for back
home in Kolkata. They
sure gave us a taste of
Bengali culture which
made our celebration a
memorable one.
glistened like bright stars, while the men
dressed in black with a shawl draped under
their arms added mystery every time they ran
across the stage. With sweeping movements
they could cover the stars with darkness.
- Tapashi Jarvis
öi¢ja¡l p−‰ ¢LR¥re
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z HLLb¡u −p¢c−el påÉ¡u öi¢ja¡ ph¡l
j−e a«¢ç ¢c−u−Re N¡e ö¢e−u z
n¢jÑm¡ hp¤¤
Volume 32,Issue 5
pj¡S pwh¡c
Page 9
−c−nl Mhl
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Page 10
pj¡S pwh¡c
h¡P¡m£l L¡¢mf§S¡
Volume 32,Issue 5
- −ch£¢fËu¡ l¡u
"nÉ¡j¡ j¡ ¢L Bj¡l L¡−m¡ −l ? Lb¡¢Vl Eáh "aeÚ' q−a, k¡ œ¡Z
L¡−m¡ l©−f ¢cNðl£ q©¢cfcÈ L−l−R L−lz a¿» J −hc ØjlZ¡a£a L¡m
q−a pj¡¿¹l¡m i¡−h Bj¡−cl −c−n
B−m¡ −l--"
Ae¤pªa q−u H−p−R, k¢cJ H−cl
HC N¡−el p¤ ¤ − l
j¡−T ¢h−l¡d ¢Rm e¡, hlw −h−c h¢ZÑa
h¤−Ll lš² −e−Q J−W e¡-Hje
l¡¢œp§ š ²-−kM¡−e −c¢h ¢e−S−L
h¡P¡m£ −L B−R? h¡Pm¡ −c−nl
JyL¡lju£ phÑhÉ¡¢fe£ i¥h−enÄl£ hÉ¡MÉ¡
j¡e¤o nÉ¡j¡−L i¡mh¡−p See£l©−f,
L−l−Re-a¡l −b−LC L¡m£l Eáh
LeÉ¡l©−f--n¢š²l©¢fZ£ nÉ¡j¡l f§S¡
h−m A−e−L ¢hnÄ¡p L−lez −n¡e¡ k¡u
h¡P¡m£l A¿¹−ll ¢S¢eoz pL−m
fËbj L¡m£ f§S¡ L−l¢R−me G¢o
ky¡−L h−m iuwLl£, ¢cNðl£ - ky¡l
c§hÑ¡p¡z a¡lfl AeÉ¡eÉ A−eL G¢o
−m¡m¢SqÄ¡ Ll¡m j§¢aÑ ¢e¢Mm
iš²S−el j−e iu¢j¢nËa i¢š²l
EŸ¡j EµR¡p S¡N¡u, h¡P¡m£l p¡−b
ay¡l pÇfLÑ A¢h¢jnË jd¤lz h¡Pm¡l
j¡¢V−a nÉ¡j¡ LeÉ¡l©−f p¡dL
l¡jfËp¡−cl O−ll −hs¡ −hy−d ¢c−u
k¡e, BqÓ¡−c ny¡M¡ f−l f¤L¥−ll Sm
q−a ¢e−V¡m L¡−m¡ q¡a¢V −c¢M−u
−Mm¡ L−le, LMeJ h¡ j¡a«l©−f
c¤ ø ¥ − R−m p¡dL h¡j¡rÉ¡f¡l
Hje ¢L üuw A°àah¡c£ nˆl¡Q¡−kÑÉl
A¢i−k¡−N A¢ÙÛl q−u ay¡−L Qs
j¡a«Ef¡pe¡ Ll¡l Lb¡¡ −n¡e¡ k¡uz
−j−l n¡pe L−le, Bh¡l −pC
h¡Pm¡ −c−n L¡¢m Abh¡ n¢š²f§S¡l
−R−mlC A¢ij¡−el j¡e l¡M−a
fËQm−el p¢WL ¢cerZ S¡e¡ k¡ue¡z
¢e−Sl j¢¾c−l ¢he¡−j−O hSÊf¡a
h¡P¡m£l O−l O−l j¡a«f§S¡ qae¡ a¡
L−lez c¢r−ZnÄ−ll fË¡‰−e B−lL
eu, a−h −p f§S¡l Bl¡dÉ¡ ¢R−me
−R−m l¡jL«−o·l p¡−b ay¡l ¢eaÉ
Qä£j‰−ml ih¡e£,- H−Lh¡−l
Bm¡f,p¡dLj−el pwnu c§l L−le
−Qe¡öe¡ h¡P¡m£ j¡-c¢l−âl Nª¢qZ£,
−pÀ−q Bc−l, Bh¡l −p −R−ml
i¡Ps f¡Nm¡ ü¡j£l e¡e¡e SÆ¡m¡u
L¡−R Bp−a ¢N−u L¢Q −h±
A¢ÙÛl, Bh¡l p¿¹¡−el SeÉ −pÀ−q
p¡lc¡j¢Z kMe fb qy¡V¡l L−ø SÆ−l
jja¡u ilf¤lz Nªq−ÙÛl hd§l¡ O−ll
f−se HL¡, aMe −af¡¿¹−ll j¡−Wl
−L¡Z¢V−a mrÈ£ W¡Ll¦−Zl jaC
j¡−T p¢M −p−S −ph¡ L−le üuw j¡
ay¡lJ E−Ÿ−nÉ hËa L−l, hl −Q−u
L¡m£z h¡Pm¡l j¡¢V−a R¢s−u l−u−R
¢e−ae, "Bj¡l p¿¹¡e −ke b¡−L c¤−d
e¡e¡e p¡d−Ll p¡def£W Hhw j¡−ul
i¡−az' −p j§¢aÑ h¡ ay¡l f§S¡l p¡−b
p¡−b ay¡−cl m£m¡−Mm¡l Hj¢e La
−O¡l L«o·hZÑ¡ e¢NÀL¡ j¤äj¡m¡d¡¢l¢Z
e¡ C¢aq¡pz
−SÉ¡¢aül©f¡ ¢Ql¿¹e£ L¡¢mL¡l f§S¡l
a−h nÉ¡j¡f§S¡l fËbj ¢jm p¡j¡eÉC z jdÉk¤−N −cM−a f¡C
fËQme h¡Pm¡l j¡¢V−a q−u¢Rm ¢Le¡ üuw ¢eaÉ¡e¾c jq¡fËi¥ nË£ °Qa−eÉl
hm¡ L¢Wez f¢ä−al¡ h−me, H B−c−n Msc−q nÉ¡jp¤¤¾c−ll f¡−n
f§S¡ a¿»n¡Ù»pÇja f§S¡z a¿» ¢œf¤l¡p¤¤¾cl£l fV hp¡ez AbÑ¡v nÉ¡j
J nÉ¡j¡ aMe HLC p¡−b h¡wm¡l
j¡¢V−a f§S¡ −f−a b¡−Le, a−h
p¡d¡lZ j¡e¤−ol L¡−R jdÉk¤−N nÉ¡−jl
BclC −h¡d qu −hn£ ¢Rmz
n¢š²f§S¡ aMe Ll−ae L¡f¡¢mL h¡
h£l¡Q¡l£ pÇfËc¡uz ¢L¿¹¥ −p h¡j¡Q¡l
fÜ¢al f§S¡- pîÑp¡d¡l−Zl SeÉ −p
f§S¡ A¢a L¢We −a¡ h−VC, pÇjaJ
¢Rm e¡z
p¡d¡l−Zl j¡−T
nÉ¡j¡f§S¡l fËQ¡l qu Aø¡cn
na¡ë£l j¡T¡j¡¢T -¢q¾c¥L¥m¢amL
jq¡l¡S L«o·Q¾cÊ aMe l−u−Re
ehà£−fl ¢pwq¡p−ez c£OÑ ¢ ce
khen¡p−e J p¡d¡le S−el A‘a¡
J Ah−qm¡u ¢q¾c¥djÑ aMe n¢š²
q¡¢l−u −g−m−Rz −pC q©an¢š² d−jÑl
¢i¢š eh£e ¢ejÑ¡Z hË−a ¢ek¤š²
L−l−Re ¢e−S−L ¢a¢e z n¢š²f§S¡u
ay¡l fËN¡t Ae¤l¢š² -a¡C h¡P¡m£l
O−l O−l ¢a¢e ay¡l Bl¡dÉ¡ −ch£l
f§S¡l fËQme Q¡ez HC E−Ÿ−nÉ ¢a¢e
B−cn S¡¢l Ll−me −k ay¡l l¡S−aÆ
fË¢a¢V O−l O−l nË£ nË£ L¡m£j¡−ul
f§S¡ Ll−a q−h-H B−c−nl AeÉb¡
q−m −k Qlj n¡¢Ù¹ −f−a q−a f¡−l,
HC C¢‰aJ lCmz −pC fËbj
Bf¡jl h¡P¡m£ HLp¡−b L¡¢mf§S¡l
Ae¤ù¡e L−l h−m −n¡e¡ k¡uz hm¡
q−u b¡−L −k,HC Efm−r fË¡u
cnq¡S¡l¢V L¡m£j§¢aÑ ¢e¢jÑa J
f§¢Sa quz −p pju −c−n °ho·h
d−jÑl −YE-−pC °ho·h−cl l¡p
Evp−hl Ae¤LlZ L−l jq¡l¡S
jq¡L¡m£l l¡−pl fËQme L−le, Hhw
HCi¡−h l¡pm£m¡l l−pl −Mm¡l jdÉ
¢c−u ö×L Be¤ ù ¡¢eLa¡ Hhw
h¡j¡Q¡¢la¡l h¡d¡ L¡¢V−u L¡¢mL¡ q−u
EW−me h¡P¡¢ml BfeSez HlC
p¡−b e¡e¡e p¡d−Ll, ¢h−no L−l
Ljm¡L¡¿¹ J l¡jfËp¡c −p−el N¡−e
(Continued to pg 11….)
Volume 32,Issue 5
l©fˆl
il¡V p¤¤−lm¡ Nm¡u h¡wm¡, ¢q¢¾c,
f¤l−e¡, ea¥e, l¡N¡nËu£, QV¥m
NSm, lh£¾cÊpwN£a, S£hej¤M£ N¡e
-üL£u Y−P p‰£−al fË−aÉL¢V
−L¡Z¡−L pj¡e f¡lc¢nÑa¡u R¥y−u
¢k¢e ¢nL¡−N¡l c§ N Ñ ¡ f§ − S¡l
jq¡ehj£l (n¢eh¡l) p¡åÉBpl−L
HL Ap¡d¡lZ j¡œ¡ ¢c−u¢R−me -¢a¢e Bl −LE ee, h¡wm¡l
pwN£aSN−al ea¥e a¡lL¡ -"l©fˆl'z
pj¡S pwh¡c
- Su¡ hÉ¡e¡SÑ£
Ap¤¤¢h−d qu¢ez ph¢j¢m−u −j¡V fy¢Qn¢V N¡e ¢a¢e Bj¡−cl Ffq¡l
¢c−u−Rez a¡l j−dÉ h¡wm¡ ea¥e
Qm¢µQ−œl N¡e Hhw h¡wm¡ ¢V.¢i.
¢p¢lu¡−ml n£oÑpwN£aJ h¡c f−s¢ez
¢c−e ¢c−e −cM¡ ¢c−me HL¡¿¹
−pÀqju£ j¡a¡ l¦−fz
Fe¢hwn
na¡ë£l h¡h¤ L¡mQ¡−ll h¡h¤l¡
Bh¡l HC f§S¡u Be−me ea¥e
j¡œ¡z ay¡l¡ Cwl¡S jq¡fËi¥−cl HC
f§S¡ Efm−rÉ ¢ej¿»Z L−l
Be−a m¡N−me-öl¦ qm B−m¡l
−l¡ne¡C Bl a¥h¢sl −Mm¡--œ²−j
−p Sy¡LSjL h¡P¡m£ pwú«¢al
A‰ q−u EWmz
L¡¢m−L
BS −kl©−f
Bjl¡ f§S¡ L¢l, −p l©−fl
LÒfe¡ ¢L L−l qm, H ¢ho−u
QjvL¡l HL¢V NÒf −n¡e¡ k¡uz
nË£ °QaeÉ jq¡fËi¥l pjp¡j¢uL
¢hMÉ¡a a¿» p ¡dL L« o ·¡e¾c
BNjh¡N£n HL l¡−œ ü−fÀ
°ch¡−cn f¡e, −k f−ll ¢ce −i¡l
−hm¡ −k cªnÉ ay¡l −Q¡−M fs−h,
−pC Ae¤p¡−l −ch£l j§¢aÑ NWe
L−l f§S¡ Ll−a q−hz f−ll ¢ce
HL Aá¥a j¤¢¾pu¡e¡u p¤¤−ll j¡u¡S¡m
h¤ − e cnÑ − Ll je−L LM−e¡
eØVÉ¡m¢SL, LM−e¡ −l¡jÉ¡¢¾VL,
LM−e¡ h¡ öd¤C Ae¡¢hm Be−¾c
i¢l−u −a¡m¡l p¡−b p¡−b −fËr¡Nª−ql
fË¡u pjÙ¹ cnÑ−Ll nl£l−LJ E−àm
L−l a¥−m¢Rm a¡yl N¡ez "l©fˆl'Hl N¡−el Hhw N¡uL£l °h¢QœC
(versatility) −h¡dqu Ru −b−L
o¡V fË−aÉL−L pj¡ei¡−h BL«ø
Ll¡l j§m Q¡¢hL¡¢Wz
Nm¡l p¡−b p¡−b N£V¡−lJ a¡yl q¡a
a¥m¢Rm HL Af§hÑ TwL¡lz "hå¥
−cM¡ q−h' HC ¢Rm l©fˆ−ll −no
N¡ez k¢cJ jdÉl¡−a −nË¡a¡−cl je
¢Rm a«o·¡aÑ, ¢L¿¹¥ pj−ul Ai¡−h
¢nÒf£−L ¢hc¡u ¢c−a q−u−R ""Bh¡l
−cM¡ q−h' HC Bn¡−aCz
öl¦−aC h¡¢Sj¡v L−l¢R−me
l¡N¡nËu£ N¡e ""BS nË¡h−el
h¡a¡p h¤−L ¢c−u''z ¢nL¡−N¡l
¢nÒfl¢pL −nË ¡ a¡−cl …Z£
"l©fˆl'-−L ¢Q−e ¢e−a HaV¥L¥
(..continued from pg 10) nÉ¡j¡
Page 11
−l¡c e¡ EW−a Ol −R−s −h¢l−u ¢a¢e
−c−Me −k h¡s£l L¡−m¡−L¡−m¡ ¢T¢V
f¡−nl −cJu¡−m Oy¥−V ¢c−µRz n£−al
¢q−jJ a¡l N¡−m −ü−cl c¡N, L¡S
Ll−a Ll−a q¡−al E−ÒV¡¢fW ¢c−u
j¤M j¤R−R h¡−lh¡l, a¡C ¢py¢bl ¢pyc¤l
j¡M¡j¡¢M p¡l¡ Lf¡mju z Hj¢e pju
h¡¢sl LaÑ¡jn¡u−L a¡l ¢c−L −Q−u
b¡L−a −c−M −p m‹¡u cy¡a ¢c−u
HaM¡¢e ¢Si −L−V−Rz −pC −b−L
hšÑj¡e L¡m£ j§¢aÑl©−fl d¡lZ¡ N−se
BNjh¡N£n z NÒf¢Vl paÉa¡ Lac§l
S¡e¡ −eCz ¢L¿¹¥ j¡e¤o£ l©−f L¢Òfa
e¡ q−mC h¡ ¢L B−p k¡u!! L¡m£
j§¢aÑ −a¡ Bp−m −L¡e l©f eu-a¡
Al©−fl C¢‰ah¡q£z A°àah¡c£l¡ a¡C
ay¡l f§S¡ L−l−Re e¡e¡e k¤−Nz Xx
jq¡e¡jhËa hËþQ¡l£ ay¡l l©−fl
QjvL¡l HL¢V hÉ¡MÉ¡ ¢c−u−Rez
BcÉ¡n¢š² h¢mu¡C ¢a¢e AåL¡lhZÑ¡---Ap£j¡ ¢a¢e Cq¡ h¤T¡C−a ¢cNÄpe¡
j§¢aÑ z c¤C q¡−a f¡me L−le, c¤C
q¡−a ¢ede L−lez---Nm−cn j¤äj¡m¡
¢hi¨¢oaz j¤ä qC−a−R ‘¡en¢š²l
Bd¡l-‘¡el©f j¤ äj¡m¡u j¡−ul
Lã−cn Bhªaz See£ ¢œeue¡-Q¾cÊ p§kÑ
J A¢NÀ ay¡l ¢ae¢V −eœz ay¡l
hrp¤d¤ ¡u ¢e¢Mm SNv a«ç qu, Bh¡l
p¡d−Ll¡ paÉ, ¢nh p¤¾¤ cl−L fËaÉr
L−lez
jq¡L¡−ml p¢‰e£ h−m
¢a¢e jq¡L¡m£ l©−f J f§¢Sa¡ qez
−pC l©−f ¢a¢e cnh¡ý d¡lZ L−lez
¢L¿¹¥ −kl©−fC ay¡−L f§S¡ Ll¡ −q¡L,
j§−m ¢a¢e °QaeÉül©f¡--qu−a¡ ay¡−L
ØjlZ L−lC h¡P¡m£l L¢h lh£¾cÊe¡b
N¡e −N−u−Re-"AåL¡−ll Evp q−a
Evp¡¢la B−m¡-−pC −a¡ −a¡j¡l
"L¡¢mL¡−ch£l A‰hZÑ L«o·--Ae¿¹ B−m¡'z −pC B−m¡ h¡P¡m£l O−l O−l
AåL¡lC L¡m£l kb¡bÑ l©fz B¢c−a B−m¡l j¡m¡u Evp−hl p¡S ¢e−u
¢R−me h¢mu¡ ¢a¢e BcÉ¡n¢š²z B−p h¡−lh¡−lz
Page 12
−R¡V−cl N−Òfl hC Hl e¡j −Le
W¡L¥lj¡l T¥¢m q−u¢R−m¡ ph¡lC S¡e¡z
f¤−l¡−e¡ h¡P¡m£l pwp¡−l ph pjuC
HLSe h¤¢s W¡L¥j¡ b¡L−aez −k±b
f¢lh¡−ll ph e¡¢a e¡a¢el¡ HC h¤¢sl
L¡−RC e¡e¡e l©fLb¡l NÒf −n¡e¡l
S−eÉ n£−al l¡−a Ly¡b¡ j¤¢s ¢c−u
L¡W q−u h−p b¡L−a¡z Bj¡−cl
¢nL¡−N¡−aJ al¦Z£ h¤¢s, n¢jÑù¡
hÉ¡e¡SÑ£, l©fLb¡l NÒf f¢l−hn−e cr
q−u E−W−Rez
Hh¡−l f§−S¡l
l¢hh¡−ll Bp−l f¢l−h¢na q'm
LÉ¡mL¡V¡ Lu¡−ll "l¢Pe f¡¢M c¤ø¥
ý−m¡'z H −a¡ Bl HL-Bd Se
−R−m −j−u ¢e−u −fË¡NË¡j Ll¡ eu,
C l a y
This is one of my personal favorite
and those who tried, appreciated it. That was
the motivation to pen this down for you. Fish
Kofta (¢Qam j¡−Rl −L¡gÚa¡).
Let’s get the following ingredients.
We need about 500 gms fish (¢Qam j¡R)
pieces, needs to be boneless, 2 big onions,
10—12 green chilies, 1 egg, beaten ,1 lemon,
1 tsp coriander powder ,1 tsp cumin powder,
1/4 tsp turmeric powder, 1 tsp chili powder, 1
tsp ginger-garlic paste, 3-4 tomatoes
chopped, Few coriander leaves chopped,
Oil for frying.
First Grind the fish pieces in a
blender. sure it is smooth. Take out any remainder of the bones. Put this aside. Heat 2
tsp of oil in a pan and fry few chopped onions,
chopped green chilies, chopped coriander
leaves for a while. Add these to the blended
fish. Add salt, beaten egg, lemon juice and
mix well. Once done take it out of the blender.
Make few roles or meat balls with this mix and
put a side.
Put some water in a pan and let it
boil. Once the water reaches boiling temperature add a little bit ( 1 tsp) of oil to it and put
the fish rolls in the water. Let it boil for about
15 minutes. Make sure the fish is boiled properly. Once done get it of the water and put a
side for few minutes. Then cut the rolls into
several pieces as needed. Fry it in hot oil until
golden brown. Keep them aside.
pj¡S pwh¡c
Volume 32,Issue 5
"l¢Pe f¡¢M c¤ø¥ ý−m¡' −Lje q'm?
…−e …−e fË¡u Q¡l c−n Q¢õn Sez
a¡l j−dÉ L−uLSe −a¡ j−e q'm
pcÉ qy¡V−a ¢n−M−Rz ¢L¿¹¥ a¡q'−m ¢L
q−h - ¢WL pj−u −ø−S Bp¡, NÒf J
N¡−el a¡−m a¡−m e¡Q¡ J Qm¡−gl¡
Ll¡, A¢ieu Ll¡ Hhw −h¢l−u k¡Ju¡,
−L¡b¡J ¢h−no −L¡−e¡ R¾cfae q'm
h−m j−e q'me¡z
e¡V−Ll j¡−T
p¿¹¡e q¡l¡−e¡l −n¡L J −n−o c¤ø¥
ý−m¡l p¡S¡, h¡µQ¡l¡ e¡Q J A¢ie−ul
j¡dÉ−j p¤¤¾cl i¡−h g¥¢V−u a¥−m¢R−m¡z
p¡Sp‹¡ −a¡ i¡−m¡ q−uC ¢R−m¡, a¡l
Jf−l p¤¤¾cl B−m¡Lf¡a J ¢fR−el
O v e n
A t
this point you
can
serve
this as appetizers and it
goes excellent with mint
chutney and
a round of
drink. If you
want kofta curry put them aside.
Now heat oil in another pan, fry the
remaining chopped onions until brown. Also
add ginger-garlic paste, coriander powder,
cumin powder, chili powder, turmeric and fry
for few more minutes. Add the chopped tomatoes. Let it fry for few minutes. Add a little
bit of water as needed. At this point add the
koftas and let it simmer for few minutes, add
little more water and let it simmer for another
10—15 more minutes. Koftas should be nice
and tender by now. Take it of the pan and
pour everything on a serving dish. Garnish it
with chopped coriander leaves. And serve hot
with rice or paratha.
If it tastes good that will be because
of my recipe, if tastes bad, it means you need
a few more cooking lessons. Hope you all
enjoy this!
- Sushmita Talukder
fcÑ¡l lwh¡q¡−l Ae¤ù¡e¢V cª¢øjd¤lJ
q−u¢R−m¡z
−p¡e¡u −p¡q¡N¡ q'm
¢eMy¥a A¢XJ−a LmL¡a¡l LmÉ¡Z
−pe hl¡−Vl hy¡d¡ Hhw nË£L¡¿¹,
−m¡f¡j¤â¡, nÇf¡ J C¾cÊ¡Z£l N¡Ju¡
N¡ez ¢hH¢S¢p−a B−N HC dl−el
Ae¤ù¡eC −hn£ fË¡d¡eÉ −f−a¡z HMe
LmL¡a¡l e¡j£ c¡j£ −fË¡NË¡j…−m¡l
j¡−T ¢nL¡−N¡l ¢nö-¢L−n¡l−cl HC
f¢l−hne q¡¢l−u −a¡ k¡uC¢e, hl’
j¡b¡ a¥−m cy¡¢s−u¢R−m¡z
-AmL i–
i–¡Q¡kÑ
Dance Drama …….
(continued from pg 4) Nusrat Fateh Ali
Khan. Most of all, this dance drama was a
great way to bring all members of the community together, emphasizing its very theme .
Even people who didn't "Get it", really did get
it by simply enjoying the program. The
smooth blending of different forms of entertainment resulted in a jolly good show for all
ages.
pj¡S pwh¡c
Volume 32,Issue 5
Meandering Moods…
- Binita Gupta
Youth Seminar
- Ishara Mondal
On the Sunday of Durga Puja, October 21, 2007, the Bengali Association of
Greater Chicago, BAGC, committee organized a seminar to discuss the importance of
the youth influence in our present community.
The forum was attended by both first and
second generation Bengalis. It helped communicate the youth’s ideas of pulling others of
their generation back to the importance of
understanding their (Bengali) culture.
There is a concern in the older generation; younger community members do not
understand the significance of their heritage.
The seminar helped the younger generation,
like me, express their opinions on those worries. Many younger participants appreciate
the efforts by our parents, Mashis, and
Meshos (first generation) to familiarize us with
the traditions that they have learned and
brought with them from Bengal. All BAGC
events give us a plethora of exposure to Bengali language, literature, customs, arts, and
sports. There had been a comment that if the
younger generation understood more about
the history of Bengal, it would spark their interest. This statement opened my eyes into
looking deeper at the origins of my heritage,
and also helped me better understand the
older generations’ urge to instill their values in
us. Another younger participant felt strongly
about realizing that our present generation will
eventually evolve into a new adapted culturea fusion of American and Bengali positive
customs. I think that if more people were to
have attended this discussion, and more
seminars like this were to take place, our
community could continue to grow in knowledge, thrive in culture, and acclimatize to the
needs of present generations, as well as
those to come.
Like water flowing in a lake
I change my ways and my direction.
I’m sometimes shy, but other times
The sun lets me shine in the sunlight.
Like a dolphin, I am playful and alert,
Jumping around in an energetic manner
With the different fish.
Like the colors blue and red, at time sad
And held in a tight grasp of gloom,
Other times filled with anger or happiness,
But always bright.
Like a slice of pizza, bright with different colors,
Personalities and feelings.
Like an iron, sometimes hot-headed
With frustration or anger,
Otherwise calm and relaxed.
Like rock music, loud and happy,
With greatly joyous happiness
That everyone must feel
At one point in their lives.
Like a book, forever flapping pages,
Adding scenes of realistic events
In my life with pictures.
Aeeɡ
j”¥ Q−–
Q−–¡f¡dÉ¡u
l©f k¢c j¡ −a¡j¡l L¡−m¡ !
−Lj−e a¡u i¥he B−m¡ !
iuˆl£ e¡j −k −a¡j¡l Aiu¡ e¡j −L ¢cm Bl!
−p−SR j¡ j¤äj¡m¡u Sh¡l j¡m¡ −Le fl¡u!
pîÑ ¢nh öiˆl£ a¡C ¢L QlZ ¢n−l¡f¢l !
j¤−M q¡¢p, q¡−a A¢p L¡V¢h ¢L j¡ −j¡l −j¡−ql gy¡¢p?
hlc¡iu c¤'¢V q¡−a i¢š² Bn£o −c j¡ j¡−bzz
Page 13
Anuronon
- Rajashree Sen
This year Durga Puja’s afternoon treat was
screening of the much acclaimed and controversial film,”Anuronon” directed by Aniruddha Roy
Chowdhury with a stellar cast of Raima sen
(Preeti Banerjee), Rahul Bose (Rahul Chatterjee), Rituparna (Nandini) and Rajat Kapoor (Amit
Banerjee). This is a creatively directed, ably
acted and well crafted movie, chronicling and
dissecting two marital relationships at the emotional level including the chance collisions as
well as the intentional interactions between the
two. The two husbands are cast in black and
white –Amit is the overly materialistic, domineering emotionally abusive absentee husband,
while Rahul played the creative dreamer, sensitive and caring with constant love and empathy
for his depressed wife Nandini still recovering
from a past miscarriage with the added burden
of permanent infertility. He had however feet of
clay and could not resist the intrigue and temptation of interactig with Preeti, a kindred soul-thus
widening the existing cracks in his relationship
with Nandini.
In the meantime Nandini not only detected and
felt Preeti’s pain but invited her confidence with
an offer of help. The two women seemed to
bond together as they both felt a resonance with
the same man. A generation or more of feminism perhaps inspired Preeti to seek out and
solidify the mutual resonance she felt with Rahul
even as she rejected Nandini’s offer. The film
came to a dramatic crisis with the tragic unforseen consequences precipitated by the sudden death of Rahul soon after his tryst with
Preeti emphasising that emotional involvement
is certainly more dangerous and lasting than
mere physical interaction.
The most interesting aspect of the film were
the questions it raised about men and women’s
expectations from marriage and career, their
quest for material as well emotional wealth. It
also analyses betrayal at the most basic level or
was it just a resonating soul responding to a
friend in need?
Page 14
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Volume 32,Issue 5
Volume 32,Issue 5
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Page 15
Bengali Association of Greater Chicago
1157 East Patten Drive, Palatine IL 60074
To:
Kali Puja Venue
Date: November 17th, 2007
Bartlett High School
29W701 Schick Road
Bartlett
IL 60103
2008 Kali Puja Schedule
Registration Starts
2:30 PM
Commons Area
Tea
2: 30 PM
Commons Area
General Body Meeting
3:00 – 5:00 PM Auditorium
President’s Speech & Treasurer’s Report
Banga Bhavan Presentation
Q&A Session
Special Funds Committee 2008
By Laws Committee for 2008
Executive Committee 2008
Children’s Movie
3:00 – 5:00 PM Classroom
Snacks
5:00 – 6:00 PM Commons Area
Directions :
Kali Puja & Anjali
5:00 – 6:30 PM Commons Area
From I 90 W take 59 South, after
approx. 8miles take a left on Schick
Rd, drive approx. 1 mile. The school
is on the right hand side .
Cultural Program: Part 1
6:30 – 8:00 PM Auditorium
From I 88 take 59 North, take right on
Schick Rd, drive approx. 1 mile. The
school is on the right hand side .
‘Sopan’ - Arindam and Rajesh’s Musical Voyage (exChandrabindoo)
Dinner
8:00 – 9:30 PM Commons Area
Cultural Program: Part 2
9:30 – 11:00 PM Auditorium
‘Live in Concert’ Shamit (of Sony TV’s ‘Fame Gurukul’)
Our Sincere thanks to Our Diamond Sponsor XTTRIUM LABORATORIES, Gold Sponsor AXA and sponsor Illinois Arts Council.