Saurav kumar Chaliha: Profile of a time capturer–Profile-of-a-time-capturer

Saurav Kumar Chaliha is an Assamese writer of Assam, India, educated at Guwahati and London University, born – 1927. As a faceless fiction writer for nearly six decades he has existed only through his voice and writings, having no biography, no official photograph, the so-called interviews. This film is an visual journey, an attempt to write something by camera (by believing Robert Bresson’s words) on Saurav kumar Chaliha, along with valuable insight, analysis about the works of Saurav kumar Chaliha by Apurva Sharma, Prabhat Bora, Altaf Mazid and Arindam Borkotoki.

A film by NONI Cinematography and Editing: Rajiv Saikia Produced by : Daisy Saikia A round the globe presentation


Art works by Luna Gogoi

Beautiful art by LUNA GOGOI

Pragyan – A quarterly academic journal from Tinsukia College, Assam

PRAGYAN:  We have been publishing it since August, 2003. With the last March, 09 issue we have completed 6 years of its existence. Basically it’s a bilingual (Assamese & English) journal, but we do publish Bengali & Hindi write up in our literary column. It was not an easy task to continue such a venture in a college in Assam where not a single public funded educational institute is running well. There is so many constrains which need not to be mentioned. All the learned people, like you, are well aware of these. Frustration and Depression are buzzwords in these institutes. We, the faculties of Tinsukia College, have chosen to do something positive to fight back. We are trying to change the scenario to the extent that we can. We are doing many more things. One of these is PRAGYAN. Here, our friends are from different school of thought and ideology. It was hard to get all of us united behind a single project like this. But we did it. The only commitment we have is to try something good & positive with whatever resources we have. . . .And the result is here. Pragyan survived for six years. It’s not very long time; neither have we claimed that our work is too qualitative to tell. But for a non-professional and non-profit venture like ours it’s not a short period either. It’s unique, in a sense that it’s now motivating other colleges of Upper Assam to follow the suit. We’ll be happy enough if your supportive criticism encourages many more educational institutes of the state and the North East Region to accompany us. We, the editors, will be happy to have your suggestions, criticisms & writings in our future publications.

Sincerely Yours

Rana K Changmai – Editor -in -Chief

Sushanta Kar  – Executive Editor

Pragyan, Tinsukia College, Assam


Robijita Gogoi and her creation

Above are pics from play “Memsahab Prithvi”. A play directed by Robijita Gogoi

Robijita Gogoi is an Independent performance artist.

She devised performance like Memsaheb Prithvi( Hindi Language) based on research & documentation books and a folk tale; Technicolour Dreams( Multi lingual)is a conceptual work; Nisheli( Nagamese Language)based on a folk tale; Somayni Khusernai(Bodo Language) is a conceptual work; Devi Peether Tez(Assamese Language)based on a Novel; Rangpharpi Rangbe (Karbi Language) based on a folk tale; Building Arithmetic( Assamese Language ) based on a short story .

Robijita Created performance art called Gaatha-the 1st text amalgamating visual installation, poetry, news paper clips, chanting, songs in 03( 25 performances all over India); Performed in installation performance called Identity Market with visual artist Dilip Tamuli in 02,Performed in Asian artist’s collaborative performance – Unbearable dreams vol.3 in 05.

Robijita Directed written plays in India Languages like Assamese, Hindi, Kanada, Nagamese, Bodo, Karbi since 1995.I approached the texts like Marguerite Duras’s La Musica( French Play), J.M. Synge’s The Riders to the Sea(Irish Play), Harold Pinter’s The Dumb Waiter( English Play), Bijoy Tendulker’s Kanyadaan( Indian), Mohon Rakesh’s Aashad ka Ek Din(Indian) and Joy Shankar Prashad’s Dhruvswamini(Indian) etc among 20-25 plays.

She Presented a paper the relevance of a Doll’s House–Translation and Adaptation in the context of India’s northeast in the International Ibsen conference holds at Dhaka, Bangladesh Nov ’02, Presented a lecture cum demonstration on her works in ‘Purva’- an Asian Women Theatre Director’s Conference hold at New Delhi 03, India, Presented a paper title identity politics, Conflict situation, self engagement in Theatre in the international conference on DAWN South & South East Asian regional consultation on Feminist engagement with conflict, impunity and peace in Kathmandu, Nepal 09 and Worked as a costume designer in collaboration projects like ‘Miwa’1998- an Indo-Japan collaboration work in Tokyo, Japan.

Robijita worked with organizations like National School of Drama Repertory Company (New Delhi), Bhanderarkar’s institute of Theatre (Karnataka), Centre for Asian Theatre (Bangladesh), Shi Ram Centre for performing Arts (New Delhi), North East Social Trust (Assam), Rajiv Gandhi Foundation (New Delhi), North East Network (India), ANT (Assam), Proto Theatre (Tokyo, Japan), etc in the capacity of a Theatre Director and Theatre Trainer.

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Assamese are the friendliest Indians by Khushwant Singh

WE got talking about the friendliest people in our country. We analysed Panjus (Punjabis), Bhaiyas (Uttar Pradeshis and Biharis), Bongs (Bengalis), Dakhanis (Telengas, Kannadas), Mallus (Malayalis), Madrasis (Tamilians), Mian Bhais (Muslims), Makapaons (Christians) and Bawajis (Parsis). We went down the list demolishing each group for one defect or the other. Panjus: very forthcoming but uncouth and loud-mouthed, who wants to make friends with them ? Bhaiyas: non-descript, neither as extrovert as Panjus nor as introspective as Bongs. Bongs: think they are number one Indians and very arty; when Bengal sneezes, the rest of India catches a cold etc. And clannish. No cuisine culture, only moshti doi and roshogulla. Maharashtrians, Dakhanees, Madrasis and Mallus, all lumped together as Madrasis, are full of caste prejudices and rarely invite people to their homes. Makapaons and Bawajis are half-baked firengis: you don’t feel relaxed in their company. General conclusion: people who prefer their own kind — language-wise or caste-wise — don’t qualify to compete for the “friendship championship”. Nor do people who keep their women in purdah or in the kitchen.

So who are we left with ? I go over my encounter with my country men and women. I have been just about everywhere in Bharat. I could not make up my mind when I got a letter from Bobbeeta. I had all but forgotten her but for her odd name Bobbeeta. I had met her briefly in Guwahati and Delhi. I went over the names of other Assamese I knew: Baruas, Bezbaruas, Hazarikas, Gogois, Bardolois Saikias, Phukans, Bor-Thakurs, Raj Khowas, Goswamis, Chaudhrys, Sarmas, Acharyas. It is surprising that even though I have not been to Assam more than four or five times and for that too three or four days each time, I keep in touch with more Assamese than with any other people. Why? For me the average Assamese woman is better-looking than the average-looking woman anywhere else. For another they are more forthcoming and more hospitable, with no hangups about caste or class. My vote for the friendliest of Indians goes to the Assamese.

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