Obokolpo

Paper palace The kingdom of Prakash rudra —--- Why do you pick any art as a self opening medium? To achieve– or making a mark?  Prakash Rudra is a man with a talent for creating stunning pieces of art. At 34 years of age, he had already made an empire of paper made sculptures. His hometown at Cox's Bazar, Bangladesh is developing in a mixture of art culture, especially in recent years. He stood in his heart with a unique ability to create portraits and architectural heritage out of nothing but cardboard papers. He started younger– however, one day tragedy struck when Prakash suffered an injury to his hand, which left him unable to work on his art for a long time. He felt like he had lost a part of himself, as creating art was not just a hobby for him but a passion that fueled his soul. As the days went by, Prakash began to feel hopeless, as he realised that he needed to find a way to support himself and his family. With lacking qualifications, he started running a small tea stall i...

  সমুদ্র কল্যাণের — জে. হোসেন. কল্যাণ একটি সংস্কৃত শব্দ যা– সম্পদ, সুখ, সমৃদ্ধি, সুস্থতা এবং ভাগ্য অর্থে প্রকাশিত। শব্দটি একটি গুণ হিসেবে ব্যবহৃত হতে পারে এবং সাধারণত মঙ্গল কামনায় এর প্রয়োগ। ভাষা ব্যবহার করতে জানা প্রাণীদের ক্ষেত্রে শব্দের প্রভাব অপরিসীম। অনুভূতির প্রকাশে শুধুমাত্র একটি শব্দের ব্যবহারও উদ্দীপনা কিংবা অনুধাবন সৃষ্টি করতে সক্ষম। কল্যাণ ঐতিহ্যের দিক থেকে সম্পদ, সুখ এবং শান্তি সূচিত শব্দ—প্রকৃতি পরম কল্যাণকামী। সঙ্গীতের একটি সুন্দরতম বৈশিষ্ট্য হলো অনুভূতির দলবদ্ধকরন, হিন্দুস্তানী শাস্ত্রীয় সঙ্গীতে তারই প্রকাশে ঠাটের উদ্ভব। প্রধান দশটি মৌলিক ঠাটের একটি কল্যাণ। এটি ইমনের নামেও পরিচিত, যা এই ঠাট থেকে উদ্ভুত একটি গুরুত্বপূর্ণ ও জনপ্রিয় রাগ। কল্যাণ ঠাটটি কোমল গান্ধার এবং নিষাদ স্বরগুলোর ব্যবহারে চিত্রিত, এর সাথে শুদ্ধ ঋষভ, কিঞ্চিৎ কড়া মধ্যম এবং শুভ্র ধৈবত স্বরগুলো ব্যবহারে সজ্জিত। সুর সমুদ্রের এই ঠাট সংযোগে শুদ্ধ ও শ্যাম কল্যাণ, ইমন কল্যাণ, ভূপালী, কেদার, হিন্দোল, ছায়ানটের মতো বহু রাগের সুর প্রবাহ বইছে। কল্যাণ ঠাটের ইতিহাস মুঘল সাম্রাজ্যের সংস্কৃতির মূলধারা সম্রাট আকবরের সম...

  Setara Restoration of a Heritage in Bengali Music.                                               Mohammad Jakir Hossain Artist Introduction Bengali traditional musical instruments have a long and rich history that spans centuries, closely linked to the cultural and social history of Bengalis. The early origins of Bengali traditional music can be traced back to the Vedic period when music was an essential part of religious ceremonies. Over time, these customs evolved into various regional styles and forms. The earliest known mention of musical instruments in Bengali dates back to the 7th century during the reign of the Pala dynasty. Many musical instruments were introduced to Bengal from other parts of India, including the veena, mridangam, flutes and tabla. In the mediaeval period, Bengali music flourished under the patronage of the Mughal emperors, who were themselv...

 It was not necessary for the river to flow “Surely to the Sea”, but still it did. It certainly did after Presley’s heartful expression to mean that “Some things are meant to be”. Let’s keep apart the critical point of view regarding how globalization has deeply affected Indian music. Because, it is easier to explain music when you are more of a listener and less of a critic. Since India happens to be one of the most diversified countries in the word, we, the so called Indians have got a huge opportunity to utilize the several aspects of the country in the process of truly understanding her depth of music. It is said that, early men discovered the art of music by imitating the singing birds. From there, various countries have got their own genre of music according to their geographical location, weather conditions and lifestyle. Indian music has got its heritage in the Indian folk and classical music. The country is privileged with her amazing geographical location which enhances t...

  Jyotirmoy, Son of Classical Vocalist Smt.Bishnupriya Chakrabarty started his musical journey from the tender age of 9 from Shri Sanjay Adhikari learning the nuances of Tabla. JYOTIRMOY CHAKRABARTY| TABLA PLAYER | MONON | OBOKOLPO   At the age of 12 he came under the able guidance of World renowned Tabla Maestro Pandit Samar Saha of The Benaras Gharana at ITC , Sangeet Research Academy (SRA), Kolkata.He has played at the annual conference of ITC , SRA under the guidance of his Guruji in 2012. He has also played at the Sangeet PIYASI annual concert in the year 2014.He is fortunate enough to play a Tabla solo at Benaras (Varanasi) , the Mecca of Benaras Gharana of Tabla last year. He has also played at the Yuva Shastriya sammelan in Bangalore ,2015. Apart from Indian Classical music he has keen interest in World music. He has been learning South Indian Carnatic Taal from the renowned Ghatam player Shri Somnath Roy since 2017. He along with some of the finest young generation pe...

 Dipalok belongs to a family where music is valued at its epitome. His father Mr. Dipak Ranjan Biswas introduced him to the world of classical music with a small custom-made Sitar at the age when he just began to sit!                 Since then, his classical training has been structured initially by Mr. Rabindranath Mukherjee and then by Ustad Niladri Sen (Radio Graded Artist) under Rampur Gharana.              Presently he is professionally learning the intricacies of Hindustani Classical Music from Pandit Ashim Choudhury who is a top grade Radio artist in India. He is getting his taalim in Imadadkhani Gharana under his guru who is also a disciple of Pandit Bimalendu Mukherjee, father of sitar pioneer Pandit Budhaditya Mukherjee. Dipalok has performed in several shows and conferences like Bhawanipur Sangeet Sammilani Kolkata, Gandhar Pancham Music Welfare F...