Surendar Valasai

Career

Valasai worked as a journalist for the English dailies The Muslim, Daily News, Sindh Express, Financial Post and The Balochistan Express, and as an editor for Sindh Tribune. As of 2013 Valasai became Media coordinator of Bilawal House, and on 8 November 2016 he was appointed as Incharge Media Cell Bilawal House. He was appointed as Advisor on Minority Affairs to Bilawal Bhutto Zardari, Chairman of Pakistan Peoples Party on 4 January 2014. Earlier, he was President of Sindh Peoples Students Federation SPSF Tehsil Diplo, Tharparker until 1990 after which he took up journalism. He was elected as Member of Provincial Assembly of Sindh on seat reserved for non-Muslims, and took his oath on 13 August 2018.

Scheduled Castes Federation of Pakistan (SCFP)

Valasai formed the Scheduled Caste Federation of Pakistan (SCFP) to raise the issues of human inequality, untouchability and caste discrimination. Under the SCFP platform, he wrote petitions and letters to the President, Prime Minister and Chief Justice of Pakistan drawing their attention to the plight of Scheduled Castes tribes and particularly the Meghwal, Kolhi, Bheel, Bagdis, and Oads. His main emphasis was that since Pakistan did not subscribe to these social evils ideologically and spiritually, concrete steps were needed.

Newspapers

1. The Muslim* Staff Reporter · May 1994 to Oct 1996

2. Daily News*

3. Sindh Express*

4. Financial Post* News Editor · Jan 1997 to Sep 2004

5. The Balochistan Times* News Editor · Mar 1993 to Feb 1994

6. Sindh Tribune*

Sushil Siddharth
From Wikipedia, the free encyclopedia
Sushil Siddharth (2 July 1958 – 17 March 2018) was a Hindi prose and poetry writer, critic, editor, and satirist. He was a journalist and columnist and the co-editor of several periodicals. He was awarded the Madhuban Vyanga Shri Samman in 2017 for his satirical works.

Career

Born in the village of Bheera, Sitapur district of Uttar Pradesh, on 2 July 1958, Sushil Siddharth did his Ph.D. from the University of Lucknow.

After finishing his higher education, Siddharth became involved in the literary circles of Lucknow while continuing as a freelance writer for newspapers and magazines. He considered Gyan Chaturvedi the father of satire, and his personal mentor. He also co-edited the Hindi periodicals Tadbhav and Kathakrama. His column in the latter, titled Raag Lantrani, brought him recognition. During 1988–90, Siddharth and Ram Bahadur Mishra jointly edited and published Birwa, a quarterly magazine dedicated to promoting the Awadhi language. Siddharth was additionally a guest faculty at the Mahatma Gandhi International Hindi University, and also wrote plays for television and radio. Since its inception, he had been a regular contributor to Indraprastha Bharti, a magazine of the Hindi Academy in New Delhi, where his column Kataaksh was highly popular. He wrote four collections of satire: Preeti Na Kariyo Koy, Mo Sam Kaun, Naarad Ki Chinta, Maalish Mahapurana; and contributed two anthologies of poems: Eka and Bagan Bagan Kahe Chiriya in Awadhi.

The Uttar Pradesh Hindi Institute twice nominated Siddharth for its Best satire and Best Awadhi poem awards. In 2017, he was awarded the Madhuban Vyanga Shri Samman for his satirical works. Siddharth worked as an editor for the Rajkamal Prakashan group before joining Kitabghar Prakashan, where he served till his death. He edited the book series Vyanga Samay. For his work in literary criticism, Siddharth was awarded by Bhopal's Spandan Sanstha.
Personal life

Siddharth stayed alone in Delhi while his family lived in Lucknow. He died on 17 March 2018 from complications arising after a heart attack. His body was cremated the following day in Lucknow's Bhainsakund Crematorium. A condolence ceremony in his memory was held at Gopal Chaturvedi s residence. Fellow writer Dayanand Pandey said that satire was the oxygen in Siddharth's life. Novelist Maitreyi Pushpa was of the view that Siddharth's talent was never properly treasured in his lifetime, and that publishers for whom he worked took advantage of his financial condition.

Surajpal Chauhan
Wikipedia from the free encyclopedia
Suraj Pal Chauhan is a Dalit writer and publisher. His story, "Harry Kab Ayega" (Short Stories) 1999 is a well known work in Dalit literature.
He is a recipient of the Hindi Academy Award.

कलात्मकता के नाम पर / सूरजपाल चौहान

परम्परा का पहाड़ा
रटाने वालो
ऊँचे घरानों के
ढोल पीटने वालो
रास्ते का—
पत्थर बनकर
क्यों मेरे मार्ग को—
अवरुद्ध करते हो?
कलात्मकता की दुहाई देकर
क्यों मेरे क़लम की स्याही
पोंछना चाहते हो!

हमेशा से तुमने
मेरे सृजन को
अपना कहा है
परम्परा की दुहाई देकर
छला है
और गढ़ा है
गप्पी साहित्य
कलात्मकता के नाम पर।

Sharankumar Limbale
From Wikipedia
Born June 1, 1956
Occupation writer, poet, literary critic
Language Marathi
Nationality Indian
Genre Dalit literature
Notable works Akkarmashi (1984)
Towards an Aesthetics of Dalit Literature (2004)
Spouse Kusum

Sharankumar Limbale (born June 1, 1956) is a Marathi language author, poet and literary critic. He has penned more than 40 books, but is best known for his autobiography Akkarmashi. Akkarmashi is translated in several other Indian languages and in English. The English translation is published by the Oxford University Press with the title The Outcaste. His critical work Towards an Aesthetics of Dalit Literature (2004) is considered amongst the most important works on Dalit literature.

‘Sharankumar Limbale’
Akkarmashi, an excerpt
Friday, June 3rd, 2011
…….. from author's note.

My mother is an untouchable, while my father is a high caste from one of the privileged classes of India. Mother lives in a hut, father lives in a mansion. Father is a landlord; mother, landless. I am akkarmashi (half-caste). I am condemned, branded illegitimate.

I regarded the immorality of my father and mother as a metaphor for rape. My father had privileges by virtue of his birth granted to him by the caste system. His relationship with my mother was respected by society, whereas my mother is untouchable and poor. Had she been born into the high caste or were she rich, would she have submitted to his appropriation of her? It is through the Dalit movement and Dalit literature that I understood that my mother was not an adulteress but a victim of a social system. I grow restless whenever I read about a rape in the newspaper. A violation anywhere in the country, I feel, is a violation of my mother.

I have put in words the life I have lived as an untouchable, as a half caste, and as an impoverished man. There is a Patil in every village who is also a landowner. He invariably has a whore. I have written this so that readers will learn the woes of the son of a whore. High-caste people look upon my community as untouchable, while my own community humiliated me, calling me 'akkarmashi'. This humiliation was like being stabbed over and over again. [….]
……… The Outcaste
[….] Dada was the first son of the first wife of Dastagir Jamadar. Dada was married to a woman from Barhanpur, but they were childless, so his wife deserted him. Since then Dada has been living with Santamai. He has groomed me with great affection, as if I were his own child. Neither his religion nor my caste was a hinderance to us. Is it man who is a hinderance to religion or is it the other way around? Is the premise of religion greater than man's? Is religion made for man or man made for religion? Does man cause religion to degenerate, or is it religion that degenerates man? Can't man exist without religion and caste?

[…] Once, we had a guest and no money to pay even for his tea. Kashinath, the tea-stall owner was away. So we couldn't ask for credit. Old man Ghenappa who looked after the tea-stall in Kashinath's absence would not give us credit. We were in a fix and felt helpless. I sat in a corner like a barren hen trying to hatch an egg. Dada was waiting for a bus. Santamai's face looked like a cave discovered during excavation, while the guest sat like a refugee.

Source: The Outcaste Akkarmashi Sharankumar Limbale. Translated from Marathi by Santosh Bhoomkar
Sadanand Rege

From Wikipedia, the free encyclopedia
Sadanand Shantaram Rege

Selected Writings of Sadanand Rege, Edited by Vasant Abaji Dahake, Publisher Sahitya Akademi, 1996/2010/2013
Born 21 June 1923

Rajapur, Ratnagiri, Maharashtra, India
Died 21 September 1982 (aged 59)

Mumbai, India
Nationality Indian
Education M.A. English, 1961
Alma mater University of Mumbai
Occupation College teacher, Poet, Dramatist, Short-story writer, Translator, Cartoonist, Painter
Known for Modern poetry in Marathi
Awards Government of Maharashtra, Soviet Land Nehru Award

Sadanand Rege सदानंद रेगे (21 June 1923 – 21 September 1982) was a Marathi poet, playwright, short-story writer, translator, cartoonist and painter. He was born in Rajapur, Ratnagiri, Maharashtra.

During his lifetime, his twenty eight books were published. His three books of poetry won government of Maharashtra award for literary achievements. His translation of Vladimir Mayakovsky's poems into Marathi: 'Pant Ghatlela Dhag' won him Soviet Land Nehru Award.

He was a trained painter and even held two exhibitions of his paintings in Norway where he was traveling.

He taught at Ramnarain Ruia College from 1962 until his death in 1982. Earlier he held a number of jobs including a stint in Indian Railways as a clerk.

Published works
Books
Poetry

Aksharvel, 1950
Gandharva, 1960
Devapudhcha Diva, 1965
Brankushicha Pakshi, 1980
Vedya Kavita, 1980

Short story collections

Jeevanachi Vastre, 1952
Kalokhachi Pise, 1954
Chandane, 1959
Chandra Savali Korato, 1963
Masa aani Itar Vilakshan Katha, 1965
Sadanand Rege: Nivadak Katha: Sampadak: Arvind Gokhale, 1988

Translations into Marathi

Midia, Popular Prakashan, 1993 ISBN 9788171856688 ISBN 8171856683 (Marathi translation of Euripides's Medea (play))
Pach Diwas, Popular Prakashan, 1991 ISBN 9788171852598 ISBN 8171852599 (Marathi translation of Henry Zeiger's play 'Five Days', 1965)
Pant Ghatlela Dhag, (Marathi translation of Vladimir Mayakovsky). 1971
Trunparne (Marathi translation of Walt Whitman), 1982
Jayketu, 1959 Original Writer Sophocles
Brand, 1963 Original Writer Henrik Ibsen
Badshah, 1965 Original Writer Eugene O'Neill
Jyanche Hote Praktan Shapit, 1965 Original Writer Eugene O'Neill
Gochi, 1974
Raja Idipas, 1977 Original Writer Sophocles
Chandra Dhalala, 1947 Original Writer John Steinbeck
Moti, 1950 Original Writer John Steinbeck
Band, 1958 Original Writer George Orwell
Tambade Tattu, 1962 Original Writer John Steinbeck
Chandrotsav, 1966 Original Writer Bette Bao Lord
Saseholpat, 1968 Original Writer Lin Yutang

Smita Prakash

Have you heard the name of Smita Prakash? She is one of the most popular Editor & News Reporter of her time. Here we have covered her biography. If you are interested in Smita Prakash, we can assure you will be happy by visiting here. In the below section you will get the details of Smita Prakash’s height, age, affairs, net worth, and much more information. Let’s Check.

Short Bio
Smita Prakash

The real name of this Editor & News Reporter is Smita Prakash. She also known as Smita. Basically She is Indian. The home town of this person is New Delhi. She believes in Hinduism. She continues her study till Graduate in journalism. Check the following table to get more information. Born 2 December 1981.
I am the Editor News, at Asian News International (ANI), India's leading Multimedia News Agency and the India Correspondent for Channel News Asia, a Singapore based broadcaster.

Sujatha Gidla
From Wikipedia, the free encyclopedia
Gidla at the U.S. National Book Festival in 2018
Notable works Ants Among Elephants

Sujatha Gidla is an Indian-American author. Gidla is known for her book Ants Among Elephants: An Untouchable Family and the Making of Modern India. She was born in Andhra Pradesh and moved to the United States in 1990, when she was 26 years old. She now lives in New York and works as a conductor on the New York City Subway.
Early life
Sujatha Gidla was raised in the Dalit community of Kakinada, a small town in present-day Andhra Pradesh. Her great grandparents accepted Christianity after they heard the Gospel propagated by Canadian Baptist missionaries in her region. With missionary institutions heralding development of the society in general through education, Sujatha's grandparents were also educated at one such institution run by the missionaries in Kakianda. Prasanna Rao, Gidla's grandfather, studied in a school set up by the Canadian missionaries. Gidla's parents were also college lecturers.
After getting her bachelor's degree from State-run Pithapuram Rajah Government College in Kakinada, Gidla enrolled in a Masters' program in Physics in Regional Engineering College, Warangal. During her second year there, in one of the earlier instances of her activism, Gidla participated in a strike against an upper-caste professor in the Engineering department, who was deliberately failing students from the lower castes. She was the only woman who had participated in the strike. The protestors were all jailed in an undisclosed location. Gidla was detained for three months, during which she was tortured and contracted tuberculosis. Her mother Manjula contacted a civil rights lawyer named K. G. Kannabiran to help them. This was one of the earlier instances of Gidla's activism.
Gidla then worked as a researcher associate in the Department of Applied Physics in Indian Institute of Technology Madras, where she worked on a project funded by Indian Space Research Organisation. She moved to the United States when she was 26. Some of Gidla's family members also emigrated: her sister works as a physician in the United States, and her brother is an engineer in Canada.
Work
Gidla previously worked as an software application designer at the Bank of New York, but was laid off in the global financial crisis and recession in 2009. She says that she then wanted to do a manual job. She became the first Indian woman to be employed as a conductor on the New York City Subway – one of the busiest mass transit systems in the world. In an interview, she said, "Because I am a Marxist and Communist, I also have romantic feelings about being a working class person. So this job attracted me. Secondly, I wanted to do something that men are supposed to be doing."
Ants Among Elephants
Ants Among Elephants is Gidla's first book and was published in 2017. It is a family memoir that chronicles the life of her uncle, KG Satyamurty, a Maoist leader and the founder of a left-wing guerrilla movement called the People's War Group (PWG). The book also described the personal history of her mother Manjula's life, both of which are juxtaposed against the peasant revolt and the formation of a new state in newly independent India. Gidla classifies the book under the genre of 'literary nonfiction'.
Gidla has recalled her introduction to understanding casteism as being through a movie. The film was a love story fraught with conflict due to the girl being a wealthy Christian, whose family opposed her marriage to a Hindu boy who was less well-off. She had hitherto believed that the caste discrimination she faced as a Dalit, or "untouchable", was due to her status as a Christian, with Christianity being a minority religion in India. In an interview with Slate, she says, "That's when I started thinking: If it’s not Christianity, why were we untouchables?"
According to Gidla, the creation of the book was a family affair. Her mother was closely involved in the process of writing the book as it was her story too, and her niece Anagha was involved in designing the book cover. Gidla conducted over 15 years of research and made three trips to India for the book.. She reportedly wrote 50 to 60 versions of the book before publishing it Gidla has spoken about publishing first a prequel, and then a sequel to Ants Among Elephants. The prequel will tell her own family's story before her uncle's generation, detailing the journey of her family being hunter-gatherers in the forests of Andhra Pradesh before moving to the villages and getting subsumed into the Hindu caste system's lowest rung. The sequel will be an autobiography, and discuss the contemporary generation.
Her writing has also appeared in Oxford India Anthology of Telugu Dalit Writing.
Reception and publicity
Ants Among Elephants has received the following accolades:
Wall Street Journal Top 10 Nonfiction Book of 2017
Publishers Weekly Best Book of 2017
Shelf Awareness Best Book of 2017
Hudson Booksellers Best Books of the Year (2017)
Publishers Weekly Best Books of the Year (2017)
Wall Street Journal Best Books of the Year (2017)
A New York Times review called it "unsentimental, deeply poignant ... Ants Among Elephants gives readers an unsettling and visceral understanding of how discrimination, segregation and stereotypes have endured."
Gidla declined an invitation to be the key note speaker in a festival called We The Women, a women-only festival curated by Barkha Dutt. Her refusal was a result of the conference being sponsored by the United Nations, which Gidla said was a "fig-leaf of US imperialism". She also objected to the participation of Smriti Irani, an Indian politician who was the Minister of Human Resource Development at the time that Dalit PhD scholar Rohith Vemula committed suicide. "She was instrumental in Rohith's death. His blood is on her hands. I couldn't possibly have participated alongside her," she said.
Gidla was invited to the prestigious Jaipur Literature Festival in 2018 as a speaker. She spoke at a session called "Narratives of Power, Songs of Resistance", where she spoke about contemporary Dalit politicians Jignesh Mevani and Mayawati, saying they had a limitation in working for Dalit upliftment since they had chosen to work under the framework of electoral politics. Gidla also discussed the communalism present in both of India's major political parties, the Bharatiya Janata Party and the Indian National Congress, as well as criticized Mahatma Gandhi for being casteist and racist.

Sundri uttamchandani
BIOGRAPHY:

Sundri uttamchandani was born on 28th Sept 1924 at Hyderabad Sindh. Hyderabad was the capital of Sindh before the conquest of Sindh by British. Though it lost its position as a capital city but, it continued to be a thriving centre of education literature and culture. All reform movements were rooted in its soil. At the very young age, Sundri was exposed to a vast repertoire of folk and mythological tales which were narrated by her parents to her and other children of the extended joint family. During her youth the freedom movement was sweeping across the country and she could not but be drawn to it. While still in college she translated a story �Bhadur Maao Ji Bahadur Deeah� (A brave daughter of a brave mother). This was her initiation in the literary field. (http://www.ajuttam.com/aboutsundri.php)

She married Assandas Uttamchandani(A.J.Uttam), a Freedom fighter, with a keen interest in Sindhi Literature with clear leanings toward Marxist Philosophy and, who become in the later years one of the leading writers of Sindhi progressive literary movement,

A. J. Uttam, was one of the founders of Sindhi Sahit Mandal in Bombay. Sundri accompanied him to weekly literary meetings which were presided over by a fatherly figure, Prof M U Malkani, who was a fountain head of encouragement to new and upcoming writers. This exposure to Sindhi writers and their creative works were to become source of inspiration for her and in the year 1953 she produced her first novel �Kirandar Deewaroon� (Crumbling walls). This proved to be path breaking. She shattered the near monopoly of male domination in literature by her one feat, while on the one hand, she won the accolades and acclaim of all senior writers for use of �homely� language, a folksy- idiomatic language used by women folk in their household and thus brought in a new literary flavour in Sindhi literature. The theme and structure of the novel was mature and it has distinction of being reprinted many times over. This Novel was translated into many Indian languages and brought her acclaim by literary critics of those languages, thus elevating her from a writer of a regional language to writer the of All India fame. Her Second Novel �Preet Purani Reet Niraali� came in the year 1956, which has run into 5 reprints, which amply speaks of its merit and popularity.

Apart from her path breaking novels, it is in short story form in which she found herself more comfortable. She has collections of short stories to her credit some of which have gone into various reprints. Some of her short stories have become water mark in this genre and are often cited as outstanding examples.

Her Story� Bhoori� (A doll) brings out in stark relief the beauty of yester years, who due to ravages of partition of the country has lost her enchanting looks but is radiant with inner beauty born out of dignity of labour and assured demeanor to shoulder economic responsibilities to feed her family, thus standing shoulder to shoulder with her husband, ushering in gender equality without being sounding stirringly feminist . Her story �HI SHAHAR� (This City) is everlasting portrayal of a meek Nepali watchman in a lower middle class apartment building in this city as a vast ruthless and soul less machine, unmindful of the personal loss or tragedy. In early sixties a Publisher of �KAHANI� magazine had organized a short story competition in which many stalwarts of the time participated and Sundri�s short story �KHEER BARIYA HATHRA� won the first prize

Sundri has tried her hand at traditional poetry with proper meter but it is in free verse where she has found her niche. She has four poetry collections to her credit. Her poems delve deep into subtle and delicate gamut of emotions and find artistic and imaginative articulation with her individual stamp.

Apart from bagging many awards throughout her vast and eventful literary career, she was bestowed prestigious Sahitya Academy Award for her Book �Vichhoro� in the year1986.

As a part of Progressive Writers� movement she has written on erstwhile Soviet Union, �NAEEN SABHYATA Jo DARSHAN� and Bharat Roos ba Banh Beli (India Russia two comrades in arms) for which she won the coveted Soviet Land Award. She has inspired many women writer to contribute to Sindhi literature and will continue to inspire future generations.
Sati Angamali

Poet and Dalit activist Sati Angamali who was invited to participate in a programme titled ‘Public’s Signature for Freedom of Speech and Expression’ in Trikkakara was assaulted by Youth Welfare Board co-ordinator Ajith on May 7, 2018. When the officials refused to invite her to the stage and made her wait, Sati questioned them and demanded an apology for the insult from them. This was when Youth Welfare Board programme coordinator Ajith assaulted her. She was taken to a hospital and the police have registered a case.

“An officer named Shanthan and Ajith had repeatedly invited me to the programme,” Sati said on a live video she posted on social media. She was told that the programme would feature poets in and around Ernakulam District. She reached the venue at 3 pm and sat among the audience. She then asked Ajith, “Are there no other poets? Is any poem recitation going to take place?” She said that if not, she wanted to leave because it was difficult to get a bus from there. Ajith did not respond and the organizers kept her waiting. Then they announced that the programme was coming to end.

“I thought it was my responsibility as a poet to participate in a programme which champions freedom of speech and expression. I feltÂ very insulted. If it was Sugathakumari Teacher or Vijayalakshmi (both renowned upper caste / non-Dalit poets in Malayalam) this would not have happened. This is a problem pertaining to caste and colour. I felt so. When I went to the stage the one who did the announcement gave me a microphone and told me to say a felicitation and to refrain from reciting any poems. IÂ didn’t know what happened,” said Sati in her Facebook live video.

Sati then told Ajith that he needed to take a decision regarding the issue. Ajith told her that it was a mistake and Sati said that they needed to talk and find a solution to it. “I was insulted as a Dalit woman. I went there as a representative of my community,” Sati said.

Sati explained the assault saying, “AjithÂ tried to run and get into an auto. He then picked my shoulder and twisted my fingers. I told him I will hit him back if he hit me. I didn’tÂ hit him though. I told the auto driver to go to the police station and Ajith then squashed me and got into the auto. I asked him to get out. People noticed the issue and stood with me. I was standing among 350 men. I talked to them for almost three hours. They stood with me and called the police.” Said Sati.

“The Police came and said do you have any complaint? if not they have to go. I think that IÂ was treatedÂ this way because of my caste. I have filed a case and I will proceed with it. I remember Baba Saheb Ambedkar’s words and have realized that us Dalits don’t have a nation.” She said.

Sati’s finger has an injury and she has consulted a doctor.Â Kerala State Youth Welfare Board is an autonomous body incorporated under the auspice of Government of Kerala in 1985. According to their government website, their main objective is to coordinate the youth welfare and development activities targeting the youth. The board consist of 21 members of whom there are 11 ex-officio members and 10 members nominated by the Pinarayi Vijayan led Communist Party of India (Marxist) (CPI(M)) government.

Sujata Nahar

From Wikipedia, the free encyclopedia

Sujata Nahar (12 December 1925 – 4 May 2007) was born in Calcutta, and spent her formative years near the poet Rabindranath Tagore. At the age of seven, she lost her mother. Her father, searching for another meaning to life, turned to Sri Aurobindo and the Mother. In this way, Sujata also came to Sri Aurobindo in 1935, at age nine. She received private tutoring, and became secretary to Pavitra, the Mother's disciple. She met Satprem in 1954. Later, the Mother entrusted her with the typing up of her private conversations with Satprem, which later became The Agenda. From 1965 to 1973 Sujata regularly accompanied Satprem to his meetings with Mother.

Later, Sujata wrote the popular and well-researched 8-volume biography of The Mother and Sri Aurobindo, Mother's Chronicles. So far[when?], six volumes have appeared in English. The books are also being translated into French, German, and several Indian languages.

She died shortly after her companion, Satprem, at age 81.

Satyendra Murli

Satyendra Murli - Former journalist associated with Doordarshan. Murli popularly known as an Ambedkarite Journalist and have controversial career.He had been participated social and political movement, based on Phule-Ambedkar ideology.He was born in Jatav(Chamar) caste at Birana(Rajasthan).He also worked as Correpondent of HT Media,Dalit Dastak & Media Co-Ordinator of Institute of Social Research & Reconstruction.He did BA in Public Administration,Geography & Hindi Literature from University of Rajasthan(Jaipur),MJMC from Centre for Mass Comm.(Jaipur) and P.G.Diploma in Hindi Journalism from IIMC(New Delhi) & later enrolled as a researcher. In 2016 he alleged that Narendra Modi misled the citizens of the country by recording the announcement and took a unilateral decision to demonetise notes, which made up over 85 per cent in circulation.He has filed an RTI requesting this information be made public and this led to his expulsion from D.D.News.

Satyendra Murli
From Wikipedia

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Born 14 February 1983

,Birana, Dausa, Rajasthan, India
Alma mater Indian Institute of Mass Communication (IIMC), Ministry of I&B, New Delhi
Gautam Buddha University, Greater Noida
University of Rajasthan, Jaipur
JNV, Dausa, Rajasthan.
Spouse(s) Ruchi
Children Manan

Satyendra Murli (born 14 February 1983) is a researcher, media pedagogue and a journalist. He has been associated with Doordarshan (DD News), (public service broadcaster of India, Prasar Bharti, government of India) as an Indian Television Journalist; and other several media organizations. He teaches at university level as an assistant professor of communication and media studies. His research areas are communication, mass media, journalism, media studies, media pedagogy, Buddhism; and open and distance learning.

Satyendra Murli follows the ideology of Buddha and he is popularly known as an Ambedkarite journalist He has been actively participating in social and political movements based on Phule-Ambedkar ideology for a long time more than two decades. He strengthens the voice for human rights, freedom of speech, women rights, rights of tribals and dalits (indigenous people), diversity in media, representation of other backward classes (OBC) and religious minority.

Early life and education

Satyendra Murli is born to Sushila Devi Jatav and Santoshi Ram Jatav in Birana, Dausa (Rajasthan), India. His grandfather was Shri Murli Ram Jatav, a farmer and a social leader.

Satyendra did his schooling at the Jawahar Navodaya Vidyalaya (JNV), Dausa; Shanti Niketan School, Mahwa and GSSS, Bhilwara with science subjects. After graduating with a Bachelor of Arts degree in Public Administration, Geography and Hindi Literature from the University of Rajasthan (Jaipur); he completed his Master of Journalism and Mass Communication from the Centre for Mass Communication (Jaipur). He did PGDHJ from Indian Institute of Mass Communication, Ministry for I & B (New Delhi). Satyendra Murli did his M.Phil. research degree on Buddhist ethics and news media from Gautam Buddha University, Greater Noida, Uttarpradesh. He registered as a PhD research scholar and worked on media pedagogy.

Family and personal life

Satyendra Murli has two brothers and two sisters. His both the brothers are B.Tech. graduate from Indian Institute of Technology (IIT), Roorkee; elder brother is political leader and younger is an IES officer. His father is a tax consultant; and mother is a meditation guru; earlier she was a political leader and have contested Dausa district council election. His maternal grandfather Shri Mohan Lal Yadav was a social leader; and maternal great grandfather Shri Bhoop Singh Yadav was a congress leader and municipality chairman in Hindaun city. Satyendra married to Ruchi Nimbe, on the occasion of birth anniversary of Satguru Ravidas Maharaj on 22 February 2016 Ruchi is graduated with B.Tech in Information Technology.

Voice against Casteism

Satyendra Murli a journalist with Doordarshan passionately spoke of double standards in the media. He argues, "If so-called lower caste or Dalit journalists raise their voice against the casteism, they are accused of being casteist and the ones actually perpetuating this casteism actually become national journalists" He strongly urged journalists to stand together on issues of casteism and reservation.

Controversies

Satyendra Murli was criticised for raises issues relating to women had only shared a cartoon showing Mahatma Gandhi with a few women in the month of June 2012 on his Facebook account but soon a case was lodged against him under various sections charging him of insulting the Father of the Nation. He raised women issues, he wrote a comment under the cartoon, ‘Are Indian women not awaken this much that they could raise voice against exploitation.

Soon, Congress led Rajasthan state government committee lodged a case (dated 6 June 2012) under sections 67, 67 A of IT Act, 4 and 6 of Indecent Representative of Women (Prohibition) Act and 292 of Indian Penal Code against Satyendra Murli. He sent a clarification to the police. However, the police raided his house. In his absence, they tortured his family persons and took his bike.

On 24 November 2016, Doordarshan journalist Satyendra Murli, claimed that the Prime Minister’s ‘live’ address had actually been pre-recorded and edited. At a press conference held at the Press Club of India in New Delhi, Satyendra Murli alleged that Narendra Modi misled the citizens of the country by recording the announcement and took a unilateral decision to demonetise notes, which made up over 85 per cent in circulation. He has filed an RTI requesting this information be made public.

According to Satyendra Murli, Modi's 8 November address was not live, but recorded and edited. It had been written many days before the RBI's proposal (not decision), on the subject at 6 p.m. of 8 November and the briefing of the Cabinet by Modi at 7 p.m. Modi's address was broadcast at 8:15 p.m. with a live band, to create the impression that the decision had been taken suddenly, and the public would believe that the matter had been kept fully secret, but it was certainly not so. Whether the Government of India rules under Transaction of Business Rules, 1961 and the RBI Act, 1934, have been followed, is a moot question.

Kumud Ranjan Mullick

From Wikipedia, the free encyclopedia

Kumud Ranjan Mullick (1883–1970) was a Bengali writer and poet. He was a poet of the Tagore era of Bengali literature. He was an early mentor and coach to the poet Kazi Nazrul Islam.

Biography

He was born on 1 March 1883 in a Baidya family in a village named Kogram in Purba Bardhaman district of West Bengal, India. He graduated from the Scottish Church College of the University of Calcutta [2] in 1905 and won the Bankimchandra Gold Medal. He started his teaching career at Mathrun Nabinchandra Vidyaytan in Purba Bardhaman where he later became the headmaster.

Kumud Ranjan's poetry was influenced by Vaishnavism. His poetry is also a portrait of rural Bengal. He was awarded the Jagattarini Gold Medal and the Padma Shri by the Government of India. He died on 14 December 1970.

Main works

Shatadal

Bantulsi

Ujani

Ektara

Bithi

Banamallika

Rajanigandha

Nupur

Chunkali

Tunir

Ajay

Swarna Sandhya

Dwarabati

Kuheli

Mukhoser Dokan

One memorable music album named Kumud Kabya Geeti was released by the then Gramophone Co. of India, comprising some of his poems like 'Ajayer buke saradin', 'Ruper laagi jodi amaare bhalobasho', 'Jhapsa hoye aaschhe kromey', 'Latar bedona' & many more beautiful poems set to music by famous Bengali musical icons like Hemanta Mukherjee, Anup Ghoshal, Haimanti Sukla, Tarun Bandopadhyay and many more.

List of Kumdud Kabya Geeti sung by various celebrated singers from Bengal:

Ajayer Buke Saradin sung by Anup Ghoshal

Akashe Kalo Megher Mukhosh Pore sung by Alpana Sengupta

Dinpallir Metho Gaan sung by Hemanta Mukhopadhyay

Ruper Lagi Jodi Amare sung by Haimanti Sukla

Hoy To Amar E Pathe sung by Haimanti Sukla

Naiko Deri Chharbe Tori (With Recitation) sung by Arundhati Holme Chowdhury, Recitation by Pt. Shankar Ghosh

Mukul Jhare Mukul Jhare sung by Alpana Sengupta

Nidagher Chanpa Tumi sung by Anup Ghoshal

Bhabchhi Jakhan Jai Chole sung by Arundhati Holme Chowdhury

One of his students, at the Mathrun Navinchandra Vidyalay, Burdwan where Kumud Ranjan was the Headmaster, later rose to become Bengal's best known Rebel poet, Kazi Najrul Islam.

Awards

Jagattarini Gold Medal of the University of Calcutta.

Padma Shri by the Government of India in 1970.

Sowmya Sivakumar
A Dissenting Note On Carnatic Music And Attack On It By Fundamentalists
by Sowmya Sivakumar — September 30, 2018

Dear Aruna Roy,

I received your statement “Reclaiming our Heritage: Statement condemning the attack on classical musical expression in south India” for endorsement. As you are aware, I grew up immersed in (or force fed) Carnatic music for the first 20 years of my life. I have attended perhaps a thousand concerts in that period, not all out of choice. Long before I came to an age of being able to think and question, I felt I was entering a stifling bubble every time I stepped into a concert hall. It wouldn’t matter if the ‘hall’ was open or closed;a sabha, temple, or school. The experience of sitting in a Carnatic concert was plain stifling. I figured later, that bubble was called Brahmanism. It was about that time that I had also shifted to Jaipur. Now, some 20 more years have gone by, and in this duration, I have not changed my opinion nor felt compelled to go back to the codified art form of carnatic music. I don’t think I ever will.

It is against this personal context, and perhaps with my limited understanding of arts and their histories, that I would still like to set out here why I would not like to endorse this statement.

Any attack on freedom of expression or art and the violence of bigoted forces is certainly to be condemned. But this statement is not truthful to the realities of Carnatic musicians; it presents a sanitised version of this ‘heritage.’ It leaves me asking – whose cause am I endorsing this for?

First, to say that Carnatic music has a syncretic tradition is a stretch. While the origins of Carnatic music, and all Indian classical music, could probably be traced to communities who are totally disassociated with these art forms today, the post 18thcentury Carnatic musicians forged ahead in completely brahmanising the art form. That would be similar to how rock music was transformed into ‘white music’ over the years, when its origins were Afro-American. Even that acknowledgement has never come from Carnatic musicians as a group, which is a shame.

By and large, those who popularized Carnatic music in south India in recent history –to bring it to the form it is in today — in their ‘divine perceptions’ of music, have been deeply rooted in Hindu, Vedic and Manu-ordained Brahmanism. It was ingrained in theways they lived their lives, reflected in the lyrics they set their music to. Their audiences – till date – largely belong to the same conservative brahmanical mindset.They may, of late,wear the façade of liberated views,but will still follow the two-tumbler system in their homes for their maids, make them clean their toilets but not let them use them.

The exceptions in this Carnatic ‘tradition’ do not make the rule. So when you project Carnatic music as moulded by musicians over time, as having been terribly inclusive, leaving out all these facts, it is misleading.

Second, how many Dalits identify Carnatic music as their heritage? It is not their heritage,and if there ever was a chance, it was certainly snatched away from them. All the musicians named in this statement, and the entire tribe of Brahman classical musicians, are complicit.And I don’t think the Dalits are missing anything; they have their own prolific heritage and many glorious art forms to be proud of. However, while you are taking up the cause for brahman musicians to perform Carnatic music in free form across the world, there are so many talented dalit musicians who are in oblivion because of lack of platforms. We do not see such involved statements or deeper research published on these aspects from you, on these causes. According to this media report, even the Casteless Collective in Chennai – the brainchild of the renowned Dalit film director PaRanjith and Neelam Cultural Centre, along with music producer Tenma – has been denied spaces to perform in prominent elitist places in Chennai. Has there been any hue and cry over this from this “concerned group” of citizens, or from the brahmanical media, which dedicates reams to the everyday musings of brahman musicians like TM Krishna and his experiments? What could be the scene for less known dalit musicians?

So please do not try to present Carnatic music as a happy confluence that respectfully accommodated different traditions and layers of society;as some universalkind of music. It was no such inclusive spectrum. Dalit and non-brahmin forms of art have sprung from their own histories and references. They cannot be homogenized under the umbrella of Carnatic music. All art is political; the politics of a Brahmin cannot be the politics of a Dalit, and vice versa. Even this statement reflects that.

Carnatic music has another shameful heritage; the hegemony of men over women. The “devadasis” who took to and performed classical south Indian music defied the mainstream tradition, and even then, stalwarts like M S Subbalakshmiwere stifled by the double hegemony of brahminism and patriarchy and forced to fall in line. Till date, is Carnatic music as it stands equal for men and women? Can women musicians please come out and talk more about that? Then we will decide how proud we have to be of this heritage.

It is a fact that Hindustani musicians were far more open to the assimilation of various cultural, religious and philosophical streams of thought, and that is how that music evolved, and can be considered far more syncretic than the classical carnatic music. But even here, there are irreconcilable realities.

Third, the musicians named – O S Arun and Nityashree Mahadevan – have hurriedly withdrawn from the battleground. O S Arun cancelled his concert called by Samuel Joseph, and Nityashree Mahadevan has apologized for “hurting people’s sentiments inadvertently”.

So this effectively seems to be TM Krishna’s lone battle that you have called upon us to endorse. I do not understand at this point, what TM Krishna was doing accepting a concert at the Sri Siva Vishnu Temple in Washington – that upholds the Manu shastras – as a self-styled liberator of Carnatic music from the clutches of Brahmanism. It even leads me to demand disclosure as to how many such temple concerts has he been performing, even as he has been talking incessantly of equality in art forms in the vast clutch of the brahmanical media. As one who looks up to Ambedkar’s values as my life’s guiding principles, I can never endorse a statement that asks to uphold a brahman musician’s right to sing in a brahman temple.

Brahmans ought to stop feeling virtuous about fighting their own demons, or feeling deserving of praise, accolades, and endorsements, because in the 21st century, doing so is simply something that is long, long overdue. I cannot make up my mind who is worse – the deluded conservative brahman who lives in denial and refuses to admit to his inglorious heritage, or the ‘enlightened’ brahman, who rides on his refreshed status to further his Brahmanism.

So in all, I am not sure for whose cause you are raising your voice for through this misleading statement, or for whom the signatories of this statement have signed up for.

A more truthful way to begin this statement would have beento state upfront that Carnatic music and musicians have been completely cooptedin the propagation ofHinduism, and over the years, cozied up to the narrow Hindutva and saffornisation agenda of this country. If this is happening now, it is the price Carnatic musicians have to pay, and I am unable to feel sorry for them. Only self-righteous and so called progressive Brahmans can feel empathy for this lot. The rest, I conjecture,may have signed in ignorance.

You say you are a believer in democracy, and this being a public cause, I request you to circulate my response to all the signatories of this statement, as well as all those to whom this statement went out for endorsement.

With regards

Sowmya Sivakumar

Independent Writer

Vijayanagaram, Coimbatore

Tamil Nadu

Santosh Valmiki

Santosh Valmiki - Newsreader on Doordarshan and Former principal correspondent of Lucknow bureau of Hindustan.He was born in Balmiki(Bhangi) caste,his father was a driver & mother was a manual scavenger.They were very poor & as a kid he always accompanied his mother in cleaning toilets.He also used to sell newspaper in front of Prasar Bharti while studying in Christian College(Lucknow).Her mother sold everything for his study in IIMC(New Delhi) for PGDHJ.Inspite of very much talent he was ignored and been subject of dicrimination in promotions.

Sudhir Tailang
From Wikipedia, the free encyclopedia
Sudhir Tailang

Born 26 February 1960
Bikaner, Rajasthan, India
Died 6 February 2016 (aged 55)
Occupation cartoonist
Nationality Indian
Notable awards Padma Shri (Literature & Education : 2004)
Spouse Vibha Tailang
Children Aditi Tailang
Relatives Rajesh Tailang (Brother)
Sudhir Tailang (26 February 1960 – 6 February 2016) was an Indian cartoonist.
Career

Two leading cartoonists from Indian media Sudhir Tailang and Shekhar Gurera with the women behind them Vibha Tailang and Rekha Gurera respectively at The Vigyan Bhawan, New Delhi, at the occasion of National Press day 2015 on 16 Nov 2015

Tailang was born in Bikaner, Rajasthan, on 26 February 1960. Tailang, who made his first cartoon in 1970, started his career with the Illustrated Weekly of India, Mumbai, in 1982. In 1983, he joined the Navbharat Times in Delhi. For several years he was with the Hindustan Times, while also doing short stints with the Indian Express and The Times of India. His last assignment was with the Asian Age. In 2004 he was awarded Padma Shri in the field of Literature & Education. He launched a book of cartoons titled No, Prime Minister in 2009, a set of cartoons on the former Prime Minister of India Manmohan Singh. He died on 6 February 2016 of brain cancer.
Sarala Das

Life
The life of Sarala Dasa is obscure. He was born at Kanakavati Patana, known as Kanakapura, one of the Sidhikshetras in Jagatsinghpur District. Though the date of his birth cannot be accurately determined, he can safely be placed on the second half of the 15th century AD.
Sarala Dasa had no systematic early education, and what he achieved through self-education was attributed to the grace of Sarala, goddess of devotion and inspiration. Though his early name was Siddheswar Parida, he was later known as Sarala Dasa, or 'by the boon of Sarala'. (The title Dasa means a slave or a servant of a particular god or goddess: a long list of poets, preceding and succeeding Sarala Dasa, have names ending this way: for example, Vatra Dasa, Markanda Dasa, Sarala Dasa, Jagannatha Dasa, Balarama Dasa, and Yasovanta Dasa.) A story - similar to those told of other Indian poets, such as Kali Dasa, supposedly illiterate in early life until helped by the goddess Saraswati - tells that Siddheswar as a boy was once ploughing his father's field and singing so melodiously that the goddess Sarala stopped and listened to his song and endowed him with her power of composing beautiful poems.
There are several indications in his Mahabharata that he served as a soldier in the army of the Gajapati King of Orissa.
Sarala Dasa spent his last time at Bila Sarala but the native place Kanakavati Patana known asKanakapura at Tentuliapada with a religious establishment known as Munigoswain, which marks as the traditional spot, where he composed his works.
Works
As well as the three books for which he is best known - Mahabharata, Vilanka Ramayana and Chandi Purana - Sarala Dasa also wrote the book Laxmi Narayana Vachanika. The Adi Parva Mahabharata opens with a long invocation addressed to the Lord Jagannatha of Puri, from which it is known that Sarala Dasa started writing his Mahabharata in the reign of Kapileswar, otherwise known as Kapilendra, the famous Gajapati king of Orissa (AD 1435–67). He tells us that Maharaja Kapilesvara with innumerable offerings and many a salute was serving this great deity and hereby destroying the sins of the Kali age.
Though Sarala Dasa followed the main outline of the Sanskrit Mahabharata in writing the OriyaMahabharata, he made numerous deviations and added to it copiously the stories of his own creation and various other matters known to him. In the final form Sarala Dasa's Mahabharata is a new creation analogous to Kalidasa's Raghuvamsa based on the Ramayana.
Mahabharata brought to light about the eighteen parvas like:
Adiparva
Sabhaparva
Vanaparva
Virata Parva
Udaya Parva
Vishma Parva
Drona Parva
Kanna Parva
Slaya Parva
Surtika Parva
Stri Parva
Shanti Parva
Anusasanika Parva
Asramavasika Prava
Mahaprasthanika Parva
Asvamedha Parva
Mausala Parva
Swargarohana Parva
The Chandi Purana was based on the well-known story of Durga killing Mahishasura (the buffalo headed demon) given in Sanskrit literature but here also the Oriya poet chose to deviate from the original at several points. His earliest work, Vilanka Ramayana, was a story of the fight betweenRama and Shahasrasira Ravana (thousand headed Ravana).
The verse of Sarala Dasa is simple, forceful and musical, without artificiality. Applying colloquial words for his poetical purpose, his writing was free from Sanskritisation. His work can be seen as adapting the popular oral conventions of earlier Oriya folk songs which were used in folk dances such as the Ghoda-nacha (Horse Dance), Dandanacha and Sakhinacha (Puppet Dance). One metrical peculiarity of these songs is that both the lines of a verse do not contain an equal number of letters though the last letters of both the lines produce the same sound. All Sarala Dasa's wors were composed with this metrical peculiarity, and so the metre used by him can be regarded as a direct descendant of the that used in the folk songs. By the fifteenth century the Oriya language had assumed almost its modern form and had become ripe for literary compositions.
The predominant sentiment in Sarala Dasa's poem is not love but war. He was also motivated by a strong religious zeal to compose religious books in a language intelligible to all and to make them available to the general public in Orissa. He tells in no uncertain words that he composed his poems for the benefit of "human beings". There are several indications in his Mahabharata that he served as a soldier in the army of the Gajapati King of Orissa and his association with the army brought to him a variety of experiences. The stories he heard the battle scenes which he witnessed, the places that he visited with the company of the army the historical incidents and names that he could know all remained stored up in his mind to be utilized in his writings.
Swadeshabhimani Ramakrishna Pillai

From Wikipedia, the free encyclopedia
K. Ramakrishna Pillai

Bust of Swadeshabhimani Ramakrishna Pillai in Thiruvananthapuram
Born
Ramakrishna
25 May 1878

Neyyattinkara, Travancore
Died 28 March 1916 (aged 37)

Kannur
Nationality Indian
Occupation Editor of Swadeshabhimani(newspaper)
Spouse(s) Nanikutti Amma,
B. Kalyani Amma
Children K.Gomathy Amma,
K. Madhavan Nair
Parent(s) Narasimhan Potti, Chakkiamma

K. Ramakrishna Pillai [clarification needed] (1878–1916) was a nationalist writer, journalist, editor, and political activist. He edited Swadeshabhimani (The Patriot), the newspaper which became a potent weapon against the rule of the British and the erstwhile princely state of Travancore (Kerala, India) and a tool for social transformation. His criticism of the Diwan of Travancore, P. Rajagopalachari and the Maharajah led to the eventual confiscation of the newspaper. Ramakrishna Pillai was arrested and exiled from Travancore in 1910. Vrithantha Pathra Pravarthanam (1912) and Karl Marx (1912) are among his most noted works in Malayalam, Vrithantha Pathra pravarthanam being the first book on journalism in Malayalam and Karl Marx, the first ever biography of Karl Marx in any Indian language.But it has been proved that he plagiarized the biography from an essay, Karl Marx:A Modern Rishi, by Lala Hardayal, published in 1912 March issue of the Modern Review,published from Kolkata (Ramachandran, Grandalokam, January,2018).
Early life
K.Ramakrishna Pillai was born in Athiyanoor (Arangamugal in Neyyattinkara Taluk of Travancore) on 25 May 1878 (ME :1053 Edavam 16). He was the youngest son of Chakkiamma and Narasimhan Potti, a temple-priest.

The patriarch of the family (Thekkekod veedu) had once saved the life of Prince Marthanda Varma from his enemies. When Marthanda Varma became king or Maharaja of Travancore, he gifted the family 50-acre (200,000 m2) of land, a 12-room mansion and certain privileges in the Krishna temple in Neyyattinkara. Ramakrishna Pillai was born over a century later.

Following the matrilineal Nair tradition, Ramakrishna Pillai spent much of his boyhood with his maternal uncle, Advocate Keshava Pillai. He had his early education at Neyyattinkara English Medium School and Rajagiyamahapadashala, the Royal school, Thiruvananthapuram. He was a shy and silent student. Kattupana Naganathaiyer, K. VeluPilla and R. Keshavapilla were his early teachers. Ramakrishna Pillai utilized his less restricted life in Thiruvananthapuram to acquaint himself with new books, newspapers, new places and new friends. He passed his matriculation exam at the age of 14.
Journalism

While studying for F.A, Ramakrishna started taking a keen interest in newspapers and journalism. An avid reader, he read almost every newspaper published from Travancore, Malabar and Kochi States. During the time, he also gained the friendship and guidance of many literary legends and editors like Kerala Varma Valiya Koil Thampuran, Adithya Das ,A R Rajaraja Varma, Ulloor S. Parameswara Iyer, Pettayil Raman Pillai Asshan, Oduvil Kunji Krishna Menon and Kandathil Varghese Mappillai. This inspired him to write articles for news papers. His excessive passion for writing and newspapers, earned the wrath of his uncle and family. He passed in the F.A. exam in 1898 and wanted to go to Madras for his BSc degree. However, on the directives of his uncle, he joined for BA degree course at University College, Trivandrum.
Ramakrishna Pillai and other newspaper-enthusiasts had felt the need of a Malayalam newspaper. Kerala Darpanum and Vanjivibhujhika were already being published since 1900. Though his friends and well wishers persuaded him to take up the editorship of Kerala Darpanum, it was difficult to manage studies and the editorship of a newspaper. Due to the resistance of his uncle Keshava Pillai, Ramakrishna had to leave home to take up a job.[15] He passed the B.A. (Malayalam ) Degree with first rank and received the Keralvarmamudhra, an honorary award for academic excellence.
Ramakrishna Pillai began writing strongly against age-old malpractices and ill-customs of those days. he believed in action than words. He challenged customary practices by marrying Nanikutti Amma , Thoopuveetil, Palkulangara, Thiruvananthapuram, a woman from lower sub-caste of the Nair community in 1901. A relative of Nanikutti Amma, Shri Prameshvaran Pillai, was the owner of Kerala Darappanum. Later, however, Ramakrishna Pillai and Prameshvaran Pillai got into litigation.
In 1901, Kerala Darappanum and Vanjivibhujhika merged to form Keralapanjhika. Keralapanjhika was owned by Marthanada Thampi. Ramakrishna Pillai was editor of the newspaper from 1901 to 1903. During this time, he traveled around the state of Travancore to gather first hand account of the people of Travancore and their problems. In February 1903, he resigned from Keralapangika. He, however, continued to write articles in Nasranideepika and Malayali newspapers. In 1904 he moved to Kollam with his family to work as the editor of Malayali. He wrote editorials on the rights and duties of the people of Travancore. He also spoke at conferences held in Cherthala and Paravur Taluks about the ills and malpractices rampant in the society.
In 1904, his wife Nanikutti Amma died. During the period, literary discourses and letters brought Ramakrishna Pillai close to B. Kalyani Amma. Later they were married.
Swadeshabhimani

Abdul Khader Moulavi, popularly known as Vakkom Moulavi, was the owner of the journal called Swadeshabhimani and C P Govinda Pillai, the editor. RamaKrishna Pillai took over as the editor of the journal in January 1906. Ramakrishna Pillai and his family thus shifted to Vakkom in Chirayinkil Taluk, where the office of the newspaper and the printing press were located. In July 1907, the office of Swadeshabhimani was moved to Thiruvananthapuram and the family moved to Thiruvananthapuram. Though Vakkom Moulavi continued to own the paper, he had given Ramakrishna Pillai total freedom to run the newspaper. They never had any legal or financial contracts between them. Yet, Moulavi provided all the financial aid to set up the press in Thiruvananthapuram. Ramakrisha Pillai also started a woman's magazine called Sharadha, a student's magazine called Vidhyarthi and another magazine named Keralan.
P. Rajagopalachari, the then Diwan of Travancore, was the centre of attacks of the newspaper. The paper accused the Dewan of immorality and corruption. But "the most serious thing against the Swadeshabhimani," wrote the Dewan, "has always been the remarkable persistence with which it preached the gospel of government by the people, and the exhortation which it held out to the people of Travancore to unite and demand self-government.". He also attacked the kingship of the Maharaja of Travancore:
" The monarchs believe and force others to believe that they are God's representatives or incarnations. This is absurd. Did God create a special kind of dog to be the king of dogs, or a special kind of elephant to rule over all elephants? "
Swadeshabhimani's pen moved against corruption in the state and injustice in the society. He irritated the Maharajah Moolam Thirunal himself by criticizing the large expenses incurred by the Royal consort, the Panapillai Amma, by constructing private palaces and publicly celebrating the wedding of the daughter of the Maharajah.
On 26 September 1910, Swadeshabhimani newspaper and the printing press were sealed and confiscated by the British Police. Ramakrishna Pillai was arrested and banished from Travancore to Thirunelveli in Madras Province of British India. The Superintendent of Police, F S S George (a British Officer), Inspector R Achuthen Pillai, Inspector B Govinda Pillai and Inspector Pichu Aiyangar, carried out the arrest, without an arrest warrant. The police escorted him till Thirunelveli. The Kingdom of Travancore itself was a princely state under the Madras Presidency, then. Ramakrishna Pillai's family joined him later once he moved to a rented house in Madras. Editorships of newspapers like Kochi and Malabar came to be offered to him during the time, but he chose to stay in Madras.
Many nationalists and Indian newspapers reacted to the arrest and banishment of Ramakrishna Pillai and the banning of the paper. However, countering the king and the British Government that overruled the king, was not easy. Yet, early in the first half of the twenties, the banned newspaper was revived by the mighty will of K. Kumar of Travancore, the veteran Gandhian and Freedom Fighter. He viewed the revival as a befitting tribute to Ramakrishna Pillai. Kumar himself was its manager and chief-editor. He was assisted in his efforts by K. Narayana Kurukkal, a close colleague of Ramakrishna Pillai and the author of the novels: "Parappuram" and "Udayabhanu" besides Barrister A K Pillai. Ramakrishna Pillai's wife, B. Kalyani Amma, Pillai's associates K. Narayana Kurukkal, R. Narayana Panikker and the famous political-journalist Raman Menon and K. Kumar himself were regular contributors to the magazine. The paper was revived under the same name 'Swadeshabhimani' and had its headquarters in the building currently housing the DPI Office at Thycaud, Thiruvananthapuram. In spite of all these, the government wisely chose to remain silent. The new 'Swadeshabhimani' was re-modeled after "Modern Review" of Ramand Chatterjee. It continued its legacy as a significant force transforming the socio-political life of Kerala. K. Kumar had great admiration for Ramakrishna Pillai and he took the lead role in organizing the deportation-day of Pillai as "Ramakrishna Pillai Day" (from M.E: 10-02-1098) and erecting his statue in Trivandrum. Ramakrishna Pillai Day continued to be commemorated in Trivandrum for a long time thereafter. It appears that the editorship of Swadeshabhimani passed on to A.K Pillai (by 1932) who also edited the "Swarat" with the help and support of K. Kumar.
NOTE: After Independence, the Government of Kerala returned the press of Swadeshabhimani to Vakkom Moulavi's family in 1957.

Ramakrishna Pillai Samadhi at Kannur
Last years

While in exile, Ramakrishna Pillai returned to his studies. He joined the F.L. Degree and Kalyaniamma joined BA Degree program in Philosophy. It was during these days in Madras that he wrote the book Ende Naadukadathal (ISBN 81-264-1222-4 ) on his banishment from Travancore. After a brief vacation in Palghat, the family returned to Madras. Pillai had to attend to studies as well as court proceedings in the Indian Patriot Case. In April, the couple left Madras. Their third child, a daughter, was born following this on 7 August 1912.
In the same year, Ramakrishna Pillai published Vrithantha Pathra Pravarthanam, a book on Journalism which became very popular later. His biographies of Karl Marx and Benjamin Franklin were also published. There are scores of articles and literary creations to his credit. In May 1913, the family went to Palghat after which Ramakrishna Pillai published his books Mannante Kannathum and Narakathil Ninnu. When Kaliyaniamma found a job as a teacher in Kannur, they moved Kannur. His physical health began to deteriorate during this period.
A prolific writer and fearless campaigner of civil rights, Swadeshabhimani K Ramakrishna Pillai succumbed to his ille-health on 28 March 1916. He will be remembered as the bitterest enemy of the scheduled castes and tribes in Kerala. When the Travancore government opened the government schools for the dalits in 1910,Pillai wrote three editorials criticizing it, saying the higher castes are intellectually superior, echoing the racist sentiments of Adolf Hitler(Swadeshabhimani:Klavu Pidicha Kapatyam by Ramachandran, published by NBS).
Literary works

Ramakrishna Pillai wrote over 20 books in his lifetime and many of them are very notable.
Vruththaanthapathrapravarthanam (Malayalam) (1912)
Ende Naadukadathal(My Banishment)
Karl Marx (Malayalam ) : His biography of Karl Marx was the first in any Indian language.
Mohandas Karamchand Gandhi, (Malayalam) - Biography
Benjamin Franklin (Malayalam) - Biography
Socrates (Malayalam) - Biography
Pathradharmam (Essays)
Mannante Kannathu
Christopher Columbus ( Translation in Malayalam )
Narakathil ninnu ( From the hell)
Kerala Bhasholpathy ( The Origin of language in Kerala)
Delhi Durbar
The Deportation case of Travancore
dramas:prathima,kamandalu(ekanka natakam),thookumuriyil,thapthabashoam. stories:aa deenarodhanam
B. Kalyani Amma

B. Kalyani Amma was the second wife of Ramakrishna Pillai. She was born on 11 Kumbhom 1059 (ME) (1883 AD). She was a notable litterateur also Her important works includes Vyazhavatta Smaranakal, Karmaphalam, Mahathikal and Atmakatha. Her biography Vyazhavatta Smaranakal ( Memories of 12 years) is about the 12 years of their married life. She also translated a novel written by Rabindranath Tagore. She died on 9 October 1959 (28 Kanni 1135).
Swadeshabhimani Smaraka Samithi

Swadesha abhimani Smaraka Samidhi is the trust formed in the memory of Ramakrishna Pillai. The Samidhi observes anniversaries of the banishment of Swadeshabhimani Ramakrishna Pillai every year, which is attended by several eminent personalities.
Swadeshabhimani Ramakrishna Pillai Award

Swadeshabhimani Ramakrishna Pillai Award is awarded for press journalism every year by the Government of Kerala. The following are its recipients.
2002 : V.K. Madhvankutty (Awarded by the President of India)
2006 : G.Sekharan Nair (Mathrubhumi) and Reji Joseph (Deepika)
2013 B R P Bhaskaran
2014 V P Ramachandran
2016 K.Mohanan
2017 TJS George
The Pravasi Swadeshabhimani Ramakrishna Pillai Award has been instituted in memory of Swadeshabhimani Sri. Ramakrishna Pillai, by The Pravasi Malayali Society.
Swadeshabhimani memorial

Memorials of Swadeshabhimani Ramakrishna Pillai are constructured at Neyyattinkara and at Payyambalam Beach, Kannur.
https://en.wikipedia.org/wiki/Swadeshabhimani_Ramakrishna_Pillai
Shirish Panchal
From Wikipedia, the free encyclopedia
Shirish Panchal
at his home in Vadodara, December 2017
Born Shirish Jagjivandas Panchal
7 March 1943
Vadodara, Baroda State, British Raj
Occupation Critic, Editor
Language Gujarati
Nationality Indian
Notable works Vaat Aapanaa Vivechanni
Notable awards Sahitya Academy Award
Signature

Academic background
Thesis Kavyavivechan Ni Samasyao (1979)
Doctoral advisor Suresh Joshi
Academic work
Doctoral students Sharifa Vijaliwala

Shirish Panchal's voice (0:13)

Shirish Jagjivandas Panchal, (Hindi: शिरीष पंचाल; Gujarati: શિરિષ પંચાલ born 7 March 1943 in Vadodara),[1] is a Gujarati critic, fiction writer, translator and editor who won the 2009 Sahitya Akademi Award for Gujarati language for his criticism Vaat Aapanaa Vivechan-ni; he refused the award. He done his Ph.D under Gujarati writer Suresh Joshi. He taught Gujarati language and literature at M. S. University, Baroda. He edited Etad, a Gujarati quarterly.

His Vaidehee Etle Ja Vaidehee is an experimental novel, which tell a love-story of Kirat and Vaidehee. He edited and published Maniti Anamaniti (1982), 21 seletected short stories by Suresh Joshi, with discourse.

Satish Chandra Basumatary

From Wikipedia, the free encyclopedia

Satish Chandra Basumatary

Born 16 November 1901

Dhubri, Assam, India

Died 16 November 1974 (aged 73)

Kokrajhar, Assam

Occupation Poet, dramatist, social worker

Satish Chandra Basumatary (16 November 1901 – 16 November 1974) was an Indian Bodo poet, dramatist, Social worker and the second president of Bodo Sahitya Sabha. He is a pioneer people of Bibar era, the age of renaissance of Bodo literature. He is credited with helping established Bodo Brahma Dharma. He was also the editor of first Bodo magazine Bibar in 1924. He was honoured Mengnw Rwngwi Jwhwlao title after his death.

Early life

He was born on 16 November 1901 at Balukmari village in Dhubri district (present Kokrajhar) into Bodo family Thandaram Basumatary and Khowlou Basumatary. He started schooling from Dhubri High School, later went to Cotton College, Guwahati.[citation needed] He died on 16 November 1974.

Works

Drama

Rani Laimuti (1924)

Naifinjaywi

Bikhani Or

Dwrswn Jwhwlao (2005)

CHAMAAR TAB AUR AB

January 25, 2021

Dalit Writers/Journalists

Surendar Valasai

Career

Scheduled Castes Federation of Pakistan (SCFP)

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