Youth fest 2022

Amruta Rang 2022

Yuva Urja Mahotsava

Youth Festival 

 Youth is happy because it has the capacity to see beauty. Anyone who keeps the ability to see beauty never grows old.

This is a response blog given by Dr. Dilip Barad in our Maharaja Krishnakumarsinhji Bhavnagar University celebrate 30 Youth Festival AmrutRang 2022 after 2 years of covid we are celebrating grand 3 days of Youth we gave to task to observing various events and as a literature students, we are able to literary and critical skills on the events which we had attended in Youth Festival 2022.

Maharaja Krishnakumarsinhji Bhavnagar University organized a four-day long (18,19,20,21 September 2022) Youth festival under the campaign ‘Aadi ka Amrut Mahotsav’. This whole event is hosted by the Takshshila Institute of Science and Commerce. The theme of 2022 youth Fest is ‘યુવા ઊર્જા મહોત્સવ’ . Due to the corona pandemic, this grand intercollege youth festival wasn’t possible. This year again with the same enthusiasm university, host, institutes, and students are being part of this event. Every year youth fest is declared around 2 months earlier and all the institutes used to prepare for 2 months but this time due to Gujarat State level youth, the MKBU Youth festival was declared just 15-20 days prior and was performed by the students.

The Grand Intercollege Event – YOUTH Festival every year becomes a medium for the annual gathering of youth and it is the only place where students’ art meets talent. Maharaja Krishnakumarsinhji Bhavnagar University organized a four-day youth festival on

18-19-20-21 September

wherein students from various colleges and departments were able to showcase their skills in various competitive fields.

First Day 

Kalayatra

30th youth festival   yuvadhan 34- events

Around 750- participants  Yuva urja Mahotsav

Shri Mahendrabhai Meghani mukhyamanch. 

Performance by girls from KL Vidhyalay

Chief Guest

Collector and yuvraj, Jitubhai vaghani

Incharge VC MM Trivedi, Mayor kirtiben Danidhariya, Abhishek Jain - director of wrong side Raju, Bhartiben shiyal, KaushikBhai Bhatt

Safin Hassan,GM sutariya sir,EC members

Dilip Gohil- welcomed all and audience mkbu's history in youth, Safeen Hasan- follow your inspiration, confused generation, lot of options in this generation, patang youth dori connection in family society parents is necessary. 

Quiz- Shri Harindra Dave Sahityamanch

Garba- murliben Meghani nrutyamanch

Mime- shri Vinod Bhai amlani natyamanch

Themes represented in various tableaux of Kala-Yatra - 25/9/2019 - From Victoria Park to University. 

3:00 Mimicry

Minimum 4 minutes maximum 5 minutes three participants in the event

Judge

Vipul Vala

Upadhyay

Baraiya

Start with college code 3 presented one man who go to director and film story he was creating many animals voice

Code 6 represents village and evening time his sentence about women was very problematic 7 and 8 are not presented so 13 number present their events Bhanubha and Kshatriya and small child birthday event 

15 code Rockstar Ravi Dream scene and train, Shaadi  All three are the same in the voice of animals, birds, trains, and other things. 

Murliben Meghani Munch

Loknutya-Garba

Judge

Nithin Dave 

Amul Bhai Parmar

Manisha ben shukla Bhatt

Mime

Judge

 Kamalbhai

Devangiben Bhatt

Jagjeet Bhai

Mime-1 no. 3: 

Importance of outdoor games... Mobile games addiction sucide. Indians winning in the Olympics games. Outdoor games winning over mobile. 

2 no. 6: 

sahid, military life, used to go in the past, soldier life, living with family and working for the nation, giving them salute on death, 75th year of azadi, role of soldiers in azadi. 

3 no. 7:

Reversed whole scene., good expression and body gestures, shahid last burial, surgical strike, use real incident like URI, Pulava

4 no. 8: 

No use of red lipstick, animals killing as a habit or hobbies, religious practices,  forgetting religion and violence, technology eating humans, humans losing control of technology, robots. 

5 no.13-

 Began with circus, lion also, controlling lion,,. 

Other animals if they are uncontrollable then they kill the animals. 

6 No. 15- Child growing, going school, being top, parents giving him mobile, transgender boy into girl, not being accepted by family and frnds, being alienated, getting in transgender community accept him , doing sucide, transgender is also a sex not other. 

Monoacting

Judge

Jagjeet bhai

Vipul vala

Diwakarbhai upadhyay

Rules 

5 maximum they give extra 15 second

Per college one entry Property are not allowed if they need judge never interpret

Act 1 code 3

About Actor and his acting Ravan, Romeo, Hamirsinh, Zaverchand Meghani, Sadan hasan manto, Gandhi actor and his accident with electric shock and paralazed his body. 

Act 2 code 4

Unborn girl child and her suffering in Indian society 

Code 6 

Gauri and Jasiyo 

Childhood friends and they have age gap after some time he was going to City for higher education he was come village and Gauri eat poison she died

Code 7

Actor life 

Mask wearing on her face which is invisible only two act laughing and crying rapist and victim. 

Code 8

Krishna  Karma and siddhattha about Friendship, Kansha 

Code 12 

Taramati (queen) Harishchandra

She and her husband and king because of Brahmin they sold themselves and her son died because of snake bite. Everyone tells that she was bitch and her husband also works there in Tantriks house. At the end Vishvamitra gave them everything: child and kingdom. 

Code 13

Cheharo 

Childhood and experience adult life and result matter in our society donation corruption in our society 

Code 14

One lover 

Flashback he face accident after accident he was going to her lover commited sucide and he was murdered her brother and then he was going to court 

Code 15

About One Ring great performance

Code 20

Navghan and Ahir women who sacrifice her own child for prince life 

Code 18

Yogesh shukla written Aatma no Avaj

Code 19

Difference in Hindu Muslim and nowdays blood shade in India because of religion, Rape, spot in rapist cloth and simple human washing by Nirma Powder

Code 23

Dhruv Bhatt written about Gir woman real event

Code 33

Netar ni safai

Killer woman and her perspective her husband was drunk try to domestic violence self defense she killed his husband she became Mad

Code 35

Swati written 

Rangmanch to Bollywood

Her journey and talk with Rangmunch kabuliwala to shakuntala Shantu Rangili to Bollywood 

Code 43

Human with so many refreness Gandhi, Socretish, Krishna, Jallianwala Bagh and so many

2.Major themes in dramatic events like One Act Play (एकांकी), Skit (लघु नाटक), Mime (मूक अभिनय), Mono-acting (एक पात्रीय अभिनय).

One Act Play

Vinod bhai Amlani Natyamanch

The major themes of all the drama performances contained a common theme- 21st-century view towards age-old concepts, feminism, Woman's Safety Almost all performances were from a modern perspective and some of the plays were based on current themes while other plays followed the script of great dramatists or short story writers.

                         Firstly, discussing about One Act Play (एकांकी), I would like to describe the themes of two plays here in detail-

1)Ashifa ek paheli sanjay srivastav writen their concept was very unique told about feminism and shurpankha and her point of view and draupadi and her feminism nice performance and very good acting vivah ek balatkar and acid attack on girls most important thing Rape but tragedy flash back with Ashifa one girl child who was victim this is about tragedy in our nowadays india we grow up but still even small girl child are not safe in our nation we speak Bharatmata but in Bharat women's are only toys for male dominated society. This play is all about social awareness. 

2) Adhuru Chitra

According to Aristotle, Plot, and action plays a vital role in tragedy performed on stage. His views can be applied to this tragedy. According to Aristotle, a tragic hero should be a person of great reputation or prosperity, he should be above common level. The tragic hero of the play is Kumar, he is a man of high rank. He becomes king of the Karangath empire. As proposed by Aristotle,  the tragic character should be lifelike and true to type. The character of Vikram kumar is a very lifelike character. The story must be one. There shouldn't be a double plot but in this play, it follows the unity of time and action. 

This is story about Royal Family love story and 

Panna is mistress of king and king give his all empire to his nephew  vikram kumar prince good painter  heroin Panna her background was different she found in prostitute house by king  and one day both are boating Panna and Vikram  found them with ear other and prince make her painting but it was half without any discussion king thinking like they have affair with each other shivratri celebration king making domestic violence against Panna died after death she give latter to kumar he was read letter mad after this Tragedy. The play starts with the madness of prince flashback with kumar. 

Second play is modern tragic comedy 

Indu kuva written Hu pasalo chu

One Act Play

A kind of love story one simple man and princess light humor tragedy also on that he was simple human for love he became changed himself as a God at the End he realized human is better than God. 

Classic Tragedy with Gujarati Drama and traditional representation

aai khani chopat 

Start with man(meraman) who died and one woman (Jaan Bai) sitting near him people challenge protagonist for revenge to his brother murdered and his was continiously play chopat her father tell her to merry is brother in law (manhur) she recall her memories with his husband beautiful scene they create too woman one after merry waiting for husband and before his dead waiting his husband she was talking with her self by too character she marry with her brother in law (Diyar vatu) but after merriage she getting news that his husband mudrered by his brother so she give poison milk to his brother in law he died. Flashback of murder and fight was very nice main protagonist woman dialogue was amazing

SKIT

1.Ravan dahan- ravan in 21st century,   ola- pushpa, traffic police, politicians in election, inflation criticism, media bikav, godi media, after election situation, politician ni behrai, aam aadmi ki sthiti, corona  modi with vaccine, Russia Ukraine war, women situation as inferior, female Foetus, ravan asking about Ram Rajya. corona, thali bajo, diva jalao, vaccine andhvishwas, surat  grishma case, rabiya case, more and more case of Rape, Good expression not terms of acting. 

2.Technology and village life too generation conflict one son was in Army and one daughter who have dream to go in army but funny act and another young child modi Diya jalav Thali bhajao Niraj chopda sanitesar vaccsion surat Girshma and Jainil story,rape in corona which are going Desh and woman died with child good ending happy ending move towards Education

3.Pan ni dukan politics Moghavari main topic casteism, religion, skill less in politics Gangubai, Pushpa human rights popular reels Donation in Education and also job and government job. 

4. Bhaarat 21st century human, woman, and son is more important in Indian society, Transgender destroyed humanity politics in Gundaraj moghvari and DJ sound pollution child with baby setar loose humanity and loose motherhood why? Gum hui insaniyat, satire on election gunda, DJ taklif, satire of society... Surrogate child, babysitter, mummy wearing jeans and going to a parlor with children in child care, insaniyat ko khatam kiya. Baras many. Bite hue kal ko tilanjali di. Absence of father satire of mother only. 

Paper collage, Painting, Cartooning, Clay modeling. 

Thank you…

The Curse or Karna

Tyagraj Paramasiva Iyer Kailasam

 1884–1946 

was a playwright and prominent writer of Kannada literature. His contribution to Kannada theatrical comedy earned him the title Prahasana Prapitamaha, "the father of humorous plays" and later he was also called "Kannadakke Obbane Kailasam" meaning "One and Only Kailasam for Kannada".

Kailasam was born in a Tamil brahmin family in southern Karnataka, India. He belonged to the Mangudi Brahacharanam subsect. His father, T Paramasiva Iyer, was employed as munsi in the Mysore state service and progressed to become the Chief Justice of the Mysore High Court. His father's brother was the Madras High Court judge, Sir T. Sadasiva Iyer.

Kailasam had a good education and was supported by the Maharaja of Mysore to study geology at the Royal College of Science London. His close friends and classmates included K. V. Iyer and V. Seetharamaiah. Kailasam repeated several classes to have an excuse to extend his stay in England. He spent seven years in school there, to complete his fellowship by participating in theatre whenever possible.

Soon after his return, he joined the government geology service. He became disillusioned with a government job, quit writing plays, and lived a bohemian life. His father's failed ambitious plan that he would become the Director General of the Geology Department led him to stop talking to him.

THE CURSE OR KARNA

सूतो वा सूतपुत्रो वा यो वा को वा भवाम्यहम्।
दैवायत्तं कुले जन्म मदायत्तं तु पौरुषम्॥

मैं चाहे सूत हूँ या सूतपुत्र, अथवा कोई और। किसी कुल-विशेष में जन्म लेना यह तो दैव के अधीन है,

लेकिन मेरे पास जो पौरुष है उसे मैने पैदा किया है॥

Whether I am a weaver or his son, whoever or whatever I am, the birth in this family was given by my Daiva or fate. But the prowess and power I have accomplished are by my own self.

Low-born king "KARNA"

Karna comes across as the most evocative one. One cannot but be awed by his towering personality and sheer strength of character, and at the same time help to identify oneself with the moments of frailty in his tragic life. 

Karna is among the most popular and complex characters in the Mahabharata, showing both nobility and nastiness throughout the story. He was resentful because he did not know whose child he was. But the people who brought him up did so with utmost love. His foster parents, Radha and Athiratha, loved him immensely and brought him up very well, the way they knew. He always remembered how much his mother loved him. “That is one person who loved me for who I am,” he says. Out of his competence and the will of fate, he became Angaraja – the king of Anga. He got many things and was given a position and place in the palace. In many ways, he was also a big king’s sidekick. Duryodhana held him dear and took advice from him. He had everything that life could offer. If you look at his life, the fact of it is that he was a charioteer’s son who became a king. He should have been really happy. A child who is found floating on the water grows up to become a king. Is it not a wonderful thing? But no, he did not give up his resentment. He was always unhappy and miserable because he could not come to terms with what he was being labeled as. Wherever he went, people referred to him as a suta or “low-born” because of his ambitions. Throughout his life, he complained about this. All the time, he nourished bitterness within himself about his so-called low birth.

This bitterness made a wonderful human being into such a nasty and ugly character in the Mahabharata. He was a great human being and showed his greatness in different situations, but because of this bitterness, in many ways, it was he who turned everything wrong. For Duryodhana, it did not matter what Shakuni said or did, it was Karna’s advice that permanently sealed the deal. After everything was decided, he would look at Karna, “What shall we do?” Karna could very easily have turned the direction of the whole story.

Fate of Karna 

 In the scene Where Draupadi rejects him

Hotstar's Mythological series Mahabharata

Karna as the voice of the subaltern

What is Subaltern according to Mariam Webster Dictionary 

a person holding a subordinate positionspecifically: a junior officer (as in the British army)Mahabharata

Karna as voice of subaltern Here's the link to my presentation on Karna as the voice of the subaltern.
2) Interpretation of myths 

Foe - J.M.Coetzee

 “Pain is truth; all else is subject to doubt.”

John Maxwell Coetzee 

(born 9 February 1940) 

is a South African–Australian novelist, essayist, linguist, translator, and recipient of the 2003 Nobel Prize in Literature. He is one of the most critically acclaimed and decorated authors in the English language. He has won the Booker Prize twice, the CNA Prize, the Jerusalem Prize, the Prix Femina étranger, and The Irish Times International Fiction Prize. He holds a number of other awards and honorary doctorates.

Coetzee moved to Australia in 2002 and became an Australian citizen in 2006. He lives in Adelaide.

The foe is a 1986 novel by South African-born Nobel laureate J. M. Coetzee. Woven around the existing plot of Robinson Crusoe, Foe is written from the perspective of Susan Barton, a castaway who landed on the same island inhabited by "Cruso" and Friday as their adventures were already underway. Like Robinson Crusoe, it is a frame story, unfolded as Barton's narrative while in England attempting to convince the writer Daniel Foe to help transform her tale into popular fiction. Focused primarily on themes of language and power, the novel was the subject of criticism in South Africa, where it was regarded as politically irrelevant upon its release. Coetzee revisited the composition of Robinson Crusoe in 2003 in his Nobel Prize acceptance speech.

Susan Barton is on a quest to find her kidnapped daughter who she knows has been taken to the New World. She is set adrift during a mutiny on a ship to Lisbon. When she comes ashore, she finds Friday and Cruso who has grown complacent, content to forget his past and live his life on the island with Friday—tongueless by what Cruso claims to have been the act of former slave owners—in attendance. Arriving near the end of their residence, Barton is on the island for only a year before the trio is rescued, but the homesick Cruso does not survive the voyage to England. In England with Friday, Barton attempts to set her adventures on the island to paper, but she feels her efforts lack popular appeal. She tries to convince novelist Daniel Foe to help with her manuscript, but he does not agree on which of her adventures is interesting. Foe would prefer to set her story of the island as one episode of a more formulaic story of a mother looking for her lost daughter, and when he does write the story she wishes, fabulates Cruso's adventures rather than relating her facts. Frustrating Barton's efforts further, Foe, who becomes her lover, is preoccupied with debt and has little time or energy to write about anything. Barton's story takes a twist with the return of someone claiming to be her missing daughter.

Critical Reception

Foe attracted criticism in South Africa upon its publication. According to Michael Marais in "Death and the Space of the Response of the Other in J.M. Coetzee's The Master of Petersburg", Foe met "acrimony, even dismay" at the time of its publication, as one of South Africa's "most prominent authors" seemed to turn his attention from compelling events in South Africa to "writing about the writing of a somewhat pedestrian eighteenth-century novelist." In detailing that receipt, Marais quotes Michael Chapman in "Writing of Politics" as typical with his dismissive comment: "In our knowledge of the human suffering on our own doorstep of thousands of detainees who are denied recourse to the rule of law, Foe does not so much speak to Africa as providing a kind of masturbatory release, in this country, for the Europeanising dreams of an intellectual coterie"Attwell, however, noted in 2003 that the novel is contextualized to Africa by the transformation of Friday from a Carib who looked nearly European to an African.

In the United States, the reception was less politically charged. The novel received a positive review in The New York Times, where Michiko Kakutani praised the writing as "lucid and precise; the landscape depicted, mythic yet specific", concluding that "the novel - which remains somewhat solipsistically concerned with literature and its consequences - lacks the fierceness and moral resonance of Waiting for the Barbarians and Life and Times of Michael K, and yet it stands, nonetheless, as a finely honed testament to its author's intelligence, imagination, and skill." Andrew O'Hehir for Salon described the novel as "a bit dry".In his review for Time, Stefan Kanfer questions the impact of what he describes as an "achingly symbolic retelling", suggesting that readers may be more self-congratulatory for discovering the author's "brilliantly disguised" themes than moved by "urgencies that are neither fresh nor illumined."

Thinking Activity Task

How would you differentiate the character of Cruso and Crusoe?

Cruso’s lack of journaling is a stark contrast to Defoe’s Robinson Crusoe.

Robinson Crusoe is much less passive and senile in regards to his own development on the island. Crusoe kept a painfully detailed account of every action he does on the island in a journal he updates daily. In this journal, Crusoe records every step of all of the tools he crafts, and he writes about his own progress with his newly acquitted relationship with religion.

This Robinson Crusoe is much more in tune with his own reality and interested in his own accomplishments than Foe’s Cruso.

 Robinson Crusoe fills his multiple homes with various types of pots, tables, chairs, fences, and even a canoe. All of these items Crusoe builds are to improve and aid in his growth on the island, and he must be mentally sharp in order to build these items. Cruso in Foe has not put any effort towards building tools, as he only has a bed when Susan arrives at the island, and from the quote, it seems like he may not have the mental capacity to build these tools. Although Cruso does build many terraces, he exclaims that they are for future generations and not himself.

One explanation for the difference in mindset and mental stability in the two Robinson Crusoe may be that in Robinson Crusoe, Crusoe felt that his island life had more value than Cruso did. 

Friday’s characteristics and persona in Foe and in Robinson Crusoe.

Defoe used Friday to explore themes of religion, slavery, and subjugation, all of which were supposed to be a natural state of being at that time in history, and Coetzee uses him to explore more strongly themes of slavery, black identity, and the voice of the oppressed. In neither book is Friday left simply to be a character, he is instead always used as a device through which the reader can explore other topics.

‘Your master says the slavers cut [your tongue] out, but I have never heard of such a practice… Is it the truth that your master cut it out himself and blamed the slavers?’ (Coetzee, J.M, ‘Foe’.)

The fact that this question is never answered, and that all attempts to force Friday to communicate fail drastically leave the reader wondering whether the slavers that captured Friday removed his tongue, or whether that was done by the colonialist Cruso, who felt there was ‘no need of a great stock of words.

 Is Susan reflecting the white mentality of Crusoe (Robinson Crusoe)?

In Coetzee`s version, ''Robinson Crusoe'' becomes the story of ''A castaway and a dumb slave and now a madwoman.'' The ''madwoman'' is Susan Barton.

J.M. Coetzee presents Barton as a submissive supporting actress to the extremely dominant character of Robinson Crusoe.

Barton’s role as a submissive supporting character to Cruso displays Coetzee’s formulation of Susan as a man’s woman. 

Susan is a sensual woman, and as the only female character in both Defoe’s novel as well as Coetzee’s novel, she is represented through her sexuality. Susan’s sexuality is first displayed in the beginning of the novel when she is on the island and Cruso is alive. As she falls asleep one night, Cruso begins to make advances toward her. She describes the event by saying, 

“I pushed his hand away and made to rise, but he held me. No doubt I might have freed myself, for I was stronger than he” 

The presence of a female main character, Susan Barton, in Coetzee’s Foe critiques Defoe’s original imagination of Robinson Crusoe by showing the marginalized role of women in the seventeenth century. Susan is very much a man’s woman, a sensual woman represented through her sexuality. In his portrayal of Susan, Defoe is critiquing the traditional male attitude towards women.