Latest news with #Gond
India.com
3 hours ago
- Business
- India.com
India's first private railway station, it gives airport like facilities, developed by…, located in THIS state, not in Mumbai, Kolkata, Delhi, Chennai, Bengaluru, Lucknow, name is…
New Delhi: In the last 11 years, the Indian Railways has undergone a remarkable transformation under the Narendra Modi government. The government has implemented a slew of initiatives to make the traveling experience of passengers comfortable and convenient. From platform upgrades to the 100 percent electrification of railway tracks, the sector has seen unprecedented progress over the past decade. Indian Railways has also redeveloped Habibganj Railway Station in Bhopal, Madhya Pradesh, setting new standards for modernization. Many would not know that the Habibganj Railway Station holds the distinction of being India's first privately managed railway station. It is important to note that the station is being operated under a Public-Private Partnership (PPP) model. All You Need to Know About Habibganj Railway Station: Habibganj Railway Station was redeveloped by Bansal Group in collaboration with the Indian Railway Stations Development Corporation (IRSDC). Prime Minister Narendra Modi inaugurated the airport-like redeveloped Habibganj railway station on November 15, 2021. This was part of Indian Railways' ambitious plan to modernise key stations across the country through private investment. Kamalapati railway station in memory of Gond queen Rani Kamlapati. The station code was also changed from HBJ to RKMP. While the station is operated and maintained by the private player, ownership remains with Indian Railways. This PPP model ensures better services without compromising national control. Habibganj Railway Station: Facilities The station offers an airport-like experience It has a spacious concourse and waiting lounges, modern food courts and retail outlets It also has Energy-efficient design with solar panels, high-tech surveillance and security systems. Rani Kamlapati Station (formerly Habibganj Railway Station) has set a benchmark for future railway station redevelopment projects across India. Major stations like New Delhi, Ahmedabad, and Mumbai CST are also being considered for similar transformations.
Time of India
10 hours ago
- Politics
- Time of India
Govt planning to install CCTVs in schools
1 2 3 Bhubaneswar: The Odisha govt is considering installing CCTV cameras across all govt and private schools, replicating the surveillance framework already in place in CBSE-affiliated institutions, school and mass education minister Nityananda Gond said on Wednesday. "The govt is exploring various ways to strengthen the child protection mechanism on school campuses and the education department is discussing this and related plans for immediate implementation of CCTV cameras to ensure safety and security of children," Gond said. Following the suicide of a college student in Balasore on July 12, govt has asked all schools and offices in the school and mass education department to form Internal Complaints Committees (ICC), in line with the provisions of the Prevention of Sexual Harassment (POSH) Act. "Instructions have already been issued for setting up ICC committees and ensuring that they are functional. Besides, training of these committees will be initiated soon so that they operate effectively and sensitively address complaints from students," Gond added. The department also issued a directive to all district education officers (DEOs) to strictly implement measures ensuring the safety of women employees at workplaces and create a secure environment for students in schools. by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like Villas For Sale in Dubai Might Surprise You Dubai villas | search ads Get Deals Undo "The safety and security of students is our priority. Schools will prominently display helpline numbers so that anyone can lodge their grievances without any hindrance. All complaints will be addressed seriously and sensitively," the minister said. However, parents expressed concern about the feasibility of the plan as many schools in the state don't have electricity connections. "In many interior schools, there is no electricity; how can they install CCTVs? There is a need for more teachers in schools instead of CCTV cameras," Rashmi Ranjan Pradhan, a parent, said.
News18
2 days ago
- Entertainment
- News18
Art camp organised in Mandla to observe SH Razas 9th death anniversary
Mandla (MP), Jul 22 (PTI) From children as young as four to senior artists in their nineties, curious minds and art enthusiasts have come together at the Raza Art Gallery to explore their inner selves and express creativity through paint and clay. Working their imaginations on paper or on umbrellas, and browsing the internet for inspiration, the group of around 300 people across age and gender is observing the 9th death anniversary of modernist master Sayed Haider Raza. Raza, who was born in Mandla, died on July 23 in 2016. The Raza Foundation has organised a multidisciplinary art camp, 'Raza Smriti', to commemorate the artist's lifelong association with art. Shailja Kumari, 33, busy painting flowers on an umbrella, said that it was only some years ago that she heard of 'Raza sahab" and that he was a native of Mandla. 'It is a matter of pride for us that such an international artist was born among us. The only thing I could understand from listening to people is that art can be anything you want it to be, it does not have to look perfect," Kumari told PTI. The mother of two is among the many who have come to attend the art workshop as part of Raza Smriti. The workshop, led by artists Ashish Kacchwaha, Garima Tamrakar, Ashok Sonwani, and Bheekham Prajapati, takes participants on a journey of self discovery through paintings on umbrellas, paper, and flowerpots — artworks that they are encouraged to take home. 'The foundation is trying to create an art culture where we are all invited, all age groups and it's open to all city members. They come and they experience art. Many of them are experiencing art for the first time, so the whole idea is to be so free that you can create anything and we are there to guide them," Tamrakar said. The event, which started on July 19, has also hosted a sculpture camp, where artists are creating art works using scrap material, and a 'Gond Pradhan' art workshop that invited Gond artists of the region to create art. 'Raza, besides being a painter, was also deeply interested in the arts, particularly in poetry, dance and music. So we have structured the whole celebration here with a dual purpose, one is to bring forth items which relate to visual arts, poetry, music and dance and on the other hand, we also want the younger people from this area to get interested," Ashok Vajpeyi, poet and managing trustee of the Raza Foundation, said. At the 'Scrap to Sculpture' camp, artists from Chhattisgarh and Madhya Pradesh have used scrap material from bikes, cars, and construction sites to create artworks that respond to the creative philosophy of Raza. If Narendra Kumar Dewangan's 'Environment Balancer" reflects the continuity of life and finding a balance between nature and human obstructions, Amit Kumar Sinha's works pays tribute to J Swaminathan and Raza. 'My work is a collaboration of J Swaminathan and SH Raza because their name in the art world is known globally, and Swaminathan worked a lot with Gond artists to promote their art. How he took Jangarh Singh Shyam to Bharat Bhavan and then to Japan. Even though Raza spent very little time here, as he was settled in France, still his journey of art in India is internationally renowned," Sinha said. The group of sculptors have used petrol tanks, square pipes, rebars, chain sprockets, chains, gears, spark plugs, and metal sheets to create their works. 'The function of art is gathering up what is also broken down. The things here are broken down and not useful in the conventional sense but they can still be used in creating art, so there is this excitement of imagination getting embodied in material which never had been used for that purpose and was not intended to be used for that purpose," Vajpeyi said. The five-day event also saw poetry readings, discussions, theatre, dance and music performances. On Monday, Odissi dancer Arunima Ghosh and Bharatanatyam exponent Aarohi Munshi presented a collaborative performance based on 'Swasti", one of Raza's last works. The event also saw participation of noted Hindi poets, including Prabhat Ranjan, Joshna Banerjee, Arun Kamal, Ashutosh Dubey, Vyomesh Shukla, Anil Tripathi, Ajit Kumar Rai, Arun Hota, Anil Tripathi, Pawan Karan, and Sangeeta Gundecha. On Wednesday, Suryakant Tripathi Nirala's iconic poem 'Ram Ki Shakti Pooja" will be staged here at RD College, directed by Vyomesh Shukla. PTI MAH MG MG view comments First Published: July 22, 2025, 13:15 IST News agency-feeds Art camp organised in Mandla to observe SH Razas 9th death anniversary Disclaimer: Comments reflect users' views, not News18's. Please keep discussions respectful and constructive. Abusive, defamatory, or illegal comments will be removed. News18 may disable any comment at its discretion. By posting, you agree to our Terms of Use and Privacy Policy.
India Today
3 days ago
- Entertainment
- India Today
In Gond art, nature is left, right and centre. Tribal youth are taking it global
The Jangarh Kalam exhibition at Triveni Kala Sangam in New Delhi, centred around Gond art, was saying a lot without using words. There was no text, but the artistic voice was loud and clear. The paintings on display elicited the same emotion; they had the same message: we need to reimagine how we think about wasn't a crowded exhibition hall. But what those frames on the walls, with their bold strokes, minute dots, and vibrant contrasts were saying, was nothing short of a quiet revolution. It was a voice -- perhaps many voices -- telling us what we had stopped hearing long ago: the voice of the forest, the trees, the birds, the was the work of Gond artists, a tribal community that paints not just to express beauty, but to preserve memory. And it all started with a name most wouldn't find in textbooks, Jangarh Singh Shyam -- back in the 1980s. Jangarh Singh Shyam is credited by art critic Udayan Vajpeyi as the founder of a new style of Indian painting, which he calls the 'Jangarh Kalam'. His work often features Gond deities such as Thakur Dev, Bada Deo, and Kalsahin these spiritual figures, Jangarh also painted animals -- tigers, deer, turtles, and crocodiles -- using a distinct cutout-like style that became a hallmark of his the year 1989, his art was displayed in the Pompidou Centre's Magiciens de la Terre (Magicians of Earth) exhibition in started without canvas or even brushes. He just started to paint what he saw: trees, animals, rituals, spirits of the forest. He painted to document a life so deeply interwoven with nature that you couldn't separate one from the other. Gond art doesn't decorate, it remembers. In the heart of the forest and the flow of the river, the goddess rides not just the crocodile, but the memory of her people, painted leaf by leaf, scale by scale. 'The inspiration of one man is now helping thousands of others. The work of Jangarh Singh came as a light for the tribal community of the region, and now these youngsters are not only carrying the legacy forward but also have a means to earn a livelihood,' said RN Singh, Founder and Managing Director of Progressive Art painting in the exhibition had a passionate aura that drew you closer. One canvas showed a goddess riding a crocodile under a tree full of birds and monkeys, life in full motion, life in balance. Another captured women dancing in a circle, tied together in rhythm and labour. Nothing fancy. Just stories we forgot to tell ourselves. Women dancing in a circle, tied together in rhythm and labour. The painting that was the most awe-inspiring was of a tree, with branches wide like arms stretched out before an embrace. Beneath it, deer grazed. Birds rested. Elephants was no human in sight, yet humanity could be felt everywhere. That tree wasn't just a tree. It was shelter for thousands out there in the artists whose work was displayed in the capital city of India, some less than 22 years of age, didn't speak much. They didn't need to. Their dots, lines, brushstrokes did all the the irony struck: those who live closest to the earth speak of it the least, but understand it the often chase retreats to mountains or beaches to "disconnect," to "find peace." But what if peace isn't a destination? What if it's in these paintings that hang quietly on beige walls, away from malls and noise? Art that doesn't of these artists, like Rahul Shyam, Ram Kumar Shyam, Sunil Shyam, and others whose work was witnessed during the exhibition, come from villages where resources are scarce but imagination overflows. They paint from memory. They paint because that's how they archive them, nature isn't a weekend getaway. It's a mother, a witness, a god, a artwork showed a lion with a human face, trees bursting into patterns, women drawing water. Each frame felt like it was another masterpiece, a bird nested in a tree within a goat's back. Maybe the artist was trying to say that all life shelters were no labels screaming 'Masterpiece'. No artist's statement in titles, sizes, and the names, some I'd never heard before, but now won't forget. A striking Gond artwork blending myth and nature, an elephant-tiger hybrid surrounded by village life, trees, and birds, capturing the deep connection between tribal imagination and the living landscape. advertisementAnd here lies the beauty of what Gond art does, it tells us that we're not above nature, we're part of it. When the earth breathes, we do. When it hurts, we many of us, nature is something to visit. For them, it is home. These paintings, beyond being art, are letters from someone leaving the exhibition hall carried a certain silence in their mind.A young visitor shared her experience: 'I don't know, but this place and all these paintings hit hard. The way they've been painted is a masterclass. We may be living our lives in the city, but these artists, who put everything around them onto the canvas, are the ones truly enjoying it.'You don't need to travel to forests to hear these artists. You can stand in a white-walled room in the heart of a city and listen, if you choose exhibition was held at Triveni Kala Sangam, New Delhi from June 30 to July 10, 2025, from 9:00 am to 7:00 pm.- Ends advertisement
The Hindu
12-07-2025
- Entertainment
- The Hindu
Madhubani, Gond and Bhil artisans rethink the traditional
In a playful mix of Gond art and folk surrealism, Sandeep Dhurve's pelican — its delicate feathers made from fish — opens its exaggerated throat pouch to swallow a large fish and an elephant. White Pelicon was one of the artworks on display at Mentoring Magic, a recent exhibition at Gallery 47-A in Mumbai's Khotachi Wadi. 'I have a deep interest in wildlife and plants, and I try to convey interesting facts and hidden stories about them] through my paintings,' says Dhurve, 23, who hails from Bhopal, Madhya Pradesh. Dhurve was one of nine indigenous participants in the showcase supported by Project Tarasha, a social initiative of watch brand Titan Company, which acts as an organic incubator for rural artisans. As a part of their Creative Enterprise Development Programme, they handpicked nine artists to go through digital and business skills training, as well as a six-month design mentorship led by artist and product designer Aditi Prakash, the founder of accessory brand Pure Ghee Designs. Her goal was to push the boundaries of the young artisans' creativity and storytelling in their practised art forms: Madhubani, Gond, and Bhil. 'We wanted them to be able to express their stories with greater clarity, confidence, and individuality, while remaining rooted in their deep visual tradition,' says Prakash. 'The power of the privileged world to make a change if they wanted to, whether through funding, mentoring, structuring, marketing, and that it is our responsibility to spread the magic that is around us.'Srila ChatterjeeFounder of Gallery 47-A and Baro Market, and a tireless advocate for democratising all forms of art A contemporary take The six-month process encouraged the artisans to articulate personal experiences, local myths, and everyday occurrences in their visual language. They were given space at the material lab to find their voice and develop their technical fluency. Exposed to a wide range of mediums beyond their usual acrylic paints, such as natural pigments, the artists explored unfamiliar techniques of layering surfaces and adding textures. 'This was the first time they had been invited to think beyond form and pattern, and into meaning and intent,' says Prakash. They were encouraged to take risks in their compositions — 'to help think about how the entire surface of the canvas could contribute to the mood or meaning of the work'. Bhopal-based Kamta Tahed, 37, was one of the participants. The daughter-in-law of famed Bhil artist Lado Bai, she developed her artistic voice after her marriage, under the watchful eye of the matriarch. Tahed's art is rooted in spirituality, naturism, and rural life, and at the show she included village vignettes and a pared-down depiction of Krishna. The mentorship included a field trip to Sanchi, the first visit to the Buddhist Complex for many of them, where they spent a day sketching and absorbing the historical significance of the place. For Tahed, who is working on expanding her Sanchi and Krishna series of works, the experience was eye-opening. 'I learnt how to turn my art into a story, how to create new backgrounds,' she says, adding that the idea of 'less' also took root — 'how important is it to limit colours', as visible in her dual-toned paintings. From artisans to artists Each artist maintained a daily diary to jot down new experiences or make quick five-minute drawings. This perspective-shifting habit helped them notice the world around them differently — to capture fleeting images, and develop a personal relationship with their subject. For Preeti Das, 37, a Madhubani artist, her decade-long experience has been primarily restricted to a community that sold artworks through subsidised governmental exhibitions. Until Project Tarasha. 'Traditional art forms have their own identity, but modernity is equally important,' says Das, whose post-mentorship artworks include a selection centred around the modern Indian woman: playing a guitar with a dog as a companion, riding a bike in cycling shorts, and friends enjoying coffee and conversations in a café. Prakash views these as early but significant steps toward a deeper kind of authorship, 'where they are not just representing inherited stories, but interpreting the world in their voice'. She adds: 'This is only the beginning of that journey, but already, the changes are visible in the way they compose, reflect, and create.' The artworks are currently listed on the Baro Art website. The writer is a sustainability consultant and founder of Beejliving, a lifestyle platform dedicated to slow living.
