Art Directory India




Kennedy Club –The recent Indian Tamil language film which hit the theatres last Friday written and directed both by Suseenthiran has failed to make a strong and positive impact on the box office. Despite having so many big known faces, the movie fails to deliver the content in a consumable way. The plot of the movie revolves around women’s empowerment through Suseenthiran failed to make it inspiring and lacks an effective storylining. Kennedy Club which was produced by D. N. Thaisaravanan under the banner of Nallusamy Pictures cast M. Sasikumar as Muruganadam, Bharathiraja, Meenakshi Govindarajan as Meenkash, Soori as Subramani and Murali Sharma as Mukesh Rathore but real stars of the movie is undoubtedly the young girls who belong from a weaker class fought their way through many hurdles and tackles under their coaching of Muruganandam (Sasikumar) an ex-serviceman and senior coach Savarimuthu (Bharathiraja) while competing in a national-level championship forms the story. The girls choose Kabbadi to support their families. Their dream is not only to make it to the national level but also shows a desire for government jobs.The movie got a rating from various websites but none of them was more than 2.5 out of 5 while IMDB rated the film 7.3.The climax scene of Kennedy Club cost 2 crores which happens to the first film of Sasikumar to be filmed at that huge budget. Kennedy Club whose trailer was released on 31st July 2019 who came up to the theatre with a great expectation is exactly 120 minutes long and is mainly based on a sports political thriller movie. Kennedy Club mostly getting positive reviews from the critics and the audience. The soundtrack of the film composed by D. Imman, with lyrics by Viveka energises and increases the level of excitement while watching the girls play having us on the edge of our seats. The most jaw-dropping moment of the film was when the girls flipped the men out of the playing area like a wooden toy. The Kabbadi sequence was decently shot but was becoming predictable as the movie went on, the climax scene has one or two twists but was too seems forced. The Suseenthiran’s second Kabbadi based film has an above-average opening in the Chennai. The film grossed 2.5 crores on the opening day and 3.10 crores on the second day which is not at all a bad feed anyway. Kennedy Club manages to maintain its steady pace at the box office in its first weekend. The movie is receiving a far better response from the audience that is raising the box office figures of Kennedy Club. The performance of M. Sasikumar is getting a great response and collecting positive words of mouth from all over. The acting skills portrayed in the movie are worth all the appreciation. This Tamil film has been compared with CHAK DE INDIA! and DANGAL. The script of the movie could have been better and less confusing.It was hard to detect who was the protagonist and the antagonist of the movie. The only positive thing about the movie was the pretty impressive acting. The climax scene could have been better if it wasn’t so predictable at the end and adding slow-motion scenes at various parts of the movie could have created a more thrilling experience for the audience. For those who love to watch a good entertainment film will surely love the way, the whole script is executed.

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Bringing in the irony of the title, it’s so fervorly within, that it shall all make sense as a whole! Joining the dots to pronounce DETACHED!

Reluctantly being aware of the modernising variable factors around my own self, I stand umplumbed with the sound of disharmony and ascending to the greater self.

You haven’t clearly known the unbiased authority of thy self that it makes the very environment surrounding you gargantuan.

Detached is me with everything that belongs to the contrary side because I ain’t willing to discard the unusality of the retrospection within.

No longer shall you know, what shall be perceived because this has gone far from the shadows of clutches that ambiguity would have admired.

Detached are the writings that were penned down in conceptualizing the factual obligations. Detached is ensnared love, beyond the written lines of truthfulness.

Now to accomodate all of that, here’s a little poetry:

Arousing from the noise of the peace,

Indulging into performances of the world,

Flattered by the inevitable greetings of the earned,

Following is purging of the crease.

It’s not easy to understand something which is so DETACHED as it sounds too.

Well I hope you come down reading !

Until then,.


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Hundred Years of Indian Cinema

Hundred Years of Indian Cinema


Indian Cinema is an art form, a result of dedication of a number of people.

Indian cinema has completed a century and prided itself on being a sole distraction, in a country where allied entertainment forms like music and the fashion industry are subservient to the glamour that cinema and its stars bring. From rock chic to glamour, from dress and design to creating indelible images, business, politics and sports, travel destinations and colloquialisms, violence and sexuality, hero-worshipping and icon-making, Indian cinema continues to provide templates and set trends.
The first Indian motion picture Raja Harishchandra was produced by Dhundiraj Govind Phalke and released in 1913, barely a year after the world’s first motion picture was made in 1912. The film is commonly believed to have been the first Indian featured length film which has inaugurated the Indian cinema and hence the journey begun.
India is producing more films across all its regions as compared to Hollywood. Despite of rising production costs, India continues to be in lead in numbers. Bollywood releases around 130 films in a year and the numbers from Telugu, Tamil, Malayalam, Kannada, Marathi, Bengali, Punjabi, Bhojpuri, Assamese, Gujarati and other north-eastern states takes the toll over a thousand of films per year.
As we know that the films are the mirror of society and film-makers also focuses on this. Let’s have a glance in the history, following the nation’s independence, the 1930s and 40s were marked by socialist themes and the fight against poverty and society for the marginalised. The 1960s brought global winds of hippie couture. The themes, however, continued to follow the rich versus the poor, the rural good guy and the city bad guy formula. In 1980s to 2000, Indian sensibilities that included family values, traditional and orthodox views of female sexuality prevailed, and good and evil were always in black or white. Heroes were valorous, heroines were gamine, and villains were leering. In the 21st century, things have changed. Bollywood, India’s most widely watched Hindi moviedom, is changing its plot. As Shoojit Sircar’s Hindi sleeper-hit Vicky Doner put it. We can say that Indian cinema is welcoming real and new role-casts for its stereotyped characters.
With the passing time many revolutions has been taken place in Indian Cinema and the major one is debut of outsiders. These are actors and filmmakers who do not belong to any film families or yesteryear studio honcho heirs. Vishal Bhardwaj, Anurag Kashyap, Dibakar Banerjee, Sujoy Ghosh, Tigmanshu Dhulia, Vikram Aditya Motwane, Reema Kagti, Zoya Akhtar in Hindi and Aparna Sen in Bengali, Revathi in Tamil are really working great and adding essence in the films.
From the silent pictures to the talkies, from black and white to multicolour, from cinemascope to hand-held gadgets, Indian cinema has kept pace with global cinema in its longevity.

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यादों का शहर


यादों के शहर से बस गुज़र ही रहा था , कुछ तेज चलते हुए , कुछ हड़बड़ी मेरे चहरे पर साफ नजर आ रही थी। सामने से आने वाले दोनों लोगों का ध्यान सड़क पर कम और मेरे चहरे पर ज्यादा नज़र आ रहा था और मेरे गुज़र जाने के बाद पलट कर भी देख रहे थे , शायद!। या शायद मेरे डर को जानने की कोशिश में थे।

तेजी से चलते हुए , मेरी नज़र उस याद के पेड़ पर जा पड़ी जहाँ से कुछ सुखी हुई यादें हवा की लहर के साथ मेरे बदन से आ लिपटीं और वही हुआ जिसका मुझे डर था , मैं यादों के शहर से बस चुप-चाप गुज़र जाना चाहता था।

आँख पर बैठी एक छोटी सी शरारती याद ने पलक उठाते हुए पूछा-“पिछली बार चुप-चाप निकल गए थे!!?”। पीछे से कुछ सफेद बालों वाली हाँफती हुई आवाज में-” अरे बेटा सुनो! कैसे हो ? तुम्हारे पिताजी …….। इतने में कढ़ी आवाज में बोलते हुए-“का अम्मा! क्यों परेशान कर रही हो!!?(कुछ सफेद बालों वाली याद को डाँटते हुए) कहाँ!! जल्दी में हो ?

चलो आओ ,थोड़ी देर बैठो , सुस्ता लो , यादों के शहर की कुछ मीठी सी यादों से इस क्रक्स सी जिंदगी को थोड़ा मीठा कर लो”(मुझ से बोले)। अरे नहीं! नहीं! भाई आज थोड़ा जल्दी में हूँ, फिर कभी (कहते हुए मैने अपने कदमों को थोड़ा और तेज चलाना शुरू किआ)। इतने में पीछे से एक मीठी सी आवाज आती है-“विष्णु!!!(कदम ठहर जाते है, ये आवाज कुछ जानी पहचानी सी लग रही थी) कैसे हो? भूल गए ? या कोशिश में हो !?(मेरे दाईं ओर खड़ी ये याद बेहद खूबसूरत थी)परेशान हो? मै परेशान तो नही कर रही(दोनों हाँथ मेरे गालों पर रखते हुए) मेरा हाँथ थाम लो ! चलो मै तुम्हारे साथ यादों के शहर से बाहर निकलने तक तुम्हारे साथ चलती हूँ , पर तुम बस मेरा हाथ मत छोड़ना”(इतना कहते हुए वो मेरे दाएं हाथ की उंगलियों में अपनी उंगलियाँ फसाए साथ चलने लगी)।

“तुम बस कभी हाँथ मत छोड़ना……”(मेरी जिंदगी के आज से पाँच साल पहले का सबसे खुबसूरत हिस्सा) हॉस्टल की छत की शरारतों से लेकर सड़क के किनारे तक की नादानियों में बस यही तो कहा करती थी! मुझे क्या चाहिए? बस दो पल की साँसे, एक तुम्हारी और एक मेरी!!।

(याद ने मेरे हाँथ को थोड़ा और कस के पकड़ा तो कुछ पल और साफ हो गए) बारिश(मेरा पसंदीदा मौसम) होकर रुकी थी , रोड गीला था। पास के रेस्टॉरेंट की रंग-बिरंगी रोशनी और ऊपर से स्ट्रीट लाइट की रोशनी में नादानियाँ करती हुई, मेरे हाँथ को अपने हाँथ में फसाए हुए और कुछ बच्चों जैसी हरकतें करते हुए-“सुनो विशु! मुझे आइस क्रीम खानी है।” “बेबकूफ!! सर्दी हो जाएगी”(मैने डाँटते हुए बोला)। “फिर, गोल गप्पे!!?”(उसने पूछा)। “ठीक है”(मैने हलके से बोला)।

उस रात बहुत सारी बातें हुईं हमारी। इस बात से अंजान कि ये आखिरी ऐसी मुलाकात है, और ऐसी शाम फिर कभी नही होनी।

“अरे!(याद कहती है) देखो हम यादों के शहर से आगे निकल आये और पता भी नही चला, इसके आगे का सफर तुम्हें अकेले ही तय करना है, मुझे देर हो रही है, मुझे अब लौट जाना चाहिए”। इतना कहते हुए वो तो चली गई और मुझे एक मझदार में छोड़ गई, जहाँ शायद!मुझे उसकी सबसे ज्यादा जरुरत थी।

‘इसके आगे का सफर तुम्हें अकेले ही तय करना पड़ेगा , मुझे देर हो रही है , अब लौट जाना चाहिए…..’ शायद! आखिरी शब्द थे , जो उसने मेरे सामने खड़े हो कर कहे थे , कुछ आँखें चुराते हुए। मैं बस देख रहा था उसे जाते हुए अकेले! जहाँ से आज से पहले वो कभी मेरे हाथों से लिपटे बिना गई ही नही। दिल बस एक बार और उसे बेबकूफ बुलाना चाहता था ,उसे रोक लेना चाहता था । पर शायद ! मैं उसके साथ-साथ ये हक भी खो चुका था ।

शर्ट की जेब में एक छोटी सी याद(जो शायद! यादों के शहर से चुपके से आ गई थी) उछल-कूद करने लगी,मैने निकाल कर हथेली पर रखा तो पूछने लगी-” क्या हुआ?, उस रात?”(बहुत ही मासूमियत से पूछ रही रही थी और मैं खुद को रोक नही पाया)।

“कुछ अपना जान कर , कुछ फिक्र करके , बहुत प्यार से सम्भाल के रखा था मैंने , सिर्फ कुछ लोगो से दूर ही तो रहने को कहा था!! Because i cares you a lot बेबकूफ(कहते – कहते रो पड़ा) बस यही चाहते थे न! तुम्हारे आस – पास के लोग , अब तो खुश होंगे??

” तुम्हारी जिंदगी में अब नए लोग है , और

हमने लोगो को निकाल कर नई जिंदगी की शुरुआत की है”।

– विष्णु भारद्वाज।

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Short Stories Competition

Short Stories Competition


All india short stories competition is a creative writing competition open to writers

Contest Deadline December, 2019 – 11:59 pm PST

Entries will be up to 2,500 words in English language, fiction, written by an author not yet published in book format.


Short fiction prose; up to and including 2,500 words (title excluded), English language

· Not previously published in any format

· Must be writers original work

· Multiple submissions welcome – (only one entry per writer is eligible for award)

Shortlisted winners will be notified by email and posted on our web sites and social media platforms

Before you submit your entries, please follow the directions below

post your story on this url

after log in

Sign up for an account and create a login for yourself (on the right side of this page).

After creating a log in,save an entry draft

By creating an account, you can also stay informed throughout a competition.

We will email you status updates and other important information about the competition.

How to Enter

All entries must be submitted online. Entries must be accompanied by name email and the entry is checked by

Your entry must be original, in English. Art directory retains one-time nonexclusive publication rights to the winning entries to be published in a art directory Any piece posted online, anywhere other than a personal blog, is considered published.

All entries must be formatted to A4 paper. All manuscripts must be double-spaced. Entries files should not include name, address, and phone number in the upper left-hand corner of the first page since that information is collected on the form.

BE SURE OF YOUR WORD COUNT! Entries exceeding the word limits will be disqualified. Type the exact word count (counting every single word, except the title and contact information) at the top of the manuscript.

For more information or clarifications email us

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One hundred years of Indian Cinema

One hundred years of Indian Cinema


Fantasy for cinema never dies, rather it increases more and more with increasing number of movies screened on various online and offline platforms. Going back to the days of Alam Ara, the first ever motion picture produced by Raja Harish Chandra in 1913 and coming back to the days of Padmaavat, Queen, Sui Dhaga, it reminds us of the rainbow of cinema which never fades.
It has always been a proud moment for India when the country recalls the diversity the Indian cinema has. Many Telugu, Tamil, Malayalam, Kannada, Marathi, Bengali, Punjabi, Bhojpuri, Assamese, Gujarati, Oddisa and other states produce a lot of films which are many a times dubbed in other languages preferably Hindi.
Indian cinema not only entertains but also educates people. Films like Chak De India, 3 Idiots, Prem Rog, Taare Zameen Par, Udaan, Mother India are some of the films which has always touched a deep chord.
Deep down in our hearts, we have developed a special liking for bollywood. Stars like Hema Malini, Rjnikanth, N T Rama Rao, Prosenjit Chatterjee, Amitabh Bachchan, Rajesh Khanna, Jaya Badhuri, Shabana Azmi profound performance still compel us to watch sholay, Haathi mere Saathi, Kati Patang, moner manush, Sivaji and many others.
Horror, romantic melodrama, science-fiction, comedy and other genres of Indian cinema is widely well-liked in the whole world. The glamour, beauty, different kinds of outfits, vibrant characters, decorations and designs, mind blowing themes, real and animated stories, violence and sexuality set the trend for the cinema.
The origin of cinema can be traced back to the French Lumiere Brothers in 1895. The brothers came to India after a year in 1896 and hosted a screening in Mumbai Watson Hotel. The audience was so mesmerized that ‘The Times of India’, one of the leading newspapers called it ‘Miracle of the century’. This legacy was put forward by Dadasaheb Phalke who screened the movie, Raja Harishchandra and marked the birth of Indian cinema. The movie was silent but with the introduction and further advancement in technology, movies using different types of graphics are being made in diverse languages.
Despite of the fact that cinema has always entertained, films nowadays are no more portraying a medium of expression. Songs like ‘Baby doll mai sone di’, ‘munny badnam hui darling tere liye’ and movies like Kuch Kuch Hota hai (portrays the picture of an ideal woman), dabangg (how the wife is always forced to agree what the husband says) projects the women in a way that reduces the status of woman in society.
The bollywood industry now needs to bring something new like Queen, badhai ho and other movies that educates and make our society think in a way which is correct. The industry should not upset us. We all hope that industry will make a comeback by regaining the art of cinematography which is somewhere lost. The society does not need ‘Hum saath saath hai’ or ‘vivaah’. Movies encouraging LGBTQ community, the power of women, surrogacy, and marriage should be made to aware society and we all know, Indian cinema is the best platform and it can do this.

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A grumpy faced man


This is a lovestory.

A story about a grumpy faced man, who lived in a room with the floor littered with newspapers, on a bed covered with books. No, that man wasn’t my lover. He was my grandfather, my Baba. A bibliophile he was, he used to spend all of his pension money on books, much to the disapproval of my grandmother who used to think that she could have used the extra money to buy sarees and gold. No wonder there are some 10,000 books at our home right now. So this is the story of how my Baba made me fall in love with books.

My mother told me that the first time Baba held me in his arms, he said, “She is going to be a bibliophile like me.” Not a cliched dialogue like, “She is going to be a doctor” or “She is going to be an Engineer”, but a bibliophile. He explained to me the meaning of bibliophile 3 years later when he gave me the very first book of my life, having taught me how to read in just 3 months, I was a quick learner you know, he gave me an abridged version of ‘The Adventures of Tom Sawyer’. It was really difficult for me. But he didn’t give up. He would sit with me for hours and explain to me each and every word of each and every line. At first it felt like torture, I would scream and wail to let me go and play (c’mon, I was just a wee kid). But he won’t listen. This exercise continued for days, months, with different books. The abridged versions of ‘Treasure Island’, ‘Secret Garden’, ‘Moby Dick’, ‘A Christmas Carol’ and many more. Then I started liking the exercise. I would sit with him and read the books myself.

At the age of 4 when the kids of my age were struggling with alphabets, I had moved over to abridged versions of classics. At the age of 5 when my friends started reading ‘Magic Pot’, I was reading the National Geographic Magazine. At a age when I should have been singing the theme songs of cartoon shows, I was busy chanting famous lines from Shakespearean plays! And my Baba, he was really very proud of me. I could see it in his eyes, his big, penetrating eyes. He was quite thrasonical about it too. He would boast about his vast knowledge in front of our relatives and how he passed it on to me. There was this time when one of our relatives came home to tell us about his son who got a job in America. He spoke in great lengths and measures. At the end of his speech, which was like after an eternity, my grandfather asked him, “Do you know about Ethiopia?”

relative: “Yes.”

Baba: “Do you know how many people are dying out there of hunger there?”

Relative: “No.”

Baba: “Can you name the capital of Ethiopia?”

Relative: (with sweat-beads shining on his forehead) “Umm, No.”

My Baba gave a sardonic laughter and asked me the same question and I, a 4 year old kid replied in my baby voice, “Addis Ababa!”

Baba took out a book on Ethiopia from the shelf and gave it to that man. That book never came back to the shelf, because that man never visited our house ever again!

When I was in class 7th,my mother came to know that I had a crush on one of my seniors. She was concerned and asked my Baba to talk to me. And voila! The very next day I had 6 novels spread on my desk. 3 out of which were romantic fictions! When I went to thank him, he gave me a 10 minute lecture on the difference between infatuation and love. And then he told me, “Fall in love with books, not with people.”

He took me into the beautiful la la land of book-romancing! He told me that every book has a different smell, a different feel about it. An aura of it’s own. It binds you, it mesmerizes you, it makes you fall in love with it over and over again! He taught me not to just read the books but feel them.

Having two bibliophiles in one house can be a tricky affair. We used to get into these friendly tussles over who would read the newly arrived book first! He always won.

Just before his last sleep, he told my grandmother, “Don’t let Paree read the book that is going to arrive tomorrow before me.” He couldn’t read that book. I didn’t read it either. He always had to win.

The last thing that I remember about him is his grumpy face, as he lay on a bed covered with books, in a room with the floor littered with newspapers.

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Cheriyal: Art of the Tellers

Cheriyal: Art of the Tellers


Have you ever wondered how story telling was like back in the 16th century? It certainly was not like story books sold today- shiny, three dimensional, or make it while you read it. Story books are like sheets of imagination that fill wonder and curiosity in the minds of little children and adults to. They are like dreams which one can read again and again without forgetting and in turn learn something out of it. However, back in the 16th century stories were not just that. They were more about the reality of life, the rebels and warriors who paved their ways through hardships and grave. They were like records of victory and defeat.

Cheriyal or Cheriyal Nakashi scroll painting is a local art form that originated from Telangana. This art form was and is exclusively painted by ‘Nakashi’ artists only. Alongside being traditional artists, Nakashis were also travelers. They shared their stories with locals as they travelled from village to village- through their unique scroll paintings. These scroll paintings were unlike any other type of tribal traditional painting. The bold color scheme, the theme of the paintings, and most importantly the method of preparation varied from other types of 16th century traditional art.

To begin with, this art form consists of five colors- red, green, yellow, black, and white. All of these colors are made using natural colors with tree gum being the base. Tree gum helps liquefy the colors so they can be suitable for painting. “Red is made by finely crushing red stones, yellow is made using fine turmeric powder, blue is made using crushed flowers, while white is made using finely crushed seashells” Mr. Rakesh Nakash explains in the interview. Mr. Rakesh Nakash and his family are the only Nakashi family that still continues their legacy of Cheriyal Scroll Paintings. He further explains that the canvas used to make the paintings is handmade and is solely made for this art form. He adds “layers of white paste- white mud, boiled tamarind seed paste, rice starch and tree gum- are spread across khaki canvas which keeps the natural colors from fading away.”

He then continues to explain the significance of these scroll paintings and how they have evolved from the 16th century. “Initially Cheriyal art was used to make big announcement banners because of their bold and rich colors.” He explained how each color has its own significance, for instance, the color white was used to depict saintly figures while red was mainly used in the background to highlight the elements in the painting. This also caused Nakashis to use this art form to show and tell stories as they travelled from place to place. He further added “The types of stories painted on the scrolls were mostly based on Indian mythology and life during the 16th century. They signified the simplicity of life with the use of simple block and bold color schemes.”

However, the art form has evolved in a way to adjust with the modern tastes of people. For instance, Cheriyal paintings are now being painted on wearable clothes like saris with the use of artificial colors. This was a short description of how Cheriyal Scroll Paintings had come to be and how they are now. The point that stands out the most is the fading authenticity of this art form as it tries to adjust itself to modern preferences.

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