কবি : জ্যোৎস্না জরি
.
গন্তব্য অনেক দূর
হেঁটে যেতে হবে
গা গঞ্জ ছেড়ে
আরো দূরে বৈশাখী মেলা
নাগরদোলা
হরেক রকম দোকানের সারি
দশ টাকার লটারিতে
বড় বড় গামলা বালতি
তা নিয়ে চলে
সঞ্চালনা…
না না টিভির পর্দার মতো
সেলেব সঞ্চালক নেই
তবু মানুষ ছুটে যায়
তার কথা শোনে
টিকিট কাটে
মেলার গম গম আওয়াজে
লটারি মঞ্চে
কত বিজয়ী আসে
পুরস্কার হাতে চলে যায়
ওই সুখী মুখগুলো
ফুর ফুরে তাজা বাতাসে
আলপথ ধরে
হেঁটে যেতে যেতে
দু’চারটে গানের কলি
ছড়িয়ে রাখে
সুরে ভেসে যায়
জমে থাকা ব্যথা…
💙
شاعر: جوتسنا جری
.
منزل بہت دور ہے۔
آپ کو چلنا ہے
گاؤں بھر میں
بیساکھی میلہ تو دور ہے۔
خوش گوار ہیں۔
مختلف دکانوں کی قطاریں
اینکرنگ جاری ہے…
صرف دس روپے کی لاٹری جیتیں۔
ہاں… بڑے برتن اور بالٹیاں لے لو
نہیں، ٹی وی اسکرین کی طرح نہیں…
کوئی مشہور اینکر نہیں ہے۔
پھر بھی لوگ رش کرتے ہیں۔
اسے سنو
ٹکٹیں خریدیں
میلے کی مختلف گہری آوازوں میں
کتنے فاتح آتے ہیں۔
لاٹری مرحلے تک…
وہ ہاتھ میں انعامات لے کر چلے جاتے ہیں۔
وہ خوش چہرے
مٹی کے راستے پر چلنا
تازہ ہوا میں
جیسے ہی وہ حرکت کرتے ہیں…
وہ چند گانے گاتے ہیں۔
ان کا جمع درد
دھویا جاتا ہے
اس دھن میں…
💜
writer : jotsna jari
“I don’t know what truth is. We can’t think we’re creating truth with a camera. But what we can do is reveal something to viewers that allows them to discover their own truth.” – Michel Brault.
🌹Michel Brault 🔼
(25 June 1928 – 21 September 2013)
He was a Canadian cinematographer, cameraman, film director, screen writer & film producer. He was a leading figure of Direct Cinema, characteristic of the French branch of the National Film Board of Canada in the 1960s. Brault was a pioneer of the hand-held camera aesthetic.
Michel Brault was a bridge between Québec and the French New Wave, notably due to his collaboration with Jean Rouch, showing in Europe the recent achievements of direct cinema.
He his of most of NFB’s flagship works in direct cinema, including Les Raquetteurs (1958), Wrestling (1961) and Pour la suite du monde (1963). He also directed Orders (1974), a must-see film about the October Crisis, which occurred in Quebec in October 1970 and with which he won the 1975 Best Director Award at the Cannes Film Festival.
For the whole of his works, Michel Brault received the Victor-Morin Award (Société Saint-Jean-Baptiste de Montréal) in 1975, the Molson Award ( Canada Arts Council) in 1980, and the Governor-general’s Award in 1996.
In 1956, Michel Brault joined the National Film Board (NFB) of Canada and two years later he made together with Gilles Groulx Les Raquetteurs, a film that had a decisive influence on NFB’s french section in question of engaging in Direct Cinema movement.
As a cinematographer Brault was a pioneer of the hand-held camera aesthetic and collaborated with number of film directors from both North America and Europe.
In 1838, François-Xavier Bouchard returns to Lower Canada after a brief exile in the United States to continue to participate in the struggle of French Canadian patriots against the British authorities. But Bouchard is captured by the English company of Chevalier De Lorimier.
Les Ordres (Orders, 1974) follows five individuals who were arrested by the police during the time, towards the end of 1970, when the Canadian government rounded up people on the suspicion that they were members of the Quebec Liberation Front. Based on around 50 interviews conducted with those who lived through this ordeal, the film, in black and white and colour, is a shattering indictment of the misuse of power. The picture won Brault the best director award at the 1975 Cannes film festival, the only time a Canadian has won that particular prize.
🔺Director Denis Villeneuve told, “When I was designing the shots for Prisoners, I was thinking of Michel Brault. There’s a lot of confidence and simplicity, and strength in his work, and a lot of ambition at the same time… There’s inner strength, kind of Nordic strength, and calm in his work.”
🔺Québec Premier Pauline Marois, announcing special aid to expand a cinema special-effects studio, took a moment to “underscore what a giant Michel Brault was, with all his talents and everything he left as a legacy.”
🔺The British newspaper, The Guardian, called him “one of the great unsung heroes of cinema.”
🔺Actress M. Lanctot told Radio-Canada, “Michel had an exceptional eye. He had a vision that was very personal and very original. I don’t think it can be replaced.”
❤️
review : jotsna jari
ANDRÉ KERTÉSZ (2 July 1894 – 28 September 1985) was a Hungarian-born photographer known for his groundbreaking contributions to photographic composition & the photo essay.
Now he is considered one of the seminal figures of photojournalism.
Andre Kertesz is one of the most original and celebrated of photographers of the 20th century. He was a founder of the modernist photography that originated in the European avant-garde movements of the 1920s, and although his lifelong unwillingness to compromise his independence and his creation of “photographic poetry” made him an almost marginal figure for most of his life, his influence on the development of photography, particularly photojournalism, during the middle years of the century was profound. This comprehensive book accompanies a major retrospective exhibition of Kertesz’s work at Paris’s Jeu de Paume Museum (also visiting several other European venues including Winterthur, Berlin, and Budapest). The text is organized around the three main periods of Kertesz’s seventy-year-long career: Budapest, 1914-25; Paris, 1925-36; and New York, 1936-85. Each section of the text includes an illustrated historical analysis, a portfolio of works, and notes on particular elements of Kertesz’s style and practice. Many rare vintage and period prints produced under the photographer’s control are reproduced to highest standards in this beautiful book, reflecting the visual quality of this exceptional body of compelling and poetic images.
.He is known for his lyrical and formally rigorous pictures of everyday life. One of the most-inventive photographers of the 20th century, Kertész set the standard for the use of the handheld camera, created a highly autobiographical body of work, and developed a distinctive visual language.
Because of a lack of opportunities in Hungary, Kertész moved to Paris in 1925 to work as a freelance photographer. His poetic images of Paris street life, often taken from high vantage points, involve unexpected juxtapositions and make frequent use of reflections and shadows. In 1927 Kertész had a well-received show at the Au Sacre du Printemps Gallery in Paris. The following year he participated in the influential First Independent Salon of Photography. His photographs, notable for their blend of a romantic sensibility with modernist attitudes, were frequently cited by critics of the 1920s and ’30s as proof that photography could be considered a fine art.
The Fork, or La Fourchette, was taken in 1928 and is one of Kertész’s most
famous works from this period.
Books :
In 1933 Kertész published his first personal book of photographs, Enfants, dedicated to his fiancée Elizabeth and his mother, who had died that year.
This, the first edition of Andre Kertesz’ scarce first book, is a collection of images of children reflecting a quality evident in most of Kertesz’ work: a sense of the sweetness of life and a pleasure in the beauty of the world. Photographs by Kertesz; text by Jaboune (Jean Nohain). Unpaginated [48 pages]; 54 gravure-printed b&w images; 8 7/8 x 11 7/8 inches. Text in French.
He published regularly during the succeeding years. Paris (1934) was dedicated to his brothers Imre and Jenő. Nos Amies les bêtes (“Our Friends the Animals”) was released in 1936 and Les Cathédrales du vin (“The Cathedrals of Wine”) in 1937.
Kertész married Elizabeth on 17 June 1933. In 1936 they emigrated to New York where within a decade, they became naturalized citizens. Here his struggle & talent internationally flourished more.
In December 1937 Kertész had his first solo show in New York at the PM Gallery.
Gradually his work was featured in many exhibitions throughout Europe & America, including a one-man exhibition at the Museum of Modern Art in New York in 1964.
Washington Square, 1954
His legacy as an idiosyncratic & influential photographer has been acknowledged by critics internationally.
Publisher- Yale University Press (21 September 2010) Language- English Hardcover- 360 pages ISBN-100300167814 ISBN-13978-0300167818
Poet – Jotsna Jari
.
Days go by, years go by, months go by
The leaves fall like that
They come again as new.
.
The tree is incredibly persistent
The storm comes and breaks the leaves
How many fruits & flowers are wasted
The tree cries and feels pain
Yet the tree is silent.
.
There are some pains
who walk the way
in search of moonlight night.
How often some sleep
calls sweet dreams to bed…
.
Harsh sun on the glass window
that burns the body
But the mind is indifferent.
My eyes are twinkle now
My house is not
just random…
What is the harm in this little heat ?
.
Everything is haphazard
in the two-room rented house
This is the old residential house
just sweep & wipe the dust-rooms
Here is no moonlight at all
The floor is wet in monsoon
Water also plays
with reason… without reason.
.
People still live
in entertainment
Two or four color photo frames
appears on the TV screen
Ah… This is happiness…
.
Then
Tree and people
become one…
💜
Поэт – Йотсна Яри
.
Проходят дни, проходят годы, проходят месяцы
Листья так падают
Они снова приходят как новые.
.
Дерево невероятно стойкое
Буря приходит и ломает листья
Сколько фруктов и цветов выброшено впустую
Дерево плачет и чувствует боль
Но дерево молчит.
.
Есть некоторые боли
кто идет по пути
в поисках лунной ночи.
Как часто некоторые спят
зовет в постель сладкие сны…
.
Суровое солнце в оконном стекле
который сжигает тело
Но разум безразличен.
Мои глаза сейчас мерцают
Мой дом не
просто случайно…
Что плохого в этом маленьком тепле?
.
Все случайно
в двухкомнатном арендованном доме
Это старый жилой дом
просто подмести и протереть пыльные комнаты
Никаких заклинаний вообще
Пол мокрый в сезон дождей
Вода тоже играет
по причине… без причины.
.
Люди все еще живут
в развлечениях
Две или четыре цветные фоторамки
появляется на экране телевизора
Ах… Это счастье…
.
затем
Дерево и люди
стать одним…
💜
कवि – जोत्सना जरी
.
दिन बीतते जाते हैं, साल बीत जाते हैं, महीने बीत जाते हैं
पत्तियाँ ऐसे गिरती हैं
वे फिर से नए के रूप में आते हैं।
.
पेड़ अविश्वसनीय रूप से लगातार है
तूफान आता है और पत्ते तोड़ देता है
कितने फल और फूल बर्बाद होते हैं
पेड़ रोता है और दर्द महसूस करता है
फिर भी पेड़ खामोश है।
.
कुछ दर्द हैं
जो राह चलते हैं
चांदनी रात की तलाश में।
कुछ लोग कितनी बार सोते हैं
मीठे सपनों को बिस्तर पर बुलाता है…
.
कांच की खिड़की पर कठोर सूरज
जो शरीर को जलाता है
लेकिन मन उदासीन है।
मेरी आँखें अब टिमटिमा रही हैं
मेरा घर नहीं है
बस यादृच्छिक …
इस छोटी सी गर्मी में क्या हर्ज है ?
.
सब कुछ बेतरतीब है
दो कमरों के किराए के मकान में
ये है पुराना रिहायशी घर
बस झाडू लगाओ और धूल-कक्षों को पोंछो
कोई मंत्र
मानसून में फर्श गीली होती है
पानी भी खेलता है
बिना वजह… बिना वजह।
.
लोग अभी भी जीते हैं
मनोरंजन में
दो या चार रंगीन फोटो फ्रेम
टीवी स्क्रीन पर दिखाई देता है
आह… यही खुशी है…
.
फिर
पेड़ और लोग
एक होना…
⬆️
কবি – জ্যোৎস্না জরি
.
দিন যায় বছর যায় মাস যায়
পাতারা তেমনি ঝরে পড়ে
আবার নতুন হয়ে ওরা আসে ।
.
গাছ বেমালুম অবিচল
ঝড় আসে পাতা ভাঙে
ফুল ফল নষ্ট হয় কত
গাছ কাঁদে ব্যথা পায়
তবু নির্বাক ।
.
কিছু কিছু ব্যথা থাকে
জোছনা রাতের খোঁজে
পথ হাঁটে ।
কিছু কিছু ঘুম মিষ্টি স্বপ্নকে
কতবার বিছানায় ডাকে…
.
কাঁচের জানলায় কড়া রোদ
দগ্ধ করে দেহ
মন নির্বিকার ।
চোখ ঝিকিমিকি করে
আমার ঘরটা নিছক
এলেবেলে নয়…
একটু গরমে ক্ষতি কি ?
.
দু’কামরার ভাড়া ঘরে
এলোমেলো সব
পুরনো বসতবাড়ি
ঝাড়ো মোছো
মোটেও জোৎস্না আসে না
বর্ষায় স্যাত স্যাতে মেঝে
কারণে অকারণে
জলেরাও খেলা করে ।
.
মানুষ তবু বাঁচে
বিনোদনে
দু’চারটে রঙিন ছবির ফ্রেম
টিভির পর্দায় ভাসে
এটুকুই সুখ…
.
তারপর
গাছ আর মানুষে
এক হয়ে যায়… ।
💙
شاعر – جوتسنا جری
.
دن گزرتے ہیں، سال گزرتے ہیں، مہینے گزرتے ہیں۔
پتے ایسے ہی گرتے ہیں۔
وہ دوبارہ نئے کے طور پر آتے ہیں۔
.
درخت ناقابل یقین حد تک مسلسل ہے
طوفان آ کر پتے توڑ دیتا ہے۔
کتنے پھل اور پھول برباد ہو گئے
درخت روتا ہے اور درد محسوس کرتا ہے۔
پھر بھی درخت خاموش ہے۔
.
کچھ درد ہوتے ہیں۔
جو راستے پر چلتے ہیں
چاندنی رات کی تلاش میں
کتنی بار کچھ سوتے ہیں۔
میٹھے خوابوں کو بستر پر بلاتا ہے…
.
شیشے کی کھڑکی پر سخت دھوپ
جو جسم کو جلا دیتا ہے۔
لیکن دماغ بے حس ہے۔
میری آنکھیں اب چمک رہی ہیں۔
میرا گھر نہیں ہے۔
صرف بے ترتیب…
اس ہلکی سی گرمی میں کیا حرج ہے؟
.
سب کچھ بے ترتیب ہے۔
دو کمروں کے کرائے کے گھر میں
یہ پرانا رہائشی مکان ہے۔
صرف جھاڑو اور دھول والے کمروں کو صاف کریں۔
کوئی منتر بالکل نہیں۔
مون سون میں فرش گیلا ہوتا ہے۔
پانی بھی کھیلتا ہے۔
وجہ کے ساتھ… بلا وجہ۔
.
لوگ اب بھی زندہ ہیں۔
تفریح میں
دو یا چار رنگین فوٹو فریم
ٹی وی اسکرین پر ظاہر ہوتا ہے۔
آہ… یہ خوشی ہے…
.
پھر
درخت اور لوگ
ایک ہو جاؤ…
💜
review : jotsna jari
“Tell me how men kiss you / tell me how you kiss. “. – The Guest , 1914
🌹Anna Akhmatova 🔼
Anna Andreyevna Gorenko
(23 June 1889 – 5 March 1966).
She is better known by the pen name
Anna Akhmatova, was one of the most significant Russian poets of 20th century.
She won fame with her first poetry collections ( Evening’s publication 1912, Rosary 1914). Soon after the Revolution of 1917, Soviet authorities condemned her work for what they perceived as its narrow preoccupation with love and God, and in 1923, after the execution of her former husband on conspiracy charges, she entered a long period of literary silence.
After World War II, she was again denounced and expelled from the Writers Union. Following Joseph Stalin’s death in 1953, she was slowly rehabilitated. In her later years she became the influential centre of a circle of younger Russian poets. Her longest work, Poem Without a Hero, is regarded as one of the great poems of the 20th century. She is always as one of the greatest of all Russian poets.
🔺Her famous poem :-
Poema bez geroia (Poem without a Hero)
1973.
🔺Unique poem “Lot’s Wife”, 1991.
🔺In 1964 she was awarded the Etna-Taormina prize & an honorary Doctorate degree from Oxford University in 1965.
🔺Above Portrait of Anna Akhmatova by Olga Della-Vos-Kardovskaya,1914
“A land not mine, still
forever memorable,
the waters of its ocean
chill and fresh.
Sand on the bottom whiter than chalk,
and the air drunk, like wine,
late sun lays bare
the rosy limbs of the pinetrees.
Sunset in the ethereal waves:
I cannot tell if the day
is ending, or the world, or if
the secret of secrets is inside me again.”
– A land not mine, 1964
✍️ Isaiah Berlin described the impact of her life, as he saw it :
The widespread worship of her memory in Soviet Union today, both as an artist and as an unsurrendering human being, has, so far as I know, no parallel. The legend of her life and unyielding passive resistance to what she regarded as unworthy of her country and herself, transformed her into a figure […] not merely in Russian literature, but in Russian history in [the twentieth] century.
Poem by Akhmatova on a wall in Leiden
💙
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