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While the Easter Bunny might be the one bringing all the treats, vegetarians at Easter dinner are frequently forced to eat like bunnies -- as they nibble salad and some vegetables and ignore the traditional ham or lamb that is the centerpiece on the
While the Easter Bunny might be the one bringing all the treats, vegetarians at Easter dinner are frequently forced to eat like bunnies -- as they nibble salad and some vegetables and ignore the traditional ham or lamb that is the centerpiece on the table.
No wonder they dread the approach of holiday dinners. The centerpiece tends to be some variety of animal protein, and a large one at that.
My solution is to make one of the vegetable side dishes something special and substantial that would be welcome as an entr�e for vegetarians. Notice that I'm saying vegetarian and not vegan. These recipes all contain either eggs or dairy products, and a few contain both.
Although you have three new options here to try, you probably have multitudes in your repertoire. Any egg dish such as a quiche or frittata is a candidate, with the advantage that it can be served at room temperature so it can be made earlier in the day.
These dishes are all elegant, just what a holiday dinner should be. I've given a range of servings so you'll have enough for small servings for meat eaters and larger portions for those eating it as the main course.
Cost-Buster Cooking Tips
A tart pan with a removable bottom is a useful item to own for both sweet and savory baking. Removing the tart and placing it on a platter is far more dramatic than presenting a pie in a pie plate. If you don't have one, but want to improvise, line a pie plate with heavy-duty aluminum foil and grease the foil well. You'll then be able to slide the whole pie onto a platter.
"Blind baking" is the term given to partially or fully baking a pie crust before filling it. The purpose is to keep the crust from becoming soggy if the filling contains eggs and cream. There are two pitfalls to the procedure: The first is the crust shrinking down into the pan, which can be avoided if you chill the crust for 15 minutes before baking. The second is the crust puffing up from the steam created by the water in the dough. There are two ways to avoid this; the easiest is to prick the crust all over with the tines of a fork, and the other is to line the crust with a sheet of parchment paper or aluminum foil and then fill it with dried beans, uncooked rice or special metal beads called pie weights sold at kitchen stores.
While you can't pull off a few celery ribs from a stalk, there is no reason to buy asparagus in the bunches artificially created by the store or producer. If you need a dozen stalks, choose them and place them in a plastic bag. And if you need just a few slices of a vegetable to use as a garnish, see if they have it in the salad bar at the supermarket. While the price per pound is astronomical, it's better than wasting half of a bell pepper or red onion.
An oven-proof skillet is one that doesn't have a plastic handle that can melt if placed in a hot oven. These include cast iron, enameled iron or stainless steel. If you don't have one of these, wrap the handle of your skillet in a few layers of aluminum foil. That will protect it for the length of time that a dish such as this frittata cooks.
Ellen Brown, founding food editor of USA Today, is the author of 35 cookbooks, including "Mac and Cheese: More than 80 Classic and Creative Versions of the Ultimate Comfort Food." She lives in Providence. E-mail her at firstname.lastname@example.com.
Spring Vegetable Tart
Pie crust for a 10-inch single crust pie
2 tablespoons unsalted butter
1/2 red bell pepper, seeds and ribs removed, and sliced
12 asparagus spears, woody ends discarded and cut into 2-inch lengths
1 small yellow squash, sliced 6 scallions, white parts, and 4 inches of green tops, sliced
2 tablespoons chopped fresh tarragon (substitute 2 teaspoons dried)
3 large eggs
1/4 cup heavy cream
1/4 cup sour cream
3/4 cup grated Gruy�re or Swiss cheese
Salt and freshly ground black pepper to taste
Preheat the oven to 400 degrees. Press the pie crust into the bottom and up the sides of a 10-inch removable bottom tart pan or a 10-inch pie pan. Chill the crust for 15 minutes, then prick it with the tines of a fork. Bake the crust for 15 minutes, or until it begins to brown. Remove the crust from the oven and set aside. Lower the oven temperature to 375 degrees.
Heat the butter in a skillet over medium-high heat. Add the red bell pepper and asparagus and cook, stirring frequently, for 3 minutes. Add the yellow squash and scallions and cook for an additional 3 minutes, or until the vegetables are crisp-tender. Stir in the tarragon and arrange the vegetables in the crust.
Combine the eggs, heavy cream and sour cream in a large mixing bowl, and whisk well. Stir in the cheese and season to taste with salt and pepper. Ladle the custard over the vegetables.
Bake the tart for 20 to 25 minutes, or until the filling is set. Allow the tart to cool for 20 minutes. Remove the sides of the pan and serve warm or at room temperature.
Note: The crust can be baked and the filling can be prepared up to 2 days in advance. Keep the crust at room temperature and refrigerate the filling. Add 5 to 7 minutes to the baking time if the filling is chilled.
Makes 6 to 8 servings as a side dish or 4 servings as an entr�e.
Vegetable and Pasta Frittata
1 (6-ounce) package refrigerated angel hair pasta
3 tablespoons olive oil
2 small zucchini, thinly sliced 4 scallions, white parts, and 4 inches of green tops, thinly sliced
3 garlic cloves, minced
2 ripe plum tomatoes, cored, seeded and finely chopped
3 tablespoons chopped fresh basil
1/4 cup sliced green olives
8 large eggs
2 tablespoons whole milk
1/2 cup freshly grated
Parmesan Salt and freshly grated black pepper to taste
Preheat the oven to 425 degrees.
Cook the pasta according to package directions until al dente. Drain and set aside to cool.
Put the olive oil in 10-inch skillet over medium-high heat. Add the zucchini, scallions and garlic. Cook, stirring frequently, for 3 minutes, or until the zucchini is tender. Add the tomatoes, basil and olives. Cook the mixture for 5 minutes, or until the liquid from the tomatoes has evaporated.
While the vegetables cook, combine the eggs, milk and Parmesan in a mixing bowl. Season to taste with salt and pepper and whisk well. Stir the pasta into the eggs. Lower the heat to medium, and add the egg mixture to vegetables.
Cook for 4 minutes, or until the bottom of the cake is lightly brown. Transfer the skillet to the oven, and bake for 10 to 15 minutes, or until the top is browned.
Run a spatula around the sides of the skillet and under the bottom of the cake to release it. Slide it gently onto a serving platter and cut it into wedges. Serve hot or at room temperature.
Note: The vegetable mixture and pasta can be prepared 1 day in advance and refrigerated, tightly covered. The frittata can be cooked up to 3 hours prior to serving.
Makes 6 servings as a side dish or 4 servings as an entr�e.
Pasta Primavera
2/3 pound thin spaghetti
1/3 cup olive oil, divided
1 small onion, finely chopped
3 garlic cloves, minced
2 small zucchini, cut into 1/2-inch dice
1/2 pound mushrooms, wiped with a damp paper towel, trimmed and thinly sliced
1 green bell pepper, seeds and ribs removed, and sliced
1 (14-ounce) can diced tomatoes, drained
1 cup vegetable stock
1 cup heavy cream
1/4 cup chopped fresh parsley
2 teaspoons Italian seasoning
1 cup broccoli florets
1/2 cup frozen peas, thawed
Salt and crushed red pepper flake, to taste
3/4 cup freshly grated Parmesan cheese
Bring a large pot of salted water to a boil. Add the pasta and cook according to package directions until al dente. Drain, toss with 2 tablespoons of the olive oil, and keep warm.
While the water heats, heat the remaining oil in a large skillet over medium-high heat. Add the onion and garlic and cook, stirring frequently, for 3 minutes, or until the onion is translucent. Add the zucchini, mushrooms and green bell pepper. Cook for 3 minutes, stirring frequently.
Add the tomatoes, stock, cream, parsley, Italian seasoning, broccoli and peas to the skillet. Bring to a boil over medium-high heat and simmer, uncovered, for 3 minutes. Season to taste with salt and red pepper flakes, and simmer for an additional 2 minutes.
To serve, add drained pasta to skillet and toss with cheese. Serve immediately.
Note: The sauce can be prepared up to 4 hours in advance and kept at room temperature. Reheat it over low heat to a simmer before adding the pasta.
Makes 8 servings as a side dish or 4 to 6 servings as an entr�e.


text: It used to be that you could get away with just a website. Then you needed way to collect email addresses so that people could subscribe to it. Then those forward-looking social media pros started saying that RSS was the future of communications, then Twitter. Whatever the medium, its always been about making it easy for your audience to get updates from your website. With that in mind, I set up a Facebook Page for BlogCampaigning. All it will really do is pull in posts from here, but that doesn't mean you shouldn't become a Fan.

subset: commoncrawl


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Your novel is DONE! Kudos… Now it's time for editing.
Start by thinking about your readers. Writing is all about the reader. Sometimes we forget that. In the back of your mind, you always need to remember the reader, and his reactions as he reads.
In nonfiction, you write to inform, or to entertain, or persuade your reader. When you're writing fiction, you write to give the reader an emotional experience.
Think about the emotional experience you want to give readers before you start writing, when you choose the genre of your novel. Are you writing a mystery? A romance? A science fiction epic?
Think about how you choose what you'll read too. If you're reading a mystery, why did you pick up that book? What attracted you to it? What emotional experience are you hoping for?
Once you start writing however, you'll forget the reader, and that's how it should be. In your first draft, you simply write. You're discovering your story, and its characters.
Let's imagine that you've completed your first draft. You ensured that every scene you wrote had a viewpoint character, who had a goal. Each scene contained conflict, and ended in a disaster for your viewpoint character.
Now it's time to revise and edit your novel.
Nitty gritty revision: Motivation Reaction Units
Sadly, it's VERY hard to get what's in your head onto the page.
One of the best ways to ensure that you do that, is to make sure that every scene, and its sequel, contains a sequence of MRUs.
Randy Ingermanson has a wonderful explanation of MRUs. "MRU" means "Motivation-Reaction Unit." They're a way of decoding what's in your head, so that your reader has the experience you want him to have. Once you understand MRUs, and apply them, your writing will instantly improve.
As this article, Dwight Swain's Motivation-Reaction Units | The First Gates, says:
"Motivation-Reaction Unit is the fundamental building block of an action sequence (it's important to stress that it does not apply to description, exposition, or reverie). It's pretty simple: something happens, the hero reacts to it, the situation changes, and something else happens. "
MRUs are the way your reader experiences your fiction. Your reader is in your viewpoint character's body, seeing what he sees, and reacting as he does. They're powerful. You need to learn how to use them, and then write in MRUs as you edit your fiction.
Watch how writers use MRUs in your reading, too. Getting your head around MRUs is a challenge. Focus on scenes first. Does the viewpoint character have a goal? What's the conflict? How could you make the conflict more intense? What's logical? What's unexpected? What's the disaster?
In revision, you'll find that in some scenes, nothing much happens. Be brave. Delete those scenes. You're providing your reader with an emotional experience, remember. If there's no emotion, the scene must go. Save deleted scenes to an "Extras" file, if it makes you feel better.
Discovering MRUs, and using them, will immediately improve your novel. Sometime today, take an early scene in your novel, and rewrite it, using MRUs.
Step By Step To Fiction Which Sells: Plotting And Scene Magic
Your readers want to enter your novel's world. They want to experience your book -- they want to live your book with your main characters.More info →
Map It: For Writing Success — Fiction And Nonfiction Outlines Made Easy
I developed the tactics and strategies in this book to help myself. My students have found them essential to producing both fiction and nonfiction almost effortlessly.More info →
Resources to build your writing career
Get daily writing news and tips on the blog's Facebook page.
Need help with your writing? Visit our online store, or check out Angela's books for writers.
Updated: January 22, 2018
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Angela Booth
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- Writing A Book: 3 Tips To Help When You Have No Time - June 30, 2019
- Book Marketing: 3 Tips To Boost Sales Of Your Backlist - June 9, 2019


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Jordan Manley and the Arc'teryx boy's have been at it again! Awesome work guys, watching your videos is helping to keep me sane! Enjoy.
As a quick update, my knee is doing well and I hope that I can start physio on it after my next consultation on the 25th. I can nearly bend it all the way and it becomes more comfortable everyday, so fingers crossed things are progressing well and I might even get some proper skiing done in the spring. I'll need to learn to walk again first though!


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Brooklyn Nine-Nine
2013, 7 seasons to date
Latest Episodes
Show more
Season 1 Show All Episodes
Episode 1: PilotDetective Jake Peralta finds his work scrutinized when n...Oct 1, 2013
Episode 2: The TaggerWhen Jake arrives late for work, Captain Holt decides to...Sep 24, 2013
The Slump
With a backlog of unsolved cases, Jake finds himself in a slump. Meanwhile, Amy is put in charge of the Junior Police Program for at risk kids, but her efforts to inspire them fall flat.850844199
M.E. Time
Jake meets an attractive Medical Examiner, but their relationship slows down her work, much to his colleagues' annoyance. Meanwhile, Amy desperately tries to impress Holt.640550243
- +See All
Season 2 Show All Episodes
Episode 1: UndercoverJake's undercover operation ends in a successful sting,...Sep 28, 2014
Episode 2: Chocolate MilkHolt's old nemesis is in charge of the precinct inspecti...Oct 5, 2014
The Jimmy Jab Games
The precinct holds a competition while on stand-by for a motorcade, Holt has another run-in with Deputy Chief Wuntch, Boyle needs to get an incriminating videotape from Hitchcock, and Rosa thinks Peralta still has feelings for Santiago.416924127
Halloween II
The Peralta/Holt annual Halloween bet continues when Jake challenges the Captain that he can steal his watch before midnight. Meanwhile, Gina is upset that her dance team, Floorgasm, kicks her off the squad and Terry confronts her about her bad attitude.308128161
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Season 3 Show All Episodes
Episode 1: New CaptainNobody in the precinct likes the new captain, Wunsch con...Sep 27, 2015
Episode 2: The FuneralThe Nine-Nine gets another personnel change that could p...Oct 4, 2015
Boyle's Hunch
Jake thinks Boyle might have met his soul-mate in Genevieve, an art gallery owner, and he tries to help set them up. Meanwhile, Rosa deals with inter-precinct theft and Holt seeks Amy's help with an image campaign.984313184
The Oolong Slayer
Jake and Holt both get in trouble when they work on a serial killer case together in secret. The Vulture asks Amy and Rosa set up his birthday party. Boyle introduces Terry to a delicious new snack.262420118
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Season 4 Show All Episodes
Episode 1: Coral Palms, Part 1Jake and Holt adjust to their new lives in Florida under...Sep 20, 2016
Episode 2: Coral Palms, Part 2Jake and Holt plan their attack on Jimmy "The Butcher" F...Sep 27, 2016
Coral Palms, Part 3
The team goes to Florida to help Jake and Holt take down Jimmy Figgis, but their plan falls through due to an unexpected injury and another interruption from Sheriff Reynolds.81282969
The Night Shift
Jake, on his first case back at the precinct, commandeers the vehicle of Jess Day, (from New Girl) who's visiting New York. In the meantime, Holt tries to increase office morale and Amy wants to know why Rosa is taking such long breaks.48561957
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Season 5 Show All Episodes
Episode 1: The Big House Pt. 1Jake and Rosa each adjust differently to life in prison....Sep 26, 2017
Episode 2: The Big House Pt. 2Jake is torn between the warden and Romero, while a loca...Oct 3, 2017
Season 6 Show All Episodes
Episode 1: HoneymoonJake and Amy go on their honeymoon; Gina and Charles get...Jan 10, 2019
Episode 2: Hitchcock & ScullyJake and Charles investigate a case of Hitchcock and Scu...Jan 17, 2019
The Tattler
Jake and Gina attend their 20th high school reunion. Back at the Nine-Nine, Charles helps Rosa with her love life.512719160
Four Movements
Gina plays a high-stakes game of chess with Capt. Holt; Rosa and Amy take Gina out for a fancy brunch; Jake and Gina must use their wits to infiltrate a posh club.61592084
- +See All


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Sold for $101,000
on Jun 10, 2019
Absolutely spotless side by side duplex that gives the appearance of a single family residence. This is situated on a quiet residential street. You can definitely see the pride of ownership, with all the upgrades and improvements.
Thank you for stopping by Tidwell Realty. We are always eager and willing to help in your real estate needs. If we can be of any assistance please fill out the form below and we will be in contact with you.
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Photo: Harry Pammer/ Flickr
In recent years Austria has gone from sleeping beauty to innovation and progress. The country welcomes startups and its founders with open arms by providing support through a governmental agency.
Austria has emerged as a startup hub, especially in the fields of information technology, media and life sciences as well as creative industries. The American business magazine Forbes selected Austria as one of seven startup hotspots in Europe, not least due to projects such as the Pioneers Festival, where 1,600 startups from more than 90 countries meet with 400 investors from all over the world in Vienna's Hofburg Palace.
In order to found your startup as easy and efficient as possible, there are different initiatives you can turn to. One of them is called ABA – Invest in Austria; they offer comprehensive services – from funding to market opportunities and tax laws. Their team of 25 experienced investment consultants will advise and support you quickly regarding your startup questions. Unlike some other services in Austria the process is unbureaucratic and – perhaps the most important part – free of charge.
To read the full story, click here.


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Thank you For Your Interest In Dr. Jantz's Helping Christian Boys and Girls Summit Presentation.
Please Submit Your Email Address Below to Receive the Presentation.
By submitting your email address, you will receive Dr. Jantz's monthly newsletter with original articles and video content. You can unsubscribe at any time. Thank you!


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Am I Allergic to Alcohol?
2 different times in a year I have experienced swelling in my hands and feet after drinking about 3 alcoholic drinks.I have drank with friends on other special times without any symptoms at all. My hands and feet feel tight and they itch if you rub them. Ice and elevation help alot and by the end of the next day they are way better. Where do I start to figure this out. I am very healthy, not overweight, and excercise reg. I am 54 years old. Any advice would be helpful Thanks
Allergy to alcohol is very rare but it can occur. Your case is puzzling because your symptoms are only sporadic. You need to consult a specialist if you want to pursue this problem further.
For more information:
Go to the Allergies health topic.


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Last year, I wouldn't have believed you if you told me that I was going to launch a clothing line in the fall. This year has been the wildest and has exceeded many expectations. I have spent a lot of time rethinking my role as an artist. It's a weird thing; these rules we create for ourselves and directions we choose to follow.
The "Henry Matisse : Cut-Outs" exhibition at the MOMA comes to mind when I think about what inspired me to do this clothing collaboration with Bonmot. Though Matisse's earlier work was much more painterly, his later work with the cut outs reveals another side of his thought process. I was fascinated by how Mattise could go from one medium to the next and not miss a beat. He was very experimental with his work ranging from painting, to wallpaper, stained glass windows and ceramic panels. That's a very diverse and bold span of work for a painter in the 1940's.
That being said, I wondered why I felt like I was holding back. Quite honestly, the biggest concern was perception. As a female painter, I feel that I need to be extra cautious with most aspects of my career. This includes everything from the selection of exhibitions/galleries, social media presence and the work itself. Depending on the work of the artist, I think it's much easier for a male painter to sell work at a craft fair or design clothing while continuing to maintain a respected studio practice. This concern is exhausting on so many fronts. Artists should be able to create work and do business however they want. I'm determined to break this barrier. For me, art is about freedom. Why would someone ever hold back on something that can be so limitless.
When Becky Rauth from Bonmot, first reached out and suggested we collaborate, I have to admit- I don't think I took our first meeting seriously. About half way through our meeting, things started clicking. Our conversation was fluid and we had a mutual respect for each others goals with this potential clothing line. Our next meeting was in the studio and that's when my mind started to race with ideas. I thought- How can painting represent movement? We were suddenly getting into a new dimension of art. Outside of sculpture and painting, there's feeling. How would someone actually feel wearing the garment? I was sold.
What began as an admiration for Bonmot's design aesthetics and my investigation in art as installation grew into a collaboration that allowed us to explore the intersection of art and fashion. This was not an easy transition. The process of turning my work into wearable prints was iterative. What's captivating on canvas, doesn't necessarily translate into a garment. Our curiosity fueled this line. The process involved numerous conversations about concept vs practicality as we attempted to find common grounds. The result was a series of pieces that exposed the raw energy of my paintings and Becky's curatorial eye for organized chaos within a print.
Once we selected the textures and composition from my painting, we documented the final section and manipulated the print digitally to ensure it repeated, making the textures appear seamless. This was a process of documenting paintings and editing. Aside from working digitally, we worked with physical forms that we played with as we studied placement. Once the final designs were created, we had several conversations about style and garment selection. We designed hang tags as well as the tags that would be sewn into the dresses.
One of the most important steps was getting our collaboration seen. We hosted a pop up shop in The Mission District of San Franscisco. We worked with Susan from Homework design to outfit the space for 4 days. It was really interesting getting to know the community. Our neighbors were very friendly and helpful. This was a collaboration in every sense. Friends from allover helped us with mentoring and spreading the word.
It takes a village. So many thanks to my friends that you should know about:
Alicia Lund : Fashion Blogger
Caroline Rooney : Model and stylist
Em Scott : Photography
Jen Kay : Photography
Miche Tan : Hair + Makeup
Molly Thompson : Styling
Nichole Ciotti : Fashion Blogger
Paula Thompson + Nick Rothman : Zekis Bar
Susan Work : Homework Design
Woody Hambrecht : Alysisan Wines
View and purchase our clothing line, here.


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The GuitarRx App is free. Included with the app are 10 free riff lessons. In addition, bundles that contain riffs, licks and in some cases all parts of well known, commercial songs are available for purchase for a very modest price of between $0.99 to a few dollars.
To learn more about what bundles are available and their respective costs, please go to the Lessons Library page. In-app bundles can be found by selecting the "More" button in the GuitarRx app. Select a bundle and then follow the on-screen instruction in your smart phone to order.


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Please use the link above to find our curriculum maps for each class. It gives more detail about what each class is teaching.
The main components of the National Curriculum for English are:
• Spoken Language
• Reading (including phonics)
• Writing (including Handwriting)
• Spelling, vocabulary, grammar and punctuation
The National Literacy Framework produced by the DfE is the scheme of work we follow. This is delivered daily through a structured series of activities which develop a range of children's English skills.
We aim to:
We use a wide variety of teaching and learning styles to encourage our children to engage in English. The overarching aim of English in our school is to promote high standards of literacy by equipping pupils with strong command of the spoken and written word and to develop their love of literature through widespread reading for enjoyment.
Letters and Sounds is the phonics programme used throughout the school and we use a range of reading schemes including Oxford Reading Tree.
All of our learning is backed up by assessment where the children have the opportunity to look in detail at their work and with support, identify their next steps.
Children have open access to the Library Area and technology and use it frequently. They are taught how to research in the library and using search engines through formulating their own questions and by using a simplified catalogue to find the appropriate books. They are also instructed in many of the higher order reading and study skills through topic work carried out in the classroom.
A school bookshop is held from time to time when children and their parents have the opportunity to buy from a wide range of fiction and non-fiction.
The Way we learn…
We want the children to enjoy maths! Each pupil will learn new mathematical skills in a variety of subjects as well as through daily numeracy lessons. Practical application and problem solving is a central part to pupils' mathematical understanding. Pupils are supported by a wide range of resources, which are matched to the needs of the children
There are six broad areas in the National Curriculum for Mathematics:
• Number - place value, addition, subtraction, multiplication, division, fractions, decimals and percentages
• Ratio and Proportion – quantities, sizes, percentages, scales
• Algebra - number patterns, functions, and co-ordinates
• Measurement- units of measure, conversion, time, money, area, perimeter
• Geometry- properties of shapes, position and direction
• Statistics- collecting, representing and interpreting data, probability
The Mathematics curriculum enables us to teach all these areas with number, the main area of study, supporting work in all other concepts. Methods of teaching include class lessons and discussions, practical work, consolidation and practice and mental maths. We use a wide variety of material and resources to enrich the experience the children have during their maths sessions.
Mathematical concepts are more readily understood if children have been given practical experience and have the opportunity to discuss the activity. Opportunities are planned for to provide mathematical concepts in computing, science and geography. Parental support with home learning activities and taking advantage of opportunities such as:
identifying coins and counting money; telling the time; weighing in grams and kilograms; measuring in millimetres and centimetres; using a calculator and working out simple shopping problems; give additional support to work undertaken in school and reinforce concepts as they are learnt.
The aim of teaching computing is to give pupils the ability to use effectively IT tools and information sources. This involves:
• using information sources and IT tools to solve problems;
• using IT tools and information sources, such as computer systems and software packages, to support learning in a variety of contexts;
• understanding the implications of IT for working life and society.
This is done through the following areas:
• Programming • Online Safety
• Data • Media
• The Impact of Technology
In addition to a well-equipped computer suite, the school has an interactive white board in each room, plus a suite of laptop computers which can be used across the school.
The main aim of Science teaching is to allow pupils to develop scientific knowledge and understanding of biology, physics and chemistry, as well as an understanding of nature, processes and methods of science.
Through the areas of National Curriculum Science:
• Working Scientifically • Plants
• Animals (including humans) • Everyday Materials
• Seasonal Changes • Living Things and their Habitats
• All Living Things and their Habitats • Rocks
•Light • Forces and Magnets
• States of Matter • Sound
• Electricity • Properties and changes of Materials
• Earth and Space • Evolution and Inheritance
We aim to:
• help children enlarge their scientific knowledge and build up scientific concepts,
• develop skills that control and direct a child's own learning,
• develop a child's manual and manipulative skills,
• develop attitudes towards learning through observation and co-operation.
First-hand experiences are essential for the children to improve their investigative skills and the village and its surroundings provide plenty of opportunities for fieldwork.
Religious Education
Religious Education has equal standing in relation to core subjects of the National Curriculum in that it is compulsory for all registered pupils.
The time allocated for RE is 5% of the curriculum time; about one hour a week.
Religious Education provokes challenging questions about the ultimate meaning and purpose of life, beliefs about God, the self and the nature of reality, issues of right and wrong and what it means to be human.
The subject helps children develop skills such as empathy, analysis and evaluation. It promotes attitudes such as curiosity, fairness, respect and open-mindedness. It enables children to discover more about themselves and others.
Religious Education is concerned with learning about and from religions. At no point in RE lessons should children be indoctrinated to or from a religious tradition. They are given the freedom to think for themselves and make their own decisions about whether to follow a faith or none in their own time.
In Religious Education at Wick CE Primary School we aim that pupils might:-
We deliver RE in line with the South Gloucestershire Agreed Syllabus.
Children can be taught about any religious tradition and secular responses, but we typically have the following traditions as foci:
Badgers: Christianity and any other faiths as appropriate
Deer: Christianity, Judaism
Foxes: Christianity and Islam
Magpies: Christianity and Hinduism
Owls: Christianity and Islam
Peregrines: Christianity, Sikhism, Islam and Humanism
Woodpeckers: Christianity and Buddhism
Thematic units in KS2 allow for learning across a wider range of traditions.
By the end of their time at Wick CEVC Primary the children should have studied all six of the main world religions: Christianity, Islam, Hinduism, Judaism, Buddhism and Sikhism as well as engaging with non-religious worldviews such as Humanism.
Visits and Visitors
If pupils are to understand what it means to take a religion seriously it is important that they meet and engage with people with commitments to differing beliefs.
Visitors from different faiths are welcomed to the school to enrich the children's experiences and to provide a wider religious picture.
Visits to places of worship bring to life the learning children have done in the classroom and encourage a greater understanding and respect for others – so essential if we wish to live in a society founded on tolerance and consideration. The programme of trips and visitors that we run in our school has been widely recognised as good practice and celebrated in our latest SIAMS report as a major contribution to the Christian values of the school. It underpins our work on developing Fundamental British Values and helps with our Prevent Duty to counter extremist views. You can see some of our visitors on the visitors page on this website.
Right of Withdrawal
The right of withdrawal was first granted when RE was Religious Instruction. RE at Wick Primary School is non-confessional. We wish to be an inclusive community, however, the legal right remains. Any parent / guardian considering this should contact the head teacher to discuss any concerns about the policy, provision and practice of Religious Education at our school. Children withdrawn should have work set appropriate to their needs supplied by their parents / guardians to be completed in an alternative workspace where they can be supervised. If no such space is available they may have to remain in the classroom.


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Yeah, and when I sang? She came to me. *G*
So, we tallied the votes on all the fun names and Noelle was the winning name. Despite the fact I thought Killer was perfect, even Zan vetoed me on that one. Oh well, Noelle works. It's cute and it's very holiday-ish.
Here's Cali keeping an eye on her. I guess the kitty is afraid she's going to escape or something… not that that'd be a surprise or anything, Destiny (our last hamster) was a freaking little Houdini in training.
Playing under her water bottle.
Hiding in her maze…
…but deciding I wasn't going to feed her to the cat(s) after all…
Hangin' out on her wheel.
Playin' hide and seek, trying to freak mommy out.
And lastly, some fun video of her hauling furry little feet on her wheel.


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PHILADELPHIA – The Philadelphia Soul won their first home game of the season by defeating the Orlando Predators, 61-51, in front of 9,094 fans at the Wells Fargo Center. The Soul got back to .500 on the season after defeating Doug Plank and the Orlando Predators for the second time this season.
"We did a great job tonight," explained Soul head coach Clint Dolezel about the win. "There are still some things we need to work on as a team, but I'll take the win. I'm happy that we were able to hang on for this win, our team really came together and everyone did what they needed to do. I think there a few things we can tighten up on defense. But for right now, I'm happy with my team and happy we were able to pull things through together and finally get this win at home."
Russell Athletic Offensive Player of the Game Tiger Jones led Philadelphia receivers with five receptions for 114 yards and three touchdowns. Andrae Thurman had eight catches for 67 yards and one touchdown, while Ryan McDaniel recorded six receptions for 56 yards. Larry Brackins hauled in one catch for three yards and a touchdown.
Soul QB Dan Raudabaugh connected on 21-of-27 passes for 251 yards and six touchdowns.
On the ground, FB Derrick Ross finished the game with 23 rushing yards and two rushing touchdowns.
Riddell Defensive Player of the Game DB Rayshaun Kizer recorded five tackles, a forced fumble, fumble recovery, and an interception. LB Joe Goosby had 5.5 tackles on the night, while DB James Romain had 4.5 tackles and a 50-yard interception return for a touchdown.
Orlando's QB Aaron Garcia connected on 23-of-43 passes for 292 yards, six touchdowns and two interceptions. J. Lewis Small Playmaker of the Game WR Maurice Williams led the Predators' receivers with three touchdowns on six catches for 122 yards. WR T.T. Toliver hauled in 10 catches for 108 yards and a touchdown. DB Levy Brown led the defense with 6.5 tackles and a forced fumble.
Both teams scored two offensive touchdowns in the first quarter. Orlando scored on a 1-yard run by LB Marlon Moye-Moore and a 12-yard catch by WR Maurice Williams, with both extra points being missed. Orlando also had a 12-yard fumble recovery for a touchdown by DB Dominic Jones. Philadelphia scored on a 3-yard catch by WR Larry Brackins and a 23-yard catch by WR Andrae Thurman to close out the quarter with Orlando leading 19-14.
Philadelphia's defense was able to stop the Orlando offense twice during the second quarter. Once by forcing a turnover with a forced fumble and recovery by DB Rayshaun Kizer, and the other was a stop on fourth down. Both stops led to Philadelphia touchdowns, with FB Derrick Ross scoring on a 1-yard run and an 11-yard catch. Philadelphia's 21 unanswered points put Philadelphia in the lead, 28-19, at the end of the first half.
Orlando cut the Philadelphia lead to three at the end of the third quarter after scoring three touchdowns to Philadelphia's two. Williams recorded two touchdowns for Orlando on a 5-yard and 48-yard catch and WR T.T. Toliver scored on a 12-yard catch. Philadelphia's WR Tiger Jones kept the Soul ahead in the game, scoring on a 40-yard and 16 yard catch. The quarter ended with the Soul leading, 42-39.
The Soul opened up the fourth quarter with the Cutters Catch of the Game when QB Dan Raudabaugh hit Jones on another deep play, scoring on a 38-yard pass, but failed to convert on the extra point. DB James Romain made the AFL Highlight of the Game when he intercepted the ball for a touchdown on a 50-yard return. Orlando tried to fight back, scoring on two 3-yard touchdown catches by WR Jason Geathers, but fell short after Philadelphia sealed their win on a 2-yard run by Ross. The final score was 61-51.
The Soul will be on the road next week against the Tampa Bay Storm on Saturday, May 25 at 7:30 p.m. ET. The game will be aired on CBS Sports Network.
Russell Athletic Offensive Player: Philadelphia WR Tiger Jones
Riddell Defensive Player: Philadelphia DB Rayshaun Kizer
J Lewis Small AFL Playmaker: Orlando WR Maurice Williams
Cutter's Catch of the Game: Philadelphia WR Tiger Jones 4th Quarter TD Catch
Spalding Highlight of the Game: Philadelphia DB James Romain 50-yard interception for a TD


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Today I spoke with Henry Diltz.
He said in no uncertain terms he wants to see this campaign WIN!
In an extraordinary gesture, Henry has offered three more photos for the final week of the campaign, to be offered in the coming days, beginning today! But here's the most unbelievable part:
Mr. Diltz has graciously offered a select number of additional SIGNED 11 X 14's!
I have to tell you my friends, after seeing these photos myself, they are far more gorgeous and extraordinary in print, and Henry's personal signature is INCREDIBLY striking in a way that I have never seen before.
Diltz is world-renowned as the foremost photographer of the music industry during the late '60s, early '70s and beyond. He has photographed Paul McCartney, Cass Elliot, Joni Mitchell, James Taylor, Jimi Hendrix, The Rolling Stones, The Monkees and that's just the beginning! You will never see another offer like this.
This photograph of David Cassidy captures David in his most quintessential look of the decade. It is the face of an icon. It makes us smile. It's the essence of the young and hopeful David Cassidy whose voice has kept an entire generation following him.
For new backers, pledge $35 and you will receive an 8 X 10 high resolution print, or in Henry's EXTREMELY rare offer, you can choose a signed 11 X 14 for only $225! If you are a current backer, you can add the 8 X 10 to your pledge for only $30, and the signed 11 X 14 for only $195!! But hurry--
Not only are these photos a gorgeous keepsake for fans, but they are an INCREDIBLE investment to collectors! The value on one of the signed 11 X 14's is TRIPLE the actual cost! Your value goes up the second you buy it! Please remember: a signed 11 X 14 Henry Diltz goes for $500-$600 out of his studio!
This 48 hour offer expires May 28 at the stroke of midnight! (EST) Hop on the bus, everyone! Let's publish "When We're Singin'!"


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|Eric Capacia of Fierce Blogs
Saturday, June 13, 2015
Essilor Sight Center Launch
Posted by Fierce Blogs on 6/13/2015 09:04:00 PM
Labels: Dr. Emelita Roleda, Dr. Kyle Galias, Eric Capacia, Essilor, Eyecare, Eyewear, fierce blogs, Men's Accessories, Men's Eyeglasses, piolo pascual, Product Launch
Labels: Dr. Emelita Roleda, Dr. Kyle Galias, Eric Capacia, Essilor, Eyecare, Eyewear, fierce blogs, Men's Accessories, Men's Eyeglasses, piolo pascual, Product Launch
June 9, Tuesday, 9:00 AM, world leader in vision solutions and world's number one in Ophthalmic lens company once again proved that they are indeed ahead of the league by launching another first Essilor Sight Center. This is a project in partnership with a local university, Manila Central University, to provide optometry students access to the most advanced and updated technology in optical studies and vision solutions. Luckily, Fierce Blogs was given an early chance to check out the cutting-edge equipments inside the center.
Here are some early photos taken during the event of Essilor Philippines.
To officially inaugurate the opening of The Essilor Sight Center, a ribbon-cutting ceremony was conducted at Manila Central University. The ceremony was headed by Dr. Emelita Roleda; along with Essilor product endorser and ABS-CBN contract artist, Piolo Pascual. (more photos below).
On the same event and similar advocacy, I was really touched with the story of Pastor Ernesto Villacampa and how he ended up wearing one of the lenses of Essilor. That's why I knew I had to be creative during lunch time to catch up with him. and guess what?! We ended up sharing the same table and I was able to interview him while eating (shame on me! haha).
The story of Pastor Ernesto Villacampa proves how powerful Social Media is nowadays. One day, he was doing his usual Facbook browsing and chance upon the Facebook Page of Essilor Philippines. The humble pastor took his chance and left a message of hope and asked if Essilor can sponsor him a pair of corrective eyewear. A week later, Essilor contacted him and was asked to go to Manila Central University to have his eyes and prescription checked. The pair of corrective eyeglasses were turned over on that same day by Dr. Christine Rodriguez.
I'm sure you are also wondering what were the activities of forever heartthrob, Piolo Pascual at the Essilor launch; who appeared that noon along with his son, Iñigo Pascual. The older Pascual gave a short talk word of inspiration to the media, doctors and shrieking college students of Manila Central University.
To Essilor Philippines headed by Dr. Emelita Roleda and team, congratulations to one successful event! Your company's advocacy only proves that paying it forward is infectious! I left the Essilor Sight Center event feeling optimistic and inspired to share what I can for others to have a better vision too. Well, someday...
Great Saturday night to all my readers :)
Eric of Fierce Blogs
Follow me on Instagram and Twitter - @Fierce_Blogs
Your Lifestyle Page with an Attitude!
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GigaOm's Jeff John Roberts posts on a site that documents the execution of the "Right to be Forgotten."
"Hidden from Google" shows sites censored under EU's right-to-be-forgotten lawby22 HOURS AGO
3 CommentsSUMMARY:
A controversial law lets EU citizens remove search results from Google. A web developer who feels this is censorship has made a site to keep track of some of the sites that are disappearing.
the Hidden from Google website has an about page.
The purpose of this site is to list all links which are being censored by search engines due to the recent ruling of "Right to be forgotten" in the EU.
This list is a way of archiving the actions of censorship on the Internet. It is up to the reader to decide whether our liberties are being upheld or violated by the recent rulings by the EU.
This Right to Be Forgotten seems like it is the Streisand effect at scale.
The Streisand effect is the phenomenon whereby an attempt to hide, remove, or censor a piece of information has the unintended consequence of publicizing the information more widely, usually facilitated by the Internet.
It is named after American entertainer Barbra Streisand, whose attempt in 2003 to suppress photographs of her residence in Malibu, California, inadvertently generated further publicity. Similar attempts have been made, for example, in cease-and-desist letters, to suppress numbers, files and websites. Instead of being suppressed, the information receives extensive publicity and media extensions such as videos and spoof songs, often being widely mirrored across the Internet or distributed on file-sharing networks.[1][2]
Mike Masnick of Techdirt coined the term after Streisand unsuccessfully sued photographer Kenneth Adelman and Pictopia.com for violation of privacy. The US$50 million lawsuit endeavored to remove an aerial photograph of Streisand's mansion from the publicly available collection of 12,000 Californiacoastline photographs.


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Cello music for hives
On a beautiful Indian Summer Sunday, Cellist Jordan Hamilton offers a winter blessing for the hives—Enjoy!
Heat and collapsing honey combs
by HoneyLover Susan Rudnicki
The weather this summer in the LA basin has been record-breaking hot. These prolonged conditions stress the bees trying to maintain the proper temperature in their hives. They normally coat the insides of the hive bodies with water they gather, and fanning with their wings, induce a "swamp cooler" air conditioning.
I have seen the entire front of hives covered with bees trying to stay out of the interior—even great clumps of bees hanging from the front porch landing area. All this heat has caused the honey combs in two of my larger hives to fall out of the frames and fold over. It is quite the mess. Clearly, this trend of hotter, longer summers is being predicted by climate scientists, so something needs to be done to help the bees vent the heat.
I have fitted each hive with a wood framed, screened top board that fits under the regular migratory top. By turning the migratory top over (upside down) the cleats will create a shaded, one inch air space to relieve the bees' heat issue and not expose them to direct light. Very many more bees are now back inside their hives, instead of hanging out on the front.
RESULTS from HoneyLove 3rd Annual Honey Tasting!
1st Place: Raw Urban Honey – Culver City, CA
2nd Place: Tupelo Raw Honey – Savannah, GA
3rd Place: Organic Blue Borage Honey – New Zealand
4th Place: Zick's Orange Blossom Raw Honey
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Biodynamic Apiculture and Alternative Hives Workshop
Thanks to everyone who came out for our Biodynamic Apiculture and Alternative Hives Workshop!
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VOTE HERE: http://myla2050.maker.good.is/projects/HoneyLove
Earth Focus Episode 44 via Link TV
WATCH: Swarm + Abri van Straten
have ya'll seen my husband walk in to our latest #Bee swarm?
— Kristin Bauer van Straten (Actress on HBO's Series "True Blood")
Abri van Straten (Lead singer, song writer and guitarist of The Lemmings)
Last year, after an episode on HBO's series True Blood where Bill (Stephen Moyer) said to Pam (Kristin Bauer van Straten) "Oh good! The world needs more beekeepers!" the actors generously donated a few sweet items to our silent auction for our annual HoneyLove Yellow Tie Event!
Click here to read more about it on "The Vault"
CLICK HERE to get tickets to this year's YELLOW TIE EVENT (June 8th, 2013)!!
Honeybees for the WIN! MVCC voted YES for urban beekeeping. Next up Los Angeles City Council, but for now, we celebrate 🙂 Thank you for the massive support, none of this would be happening without YOU!!
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Help us save the honey bees!!
Your contribution directly supports the educational outreach, community action and advocacy efforts to protect the health and well-being of honey bees. HoneyLove is a 501(c)(3) tax exempt organization. Your donation is 100% tax-deductible.


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Contemporary Theatre of kashmir
Its evolution
Kashmir, which has a recorded history of about five thousand years back, had an age-old tradition of theatre which happened to be most rich in content and art. The history of Kashmiri drama viz-a-viz the theatre falls into three periods (1) Buddhist and Hindu period which lasted till early fourteenth century (2) The Muslim (Sultanate and Mughal) period which lasted for another five hundred years and (3) the contemporary period of the twentieth century.
The height of the popularity and public recognition of our theatre can be judged by the fact that every house patronized the performing arts – music, dance and drama as the young girls and boys were being trained by their talented mothers. There is a definite evidence to prove that in the days of Kshemendra, Kashmir had theatre of its own. A magnificent stage was erected for the royal court where famous dancers, musicians, and actors used to perform, which were highly applauded by the King and the people.
In Kashmir, according to Neelmat Purana, there were four most important occasions in a year when mostly these music, dance and drama activities were taking place i.e. (1) on religious festivals (2) on social occasions, (3) on agricultural festivals and (4) in winter on first snow fall occasion – so have the music, dance and drama of Kashmir taken the shape and form.
Historically the golden era of our music, dance and drama art forms – the richest performing art forms of Kashmir, was the 4rth to 7th century AD, when our music, dance and drama had reached to the zenith of its glory and every village had a stage of its own where music, dance and drama performances were held.
Kashmir has seen many a turbulent times after 12th century –viz- the invasions, attacks, floods, famines, raids, fires and epidemics from time to time and this has resulted in the loss of books, manuscripts and play-scripts. With the advent of foreign rule and invasions, decline in all forms of Kashmiri art and literature was quite an expected misfortune, consequently the folk taste survived in all its manifestations through Bhands of Kashmir in the shape of Bhand-Pather. Though the Kashmiri drama was banished from the royal court but back in the villages the class of artistes – folk-performers, continued to entertain the public in the popular folk-theatre-festivals knows as Bhand-Jashan. And Thus the theatre of Kashmir survived through the most powerful theatrical form, known as Bhand-Pather. Even during the Muslim rule, Bhands were the popular entertainers and used to cross Pir Panchal range and perform in Jammu, Himachal, Punjab and other areas entertaining people through their humorous plays.
With the advent of Muslim rule (14th Century) in Kashmir, The Kashmir theatre has received comparatively a great setback in urban community for lack of state patronage and public support for obvious reasons. However it did not disappear completely in Kashmir as the folk theatre form continued to receive applause in the remote and rural areas when they were performing in the folk-theatre-festival called Bhand-Jashan on one hand and entertaining the public on another. These Bhands almost played the role of good ambassadors of the public before the royal court as they had been advocating the popular plight by performing and enacting through satire and mimicry, the apathy and aggression of the rulers over the masses.
The time of Sultan Zain-ul-Abdin, aka Budshah (The Great King), (1420-70), when the stage enjoyed royal patronage, a Charita (Zaina Charith) in Kashmiri was written by Uttasom for performance. Shrivera in his Rajtarangini writes, "that Yodha (Bhoda) Bhat is a poet in the vernacular language –viz- Kashmiri, and composed drama, pure like a mirror called the Jain Prakasha (Zain-Villas) in which he gave an account of the King."
The popularity of music, dance and drama during his (Budshah's) time has been mentioned in detail by two important contemporary historians – Jonaraja and Shrivar. While describing the yearly spring festival held at Bijbehara, they wrote: "A magnificient stage was erected for the royal court where the famous dancers – Tara and Ansu performed to the great applause of the King and the people". Shrivar in his description has repeatedly used the word "actor". And both the historians have dwelt at length on the 49 modes of dancing so skillfully and harmoniously as the musical cadence demanded, brought out by these actress-singer during the performances." It continued flourishing till the fall of Chak dynasty (1586 AD).
Traditionally talking of our theatre, the oldest and the richest art form of our folk theatre is popularly known as "Bhand-Pather" which has preserved our theatre art form in all its manifestations. It has survived in all times only for its popular idiom, versatile metaphor and unique style in content, presentation and performance. These folk and wandering performs (popularly known as Bhands) are spread all-over Kashmir and have peculiar dress, improvising wit and humour in their acting, dancing and music – with the result it acquired the popular name of Bhand-Jashan – the performing occasion of Bhand-Pather, which later became the rocognised folk form of our theatre.
The Bhands of Kashmir used to perform from village to village while wandering and collecting food, money and cloths for themselves offered by the people, which was their only source of income and survival. They also happened to be invited on the marriage occasions of royals, rich and landlords to perform for days together – thus enjoyed a popular social recognition.
Almost all the Pathers (the folk plays) were played extempore. And the most popular Pathers happened to be the "Grees-Pather" (Pathers about Farmers), Watal-Pathers (Pather about cobblers), Darzi-Pather (Pather – portraying the tyranny of the Dards), Bakerwal-Pather (Pather about Bakerwals – a nomad tribe of Kashmir), Buhri-Pather (Pather about Bohris – the traders), Raze-Pather (Pather about the Rajas), Shikar-Gah (Pather about the animal kingdom and the human behaviour with animals), Gosani-Pather (Pather about Hindu-hermits), Angreez-Pather (Pather about the English), Armeen-Pather (Pather about the vegetable-growers) Hanz-Pather (Pather about Fishermen), Chakwal-Pather (Pather about Chakdars) and many more. To say there was hardly any cult, tribe, trade or community of which these Bhands didn't make mimicry – thus is the Pather named about.
The Contemporary Theatre of Kashmir
With the splay of modern sensibility, education and political awareness in the early twentieth century, many socio-religious institutions came into being which started staging plays on special occasions, festival, ceremonies and celebrations but it was just a couple of times in a year.
It was during the celebration of coronation of Maharaja Hari Singh in 1924-25 that Elfred Theatre Company of
The Amateur Dramatic Company was dominated by Govt. officials. It was established by Ram Krishan, Hassan Shah, Ram Nath Purbi, Sham Lal Punjabi, Krishan Narayan Dhar and it produced many plays of Agha Hashar Kashmiri and Narayan Prasad Betab in Parsi style like Khoobsurat Bala, Chandra Wali, Safaid Khoon, Zehraila Sanph, Dil Farosh, Bewafa Qatil, Yahoodi Ki Ladki, Achhut Kanya, Patni-Pratap, etc.
(part-i – 1925-40)
Dharmic Theatre
In the beginning many socio-religious organizations like Sanatan Dharam Kalla Mandir, Rashtriya Kalla Mandir were established in Srinagar. These groups staged Dharmic plays based on religious mythological stories, on the eve of religious festivals. The first such play "Satich Kahwaet" (The Touch-Stone of Truth) was written by Sh. Nand Lal Koul (1877-1940) in 1929 and was produced the next year by Ragunath Mandir and played continuously from 1929 to 1932. It was based on the famous puranic tale of Satyavan Harish Chander. Later he wrote some other plays like Dayi Lol, Prahlad Bhagat, Ramun Raaj. Following the suit, the other most popular plays written during the decade of thirties of nineteenth century are Satich Wath (The Path of Truth), Premich Kahwaet (The Touch-Stone of Love) by Tara Chand Bismil (1904-48); Ram Awtar, Sopana Vasudutta by Neel Kantth Sharma (1888-) based on Bhasa's Sanskrit play. The other popular plays written during the era are Aka-Nandun, Veer Abhimanyu, Krishan Sudhama, Raja Harish Chander, Krishan Janam, Shanker Parvati and many other plays. All these plays were staged at Raghunath Mandir, Fateh-Kadal and Shivalla Mandir Theatre, Chotta Bazar, Srinagar by many a groups for a long time as well as at all district headquarters especially the places where Hindu-centric festivals were held.
Some of the veteran artists of this era also managed to succeed in erecting a stage and a hall at Deewan Bagh now known as Karan Nagar, Srinagar though they could not build a strong theatre movement in Kashmir.
In the meanwhile Trilok Nath Veshnavi also wrote two Kashmiri plays with Hindi titles "Chitra" and "Samaj ki Bhool". Vidwa was another play staged by Rashtriya Kalla Mandir and Directed by Moham Lal Aima.
The history of contemporary theatre of Kashmir can as such be considered from 1931 AD when Kashmiris also started to think and act in terms of new hopes, aspirations, concepts and democratic rights in the light of independence movement and new political beginnings in the Sub-Continent.
After 1931 the sentimentally charged political unrest in Kashmir and the growing democratic awareness exploded the suppressed mob mentality and public conscience. Serious attempts were made to create a Kashmiri theatre.
In the meanwhile, Gh. Nabi Dilsoz (1916-41) wrote many plays based on literary poetic masterpieces namely Laila-Majnoon, Shireen-Khusraw. These plays became so popular that the HMV Raj Pal Company of Lahore recorded these plays on gramophone and the people used to listen to these plays for years. It is argued that the veteran poet of Kashmir, G. A. Fazil Kashmiri (1916-2004) also wrote two plays – Kokri Ka Pakh and Shireen-Farhaad, which were also recorded by the HMV Rajpal Company of
It was late in 1938 when the first full-length modern Kashmiri play titled "Grees-Sund-Ghare" (Home of the Farmer) was written by Professor Mohiuddin Hajni (1917-1993). The play is about the plight of Kashmiri farmers.
During this era, S.
(Part-II - 1941-50)
Progressive Theatre ERA
In 1942 a play named Bat-e-Harh (quarrel of Rice – the most popular food of Kashmiris) was written by Prem Nath Pardesi. It is said that the play was not allowed to perform but censored by Maharaj Kishan Dhar, the Governor of Kashmir and later burned by the censor board but Mr. Amin Kamil – the veteran poet, research scholar and writer of Kashmiri literature has contested this in the book – Soan-Adab-1976, edited by him and published by J&K Cultural Academy).
In the decade of 1940 to 1950 many revolutionary and historical events took place in the sub-continent in general and in
With the advent of the popular Quit-Kashmir-Movement launched in 1946, "Kashmir Cultural Front" was formed in 1947 on Oct. 26 by the progressive nationalists of Kashmir under the inspiring leadership of G. M. Sadiq.. It started street theatre movement. Under its banner, it staged play "Shaheed Sheervani" by Prem Nath Pardesi, the songs of which were written by famous Kashmiri poet Mehjoor and play "Kashmir Yeh Hai" by Mehmood Hashmi. In 1948, when Kashmir saw the worst tribal-raid on its soil from Pakistani occupied
Theatre of Propaganda - ERA
In 1947-48 Kashmir became the war-conflict zone and the State was actually partitioned. It turned into a bone of contention between India and Pakistan. Kashmiri writers also fell into two camps separated by ideological differences and the detested cease-fire-line (now called the Line of Actual Control). Thus the dramatists, the theatres and the theatre activists were first converged on the exigencies of propaganda rather than on canons of art. And the rest is the history of theatre movement in Kashmir.
The nationally emancipated indigenous theatre movement of Kashmir turned into a sponsored propaganda theatre movement in 1953 when the "Kashmir Cultural Front" was dissolved and a new cultural outfit by the name of "Kashmir Cultural Congress" was formed to propagate, propel and prosper the new political ideology of socialism, secularism and democracy as put forward on national level.
In 1953, Kashmir politics faced unprecedented debacle, which entirely changed the universal evolutionary process of our cultural movement viz-a-viz the theatre. Hence after during the decade of fifties Kashmiri theatre prospered nothing but just as a propaganda theatre. It adopted the style of operatic theatre – music-dance-drama form. Dina Nath Nadim had visited China where he had witnessed a Chinese opera "White Hat Girls" depicting progressive and socialist thoughts and on his return he wrote the opera "Bombur-te-Yimberzol" in 1953, which was later presented in Hotel Nedos in 1955 in connection with the first Jashan-e-Kashmir (Kashmir Cultural Festival) and the opera was witnessed by the then USSR President Chrischove accompanied by Balganyan.
In 1955 a book titled "Kuni Kath" (The only Message) was published by Lala Rukh Publications, which included three plays: "Son Samsaar" (Our World) by N. M. Roshan; "Pagah Chhu Gashdar" (Tomorrow is Bright) by Amin Kamil and "Viz Chha Saenie" (This is our Turn) by A. M. Lone. Shri Pushkar Bhan wrote three plays "Ya Tan Ya Tarakh", 3 / 4 and Dalar Sahib while Muzaffar Azim wrote San-31 (Year 1931). During this era some more significant operas were written and produced namely "Neek-te-Badi" by Dina Nath Nadim, "Himaal-te-Naigrai" by N. M. Roshan and "Bombur-te-Loler" by Amin Kamil.
In the meanwhile another counter-cultural outfit was floated by the name of "Kashmir Cultural Conference". It first produced Ali Mohamad Lone's play "Viz Chha Saenie" (The Time is Ours or This is Our Turn). It was under this banner that Amin Kamil's opera "Bombur-te-Loler", was also produced. On the other hand some theatre activists and artistes formed Kashmir National Theatre, headed by R. K. Braroo and patronised by Bakhshi Abdul Rashid, General Secretary of All J&K National Conference – the then ruling party of the State.
In 1956 the theatre groups came into competition with each other. Jashne-e-Kashmir (a cultural rendezvous), was organized by the Govt. patronized by Bakhshi Ghulam Mohammad, the then Prime Minister of J&K for which temporarily an open-air theatre was built at Hazuri Bagh (now the place of Youth Hostel). Kashmir National Theatre produced Habba-Khatoon written by Amin Kamil and directed by R. K. Braroo while as same play written by Master D. N. Koul (Madreir) was produced by Sudhar Samati Natak Vibagh which won first prize in the Jashan-e-Kashmir. In the mean time, on the other hand the Three Arts Club invited India's renowned theatre director Habib Tanveer. He directed his Urdu play "Mirza Shuhrat". After the production of Habba-Khatoon, Kashmir National Theatre heavily suffered financial crisis and was closed.
In 1958 the then Prime Minister of the J&K State, Bakhshi Ghulam Mohammad had a vision to establish J&K State Academy of Art, Culture and Languages, which became the basis for the new theatre movement in Kashmir. In 1959 Anjuman Taraqqi Pasand Theatre organised 32 shows in just five months.
After Kashmir National Theatre became almost non-functional when its assets were auctioned for financial crunch and many of its activists hence ceased to function for their own reasons, the Community Theatre of Sudhar Samati Natak Vibagh re-organised itself and renamed as Kashmir Kalla Kender. Under this title it had its first variegated cultural activity on Jan 25th, 1960 at Shivalla Mandir, Chotta Bazar, Srinagar, which included Mehfil-e-Mushaira, Music programme by veteran artistes and One-Act play production. The prominent activists of Kalla Kendre were Master Kashi Nath Bhan, Hasrat Khazanchi, S. N. Sumbli, Trilok Das, H. N. Gurtu, Prof. Zia Durani, M. L. Saraf and introduced the first female actress Chander Mohani followed later by Rita Lankar (Rita Jitender), Uma Khosla, Kumari Usha, Kumai Girja.
In 1960 under Tagore Centenary Celebrations by Govt, of
After the construction of Tagore Hall in
And from hereafter starts the Renaissance Period of Kashmiri Theatre.
Renaissance Period of Kashmiri Theatre
The decade of 1961-70 could be called the Renaissance Period of the contemporary Kashmiri theatre. With the construction of TAGORE HALL in Srinagar Kashmiri theatre was for the first time introduced to the modern techniques of the proscenium theatre in the concept of Lighting, Designing and Acting. It is from hence after that Five "R's" of modern techniques and concepts of theatre were introduced to Kashmiri theatre. i.e. Raag (Music & Dance), Ras (words – The script), Rang (Acting & Direction). Roop (Costumes & Make-up), Roshni (Lighting).
Akhter Mohiuddin wrote four plays, which were performed in the Tagore Hall. These included Aapan Hor Jang (Mother Lost the Battle) in 1960 which was the first play to be staged in the Tagore Hall in 1961, Nasti-Hund-Sawal (The Question of Honour), Sheesh-te-Sangistan (Glass and Stone-world) in 1961; Yi Bozum-Ti-Boziv (What I heard Listen That) in 1962.
In connection of the Tagore Centenary Celebration in 1961-62, Tagore's plays were translated into Kashmiri by the leading and renowned playwrights and scholars of Kashmir which included – three plays Qurbani, Malini, Chindal Kaet (Chander-Likha) translated by N. M. Roshan and published by Govt. Women's College Srinagar in 1961; Vozil Gulab (Rakht Karobi) by N. M. Roshan, Mukt Dhara translated by Ali Mohammad Lone, Dak Ghar translated by Amin Kamil and all these three plays published by Sahitya Akademi, New Delhi in 1962 under the title of TRE-NATAK by Tagore; Raze-te-Rani translated by Amin Kamil and Sontuk Ate-Gath and Rita translated by Mirza Arif, both the plays have been published by J&K Academy of Art, Culture and Languages in 1961 and 1962 respectively. These translations not only enriched the Kashmir theatre but also influenced the Kashmiri play-writing as well.
On March 26-27, 1961 World Theatre Day was celebrated in Vienna and it was in 1961 that Cultural Forum came into being under the President-ship of the then Prime Minister of J&K, Bakhshi Ghulam Mohammad and Akhter Mohiuddin was made its Secretary, which staged his play Sheesha-te-Sangistan.
To rejuvenate, explore and strengthen the folk and traditional theatre of Kashmir i.e. the Bhand-Pather, Kashmir Bhagat Theatre Akingam, Anantnag was established in 1961 by Mohammad Subhan Bhagat and later patronized by M. L. Kemmu, who had recently returned from
In streamlining this concept, the State organised 5th All India Welfare Exhibition and Cultural Meet from June 6-11, 1962, at the Open Air Theatre built at the place now known as Hazuri-Bagh,
In 1962 Kashmir National Theatre was again reactivated by some theatre activists viz. R. K. Braroo, D. N. Nadim and it produced the play "Ye Bozum Ti Boziv" written by Akhter Mohiuddin and directed by R. K. Braroo. It is to be noted that R. K. Braroo joined NSD later. In the mean time Kashmir passed through a great political change. Bakhshi Ghulam Mohammad was technically dethroned and the reign of the government was given into the hands of the Indian National Congress Party, lead by G. M. Sadiq. This had a great impact on the theatre movement later.
In 1964 Ali Mohammad Lone wrote a historical full-length play "SUYA" which won J&K Academy Award and Sahitya Akademi Award for him, while M. L. Kemmu wrote three plays – TRUNOVE, MANGAI in folk form and Tschai – a historical tragedy. Till then the political situation had also come to a stand-still and the new regime of G. M. Sadiq fully patronized the cultural movement viz-a-viz the theatre movement of
In 1966 the State Cultural Academy started holding annual drama festivals, which gave birth to many amateur and folk theatre groups that boosted the theatre movement in Kashmir. The prominent theatre groups among them from Srinagar were Kalla Kendra, Kashmir National Theatre, Theatre Arts Seminary (established by S. L. Dhar – Bahar in 1965), Jawahar Dramatic Club (64), Navrang Dramatic Club (66), Darshak Dramatic Club (66), Himalaya Bhand Theatre (66), Sangam Theatre (67), Rang-Manch (67), Vasant Theatre (69), National Theatre Badgam (69), Kashmir Bhagat Theatre (1961) - Akingam, Anantnag. These groups performed many Kashmiri, Hindi, Urdu and English plays which gave a popular recognition to our Kashmiri theatre. Many playwrights, actors and theatre-activists got public and state recognition winning awards in play-writing, acting, direction, designing and stage crafts, which boosted their morale to carry on the theatre movement of
New experiments started in theatre movement of
In 1968, Ali Mohammad Lone wrote another thought provoking drama "Taqdeer Saaz" produced by Rangmunch and directed by M. L. Saraf. This drama created a demanding space for new intellectual theatre, while M. S. Bhagat wrote play TAQDEER (a play about social exploitation of poor class by Burjuas) both produced in the annual drama festival of J&K Cultural Academy in 1968.
The playwrights and serious theatre-activists, who got prominence during this decade, were M. L. Kemmu, Soom Nath Pardesi, S. N. Zutshi, Soom Nath Sadhu, Pushkar Bhan, Mohammad Subhan Baghat, D. N. Raina, G. N. Baba, Aziz Haroon, G. R. Santosh, D. N. Baqaya, A. K. Rehbar, Sajood Sailani, M. L. Saraf, Pran Kishore, H. N. Gurtoo, Virender Razdan, Piare Raina, Abdul Majeed Bhat, Noor Shah, Hafiza Kausar, Ratni Mattoo and Brij Kishori.
It was during this decade when Kashmiri theatre experienced professional expertise of S. L. Dhar (Bahar) & R. K. Braroo – the two NSD Alumnus of 1963 & 1965 batches who directed Antigone and The Lesson respectively just after completing their training/graduation from National School of Drama (NSD), New Delhi. S. L. Dhar Bahar established Kashmir Art Seminary (
The English plays which were translated into Kashmiri during the decade of 1961-70 were: Thuj (Wild-Duck by Ibsen) translated by Soom Nath Zutshi and published by Sahitya Akademi in 1962; Julius Ceaser (Shakespeare) translated by Naji Munwar in 1964; The Lesson (Ionesco) translated by R. K. Braroo in 1965 and produced by Kashmir National Theatre; Antigone (Sophocles) translated by S. L. Dhar (Bahar) in 1965 and produced by Kashmir Art Seminary; Kanjoos (The Miser by Molier) produced by Regional Engineering College, Srinagar; Tschai (Ghost by Ibsen) translated by Akhter Mohiuddin; and Insaaf (Justice by Galez Worthy) translated by Akbar Ali Ansari.
Emergence of revived Folk Theatre of Kashmir:
There happened to be a number of Bhand families present all-over the Valley – especially in Akingam, Mohripora, Shangus, Gundpora in Anantnag District; Wathora, Ichhgam, Hanjigund, Soibug, Bambrooda-Beerwah in District Badgam; Thokerora, Balapora, Imam-Sahib, Wanpora, Rohmu in District Pulwama; Bomai-Sopore, Bandipora, Rihama, Tilgam, Palhalan, Lolpora in Baramulla District; and Kralpora, Gulgam, Karihama, Hatmulla, Drugmulla and Shumnag in District Kupwara.
In 1961, the first ever folk theatre group of Kashmir under the leadership of Mohd. Subhan Bhagat (playwright and director), was organized and registered by the name of Kashmir Bhagat Theatre Akingam-Anantnag. Mr Bhagat not only organised these Bhands in a repertory but consolidated the Bhand-Pathers and gave them a formal script shape in his book Bhand-Jashen, later published in 1984. Mr. Bhagat has been the leading light for the new generations of these Bhands who has won many laurels and honours on State and National level.
There are now almost over fifty registered folk theatre groups presently in Kashmir Valley. Among them the most popular and professional groups are Kashmir Bhagat Theater – Akingam, Anantnag; National Bhand Theatre – Wathora-Chadora, Badgam; Alamdar Bhagat Theatre, Mohripora-Anantnag; Wuller Folk Theatre, Zaingair-Baramulla; Gulmarg Luka Theatre, Palhalan-Pattan, Baramulla and Dilkash Folk Theatre, Hatmulla-Kupwara.
The tragic part of most of these folk theatre groups is the fact that they have turned to be the commercial performers of Bhand-Parties more than the traditional folk theatre groups by day and night defection in the run for money in the trading electronic-media world. This has badly diluted the artistic richness and traditional characteristics of our folk theatre.
Theatre of Revolution - Era
After 1970, the contemporary Kashmiri theatre took the real flight of modern sensibility in the artistic and aesthetic concepts. This decade can be well termed as the revolutionary era of the Kashmir Theatre Movement. New experiments were being made in style and form of play-writing and presentation. Many young playwrights and leading theatre activists came to forefront. Among them included H. K. Koul, Farooq Masoodi, Sohan Lal Koul, H. K. Bharti, Bhushan Betab, M. R. Naushaad, Bashir Dada, B. B. Yasir, Nisar Naseem, Amin Bhat, Nazir Josh and many others.
The most prominent amateur theatre groups which emerged during 1971-80 decade were Art Theatre, Himalyan Theatre, Shah Dramatic Club, Navrattan Natsar, Abhinav Bharti Theatre, Kamal Theatre, Sangermaal Theatre, Shaheen Theatre, Kalidas Theatre, Kashmir Theatre in Srinagar; Manasbal Dramatics Safapora, Mehboob Cultural Society Baramula, Wahab Dramatic Club, Hajin, Yatri Theatre Budgam, Maqbool Theatre Kralwari-Budgam, Kanwal Theatre-Anantnag, Kashmir Vijay Theatre, Sagam-Kokernag. And the most prominent theatre organisation, which launched a concerted rural theatre movement in Southern Kashmir, was Maraaz Cultural & Art Centre Shahabad, founded by B. B. Yasir in 1977. This theatre organisation became an Icon in creating a great theatre awareness in rural audience and won many laurels for its productions before its founder joined NSD in 1984.
Kashmir Theatre Federation (KTF):
The 1974 Annual Drama Festival of J&K Cultural Academy, which happened to be the festival of the theatre groups of
The creation of KTF was an important milestone in the history of the theatre movement in
In the meanwhile Doordarshan Srinagar opened doors for them. They got allured by its name, fame and 'game' thus theatre activity for Srinagar-based theatre activists remained nothing but a mental luxury to participate in the festival once in a year. As such KTF could not help itself to survive for the reasons of interests-clashes.
On the other hand the President of KTF Sh. Pran Kishore had got involved with the production assignments of J&K Cultural Academy where he was going to Direct "Vitasta" Opera of Academy and as such had been giving more time to Academy assignments than to the job of KTF while others had shifted to take the Doordarshan assignments, with the result it got disintegrated and the history of KTF ended with this sad demise at the hands of its founders.
In routine of holding annual drama festivals, the J&K Cultural Academy produced four operas Vitesta, Himala Ke Cheshme, Piya Baaj Piyale and Tipu Sultan, all directed by Pran Kishore, which were a new experimental productions in music, dance and dramatic style. These productions gave a new sensibility of artistic, aesthetic and professional style to Kashmiri theatre.
Since most of the theatre activists, especially of Srinagar were now more attached to DD and gave less time to theatre movement hence after, no one could build its own metaphor, idiom & style of the theatre till 1980. The movement continued to be either community theatre, propaganda theatre, or alien adopted theatre. As such no strong socio-political, revolutionary, modern theatre movement could emerge in the Valley for obvious reasons.
During this era many playwrights & theatre activists came to the forefront and emerged as stalwarts of Kashmiri theatre. The plays written and presented on stage during this decade are Totat te Aeni (70), Lal Bo Drayes Lolarey-72, Haram Khanuk Aeni (74) (by M. L. Kemmu); Fundbaaz, Gash Tarukh, Taeint Korr, Ropyi Rood, Votre Bunuil, Kaej Raath (by Sajood Sailani); Taqdeer, Havas, Mantin Leji Panzu, Aka-Nandun, Yiti Chhu Banvun, Poz Apuz (by M. S. Bhagat who also published his Play collections: Bhand Jashn, Divyi Rang, Taqdeer); Talash-69, Ba Chhus Tsoor-70, Aulaad (71), Vol-Harish (72), Reh-te-Aab, Budshah-75 (by A. K. Rehber); Natak Kariv Bandh (75), Dastaar (79) by (Hari Kishan Koul); Kus Log Davas (71), Bus Akh Sham (73), Bari Gau Lol (75), Soroi Sapud Raath (76), Narkapuri (78) (by M. L. Saraf); Cactus (79), Local Taxes Extra (80), Lash Ghar (80) (by Sohan Lal Koul); College Pather (75) (by Fraooq Masoodi); Bar Gai Yimberzol, Bei Phati Baman, Lal Vum Amaar (by Bhushan Betaab); Vakhtich Trai, Modur Zahar 9by M. R. Naushad); Zalur, Yeli Sanger Pholi, Funkaar, Maya-Zaal (by Bashir Dada), Pot Aaluv, Tim Gore Gai, Adam, Loal, Pragash (by Nazir Josh) and many others.
During this decade many classic plays from English and Indian Literature were also translated & produced into Kashmiri. These translations and productions opened the vision of the new playwrights, directors and actors to explore theatre arts with modern sensibility. These translations included Waiting for Godot (by Krishen Baldev Nad), Three Sisters (Three Sisters as Tre Beni by R. L. Shant), End Game, Inspector General (as Hakim-e-Eala by S. N. Zutshi), Dr. Fausts (by M. L. Saraf), while the translations of Indian plays included Kalai Tasmay Namah (A Marathi play by C. T. Khanulkar), Hatya Eik Aaakar Ki (by Lalit Sehgal), Rakt Kamal (by L. N. Lal), and many other Telgu & Malyalam plays (all translated by Mohan Nirash). In addition many other Indian plays produced on stage in their original languages by Kashmiri theatre groups which included Suno Jan Maijay, Pati Patni, Pagal Kaun, Baqi Itihaas, Konark, Nadi Piyasi Thee, Ashaad Ka Eik Din, Evam Inderjeet, Aadhey Adhurey, Panchwa Suwar, Apradhi Kaun, Kisi Eik Phool Ka Naam Lo, Mitti Ki Khushbu, Giddh, Zamana, Nagpash, Singhasan Khali Hai, Panchhi Aeise Bhi Aatein Hain, Thank You Mr. Glad, Aandhi Aur Ghat, Andha Yug. Most among these Indian plays were produced by Vasant Theatre and Directed by Ashok Jailkhani.
The Golden Era of Kashmiri Theatre
The Decade of 1980-90 could be considered as the Golden Period of contemporary Kashmiri Theatre. It was in 1980 when J&K Academy of Art Cultural & Languages, the only pioneering and patronizing institution of the state of Jammu and Kashmir working for the promotion of Kashmiri theatre, started holding District Drama Festivals in all districts of J&K. In
A Galaxy of new theatre groups and theatre activists emerged in rural areas of Kashmir. The prominent groups which sustained their existence were Gulshan Dramatic Club, Chrari Sharif-Budgam; Samad Theatre, Now Pora Chadora-Budgam; Young Welfare Culture Forum, Tangmarg-Baramulla; Razaq Dramatic Club, Shopian-Pulwama; Bazm-e-Saqafat, Shopina-Pulwama; Zaffar Dramatic Club, Keller-Pulwama; Alankaar Theatre, Srinagar; Kashmir Kalla Manch, Srinagar; Indian Theatre Alliance, Srinagar; Azad Dramatic Club, Ganderbal-Srinagar.
During this decade some young theatre activists, came into fore-front who were playwrights and directors simultaneously and lead a strong rural theatre movement in Kashmir. These included Bashir Dada, B. B. Yasir (aka Yasir Kashmiri who wrote plays - Amaneth, Pagal Kus, Modur Mas, Tekhleeq, Masoom Yateem Lalo, Aka-Nandun, Vothu Lalo Nindrey, Par-Daruk), Amin Shakir (Play – Tasruf), Shams-ud-din Shameem (Plays - Begur Bane, Atschun Safar), Aziz Hajni (Play – Arman, Tamhas Tawan, Mazar-e-Shora, Pather Chhu Jari), Nisar Naseem (Palys - Sarfa Yagyi, Pagah Sholi Duniya, Ba Chhus Yithai Badnam, Wo-Badur, Tschali-Koot, Ba –te- Maein Daed, Rani Dida, Aes Chhi Timai, Raze Reshi Vanuk), M. Amin Bhat (Plays – Rum, Myoon Kyah Soonchvu, Yas Yi Hajath Tas ti Rawa).
In 1987, a new mile stone was laid down in the theatre movement of Kashmir when Bhawani Bashir Yasir, after completing his Degree in Dramatic from National School of Drama, New Delhi; established a theatre repertory by the Name of KALAKAAR REPERTORY CIRCLE, DORU-SHAHABAD-Anantnag. Almost 20 artistes who were affiliated and active with Maraaz Cultural & Art Centre Shahabad-Doru-Anantnag, were appointed properly as the Apprentice Fellow of the Repertory for two years in the first instance. The Repertory made a good head way when it participated with its production of play AKA-NANDUN in the North Zone Theatre Festival of Sangeet Natak Akademi held at Simla in Sept. 1988.
It was the result of a concerted efforts of B. B. Yasir and despite the explosion of militant uprising in Kashmir which was spear-heading all socio-cultural activities in the Valley that Maraaz Cultural and Art Centre Shahabad, Doru-Anantnag-Kashmir, organized a three days' STATE THEATRE CONFERENCE at Tagore Hall Srinagar in Sept. 1989. This was first of its Kind in the history of the theatre movement of Kashmir, attended by almost 150 delegated from Kashmir belonging to 35 theatre groups in addition of the other theatre experts, observers, paper readers invited to the Conference.
On the occasion of the State Theatre Conference, a festival of nine plays was also organized by the name of BUDSHAH DRAMA FESTIVAL and three plays were staged daily and witnessed by the participating delegates. This festival helped the participating theatre activists to experience a wide range of contemporary theatre experiments.
It would be worth to mention here that in 1988 B. B. Yasir, with the cooperation of Ab. Lateef Khatana (NSD Alumni) and Gulzar Ganaie – the prominent professional theatre activists of Kashmir, tried to create a joint platform for the rural theatre activists of Kashmir Valley so that they could share their experiences and experiments in theatre of Kashmir and pave way for exploration, growth and joint efforts. His efforts received a very warm response and in July 1989, Ensemble Kashmir Theatre Activists (EKTA) came into being. And to give it a big boost and public recognition, the Budshah Drama Festival was attributed to EKTA, organized along with the State Theatre Conference in Sept. 1989 at Tagore Hall Srinagar.
Many other Indian plays which were also produced in their original language on stage by Kashmir theatre groups during this decade included Dulari Bhai, Eik Aur Dronacharya, Suryi Ki Antim Kiran Se Suryi Ki Pehli Kiran Tak, Juloos, Sari Raat, Bakri, Faisla, Santola, Bhooma, Ameobha, Good Bye Swami, Ant Nahien; while as the English plays translated and presented in Kashmiri included All My Sons, The Just (both Directed by Gulzar Ganaie) and King Oedipus produced by Maraaz Cultural & Art cCentre Shahabad-Doru and translated and directed by B. B. Yasir, which won all the prestigious seven awards in the Annual Drama Festival of the J&K Cultural Academy of Kashmir in 1987.
Its Role and Contribution to boost Kashmiri Theatre.
Sangeet Natak Akademi (SNA), the national academy of music, drama and dance, had had, by all means, played its serious and due role to promote, boost and strengthen Kashmiri theatre.
Apart from providing financial assistance to prominent music, dance and drama groups of the State, it had been holding theatre workshops for Kashmiri theatre activists in collaboration with the J&K Academy as well.
Under its scheme of promoting young theatre directors and helping them to explore indigenous folk and traditional performing art genres of their regional theatre in the contemporary context, applications, innovations, significance and treatment. It organized zonal Theatre Festivals.
Under this scheme, introduced in 1985, from J&K State, three young directors viz Ravi Kemmu (NSD Alumni) directed Gosaeni Pather with National Bhand Theatre, Wathora-Chadora, Budgam; Nisar Naseem directed Rani Dada & Sarf-Yagyi with Mansbal Dramatics Safapora-Baramulla and Bhawani Bashir Yasir (NSD Alumni) directed play Aka-Nandun with Kalakkar Repertory Circle, Doru-Anantnag; and participated in the North Zone Theatre Festivals held at Luckhnow, Kurukshetra, Jammu and Simla in 1985, 1986, 1987 and 1988 respectively.
Besides Sangeet Natak Akademi has had awarded two theatre personalities of
It has been inviting the theatre groups, mostly the folk theatre groups, from the Valley to participate in its national theatre festival held in the country under its aegis.
Role of National School of Drama – New Delhi.
its contribution in contemporary Kashmiri theatre.
National School of Drama, the prime institute of Asia to provide professional training in theatre arts, has had played a modest role in promoting theatre aesthetics of Kashmir by conducting a couple of workshops in Kashmir.
The first such Workshop was conducted in 1970 at Ghandi Bhawan, Jammu, Directed by Ebrahim Alkazi, in which 36 students from the Valley participated including Trilok Das, M. L. Sadhu, Zahid Nashad, Gh. Hassan Rather, S. N. Sumbali, H. N. Gurtoo, Farooq Masoodi, M. L. Saraf. The workshop-production play Aadhey Adhure written by Mohan Rakesh was staged on the concluding day.
The second such theatre-workshop by NSD was organised in
Apart from these workshops, eleven persons from 1960 to 1987, from the Valley of Kashmir could qualify to join NSD to seek professional training but most of them did not return back to the Valley to contribute their part to build, rejuvenate and boost the professional theatre in Kashmir. Instead they preferred to stay in
The NSD Alumnus from the Valley of Kashmir are:
1. Sham Lal Dhar (Bahar) Budgam/Srinagar 1963 joined Education Deptt.
2. R. K. Braroo
3. M. K. Raina
4. Bansi Koul Srinagar 1973 based in Bhopal, MP
5. K. K. Raina
6. C. S. Raina
7. Virender Razdan
8. Miss Raj Kiran Koul
9. R. S. Keemu
10. Ab. Lateef Khatana Kupwara 1986 joined NSD, TIE
11. Bhawani Bashir Yasir Doru-Anantnag 1987 Returned back to
After 1987 till 2005 none of the theatre activist based in Kashmir Valley could make its entry to join NSD for many obvious reasons.
It may be apt to note here that NSD has not so far performed in the Valley that could also have forced the theatre activists of
Needless to mention in 2002 to 2006, under its extension programme, NSD had conducted continuously five theatre workshops in Srinagar, Directed by M. K. Raina in which about ninety students in total got trained in theatre arts but only a couple of them have seriously taken to theatre profession. And that paved a way for entry of new enthusiasm and spirit into the erstwhile dead theatre movement of Kashmir.
J&K Academy of Art, Culture and Languages
(Its role in the theater movement of Kashmir)
1- Introduction:
Jammu and Kashmir Academy of Art Culture and Languages, which was declared an autonomous body in 1963, was constituted in 1958 by the then Prime Minister of Jammu & Kashmir, Late Bakhshi Ghulam Mohammad and has been the only indigenous pioneering organisation of the State to preserve and promote Art, Culture and Languages in Jammu and Kashmir and has been, as such, the central force to strengthen, rejuvenate and boost the theatre movement in Kashmir as well.
2- Providing Financial Aid to Theatre Groups:
The Academy had been granting financial assistance to the theatre groups, registered under J&K Societies Act. This encouraged the theatre groups to survive and sustain on one hand and allured them to preserve theatre-arts on the other hand.
3- Holding Annual Drama Festivals and awarding Prizes:
The Academy had been holding the Annual Drama Festival right from 1961 firstly in
In these festivals, the Academy awarded prizes for Best Production, Sets, Costumes, Music, Direction and Acting (Male and Female). Though the amount of award happened to be a mere sum but it gave recognition and boost to the theatre activists which helped to most of them to have employment in Radio Kashmir and Doordarshan Kendra Srinagar.
4- Holding Playwright and Theatre Workshops:
The Academy has, more often than not, been conducting Playwright workshops and Theatre workshops in Kashmiri. This encouraged new promising talent in Kashmiri theatre. It has also been collaborating with Sangeet Natak Akademi and National School of Drama,
5- Holding Rural District Drama Festivals at District level.:
From 1980
6- Awarding Prizes and Subsidy for Play Scripts/Publications:
The Academy, more often than not, has had been holding the play-script competitions and awarding prizes for the best script. Not only this, it had been giving subsidy to playwrights for publishing their plays. This has been the main source of boosting play writing and publications. Needless to mention that almost all the plays published in Kashmiri are because of this support. In addition, it had published special editions of its quarterly journal "SHEERAZA" in which plays of young and senior playwrights were published, besides publishing in it the articles by Kashmiri theatre stalwarts on Kashmiri drama from time to time.
7- Producing Plays and Operas:
Besides producing plays – especially to mention a few like Jheel Bulla Rahi Hai, (Lone) directd by Pran Kishore, Khamosh Adalat Jari Hai, Spartacus, Jaloos, Thank You Mr. Glad – directed by Kavi Rattan Sharma; the Academy, occasionally under its Repertory scheme, has been producing operas on its own in mid seventies. During that decade it produced four operas – Vitasta, Himala Ke Cheshme, Piya Baaj Piyala and Tipu Sultan, which traveled almost whole of India carrying the message of love and national integration and to win many laurels for the Academy. These operas not only developed a new professional, artistic and aesthetic sensibility among the theatre activists but also created a good theatre audience as well.
I feel it my moral duty to specially mention the names of Sh. M. Y. Teing (Rtd. Secretary Academy), Lt Ali Mohammad Lone, (Rtd. Dy. Secretary
Unfortunately the Central Secretariat of the Academy at Lal Mandi, Srinagar got fire in 1999 and, with the result; besides the assets of the Academy in the shape of books, manuscripts, paintings and artifacts etc; most of the records, documentation and published material in the shape of Annual Reports, gramophone recordings of Academy regarding their activities in the field of Art and Culture in general and the brochures, cards, photographs of their theatre activities in particular were destroyed as well– really a great loss that could not be recovered.
The Black Era of Kashmiri Theatre
The Decade of 1990-2000 would be remembered as the blackest era of contemporary Kashmiri Theatre. It was in 1988 when militancy exploded in the Valley for the cherished goal of national emancipation. The mass-mentality took a great turn. The popularly supported militancy started dictating the terms. The mass-exodus of Kashmiri Pandits in 1990 changed the color of Kashmiri cultural ethos. Hence under the threat of militancy rather mass reaction all the socio-cultural and theatre activities came to a stand-still.
In 1990 The central place of theatre activities – viz Tagore Hall Srinagar was burnt, Director Radio Kashmir Mr. Lassa Koul was killed, Secretary J&K Cultural Academy, Mr. M. Y. Teing received a life threat – thus not only the theatre movement of Kashmir but the entire cultural ethos of the Valley was almost under threat. And not only the cultural institutions, organizations, societies, dramatic clubs became irrelevant even the
With the mass-exodus of Kashmiri Pandits, the theatre in Srinagar City almost died because most of the theatre groups were run by Kashmir Pandits exclusively. Not only this, the most tragic part of the era is that with the closure of these theatre groups we have lost the documentation treasure of the theatre of Kashmir as well. All these Kashmiri Pandit theatre activists are presently scattered all-over
And from this date the theatre of Kashmir went into coma.
(A New beginning)
After a big gap of almost about twelve long years, with the supportive and encouraging initiative of Bhawani Bashir Yasir, who came to the forefront after he had returned from his self exile after ten years from Pakistan in 2000, the J&K Academy of Art Culture & Languages organized a theatre festival of six plays in 2002 at Tagore Hall Srinagar in which almost all the productions were the repeat performances of the mid- nineties era. Nevertheless this encouraged the theatre activists to rejuvenate the theatre movement of Kashmir. And from this date Bhawani Bashir Yasir took many initiatives in that direction which helped him rather forced him to take the lead in rejuvenating and institutionalising the theatre movement of Kashmir.
After the most commendable big event of the State Theatre Conference held at Tagore Hall Srinagar in 1989 under the patronage of Bhawani Bashir Yasir, Kashmir Cultural Society, Srinagar took a great initiative to hold a one day seminar on the eve of World Theatre Day on March 27, 2004 at Tagore Hall Srinagar.
In this seminar the eminent theatre personalities were invited which included M. L. Kemmu, Bhawani Bashir Yasir, Shabbir Mujahid, Gulzar Ganaie, Krishan Langoo, Sajjad Hussain and Dr. Ali Nishter; besides a big number of the theatre activists of the Valley who participated in the Seminar.
It was in this seminar that Bhawani Bashir Yasir wowed to establish a theatre academy and a drama school in
And from here started a new beginning of the theatre movement of Kashmir. After a series of meetings with Mr. Gulzar Ganaie, M. L. Kemmu, Sajood Sailani, Ab. Lateef Khatana, Ensemble Kashmir Theatre Akademi – EKTA was formed in October 2004 by Bhawani Bashir Yasir with the encouraging gesture from National School of Drama to provide all possible support.
After preliminary establishment of EKTA, B. B. Yasir instituted EKTA School of Drama-cum-Repertory in 2005 and conducted, in the first preference, Children's folk theatre workshop, the participants of which later participated in Bal-Sangam of NSD. It was in 2006 that admission to regular classes of Children Theatre Workshop, Sunday Theatre Workshop, Theatre-in-Education Workshops and Certificate Diploma Course in dramatic arts were conducted. And this laid a sound foundation for institutionalization and revival of Kashmiri theatre.
Last but not the least, in 2005 Doordarshan organized a theatre festival of selected plays, not inviting entries by wide publicity, which later proved a big event as covered by Doordarshan in its half hour daily programme on the theatre festival. The prize distribution function was equally a big event that boosted the morale of the theatre activists.
Bhawani Bashir Yasir


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Our senior creatives have come from the top agencies and won all the Lions, Pencils, Andys and Effies there are to win.
We began life as an agent for English copywriters in Amsterdam and grew to work across Europe. English copywriting is still our major strength because English is the main European language.
Our pan-European service meant that we grew to fill the demand for other nationalities of copywriters, not just English. Call us if you need a French, German, Belgium, Spanish, Italian, Swiss, Austrian, Norwegian, Danish, Swedish or Finnish copywriter. As well as Eastern European copywriters from Estonia, Lativia, Lithuania, Belarus, Ukraine, Moldova, Romania, Bulgaria and from all over the world such as US copywriters.
Our unique, European copywriter network also provides an unparalleled transcreation service (translation by a copywriter into their native language). Major companies work with us to perform complex creative transcreation projects in multiple languages.
Build your own agency. We offer the creative to make a viral campaign, the copywriter to write the website, and can source the designer to build it and a strategist to co-ordinate it all.