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Showing posts with label Bangladeshi General Culture. Show all posts
Showing posts with label Bangladeshi General Culture. Show all posts

4/14/2010

Happy Bangla New Year 2010 - Subho Noboborsho 1417




































BCII wishes a very happy
Bangla New Year!




Happy 1417 to everybody!
Wonderful 2010!



Bengali New Year (Bengali: Nôbobôrsho) or Pohela Boishakh (Pôhela Boishakh or Pôela Boishakh or Poila Boishakh) is the first day of the Bengali calendar, celebrated in both Bangladesh and West Bengal, and in Bengali communities in Assam and Tripura.


Pohela Boishakh connects all ethnic Bengalis irrespective of religious and regional differences. It falls on April 14 or April 15 of the Gregorian calendar depending on the use of the new amended or the old Bengali calendar respectively.


In Bangladesh, it is celebrated on April 14 according to the official amended calendar designed by the Bangla Academy.


In Bangladesh, Pohela Boishakh is a national holiday and in West Bengal and Assam it is a public holiday.

3/25/2010

26th March 2010 - Independence and National Day of Bangladesh



The nation observes the Independence and National Day
paying deep homage to the martyrs and recalling their supreme sacrifices in the Liberation War of 1971.


Under the charismatic leadership of father of the nation Bangabandhu Sheikh Mujibur Rahman and responding to his call of independence, the whole nation was united as one and took up arms to free their motherland from the clutches of Pakistani occupation forces in 1971.


On the black night of March 25 in 1971, when the brutal Pakistani military junta started genocide, Bangabandhu proclaimed independence of the eastern part of Pakistan, now Bangladesh, to end once and for all the 24 years of subjugation and exploitation.





The Declaration of Independence









"Today Bangladesh is a sovereign and independent country.
On Thursday night West Pakistani armed forces suddenly attacked the police
barracks at Razarbagh and the EPR headquarters at Pilkhana in Dhaka.
Many innocent and unarmed have been killed in Dhaka city and other places of
Bangladesh. Violent clashes between EPR and Police on the one hand and the
armed forces of Pindi on the other, are going on. The Bengalis are fighting
the enemy with great courage for an independent Bangladesh. May God aid us
in our fight for freedom. Joy Bangla."


Soon after the Pakistani army crackdown on the night of March 25, 1971, the first declaration of independence was made over the radio by M. A. Hannan, written by the leader of (as Bangladesh was formerly known) East Pakistan and Chief of Awami League Bangabandhu Sheikh Mujibur Rahman, from the Kalurghat Betar Kendra, Chittagong on March 26, 1971. Very few people heard this declaration and Major Zia's famous Ami Major Zia Bolchhi declaration over Chittagong radio on March 27 was picked up by foreign news agency and was given wide publicity.

12/15/2009

16th December 1971 - Bangladesh Victory Day

Bangladesh Liberation War
26 March – 16 December 1971

The Bangladesh Liberation War or Muktijuddho) was an armed conflict pitting West Pakistan against East Pakistan (two halves of one country) and India, that resulted in the secession of East Pakistan as the independent nation of Bangladesh.

The war broke out on 26 March 1971 as army units directed by West Pakistan launched a military operation in East Pakistan against Bengali civilians, students, intelligentsia, and armed personnel who were demanding separation from West Pakistan.
Bengali military, paramilitary and civilians formed the Mukti Bahini (or liberation army) and used guerrilla warfare tactics to fight against the West Pakistan army. India provided economic, military and diplomatic support to the Mukti Bahini rebels leading Pakistan to launch Operation Chengiz Khan, a pre-emptive attack on the western border of India which started the Indo-Pakistani War of 1971.



On 16 December 1971, the allied forces of the Indian army and the Mukti Bahini decisively defeated the West Pakistani forces deployed in the East, resulting in the largest surrender, in terms of the number of prisoners of war, since World War II.




A planned military pacification carried out by the Pakistan Army — codenamed Operation Searchlight — started on 25 March to curb the Bengali nationalist movement by taking control of the major cities on 26 March, and then eliminating all opposition, political or military,within one month. Before the beginning of the operation, all foreign journalists were systematically deported from East Pakistan.
The main phase of Operation Searchlight ended with the fall of the last major town in Bengali hands in mid-May. The operation also began the 1971 Bangladesh atrocities. These systematic killings served only to enrage the Bengalis, which ultimately resulted in the secession of East Pakistan later in the same year. The international media and reference books in English have published casualty figures which vary greatly, from 5,000–35,000 in Dhaka, and 200,000–3,000,000 for Bangladesh as a whole.


Although the violence focused on the provincial capital, Dhaka, it also affected all parts of East Pakistan. Residential halls of the University of Dhaka were particularly targeted. The only Hindu residential hall — the Jagannath Hall — was destroyed by the Pakistani armed forces, and an estimated 600 to 700 of its residents were murdered. The Pakistani army denies any cold blooded killings at the university, though the Hamood-ur-Rehman commission in Pakistan concluded that overwhelming force was used at the university. This fact and the massacre at Jagannath Hall and nearby student dormitories of Dhaka University are corroborated by a videotape secretly filmed by Prof. Nurul Ullah of the East Pakistan Engineering University, whose residence was directly opposite the student dormitories.



Hindu areas suffered particularly heavy blows. By midnight, Dhaka was literally burning, especially the Hindu dominated eastern part of the city. Time magazine reported on 2 August 1971, "The Hindus, who account for three-fourths of the refugees and a majority of the dead, have borne the brunt of the Pakistani military hatred."
Sheikh Mujibur Rahman was arrested by the Pakistani Army. Yahya Khan appointed Brigadier (later General) Rahimuddin Khan to preside over a special tribunal prosecuting Mujib with multiple charges. The tribunal's sentence was never made public, but Yahya caused the verdict to be held in abeyance in any case.[citation needed] Other Awami League leaders were arrested as well, while a few fled Dhaka to avoid arrest. The Awami League was banned by General Yahya Khan.



Declaration of independence
The violence unleashed by the Pakistani forces on 25 March 1971, proved the last straw to the efforts to negotiate a settlement. Following these outrages, Sheikh Mujibur Rahman signed an official declaration




A telegram containing the text of Sheikh Mujibur Rahman's declaration reached some students in Chittagong. The message was translated to Bangla by Dr. Manjula Anwar. The students failed to secure permission from higher authorities to broadcast the message from the nearby Agrabad Station of Radio Pakistan. They crossed Kalurghat Bridge into an area controlled by an East Bengal Regiment under Major Ziaur Rahman. Bengali soldiers guarded the station as engineers prepared for transmission. At 19:45 hrs on 27 March 1971, Major Ziaur Rahman broadcast announcement of the declaration of independence on behalf of Sheikh Mujibur.




M A Hannan, an Awami League leader from Chittagong, is said to have made the first announcement of the declaration of independence over the radio on 26 March 1971. There is controversy now as to when Major Zia gave his speech. BNP sources maintain that it was 26 March, and there was no message regarding declaration of independence from Mujibur Rahman. Pakistani sources, like Siddiq Salik in Witness to Surrender had written that he heard about Mujibor Rahman's message on the Radio while Operation Searchlight was going on, and Maj. Gen. Hakeem A. Qureshi in his book The 1971 Indo-Pak War: A Soldier's Narrative, gives the date of Zia's speech as 27 March 1971.



26 March 1971 is considered the official Independence Day of Bangladesh, and the name Bangladesh was in effect henceforth. In July 1971, Indian Prime Minister Indira Gandhi openly referred to the former East Pakistan as Bangladesh. Some Pakistani and Indian officials continued to use the name "East Pakistan" until 16 December 1971.




During the war there were widespread killings and other atrocities – including the displacement of civilians in Bangladesh (East Pakistan at the time) and widespread violations of human rights – carried out by the Pakistan Army with support from political and religious militias began with the start of Operation Searchlight on 25 March 1971.



Bangladeshi authorities claim that three million people were killed, while the Hamoodur Rahman Commission, an official Pakistan Government investigation, put the figure as low as 26,000 civilian casualties. The international media and reference books in English have also published figures which vary greatly from 200,000 to 3,000,000 for Bangladesh as a whole. A further eight to ten million people fled the country to seek safety in India.

A large section of the intellectual community of Bangladesh were murdered, mostly by the Al-Shams and Al-Badr forces, at the instruction of the Pakistani Army. Just 2 days before the surrender, on 14 December 1971, Pakistan Army and Razakar militia (local collaborators) picked up at least 100 to 300 physicians, professors, writers and engineers in Dhaka, and executed them, leaving the dead bodies in a mass grave. There are many mass graves in Bangladesh, and more are continually being discovered (such as one in an old well near a mosque in Dhaka, located in the non-Bengali region of the city, which was discovered in August 1999). The first night of war on Bengalis, which is documented in telegrams from the American Consulate in Dhaka to the United States State Department, saw indiscriminate killings of students of Dhaka University and other civilians.
Numerous women were tortured, raped and killed during the war; the exact numbers are not known and are a subject of debate. Bangladeshi sources cite a figure of 200,000 women raped, giving birth to thousands of war babies. The Pakistan Army also kept numerous Bengali women as sex-slaves inside the Dhaka Cantonment. Most of the girls were captured from Dhaka University and private homes.
There was significant sectarian violence not only perpetrated and encouraged by the Pakistani army, but also by Bengali nationalists against non-Bengali minorities, especially Biharis.
On 16 December 2002, the George Washington University's National Security Archive published a collection of declassified documents, consisting mostly of communications between US embassy officials and United States Information Service centers in Dhaka and India, and officials in Washington DC.




These documents show that US officials working in diplomatic institutions within Bangladesh used the terms selective genocide and genocide (see The Blood Telegram) to describe events they had knowledge of at the time. Genocide is the term that is still used to describe the event in almost every major publication and newspaper in Bangladesh, although elsewhere, particularly in Pakistan, the actual death toll, motives, extent, and destructive impact of the actions of the Pakistani forces are disputed.
(From Wikipedia, the Free Encyclopedia)

7/26/2009

Paan and Betel leaves


Display of the items usually included in a chewing session. The betel leaves are folded in different ways according to the country and have mostly some Calcium hydroxide daubed inside. Slices of the dry areca nut are on the upper left hand and slices of the tender areca nut on the upper right. The pouch on the lower right contains tobacco, a relatively recent introduction.

Paan, from the word pan in Urdu, پان, and Hindi, पान, is a South, East and South East Asian tradition which consists of chewing Betel leaf (Piper betle) combined with the areca nut. There are many regional variations.

Paan is chewed as a palate cleanser and a breath freshener.
It is also commonly offered to guests and visitors as a sign of hospitality and as an "ice breaker" to start conversation.
It also has a symbolic value at ceremonies and cultural events in south and southeast Asia.
Paan makers may use mukhwas or tobacco as an ingredient in their paan fillings.
Although most types of paan contain areca nuts as a filling, some do not.
Other types include what is called sweet paan, where sugar, candied fruit and fennel seeds are used.

Areca nut is often mistakenly translated in the English language as "Betel nut", a misnomer, for the betel vine has no nuts. This name originated with the fact that the betel leaf is chewed along with the areca nut, the seed of the tropical palm Areca catechu. Supari or adakka is the term for the nut in many Indic languages.

Although "paan" is generally used to refer to the leaves of the betel vine, the common use of this word refers mostly to the chewing mixture wrapped in the Betel leaves.

Pan Dan (Urdu: پان دان) is used for serving Paan after a meal. This was a tradition in the Royal families of Pakistan and India and continues to this day.




Varieties
Paan is available in many different forms and flavours.

The most commonly found include:

  • Tobacco (tambaku paan): Betel leaf filled with powdered tobacco with spices.
  • Areca nut (paan supari, paan masala or sada paan): Betel leaf filled with a mixture consisting of a coarsely ground or chopped areca nuts and other spices.
  • "Sweet" (meetha paan): Betel leaf with neither tobacco nor areca nuts. The filling is made up primarily of coconut, fruit preserves, and various spices. It is also often served with a maraschino cherry.
  • "Trento" (olarno paan): It is said that it tastes like betel but has a minty after taste. Eaten along with fresh potatoes, it is served in most Indian restaurants.

There are a variety of betel leaves grown in different parts of India and Bangladesh; the method of preparation also differs from region to region.

The delicately flavoured paan from Bengal is known as Desi Mahoba. Maghai and Jagannath are the main paans of Benaras. Paan prepared from small and fragile leaves from south India is known as Chigrlayele. The thicker black paan leaves, the ambadi and Kariyele, are more popular and are chewed with tobacco.

Effects on Health
The International Agency for Research on Cancer (IARC) regards the chewing of betel-quid and areca nut to be a known human carcinogen.

The main carcinogenic factor is believed to be areca nut. A recent study found that areca-nut paan with and without tobacco increased oral cancer risk by 9.9 and 8.4 times respectively.

Culture
Chewing the mixture of areca nut and betel leaf is a tradition, custom or ritual which dates back thousands of years from South Asia to the Pacific. Ibn Battuta describes this practice as follows: "The betel is a tree which is cultivated in the same manner as the grape-vine; … The betel has no fruit and is grown only for the sake of its leaves … The manner of its use is that before eating it one takes areca nut; this is like a nutmeg but is broken up until it is reduced to small pellets, and one places these in his mouth and chews them. Then he takes the leaves of betel, puts a little chalk on them, and masticates them along with the betel."


It constitutes an important and popular cultural activity in many Asian and Oceanic countries, including Myanmar, Cambodia, the Solomon Islands, Thailand, Philippines, Laos, and Vietnam. It is not known how and when the areca nut and the betel leaf were married together as one drug. Archaeological evidence from Thailand, Indonesia and the Philippines suggests that they have been used in tandem for four thousand years or more.


Paan is a ubiquitous sight in many parts of South and Southeast Asia, It is known as beeda (in Tamil), Killi/Tambulam in (Telugu), 'sireh (in Bahasa Melayu) and Pan Dan (in Urdu). In urban areas, chewing paan is generally considered a nuisance because some chewers spit the paan out in public areas. The red stain generated by the combination of ingredients when chewed are known to make a colorful stain on the ground. This is becoming an unwanted eyesore in Indian cities like Mumbai, although most see it as an integral part to Indian culture. This is also common in some of the Persian Gulf countries like the UAE and Qatar, where many Asians live. Recently, the Dubai government has banned the import and sale of Paan and the like.


According to traditional Ayurvedic medicine, chewing areca nut and betel leaf is a good remedy against bad breath (halitosis). However, as mentioned previously in this article, chewing this mixture can possibly lead to oral cancer.

Bangladesh
In Bangladesh paan is chewed all over the country by all classes of people. Paan is offered to the guests and festivals irrespective of all religion. A mixture called Dhakai pan khili is famous in Bangladesh and the subcontinent. The sweet pan of the Khasia tribe is famous for its special quality. Paan is also used in Hindu puja and wedding festival and to visit relatives. It has become a rituals and tradition and culture of Bangladesh society. Adult women gathered with pandani along with friends and relatives in leisure time.


(From Wikipedia, the free encyclopedia )

Nakshi kanthar maath, by Jasim Uddin

Nakshi kanthar maath, by Jasim Uddin
Spreading the embroidered quilt,
She works the livelong night,
As if the quilt her poet were
Of her bereved plight.
Many a joy and many a sorrow
Is written in breast;
The story of Rupa's life is there,
Line by line expressed.
The fishes find the deep sea,
The birds the branches of the tree.
The Mother knows her love for her son,
By the sharp pain in her heart alone,
Many and diverse the colour of the cows,
But white the colour that all milk shows.
Through all the world,
A Mother's name,
A Mother's song is found the same.
Black is the pupil of my eye,
Black ink with which I write,
Black is Birth and death is black,
Black is the universal Night.






Jasimuddin
Jasimuddin (full name Jasimuddin Mollah) (1903-1976) was a renowned Bengali poet.

He is commonly known in Bangladesh as Polli Kobi, the Rural Poet.

Biography
Jasimuddin was born in the village of Tambulkhana in Faridpur District. While still a student at university, wrote the poem 'Kabar' (grave), a very simple tone to obtain family-religion and tragedy.
Simplicity was his style.
That poem was placed in the entrance Bangla book. After obtaining a master's degree in Bangla, he taught at the University of Dhaka. Later, he worked in the information department of the Government.
Major works
  • Rakhali (Shepherd), (1927)
  • Nokshi Kanthar Maath (1929)
  • Sojan Badiyar Ghat (1933)
  • Ranila Nayer Majhi (1935)
  • Matir Kanna (1951)
  • Suchayani (1961)
  • Padma Nadir Deshe (1969)
  • Bhayabaha Sei Dingulite (1962)
  • Padmapar (1950)
  • Beder Meye (1951)
  • Pallibodhu (1956)
  • Gramer Maya (1959)
  • Thakur Barir Anginay (1961)
  • Germanir Shahare Bandare (1975)
  • Smaraner Sarani Bahi (1978)
  • Bangalir Hasir Galpa(Part 1 & 2)
  • Dalim Kumar
  • Boba Kahini (1964)
  • Field of the Embroidered Quilt (Nokshi Kanthar Maath's English version)
(From Wikipedia, the free encyclopedia)




Jasimuddin From 1931 to 1937, Jasimuddin worked as ramtanu lahiri assistant research fellow under dinesh chandra sen, collecting folk literature. In 1938 he joined the university of dhaka as lecturer. He left the university in 1944 to join the Department of Information and Broadcasting. He continued working here, first under the Bengal government and then under the East Pakistan Government, until his retirement as Deputy Director in 1962.
Jasimuddin's talent as a poet developed early. As a college student, he wrote the poem 'Kabar' (Grave). The poem, a dramatic monologue of an old man talking to his grandson in front of his wife's grave, was included in school textbooks while Jasimuddin was still a student at university.
Jasimuddin's first book of verse, Rakhali (Shepherd), was published in 1927. His other books are Naksi Kanthar Math (1929), Sojan Badiyar Ghat (1933), Ranila Nayer Majhi (1935), Matir Kanna (1951), Suchayani (1961), Padma Nadir Deshe (1969), Bhayabaha Sei Dingulite (1962), Padmapar (1950), Beder Meye (1951), Pallibadhu (1956), Gramer Maya (1959), Thakur Badir Aninay (1961), Germanir Shahare Bandare (1975), Smaraner Sarani Bahi (1978), Bangalir Hasir Galpa, Dalim Kumar, etc. He also wrote a novel, Boba Kahini (1964). He edited two books on folk music: Jarigan (1968) and Murshida Gan (1977). Naksi Kanthar Math and Bangalir Hasir Galpa have been translated into English as The Field of the Embroidered Quilt and Folk Tales of East Pakistan respectively.
Called 'Palli Kavi' (folk poet), Jasimuddin is the poet of rural Bengal, depicting the natural beauty of the rural world as well as the lives of ordinary peasants.
His poetic rhythms are drawn from folk poetry, easy on the ear and quick to imbed themselves in the memory. He was also a writer of fine prose, fluent, witty, and expressive.
Jasimuddin was one of the pioneers of the progressive and non-communal cultural movement. He was an ardent supporter of socialism and of Bengali nationalism. In the 1950s when the government of Pakistan attempted to stop broadcasting tagore songs, he protested boldly.
In 1969 Jasimuddin was awarded the DLitt by Rabindra Bharati University.
He also won several awards, including the President's Award for Pride of Performance (1958), Ekushey Padak (1976) and Swadhinata Dibas Puruskar (posthumous, 1978). In 1974 he was also selected for the Bangla Academy Award but refused it. Jasimuddin died in Dhaka on 13 March 1976 and was buried in his own village.

(From Banglapedia, the international encyclopediaa of Bangladesh)

Sultana's Dream by Rokeya Sakhawat Hussain

Sultana's Dream is a classic work of Bangla science fiction and an early example of feminist science fiction.



The Bengali short story was written in 1905 by Rokeya Sakhawat Hussain, a Muslim feminist, writer and social reformer who lived in British India, in what is now Bangladesh.


The word sultana here means a female sultan, i.e. a Muslim ruler.


"Sultana's Dream" was originally published in English in The Indian Ladies Magazine of Madras.


It depicts a feminist utopia of role reversal, in which men are locked away in seclusion, in a manner corresponding to the traditional Muslim practice of purdah for women. As a result, women run everything, aided by science fiction-esque "electrical" technology which enables labourless farming and flying cars. Crime is eliminated, since men were responsible for it all. The workday is only two hours long, since men used to waste six hours of each day in smoking. The religion is one of love and truth, rather than any traditional faith with a history of denying the rights of women.






Roquia Sakhawat Hussain, (1880 – December 9, 1932) was a prolific writer and a social worker in undivided Bengal in the early 20th century.

She is most famous for her efforts on behalf of gender equality and other social issues.

She established the first school aimed primarily at Muslim girls, which still exists today.

She was a notable Muslim feminist.

Names
She was born Roquia Khatun but achieved prominence as Begum Roquia Sakhawat Hussain. Begum is an honorific, that is, a title of respect in addressing a woman. When she wrote in English, she transliterated her name as Rokeya.

Life
Roquia Khatun was born in 1880 in the village of Pairabondh, Rangpur, in what was then the British Indian Empire and is now Bangladesh.
Her father, Jahiruddin Muhammad Abu Ali Haidar Saber, was a highly educated zamindar (landlord). Roquia had two sisters, Karimunnesa Khatun and Humayra Khatun; and three brothers, one of whom died in childhood.

Roquia's eldest brother Ibrahim, and her immediate elder sister Karimunnesa, both had great influence on her life. Karimunnesa wanted to study Bangla, the language of the majority in Bengal. The family disliked this because many upper class Muslims of the time preferred to use Arabic and Persian as the media of education, instead of their native language, Bangla.
Ibrahim taught English and Bangla to Roquia and Karimunnesa; both sisters became authors.
Karimunnesa married at the age of fourteen, later earning a reputation as a poet. Both of her sons, Nawab Abdul Karim Gaznawi and Nawab Abdul Halim Gaznawi, became famous in the political arena and occupied ministerial portfolios under British authorities.

Roquia married at the age of sixteen in 1896. Her Urdu-speaking husband, Khan Bahadur Sakhawat Hussain, was the Deputy Magistrate of Bhagalpur, which is now a district under the Indian state of Bihar.

He continued her brother's work by encouraging her to keep learning Bangla and English. He also suggested that she write, and on his advice she adopted Bangla as the principal language for her literary works because it was the language of the masses.

She launched her literary career in 1902 with a Bangla story entitled Pipasa (Thirst).
In 1909, Sakhawat Hussain died. He had encouraged his wife to set aside money to start a school primarily for Muslim women. Five months after his death, Roquia established a high school in her beloved husband's memory, naming it Sakhawat Memorial Girls' High School. It started in Bhagalpur, a traditionally Urdu-speaking area, with only five students. A dispute with her husband's family over property forced Roquia to move the school in 1911 to Calcutta (now known as Kolkata), a Bangla-speaking area; it remains one of the city's most popular schools for girls. The school is now a West Bengal state government runned school and has two medium of instructions. One section of the students have Bangla and the other learns all subjects except English and Maths in Urdu. This school can help ameliorate communal harmony in the country.


Begum Roquia also founded the Anjuman e Khawateen e Islam (Islamic Women's Association), which was active in holding debates and conferences regarding the status of women and education. She advocated reform, particularly for women, and believed that parochialism and excessive conservatism were principally responsible for the relatively slow development of Muslims in British India. As such, she is one of the first Islamic feminists. She was inspired by the traditional Islamic learning as enunciated in the Qu'ran, and believed that modern Islam had been distorted or corrupted; her organization Anjuman e Khawateen e Islam organised many events for social reforms based on the original teachings of Islam that, according to her, were lost.

Begum Roquia remained busy with the school, the association, and her writings for the rest of her life. She died of heart problems on December 9, 1932. In Bangladesh, December 9 is celebrated as Rokeya Day.

Gender Equality
Begum Roquia was an inspiring figure who contributed much to the struggle to liberate women from the bondage of social malaises.
To raise popular consciousness, especially among women, she wrote a number of articles, stories and novels, mostly in Bengali.
Begum Roquia used humor, irony, and satire to focus attention on the injustices faced by Bengali-speaking Muslim women.

She criticized oppressive social customs forced upon women that were based upon a corrupted version of Islam, asserting that women fulfilling their potential as human beings could best display the glory of Allah.
Begum Roquia wrote courageously against restrictions on women in order to promote their emancipation, which, she believed, would come about by breaking the gender division of labor. She rejected discrimination for women in the public arena and believed that discrimination would cease only when women were able to undertake whatever profession they chose.

Works
Sultana's Dream, a notable early work of feminist science fiction involving a utopian male/female role-reversal.

  • Oborodhbashini ("The woman in captivity")
  • Motichur Paddorag ("Essence of the Lotus")
  • Narir Adhikar ("The Rights of Women"),
  • an unfinished essay for the Islamic Women's Association

To read Sultana's Dream: http://digital.library.upenn.edu/women/sultana/dream/dream.html

(From Wikipedia, the free encyclopedia)

Rickshaw Art - decorative art of rickshaws

Rickshaw, one of the principal means of transport in the urban areas of Bangladesh.

With the improvement of road communication throughout the country, rickshaw has now found its way into rural areas as well.

As a mode of transport rickshaw was first introduced in Japan in the early twentieth century. This mode of transport became particularly popular there due to the Second World War situation, which made petrol and motorised transport scarce and expensive. Japan, however, had soon replaced rickshaw, nintaku in Japanese, with motorised vehicles and by the 1950s the cycle rickshaw had disappeared from Japan.

In the 1930 and early '40s rickshaw became popular in Indonesia, Singapore and other Southeast Asian countries. Rickshaw is said to have reached Chittagong from Myanmar in 1919. Interestingly, rickshaw did not spread out to Dhaka and other cities of Bangladesh from Chittagong.
Dhaka got rickshaw from Calcutta, where it was first introduced around 1930. European jute exporters living in Narayanganj and Netrokona (in Mymensingh) had first imported cycle rickshaw from Calcutta in 1938 for their personal use. The new vehicle roused great curiosity among the people of Dhaka, who were traditionally used to horse carriages, palanquins and city-canal boats. Initially cycle rickshaw did not receive enthusiastic response from users.
The Dhaka city had only 37 rickshaws in 1941 and 181 rickshaws in 1947. Before 1947, Dhaka was a district town, which had a population of 62,469 only according to 1951 census. But in 1998, the city's population grew over 8 million and the number of registered rickshaws in the city was 112,572. The number of rickshaws in all other cities of Bangladesh in that year was 274,265 and in all villages 91,040. Rickshaw and rickshaw vans (also a tricycle vehicle similar to rickshaw but with the difference that instead of passenger seats, these have a flat bed of wooden bars resting on the axle over the rear pair of wheels and they carry goods in small lots) are now fast replacing the traditional transports like horse carriages and bullock carts in the country.
It is a popular guess that the total number of rickshaws in the city is at least two and a half times that of the registered ones and accordingly, the city had at least 280,000 rickshaws in 2000. Estimates based on the figures that each rickshaw is operated by two pullers in morning and evening shifts and the average number of family members of a rickshaw puller is five, suggest that the rickshaws of Dhaka city alone is a source of income for nearly three million people.
Unlike in all Southeast Asian countries, rickshaws in Bangladesh have a lasting foothold. It has established itself with a dominance unmatched by other modes of transport. The predominance of rickshaw as a transport is evidenced by the fact that the percentage-wise traffic composition in Dhaka, Sylhet, Comilla and Rangpur cities are 49%, 78%, 80% and 55% respectively.
Other means of transport in Dhaka are, in order of traffic, the (a) cars, jeeps, pick-ups etc. (b) baby taxi, (c) bus, (d) truck, (e) tempo and (f) bicycle. Bicycle, however, is the second in the list of predominant vehicles in cities outside Dhaka.
Fifty percent of the value added in transport sector is being contributed by rickshaws and the mode of transport provides employment and living to people engaged not only as the pullers directly but also as its manufacturers of its mainframe, the body with seat and hoods and its spare parts. A great number of people depends for the living on the decoration of rickshaw body, artwork on it and rickshaw garages.









Rickshaw Art - decorative art of rickshaws, which may be extended to cover all rickshaw decoration, from painted backboards and rear side panels to cut-outs appliquéd on to hoods and brass vases replete with plastic or paper flowers.

In a restrictive sense it is generally applied to the painted backboard, a tin plate fixed to the lower rear of a rickshaw hiding the chain. In this sense it is also extended to include the paintings on the rear of autorickshaws or baby taxis. Rickshaw art has been compared to traffic art in other parts of the world, such as the decorated trucks of Pakistan.
Rickshaw art is mainly an urban phenomenon and perhaps dates back to the 1950's. It shares some similarity of theme and execution with movie billboards, which may be ascribed to the fact that many rickshaw painters had either themselves painted movie billboards or had apprenticed with such painters. The art of the rickshaw painter is passed on from ustad, master, to apprentice. There is a lot of repetition, either because of the popularity of some motifs or because of the influence of the master craftsman.

The paintings are executed quickly, with readymade enamel paints, which do not allow paints to be mixed. Bright primary colours are popular and the painting is flat, lacking shadows, perspective, and scale.
There are variations in rickshaw art in different towns of Bangladesh.
For example, nearly eighty per cent of rickshaws in Dhaka city are decorated and most of them have animal scenes, natural scenes, and pictures of movie themes.

Chittagong and Comilla areas show less enthusiasm about decorating rickshaws and the rickshaw art there contain fewer human images and have more images of flowers, birds, animals etc. Rickshaws in Sylhet, considered to be a more pious area, are rarely decorated.
Among popular themes are: the Taj Mahal, movie scenes and portraits of movie stars, idyllic scenes of rural Bengal with plump hens, placid cows, coconut palms, neat huts, gentle streams. Islamic scenes such as mosques and Borak, the winged horse, are also frequently found.

Because rickshaw backboards have to be painted annually, rickshaw artists often depict topical themes. In the early seventies, scenes of fighting between muktijoddha (freedom fighters) and Pakistani soldiers were common. Increasingly common, especially on autorickshaws are scenes of futuristic cities, planes and other fast-moving forms of transport.
Rickshaw artists do not always sign their pictures. Sometimes the name of the rickshaw garage owner or rickshaw maker or mistri is noted on the plate. Sometimes artists paint under pseudonyms. Occasionally, a number of artists share the same name, and, at other times, a plate executed by an apprentice, is signed with the name of the master.

It is probable that, with the increasing recognition being given to this form of folk art (a collection of rickshaw paintings has been given to the bangladesh national museum and a non-government organisation is popularising rickshaw art) more and more artists will sign their names.

(From Banglapedia, the national encyclopedia of Bangladesh)

Rickshaws ( riksha) in Bangladesh are cycle-powered, and are available for hire throughout the country; Bangladesh's capital, Dhaka is known as the "Rickshaw Capital of the World".
However, increasing traffic congestion and the resulting collisions have led to the banning of cycle rickshaws on many major streets in the city. Still, in many neighborhoods of Old Dhaka, rickshaws are the only kind of vehicle that can travel through the narrow streets. Rickshaw-pullers are known as rikshawala in Bangla.
Bangladeshi rickshaw pullers are mostly from the district of Rongpur.
Because of the recent famine and less job opportunities, people from there migrate to Dhaka, Sylhet and Chittagong to pull rickshaws.
Rickshaw man Omar Ali is Bangla's music star winner in the television "Pop Idol"-style talent show.
(From Wikipedia, the free encyclopedia)

Mehndi, application of henna

Mendhi (also Mehandi, Mehendi, etc.) is the application of Henna as a temporary form of skin decoration in South Asia, Southwest Asia, North Africa and the Horn of Africa, as well as by expatriate communities from these areas.

Mehendi decorations became fashionable in the West in the late 1990s, where they are sometimes called henna tattoos. Henna is typically applied during special occasions like weddings and festivals.
It is usually drawn on the palms and feet, where the color will be darkest because the skin contains higher levels of keratin which binds temporarily to lawsone, the colorant of henna.

Henna was originally used as a form of decoration mainly for brides.

The term henna tattoo is inaccurate, because tattoos are defined as permanent surgical insertion of pigments underneath the skin, as opposed to pigments resting on the surface as is the case with mehndi


Likely due to the desire for a "tattoo-black" appearance, many people have started adding the synthetic dye PPD to henna to give it a black color. PPD is extremely harmful to the skin and can cause severe allergic reactions resulting in permanent injury or death.


Alata (Mahur) is a flower-based dye used to paint the feet of the brides in some regions of India. It is still used in Bengal.

Etymology
The term Mendhī in Sanskrit refers to the plant Lawsonia inermis and the dye produced from it, while the word Hinna was used with the same meaning, in Arabic.

Although these were originally synonymous terms from different languages, a distinction later arose between them, wherein Henna became the term for the dye and Mehndi for the related art form.

This distinction is fully realised in English usage of the two terms.

Process
Henna paste is usually applied on the skin using a plastic cone or a paint brush, but sometimes a small metal-tipped jacquard bottle used for silk painting (a jac bottle) is used. The painted area is then wrapped with tissue, plastic, or medical tape to lock in body heat, creating a more intense colour on the skin. The wrap is worn overnight and then removed. The final colour is reddish brown and can last anywhere from two weeks to several months depending on the type of the paste.

Tradition
There is evidence that mehndi as a ceremonial art form originated in ancient India.

Intricate patterns of mehndi are typically applied to brides before wedding ceremonies.

The bridegroom is also painted in some parts of India, Pakistan, Nepal, Bangladesh and Sudan.


The use of henna and mehndi by Muhammad insured its place in history and its popularity and acceptance among the Muslim people.

In Arabic speaking countries such as Morocco, and some other countries in central Asia, it is done for any special occasion. It is done during the seventh month of pregnancy, after having the baby, weddings, engagements, family get-togethers, divali, as well as on other occasions.


(From Wikipedia, the free encyclopedia)

Lungi and Dhuti

The lungi ([ˈluŋgi]) is a garment worn around the waist in India, Bangladesh, Sri Lanka, and Myanmar (formerly Burma).



While its origin is found in Indian culture, it is worn by diverse communities across Southern Asia.



It is particularly popular in regions where the heat and humidity create an unpleasant climate for trousers.



Design
Unlike dhotis, which are linear like sheets, lungis are sewn into a tube shape like a skirt.


However, cheaper "open" lungis are available in identical dimensions without being sewn into a tube shape. The standard adult lungi is 115cm in height and 200cm in length, when open. Children's dhotis are available in approximately 2/3rd of this size.


It is normally woven from cotton in a variety of designs and colors. Silk lungis are available for ceremonial purposes such as weddings.


The most common styles are either solid-colored or plaid, reflecting the relative ease and cost-effectiveness of producing these patterns on a power loom. Blue is particularly popular, since it fades to pleasant tones in contrast to other colors. Regardless of the design or color, lungis are often lined at the top and bottom with a black/white stripe containing reinforced weaving to prevent fraying.

Usage
Depending on local tradition, lungis can be worn by men and/or women.

They are tied or fastened in various ways, and can be used in different cultural activities, ranging from normal daily life to elaborate wedding ceremonies.

For daily purposes, a simple "double twist" knot is most popular, where two points in the upper edge of lungi are brought together and twisted around twice, with the ends tucked in at the waist.

However, it is also common for wearers to simply tie a double "pretzel knot" from 2 points on the upper border, which produces a more secure knot. The lungi's length can also be adjusted, for example, by tucking in the lungi at the waist to make it resemble a short skirt.

Regional variations

Bangladesh and West Bengal
The lungi (usually pronounced "long-gee" in Bengali) is the most commonly-seen dress of Bangladeshi men, although it is not normally worn on formal occasions.


In Bangladesh, lungis are worn by most men on a daily basis, although elaborately-designed tartan cotton, batik, or silk lungis are also often presented as wedding gifts to the groom.


The typical Bangladeshi lungi is very rather unique and different to other lungis as it is a seamless tubular shape, in comparison with the single sheet worn in other parts of the Indian subcontinent and Sout-East Asia.


In Bangladesh, the lungi industry is concentrated in Khulna, and leading brands include Alauddin Textile Mills (ATM), Smart, and Alphabet Textiles.


Bengali women do not traditionally wear lungis, although non-Bengali tribal women do wear similar garments in some parts of southeastern Bangladesh.


In neighboring West Bengal, the lungi is fast replacing the dhoti as the most popular men's garment for everyday wear.


Some Bengali men avoid wearing the lungi, considering it to be too informal or inappropriate, despite the fact that it is both ubiquitous and comfortable. Despite the fact that the usage of lungi is declining slowly, it is still the most common male attire in rural Bangladesh.



Dhuti.

The Dhotī or Doti in Hindi, called Suriya in Assamese, Vaytti or Veshti(informal) in Tamil, Dhuti in Bangla, Dhoti or Kachche Panche in Kannada, Dhotar,Angostar,Aad-neschey or Pudve in Konkani, mundu in Malayalam, Dhotar in Marathi , Laacha in Punjabi and Pancha in Telugu is the traditional men's garment in India.


It is a rectangular piece of unstitched cloth, usually around 7 yards long, wrapped around the waist and the legs, and knotted at the waist.

In northern India, the garment is worn with a Kurta on top, the combination known simply as "dhoti kurta", or a dhuti panjabi in the East. In Tamil Nadu, it is worn with an angavastram (another unstitched cloth draped over the shoulders) or else with a chokka (shirt) in Andhra Pradesh or jubba (a local version of kurta).


The lungi is a similar piece of cloth worn in similar manner, though only on informal occasions. The lungi is not as long and is basically a bigger version of a towel worn to fight the extremely hot weather in India. The sarong is another similar item of clothing.



(From Wikipedia, the free encyclopedia)

7/25/2009

Bindi or Teep (decoration) and Bangles or Chudi or Churis

A bindi (from Sanskrit bindu, meaning "a drop, small particle, dot") is a forehead decoration worn in South Asia (particularly India) and Southeast Asia.




Traditionally it is a dot of red colour applied in the center of the forehead close to the eyebrows, but it can also consist of a sign or piece of jewelry worn at this location.



Nowadays, bindis are worn throughout South Asia (India, Bangladesh, Nepal, Sri Lanka and Pakistan) by women and girls, and no longer signify age, marital status, religious background or ethnic affiliation.



The bindi has become a decorative item and is no longer restricted in colour or shape.


Self-adhesive bindis (also known as sticker bindis) are available, usually made of felt or thin metal and adhesive on the other side. These are simple to apply, disposable substitutes for older tilak bindis. Sticker bindis come in many colors, designs, materials, and sizes. Fancier sticker bindis are decorated with sequins, glass beads, or rhinestones.


Outside South Asia, bindis are sometimes worn by women of Indian origin. Some Western women who have converted to Hinduism, such as in the Hare Krishnas, also wear bindis. Sometimes they are worn as a style statement. International celebrities such as Gwen Stefani, Shakira, Madonna, Nina Hagen, Nelly Furtado, and Shania Twain have been seen wearing bindis.


Sometimes the bindi is a symbol of religious affiliation, or a mark of a recent religious ceremony; sometimes the bindi is mere beautification.


A bindi can be called:
Tikli in Marathi
Pottu in Tamil and Malayalam
Tilak in Hindi
Chandlo in Gujarati
Bottu or Tilakam (in Telugu)
Bottu or Tilaka (in Kannada)
Teep (meaning "a pressing") (in Bengali)
Nande is a term erroneously used to describe the bindi in Malaysia. It may contain pejorative connotations although not in most cases.

Religious significance
The area between the eyebrows (where the bindi is placed) is said to be the sixth chakra, ajna, the seat of "concealed wisdom". According to followers of Hinduism, this chakra is the exit point for kundalini energy. The bindi is said to retain energy and strengthen concentration. It is also said to protect against demons or bad luck.

Related customs
In addition to the bindi, in India, a vermilion mark in the parting of the hair just above the forehead is worn by married women as a symbol of their married status. During North Indian marriage ceremonies, the groom applies sindoor on the parting in the bride's hair. Ancient Chinese women wore similar marks (for purely decorative purposes) since the second century, which became popular during the Tang Dynasty.

























Bangles or Chudi (Urdu: ﭼﻮﮌﯼ) (Tamil: Valayal) (Telugu: Gaaju) are traditional ornaments worn by Indian women and Pakistani women, especially Hindus. They are worn after marriage to signify matrimony.
They are circular in shape, and, unlike bracelets, are not flexible. The word is derived from Hindi bungri (glass).



They are made of numerous precious as well as non-precious materials such as gold, silver, platinum, glass, wood, ferrous metals, plastic, etc.




Bangles are part of traditional Indian jewelry. They are usually worn in pairs by women, one or more on each arm.



Most Indian women prefer wearing either gold or glass bangles or combination of both. Inexpensive Bangles made from plastic are slowly replacing those made by glass, but the ones made of glass are still preferred at traditional occasions such as marriages and on festivals.


The designs range from simple to intricate handmade designs, often studded with precious and semi-precious stones such as diamonds, gems and pearls.
Sets of expensive bangles made of gold and silver make a jingling sound. The imitation jewelry, tend to make a tinny sound when jingled.
Some men wear a single bangle on the arm or wrist called as kada or kara.


In Sikhism, The father of a Sikh bride will give the groom a gold ring, a kara (steel or iron bangle), and a mohra.

Chooda is a kind of bangle that is worn by Punjabi women on her wedding day. It is a set of white and red bangles with stone work. According to tradition a woman is not supposed to buy the bangles she will wear.


History

Bangles—made from shell, copper, bronze, gold, agate, chalcedony etc.—have been excavated from multiple archaeological sites throughout India.



A figurine of a dancing girl—wearing bangles on her left arm— has been excavated from Mohenjo-daro (2600 BC).
Other early examples of bangles in India include copper samples from the excavations at Mahurjhari—soon followed by the decorated bangles belonging to the Mauryan empire (322–185 BCE), and the gold bangle samples from the historic site of Taxila (6th century BCE). Decorated shell bangles have also been excavated from multiple Mauryan sites. Other features included copper rivets and gold-leaf inlay in some cases.

Types of bangle
There are various types of bangles available on the market.


Primary distinguishing factor for these is the material that is used to make the bangles. This may vary anything from glass to metal to lac and even rubber or plastic. Traditionally bangles were made of various types of metals like gold, silver, bronze etc. Bangles made from gold are considered the most expensive ones.


Another factor that adds to the price of the bangles is the artifacts or the work done further on the metal. This includes embroidery or small glass pieces or paintings or even small hangings that are attached to the bangles. The rareness of a color and its unique value also increase the value. Bangles made from lac are one of the oldest ones and among the brittle category too. Lac is clay like material which in molded in hot kilns-like places to make these bangles. Among the recent entrants are the rubber bangles that are worn more like a wrist band by youngsters while the plastic ones are there to add the trendy look.


Normally, a bangle worn by people around the world is simply an inflexible piece of jewelry worn around the wrist. However, in many cultures, especially in the Arabian Peninsula and in South Asia, bangles have evolved into various types in which different ones are used at different occasions.

Production
Glass bangles are mostly produced in only one Indian city called Firozabad in North India.
In India, Hyderabad has a historic market for bangles named the Laad Bazaar.
In Pakistan, glass bangles are almost all produced in Hyderabad, Pakistan


(From Wikipedia, the free encyclopedia)

Kurta

A kurta (Persian/Urdu: کُرتا, Hindi: कुरता, IPA: [ˈkɜrtə]) (Nothing like kurti) is a traditional item of clothing worn in Afghanistan, Bangladesh, India, Pakistan, and Sri Lanka.

It is a loose shirt falling either just above or somewhere below the knees of the wearer, and is worn by both men and women.


They were traditionally worn with loose-fitting paijama (kurta-paijama), loose-fitting salwars, tight-fitting churidars, or wrapped-around dhotis; but are now also worn with jeans.


Kurtas are worn both as casual everyday wear and as formal dress.


A kurta is also referred to as a panjabi, (usually spelled lower-case) in Bengal, Britain, and Canada.
Women often wear kurtis as blouses, usually over jeans.

These kurtis are typically much shorter than the traditional garments and made with a lighter materials, like those used in sewing kameez.

Imported kurtas were fashionable in the 1960s and 1970s, as an element of hippie fashion, fell from favor briefly, and are now again fashionable. South Asian women may also wear this Western adaptation of South Asian fashion.
Formal kurtas are usually custom-made by South Asian tailors, who work with the fabric their customers bring them. South Asians overseas, and Westerners, can buy them at South Asian clothing stores or order them from web retailers.


Styles
A traditional kurta is composed of rectangular fabric pieces with perhaps a few gusset inserts, and is cut so as to leave no wasted fabric. The cut is usually simple, although decorative treatments can be elaborate.
The sleeves of a traditional kurta fall straight to the wrist; they do not narrow, as do many Western-cut sleeves. Sleeves are not cuffed, just hemmed and decorated.
The front and back pieces of a simple kurta are also rectangular. The side seams are left open for 6-12 inches above the hem, which gives the wearer some ease of movement.
The kurta usually opens in the front; some styles, however, button at the shoulder seam. The front opening is often a hemmed slit in the fabric, tied or buttoned at the top; some kurtas, however, have plackets rather than slits. The opening may be centered on the chest, or positioned off center.
A traditional kurta does not have a collar. Modern variants may feature stand-up collars of the type known to tailors and seamstresses as "mandarin" collars.


Material
Kurtas worn in the summer months are usually made of thin silk or cotton fabrics;

winter season kurtas are made of thicker fabric such as wool (as in Kashmiri kurtas) or Khadi silk, a thick, coarse, handspun and handwoven silk that may be mixed with other fibers.

Kurtas are typically fastened with tasseled ties, cloth balls and loops, or buttons. Ready-made kurtas often avoid the use of horn buttons, in deference to Hindu sentiments; such buttons are frequently made from cow or buffalo hooves or horns. Buttons are often wood or plastic. Kurtas worn on formal occasions might feature decorative metal buttons, which are not sewn to the fabric, but, like cufflinks, are fastened into the cloth when needed. Such buttons can be decorated with jewels, enameling, and other traditional jewelers' techniques.

Decoration
South Asian tailors command a vast repertoire of methods, traditional and modern, for decorating fabric. It is likely that all of them have been used, at one time or another, to decorate kurtas. However, the most common decoration is embroidery. Many light summer kurtas feature Chikan embroidery, a speciality of Lucknow, around the hems and front opening. This embroidery is typically executed on light, semi-transparent fabric in a matching thread. The effect is ornate but subtle.

Etymology
The word "kurta" is a borrowing from Urdu and Hindi, and originally from Persian (literally, "a collarless shirt") and was first used in English in the 20th century.


(From Wikipedia, the free encyclopedia)

Muhammad Yunus, Grameen Bank and Microcredit

Muhammad Yunus (pronounced Muhammôd Iunus) (born 28 June 1940) is a Bangladeshi banker and economist.

He previously was a professor of economics where he developed the concept of microcredit. These loans are given to entrepreneurs too poor to qualify for traditional bank loans.

Yunus is also the founder of Grameen Bank.

In 2006, Yunus and the bank were jointly awarded the Nobel Peace Prize, "for their efforts to create economic and social development from below."

Yunus himself has received several other national and international honors. He is the author of Banker to the Poor and a founding board member of Grameen America and Grameen Foundation.

In early 2007 Yunus showed interest in launching a political party in Bangladesh named Nagorik Shakti (Citizen Power), but later discarded the plan. He is one of the founding members of Global Elders.

Yunus also serves on the board of directors of the United Nations Foundation, a public charity created in 1998 with entrepreneur and philanthropist Ted Turner’s historic $1 billion gift to support United Nations causes. The UN Foundation builds and implements public-private partnerships to address the world’s most pressing problems, and broadens support for the UN.




Early years and background
The third oldest of nine children, Yunus was born on 28 June 1940 to a Muslim family in the village of Bathua, by the Boxirhat Road in Hathazari, Chittagong, then in Bengal Province of British India (now in Bangladesh).
His father was Hazi Dula Mia Shoudagar, a jeweler, and his mother was Sofia Khatun.
His early childhood years were spent in the village.
In 1944, his family moved to the city of Chittagong, and he was shifted to Lamabazar Primary School from his village school.
By 1949, his mother was afflicted with psychological illness.
Later, he passed the matriculation examination from Chittagong Collegiate School securing the 16th position among 39,000 students in East Pakistan. During his school years, he was an active Boy Scout, and traveled to West Pakistan and India in 1952, and to Canada in 1955 to attend Jamborees.
Later when Yunus was studying at Chittagong College, he became active in cultural activities and won awards for drama acting.
In 1957, he enrolled in the department of economics at Dhaka University and completed his BA in 1960 and MA in 1961.

Following his graduation, Yunus joined the Bureau of Economics as a research assistant to the economical researches of Professor Nurul Islam and Rehman Sobhan.
Later he was appointed as a lecturer in economics in Chittagong College in 1961. During that time he also set up a profitable packaging factory on the side.
He was offered a Fulbright scholarship in 1965 to study in the United States. He obtained his Ph.D. in economics from Vanderbilt University in the United States through the graduate program in Economic Development (GPED) in 1971.
From 1969 to 1972, Yunus was an assistant professor of economics at Middle Tennessee State University in Murfreesboro, TN.
During the Liberation War of Bangladesh in 1971, Yunus founded a citizen's committee and ran the Bangladesh Information Center, with other Bangladeshis living in the United States, to raise support for liberation.
He also published the Bangladesh Newsletter from his home in Nashville.
After the War, Yunus returned to Bangladesh and was appointed to the government's Planning Commission headed by Nurul Islam. He found the job boring and resigned to join Chittagong University as head of the Economics department. He became involved with poverty reduction after observing the famine of 1974, and established a rural economic program as a research project. In 1975, he developed a Nabajug (New Era) Tebhaga Khamar (three share farm) which the government adopted as the Packaged Input Programme.
In order to make the project more effective, Yunus and his associates proposed the Gram Sarkar (the village government) programme. Introduced by then president Ziaur Rahman in late 1970s, the Government formed 40,392 village governments (gram sarkar) as a fourth layer of government in 2003. On 2 August 2005, in response to a petition filed by Bangladesh Legal Aids and Services Trust (BLAST) the High Court had declared Gram Sarkar illegal and unconstitutional.




Grameen Bank
In 1976, during visits to the poorest households in the village of Jobra near Chittagong University, Yunus discovered that very small loans could make a disproportionate difference to a poor person. Jobra women who made bamboo furniture had to take out usurious loans for buying bamboo, to pay their profits to the moneylenders. His first loan, consisting of USD 27.00 from his own pocket, was made to 42 women in the village, who made a net profit of BDT 0.50 (USD 0.02) each on the loan, thus vastly improving Bangladesh's ability to export and import as it did in the past, resulting in a greater form of globalization and economic status.
The concept of providing credit to the poor as a tool of poverty reduction was not unique. Dr. Akhtar Hameed Khan, founder of the Pakistan Academy for Rural Development (now Bangladesh Academy for Rural Development), is credited for pioneering the idea. From his experience at Jobra, Yunus, an admirer of Dr. Hameed, realized that the creation of an institution was needed to lend to those who had nothing. While traditional banks were not interested in making tiny loans at reasonable interest rates to the poor due to high repayment risks, Yunus believed that given the chance the poor will repay the borrowed money and hence microcredit could be a viable business model.
Yunus finally succeeded in securing a loan from the government Janata Bank to lend it to the poor in Jobra in December 1976. The institution continued to operate by securing loans from other banks for its projects. By 1982, the bank had 28,000 members. On 1 October 1983 the pilot project began operations as a full-fledged bank and was renamed the Grameen Bank (Village Bank) to make loans to poor Bangladeshis. Yunus and his colleagues encountered everything from violent radical leftists to the conservative clergy who told women that they would be denied a Muslim burial if they borrowed money from the Grameen Bank.

As of July 2007, Grameen Bank has issued US$ 6.38 billion to 7.4 million borrowers. To ensure repayment, the bank uses a system of "solidarity groups". These small informal groups apply together for loans and its members act as co-guarantors of repayment and support one another's efforts at economic self-advancement.
The Grameen Bank started to diversify in the late 1980s when it started attending to unutilized or underutilized fishing ponds, as well as irrigation pumps like deep tubewells. In 1989, these diversified interests started growing into separate organizations, as the fisheries project became Grameen Motsho (Grameen Fisheries Foundation) and the irrigation project became Grameen Krishi (Grameen Agriculture Foundation). Over time, the Grameen initiative has grown into a multi-faceted group of profitable and non-profit ventures, including major projects like Grameen Trust and Grameen Fund, which runs equity projects like Grameen Software Limited, Grameen CyberNet Limited, and Grameen Knitwear Limited, as well as Grameen Telecom, which has a stake in Grameenphone (GP), biggest private sector phone company in Bangladesh. The Village Phone (Polli Phone) project of GP has brought cell-phone ownership to 260,000 rural poor in over 50,000 villages since the beginning of the project in March 1997.
The success of the Grameen model of microfinancing has inspired similar efforts in a hundred countries throughout the developing world and even in industrialized nations, including the United States. Many, but not all, microcredit projects also retain its emphasis on lending specifically to women. More than 94% of Grameen loans have gone to women, who suffer disproportionately from poverty and who are more likely than men to devote their earnings to their families. For his work with the Grameen Bank, Yunus was named an Ashoka: Innovators for the Public Global Academy Member in 2001.





Recognitions
Muhammad Yunus was awarded the 2006
Nobel Peace Prize, along with Grameen Bank, for their efforts to create economic and social development. In the prize announcement The Norwegian Nobel Committee mentioned:
"Muhammad Yunus has shown himself to be a leader who has managed to translate visions into practical action for the benefit of millions of people, not only in Bangladesh, but also in many other countries. Loans to poor people without any financial security had appeared to be an impossible idea. From modest beginnings three decades ago, Yunus has, first and foremost through Grameen Bank, developed micro-credit into an ever more important instrument in the struggle against poverty. "

Muhammad Yunus was the first Bangladeshi and third Bengali to ever get a Nobel Prize. After receiving the news of the important award, Yunus announced that he would use part of his share of the $1.4 million award money to create a company to make low-cost, high-nutrition food for the poor; while the rest would go toward setting up an eye hospital for the poor in Bangladesh.

Former U.S. president Bill Clinton was a vocal advocate for the awarding of the Nobel Prize to Muhammed Yunus. He expressed this in Rolling Stone magazine as well as in his autobiography My Life. In a speech given at University of California, Berkeley in 2002, President Clinton described Dr. Yunus as "a man who long ago should have won the Nobel Prize [and] I’ll keep saying that until they finally give it to him." Conversely, The Economist stated explicitly that Yunus was a poor choice for the award, stating: "...the Nobel committee could have made a braver, more difficult, choice by declaring that there would be no recipient at all."
He has won a number of other awards, including the King Abdul Aziz medal in 2007, the Ramon Magsaysay Award, the World Food Prize the Sydney Peace Prize, and in December 2007 the Ecuadorian Peace Prize. Additionally, Dr. Yunus has been awarded 26 honorary doctorate degrees, and 15 special awards. Bangladesh government brought out a commemorative stamp to honor his Nobel Award. In January 2008, Houston, Texas declared 14 January as "Muhammad Yunus Day". He was invited and gave the MIT commencement address delivered on 6 June 2008, and Oxford's Romanes Lecture on 2 December 2008. He received the Dwight D. Eisenhower Medal for Leadership and Service from the Eisenhower Fellowships at a ceremony in Philadelphia on 21 May 2009.

(From Wikipedia, the free encyclopedia)

Salwar kameez

Salwar kameez, Salwar Qameez (also spelled shalwar kameez or shalwar qameez) is a traditional dress worn by both women and men in South Asia and is considered the National Dress of Pakistan.

Salvar or shalvar are loose pajama-like trousers. The legs are wide at the top, and narrow at the ankle.
The kameez is a long shirt or tunic. The side seams (known as the chaak) are left open below the waist-line, which gives the wearer greater freedom of movement.
In Afghanistan and Pakistan, the garment is worn by both sexes. In Bangladesh, India and Sri Lanka, it is most commonly a woman's garment, albeit still worn by some men.
Salwar are gathered at the waist and held up by a drawstring or an elastic band. The pants can be wide and baggy or more narrow, and even made of fabric cut on the bias. In the latter case they are known as churidar.

The kameez is usually cut straight and flat; older kameez use traditional cuts, as shown in the illustration above. Modern kameez are more likely to have European-inspired set-in sleeves. The tailor's taste and skill are usually displayed, not in the overall cut, but in the shape of the neckline and the decoration of the kameez. Modern versions of the feminine kameez can be much less modest than traditional versions. The kameez may be cut with a deep neckline, sewn in diaphanous fabrics, or styled in cap-sleeve or sleeveless designs. The kameez side seams may be split up to the thigh or even the waistline, and it may be worn with the salwar slung low on the hips. When a woman wears a semi-transparent kameez (mostly as a party dress), she wears a choli or a cropped camisole underneath it.
When women wear the salwar kameez, they usually wear a long scarf or shawl called a dupatta around the head or neck.
For Muslim women, the dupatta is a less stringent alternative to the chador or burqa.
For Sikh and Hindu women (especially those from northern India, where the salwar kameez is most popular), the dupatta is useful when the head must be covered, as in a Gurdwara or a Temple, or the presence of elders.
For other women, the dupatta is simply a stylish accessory that can be worn over one shoulder or draped around the chest and over both shoulders.

The Shalwar kameez is sometimes known as "Punjabi suit," in Britain and Canada.
In Britain, especially during the last two decades, the garment has been transformed from an everyday garment worn by immigrant South Asian women from the Punjab region to one with mainstream, and even high-fashion, appeal.

In India, the garment was originally confined to the North, but as a convenient and modest alternative to a sari - and also as one that flatters practically any body-type - it has become popular across the nation. By varying the fabric, color and the level of embroidery and decoration, the salwar-kameez can be formal, casual, dressy, or plain; and it can also be made to suit practically all climates.
The pants, or salvar, are known as salvar in Punjabi: ਸਲਵਾਰ ਕ਼ਮੀਜ਼, salvaar or shalvaar શલવાર કમીઝ in Gujarati, salvaar or shalvar शलवार क़मीज़ in Hindi, and shalvar in Urdu: شلوار قمیض. The word comes from the Persian: شلوار, meaning pants.
The shirt, kameez or qamiz, takes its name from the Arabic qamis.
There are two main hypotheses regarding the origin of the Arabic word, namely:
that Arabic qamis is derived from the Latin camisia (shirt), which in its turn comes from the Proto-Indo-European kem (‘cloak’).
that Mediaeval Latin camisia is a borrowing through Hellenistic Greek kamision from the Central Semitic root “qmṣ”, represented by Ugaritic qmṣ (‘garment’) and Arabic qamīṣ (‘shirt’). Both of these are related to the Hebrew verb קמץ qmṣ (‘grip’, ‘enclose with one’s hand’).

Garments cut like the traditional kameez are known in many cultures; according to Dorothy Burnham, of the Royal Ontario Museum, the "seamless shirt," woven in one piece on warp-weighted looms, was superseded in early Roman times by cloth woven on vertical looms and carefully pieced so as not to waste any cloth. 10th century cotton shirts recovered from the Egyptian desert are cut much like the traditional kameez or the contemporary Egyptian jellabah or galabia.

(From Wikipedia, the free encyclopedia)

Sari

A sari or saree or shari is a female garment in the Indian Subcontinent.

A sari is a strip of unstitched cloth, ranging from four to nine metres in length that is draped over the body in various styles. The most common style is for the sari to be wrapped around the waist, with one end then draped over the shoulder baring the midriff.

The sari is usually worn over a petticoat (pavada/pavadai in the south, and shaya in eastern India), with a blouse known as a choli or ravika forming the upper garment.



The choli has short sleeves and a low neck and is usually cropped, and as such is particularly well-suited for wear in the sultry South Asian summers. Cholis may be "backless" or of a halter neck style.



These are usually more dressy with a lot of embellishments such as mirrors or embroidery and may be worn on special occasions. Women in the armed forces, when wearing a sari uniform, don a half-sleeve shirt tucked in at the waist.



The saree was born in both South and North India and is now a symbol for all of India.




In Bangladesh
The Sari is worn by women throughout Bangladesh.



There are many regional variations of Saris in both silk and cotton.



But the Jamdani Tanta/Taant Cotton, Dhakai Benarosi, Rajshahi silk, Tangail Tanter Sari– and Katan Sari as the most popular in Bangladesh. Popular actresses Aishwarya Rai and Madhuri Dixit wore the Dhakaiya Benaroshi Sari in the song"Dola re Dola" of the film "Devdas".


Saris are woven with one plain end (the end that is concealed inside the wrap), two long decorative borders running the length of the sari, and a one to three foot section at the other end which continues and elaborates the length-wise decoration. This end is called the pallu; it is the part thrown over the shoulder in the Nivi style of draping.


In past times, saris were woven of silk or cotton. The rich could afford finely-woven, diaphanous silk saris that, according to folklore, could be passed through a finger ring. The poor wore coarsely woven cotton saris. All saris were handwoven and represented a considerable investment of time or money.


Simple hand-woven villagers' saris are often decorated with checks or stripes woven into the cloth. Inexpensive saris were also decorated with block printing using carved wooden blocks and vegetable dyes, or tie-dyeing, known in India as bhandani work.


More expensive saris had elaborate geometric, floral, or figurative ornaments or brocades created on the loom, as part of the fabric.

Sometimes warp and weft threads were tie-dyed and then woven, creating ikat patterns.

Sometimes threads of different colors were woven into the base fabric in patterns; an ornamented border, an elaborate pallu, and often, small repeated accents in the cloth itself. These accents are called buttis or bhutties (spellings vary).


For fancy saris, these patterns could be woven with gold or silver thread, which is called zari work.

Sometimes the saris were further decorated, after weaving, with various sorts of embroidery. Resham work is embroidery done with colored silk thread. Zardozi embroidery uses gold and silver thread and sometimes pearls and precious stones. Cheap modern versions of zardozi use synthetic metallic thread and imitation stones, such as fake pearls and Swarovski crystals.
In modern times, saris are increasingly woven on mechanical looms and made of artificial fibers, such as polyester, nylon, or rayon, which do not require starching or ironing. They are printed by machine, or woven in simple patterns made with floats across the back of the sari. This can create an elaborate appearance on the front, while looking ugly on the back. The punchra work is imitated with inexpensive machine-made tassel trim.


Hand-woven, hand-decorated saris are naturally much more expensive than the machine imitations. While the over-all market for handweaving has plummeted (leading to much distress among Indian handweavers), hand-woven saris are still popular for weddings and other grand social occasions.


A prominent weaver who designs brocades, Paithani and other types of saris is Meera Mehta.


(From Wikipedia, the free encyclopedia)





How to wear a Sari?

The success of the Sari is attributed to its total simplicity, practical comfort, and sense of luxury a woman experiences when she wears one.
A Saree properly draped transforms a woman to become graceful, stylish, elegant and sensuous. So we just make a note on some basic steps about how to drape a Sari.
A sari is an outfit which reveals as much as it hides. Wearing a sari is an art which require practice. A perfectly draped sari makes personality but a clumsily draped sari can equally bring down the look of the Sari and spoils the whole appearance of the woman. So just make a note on some basic steps about how to drape a sari in different styles.


Sari is worn on different occasions and thus there are number of sari drapping styles available. If you are going to an office its advisable to pin up your sari, this looks smart and is manageable too.

For parties, just pin up the tip of the sari and let the rest fall on your hand. This gives a very graceful look.


We understand how important it is to know how to wear sari in proper style thus we learn you how to wear a sari in different styles with illustrated demonstrations in different steps.



Different ways of wearing a Sari :


  • Nivi style of Sari drapping :
    This style of sari draping is common to the state of Andhra Pradesh. It is also the most popular style of sari draping. In this style of sari draping, one end of the sari is neatly tucked into the band of the petticoat on the waist. After wrapping the sari cloth around the waist once more, the sari is neatly folded into pleats, which are then tucked into the waistband of the petticoat just below the navel. Then after wrapping it around the body one more time, the other decorative end of the sari also called the “pallu” comes diagonally in front of the torso and draped over the left shoulder.
    STEP 1
    1. A waist - to - floor length petticoat tied tightly at the waist by a drawstring.
    2. A tight fitting blouse that ends just below the bust.
    STEP 2
    After step one you take the sari and tuck the plain end of the sari into the petticoat for one complete turn from right to left. Make sure that the lower end of the sari touches the floor.
    STEP 3
    Beginning from the tucked-in end start making pleats in the sari, about 5 inches deep.
    STEP 4
    Make about 7 to 10 pleats and hold them up together so that they fall straight and even.
    STEP 5
    Tuck the pleats into the waist slightly to the left of the navel, and make sure that they are turned towards the left.
    After this you take the sari and tuck the plain end of the sari into the petticoat for one complete turn from right to left. Make sure that the lower end of the sari touches the floor.
    STEP 6
    The end portion thus draped is the pallu, and can be prevented from slipping off by fixing it at the shoulder to the blouse with a small safety pin.
    You are now draped in a saree . Now stand before the mirror and get enchanted by the grace you exude.



  • Gujrati / North Indian Style :
    This style of sari draping is very similar to the nivi style with the only difference being that in this style, the “pallu” or the decorative end of the sari is draped over the right shoulder rather than the left shoulder. Also, in this style the pallu is draped from back to front and not like the nivi in which the pallu is draped front to back.

  • Maharashtrian Style :
    This style of sari draping is very similar to the way the Maharashtrian dhoti is worn. This style of sari draping is common among the Brahmin women especially in Maharashtra, Karnataka, Andhra Pradesh and Tamil Nadu. This sari is draped in a way that the center of the sari is neatly placed at the back of the waist and the ends of the sari are tied securely in the front, and then the two ends are wrapped around the legs. The decorative ends are then draped over the shoulder and the upper body or torso.

  • Dravidian Style :
    This sari draping style is common in the state of Tamil Nadu. The archetypical Dravidian sari is the “veshti-mundanai”, which is draped in two parts: The veshti covers the lower body, while the mundanai, or mundu, is an add-on to the veshti. The draping of the veshti is fairly simple as it draped like a towel around the waist and is usually 4 yards in length. This is then folded in half lengthwise. The mundunai is usually one yard in width and two yards in length. Some of these saris are distinctly characterized by a pleated rosette also called pinkosu at the waist.

  • Madisaara Style :
    This sari draping style is common among the Brahmin ladies of Tamil Nadu and Kerala. This style of sari is worn on festive occasions or ceremonies and since the style of draping this sari is different as compared to other styles; nine-yard sari is required to wear this style. The Madisar sari is draped in the following way: The sari is neatly wrapped around the waist, with the one end of sari on the right side, while the rest of the saree on the left. A knot is tied at the left waist firmly. The rest of the sari is gathered near the waist. Then a bit of the sari is neatly tucked into the right side of the waist. The end of the sari is then pleated into folds and tucked into the waist. The rest of the saris then folded into 4 to 5 fold, with each fold measuring approximately three fourth of the hand. The pleated sari is then brought at the back with the folded saree between the legs. After neatly gathering the folds, they neatly tucked at the back side of waist. The sari is then gathered to the right side in front and draped over the left shoulder. The end or pallu of the sari is then gathered around the waist and neatly tucked into the left side of the waist.

  • Kodagu Style :
    This sari draping style is typical to ladies from the Kodagu district of Karnataka. This sari draping differs from other styles because in this the folded pleats of the sari are formed at the back instead of the usual front side. The pallu or decorative end of the sari is carefully draped from the back to front over the right shoulder. This is secured by a pin to the sari to keep it in place.

  • Gond Style :
    This sari draping style is common in central parts of India. In this style, before arranging to drape the sari over the body, the sari is first draped over the left shoulder.

  • Mundum Neryathum Style :
    This sari draping style is common in the state of Kerala. This is essentially two-piece sari attire, in which the mundu forms the lower garment while the neriyathu forms the upper garment. This sari can be draped either in the customary style in which the neriyathu is tucked inside the blouse or the more modern style in which the neriyathu comes over the left shoulder.

  • Tribal Styles :
    The tribal styles are usually draped to cover the chest by tying and securing the sari firmly across the chest.