Snapshots from Europe: Life on streets of Vilnius, Lithuania

Vilnius is picturesque and so are its people. The enchanting buildings are made even more beautiful by the people who inhabit it. Presenting from today, a series of photographs and articles captured during my travel to these wonderful countries and the cities within.

The Fruit of Summer

http://oneindiaonepeople.com/the-fruit-of-summer/

Mamta Chitnis Sen deciphers the popularity of the summer fruit mango, and its distinct cult status in the eastern and western regions of India.

As summer approaches the Indian continent, the first question on everyone’s mind is ‘When are the mangoes coming?” For, every Indian firmly believes that summers are all about mangoes and mangoes
alone. The essence of a perfect Indian summer lies in the number of mangoes consumed!
Every summer, mango markets across the country go on an overdrive, sourcing and selling the fruit to its avid consumers. Although the Alphonso variety tops the list, other commercially bred kinds of mangoes too boast of their own following. Though it is popular knowledge that the Alphonso mango or hapus (as it’s called in Maharashtra) is the king of mangoes, there are also several other varieties of mangoes in the country that too demand equal recognition and respect.
While steering away from controversy over which mango is the best in which state, it would be much easier, for now, to narrow down and make a fair comparison between the fruit in the two opposite regions of the country, namely, the western (the Konkan area of Maharashtra from where the famed Alphonso hails), and the eastern region of Bengal which lays claim to having cultivated the famed Himsagar and Malda mangoes.
To begin with, mangoes bred in both the western and eastern part of India boast of a distinct taste and flavour, each different and unique in its own way.

The tale of Alphonso
We have all heard about the history of the making and the naming of the Alphonso mango after Alfonso De Alburquerque, the Portuguese military general who led sever- al invasions in the 1600s, including that to Goa which was occupied by Portugal for a long time. The fruit first came to Goa and from here travelled further down to the districts of Konkan, Ratnagiri and to various southern parts of India. Interestingly, several parts of the Konkan region now boast of their own Alphonso or hapus, the Devgad hapus, the Sindhudurg hapus, the Ratnagiri hapus etc.

According to a recent news report, the long ongoing battle over acquiring of the Geographical Indication (GI) tag for the Alphonso was put to rest by the Patents Office when the latter convinced the districts of Sindhudurg and Ratnagiri to share the tags between them than fighting over its exclusivi- ty. The GI is a sign that is put on products that originate from a specific region and possesses specific qualities and repute prominent to that region alone. Although the regions have agreed for now, it remains to be seen whether they plan to work together in this effort.
Interestingly in the Konkan region, as per reports published in the media, the market for the Alphonso mango is massive and huge. Reports suggest that annually, the Konkan region which has nearly over a crore of hectares of mango orchards produces mangoes worth ₹30 billion, half of which are exported.
Not many are aware that within the interiors ofKonkan region alone, there are a variety of mangoes being bred by non-commercial horticulturists in their own backyard, which are later on sold in the weekly village markets or beside the national highways to travellers. The figures for the sale of these remains unaccounted for — especially of the sale of varieties of the Rajapuri which is available towards the beginning of the monsoons across the state. The unripe ones are used mostly in sweet pickles.

The eastern story
Interestingly, towards the east of India too, mango remains one of the most sought after fruits in the state after the sweet and pulpy lychee. In West Bengal, the famed Himsagar mango enjoys cult status among other breeds of the fruit. According to authors S.K. Mitra, S. Mitra, B. Ghosh and P.K. Pathak who have penned the book Mango Cultivars and Hybrids Grown in West Bengal’, mango is the most important fruit of West Bengal state, occupying about 80.90 thousand hectares, which is more than 41 per cent of the total area under fruits. Unlike the Alphonso which entered Indian shores only about the 16th century, mangoes in Bengal have found prominence from as early as the seventh century, courtesy the many nawabs and zamindars who ruled here.
The district of Murshidabad is known to have introduced and nurtured over 100 varieties of mangoes, (many grafted) under the eye of the Nawabs who dominated the area until the colonial rule took over. The Nawabs were known to cultivate mango orchards as part of their culture, and even today one can find these mango orchards spread across some of their properties that lie empty and forgotten.
In Murshidabad district alone, mangoes are grown over 26,000 hectares. The ones sold include the commer- cially grown varieties of Langra, Fazli, Champa, Bhabani and many more. The Lakshman Bhog mango which is attractive in colour and having a sweet taste tops the list of the most coveted mangoes in the state. Bengal’s famed Himsagar though is considered to be the most superior of all the fruits, both in terms of taste and the exquisite aroma it generates. Interestingly, Himsagar here is regarded as the king of mangoes.
Devoid of fibre, the pulpy fruit which is golden yellow in colour, has inspired several poets to pen down poetry and dedicate songs to it too. The fruit is known to be ripe and rich for consumption only in the second week of May, till the end of June. It is grown in the districts of Hooghly, Nadia and North and South 24 Parganas, and interestingly, enjoys the GI tag as well.
Similarly, mangoes cultivated in the district of Malda, specially the famed Malda mango, enjoys equal prominence amongst mango lovers. And every summer, local markets in the district are brimming with buyers of the fruit from all corners of the country.
Last but not the least, irrespective of which region the mango hails from, the fact remains that this summer fruit is an integral part of our culture. Without the Indian mango, one surely cannot get through the long and hot Indian summer for sure!

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Oh, those summers!

http://oneindiaonepeople.com/oh-those-summers/

Mamta Chitnis Sen reminisces about the good old days when summer vacations meant visiting relatives, and creating memories for a lifetime.

SUMMER holidays as I recall, were all about tempo- rary migration to the homes of relatives residing faraway. An out-of-town trip to a village or a city, depending on the residence of the host, was on the agenda of every Indian family. Unfortunately, times have changed.
With the slow decline of the joint family system, families today are spending their Indian summers in overpriced and overhyped crowded hill stations in the country and abroad. Today, nuclear families flush with dual incomes, are opting to vacation in exotic destinations. So much so that families prefer showcasing their tailor-made holidays complete with picturesque movie-like locales, on social media.
Interestingly, summer vacation- ing in India has become more of a competitive affair. Vacationing in the homes of your near and dear ones has become passé. Renting out someone else’s home via Airbnb and Homestays appear to be much more fashionable and in demand.

Visiting the ‘native place’
I still recall the time when as children we used to visit the homes of our relatives in the summer holidays to bond
with family members over games, afternoon siestas, and of course enjoying the many seasonal fruits that grew in the
backyard. While I would spend one part of my summer with my maternal family, the remaining would be spent with my
paternal ones. Believe it or not, it was later in life that I realised that these visits unknowingly laid the foundation for my love for travel, good food and good conversation. My summer vacations groomed me, bit by bit, into adulthood. They also helped in understanding life when things often didn’t go as planned.
My strongest memories of my summer vacations remain those spent with two men who influenced my life to a great deal. Gaja (short for Gajanan) mama was a strapping handsome young man in his early forties, who had given up a flourishing career in photography due to an asthma problem that refused to go as he grew older. Gaja mama was in fact my mother’s uncle. The second amongst four siblings (three brothers and a sister), he spent most of his time at home taking care of his siblings who were well into their thirties, which included a visually challenged younger broth- er, and a sister who suffered from minor health issues every
now and then. None of the siblings married and hence found companionship with each other, waltzing happily through life. They lived in a middle-class nondescript neigh- bourhood next to the ruins of the legendary Vasai Fort.
Their home was simple and wasn’t much to look at except for the large balconies at the entrance and the exit. In the summers, when I would visit Gaja mama, I would see him lovingly take care of this home – he cooked, he cleaned, he gardened, he sewed and embroidered the curtains and bedsheets. His place of pride was the garden he nurtured, with different varieties of plants and flowers.
Gaja mama remained a bachelor his whole life, but he took good care of my cousins and I, like a seasoned parent. In the evenings, after treating us to the local delicacy, the golas (ice candies), he took us for walks at the fort. Here he would explain the history behind each and every stone in the ruins that lay around. The desolate fort, against the backdrop of the sunset, and the stories he told, would appear to come to life.
He also made it necessary for us to learn to stitch small handkerchiefs on his old, hand-operated Singer sewing machine. He saw to it that we had our meals on time, and that we made it a point to read every classic English novel before the vacation ended. He introduced me to the art of gardening and the pleasure that comes in seeing the first bud of plant that shoots up to the sky.
Gaja mama who loved his job immensely and had to give it all up at a young age, instead of being bitter with life, tried to find joy in the simple daily rituals of life. He believed that when life pushes you to a corner, you mustn’t
believe it to be the end. There will always be something else to live for and look forward to.
The other man who was a great influence on me during my visits every summer was my father’s younger brother, Ashok, whom we all fondly called Bhaiyya kaka. A banker whose main job was sanctioning loans to farmers, Bhaiyya kaka, bored with the red tape he was subjected to in his line of work, quit his job one fine day, only to retreat into the jungles of the Western Ghats to convert a 26-acre mountain into a paradise.
For someone who had never farmed in his life, he soon began to grow mangoes, cashews, chickoos, jackfruits, lemons and every other fruit and vegetable one could think of, on his farm. Not only did he experiment in creating new varieties of mangoes, but he also tried his hand at landscaping his farm in different hues and designs. It wasn’t long before agriculture experts and students from agriculture colleges began making a beeline to his farm and him to study and witness his magic first hand.
Bhaiyya kaka too cooked, cleaned and gardened. He also took care to see that the many lands left by his ancestors to the family were not encroached upon by anti-social elements. He read voraciously and had an impec- cable taste for music – every morning we were woken up to the mesmerising voice of classical singer Kishori Amonkar. A bachelor till the end, and though he largely lived alone on the huge farm with only his music and books for company, he never seemed lonely. He familiarised me with the writings of William Faulkner and Gabriel Garcia Marquez, and believe it or not, the songs of pop singer Samantha Fox too.
My time spent each summer with these two single men was an education in itself. Despite not having women by their side, they ran their lives effortlessly, at the same time lending a helping hand to whoever approached them. They did not believe in mediocrity, and excelled in whatever they did. These two men — one young and one old, defied their age and societal norms to live the life the way they wanted to, while not forgetting to pass on the values and experiences they had learnt from the generation before them, to us. Both men passed away in their mid-seventies, and their death left a void in me.

The ravages of time
Meanwhile Bhaiyya kaka’s farm is overgrown and is a jungle again. Ironically a court battle is now raging amongst his heirs for ownership of the land he cultivated his dream on. On the other hand Gaja mama’s Vasai home lies empty, shut and forgotten by the family, surrounded by tall, ugly, concrete skyscrapers.
I finally had a chance to visit Gaja mama’s home with my two teenage daughters this summer, after a gap of decades. Strangely, it wasn’t what I had been describing to them over the years. The house was derelict and falling in places, while the garden, which he had cherished, had long died. The only thing remaining were the memories he had left behind.http://oneindiaonepeople.com/oh-those-summers/

On invitation. My article published in latest issue of One India One People

http://oneindiaonepeople.com/a-protest-for-the-masses/

EDUCATION IS FREEDOM

http://blog.cry.org/2016/11/education-is-freedom.html

MAMTA CHITNIS SEN IN THE INTERNATIONAL ART JOURNAL THE ARTISTS WORKING

Mamta Chitnis Sen featured in Les Femmes Folles

Les Femmes Folles

MAMTA CHITNIS SEN, ARTIST

Mamta Chitnis Sen shares with LFF about working as a journalist, her work focusing on the changing rural landscape of India, her exhibition currently on display at Kolkata’s Indian Council for Cultural Relations, feminism and more…

Where are you from? How did you get into creative work and what is your impetus for creating?

I am originally from Mumbai, India and have been a working journalist for most part of my life, writing and covering various political and social events across the country. Although I have been attracted to art since childhood it was only in 2011 that I got myself enrolled into Sir J J School of Art to understand the various nuances of painting and formally began unleashing my creativity on canvas. My works are mostly in oils and acrylics on canvas (using a palette knife) and revolve around documenting the lives of people based in rural India and their slow and disappearing identities.  I have exhibited in various groups shows in India and recently in France as well.

My paintings are concentrated on the changing rural landscape in India.  The works are inspired by women farmers from the region of Sawantwadi, a former princely state in Maharashtra, India—where my ancestral home is based.  These paintings depict women farmers (of all ages and stages in life—single, married, ageing) attending to their daily chores in life in the fields– either alone or with companions, or in conversations with each other with the lush green fields forming the backdrop for their activity.  The blank faces of these women in the paintings are a symbol of how women farmers in India are devoid of their own voice and identity and how they continue to remain merely a minority, neglected and ignored.  The paintings highlight the plight of these women and their circumstances.I have been a journalist and the works are mostly based on my experience of having travelled to these regions and my observation of the same.  I have worked with The Sunday Guardian, Mid Day, Society magazine, Sunday Observor and recently headed Dignity Dialogue, one of India’s foremost national magazines exclusively for the 50 plus age group as its Executive Editor. I am presently handling Media Advocacy for Child Rights and You (CRY)—an organization working for the protection of rights of underprivileged children.   

Tell me about your current/upcoming show/exhibit/book/project and why it’s important to you. What do you hope people get out of your work?

My upcoming show is focused expanding the issue of marriage and the role of the woman in it. The works ‘Silent Brides’ are mostly concentrated on rural women specially from tribal communities in India where women irrespective of age has no say in the choice of her partner—the decision is merely taken as a means to survive just another day devoid of poverty.The first phase of my work is currently on display at Kolkata’s Indian Council for Cultural Relations. I hope to exhibit the entire show at the end of 2016.I believe people get the message that while on one hand women are fighting to empower themselves in all means possible, on the other hand there is a section of society which are struggling to reach this understanding. My paintings of women devoid of any facial features are juxtaposed with the landscapes they work in have been appreciated for their unique style by most and the feedback has been overwhelming. I am proud to say that a few of my works are now in private collections in countries such as South  Africa, France and Morocco. 

Does collaboration play a role in your work—whether with your community, artists or others? How so and how does this impact your work?

 Yes to some extent my travels to see these communities has in fact impacted my work and in my own way I have attempted to highlight their plight which has been very well received in the media as well.

Mamta Chitnis Sen: Off To Work

Do you think your city is a good place for women in art/writing/etc? What do you think is the best thing about your city for artists, and how might it be improved?

 Yes Mumbai is definitely the best place for women to feel motivated to take up art or writing. The city has been the breeding ground for many internationally celebrated artists since the early sixties and has the best of art galleries. The best thing about the city for artists is that it provides a bigger platform for artists irrespective whether they are beginners or established ones. 

Mamta Chitnis Sen: Silent Bride

Artist Wanda Ewing, who curated and titled the original LFF exhibit, examined the perspective of femininity and race in her work, and spoke positively of feminism, saying “yes, it is still relevant” to have exhibits and forums for women in art; does feminism play a role in your work?

 Yes it surely does. Feminism is a very important aspect of my work. My works are largely based on women farmers and how migration by their husbands/fathers has largely affected their social status and condition. This again due to my personal experience with them and having observed that although women can be landowners in absence of their male counterparts they are yet not been given the chances to make their own decisions in terms of the lands that they control.

Mamta Chitnis Sen: Fisherwoman

Ewing’s advice to aspiring artists was “you’ve got to develop the skill of when to listen and when not to;” and “Leave. Gain perspective.”  What is your favorite advice you have received or given?

 The favourite advice which I have received and in return give to others is, “Do not hesitate in believing in yourself and seek who you are. You may be surprised at what you are capable of!”   

See more of Mamta’s work:

http://mumbaimessenger.com/women-in-fields/

http://www.themetrognome.in/art-and-culture/watch/mumbai-artists-interpretation-of-waiting

http://www.themetrognome.in/business-and-personal-finance/become/the-journalist-who-uses-art-to-highlight-society

~

Les Femmes Folles is a volunteer organization founded in 2011 with the mission to support and promote women in all forms, styles and levels of art from around the world with the online journal, print annuals, exhibitions and events; originally inspired by artist Wanda Ewing and her curated exhibit by the name Les Femmes Folles (Wild Women). LFF was created and is curated by Sally Deskins.  LFF Books is a micro-feminist press that publishes 1-2 books per year by the creators of Les Femmes Folles including the award-winning Intimates & Fools (Laura Madeline Wiseman, 2014) and The Hunger of the Cheeky Sisters: Ten Tales (Laura Madeline Wiseman/Lauren Rinaldi, 2015). Other titles include Les Femmes Folles: The Women 2011, 2012, 2013, and 2014 available on blurb.com, including art, poetry and interview excerpts from women artists.

Women in Fields exhibition in France: Ongoing till August 30, 2015

http://mumbaimessenger.com/women-in-fields/

Mamta Chitnis Sen from Mumbai is showcasing her second series of paintings based on the women of Sawantwadi in the picturesque and idyllic 11th century castle – Chateau de Bressuire, France

On special invitation of Mr Jean-Michel Bernier, Mayor of Bressuire, France and Ms Valerie Won Lee, President and Founder of World Citizen Artists, Paris – Mamta Chitnis Sen from Mumbai is showcasing her second series of paintings based on the women of Sawantwadi in the picturesque and idyllic 11th century castle – Chateau de Bressuire, located in the town of Bressuire in the Deux-Sevres department of France. The exhibition is till August 30.

The exhibition (curated by Ms Naoil Chekraoui) was inaugurated by Mr Jean-Michel Bernier, Mayor of Bressuire, France, Ms Dominique Lenne, Chargee de Affaires, Culturelles and Mr Philippe Robin, Vice-President de L’Agglo2B.
The castle was founded at the turn of 10th and 11th century by the Beaumont family and played a key role in the battles in Poitou between the kings of England and France over three centuries.

The venue was the perfect backdrop for the paintings– Women in Fields—is second in the series inspired by women farmers from the region of Sawantwadi—a former princely state in Maharashtra, India. The paintings depict women farmers (of all ages and stages in life—single, married, ageing) attending to their daily chores in life in the fields– either alone or with companions, or in conversations with each other with the lush green fields forming the backdrop for their activity.

The blank faces of these women in the paintings are a symbol of how women farmers in India are devoid of their own voice and identity and how they continue to remain merely a minority, neglected and ignored.

The exhibition was very well received by people of Bressuire and art lovers from France who identified closely with the subject of women farmers and their empowerment. Many believed, that the wives and daughters of farmers not only in India but across the world continue to face the same plight despite growing urbanization and development in education and other fields.

By MM Correspondent

Chitralekha profiles Mamta Chitnis Sen and her works

http://www.themetrognome.in/business-and-personal-finance/become/the-journalist-who-uses-art-to-highlight-society

The journalist who uses art to highlight society

Mamta Chitnis Sen uses her skills as a journalist with a painter’s keen observation to highlight contemporary issues affecting society.

by The Editors | editor@themetrognome.in

Mamta Chitnis Sen is one of a growing tribe of Mumbai’s talented multitaskers – she is a journalist by day and a painter by night, and she travels the country extensively working on both her journalistic assignments and such art-related tasks as restoration of colonial buildings and documenting their history. She recently had a showing of her works describing Sawantwadi’s women-in-waiting, which opened to a very good response and brought many accolades for her.
In a chat with The Metrognome, Mamta talks about how she started dabbling with art, her inspirations, how she makes time for her pursuits, and what’s next. Excerpts from the interview:

You have had a long career in news reporting and feature journalism. When did you decide to dabble in art as well?
I have always been inclined towards art since childhood. In fact, in the course of working with several publications, I even penned several articles related to art and artists but it was only in the year 2008 during my stint with a political party as its office bearer that I had an opportunity to organise an art exhibition. The motive was to connect the common grassroots worker to the elite art circuit and bridge the gap between the two.
Have you ever watched a political rally? It is so colourful and vibrant, just like a canvas littered with colours and shades of all hues. Similarly, the banners and posters which are on display during election campaigns also speak a language of their own.
My hunt for artists to duplicate any form of social issue on canvas ended up blank since I discovered that a majority of artists were more interested in painting safe subjects such as that related to spirituality, meditation etc., than paint on any socio-political issues. Finally in 2010, after running around in circles, I decided to learn art formally and paint what I thought. So I joined the Sir JJ School of Fine Art to study paintings and drawing and since then it has been a great journey.
How do you balance your journalism career with your artistic pursuits?
Journalism surely does take a lot of my time (she is currently Executive Editor of Dignity Dialogue and has worked with Mid Day, The Sunday Guardian, Society, and Sunday Observer) but it is what I enjoy, I love being a journalist. Similarly, I also love painting and manage to devote my 100 per cent to both. I never compromise on any of the two. I believe that if you love doing something, you can always find time for it, whatever the circumstances. While I work on my journalism assignments during the day, I paint at night – mostly post midnight, till the wee hours of dawn. This is the time when the phone doesn’t ring, and since everyone is in deep slumber, there is silence around and in silence one can think and paint at ease.
Tell us about the art collective you founded. How did this come about? 
It’s called ‘Canvas Clan- A congregation of artists from all walks of life’ and was first founded along with students of the Art Class (Hobby) of Sir JJ School of Art, Mumbai in 2010. The idea was conceptualised during a class field painting trip to Khandala. It initially kick-started with an exhibition of art works with 22 students from various age groups and different professional backgrounds, namely furniture designers, software engineers, writers, entrepreneurs, etc. It was aimed at being a guiding force of light to encourage art lovers and art practitioners to seek academic excellence in understanding and promotion of art through art workshops, art studies and public exhibitions.
I must say that also it was because of the efforts of the Dean of Sir JJ School of Art, Prof Vishwanath Sable who encouraged us that the collective came into existence. ‘Canvas Clan’ also played a key role in exhibiting unique works in celebration of the Centenary Year celebrations of Bihar State in the year 2011, and was invited to showcase works that highlighted the confluence of past and present progress of Bihar through a series of paintings.
What are the other initiatives in art that you are currently involved in?
I am currently involved in documenting and researching history of JJ School of Art and its allied branches pre- and post-1857, when the Institute was first founded. The first part of my study was the existence of a state-of-the art Pottery Department at the Institute’s campus grounds constructed by the British. The building used to house ceramic samples from European countries, traces of which are still found at the Dean’s bungalow within the campus. Between 1873 and 1875, the Pottery Department grew to such fame and glory, that it even threatened the sales of the famed Wedgewood Company in London. The building was later torn down in 1926 following the terrible plague which led to the decline of pottery students frequenting the campus premises, affecting the production and sale of ceramic products.
I also collect artefacts which most people throw away. Another art project which I am working on is beautification of the Rajbaris (palaces) located in interiors of West Bengal. Most of these Rajbaris and the mansions surrounding them are hundreds of years old and either in derelict condition, abandoned or neglected. I helped in the beautification of the house of the late Ishaan Chandra Sen, the zamindar of Guptipara in November last year. The beautification was done with involvement of children belonging to the families.  This initiative was aimed more to give them a sense of belonging of their roots and identify them with their past and culture.
Apart from this, I am also involved as a Social Network Officer for World Citizen Artists (a forum of international artists, musicians and writers founded in Paris in 2013). WCA works to address social issues across the globe through art and creativity.
Can you describe the process of putting up your first exhibition? What are the costs involved in putting up an exhibition?
My first exhibition was at Main Hall, at Sir JJ School of Art. Though we were saved from the cost of footing the price of the venue, we had to pool in money for framing, banners, food for guests etc. But ideally the cost to set up an exhibition is almost Rs 1,00,000 and upwards in Mumbai, which includes rent, framing, catalogue printing, publicity material etc.
How many exhibitions have you had so far? Where?
I have participated in seven exhibitions so far, five in Mumbai, and one in Hyderabad, and Kolkata.
What has been the most interesting/thought provoking moment in your journey as an artist?
There have been several and it is difficult to pin point any one. But the most interesting moment was when someone actually bought three of my works together in one go!
What are your future plans?
I want to set up my own artists and writers’ residency some day. The residency would not only provide space to those from the unorganised sector (especially women) to unleash their creative side, but also help them in seeking an alternative career in art.
A word of advice you would give to artistes just starting out to explore their creativity?
Do not hesitate in believing in yourself. Seek who you are. You may be surprised at what you are capable of!

Mumbai artist’s interpretation of ‘waiting’

URL: http://www.themetrognome.in/art-and-culture/watch/mumbai-artists-interpretation-of-waiting

Mamta Chitnis Sen’s works address the theme of women left behind to look after family lands in Sawantwadi’s farming regions.

by The Editors | editor@themetrognome.in

This is one exhibition you simply must attend – it comprises some lovely paintings, with a very sensitive theme titled ‘The Wait’.

Mumbai-based journalist, writer and artist Mamta Chitnis Sen has put together ‘The Wait’, a collection of her original paintings rooted in Sawantwadi, a former princely state and part of the Konkan belt of western coast of Maharashtra. Sawantwadi has the highest numbers of farmers who have abandoned their lands and are working as migrants in neighbouring cities. The women and children left behind by their husbands end up as mere ‘protectors’ of the lands they once toiled in. The lands often are sold off or abandoned, empty and deserted.
The works, acrylics of canvas, highlight the plight of these women and their circumstances.
Born and brought up in Mumbai, the subjects of Mamta Chitnis Sen’s works are concentrated on rural Maharashtra. A journalist and an extensive traveller, Mamta, an alumni of Sir JJ School of Art has been instrumental in creating paintings in oils and acrylics documenting the slow yet disappearing lives and identity of people, especially women living in rural India.

A palette knife artist, Mamta aims to showcase the rustic rural landscape of interior India, specially Maharashtra and Bengal through her works, which is losing itself to the ills of urbanisation.

Speaking to The Metrognome, Mamta says, “It took be nearly three years to research this subject and I actually began painting work related to it in 2013. This is the first of my Sawantwadi series.
I first noticed the subject of women merely ending up as caretakers of their own lands during my travels to interiors of Maharashtra (while reporting for my newspaper), specially the Konkan belt. I saw that in key areas of Konkan beyond Ratnagiri and Sawantwadi (which is my native place) the second generation of farmers are opting out of farming. In Sawantwadi, a large numbers of horticulture farmers preferred desk jobs in ‘large companies’ than compared to taking up farming which they believed was a tedious affair.”

She adds that unseasonal rains, too, was another reason for their growing disinterest. “Most traditional farming families including newly-married young sons in their late 20s, who were hence looking for alternate revenues of income. The escalating price of lands in the region was yet another reason for this switch. Many second generation families in hope of easy money were either selling off their ancestral property or keeping them on hold hoping to get more money for it.”
Hence while the men travel to cities, the women who are left behind with their kids to either toil on some part of the land to avail of Government benefits or merely as caretakers.
Most women in rural areas, despite being educated up to primary level, are devoid of any other skills or education on how to convert use the empty land to their benefit. “Further, many local builders often swindle them of their share while the men are away,” she says.

The exhibition is on at Mumbai Art By Artists, Prince of Wales Museum, Coomarswamy Hall, Colaba, from January 23 to 25, 2015 between 11 am and 6 pm. Entry is free.

(Pictures courtesy Mamta Chitnis Sen)

Children in No Mans Land

http://worldcitizenartists.org/children-in-no-mans-land-by-mamta-chitnis-sen-india/

Children have always ended up the foremost victims of cross border terrorism and war to engulf nations across the globe, the recent violence on the Gaza strip notwithstanding.”

While children lose their families and homes due to conflict, the poverty that follows the violence eventually leads to thousands of children ending up orphans, often being forced to seek survival in lands where caste, creed, and colour dominate societal divisions. Their innocent minds succumb to the above diktats, eventually forfeiting childhood. The displacement of children through border conflict needs to be addressed on humanitarian grounds by one and all.

Displaced: Children in No Mans’ Land is an effort to highlight this vulnerability. A nude boy looks across a vast expanse of rich green fields trying to find a meaningful relationship, and a conversation with a lone scarecrow in war stricken territory brings forth the innocence of the mind of the child (despite the bleak surroundings) while he continues to explore hope and acceptance.

Like the scarecrow that stands guard over an empty field, the orphan boy too wants to survey the fields as his own; he wants to be a farmer with the sole intention of seeking solace on the empty patch of land calling it his very own home someday.

My work on Nelson Mandela Day for World Citizen Artists

http://worldcitizenartists.org/the-meaning-of-nelson-mandela-to-me-by-mamta-chitnis-sen/

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Owaisi party plans expansion in Maharashtra

MAMTA SEN Mumbai | 6th Oct 2012

he All India Majlis-E-Ittehadul Muslimeen has begun its expansion plans in Maharashtra from ex-Chief Minister Ashok Chavan's home constituency Nanded. The AIMIM's victory in the by-elections two years ago — in Ward 40 (which they won) and Ward 79 (their candidate came in second place) has enthused the party to such an extent that 25 candidates will contest in the upcoming Nanded Corporation elections.
Party President and MP Asaduddin Owaisi has been taking a keen interest in Nanded and is a regular visitor addressing mammoth rallies of 20,000 Muslims every week. Sayyad Moin, district president of AIMIM, Nanded said that they were hopeful of winning at least 15-20 seats in the upcoming elections and confirmed that the party has long term plans of expanding across Maharashtra.
"Nanded had always been closer to Hyderabad even in the past in fact it is also located a mere 250 kilometres away. A large population of Muslims from here would like to see a change and since the AIMIM has always worked for the betterment of Muslims we would like to win Nanded on that agenda," he states adding that they have been getting invitations from places like Mumbra and Bhiwandi as well to put up candidates from their party in all forthcoming polls.
"We have already established over 25 offices across Nanded and are looking at increasing our popularity in other districts of Maharashtra too," he claims adding that Aurangabad is next.
The Bharatiya Janata Party has also been looking at the AIMIM with keen interest. "We are observing the situation. Any movement that is supposed to damage the Congress is eventually good for us. In Andhra Pradesh, Owaisi's party dominates only a certain section of Muslims. It would be interesting to see how they establish themselves here," points out BJP Spokesperson Madhav Bhandari.
Ravindra Raju, Organising Secretary, BJP in Hyderabad informs that Owaisi has been seriously looking to establish his party in Maharashtra and has been addressing meetings not only in Nanded but also in Pune, Solapur and Aurangabad. "Their presence in the state will possibly damage the Congress in the long run," he adds.
Mohammad Maqsud Inamdar a political worker from Nanded observes that the AIMIM will successfully win six seats in Nanded and then later expand itself to Aurangabad, Osmanabad, Mumbra, Bhiwandi and Mumbai.

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