Thursday, October 31, 2024

'The Wretched of the Earth' by Frantz Fanon

'The Wretched of the Earth' by Frantz Fanon:

Hello Everyone,😊


This blog is in response to the thinking task activity assigned by Megha Ma'am. 



Introduction:


In his 1961 book The Wretched of the Earth, Frantz Fanon examines how colonialism deeply affects the minds and lives of colonized people and their nations. Fanon’s insights have been significant for movements such as civil rights, Black consciousness, anti-colonial struggles, and mental health reform. This book is celebrated as a critical guide for activists and revolutionaries, exploring colonialism’s dehumanizing effects, the role of violence in fighting oppression, and the psychological scars of colonization. Its ideas continue to influence anti-racism and anti-colonial movements, especially with renewed interest after the 2020 Black Lives Matter protests. Now, let's dive into some key questions related to Fanon's arguments.



1) What is the role of violence in colonialism with reference to the wretched of Earth?

In The Wretched of the Earth, Frantz Fanon makes a powerful point about violence in colonialism. He’s not just talking about the physical violence we might imagine in wars; he’s talking about the way colonialism operates at every level by crushing people’s spirits and identities, stripping away their humanity. He starts by making it clear that colonial rule is built on force, control, and a refusal to treat the colonized as equals. Fanon doesn’t sugarcoat it when he says, “colonialism is not a thinking machine, nor a body endowed with reasoning faculties. It is violence in its natural state, and it will only yield when confronted with greater violence”.

What he means here is that colonialism doesn’t try to negotiate or meet halfway. It’s a system designed to oppress.  According to Fanon, colonialists never see the colonized as real people with thoughts, feelings, and rights. They keep control through violence, intimidation, and power. 

Sartre, who wrote the preface to Fanon’s book, even calls out the hypocrisy of colonial “humanism” with this line: 

“You are making us into monstrosities; your humanism claims we are at one with the rest of humanity but your racist methods set us apart.” 

   Sartre exposes how colonialists preach values like equality and brotherhood, yet they treat the colonized as objects, “monstrosities,” who exist only to be exploited. This hypocrisy makes it clear why Fanon believes that only force can undo what force created. He writes, “no gentleness can efface the marks of violence; only violence itself can destroy them”.

   Fanon believes that for the colonized, using violence isn’t just about physical resistance, it’s about reclaiming their self-worth and humanity. His line “to destroy the colonial world means nothing less than demolishing the colonist's sector, burying it deep within the earth or banishing it from the territory” sums up his idea of a complete break. The colonized don’t just want to change the rules they want to destroy the entire system of control so they can build a new society on their own terms.

    He points out that while violence is needed to end colonialism, it’s also risky. He warns that if power isn’t shared fairly, post-colonial societies could fall into “neocolonialism,” where native elites continue to exploit the masses just as the colonizers did.

    Interestingly Fanon describes how different groups respond to the idea of violent resistance. He says that nationalist groups like the working class and small business owners are often hesitant to embrace a full revolution. Because they’re a bit more comfortable, they would rather focus on improving their wages and conditions. But Fanon believes the real revolutionary force is in the peasants or “lumpenproletariat”, who have little to lose. For them guerrilla tactics “sabotage, attacks, and disruptive actions” are practical because they directly hurt the colonial economy, making it costly and unsustainable for colonizers .

    So we can say that Fanon argues that colonialism is a “two-way street” of violence. It’s not just a one-sided oppression; it’s a violent relationship between oppressor and oppressed that forces the colonized to use resistance as self-defense. He calls it a “murderous and decisive confrontation between the two protagonists”  because, for him, there’s no other way to truly break free from the cycle of dehumanization. While Fanon knows that this struggle has its own dangers, he also believes that without it, colonialism will just keep finding new ways to exploit.






2) What Does Manichaeism Mean in a Colonial Context?




Answer:

Manichaeism, a term originally tied to an ancient dualistic religion, takes on a distinct meaning in colonial discourse, especially in Frantz Fanon’s The Wretched of the Earth. In the colonial context, Manichaeism represents the sharp, binary division that colonizers impose upon the world, categorizing societies and people into rigid "good" versus "evil" stereotypes. In his analysis of colonialism’s psychological effects, Fanon uses the concept of Manichaeism to critique how colonial power dynamics create an artificial, morally charged opposition between colonizer and colonized. Below is a detailed exploration of the term within the context of Fanon’s work.


Historical and Philosophical Background of Manichaeism

Manichaeism was originally a religious philosophy founded by the prophet Mani in the 3rd century AD, promoting a dualistic worldview. This worldview sees existence as a struggle between two opposing forces: good and evil, light and darkness. This metaphysical dichotomy between two absolutes was influential across many cultures and later provided a framework for interpreting various forms of moral, social, and ideological oppositions.

In colonial studies, the term "Manichaean" is repurposed to describe the extreme and often violent divisions created by colonialism. Instead of a metaphysical battle between light and dark, colonial Manichaeism refers to how colonizers frame themselves as superior, advanced, and civilized while portraying the colonized as inferior, barbaric, and primitive.


Manichaeism in the Colonial Context:


In The Wretched of the Earth, Frantz Fanon, a psychiatrist and anti-colonial theorist from Martinique, explores how colonial rule enforces Manichaean divisions to uphold its power. Fanon writes from the perspective of a colonized person, describing how colonial powers impose absolute distinctions between colonizer and colonized to justify their domination. This process serves not only to dehumanize the colonized but also to absolve the colonizer of guilt, as they view their actions as part of a "civilizing mission."

Colonial Manichaeism creates a world in which “the settler is the absolute beginning” and “the colonized are nothing.” Through this lens, Fanon describes how colonial powers systematically strip the colonized of their culture, identity, and humanity. The colonized are perceived as irredeemably “evil” and incapable of attaining the same level of morality or sophistication as the colonizer, which justifies extreme repression and exploitation.



3) How Does Decolonization Fit into Global Capitalism?

Even after gaining political independence, many former colonies found themselves still economically dependent on former colonial powers, a concept often referred to as “neocolonialism.” In this system, newly independent countries continue to rely on their former colonizers—or other wealthy nations—for economic support and survival. Global organizations like the World Bank and the International Monetary Fund (IMF) encourage these nations to open up their economies, creating conditions that benefit the broader system of global capitalism, sometimes more than the countries themselves.


The Role of Large Corporations:

Multinational corporations from developed nations frequently enter post-colonial countries, taking advantage of their abundant natural resources and low-cost labor. This setup enables wealthier countries to maintain their prosperity by keeping raw materials cheap and manufactured goods expensive. As a result, post-colonial economies often end up as suppliers of raw materials or low-cost manufacturing hubs rather than fully developed, diversified economies. This reinforces economic dependence, limiting the growth potential of post-colonial nations within the global system.

The Cold War and Its Influence:

Decolonization largely took place during the Cold War era, a time when tensions between the United States and the Soviet Union influenced global politics. Many newly independent countries found themselves pressured to align with one side or the other. Some nations, hoping to break free from capitalist exploitation and avoid dependency, turned toward socialist models. They believed socialism might offer a path toward true independence, as it emphasized self-sufficiency and state-controlled resources, which could counterbalance the pressures of global capitalism.


Neocolonialism and Economic Influence:


Through trade deals and loans, wealthy countries and international financial institutions are able to shape the economic policies of post-colonial nations. These policies often focus on promoting privatization (the transfer of public assets to private owners) and free markets. While this approach benefits global capitalism by integrating these nations into the world market, it often leaves post-colonial countries at a disadvantage. They remain reliant on wealthier countries, serving the needs of those economies rather than fostering self-sufficiency.


In many ways, decolonization didn’t fully free former colonies from external control but transformed their dependency into a more economic one, fitting them into a global capitalist structure. Wealthier nations and international institutions maintain influence over these countries' economic policies, keeping them tethered to the global economy in ways that often benefit the powerful. This dynamic shows how decolonization, despite its promise of independence, led many nations into a new form of economic dependence that supports global capitalism.


So we can say that, decolonization ended direct colonial rule, but it didn’t completely free former colonies. Many of these countries became economically dependent on powerful nations within a global capitalist system. Wealthy countries and international organizations continue to influence their economies through trade, loans, and investment, keeping them tied to the needs of richer economies. So, while these nations gained political independence, they were still drawn into a system where they supply resources and labor to support global capitalism. This shows that decolonization often meant a shift from political to economic control, leaving many post-colonial countries still dependent.


Conclusion:


In The Wretched of the Earth, Fanon argues that violence is not only a means of oppression under colonial rule but also a necessary tool for liberation. He examines the complex role of violence in both gaining freedom and in maintaining colonial control. Manichaeism, meanwhile, enforces a harsh division between colonizers and the colonized, reinforcing the idea of the colonized as “lesser.” Lastly, even with decolonization, post-colonial nations often remain economically tied to global capitalism, making it challenging to achieve full independence.


Thank you so much for visiting 😊

Monday, October 28, 2024

Bhav-spandan Youth Festival 2024

Bhav-spandan Youth Festival 2024

Hello Everyone ðŸĪ ,


In this blog, I want to share my experience of the 2024 Youth Festival held at Maharaja Krishnakumarsinhji Bhavnagar University. When I came across about the news of Youth festival and when I finally see circular about it, I felt so excited and couldn’t wait to attend it and participate in events.



   This blog is based on a task assigned by Dr. Dilip Barad Sir to demonstrate our literary and critical skills by reflecting on the events we attended at the 2024 Bhav Spandan Youth Festival. 

 The Youth Festival is a major intercollege event held annually to celebrate the vibrant energy and talent of young people. Students from various colleges and departments participated in multiple competitions, displaying their diverse talents and creative abilities.

The festival included a total of 32 competitions organized into five categories: Literature, Music, Fine Arts, Dance, and Theatre. Each category was hosted at a specific venue, with each venue named in honor of a famous figure:


1. āŠŠંāŠĄિāŠĪ āŠ‰āŠĶāŠŊāŠķંāŠ•āŠ° āŠĻૃāŠĪ્āŠŊ āŠŪંāŠš : āŠāŠŪāŠŦી āŠĨિāŠŊેāŠŸāŠ°

2. āŠŠૃāŠĨ્āŠĩીāŠ°ાāŠœ āŠ•āŠŠૂāŠ° āŠĻાāŠŸ્āŠŊ āŠŪંāŠš : āŠ…āŠŸāŠē āŠ“āŠĄિāŠŸોāŠ°િāŠŊāŠŪ

3. āŠ…āŠĩિāŠĻાāŠķ āŠĩ્āŠŊાāŠļ āŠļંāŠ—ીāŠĪ āŠŪંāŠš : āŠĻāŠĩો āŠ•ોāŠ°્āŠŸ āŠđોāŠē

4. āŠ°ાāŠœા āŠ°āŠĩિ āŠĩāŠ°્āŠŪા āŠ•āŠģા āŠŪંāŠš : āŠŽાāŠđ્āŠŊ āŠ…āŠ­્āŠŊાāŠļāŠ•્āŠ°āŠŪ āŠ­āŠĩāŠĻ

5. āŠĶુāŠēા āŠ­ાāŠŊા āŠ•ાāŠ— āŠļાāŠđિāŠĪ્āŠŊ āŠŪંāŠš : āŠ…ંāŠ—્āŠ°ેāŠœી āŠ­āŠĩāŠĻ




 Kalayatra 2024


The festival started with a colorful “Kalayatra” on October 16th, and a range of events took place over the next few days, from October 17th to October 19th. The Youth Festival, called "Bhav-Spandan," was a great place to learn new things, experience creative performances, explore new ideas, and enjoy a mix of arts and innovative activities. It was a perfect space to gain fresh knowledge, meet talented people, and have fun with all the events.




   As it happens every year, this year's festival also began with Kalayatra and ended with a closing ceremony, running from the 17th to the 19th of October. Although the festival brought a lot of excitement, it felt a bit rushed because many events took place at the same time. Because of this, it was hard to watch all the performances, especially the dramatic ones like Mime, Skit, and Akanki. But the event was managed well, with good food and water arrangements, and they even provided a place to stay for those who had to travel daily. However compared to previous festivals, this one seemed to be shorter.

The festival started with Kalayatra, an event that brings all departments together to present social themes in a grand procession. Our group’s theme was the "Condition of Education," and we aimed to highlight how social media, short-form videos, and even increasing drug usage among teenagers can harm educational quality. Marching through the city from Shamaldas Arts College to Swaminarayan College, we felt proud to bring attention to such a pressing issue. Other groups took on important themes like women’s safety, making it feel like a true gathering of voices for social change. The festival started with a big procession that felt like a party with colors, music, and energy. Walking with many other students in our cultural outfits made it lively and fun. Everyone was excited, and it was great to be part of such a lively event.



There was also a change in the type of participation this year. Fewer people joined group activities like quiz, Skit etc., while more students chose to enter individual events, like elocution, clay modeling, mono acting, on-the-spot painting, photography, and cartooning. In this blog I'm going to capture what it felt like to be part of this festival, both as a participant in some events and as a friend cheering on others during the competitions. 



Dramatic Events:


The theatre events are the highlight of the Youth Festival, attracting many visitors from outside the university. There are four main types of drama performed during the festival: One-Act Play, Skit, Mono Acting, Mimicry and Mime.

Skit:

Watching and acting in the skit was a different experience. The skit addressed social issues in a satirical way, and many performances depicted this well. It covered topics like unemployment, problems in education, and the challenges women face, especially highlighted in Stree 3. The skit stressed the need for women's empowerment and raised thought-provoking questions with themes like “Gandhi Marte Kyun Nahi Hai,” while bringing everyone together with the message “Hum Sab ek Hai”. The skit included the experiences of those who do not fit into the male-female binary, highlighting their discrimination and lack of opportunities.

By using humor the skit balanced serious topics with fun moments, making it both engaging and memorable. The combination of music, different voices, and changing speeds kept the audience interested and left a lasting impression, encouraging us to think about the important issues it raised. Our skit, titled "Baki Sab Thik Bas Chal Raha Hai," was performed by us, and I will share more about it in this blog later.


The One-Act Plays:

The One-Act Plays this year had interesting titles like Jamni, Sukh-Dukh na Sathi (both inspired by Pannalal Patel's short stories), Kariyavar, Kali – Ek Pavitra Rang, Aykha ni Chopat, and Karna.


The themes of the One-Act Plays varied widely. The plays made good use of props, and the lighting and background music added to the overall performance. Kali – Ek Pavitra Rang highlighted realism, and Karna included elements of mythology. Plays like Jamni and Sukh-Dukh na Sathi focused on sentimental themes, while Karna and Aykha ni Chopat dealt with tragedy.


Unfortunately due to our practice sessions, we weren’t able to watch many events in person, which was a bit disappointing, but all the events were steamed live in youtube so we watch some events as recorded video.

Karna



In one play we can find heartfelt depiction of Karna's life. It beautifully portrays Karna's tragic life, using lighting and flashbacks to show a young Karna expressing his pain to Kunti, his mother, who abandoned him. The actors cleverly used the stage to show the emotional gap between Karna and Kunti. We also looked at the play The Curse of Karna by T. P. Kailasam, which tells the story of the Mahabharata from Karna's point of view. This play shows how Karna's life felt like a curse because he faced suffering from many characters, including the Gods.


Aykhani Chopat



   The story in Aykhani Chopat is straightforward. The Story revolves around, one brother kills another for his wife. The sister-in-law, who is unaware of the truth, starts preparing to marry him for the sake of her child. Throughout the play, the game of Chopat symbolizes the characters' lives, showing how destiny plays with them. 


In the end, there's a surprising moment when the sister-in-law realizes her brother-in-law killed her husband. 





Note: Due to some issues, I couldn't embed the videos as direct links in this blog. Instead, I’ve provided hyperlinks, so you can click to watch them directly on YouTube. 






Singing Event:

The singing event included various performances, such as folk songs, Western songs, bhajans, sugam geet, and more.


Bhajans often focus on themes like solitude, spiritual searching, love, and self-discovery. While English literature also explores these topics, bhajans highlight them in a way that reflects Gujarati culture. In structure, bhajans can feel like personal stories that take us on a journey, similar to novels or essays. The variety of bhajans performed showed the wide range of themes and personal experiences within this art form. This makes bhajans both poetic and meaningful, offering a Unique way to explore the human experience. 





Sugam geet:

Sugam geet was also part of the singing events, featuring light and pleasant music. Here are the titles of the songs performed:


1. āŠ†āŠĩું āŠķાāŠĻે āŠĨાāŠŊ āŠ›ે
2. āŠŪāŠđેāŠ•āŠĪી āŠđāŠĩાāŠŪાં āŠ•ંāŠˆāŠ• āŠĪો āŠļāŠŪાāŠŊું āŠ›ે
3. āŠ—ાāŠĪા āŠ–ોāŠĩાāŠŊું āŠ—ીāŠĪ āŠķોāŠ§ો āŠđāŠĩે āŠ•āŠēāŠ°āŠĩāŠĻી āŠ­ીāŠĄāŠŪાં
4. āŠ†āŠ–િāŠ° āŠ‡āŠļ āŠĶāŠ°્āŠĶāŠĻી āŠĶāŠĩા āŠ•્āŠŊાં āŠ›ે
5. āŠĶિāŠē āŠ āŠĻāŠĶાāŠĻ
6. āŠ•ૌāŠĻ āŠ°ે āŠ›ેāŠĄે āŠ“āŠēા, āŠĪાāŠ°ે āŠ°ે āŠĶāŠ°āŠŽાāŠ° āŠŪેāŠ˜āŠ°ાāŠĢા
7. āŠ“ āŠĩાāŠēāŠŪ, āŠĪાāŠ°ી āŠ†ંāŠ–ોāŠŪાં āŠ‰āŠĄે āŠ°ંāŠ— āŠŦુāŠĩાāŠ°ા
8. āŠ•ુāŠšી āŠ†āŠŠો āŠŽાāŠœી
9. āŠļૂāŠ°āŠœāŠĻા āŠ…ંāŠ§ાāŠ°ે āŠ—āŠģેāŠēી āŠ°ાāŠĪ
10. āŠāŠ• āŠŠāŠĨ્āŠĨāŠ°āŠŪાંāŠĨી āŠŽāŠĻાāŠĪા āŠķિāŠē્āŠŠāŠĻે āŠ…āŠĶāŠ° āŠŪāŠģે, āŠœો āŠŪાāŠĨāŠ°ું āŠœીંāŠĶāŠ—ીāŠĻે āŠĪો āŠœ āŠĻāŠ•ાāŠ° āŠŪāŠģે.





Other Fine Arts Events:

This section featured various events, including cartooning (Participant: Riya Bhatt), painting (Participant: Tanvi Mehra), paper collage (Participant: Reshma Bilakhiya), poster making (Participant: Sanket), rangoli  (Participant: Divya Paledhdhra), clay modeling (Participant: Bhumiba Gohil), and installation.

Cartooning


                        



                                                 By Riya Bhatt



Paintings:


Topics: College Campus, Garden, and Festival

                          

Clay Modeling:




By Bhumiba Gohil

Paper Collage

Topics: Fish Tank, Dancer, and Portrait



                                          



By Reshma Bilakhiya



Poster Making


Most posters focused on themes like ecocriticism, global warming, and tree plantation. Raising awareness about these topics among the youth is crucial for helping them understand the importance of the environment and ecology for a sustainable green future.



                              


Rangoli:







Installation:

Topics: Worship (Pooja), Happiness (Emotion), and Accident



In the installation competition, Aakash Chavda, Yashraj Sodha, Parthiv Solanki, and Rajdeep Bvaliya from our department chose "Accident" as their theme, focusing on AI and gender bias. The concept depicted an AI-controlled train forced to decide whom to save, highlighting gender bias by choosing to save a man over a woman.




Poetry Recitation:


Poetry Recitation brings words to life, giving voice to emotions and letting each line dance with meaning. Here are the topics of the poems:
  • āŠŠ્āŠ°ેāŠŪ āŠāŠŸāŠēે āŠ•ે...
  • āŠ•ાāŠķ āŠāŠĩું āŠŽāŠĻāŠķે āŠ•ે...
  • āŠđું āŠāŠĩો āŠ—ુāŠœāŠ°ાāŠĪી
  • āŠĶોāŠļ્āŠĪ! āŠĪું āŠĩાāŠĪ āŠĪો āŠ•āŠ°
  • āŠŪાāŠ°ું āŠ—ાāŠŪ āŠ–ાāŠēી āŠĨāŠˆ āŠ°āŠđ્āŠŊું āŠ›ે
  • āŠĩૃāŠĶ્āŠ§ āŠŪાāŠĪાāŠŠિāŠĪાāŠĻી āŠĩેāŠĶāŠĻા
    


Essay writing Competition:

Topics for Essay competition:

● āŠ•ોāŠĢ āŠļāŠ°āŠđāŠĶો āŠˆāŠš્āŠ›ે āŠ›ે?
● āŠŊāŠķāŠ—ાāŠĨા āŠ—ુāŠœāŠ°ાāŠĪāŠĻી
● āŠĻાāŠ°ી āŠ…āŠļ્āŠŪિāŠĪાāŠĻું āŠ—ૌāŠ°āŠĩ - āŠœાāŠ—āŠĩું āŠœāŠ°ૂāŠ°ી āŠ›ે.
● āŠļ્āŠĩāŠš્āŠ›āŠĪા - āŠŦāŠ°āŠœ āŠ•ે āŠŦāŠ°āŠœિāŠŊાāŠĪ?
● āŠœીāŠĩāŠĻāŠŪૂāŠē્āŠŊોāŠĻી āŠ•āŠŪી āŠŪાāŠŸે āŠœāŠĩાāŠŽāŠĶાāŠ° āŠ•ોāŠĢ?
● āŠ•āŠēા - āŠāŠ• āŠ°ાāŠŪāŠŽાāŠĢ āŠ”āŠ·āŠ§

                   


Elocution:

Topics for the competition included:

  • Mara Sapna nu Gujarat Kevu
  • Exams Every Day
  • Suicide: Is It the Final Solution?
  • India's Foreign Policy and Its Impact
  • What If the Internet Disappeared?

Many students chose to speak on Suicide and Mara Sapna nu Gujarat. Dhatri Parmar also gave her speech on the topic "Suicide: Is It the Final Solution?"

Here you can find glimpses of Dhatri's performance:

                            


The folk music orchestra:


The folk music orchestra competition was an incredible experience, one that I feel fortunate to have witnessed live. Even though only two competitors participated, their performances filled the atmosphere with an energy that I could feel in every beat and note.


The rhythm they created was truly mind-blowing, each beat seemed perfectly timed, and it was amazing how in sync everyone was. Watching them tune their instruments with such skill and precision, you could tell they had practiced tirelessly to get everything just right. The sound flowed together in perfect harmony, creating a rich, layered music that seemed to carry the spirit of folk traditions.

Their attire was also striking; each performer wore beautiful, traditional clothing that added a visual grace to the performance, complementing the music in a way that made it feel like a cultural celebration. Every detail—from the colors to the accessories—seemed to reflect the essence of the music they played. And their expressions, You could see the passion in their faces as they played, as if they were completely lost in the music, carrying us along with them. It was truly unforgettable and gave me such an appreciation for the power of live folk music.



My Experience:

I had the opportunity to participate in three events: Kalayatra, Skit, and Mono Acting. Each of these experiences was unique and rewarding in its own way.


Kalayatra:


The festival started with Kalayatra. Our group’s theme was the "Condition of Education," and we aimed to highlight how social media, short-form videos, and even increasing drug usage among teenagers can harm educational quality. Marching through the city from Shamaldas Arts College to Swaminarayan College, we felt proud to bring attention to such a pressing issue. 








The next day, we moved into the competitive events after a formal opening ceremony, where my friends Kusum Sarvaiya and Jay Vaghani participated in the prayer group. On the first day, we had our Skit performance as our first event. We spent only a short time at the opening ceremony since we needed to focus on rehearsals and preparing the stage with props.

Skit performance:

"The Skit" competition was a highlight for me. As after many years, our department participated in the skit competitio n.I had the pleasure of performing with a fantastic group of six girls: Kusum Sarvaiya, Rutvi Pal, Krupali Belam, Smurti Vadher, Bhumi Mahida, and Me. 



Our director, Alpa Ma'am Ponda, guided us through the process, and we were lucky to have incredible support from our backstage crew: Jaybhai Solanki, Chirag Sir, Ronak Sir, Meghraj Sir and Naitik Sir. Their help made a huge difference in our preparation and performance.

The title of our skit was "Baki Sab Theek Bas Chal Raha Hai," where we tackled some serious issues in our performance, such as corruption in education, workplace exploitation, paper leaks, unemployment, stress, rape cases, and the narrow-minded views often held by society. Each theme was important, and we aimed to highlight them in a way that would make the audience think.


One of the most exciting parts of our skit was the need to change roles quickly. Each of us had to be versatile and adapt to new characters in a flash, which kept everyone on their toes. This fast-paced switching made the performance lively and engaging. We had to concentrate hard, not only on our lines but also on how to convey different emotions and personalities. It was a lot of fun to dive into different roles and bring each character to life.

The experience taught us a lot about teamwork, presence of mind, and many other things. It was rewarding to see our hard work pay off on stage, and the applause we received at the end was an amazing feeling. Unfortunately, we couldn’t secure a rank in the skit, which was heartbreaking. However, hearing positive comments from the audience and directors from other institutes assured us that we gave them tough competition, filling us with hope for the future. For me, being part of this skit was a memorable highlight of the Youth Festival.

Here are some glimpses of our skit performance:

















On next  day we have our skit's photo in news paper:


Click here to watch live stream of Skit event (If you want to watch our Skit performance check out the timestamp : 02:05:25 )


Mono Acting experience:


"Mono Acting" was another event I enjoyed, and it was also one of the more challenging ones. Unlike Skit, Mono Acting required me to be on stage alone, completely responsible for delivering a strong performance by myself. This event allowed me to dive deep into my character, and I could feel the audience’s attention focused solely on my act. It was both exciting and intense, but I’m glad I had the courage to take it on. This experience taught me a lot about expressing emotions and how to hold an audience's attention.


Mono Acting was another event that I truly enjoyed, and it turned out to be one of the most challenging experiences I’ve had. This was my very first time performing a mono act in front of such a large audience, which made it a huge milestone for me. Being on stage alone meant I was entirely responsible for delivering a strong performance, and it pushed me to confront my fear of being in front of so many people. Honestly I was to scared to be infront of such large number of audience.



The preparation for this act was quite intense, as we had very short time to get everything ready. I wrote the script myself, and the title of my performance was "Nayika." The story revolved around a stage actress who left her passion behind, As I stepped onto the stage, I felt the audience’s attention on me, and that made the moment both exciting and nerve-wracking.


Diving deep into my character allowed me to express a wide range of emotions, and I worked hard to connect with the audience through my performance. Although it was intimidating to be alone on stage, the experience taught me a lot about maintaining focus and keeping the audience engaged. In the end, it was incredibly rewarding and humbling to perform "Nayika," as I not only shared a meaningful story but also overcame my own fears. Just like Nayika I myself tumbled from one emotion to another.








I would like to take a moment to thank Alpa Ma'am Ponda for helping and guiding  me in the Mono Acting event. Although I didn’t secure a rank in the competition, which can be disappointing and heartbreaking but I have to  chose to focus on the positive aspects of this experience. I received so many compliments from random audience members, including those who were watching live at Atal Auditorium and those who were watching it live in Youtube . It was heartwarming to hear from people I didn’t even know, as well as from my friends and teachers who appreciated my efforts.

 Click here to watch live stream of Mono-acting event

(If you want to watch my performance check out this time stamp in the video: 01:05:00)


  One of the most special memories for me was when I received compliments from the judges, Writer Raam Mori and famous Director Vijay Giri Bawa. They both mentioned that they liked my work in Mono Acting and even came over from the audience to meet me and encourage me personally. Their acknowledgment truly made my day. 

          

  Raam Mori also commented on our Skit, expressing his enjoyment of our group’s performance. Those words of encouragement from such respected figures were incredibly motivating and made all the hard work worthwhile.


On the next day there is my photo in news paper:



   In the end, these memories and compliments are what I will cherish the most. They remind me that the experience was valuable beyond just the competition results, and I look forward to taking everything I’ve learned into future performances. I would like to thank our teachers, Dr. Dilip Barad Sir, Megha Ma'am, and Prakruti Ma'am, for encouraging us, giving us strength, and motivating us. 

Conclusion:

So I will say that these events gave me unforgettable memories and helped me grow, both as a performer and as an individual. Being a part of Bhav-Spandan wasn’t just about competition; it was also about pushing my limits, learning new things, and connecting with others who share the same passion for art and performance.

Thank you so much for visiting 😊

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