Book Design Portfolio

A n ta r a G h o s h

A n ta r a G h o s h

The idea behind this portfolio was to make it look like a book, preferably a novel. Since this was to display my skills at book design, I felt the design of the portfolio in the form of a book would be apt and shed light on what I know about designing books. Even though it might seem a little too elaborate, I really enjoyed designing this ‘book’ and I hope to print a few copies of it as a keepsake. Incase you do not want to indulge in this very long portfolio, the link to the shorter version of the same is here.

Copyright@Antara Ghosh, 2017 Photographs used in the designs are mostly my own.

Some are taken from Google and are copyright free.

The designs are my own and not copied from anywhere.

All the designs are artworked and suitable for print.

Call me on +91 9830518716 or email me at moonydancer@yahoo.com Other work : www.behance.net/moonydancer

For my Ma, who still asks me in the context of my work “What is it that you do exactly?”

Contents

Cover Design

1

Layout

68

Typesetting

92

Artworking

112

About Me

114

The

BIG BOOK

Antara Ghosh

B

BIG BOOK of

GANGA JAISALMER RISALA - 550 GLORIOUS YEARS

The

er Cov Design

The Book of Day & The Book of Night Genre Not Specified | Execution Time 1 hr | Paperback

T

he brief was to design two covers for ‘The Book of Day’ and ‘The Book of Night’ using only the shapes available in Quark Xpress and variations in shades and transparencies of solid colours. The designs were supposed to be presentable in a series look. I interpreted them in a minimalist style keeping a simple layout.

2 | Antara Ghosh

Cover Design | 3

Designing books of different genres with the same title Genre Commercial Romance & Academic Title | Execution Time 3 hrs

I

n this assignment, we were all asked to choose any flower of our liking after which the genre of the book was supplied to us through a lottery.

The two genres I got were ‘Commercial Romance on the lines of Mills & Boon’ and ‘A Botanical Manual’. The name of the book would be based on the flowers we had chosen - in my case Lantana - and the design would have to depict the genre specified. The aim was to clearly convey the genre of the book through the cover design.

4 | Antara Ghosh

Cover Design | 5

Designing a cover in two-colour Genre Fiction | Execution Time 1/2 hr | Paperback

F

or this cover, there was no brief given as such. I took a random title and tried to give it a thriller or mystery novel sort of feel while not making it too stark. I used only two colours to enable two-colour printing.

6 | Antara Ghosh

Cover Design | 7

Redesigning a book cover for a book about homosexuality in Indian culture Genre Non-Fiction | Execution Time 1 hr | Paperback

F

or this cover, I have used an image of the typical Rajasthani puppets, which usually come in pairs of female and male, but used both male figures instead to depict same-sex love. I feel the puppets convey Indian culture in a very authentic way and used in this unusual combination, the image successfully conveys exactly what the book talks about. I clicked this photo on a small digital camera many years ago. I feel the photograph is strong enough to stand on its own and not much else is required to convey the essence of the book.

8 | Antara Ghosh

Cover Design | 9

Redesigning Aesop’s Fables Genre Children’s Fiction | Execution Time 6 hrs+ | Paperback

T

his was probably my favourite assignment in class and I really enjoyed working on these! We had to interpret a particular Aesop Fable which was chosen for us by our partners. I initially got ‘The Beekeeper and the Bees but since I was so kicked about it, I later expanded them into a series. I chose the other fables myself based on my liking. The idea here was to use simple recognizable shapes, easily relatable by kids, and give them a watercolour touch along with some line art here and there.

I tried to use the recognizable animals as the primary elements in each title. I chose a bright colour scheme on white for a clean and bright look. I purposely tried not to use very childish drawings of the animals but keep the look mature even though these are kids books.

10 | Antara Ghosh

Cover Design | 11

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The full cover designs for all four books

Cover Design | 13

Travel guide series (pocket-sized books) Genre Travel | Execution Time 3 hrs | Paperback (mini-books)

I

find most travel guide books to be quite cumbersome to carry around because of their weight and size. The idea was to design a small, conveniently-sized series of books which would be easy to carry and fit into a big pocket even. I chose certain regions of India (which I have personally travelled to) which I feel could be easily covered under the same title. Since our states, and even districts often are so vast, it is usually difficult to cover everything in one book. I felt breaking them down into regions which seem like a cohesive unit according to their landscape, culture, cuisine and climate, would make them more useful for travellers. To restrict myself I decided to use only photographs that I myself had clicked and focus on the landscape of the area which primarily sets it apart from other regions. I have used either 1 or 2 photos which focus primarily on the landscape of the region and used them as both visuals and textures within the design.

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Cover Design | 15

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Cover Design | 17

Redesigning Amitav Ghosh’s book Genre Non-fiction | Execution Time 5 hrs | Paperback & Hardback

T

his is my interpretation of the cover for Amitav Ghosh’s book The Great Derangement. We were asked to design a dust jacket and adapt the same into a paperback version with different sizes. My pivotal image is of a drought-stricken area with a barren tree. I have constructed a collage using famous art which convey some sort of distress, turmoil and calamity. The paintings used are The Scream by Norwegian Expressionist painter Edvard Munch and The Great Wave off Kanagawa by Japanese wood-block print artist Hokusai. These images have been taken from Wikimedia Commons and are now copyright free.

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Cover Design | 19

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The dust jacket for the hardback version

Cover Design | 21

Redesigning my favourite Agatha Christie novel Genre Crime | Execution Time 3 hrs | Paperback

A

lthough, I’m not proud of the fact that this is the first and the only Agatha Christie I have read in all these years, I must mention it did turn out to be one of the best crime thrillers I have ever read and I enjoyed it thoroughly. I have tried to convey the ominous environment of the isolated island and the stormy weather that accompanies the whole story.

Since, the movie poster was also available and had also been previously used on some covers, I decided to use it not so blatantly and typically as it is mostly used, to portray the characters and hint at each of them having a dark side. I have superimposed the nursery rhyme which threads the whole story together in a way to create some curiosity in the reader who will surely come back to it after finishing the book.

22 | Antara Ghosh

Cover Design | 23

Interpreting a client’s cover design brief Genre Fiction | Execution Time 3 hrs | Paperback

I

n this assignment, we were all asked to take a book of our choice and prepare a cover brief for another person in the class. The idea was to try and understand what the ‘client’ wants along with the written brief and then design a cover according to that. The weight balance is supposed to convey ‘justice’ in an exact amount which is what the four characters intend to seek from the one who wronged them. Hence, the four against the one human figures on the balance.

24 | Antara Ghosh

Cover Design | 25

Redesigning a cover for an academic title Genre Non-Fiction | Execution Time 2 hrs | Paperback

T

his was my first attempt at designing a cover for an academic title and I found it more challenging than the rest, especially because the theme was so grim. I decided against using any image which was too macabre or dark on the cover and instead chose a colour scheme which could in my opinion convey the dark theme and give it a sense of ‘death’.

I have masked images that relate to the topics covered inside the book like the Cambodian killing fields and the concentration camps of Germany. The grungy, dilapidated wall which is the background is extracted from an image of a gas chamber.

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Cover Design | 27

Redesigning a cover for a poetry book Genre Poetry | Execution Time 1 hr | Paperback

P

oetry is not something I read too much, but designing covers for it and typesetting it was great fun. Taking from the title, I chose an image of out-of-focus lights and some streaks of moving lights to suggest movement and static light all around us. This image has a certain vagueness about it which appealed to me. I replaced the dot over the i with a star and have used it in the inside pages as well as a decorative element.

28 | Antara Ghosh

Cover Design | 29

Redesigning a cover for a poetry book :

version

2

Genre Poetry | Execution Time 1 hr | Paperback

T

his is another interpretation of the same poetry book but here I have used an image of lights being reflected in a pool of water on the ground. The idea was to convey that light could come from anywhere, not just in the places you expect it to come from.

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Cover Design | 31

Redesigning a cover for a short story collection Genre Fiction | Execution Time 3 hrs |

W

Paperback

e were asked to typeset a short story from Mahasweta Devi’s short story collection ‘Till Death Do Us Part’ and also design the cover for the book. All the stories in the collection are basically stories of suburban and rural women and their strange relationships with their partners, husbands, friends or children. Since the main protagonist in every story was a woman and the stories are based in Bengal and translated from their Bengali versions, I chose to use a stylized image of the traditional ‘laal paar saree’ (red-bordered saree) of Bengal to convey the essence of a Bengali woman. I did not want to use the face or back of the woman (which is done to death I feel) and so I used just the lower part of the saree. A Bengali alphabet has also been used to subtly convey that it is translated.

The crow is a part of the story we were asked to typeset and I whimsically decided to use it on the cover.

32 | Antara Ghosh

Cover Design | 33

Redesigning a cover for a short story collection : version 2 Genre Fiction | Execution Time 3 hrs |

A

Paperback

nother interpretation of the same short story collection. Here I chose to highlight an old woman who was the protagonist of one of the stories in the collection. Her greying hair has been used to convey decay of the mind, body and soul which comes with any kind of loss (loss being an integral part of most of the stories inside) and age.

34 | Antara Ghosh

Cover Design | 35

Designing a cover for Saadat Hasan Manto’s biography Genre Biography | Execution Time 4 hrs |

M

Paperback

anto has been my hero since I first read his short story ‘Khol Do’ many years ago. I wanted to design a cover for a biographical book about Manto’s tragic and intriguing life and his poignant work. I decided not to have a photograph of the author on the cover which is most commonly seen in the books about him. Instead I chose to depict elements from his work - the Partition, women, sexual encounters, the underbelly of Bombay, desi alcohol bottles and stray dogs which all recur in his writings. I used a font which looks a little like Urdu since he wrote in Urdu. The women are from a old movie poster of the 1940s and I felt it was apt as his writings also dealt a lot with the Bombay film industry of that time.

Also floating around in the collage is his full name ‘Saadat Hasan Manto’ written in Urdu.

36 | Antara Ghosh

Cover Design | 37

Redesigning covers for a favourite book Genre Fiction | Execution Time 3 hrs | Paperback

M

ario Vargas Llosa is one of my favourite authors and this book is certainly in the very long list of my all time favourite books.

I had many interpretations of the cover ( some of which are on the next page) but this one I felt is the most apt and appealing. I have used red as in essence this is a love story of sorts but is not one with a happy ending. The woman is looking upwards which could convey her ambition, hope or her simply staring into space.

In the other versions, I have used an image of a woman who effectively has the man in her ‘grasp’ which is what happens in the story as well. In those versions, I have tried to break away from using red to convey passion and love. I have tried to convey the same via the images.

38 | Antara Ghosh

Cover Design | 39

40 | Antara Ghosh

Cover Design | 41

Designing covers for an upcoming non-fiction title Genre Non-fiction, True Account | Execution Time 20 mins | Paperback

T

his cover was designed as a part of an exercise where our class had to pitch book ideas. We were divided into groups where we had to pitch an idea for a book to the publisher and once selected, work on a marketing plan for the same. Our team’s idea was to turn the article ‘Operation #BetiUthao’ by Neha Dixit about child trafficking in Assam aided by the Sangh Parivar (appeared in Outlook in August 2016) into a book providing more details of the investigation and the current status of the situation. We felt it would be an impactful book in the current political scenario and would be a good place to follow up on what the article started last year. I thought of using silhouettes to signify the missing girl child which would also be taken into the inner pages as a small icon recurring on random pages or fly leaves. This idea for the cover was also inspired by an art installation project called #Missing by Leena Kejriwal, wherein she makes installations or draws graffiti of young female bodies, in the form of silhouettes, on walls across various cities in India. I felt we could use this campaign and merge it into the book somehow as they both would brilliantly complement each other.

I figured we could also have the half-title page in black and the shape of the girl on the cover cut out leaving a girl-shaped hole, if the budget permitted it. The Saffron colour was a must to convey the idea of ‘saffronization’ which was one of the motives behind the trafficking of these girls.

42 | Antara Ghosh

NE HA

DIXIT

STOLEN LIVES Th e Sangh ’s Stole n Child Crusa de

Cover Design | 43

Redesign of my favourite Murakami novel in 2010 Genre Fiction | Execution Time 4 hrs | Paperback

I

made this painting sometime in 2010 after reading ‘Kafka on the Shore’

by Murakami. When I first learned Photoshop I converted it into a book cover for my first portfolio. It is not technically very correct and even the blurb is from a different book but I feel it deserves to be in my book design portfolio as it was the first book cover I ever designed. The painting is of the main protagonist of the story ‘Nakata’ and is my interpretation of the character who was supposed to have only half his shadow. The fish raining down was also something which came up in the story and it intrigued me.

44 | Antara Ghosh

Cover Design | 45

Redesign of another murakami novel Genre Fiction | Execution Time 4 hrs | Paperback

I

wanted to make a few more Murakami covers based on the same lines like the previous one and so I chose Norwegian Wood. The painting was not made for this purpose but I somehow felt it worked for the theme of the book which is essentially about the deep connection between a man and two separate women, each connection very different, yet same in a lot of ways. Since the title of the book is from a Beatles song, I felt the crisscrossed earphones across the cover add a touch of music to the visual and music is something which is found in abundance in Murakami’s stories.

46 | Antara Ghosh

Cover Design | 47

Designing a cover for a volume on art criticism Genre Art Criticism, Academic | Execution Time 2 hrs | Hardback

A

chapter from a book on Art Criticism was given to us for typesetting and we had to design a cover for it taking the chapter as the title.

The name of the original book was Fear, Reverence and Terror by Carlo Ginzburg. I have used a painting which is referred to in the text and is also reproduced in full colour inside the book. This painting conveys the nature of the discussions within the book. Also, I have used the image of the ‘Gilded Silver Vase’ in discussion across the dust jacket which can be seen more distinctly on the next page.

48 | Antara Ghosh

Cover Design | 49

50 | Antara Ghosh

The entire dust jacket for the hardback

Cover Design | 51

RA hasGHOSH been

Designing a dust jacket for a book about sarees Genre Non-fiction | Execution Time 3 hrs | Hardback

W

e were asked to choose any type of saree/textile/cloth, scan it and use it to design a book cover for a Coffee Table Book about the particular type of textile. I chose one of my mother’s handpainted Tussar sarees and designed this dust jacket. The painting on the saree was so beautiful it hardly required any work on my part. I wanted the texture of the saree to show distinctively so I have slightly adjusted the brightness of the saree. This was really fun to do and I discovered how much fun can be had with a simple scanner. I tried to keep the front cover simple and let the back cover hold most of the action and colour.

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52 | Antara Ghosh

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Cover Design | 53

ANTARA GHOSH has been author to many books on Textiles of India. She has travelled extensively to the remote

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54 | Antara Ghosh

www.seagullbooks.in

Tussar silk (alternatively spelled as Tussah, Tushar, Tassar, Tussore, Tasar, Tussur, Tusser and also known as (Sanskrit) Kosa silk) is produced from larvae of several species of silkworms belonging to the moth genus Antheraea,

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including A. assamensis, A. mylitta, A.

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paphia, A. pernyi, A. roylei and A. yamamai. These silkworms live in the wild forest in trees belonging to Terminalia species and Shorea robusta as well as other food plants like jamun and oak found in South Asia, eating the leaves of the trees they live on. Tussar silk is valued for its rich texture and natural deep gold colour, and varieties are produced in many countries, including China,India, Japan, and Sri Lanka.

India is the second largest producer of Tussar silk and the exclusive producer of Indian Tussar (also known as tropical tussar), which is largely tended to by tribals. Much of it is produced in Bhagalpur (where it is called Bhagalpur silk), Bihar and Malda district of West Bengal. Tussar silk is also used for Orissa’s Pattachitras and West Bengal’s Kantha

stitches.

Chhattisgarh

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Madhya Pradesh also produce Tussar silk. In recent years Jharkhand state has emerged as the biggest producer of Tussar silk.

Antara Ghosh

The full view of the dust jacket for the hardback

Images of the original scans of the saree Cover Design | 55

Designing a cookbook Genre Cookbook | Execution Time 4 hrs | Paperback

T

his is a cookbook cover which was a part of our project to design a few pages of an entire cookbook. I chose to use recipes of popular snacks which go as great accompaniments to tea or cha as it is called in Calcutta. To add a feel of street foods from Calcutta, I added the Howrah Bridge as a small motif in the designs along with the earthen pot of tea (or bhaader cha) and the typical Indian tea-pot used in street-side tea stalls all over the country. The inner pages are also a part of the Layout Section of my portfolio. The images of the food items on the cover are a collage of the recipes appearing inside the book.

56 | Antara Ghosh

Cover Design | 57

58 | Antara Ghosh

The whole paperback cover for the cookbook

Cover Design | 59

Coffee table book for tata steel in 2010 Genre Reference, History | Execution Time 4 months + | Hardback

T

his was a part of my first job as a graphic designer in 2010 with Avant Garde Omnimedia, a design agency based out of Calcutta.

Done under the supervision of Mr. Rajiv Soni of Tata Steel and published by Rupa Publications, this project spanned over 6 months or more since it involved retrieving archival material to chronicle Tata Steel’s print advertisements over the years. It was done as a part of their centenary celebrations. The cover was designed using scanned print advertisements of Tata Steel which had come out in various newspapers and magazines over 100 years. The ones on the cover are mostly the older ads which were printed in black and white. I felt they conveyed the spirit of the book very aptly and made for a lovely visual at the same time. This project was a very prestigious one for me and I learnt a great deal about printing and fabrication in the few days I spent with Rupa Publication’s pre-press department. I had no technical know-how at that time, which they helped me rectify with great efficiency. Some of the inner pages will be presented later in the Layout section of my portfolio.

Photographs of the book launch

60 | Antara Ghosh

Cover Design | 61

Photographs of the printed book

62 | Antara Ghosh

The entire dust jacket for the hardback

The book can be seen online by clicking here

Cover Design | 63

Coffee table book for an Indian army unit Genre History, Non-fiction | Execution Time 6 months + | Hardback

T

his was a project very close to my heart as I was commissioned by my father’s unit (The 13th Battalion of the Grenadiers Regiment of the Indian Army) to design this coffee table book for the unit’s 550th Raising Day Celebrations. My brother, who serves in the same unit did all the research and content development for it and I got the opportunity to design the book from start to finish. The unit colours are red, orange and yellow and it was originally a camelized regiment from Rajasthan and hence the use of these colours in abundance. Some of the historical images were not in good condition so they had to be touched up and enhanced. Most of the layout was very basic with beautiful old photos accompanied by captions and minimal text but in some pages, where certain battles were described, I used lots of collages to break the monotony of the straightforward layout.

Some of the inner pages will be presented in the Layout Section of my portfolio. This book was used for internal circulation within the army. I also oversaw the printing and production of the book. It was a thing of great pride for me to have had the opportunity of doing this for my father’s unit.

64 | Antara Ghosh

GANGA JAISALMER RISALA - 550 GLORIOUS YEARS

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Brigadier Jagmal Singh Rathore, VrC, VSM (Retd.)

Cover Design | 65

Some photos of the printed book

66 | Antara Ghosh

GANGA JAISALMER RISALA - 550 GLORIOUS YEARS

Brigadier Jagmal Singh Rathore, VrC, VSM (Retd.) is a career soldier whose family has been associated with the Bikaner State Forces and the Ganga Risala since its very inception. The officer got commissioned into the Ganga Jaisalmer Risala and took part in the 1965 and 1971 Indo-Pakistan Wars wherein he was decorated with the Veer Chakra for displaying conspicuous gallantry in the face of the enemy. The officer commanded the Ganga Jaisalmer Risala in active Counter Insurgency Operations in Mizoram, which happened to be the first operational exposure for the battalion after getting converted to a standard infantry battalion. Brigadier Jagmal Singh was thereafter decorated a second time, this time with the Vishisht Seva Medal for distinguished service.

The officer has served in varied appointments in all kinds of operational terrain prevailing in the country. The officer, now retired, resides in the town of Bikaner, Rajasthan. The author is an accomplished shooter and has authored two books on improving the shooting skills of soldiers.

He has travelled all over the country to conduct workshops for improving the shooting skills of soldiers in Indian Army units.

The Ganga Jaisalmer Risala is one of the oldest (if not the oldest) battalions of the Indian Army with a history spanning 550 years. The unit is one of the most experienced and battle hardened units of the Indian army having participated in

GANGA JAISALMER RISALA

nearly all the Campaigns, Wars and Operations in India and abroad. The battalion distinguished itself in the Boxer Rebellion in China in 1900, in Somaliland in 1903, where the battalion was awarded a Victoria Cross and the Battle Honour Dharatol and in World War I and II where the battalion’s desert fighting skills and long range penetration capabilities inspired the Allied Army to raise a Camel Corps of their own. Post Independence, the unit participated in all the major wars and has contributed extensively in the Indian Army’s Counter Insurgency drive. This book has been written by Brigadier Jagmal Singh

550 GLORIOUS YEARS

Rathore, VrC, VSM (Retd.) in commemoration of the the 550th Sthapna Diwas (Raising Day) of the unit being celebrated on 03 October 2014.

The author attempts to merge his own personal experiences along with historical facts to present an extremely vivid and lucid account of these 550

THE ACCOUNT OF A RISALIAN

years. The book is made special by the inclusion of many rare historical photographs some of which are more than a century old.

Brigadier Jagmal Singh Rathore, VrC, VSM (Retd.)

The entire dust jacket for the hardback

Some photos of the printed book

Cover Design | 67

This section consists of page layout designs for various types of books. Most of them are image-heavy books which have a lot of elements supporting the text — images, maps, tables, infographics — e.g. coffee table books, text books, reference books, cookbooks and such.

8.5�

Page layout for the cookbook

8.5�

Genre Cookbook | Execution Time 6 hrs + Typefaces Bodoni 72 (titles and subtitles), Avenir (body text @11pts) | Leading auto

H

ere are some of the inside pages of the cookbook whose cover and concept I have described in the Cover Design section. I have used the same elements of the Howrah Bridge, the tea cup and the kettle (from the cover) throughout the pages to maintain a cohesiveness in the design. The colours are bright and eye-catching to enable easy reading.

I have used a serif font in big sizes for the titles and the info graphics and a non-serif font for the recipe body text.

Back to the Cover Section

70 | Antara Ghosh

Layout | 71

72 | Antara Ghosh

A sample spread with the recipe

Layout | 73

9.5” GANGA JAISALMER RISALA - 550 GLORIOUS YEARS

Coffee table book layout

The Ganga Jaisalmer Risala is one of the oldest

(if not the oldest) battalions of the Indian Army with a history spanning 550 years. The unit is one of the most experienced and battle hardened

9”

GANGA JAISALMER RISALA 550 GLORIOUS YEARS

units of the Indian army having participated in nearly all the Campaigns, Wars and Operations

Genre History | Execution Time 4 months +

in India and abroad. The battalion distinguished itself in the Boxer Rebellion in China in 1900,

in Somaliland in 1903, where the battalion was

awarded a Victoria Cross and the Battle Honour Dharatol and in World War I and II where the

battalion’s desert fighting skills and long range penetration capabilities inspired the Allied

Army to raise a Camel Corps of their own. Post Independence, the unit participated in all the major wars and has contributed extensively in the Indian Army’s Counter Insurgency drive. This book has been written by Brigadier Jagmal Singh

Typefaces Americana (titles and subtitles), Minion Pro (body text @10pts, captions at 8 pts) | Leading 16

Rathore, VrC, VSM (Retd.) in commemoration

of the the 550th Sthapna Diwas (Raising Day) of the unit being celebrated on 03 October 2014.

The author attempts to merge his own personal

experiences along with historical facts to present

THE ACCOUNT OF A RISALIAN

an extremely vivid and lucid account of these 550 years. The book is made special by the inclusion of many rare historical photographs some of which are more than a century old.

Brigadier Jagmal Singh Rathore, VrC, VSM (Retd.)

P

resented here are some of the pages from the coffee table book I designed for the Indian Army unit. Since the photographs were so old and valuable, I have used them in flush across pages and spreads. Wherever there are colour images, I have used a dark grey or a very light grey background and wherever there are lot of small black and white images, I have used the regimental colours of red, orange and yellow abundantly. I have used collages wherever certain wars and battles are described to make it dramatic and attractive.

Back to the Cover Section

GANGA JAISALMER RISALA 550 GLORIOUS YEARS

Brigadier Jagmal Singh Rathore, VrC, VSM (Retd.)

2

74 | Antara Ghosh

3

CONTENTS Genesis

10

The Ganga Risala Era

24

The Camel Borne Grinders Era 74 The De-camelized Era

108

Torch-bearers

156

8

9

Raja Anup Singhji (1669-1698) was one of the most heroic and prominent military commanders of the Mughal Army. He was proclaimed “Maharajah” by the Emperor Aurangzeb after he played a stellar role in the capture of the Golconda Fort.

This painting depicts Rajkumar Amar Singhji attacking the Mughal General Arab Khan who is seated on an elephant. Legend has it that his horse jumped as high as the elephant’s tusks enabling Amar Singh to deliver a mortal blow to the Mughal General with his sword.

16

17

Raid on Jifjafa Indian Order of Merit

COLONEL RAJA JEORAJ SINGHJI

A detachment of 25 cameleers of the Ganga Risala under Subedar Bhur Singh took part in the famous raid on Jifjafa as part of the 9th Australian Light Horse Regiment from 11-14 April 1916. The force travelled self contained for 260 kms over three days, attacked the Turkish post, killed or captured the entire garrison, destroyed all stores and equipment and returned back to base on the Suez Canal.

This was the first offensive action by the Allies in the Sinai Campaign and had a deep impact on further operations in the theatre. Subedar Bhur Singh was decorated with the Indian Order of Merit and Sepoy Balwant Singh was awarded the Indian Distinguished Service.

Rare photograph of cameleers of the Australian, British, New Zealander and Indian Ganga Risala during the Sinai Campaign

Photograph of Subedar Bhur Singh, IOM with a hand written note attached by the Commanding Officer, describing his gallant actions at Jifjafa .

Colonel Raja Jeoraj Singhji commanded the Ganga Risala from 1911 to 1917. He had the honour of commanding the Ganga Risala throughout World War One in Egypt. Jeoraj Singhji commanded the battalion in the true Risalain spirit, leading from the front and often coming under fire himself.

Under him the Ganga Risala won fifteen Indian Distinguished Service Medals(IDSM), fourteen Mention in Despatches, Four Serbian Gold Medals, One Cross of St George (Russia), One Order of the Nile (Egypt) and one White Eagle of Sandwa (Serbia). He himself was Mentioned in Despatches and decorated with the very rare Serbian White Eagle for his part in rescuing the passengers and crew of the Spanish ship “Roberto” which had got damaged after being hit by enemy fire. Jeoraj Singhji went on to rise to the rank of Major General, probably the first after Maharajah Ganga Singhji. He later assumed the position of General Officer Commanding of the Bikaner Army. Jeoraj Singhji is credited with bringing about professionalism through rigorous training of both Ganga Risala and Sadul Light Infantry (later 19th Battalion the Rajput Regiment.). Veterans of the Risala remember an incident where his father Thakur Barisal Singh, a frail old man came to the railway station to see off his son, leaving for the First World War. On being asked by the Maharaja about whether he was feeling happy sending his son to war, he replied famously “ Anndata ghanaraji mahane bhi bhajdo” (Yes your highness I am more than happy, you send me too!).

Lieutenant Colonel Jeoraj Singhji in full ceremonial uniform wearing the Serbian White Eagle Medal.

Medals and Ribons of Jeoraj Singhji preserved at his home in Bikaner.

50

51

Layout | 75

In the wake of the successful bayonet charge, the withdrawal now began in earnest, the rear face withdrawing first, followed by the camels and ponies, and then the other three faces using the method of ‘elastic square’. However, by 1500 hours enemy pressure was increasing as more Dervishes arrived to attack the withdrawal. Gough sent four 6 KAR horsemen back to Danot to replenish the ammunition which was successfully achieved.

With the pouches now filled, the column resumed fighting with renewed vigour and kept withdrawing skillfully using the “elastic square” method. The Flying Column extricated itself successfully to Danot , arriving there at 0115 hours.

Three Victoria Crosses were awarded in this action to Major JE Gough of the KAR , Capt George Murray Rolland of the 1st Bombay Grenadiers and Captain WG Walker of the Ganga Risala. All the three officers were involved in the rescue of Captain CM Bruce who was mortally wounded in the action and later succumbed to his injuries. Jemadar Kishan Singh was awarded the Indian Order of Merit for assisting Captain Walker in the rescue. Adjutant Mehtab Singh of the Ganga Risala and two Risalians laid down their lives at Dharatoleh along with 11 camels. Captain Hughes and four others were wounded.

The Victoria Cross, the highest medal in the Commonwealth, for gallantry in the face of the enemy.

A sketch of the “Elastic Square” at Dharatoleh shows the “Bikanerees” right in front, bearing the brunt of the Dervish attack.

CAPTAIN (LATER MAJOR GENERAL) WILLIAM GEORGE WALKER, VC Major General William George Walker VC, CB (28 May 1863 – 16 February 1936) was a British recipient of the Victoria Cross, the highest and most prestigious award for gallantry in the face of the enemy that can be awarded to British and Commonwealth forces during the Battle of Dharatoleh. Walker was 39 years old, and a captain in the 4th Gurkha Rifles, Indian Army, attached to the Ganga Risala (Bikaner Camel Corps) during the Third Somaliland Expedition when, on 22 April 1903 after the action at Dharatoleh, British Somaliland, the rearguard got considerably behind the rest of the column. Captain Walker and George Murray Rolland, with four other men were with a fellow officer when he fell badly wounded, and while one went for assistance, Captain Walker and the rest stayed with him, endeavouring to keep off the enemy.

This they succeeded in doing, and when the officer in command of the column, John Edmund Gough, arrived, they managed to get the wounded man on to a camel. He was, however, hit a second time and died immediately.

Captain Walker later served in the First World War as Commander of 9th Sirhind Brigade from August 1914 and achieved the rank of Major General in 1915 as General Officer Commanding 2nd Division. His Victoria Cross is displayed at the National Army Museum, Chelsea, London.

The officer died on 6 February 1936, at Seaford. He was buried at Woodvale Crematorium, Brighton. Since then, the Operations Room of the battalion has traditionally been called the “Victoria Cross Hall” in remembrance of the brave officer.

“Whilst retiring from Dharatoleh, Somaliland, he (together with Captain Rolland and four men) was in the rearguard under heavy fire from the pursuing enemy when Captain Bruce was shot through the body. Whilst Rolland ran to fetch help, he kept up a desperate fire to keep the enemy at bay. When Rolland returned with Major Gough, he helped to lift Captain Bruce onto a camel. The captain died soon afterwards”.

Citation of Captain WG Walker as penned by Brevet Major JE Gough, Commander of the “Flying Column”.

Captain WG Walker on his camel on the line of march in Somaliland

36

37

Raja Rai Singh, the sixth ruler of Bikaner was one of the most trusted and dependable generals of Akbar the Great. He commanded an army of 12,000 horses and 50,000 infantry. His exploits were innumerable and often find mention in old manuscripts of the time. The most famous incident was the one in which he slew Mirza Mohammad Beg of Gujarat in single combat. He defeated Hakim Khan Pathan, a dreaded foe of Akbar. Whether it was Bengal, Punjab, Baluchistan or down South, wherever trouble erupted Rai Singh was there. His horses always remained saddled.

They, the nobility and officers of the Imperial Service….all at once fled away from him…..and many of them jumped down from the top of the “Katra” (enclosure) to the ground below This painting depicts Rajkumar Padam Singhji avenging the death of his brother Kesri by slaying Mirza Mohammed Shah More, the Brother-In-Law of the Emperor Aurangzeb at the Royal Durbar.

This act of extreme audacity shocked the Mughal world and was the first in a series of events which finally resulted in the kingdom of Bikaner breaking away from the Mughal Empire in 1719. Padam Singhji’s last battle was against the Marathas on the banks of the River Tapali. Here he was advised to withdraw as there was no hope of winning.

However, Padam Singhji charged into battle, killed both the Maratha commanders – Sanjam Rai and Jadav Rai before succumbing to his wounds.

Maharajah Jait Singh (1526-39) conducted a most brilliant and daring night attack on the army of Emperor Kamran of Lahore, who was the brother of Humayun. Kamran had come to attack Bikaner at the head of the Imperial Mughal Army in 1534 AD. The attack was so effective that Kamran and his army had to flee. In the chaos he even left behind his royal umbrella at Chotteria near Ratangarh (Bikaner).

14

15

Joint photograph of officers of the Bikaner Army along with British Army officers during the re-organisation period

CHAPTER II

The Ganga Risala Era The Ganga Risala Era is taken as the period between 1889 and 1950 wherein the battalion served as Imperial Service Troops under the British Crown. During this period, the battalion took part in the China War, the Somaliland Campaign, the First and the Second World Wars. It is also during this period that the unit earned its Battle Honour “Dharatol” and won the Victoria Cross. The state of Bikaner and the British Empire enjoyed cordial relations since 1808 when Lord Elphinstone visited it enroute to Kabul. Thereafter, the British helped the Maharajah quell the Pindari rebellion in 1889. In return, the Bikaner forces including the cameleers were offered to the British during the First Afghan War and the Second Sikh War. In 1889, Maharajah Ganga Singhji reorganised his force of elite cameleers drawn mostly from the ruling Rajput clans of Bikaner, on the lines of the British Army.

This force was christened the Ganga Risala after thename of Maharajah himself.

The British referred to this force as the Bikaner Camel Corps. The Maharajah offered the services of the Ganga Risala during the North West Frontier Province Campaigns from 1895-1897 and the Sudan War of 1896, but the British could not find a suitable role for them and were hence not requisitioned. Amongst all the fighting units fighting under the British crown, this unit had a unique set of desert fighting skills which the British realized during the Somaliland Campaign.

This camelised force proved to be unmatched in their long range reconnaissance and patrolling capability. Their dismounted volley fighting skills also came to the fore during this campaign. Thereafter, this unit became an invaluable part of all campaigns in desert terrain, especially in the Middle East where it served with distinction during both World Wars. The effect of this unit was so profound that an Imperial Service Camel Corps was raised with troops drawn from the Australian, New Zealand and British Armies during the First World War. After Independence, a similar unit was raised in Jaisalmer to deal with repeated raids by the Hur tribes from across the border. The nucleus to raise this new unit was drawn from the Ganga Risala and was named the Jaisalmer Risala. In 1951 both the units were amalgamated and named Ganga Jaisalmer Risala.

24

76 | Antara Ghosh

25

THE MAHARAJAH IN ACTION

HOT PURSUIT NEAR KANTARA

Maharaja Ganga Singhji joined his beloved Ganga Risala from France in January 1915 and was immediately in action when the Turks launched their full fledged offensive on the Suez Canal.

At an encounter at Khatib-El-Khel in February 1915, the Maharajah led the pursuit of the enemy firing 17 rounds from his own rifle.

On 23rd November 1915, a detachment of the Ganga Risala and a squadron of the Mysore Lancers chased an enemy column for seven miles across the desert, killing seven and capturing 12 soldiers.

The same was reported to His Highness the King by the Viceroy of India.

THE LION OF HARIYASAR

Maharaja Ganga Singhji arrives at Egypt. Seen here with the Prime Minister of Egypt and the Commandant of the Ganga Risala

ENCOUNTER AT ELKOBRI On 23rd March 1915, a detachment of the Ganga Risala under Major Sheonath Singh took part in an action against the Turks under General Young husband in the vicinity of Elkobri. The Risala was able to recover a large quantity of arms and ammunition, without suffering any losses. Captain Sheonath Singh was awarded the Order of British India for the action.

Captain Thakur Sheonath Singh in traditional Rajput attire

In the second encounter of the attack, Havildar Chhog Singh Bika of Hariyasar village evacuated another comrade Hawaldar Gad Singh on his camel back, himself walking on foot through the hail of enemy bullets regardless of his life.

He was awarded the “Order of The Cross of Saint George.”

RESCUE OF THE ROBERTO A Spanish ship named “Roberto” was damaged heavily by the enemy.

On receiving an SOS call from the ship Lieutenant Colonel Jeoraj Singh rushed personally to the canal along with his men, and rescued all the personnel in the ship, from drowning.

Among them was an ambassador with his family from Serbia. The Serbian government was so obliged for this timely action and help that they awarded Jeoraj Singh the “Order of the Serbian White Eagle.”

Order of the White Eagle of Serbia.

Havildar Chhog Singh Bika of Hariyasar

SKIRMISH AT DUWEIDAR

WOUNDING OF MAJOR A.K. RAWLINS, DSO On 28th April 1915, a column of 67 cameleers under Major AK Rawlins came into contact with about 200 Ottomans about 12 miles from Ismailia. Havildar Gahar Singh and Sepoy Naurang Singh were killed. Major Rawlins, Sepoy Nanu Singh and Sepoy Pratap Singh were injured in the encounter.

Major AK Rawlins attired in the fatigues of the Risala taking a ride on his Charger.

On 23rd April 1916, a patrol of 14 cameleers under Jemadar Sadul Singh had a skirmish with about 300 Ottomans while taking up a defensive position at the Oasis of Duweidar. The patrol leader was hit by heavy machine gun fire and was disabled. Havildar Sugan Singh took over command and resumed the firefight with utmost coolness, regardless of the heavy volume of fire. Both were awarded Indian Distinguished Service Medals later.

THE SENUSSI CAMPAIGN

Jemadar Sadul Singh, IDSM

Some elements of the Ganga Risala were also deployed on the Western Front of Egypt along the AlexandriaDebaa railway line and the Moghara Oasis. Their role was to defend this major communication artery against attacks by Senussi Arab tribesmen.

48

49

CHAPTER I

Genesis of Ganga Risala

Rao Bika Ji after establishing the principality of Bikaner foresaked his claim to his father’s kingdom of Jodhpur on the condition that if the heir apparent to the throne of Jodhpur died, then the family heirlooms and the insignia of royalty brought from Kannuj which should traditionally and legally go to the eldest, should be legitimately given to him. Here he is seen victoriously marching into Bikaner after obtaining the heirlooms from Jodhpur after a near confrontation with his younger brother Rao Suja.

Rao Kandhalji, the uncle of Rao Bika, helped him establish the Kingdom of Bikaner. He had similarly assisted his brother and Bika’s father Rao Jodha in establishing Kingdom of Jodhpur.

He was a fierce and experienced warrior with 52 battles to his credit.

He died at the age of 73 fighting Sarang Khan, the Subedar of Hissar.

The origin of 13 GRENADIERS (GJ) coincides with the formation of the state of Bikaner, which was established by Rao Bikaji, the second son of Rao Jodha, the Rathore Ruler of Jodhpur. Legend has it that once while attending the durbar of his father, Rao Bika and his uncle Rao Kandhal were animatedly discussing some issue. Rao Jodha quipped that they seem to be scheming the conquest of a new kingdom.

Rao Bika took this remark as a challenge and proclaimed that he felt obliged to go forth and actually establish his own kingdom.

A traditional Rajasthani miniature painting of Rao Bika, the founder of Bikaner.

On 3rd October 1465, Rao Bikaji and his uncle Rao Kandhalji with 500 of his most trusted soldiers ventured further north into the open barren land known at that time as “Jangladesh”, thus laying the foundation of one of the elite units of the Indian Army. As he pressed forward, Rao Bika reached Deshnoke, wherein he sought the blessings of a mystic Charan lady called Karni Mata. Karni Mata prophesised that the fame of Rao Bika will exceed even that of his father.

Encouraged by the blessings of Karni Mata, the army of Rao Bika fought a fierce battle with the Bhatis and Bhagor clans at Kodamdesar in the year 1478 AD. After many such skirmishes, the state of Bikaner was finally established in 1488. During his lifetime, he was successful in carving out a state extending up to Bhatinda , Hissar, Narnaul, Nagaur & Bhawalpur (now in Pakistan), comprising of over 4,000 villages. Rao Bika fought the forces of the Delhi Sultan Ibrahim Lodhi at Khandela (Shekhawati), Dronpur (Chappar) & Hissar. He was successful in defeating the Imperial Forces at all three places, thereby consolidating his kingdom. The camel cavalry element of his army played a decisive role in all these battles and was beginning to carve out an enviable reputation for itself.

10

11

SOMALILAND CAMPAIGN Major Thakur Bakhtawar Singhji, DSO commanded the Ganga Risala during the Somaliland campaign.

Somaliland Campaign Medal

Excerpts of a report by Lieutenant General Sir C Egerton, KCB, DSO, commander of the Somaliland Field Force dated 5th June 1904 to the Secretary to the Government of India in the military department

32

“Allow me to offer my congratulations on the safe return of your imperial service Camel Corps from Somaliland where they are reported to have conducted themselves with great courage and bravery in the most trying of circumstances. They have not only done excellent service to the emperor but also great honour to you His Highness and Bikaner State.”

Within three years of returning from China, the Ganga Risala was again called to serve in the British dominion of Somaliland to quell the Dervish rebellion led by the mystic influence of the ‘Mad Mullah’, Sayyid Muhammed Abdullah Hassan. During the earlier inconclusive 1901 First and 1902 Second Somaliland Expeditions, locally-raised troops had vastly outnumbered the Indian Sepoys and British Central African Askaris. However, after the battle of Erego during the Second Campaign, in which British forces suffered heavy losses the Somalis in British service had become hugely demoralized. It was decided to mount a new campaign against the Dervish leader with majority of the troops from outside Somaliland. On 4th November 1902 Brigadier General W.H. Manning, Inspector General of the King’s African Rifles (KAR), was appointed to command the Third Expedition and he immediately requested for the requisitioning of the Ganga Risala. 200 rifles of the Ganga Risala complete with camels and equipment, commanded by Major Thakur Bakhtawar Singh and assisted by Major W.G. Walker (4th Gurkha Rifles) sailed for Obbia on 1st January 1903 and returned on 14th July 1904. The unit was much in demand throughout, being the only camel cavalry in the Commonwealth forces at that time. While the local Somali camels could go longer without grain or water, they were found to be more timid and weaker than the Bikaner camels. The high standard of training of the Ganga Risala also helped in its utilization for action, while other camels were used primarily as transport. Here they became famous for their highly effective volley firing. The regiment particularly distinguished itself in the battles of Jidbali and Dharatol. The unit won a Victoria Cross, an Indian Order of Merit and a Distinguished Service Order amongst many other awards. Seven brave Risalians and 178 camels attained martyrdom during the campaign.

- the Viceroy of India 33

Layout | 77

11”

Coffee table book layout for tata steel

11”

Genre Reference | Execution Time 6 months + Typefaces Futura (titles, subtitles and body text) | Leading can’t remember

S

ince I don’t have the open files for this project anymore ( it was done in 2010) I have presented some photographs taken of my copy of the book. The layout was fairly simple with scans, photos and captions and a small paragraph from time to time. I have used black and its shades as the background with a slight texture and the colours change in sets of pages. Starting from the old photos as we proceed towards the colour ads, the backgrounds vary from dark greys to very light greys to suit the colour of the ads which are present on that page.

Back to the Cover Section

78 | Antara Ghosh

More photos can be viewed here.

Layout | 79

8”

The a-z book of feelings

8”

Genre Collectors item | Execution Time 18 hrs + Typefaces Albertus md, Assimilation (for front matter), different fonts on every spread | Leading varies

T

his was the last project we did as part our course at Seagull. We were asked to design an A-Z book of anything we like and we could make it very whimsical and break the rules that we had been taught while maintaining basic principles of book design. This had the liberty of being a ‘whimsical design object’ whose whole purpose could be to do nothing but look beautiful if we chose so. I took the brief very literally and attempted something very whimsical indeed - The A-Z Book of Feelings.

The idea was that every spread would have photos or illustrations or text or nothing as long as it conveyed the feeling to the reader. My brief to myself was that each spread should invoke that particular feeling in the reader which is being placed on that page based on the alphabet. The only thing to maintain was that the page would hold the dictionary meaning of the ‘feeling’ along with some of its synonyms. Apart from that, no other rules.

In the front matter, I have used a font which is vague, shaky and unstable somewhat like how feelings are. This is an ongoing project and I keeping adding pages to it from time to time.

You can view the entire project here.

80 | Antara Ghosh

Layout | 81

82 | Antara Ghosh

Layout | 83

My favourite spread from the book : D for Dreamy

84 | Antara Ghosh

Layout | 85

8”

Layout for a school textbook 11”

Genre Textbook | Execution Time 12 hrs+ Typefaces Adobe garamond pro (for body text @ 11pts), Futura (for captions, tables), Berlin Sans (Folio) Leading 16 | Space after .03” | 2-colour design

D

esigning the layout for this school textbook was one of the most challenging and time-consuming assignments for me and by the end of it I was left wondering whether anyone had put in so much time and effort into the text books which we read at school. I think this is a segment of design which is highly neglected by designers inspite of it being so important.

We were given a chapter called West Bengal with a lot of text, captions, maps, photos and tables and asked to do the layout in a two-colour scheme. Apart from black, the other colour could be of our choice and we also had the freedom to choose maps and images available on the subject online. Space was to be used conservatively and the layout would have to be serious yet not as badly typeset as most of the school books which we have all grown up studying. I have tried to maintain the ‘serious’ feel and worked on making the text easy to read and easy to register in the mind. I have tried to keep the text and their associated images on the same spread so that one does not have to turn pages and refer to images. I tried to maintain a sleek, simple and neat layout which does not hurt the eye.

86 | Antara Ghosh

Layout | 87

88 | Antara Ghosh

Layout | 89

90 | Antara Ghosh

DISTRICTS e capital and largest city of the state is Kolkata – the third-largest and the seventh-largest city in India. Asansol is the second-largest city and urban agglomeration in West Bengal after Kolkata. Siliguri is an economically important city, strategically located in the northeastern Siliguri Corridor (Chicken’s Neck) of India. Other cities and towns in West Bengal with 2011 populations over 250,000 are Durgapur, Bardhaman, English Bazar, Baharampur, Habra, Kharagpur, and Shantipur

At present, West Bengal is divided into 23 districts.

Each district is governed by a district collector or district magistrate, appointed by either the Indian Administrative Service or the West Bengal Civil Service. Each district is subdivided into sub-divisions, governed by a sub-divisional magistrate, and again into blocks. Blocks consists of panchayats (village councils) and town municipalities.

SERIAL

RANK

DISTRICT

POPULATION

GROWTH RATE

SEX RATIO

LITERACY

DENSITY PER SQUARE KILOMETER

1

2

North 24 Parganas

10,082,852

12.86

949

84.95

2463

2

6

South 24 Parganas

8,153,176

18.05

949

78.57

819

3

Purba Bardhaman

4,835,532

945

74.73

890

4

Paschim Bardhaman

2,882,031

78.75

1800 1334

5

9

Murshidabad

7,102,430

21.07

957

67.53

6

14

West Midnapore

5,943,300

14.44

960

79.04

636

7

16

Hooghly

5,520,389

9.49

958

82.55

1753

8

18

Nadia

5,168,488

12.24

947

75.58

1316

9

20

East Midnapore

5,094,238

15.32

936

87.66

1076

10

23

Howrah

4,841,638

13.31

935

83.85

3300

11

35

Kolkata

4,486,679

−1.88

899

87.14

24252

12

58

Maldah

3,997,970

21.50

939

62.71

1071

13

66

Jalpaiguri

2,172,846

13.77

954

73.79

621

Alipurduar

1,700,000

14

400

15

80

Bankura

3,596,292

12.64

954

70.95

523

16

84

Birbhum

3,502,387

16.15

956

70.90

771

17

124

North Dinajpur

3,000,849

22.90

936

60.13

956

18

129

Purulia

2,927,965

15.43

955

65.38

468

19

136

Cooch Behar

2,822,780

13.86

942

75.49

833

20

257

Darjeeling

1,842,034

14.47

971

79.92

585

21

295

Dakshin Dinajpur

1,670,931

11.16

954

73.86

753

22

Kalimpong

202,239

23

Jhargram

1,136,548

833 9

A page with a table

Layout | 91

U

l ut res Cuppl. Quon halabere,

prae, qui se audees hortiae acestrae

C. C. Hicutus se rem red-

noc, Catiocae es et atquiti, uteres

it, popublius maio cultus, viverit,

spio, que me consulus hebus me re,

convere, faciemorae quem acturbes

C. Fit pliissedi pulvili umurbitra

ora vehebem or quium dius; hosulic

quid clumus, potis? Ique converrit,

eperbiticone nos, nocus rebatius

con vidit, nos is se in Etrum Pat,

condees, vicae pariviv ivigitastem

ocaedo, se tertelutumus cupienium

pri, coent, nos oc, nonsil hocultus

aciente paris, nonfec re imore tum

Ahabem inarior la res acio ego es

nostris, nonsin ina, et nu cae factum

horaripsena villa con teridii pub-

or locum, etra, num ocupien teli-

licatrum pra, conimihiciam iu et,

caeque nonduc ipse remus eo, quem

conum aus furbi condam publina me

pliquon sulturs cientem actudenero

rei inatque poendenterae atum ina,

vehebem dintisus rei publinat, cae

simmoru nulvidet vituius bondereo,

terfec te ad ret pondica volica; nit.

que con Itam esse arictuaste tam in

E

iace essa mede halarteati, norum Romnit; hicae, quodium cus.

V

vis la dium orio, contemus es perfece rterus lina cus, detorbi

sena, estratoruntu id in terebefec reo,

ehebatimis, sentrae, C. Gravern

omperit; hortemorum aris vocusa

iurobus tem escienihil untuussa

quam ad mius se deffretia num pote,

sedem lica; ius con dem, eo nosupe-

vilius ia? Opios bonique antemor

riocum porunum pere ingulos il hum

esigna, ommoris, conum iam oc

es te, vit graccie narionsulin silne

obuncus cerei intea viverbis Mulicio

condiorsumus nostis, probunitus An

manum publica publinpriam idem

tua teresil ut vivenir abissil ustruro

perbi potiese nimenterem moenarene

ratilic astandum, Catquas sidestra-

conenat uampli contrisulium caedo,

ciam ac re ad cum patuam es! Aric

C. Ximili conestus vigna, et adem id

videsteat. Mentis firterei susquo tum

peris, cononsu satiam autenat. Cas-

publius, vivehen atifectum vistrus;

tiae nis eo const oca cemus, conterf

escribununte cepons hum ponscep

ecerrarius cons Multus, com. sedem

esimis, consit; C. Mari ia? Estam

lica; ius con dem, eo nosuperiocum

eo, cae adhui senteruspes hebator ari-

porunum pere ingulos il hum es te,

ocrei pricive rrionst nostes nos octua

vit graccie narionsulin silne condi-

voltilis Ad comnit.

orsumus nostis, probunitus An tua

In sin sedo, que aciae notimol ici-

teresil ut vivenir abissil ustruro ratilic

buntri facepere oponc iliesse revivem

astandum, Catquas,

typesetting

This section has samples of my typesetting assignments. They range from narrative texts, short stories and poetry to academic volumes. I have included typeset pages of a book’s end matter like bibliography, index, end notes as well as the front matter like title, half-title, title-verso and contents.

The typesetting in these samples have been done using either Adobe InDesign or Quark Xpress.

Typesetting a volume of poetry Genre poetry | Execution Time 3 hrs | Single colour printing Typefaces cochin (for body text @ 10.5 pts),

papyrus

(for folio @ 9 pts),

Leading 15 | Space after .2” | Page size 5.5” x 8.5”

| Margins .75”

8.5”

5.5”

T

his was a volume of poetry which we had to typeset and also design a cover for. Although it seemed easy enough, the slight nuances and intricate details of typesetting poetry were new to me and I had great fun learning them. I have used the star symbol (which appears in the cover title) in various sizes across the inside pages as a decorative element.

94 | Antara Ghosh

The contents page

The cover image used as a decorative element in grayscale along with the first poem

Typesetting | 95

T

H E

F

I G U R E

The flower of the hibiscus lasts a day, star of ephemeral fire, contradiction of garden and sky, the man inside, a body that resists, like every flower.

What he doesn’t know: how true this is.

Is that figure real, sitting outside in the stars’ last glow, not seeing the flower, burning itself on the cold light of time-bound morning, gathering flowers from the dark earth and yielding to the violence of sunlight?

The sense of grief now rampant within him is in memory of a friend, a friendship that is dwarfed by so much decay.

What’s sitting there now, a man or a poem?

The postman rides to the gate in his yellow shirt, relates the world, hands over his letter to a living being, never suspecting grief or this soul.

He sees the red flowers on the ground, says it will be hot today, and disappears into the light and these lines.

6

96 | Antara Ghosh

V

T

R I X Y

V

Desolate species, humans.

Everything needs to be conquered, a thousand Buddhas can’t reverse the stream, the stone in the middle remains unpolished.

The teachings of the titmouse.

What’s that supposed to mean?

Minus ten and it’s been working all day, searching the hedge for a morsel.

In the distance I see the world, in the corner, behind that car, deeply passionate music sweeps the litter into a heap.

It’s here alone or more.

Woe to those who have the most words.

They’re up to their knees in night, their book of faces full of names and mould.

In the stable thirteen goats are born.

Trixy barks at a shadow of white.

7

Some of the inside pages

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The Saga of Kagaboga

~

Placing a glass of tea and a small piece of bread on the floor, Mohini said, Kagaboga,1 listen, here’s the tea. I don’t want to hear afterwards that it was cold.

And also, he shouldn’t wash his vest and lungi.2 I’ll scrub them with soap.

The person she was speaking to had been her husband almost from time immemorial. When Mohini was three years old, she had apparently taken off her string of beads and put it around Sadananda’s neck.

At the Utruni mela,3 on the banks of the river Dhaleshwari that winter morning, the scene had created quite a stir.

Look, look! She must have been his wife in their

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2 | MAHASWETA DEVI

previous birth. She refuses to part with it, but she put it around our Sada’s neck herself.

See how well they match in caste and status!

Eight-year-old Sadananda did not understand the import of what the adults were saying. He took off the string and put it back on Mohini.

At this, even the old women stood amazed.

Look at that! They say there’s no such thing as divine interference in Kolijug.4 If that’s true, then how come on a special occasion like this . . .

The women, moved to tears, told Mohini’s mother, A Mitra’s daughter has garlanded a Basu’s son.5 They are well-matched in age too. You’re so lucky! Your daughter is bound to marry into that house.

The boy’s mother ventured to ask, Since when did we fix alliances according to the whims of children?

But the other women shouted her down—at the Utruni mela this could only be a sport of the gods.

Some-body suggested, Shower them with flowers!

Somebody else cried, Break a lump of sugar and let them feed each other. Others said, We should welcome it with jokar.6 Mohini and Sadananda understood nothing.

But much later, when Sadananda was 20 and working on the zamindar’s estate, keeping count of bales of jute, he confronted his mother. Why do you worry about my marriage? I’ve seen the bride of my

100 | Antara Ghosh

dreams, haven’t I? I’ve seen her in my dreams and you’ve seen her with your own eyes. I’m talking about Mohini.

His father also had no objection. Mohini’s father worked for the same zamindar in another office as the estate manager. He never had to buy a thing except salt, kerosene, sugar and clothes!

His mother said, They’ll deck her up well, I presume. She’s quite pretty, though her nose is rather flat. Doesn’t waste her time roaming around, doesn’t talk too much, knows how to cook . . .

And thus they were married. The neighbours said, The bride and groom fixed the match themselves, this marriage had to happen.

Mohini could still remember — the huge rolling pin and board, the utensils, clothes, kheer,7 curd, sweets, fruits, vegetables — it was more than 10 men could carry.

The zamindar sent fish to both her father and her in-laws, the best tangail 8 saris, and some money smeared with sindur.9 Today, these were but stale memories. Mohini would say to herself while drinking water from a flimsy aluminium glass, How my arm would ache lifting a glass of water! Each and every one of purest bell metal. Do they have such glasses here?

If somebody asked her, Who are you talking to?

To Kagaboga.

THE SAGA

OF

KAGABOGA | 3

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I Memory and Distance ON A GILDED SILVER VASE (Antwerp, c.1530)

1 In 1929, a few months before his death, Aby Warburg wrote an introduction to his last intellectual project: the ‘Picture Atlas’ (Bilderatlas) which he dedicated to Mnemosyne, the Greek goddess of memory, whose name was inscribed on the front door of the Kulturwissenschaftliche Bibliothek he had founded. The opening sentences of Warburg’s introduction, first published 70 years after his death in Italian translation, read: ‘The conscious creation of distance between the self and the external world may be called the fundamental act of civilization. Where this gap conditions artistic creativity, this awareness of distance can achieve a lasting social function.’1

Why was memory in Warburg’s mind so closely connected to distance? In commenting on this passage, Ernst Gombrich wrote: ‘Not that memory can create “distance”, but it can widen the interval between the two poles of calm contemplation or orgiastic surrender to emotion, by providing models for either attitude.’2 Models, that is, visual (and verbal) formulae, retrieved from Greek and Roman antiquity, which in the

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Memory and Distance | 21

20 | C AR L O GIN ZBU R G

tional element: the subject of the scenes decorating the beaker. We can easily imagine Margaret of Austria choosing, in the preparation of her journey to Cambrai, a present reminding the king of France, through his mother, of the most recent Spanish conquests across the Ocean. But in the scenes decorating the beaker there are no Spaniards. Why?

7 The ancient vocabulary of extreme emotions—Pathosformeln, as Warburg labelled them—preserved by ancient sarcophagi and mediated by Mantegna’s engravings, provided the idiom to articulate the battle that we see on the beaker’s foot (Fig. 7). Cortés’ third letter, which the Antwerp silversmith (or should we say Stefano Capello?) might have read in a French version translated from Latin, published in Antwerp in 1524, will provide an appropriate comment to this image: [W]e entered the city [of Yztapalapa]. As the inhabitants had already been alerted, all the houses on the land had been abandoned and the people with their belongings had taken refuge in the houses over the lake; and there all those who had fled rallied and fought with us very fiercely. But Our Lord gave so much strength to His own that we drove them back into the water, some up to their chests and others swimming, and we took many of the houses on the water. More than six thousands of them, men, women, and children, perished that day, for our Indian allies, when they saw the victory which God had given us, had no other thought but to kill, right and left.47 The narrative strategy displayed in Cortés’ letter and in the Antwerp beaker is the same—there are no Spaniards; their presence has been displaced; the killing is performed by ‘our Indian allies’.48 The enemy clubbed to death is a half-human, sub-human enemy—nothing to worry about.

8 Half-human, half-animal beings are a cross-cultural phenomenon, a symptom of the porous frontier that separates humans and animals.49 Porous and historically changing. Today transplants of animal organs unfold new perspectives of a healthier, longer life for humans, as well as chilling scenarios—like the one drawn a century ago by H. G. Wells, the founder of science fiction, in The Island of Dr Moreau—anticipating a society which might use biological engineering to create new, species-related hierarchies.50 Blurred animal species are usually disturbing; they become much more disturbing as soon as they seem to leave the sphere of imagination to enter the realm of possibility. In the battle between humans and halfhuman hybrids depicted on the beaker’s foot, I feel a threatening overtone that goes beyond its possible allegorical meanings, related to Cortes’ conquest of Mexico. To project this feeling into the Antwerp beaker would be, of course, anachronistic. But here we intersect once again the theme of memory and distance.

9 Today, the immediacy of memory is often opposed to the detached approach of history. But if we take into account, as Maurice Halbwachs showed a long time ago, the cultural and social dimensions of individual memories, things begin to look more complicated.51 As I suggested at the start of this essay, cultural memory was effectively used to overcome geographical distance. The New World was perceived and made familiar (as the Antwerp beaker shows) through an Old World idiom, based on visual formulas taken from classical antiquity and mediated by the Italian Renaissance. A visual language based on the superlative of violent expression worked, as we have seen, as a distancing device, projecting the gruesome reality of the Spanish conquest into a remote mythological world.52 Individual memory makes (or seems to make) the past closer; social memory makes it (or seems to make it) more distant—a paradoxical ambivalence which should not be forgotten.

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12 | CA RL O G I N ZB UR G

Fig. 10: ANDREA MANTEGNA, Battle of the Sea Gods, engraving (right half of a two-sheet frieze), c. 14701500, The British Museum, London.

tegna (whom he had met during his stay in Italy) had been unable to produce images of the New World. Oviedo might have appreciated the Antwerp beaker as an imaginative reworking of Mantegna’s engravings.29 Mantegna’s Battle of the Sea Gods must be dated before 1494, the year in which Dürer copied one of them.30 Another evident source of inspiration for the Antwerp silversmith points to the late Quattrocento—Pollaiolo’s Battle of the Nudes (Fig. 11), an engraving by a sculptor and draftsman who, as has been pointed out, never left the goldsmith’s guild. 31 These references suggest a chronological and geographical background which we should try to narrow down. Unfortunately, comparisons are not easy, since the beaker in the Schatzkammer of the Residenz is, it

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Memory and Distance | 13 has been argued, ‘the oldest remaining example of Antwerp work in precious metal’ to have escaped sixteenth-century iconoclasm.32 We may start by evoking an admittedly distant case—Cesare Cesariano’s. In his commentary on Vitruvius, published in 1521 (a date presumably close to the beaker’s), Cesariano, born in 1475, listed a few modern artists who had reached the excellence of the ancients: Mantegna, Leonardo, Bramante, Michelangelo (praised as both sculptor and painter). In fact, it has been suggested that Cesariano’s illustrations tried to translate into a different medium some ideas of Leonardo, once his teacher.33 A comparable list made by the Antwerp silversmith would have included Mantegna, Pollaiolo and, of course, Dürer, whose engravings are echoed in some of the beaker’s landscapes.

Fig. 11: ANTONIO POLLAIOLO, Battle of the Nudes, engraving, c. 1465, Gabinetto dei Disegni e delle Stampe degli Uffizi, Florence.

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16 | CA RL O G I N ZB UR G

NOTES This is a revised version of ‘Memory and Distance’ (2004) (please see ‘Note on Texts’). I would like to express my gratitude to Dr Sabine Heym (Bayerische Verwaltung der staatlichen Schlösser, Gärten und Seen), for her kindness and support; to Herr Oelke (Restaurateur, Residenz München), for having shared with me his knowledge and expertise; and to Sam Gilbert for having revised my English.

1

2 3

4 5

6

For the Italian translation, see Mnemosyne. L’Atlante della memoria di Aby Warburg (Italo Spinelli and Roberto Venuti eds) (Roma: Artemide, 1988), pp. 33– 43; for the German original, see Aby Warburg, ‘Mnemosyne Einleitung’ in Werke in einem Band (Martin Treml, Sigrid Weigel and Perdita Ladwig eds) (Berlin: Sukrhkamp, 2010), pp. 629–39; here, p. 629. This and subsequent quotes are taken from the partial English translation provided in Gombrich, Aby Warburg, p. 288.

Gombrich, Aby Warburg, pp. 288–9.

Il mondo nuovo di Amerigo Vespucci. Scritti vespucciani e paravespucciani, 2nd rev. edn (Mario Pozzi ed.) (Alessandria: Edizioni dell’Orso, 1993), p. 70 (Letter to Lorenzo di Pierfrancesco de’ Medici, 28 July 1500). On Giuliano di Bartolomeo del Giocondo as the author of texts traditionally attributed to Amerigo Vespucci, see Luciano Formisano, ‘Le lettere di Amerigo Vespucci e la questione vespucciana. Bilancio di un trentennio’ in Vespucci, Firenze e le Americhe (conference proceedings, Florence, 22–24 November 2012) (Giuliano Pinto, Leonardo Rombai and Claudia Tripodi eds) (Florence: Olschki, 2014), pp. 269ff.

(I owe this reference to Sergio Landucci).

Vespucci, Il mondo nuovo, p. 97 (Letter to Lorenzo di Pierfrancesco de’ Medici, 1502).

Peter Martyr d’Angheria, Opera: Legatio Babylonica, De Orbe novo decades octo, Opus Epistolarum (Erich Woldan introd.) (Graz: Akademische Druck- und Verlagsanstalt, 1966), decas I, cap. III, fol X. See also Extraict ou Recueil des isles nouvellement trouvées en la grand mer Océane . . . faict premierement en latin par Pierre Martyr de Milan, et depuis translaté en languaige francoys (Paris: Simon de Colines, 1532), fol. 23r.

Erwin Panofsky, ‘The Early History of Man in Two Cycles of Paintings by Piero

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Memory and Distance | 17

7

8

9

di Cosimo’ in Studies in Iconology: Humanistic Themes in the Art of the Renaissance (Oxford and New York: Oxford University Press, 1939), pp. 33–68.

See Vespucci, Il Mondo nuovo.

Federico Zeri, ‘Rivedendo Piero di Cosimo’ [1959] in Giorno per giorno nella pittura. Scritti sull’arte toscana dal Trecento al primo Cinquecento (Turin: Allemandi, 1991), pp. 175–82, especially p. 180.

Panofsky, Studies in Iconology, p. 59n69: Guidantonio’s name was suggested by Carlo Gamba (‘Piero di Cosimo e i suoi quadri mitologici’, Bollettino d’arte 1936, pp. 45–57). On Guidantonlo, see Frederick J. Pohl, Amerigo Vespucci Pilot Major (New York: Octagon Books, 1966), p. 26. See also Germán Arciniegas, El embajador. Vida de Guido Antonio, tío de Amerigo Vespucci (Bogotá: Planeta, 1990).

10

Panofsky, Studies in Iconology, p. 67.

12

See Carlo Ginzburg, No Island Is an Island: Four Glances at English Literature in a World Perspective (New York: Columbia University Press, 2000), p. 19.

11

13

14 15

De architectura, translato, commentato e affigurato da Caesare Caesariano (Arnaldo Bruschi, Adriano Carugo and Francesco Paolo Fiore eds) (Milan: Il Polfilio, 1981[1521]), fol. XXXIv. Panofsky reproduced Cesariano’s illustration but missed the significance of the comment: see Studies in Iconology, p. 41n23. See also Cesare Cesariano, Volgarizzamento dei libri IX (capitoli 7 e 8) e X di Vitruvio, De Architectura, secondo il manoscritto 9/2790 Secciòn de Cortes della Real Accademia de Historia Madrid (Barbara Agosti ed.) (Pisa: Scuola Normale Superiore, 1996); and the collection of essays, Cesare Cesariano e il classicismo di primo Cinquecento (Maria Luisa Gatti Perer and �Alessandro Rovetta eds) (Milan: Vita e Pensiero, 1996).

Hans Thoma, Kronen und Kleinodien. Meisterwerke des Mittelalters und der Renaissance aus dem Schatzkammern der Residenz zu München (Munich: Deutscher Kunstverlag, 1965), pp. 12, 22.

Marc Rosenberg, Der Goldschmiede Merkzeichen, VOL. 4, 3rd expanded edn (Berlin: Frankfurter Verlags-Anstalt, 1928), n. 5086 [page number?]

Carl Hernmarck, Die Kunst der europaischen Gold- und Silberschmiede von 1450 bis 1830 (Munich: Beck, 1978), illus. 141: ‘Pokal mit (wahrscheinlich späteren) getriebenen exotischen Darstellungen’ (Cup with wrought exotic depictions

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ENACTMENTS edited by richard schechner

To perform is to imagine, represent, live and enact present circumstances, past events and future possibilities. Performance takes place across a very broad range of venues from city streets to the countryside, in theatres and in offices, on battlefields and in hospital operating rooms.

The genres of performance are many, from the arts to the myriad performances of everyday life, from courtrooms to legislative chambers, from theatres to wars to circuses.

ENACTMENTS will encompass performance in as many of its aspects and realities as there are authors able to write about them.

ENACTMENTS will include active scholarship, readable thought and engaged analysis across the broad spectrum of performance studies.

Half-title page with a note on the series

RECENT ENACTMENT TITLES AVAILABLE FROM SEAGULL BOOKS

F ESTIVE D EVILS

OF THE

A MERICAS

Edited by Milla Cozart Riggio, Angela Marino and Paolo Vignolo

G ROTOWSKI ’ S B RIDGE M ADE

OF

M EMORY

Performing Utopia

Embodied Memory, Witnessing and Transmission in the Grotowski Work Dominika Laster

Edited by

D EATH TOURISM

Disaster Sites as Recreational Landscape

Rachel Bowditch and Pegge Vissicaro

Edited by Brigitte Sion

P ERFORMING

THE

N ATION

Genocide, Justice, Reconciliation Ananda Breed

C ELEBRATION, E NTERTAINMENT AND T HEATRE IN THE OTTOMAN WORLD Edited by Suraiya Faroqhi and Arzu oztürkmen

B EIJING X INGWEI

Contemporary Chinese Time-Based Art Meiling Cheng

Previous titles and title page

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Dedicated to Sophie, John, Caio, Ari, Vito, Bruce, Mark, Kirsten and our parents.

Seagull Books, 2017 Essays © Individual authors Photographs © Individual photographers This compilation © Seagull Books, 2017 ISBN

978 0 8574 2 386 3

British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library Typeset by Seagull Books, Calcutta, India Printed and bound by Hyam Enterprises, Calcutta, India

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CONTENTS

Acknowledgements

x

Introduction

1

Rachel Bowditch and Pegge Vissicaro

Part One Embodied Utopias CHAPTER 1

21

Learning from Ngatahi: Rapumentary Film, the Utopian Imagination and Politics of the Possible Luis Alvarez

CHAPTER 2

54

‘Indians on Parade’: Spectacular Encounters in the Canadian West Lisa Doolittle and Anne Flynn

CHAPTER 3 Quadrilhas Caipiras: Encountering Difference and the Making of Creative Communities in Festas Juninas, São Paulo, Brazil Pegge Vissicaro

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91

INDEX

cultural work, 25, 33, 42

dystopia, 2, 4–7, 9, 36, 225, 234; and capitalism, 26, 48; and colonialism, 24, 81; and counternarratives, 308–13; in Mardi Gras (New Orleans), 13, 295, 297, 314; and political thought, 45, 183, 184

Damon Foster, S., 160

Eco, Umberto, 133

cultural memory, 7–8 cultural patrimony, 10 cultural practices, 24, 25, 43, 66, 85–6n11 cultural translation, 29

Davis, Susan G., 157 Debord, Guy, 148, 228, 232

activism, 22–3, 28, 31, 36, 41, 48, 49

Bakhtin, Mikhail, 3, 11, 16n9, 108, 137–8, 142, 166, 185, 295

African Sal, 170, 187–8n8

Bald, Vivek, 35–6

dehumanization, 34–6

agency, 2, 3, 5, 10, 56, 70, 73, 82, 88n23, 88n26, 226, 270, 300–08

Bataille, Georges, 129, 144–9

democracy, 46, 106, 117, 118n2, 236, 238, 247

All Max, 169–70

black minstrel, 173, 188n10. See also blackface

Abrahams Roger D., 176

Bergson, Henri, 11, 128–9, 144

All Souls’ Procession (Tuscon), 12–13; altars and shrines at, 273–4, 277; communal function of, 284, 286–7; current version of, 265–7; finances of, 272–3, 289nn10–11; history of, 261– 4; and 9/11, 268–71; on social media, 284

Black Swan theory, 227 blackface, 12, 155, 156–7, 159–62, 163, 164–5, 168, 169–74, 177–81, 183–6, 187n4, 188n10 Blackfoot, 2, 58, 60–5, 69, 71, 72, 73–5, 82, 84–5n6, 86n12,

altars: community, 13, 261, 265, 273–4, 284, 287n3, 289n13; personal, 13, 261, 264, 273–5, 276, 277–8

Bland, James, 173–4, 188n10 Bloch, Ernst, 8–9, 296 Bloomer, Amelia Jenks, 164

alterity, 117, 188n11

Blue Ribbon Club, 178

American Civil War, 175, 282

Borch-Jacobsen, Mikkel, 144, 146–7, 149

antebellum, 156, 162, 163, 168, 170, 176, 178, 187n5

Bourgeoisie, 138–40, 142, 144, 148 Bowser, Charles, 179

anti-capitalism, 182, 186

brass bands, 156, 157, 167, 174–9, 185

apartheid, 37, 39, 40–1

Broad Street (Philadelphia), 157, 159, 168, 171, 178, 180, 181, 183, 186n2, 187n7

Appadurai, Arjun, 264, 287n2 arraiáis, 96 Atlantic rim, 156, 176

burlesque, 12, 192–3; audience of, 197; descendent forms of, 197; history of, 194–5, 204; as parody, 198; performers of, 199, 201–02; and wench act, 156, 163. See also Burlesque Hall of

autonomy of affect, 148–9

B. Love Strutters Comic Brigade, 181–3

Egan, Pierce, 169–70 Emery, Lynne Fauley, 164

decorum, 102, 143, 303

emic, 92, 118n3 emotive intellectual, 146 equality, 3, 14–15nn3–4, 62 escape, 14n1, 128, 134–6

Día de Los Muertos, 13, 261, 263–5, 268, 287–8n4. See also All Souls’ Procession (Tuscon)

ethnography, 10, 24, 27, 28–30, 32–3, 46– 7, 62, 92, 118n3 ethos, 97, 104

dialectic, 114, 116, 234

etic, 118n3. See also emic

dialogic exchange, 115–16

excess, 11, 16n9, 128–9, 146, 148–9

diaspora, 9–10, 25–6, 35–6, 46–50, 287n2 dignity: of/as diaspora, 25–6, 35–6, 46, 48–50; as gendered, 47; struggle for, 1o, 25, 33, 34–5, 39, 65, 105

faire, 11, 128–35, 140–41

discourse, 6, 46, 55, 69, 82, 109, 239, 244, 245, 246, 250

Falassi, Alessandro, 99 fantasy, 5, 55, 131, 133, 135–6, 163, 184

Disneyland, 133, 136, 148

feminism, 3, 164, 205

disorder, 112, 157, 314

Festas Juninas, 10, 92–4, 119–20n8; and Colégio Santa Maria, 107, 110, 115, 116, 121n15; history of, 97–100; linked with 2010 FIFA World Cup, 96; place in Brazilian society, 100–02, 103–06, 117. See also Quadrilhas Caipiras

disruption, 55, 81, 108, 143, 214n2, 276, 312 dissonance, 11o, 119n7 diversity, 43, 92, 94, 111, 114, 186, 242, Dlite, Roxi, 207, 209 Dolan, Jill, 1–2, 5, 44, 149, 182, 212, 213, 248, 296

festival: ancient and Christian hybridity in, 261–5, 287n2; and carnivalesque, 128, 138, 140–1; as creation of community, 303–04; as ‘diasporic public spheres’, 287n3; and the French Revolution, 272; history of, 138–9; and identity, 213, 295; and Indigenous

DuBois, W. E. B., 173 Dusty Bob, 170, 187–8n8 Dyer, Richard, 1 Dynamism, 92, 111, 250

Bachelet, Michelle, 245 11

9

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WORKS CITED

BADE, Klaus J. 2000. Europa in Bewegung. Migration vom späten 18. Jahrhundert bis zur Gegenwart, Munich: C. H. Beck. Italian translation: 2001. L’Europa in movimento. Le migrazioni dal Settecento a oggi. Rome: Laterza.

BALODIS, M. J. 1988. ‘Generalization’ in R. W. Anson (ed.), Basic Cartography for Students and Technicians, VOL. 2. London: Elsevier, pp. 71–84.

BARBER, Peter. 2001. ‘Mito, religione e conoscenza: la mappa del mondo medievale’ in Segni e sogni della Terra. Il disegno del mondo dal mito di Atlante alla geografia delle reti. Novara: De Agostini, pp. 48–79.

BARTHES, Roland. 1954. Michelet par lui même. Paris: Seuil.

Abu-Lughod, J. 1999, New York, Chicago, Los Angeles: America’s Global Cities, University of Minnesota Press, Minneapolis (Minn.).

AMMERMANN, Albert J., L. L. and Cavalli Sforza. 1973. ‘A Population Model for the Diffusion of Early Farming in Europe’ in Colin Renfrew (ed.), The Explanation of Culture Change: Models in Prehistory. London: Duckworth, pp. 343–57.

Anati, E. 1960, La civilisation du Val Camonica, Arthaud, Paris [Italian translation La civiltà della Valcamonica, il Saggiatore, Milan 1964].

APPADURAI, Arjun. 1988. ‘Putting Hierarchy in Its Place’. Cultural Anthropology 3(1): 36–49.

Arendt, H. 1958, The Human Condition, University of Chicago Press, Chicago (Ill.) [Italian translation Vita Activa. La condizione umana. MIlan: Bompiani 1989].

Arnheim, R. 1969, Visual Thinking, University of California Press, Berkeley-Los Angeles (Cal.) [Italian translation Il pensiero visivo, Turin: Einaudi, 1974].

AUJAC, Germaine. 1987a. ‘The Growth of an Empirical Cartography in Hellenistic Greece’ in J. B. Harley and David Woodward (eds.), The History of Cartography, Volume 1: Cartography in Prehistoric, Ancient, and Medieval Europe and Mediterranean. Chicago: University of Chicago Press, pp. 148–60.

Aujac, G. 1987b, The Foundations of Theoretical Cartography in Arcaich and Classical Greece, in Harley and D. Woodward (eds.), The History of Cartography cit., pp. 137-47.

AUYANG, Sunny Y. 1995. How Is Quantum Field Theory Possibile? New York: Oxford University Press.

AYMARD, Maurice. 1978. ‘La transizione dal feudalesimo al capitalismo’ in Ruggiero Romano and Corrado (eds), Storia d’Italia. Annali, VOL. 1, Dal feudalesimo al capitalism. Turin: Einaudi, pp. 1131–92.

Bakhtin, M. 1975 Voprosy literatury i estetiki, s.e. [trad. it. Estetica e romanzo, Turin: Einaudi 1979].

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BARBUJANI, Guido, and Robert R. Sokal. 1990. ‘Zones of Sharp Genetic Change in Europe Are Also Linguistic Boundaries’. Proceedings of the National Academy of Sciences, USA 87: 1816–19.

BATESON, Gregory. 1979. Mind and Nature: A Necessary Unity. New York: Dutton. Italian translation: 1984. Mente e natura. Un’unità necessaria. Milan: Adelphi.

Baudrillard, J. 1981, Simulacres et simulation, Galilée, Paris.

Beaud, M. 1987, Le système national/mondial hiérarchisé. Une nouvelle lecture du capitalisme mondial, La Découverte, Paris.

Beaujeu-Garnier, J. and Chabot, G. 1963, Traité de géographie urbaine, Colin, Paris [It. trans., Trattato di geografia urbana, Marsilio, Padova 1970].

BECK, Hanno. 1961. Alexander von Humboldt, VOL. 2, Vom Reisewerk zum ‘Kosmos’, 1804–1859.

Wiesbaden: Steiner.

Beguin, H. 1991, Les modèles urbains dinamiques en perspective, in L’espace géographique, XX, 11718.

Bellosi, L. 1980, La rappresentazione dello spazio, in G. Previtali (ed.), Storia dell’arte italiana, vol.

IV, Turin: Einaudi, pp. 3-39.

Benjamin, W. 1955, Das Kunstwerk im Zeitalter seiner technischen Reproduzierbarkeit, in Schriften, vol. I, Suhrkamp, Frankfurt am Main, pp. 366-405 [It. trans., L’opera d’arte nell’epoca della sua riproducibilità tecnica, Turin: Einaudi 1966].

BERDOULAY, Vincent. 1981. La formation de l’école française de géographie, 1870–1914, Paris: Bibliothéque Nationale.

Berengo, M. 1975, Le città di antico regime, in A. Caracciolo (ed.), Dalla città preindustriale alla città del capitalismo, il Mulino, Bologna, pp. 25-54.

Berman, M. 1982, All that is Solid Melts into Air. The Experience of Modernity, Simon and Schuster, New York [It. trans., L’esperienza della modernità, il Mulino, Bologna 1985].

BERRY, Brian. 1960. ‘The Quantitative Bogey-Man’. Economic Geography 36: 282.

Berry, B. 1964, Cities as Systems within Systems of Cities, in Papers and Proceedings of the Regional Science Association, XIII, pp. 147-64.

15

Works cited with foot folio, note the hanging indentation

Typesetting | 111

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10

WETA 8 | MAHAS

DEVI

improved, e else’s life has come ever yon e made in you did, how on? A marriag in this conditi ind all our beh while I’m still left we e When we cam ! Is it heaven indeed! you call me mad gs, and now ngin belo precious lot? more. mad to talk a any it take ded, I can’t e’s no one Sadananda plea es. Now ther tear me to piec me apart!

Please don’t too are tearing you And . you g so, I to talk to but my words stin said, Fine! If Mohini had all. won’t talk at Kagaboga, to ing talk hini said, I’m the That night Mo out of oil, and else. We’ve run not to anyone be repaired. lantern has to Did Kagad, aske had ish, Sadananda Was it In great angu Utr uni mela? 18 me at the ir tree boga garland under the jam would watch t? Just a Kagaboga who the next boa by e hom coming ga go and abo to see if I was Kag did ill, , when I was back days few tor?’ telling fetch the doc replied, I’m ed deeply and ing once Mohini sigh I can’t stop talk at best this way. it’s ga, abo torn apart. Wh Kag life has been My th. mou I open my to say? else is there ce. Sadasilen into Mohini lapsed situaSince that day, terms with the ually came to Sadananda nanda, too, grad in this manner. years passed , Kagaboga, the tion. Sixteen said and ing e one even n from returned hom ply. Today Bire is going up stee g to do price of rice 19 what are you goin d me, Kaka, the club aske

sell off Why don’t you as20 of land? with five kath law?21 three? the nst it’s agai ga know that his Doesn’t Kagabo e Biru has set knows that onc it one way on Kagaboga also ds han , he will get his e now. So we eyes on the land rules the plac kind His take . ’s or another out of it. Let get something might as well offers. whatever he We lived like tever he likes. wha do ga anything Let Kagabo all. Did I say e and lost it kings back hom had 20 then? we Back home ld have said, plough, a Sadananda cou four rooms, a , a house with 22 One couldn’t bighas of land did. rs othe — like many bull and a cow like kings’. now. call that ‘living aboga, I’m 74 said softly, Kag e money, Instead, he If we get a littl er do I have? ir long repa h to muc age How If we man of our needs. usurp the it’ll take care room. If they can let out a the house, we stion them. que not will police land, even the osit the when we dep , Kagaboga, too.

Mohini said want to sign post office, I money at the Fine. land in a moped. The aj arrived on would Biru Chattor main road. Biru almost on the er and he fath question was His out. and lease them . This was an put up shops land in this way of lot a d ption, had acquire e much gum they didn’t hav elderly couple,

THE SAGA

OF

KAGABOGA

| 9

ARTWORKING

Often the most neglected aspect of Design, making a file ready for print with the exact specifications and format is one of the most important steps in creating a beautiful book. I am proficient in artworking paperback covers and hardback jackets, along with the inside pages.

I am familiar with the requirements of special printing and fabricating processes and can handle a project from its conception to the final printing.

I have worked closely with printing presses for various design projects and overseen the production process.

M

y name is Antara Ghosh. I am 31 years old, currently

based out of Calcutta and have been working as a freelance graphic designer since 2012. Since, this portfolio is meant to look like a book, I decided to not put point-wise details about me but jot down few lines which I would usually not put in my regular résumé.

I have been a graphic designer since 2010, and have experience in designing brand identity, corporate identity, promotional material (brochures, advertisements, hoardings, catalogues, emailers, flyers) and packaging. Designing books has always been something I dreamed of doing but never got much opportunity. I reached a point of stagnation in my career and thought of seeking inspiration and learning something that I would really enjoy and hence I landed up at Seagull School of Publishing pursuing the Certificate Course in Publishing with a specialization in Design which got over in August 2017. Apart from equipping me with the knowledge and skill to design book covers and typeset book across all genres, this course gave me the confidence to finally seek out work in publishing which I never had.

I did the major part of my schooling from Army Public School, Calcutta after which I studied Computer Science in St. Xaviers’ College, Calcutta. I have no idea why I studied that as I barely had any interest in the subject. During the three years of college, I spent more time playing basketball, dancing and trying to figure out what I wanted to do with my life than I did in the classroom. I found interest in photography and started looking online for photography courses which I could join after college was over. Somehow during this time, I discovered graphic design about which I was completely clueless till then. I had always been interested and somewhat good at art, craft and computers so it seemed like a good combination for me. When college got over, I did a 6 month course from Arena Multimedia where I picked up the basic graphic design software. I won’t say I learnt a lot of design here, but this is where I realized that graphic design is what I wanted to make a career out of.

After failing at getting any internship in Calcutta with advertising agencies, I was highly demoralized and was contemplating becoming a waitress, when some relative suggested I intern at a printing press which I initially shrugged off but finally landed up doing. This is when true love happened to me.

114 | Antara Ghosh

Anderson Printing House is one of the well-known printing presses in Calcutta and when they agreed to have me as an intern, I did not know it will change my life. This is where I learnt multitudes about printing, fabrication, design and saw first-hand how a thing on screen eventually turns into a printed product which we can hold. Here I also learnt how technical expertise is as important as being creative and that hard work and efficiency can often compensate for talent.

I went freelance after 2 years of working at a small design studio where I mostly designed real estate brochures and marketing material.

I wanted to do different kinds of work and felt too tied down within the same industry. I learnt to design catalogues and magazines and also had the opportunity to work on a coffee table book while I was with this company.

As a freelancer, over the past 7 years I have done work for restaurants, hotels, banks, pharmaceutical, real estate, event management companies and start-ups. I am proficient in Adobe Photoshop, Illustrator, InDesign and Quark Xpress and my skillset includes typesetting and artworking as well. I love to incorporate my own paintings or illustrations (not my strong suit) or photographs I have clicked into my design whenever I can. I really love working with type and hence typesetting which most designers find tedious, I enjoy a lot. I have a special love for designing calendars and notebooks and I hope to some day have my own brand of such products. I have always dreamed of designing a publicity campaign for the Calcutta Zoo. I want to create beautiful and meaningful things and I hope to do work which in some way can make a tiny bit of difference in peoples lives. Design has the power to influence and bring about change and I want to be a part of such meaningful work. Thus, designing books feels like the perfect amalgamation of everything close to my heart. In the future, I hope to retire with a small shack in Pondicherry or Goa where I run a small cafe-cum-bookstore and surf during my free time.

Graphic designers who inspire me include Suzanne Dean, Chip Kidd and David Pearson to name a few. Murakami and Manto have had life-changing influence on me. Van Gogh and Esao Andrews are my favourite painters. I keep trying to copy them and failing all the time.

About Me | 115

Thank You

for taking the time to go through my work!

If you have anything to say, feel free to write to me at moonydancer@yahoo.com

www.behance.net/moonydancer