Xadhukothaar Kuki A collection of graphic narratives from Assam
PROJECT GUIDE PRIYANKAR GUPTA
STUDENT
DIKHIT BORAH
D J Academy Of Design
D J ACADEMY OF DESIGN Approval The following document is duly examined and approved by the designated jury as credible work on the chosen subject, carried out and presented in a manner and at a level that is appropriate for acceptance as diploma project qualification of this Institute. This approval however does not necessarily endorse any statements, comments or conclusions drawn in by the author in the document. This is a partial fulfillment for the award of the Undergraduate / Postgraduate level Diploma in Industrial / Communication Design. This Project/Thesis study of 26 weeks duration in the curriculam has been completed in …….. weeks.
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Student’s Name & Signature
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Place : Coimbatore Date : ……..………….
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Coimbatore – Pollachi Highway, Othakkalmandapam (P.O.), Coimbatore – 641 032. India Phone : 0422 – 3094300, 3094444, Fax : 0422 – 3094310, Website : www.djad.in, E-mail : office@djad.in
Content Acknowledgment
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Introduction
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Project
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Brief
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Research
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• Graphic Novel • Assam • Journey
Pre- Production
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• Synopsis • Script
Production
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• Character Design • Storyboard • Finals
Conclusion
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References
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Acknowledgment First and foremost, I would like to thank my guide for this project, Priyankar Gupta for the valuable guidance and advice. He inspired me greatly to work on this project. His willingness to motivate me contributed tremendously to my project. I also would like to thank him for showing me some examples related to the topic of my project. Besides, I would like to thank the authority of D J Academy of Design (DJAD) for providing me with a good environment and facilities to complete this project... And also, I would also like to thank Pithu Ram Tai, B R Pator, Biman Gogoi, Golap Khaklari, Chauba Tea estate, Padum Chandra Borah, Chanda Boruah, Unknown (SULFA), Muhit Chandra Sakia, my uncle Pobin Borah, Assam State Transport coporation , Assam State Museum and the people of Assam, which provide me valuable information as the subject of my project. Finally, an honorable mention goes to ( Deota , Maa, Kokaideo) my family, friends, and faculties for their understanding and support in me while completing this project. Without the help of the people mentioned above, I have would faced many difficulties while doing this project. Thank you!
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Introduction The D J Academy of Design belongs to the illustrious GKD Charity Trust, set up in 1983 by the industrialist par excellence, (Late) Cavalier Dr. G.K.Devarajulu. His pioneering efforts saw the emergence of Coimbatore on the global industrial map and the LMW Group as a major force to reckon with. The Group now comprises a staggering 20 companies with LMW being the flagship brand. The D J Academy is carrying forward the legacy of Dr. G.K. Devarajulu in the noble sphere of education. The Academy has two wings – The D J Academy for Managerial Excellence (DJAME) and D J Academy of Design (DJAD). It is a remarkable initiative towards harnessing the potential of future Managers and Designers.
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Project In the final semester of design programme, the students are required to do their Diploma Project where in the project is sponsored by an industry/design studio/ institute/self-sponsored. Students are expected to work at professional level with an organization on a specific design brief provide by them. The project extends from conceptualization to mock-up models and even prototypical if time permits.
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Brief To make a Graphic Narrative about 30-40 pages, based on true events that happened with the people of Assam
Research
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Graphic Novel Graphic novel or Comics, narratives told by means of a series of drawings arranged in horizontal lines (comic strips) and read from left to right. These images are commonly separated from each other by being contained within the borders of rectangular boxes (panels), although these are not always used. When words are associated with the images, they appear within the panel, often in explanatory boxes or “captions”, or within “balloons” issuing from the speaker’s mouth to represent conversation or, from the head, in clouds, to represent thought. Alternatively, text may appear quite separately beneath the image, or there may be no text at all. Words may be hand-lettered or mechanically typeset. Artists have developed a vocabulary of visually conveyed sound effects, symbols, and other graphic devices to express a wide variety of narrative elements. Comics appear in printed form, in periodicals, also known as comics or comic books, in magazines, in newspapers, often in special sections, and in books. The sequences of a comic vary from the single row, usually horizontal, of a daily newspaper “strip” to the more complex compositions of panels over many pages in “graphic novels”. The term comics derives from its comical origins, but humour is not a defining element, as the medium accommodates as diverse a range of subject matter as literature or film.
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Assam Assam is situated in the North-East of India and is the largest north eastern state. Assam is surrounded by Bhutan and Arunachal in the north; Nagaland and Manipur in the east; Bangladesh , Meghalaya , Tripura and Mizoram in the south and India in the west. Assam has a geographical area of 78,529 square kilometers and a total population of around 25 million. It is famous for its tea gardens, natural beauty, wild life reserves (specially one horned Asiatic Rhino), temples, monuments and the mighty Brahmaputra River. Assam is a land of natural beauty and cultural richness. It offers a peculiar composite culture, of myriad hues. Dispur is the state capital and Guwahati is the largest city in the state. Agriculture is of primary importance to Assam, engaging about half of the total working population and generating roughly one-third of the state’s gross product. Rice accounts for more than two-thirds of the sown area. Tea and jute, widely cultivated in the Brahmaputra valley, are important foreignexchange earners.
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Chabua Dibrugarh
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Sibsagar 52 31C
31B
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Assam
Jorhat
Koliabor Guwahati 37
Marigoan
Nagoan
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Dispur
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Destination 38
Highway Number National Highway National Boundary
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Journey... (Day 1) May 19’2015
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(Day 2) Jungle block village, May 20 ’15
My guide Pithuram Tai, guided me to explore the village and helped me to understand Mishing culture.
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The Mishing Tribes The Miris, also known as Mishings, are the second largest schedule tribe of Assam. Mostly they are based on riverine areas like Lakhimpur, Dibrugarh, Sibsagar, Jorhat and Sonitpur. The Mishing family is generally a joint family. The eldest member of the family is highly respected. Inheritance in the family is a patrilineal one, and the social structure - patriarchal. After the father’s death, the property is equally divided among the sons. Daughters have no right over the property. Basically they are peace loving and fun loving. There is no caste system or ideas of slavery in the Mishing society.
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(Day 3)
Interior of a Kitchen
Jungle block village, May 21 ’15 Mishing women
Yamboo Galuk
Sampan
The women carry their infants behind their back with the help of a cloth bag.
Bamboo Fish net
Riwi Gachang
Collecting threads for weaving
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Village envinoment and the house they live in called Chang-ghor.
The Mishing women are expert weavers. They produce all the cloth necessary for the family. The women wear the ‘sampan’ around the waist; the married women wear an additional piece of cloth around the hip. On the upper body, they wear the ‘Galuk’; and adorn their heads with the ‘hura’. Among other garments, the ‘Yamboo’ are the ‘riwi gachang’ are notable for the women; the ‘mibu goluk’, the ‘tongali’, and the ‘gonroo’ are used by the menfolk. Marriages of the Mishing society could be formal or informal. In the expensive formal marriage, the groom’s party takes the initiative. In the beginning, the groom has to spend five days in the bride’s house. After the marriage is fixed, the groom’s parents come to the bride’s house with ‘apong’ (rice wine), a pig and fish. On the fixed date, the groom goes to the bride’s family and spends the night there. The marriage ceremony takes place on next day. In the usual tribal format, the ‘Alig’ or the bride price is paid to the bride’s family. ‘Informal’ marriages may be conducted through elopement or kidnapping – this is usually practiced by the poor people. After the elopement, both families meet at the groom’s house and settle the matter.
Ali-Ai-Ligang (Folk- dance)
Mishing menfolk
Mibu Goluk
Tongali
Gonroo
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(Day 4) To Chabua tea estate, May 22 ’15
Oooiii!!! Chabuaaaa... Chabua... Chabua..
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(Day 5) Chabua tea estate, May 23 ’15 Jhummur (Folk dance)
Tea Tribes The Adivasi community of Assam, informally and locally known as the Tea tribe are the descendants of tribal people who were brought by the British colonial planters as indentured labourers from the Chhota Nagpur Plateau region into Assam during 1860-90s in multiple phases for the purpose of being employed in the tea gardens industry as labourers. They are found mainly in the districts of Kokrajhar, Udalguri, Sonitpur, Nagaon, Golaghat, Jorhat, Sivasagar, Dibrugarh, Tinsukia and almost all the districts of Assam in India. The total population of the community is estimated to be around 6 million or about 20 percent of total population of Assam. Santhali speakers are also found in parts of Kokrajhar, Baksa and Bongaigaon districts. They generally use Nagpuri or Sadri as lingua franca among themselves along with use of other tribal languages like Santhali , Kurukh and Mundari. They have their own dance form, Jhumur dance, which is quite popular in Assam. Within the community, Munda tribe is the largest in terms of numbers followed by Santhals, Kurukh (Oraon), Gonds, Kharia, Bhumij and Saora.
I met Hirra Kokai(factory worker), who shared knowledge about his tribe and the true event that he hard from his grandfather
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(Day 6) Tea factory labour (MIni Bai) during working hours
To Jorhat and Kalibor, May 25 ‘15
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(Day 6) Jorhat, May 25 ’15
The Deoris
Deori menfolk
The Deoris are one of the four divisions of Chutiyas and they represent the ‘priestly’ section of the whole Chutiya community. They have a unique cultural and traditional heritage that is nowadays recognized to be something of a hidden treasure for sociologists. The Deoris are nowadays settled mostly in Sivsagar and Jorhat districts. Deoris are riverine tribes and they live in large group All houses are made in similar pattern which are constructed facing the river. One such house can accommodate more than 40 people. Deories are a mongoloid people, with very strong religious character, and are known to be a brave, tradition-loving and cultured people with deep agricultural roots. Their traditional homes were made out of bamboo and wood upon elevated platforms. These houses are known as ‘Chang-ghar’. The ‘Misso’ is the front part used as portico. In the first room of the house there would be a fire place where ordinary cooking could be carried out throughout the day. Every home would include a separate room for guests and relatives. All the people of this community share deep bonds and live with mutual co-operation and harmony.
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(Day 7) Owguri,Kaliabor, May 26’15 (Bagrumba dance)
The Bodo Kacharies The Bodo Kacharies of Assam is a branch of great Bodo Group of Indo-Mongoloid family. It is believed that the origin of the Kachari was Tibet and China. The Bodos are basically an agrarian people; still using traditional means to irrigate their land. Their chief produce is classified into the ‘Ahu’ and the ‘Sali’ crops. Bodo villages are situated in the plains of the valleys of Assam, and hence they are categorized into what is known as the ‘Plains tribe’. The Bodo people are expert in bamboo and cane craft; hence one would usually come across houses fashioned out of bamboo and wood in places where they live in majority. With the changing times, the Bodos have taken in large numbers to the services, business and other non-agricultural modes of livelihood.
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Owguri Village envinoment
(Day 8) Owguri,Kaliabor, May 26 ’15 The Bodo people, akin to most tribal peoples, are a festival loving people. The three main categories of festivals are ‘seasonal’, ‘religious’, ritualistic and ceremonial’. The seasonal festivals are (i) Baisagu, (ii) Domashi, and (iii) Katrigacha. These three festivals are parallel to the Bihu. Among the religious festivals of the Bodos, the ‘Kherai’ is the most famous; usually understood to be the ‘national festival’ of the Bodos. The festival begins with various dances, songs, and music. The ‘Bagrumba’ is the most attractive group dance of the Bodos. Among other religious festivals of the Bodos, we have the ‘Siba’, the ‘Sibrai Langamara Puja’, the ‘Apeswari Puja’, the ‘Haul Kheta’ and others.
Bodo lady
Golap Khaklari is a retired school teacher, who established a school in Owguri and showed the people to lived a better life with better education and learning.
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(Day 9) To Nagoan, May 27 ‘15
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The Tiwa or Lalung Tribes Tibet region is considered to be the origin of Lalungs who prefer to call themselves as Tiwa. They landed on the plains following the course of river Brahmaputra. The word Lalung means ‘La’ means water and ‘Lung’ rescued ie the mighty river Brahmaputra gave shelter to the Bohemians. It is believed the Lalungs had migrated to Assam somewhere in the middle of the 17th century AD. Mainly they are found in the district of Nagoan. Tiwa people are known to be a group of TibetoBurmese tribe. Although they were also referred to as the Lalungs, they prefer the name Tiwa. Rice, beer, pork, fowl, duck and dry fish are the favorite food items of the Tiwas, apart from various vegetables like bamboo shoots, creepers, tuber roots etc. The basic occupation of the Tiwas is cultivation of the land. Fishing and hunting were traditionally practiced by the Tiwa people, until the modern concerns with the environment did away with hunting. Community fishing is still practiced.
Tiwa menfolk
(Day 10) Nagoan, May 28 ‘15 A ‘Giyati’ is the priest who performs the socio-religious functions of the Tiwas. Clans are maintained in a kind of hierarchical order. Traditionally, the ‘Na Bhuni’ clans are considered superior to the ‘Sat Bhuni’ clans; the Tiwas seem to accept this divide without any social tension. The Tiwas have a traditional faith akin to the Hindu Sakta religion, but the mode of worship is not quite the same. The Tiwas living in the hills worship stone images. A ‘tripod’ is established on the altar which represents the Lord Shiva or Lord Mahadeva, the Supreme God in Tiwa tradition. Each clan possesses a community hall, which known as ‘Bor-ghar’ It is used for community worship, and is usually constructed in a public place. Religious functions are observed in the ‘Than’. In the plains most of the Tiwas have adopted Hindu gods and goddesses and some of them taken to Vaishnavism. These people usually build the ‘Nam-ghar’ as the space for offering prayers.
Tiwas are divided into a number of clans that are further sub-divided into several sub-clans. A clan is generally consists of several ‘Khutas’. A single khuta does not constitute a khel or a clan. No family can remain outside a clan.
Dilip Pator(retired school teacher) told me about their culure and explained to me how he was bought up in Tiwa tradition. He also shared some true events with me.
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(Day 10) Borduwa,Nagoan, May 28’15 (Borduwa Naam-ghar)
Assamese The first usage of the English word “Assamese” is noted in colonial times; based on the same principle as Sinhalese, Nepalese and Canarese, derived from the Anglicised word “Assam” with the suffix -ese, meaning “of Assam”. In contrast, WesternAssam in pre-colonial times was known as “Kamrup” instead of Asama, and considered a politically, socially and culturally separate unit from the rest of the state. In the 16th-century, the Ahom kingdom came to be known as the “Kingdom of Acham” to the Mughals; and following them, the British. In 1682 the eastern Kamrup was annexed by Ahom kingdom and the expanded kingdom continued to be called “Kingdom of Assam”till 1821 when the Ahom kingdom became part of the Burmese Empire. Just as “Assam” was associated with the Ahom kingdom till the 19th century “Asamiya” was used for the subjects and soldiers of that kingdom who belonged to different ethnic and linguistic backgrounds and not solely to the Ahom community. After Assam became part of British India, the newly constituted province came to be known as Assam after its largest constituent, and the name “Assamese” came to be associated with the Assamese language, erstwhile known as Kamrupi. .
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Baiyan(person who plays instruments)
(Day 11) Borduwa,Nagoan, May 29’15 (Bihu dance)
Chandan Kumar Borah (temple saint) in Borduwa Naam-ghar, is a master in hindu mythology. He shared his thoughts about god and what he thinks of them. He also told me some of the true events that happened in that place.
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(Day 11) Nagoan, May 29 ‘15 Assamese Language, principal language of the state of Assam in north-eastern India. Along with Bangla and Oriya, it is a member of the Eastern group of Indo-Aryan languages. The census of India, in 1981, did not include Assamese as a language, but the number of speakers is estimated at about 9 million. Despite this relatively small number, it is one of the constitutionally recognized languages of India. It is also a minority language in Bangladesh. Assamese is divided into two dialects, the Eastern or Sibsagar, and the Western or Kamarupa. The literary standard derives from the Eastern dialect, and a slightly modified Bangla (Devanagari) script has been used for this since the 19th century, although the phonological system differs greatly from Bangla. Literature in the language, notably historical chronicles, can be traced back at least five centuries. The morphology and syntax of Assamese are generally similar to those of its closest Indo-Aryan relatives, but with some influence evident from its genetically unrelated (mostly Tibeto-Burman) neighbours.
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(Day 13) To Guwahati, May 31 ‘15 At last I went to Guwahati to visit Assam State Museum to get more information about different tribes of Assam. Which helped me understand the cultures of the various tribes that make Assam their home.
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(Day 15) Kaziranga National Park to Hometown, June 02 ‘15
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Pre- Production
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Synopsis Twelve stories collected from seven different tribes in Assam. Four stories were shortlisted for graphic narration. Stories • Saagoli Kokai (The Butcher) • Education • Mon Market 1 • Mon Market 2 • Shopping • Owuguri • The fresh flavour • Surrender Shortlisted one • Generation • Jungle Block • Sanjeevni Pukhuri • Adivasis
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Generation
Sanjeevni Phukhuri
This is a story about generation gap, how things change according to time, how behaviour changes, how one generation dominates the other, how one’s voice grows up and the others depends on it.
Chihna-yatra, the first dramatic performance held by Mahapursha Srimanta Sankardeva. Sankardeva arranged one dramatic performance to show the great virtue of Vishnu, the creator of the universe. That performance was called Chihna yatra. ( Chihna means painting, Yatra means Drama). Sankardev himself painted the abode of the gods on cloth-screens and depicted seven Vaikunthas on it. These paintings were used to create necessary background required for the performance.
Here is the story of Mahendra Pator’s family. Mahendra was a well known person who was also wise. He believed in truth, punctuality and justice. He also had been known for his aggressiveness and strength. He was a very helpful person. People came to him, to solve their problems and get justice. As the years passed by Mahendra became old and his son took his place and followed his principles and legacy. And the voice or the ruler of the family changed and Mahendra’s became the old voice and Mahendra himself became the depending one… He died before he saw his grandson… Mahendra’s son was totally opposite. He thought whatever his father and grandfather did was just a waste of time and tried becoming famous among the people for respect. He grew up with a lot of attitude and aggressiveness. He believed in total freedom and spent most of time with his friends and books. He hardly saw his father. So, his father adopted a dog to spend time and share his emptiness with. As days passed by, no one in the village came to meet him for any problems or talks. He became old and no one was there to support him. He always wanted to talk to his son but he’ll always be busy with some work or not be available. He waited for every breakfast, lunch and dinner. But they hardly ate together. One night when it was heavily raining, Young Pator came home and saw his father sick lying in his bed, he did nothing. Instead of that he shouted at him from the other room, “Where are your people whom you gave justice and love. Call them”. After that Kalu, the dog started barking for a while, which made him angrier and he said, ‘I wish!! I could KILL that dog”. By hearing those words, his father broke apart and only tears were coming out. Suddenly he heard Kalu’s voice and realised that he is not with him. Hours passed by and Kalu was nowhere to be found. He suddenly heard his voice and went out slowly in search of him. He saw his son was selling his dog to those hungry heartless Naga people who kill the faithful one and eat them as their delicious dinner. As young Pathor came in, his father was standing next to his door. He was passing by, then his father’s voice from behind,’ I wish you could have killed me, instead of that dog,’’ he cried. And went back to his room…
In addition to the paintings Sankardeva taught the local people to make some musical instruments. With special instruction to potters and cobblers, he gathered the matter required for ‘khola or Mrindanga’ (drums). Likewise, cymbals (tal) of different sizes and shapes were made. He then taught people to play these instruments with music. Arrangements were also made to illuminate the place of performance as the drama was continuing for days and night. People from all around gathered. The place was full of crowds. Meanwhile a fisher woman was crossing that place to see what was going on. She kept her fishes near a pond (Sanjeevani Pukhuri) and went to see. It was quite surprising and new to her. She had never seen such drama in her entire life. The paintings were moving with background music, Sutradhara was explaining the audience, so that they could understand the same clearly. The drama continued till nightfall. She had not realised. She went back to her basket and saw all her fishes were dead. See thought of cleaning them and sell them at low price. She went to the pond and started cleaning. Suddenly all the fishes became alive and she got scared. She ran away from there and reached home. She lived alone and had no one to help her. Later she thought of experimenting on that pond. As she does not know anyone, she thought of digging up a baby from the graveyard. See went to the graveyard and saw a Pujari burying his five-year-old son into his grave. Later that night, she went there and took out the dead boy. She took him to the pond and put him under water. Suddenly the boy was alive and he fainted. She took him home. He never wanted to stay with her, he always asked he meet his parents. She refused. Some people have seen that boy and told the Pujari that his son is with a fisher woman. Pujari did not believe them and left the talk there. Later when everybody started telling him about the same situation, he went to see his son. When he reached her house, he saw his son. He got shocked and did not believe what he was witnessing.
And later he realized what a big mistake he had made…which is unforgivable in his fathers eyes…
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Sanjeevni Pukhuri
Jungle Block
He refused to take his son and went to Sankardeva to find a solution with the woman. Sankardeva already new about the magic pond but never told anyone. He asked the Pujari to take back his son and asked both of them not tell anyone about this pond. He asked his followers to fill the pond by carrying both water and earth on one shoulder. Likewise, he and his followers filled the pond and established a Lord Krishna temple on it. He filled it because he did not want humans to misuse it and break the bridge between the living and the dead.
Tai came with 11 families including his. He travelled from Puwmorasatra, Sivasagar. The government gave a place called Kosumari for their settlement. Due to lack of water, he and his people went to Deroi River to settle near it. They came from a big disaster. In 1920’s the place they lived in was flooded and broke apart. There was no food and shelter to live in that place.
Till today people do not know about Sanjeevani Pukhuri that happened during Chihna-yatra. Sankardeva has mentioned about this incident in his writings.
When they were living near the banks of the river, he found a little up hill area where three Nepali families were living. They found that place very safe and healthy. And a comfort zone for their families. So they shifted uphill and start cultivating food. During that time the Mishing tribe people where very aggressive and straight forward. They cannot bear lies and politics. And the Nepali families did not like the Mishing people settling down in their place. So, one day when a buffalo from Mishing side was killed on a paddy field near a Nepali house, Tai came to know. He asked them who killed the buffalo. They refused to tell him and started arguing with him, they also mentioned that he was encroaching on their place. Tai became angry and slapped one of them before heading back. Later, all other Nepali people tried to kill him. They came to his house and started climbing his door. He saw them climbing and he gave a kick from the door on the spot and chased them alone from the house. These Nepali’s got afraid by seeing his courage and strength and they left the village to Nepal later. And that’s how the Mishing tribe had conquered the place, cut the jungle and established their Village. The Mishing village of Moranhat. The people used to carry arms to protect themselves from wild animals and man-eaters. The village was in a block and Jungle. So, they called it Jungle Block. There are ditches made by Japanese bombs during Second World War and they used to hide under trees and dens. British officers used to come for picnics and give food to the villagers, while they freaked out for doing something wrong with them. Tai was killed/ ate by a man-eater. Once, the village was attacked by a man-eater. He went out with his gun and chased him for a while. Suddenly, the man-eater jumped back on Tai. He fought back and asked the other villagers to attack the man-eater. Nobody helped him as they were scared of the man-eater. And at last he sacrificed his life for the rest of his people. And later, the story of great Tai from Jungle block got lost as the ages went by.
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Adivasis
Script
1860, Chhota Nagpur Plateau region. Some British colonial planters were crossing that place in search of labourers to work in tea gardens. All Assamese people refused to do labour work. Therefore, they came to this region in search of labour. They knew the Adivasis were hard working and skilled labour. They finally reached the village, Colonial planters asked them to come with their family, friends and settle down in a new place. They refused their proposal and got worried. They thought that they would be captured as Slaves. They started attacking these colonial. Suddenly, a planter shouted at them, asked them to listen to what he was going to say. He told them, there is a gold plant in Assam, when you shake that plant many gold coins will fall on you. Moreover, you will become rich. So come with us to collect these coins. Therefore, being poor and hungry, the allure of gold and riches was too much for them to turn down. Therefore, they became ready and came to Assam in search of Gold plants. After they all reached Assam, they all were introduced to their Gold plant, Tea. Some of the Adivasis started shaking those plants but nothing fell down except leaves. Therefore, one of the tea planters came and told, do not be foolish by shaking a plant. Work with us for a week and you will earn what you came for. After a week, they got their payment and stayed here for the rest of their lives. Until 1890, many Adivaisis migrated to Assam as tea plantation labourers. Presently, they are present in almost all the districts of Assam. Their population is around 6 million. They speak Santhali, Oriya, (Nagpuri or Sadri used among themselves), Hindi, Assamese and English.
Generation Panel 1: An Assamese family, Father, Mother and 17yr old son Caption This is a story about generation gap, how things change according to time, how behavior changes. How one generation dominates the other, how ones voice grows up and the others depends on it. Here is the story of Mahendra Pator’s family. Panel 2: Mahendra having conversation with people and giving Justice Caption Mahendra was a well known person who was also wise. He believed in truth, punctuality and justice. He also had been known for his aggressiveness and strength. He was a very helpful person. People came to him, to solve their problems and get justice. Panel 3: The Justice continuing and son taking over his father’s responsibility Caption As the year pass by Mahendra became old and his son took place and follow his principles and legacy. Panel 4: Mahendra’s son dominating him Caption And the voice or the ruler of the family changed and Mahendra’s son became big and Mahendra himself became the dependant one... Panel 5 : Mahendra died. Panel 6 : The first three panels will be showing the behavior of Mahendra’s grandson (Bhadra), with captions Caption Mahendra‟s grandson Bhadra, was totally opposite. He thinks whatever his father and grandfather just wasta
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waste of time and tried becoming famous among the people for respect. He became big with a lot of attitude and aggressiveness. He believed in total freedom and spent most of time with his friends and books. Panel 7 : ............... Panel 8 : .............. Panel 9 : Father trying to meet his son. Caption He hardly saw his father. Panel 5: Father adopting a dog. Caption So, his father adopted a dog... Panel 10: Father sharing his feelings to his dog Caption To spend time and his emptiness. Panel 11: Father looking towards the gate and waiting for his son and village people. Caption As days passed by, no one in the village came to meet him for any problems or talks.
KALU BHOW!BHOW!BHOW!BHOW! Panel 17: Bhadra becoming more angry by hearing those barks and shouting louder BHADRA “I wish!! I could KILL that dog” Panel 18: Father crying, lying on his bed. Panel 19 : After 1 hour Panel 20 : Father hearing Kalu’s barking from far and realizing, his dog is not with him. Panel 21 : Suddenly heard his bark and going out slowly in search of him. Panel 22 : Father looking from window Panel 23 : Son selling his dog to Naga people Panel 24 : One Naga throwing the dog into the truck and the other one handing Bhadra a 10 rupee note Panel 25 : Bhadra entering the drawing room and hearing a voice behind him Father “I wish you could have sold me, instead of that dog, he cried.
Panel 12: Father looking at photograph and crying Caption He always wanted to talk to his son Panel 13 : Father waiting for his son for breakfast He waited for every breakfast, lunch, Dinner. Panel 14 : Night, heavy rainfall and Bhadra running toward his home Panel 15: Bhadra coming inside and seeing his father sick lying on his bed... BHADRA “Where are your people whom you gave justice and love. Call them”. Panel 16: KALU, the dog start barking
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Sanjeevni Pukhuri
crowd with a basket of fish
Panel 15: She is trying to see whats going on?
Panel1 :8 persons practicing drama under Srimanta Sankardev outside a house
Panel 2 : Sankardev teaching them the moves Caption
Chihna-yatra, the first dramatic performance held by Mahapursha Srimanta Sankardeva. Sankardeva arranged one dramatic performance to show the great virtue of Vishnu, the creator of the universe. Panel 3 : Sankardev dancing with them Caption That performance was called Chihna yatra(Chinha means painting, Yatra means Drama). Panel 4 : Making painting scrolls Panel 5 : Making Backgrounds
Caption
Sankardev himself painted the abode of the gods on cloth-screens and depicted seven Vaikunthas on it. These paintings were used to create necessary background required for the performance. Panel 6 : Sankardev teaching local people to make some musical instruments Caption
Potters and cobblers gathering the material required for Khola and Mridanga (drums) Panel 7 : He is instructing people to make Cuambal (tal) to make in different sizes
Panel 8 : Him and his pupils learning to play music. Panel 9 : He then taught people to play these instruments with music. Panel 10 : Chinha-yatra
Panel 11: Arrangements were also made to illuminate the place of performance as the drama was continuing till nightfall.
Panel 12 : Crowds gathering for viewing the drama Panel 13 : People from all around gathered. The place was full of crowds. Panel 14: Fisher woman walking by the
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Panel 16: asking a boy, who is running toward the crowd Fisherwoman
Oi! What’s happening? Panel 17 : Boy running and telling Boy
If you want to see god? Then leave the basket and come with us Panel 18 : She is leaving the basket near a pond Panel 19 : and going to see
Panel20: She is becoming happy by seeing such drama Panel 21 : she is looking at moving paintings and sutradhara explaing drama Caption
It was quite surprising and new to her. She had never seen such drama in her entire life. The paintings were moving with background music, Sutradhara was explaining to the audience, so that they could understand the same clearly Panel 22: Drama continuing
Panel 23: At nightfall drama ends and crowd goes back
Panel 24: People thanking Sankardev and party Panel 25: Fisherwoman laughing and coming back to her basket Caption
The drama continues till nightfall. She has not realised. Panel 26: She is getting a bad smell from her fish basket Panel 27: Looking into her basket and finding spoiled fish Panel 28: She is going to a nearby pond Panel 29: Cleans her basket and
Panel 30 : cleaning those dirty fishes from the water Panel 31: bright illusion happening Panel 32: fish becoming alive
Panel 33: Fisherwoman getting scared
Panel 34: And running away from pond. Panel 35: Late night she reaches home
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Panel 36: getting scared and feeling lonely Panel 37: She is sitting down and thinking FISHERWOMAN
As am I alone in my life! So, I should dig up a newly buried baby from the graveyard and experiment in that pond Panel 38: One night, she is going to a graveyard Panel 39: hiding and seeing a Pujari burying his five year old kid into his grave. Panel 40: After digging, father crying and leaving the grave with some people.
Panel 55: Pujari going to fisher woman’s house Panel 56: Pujari is getting shocked by seeing his kid playing
Panel 57: Kid running towards his father BOY
Deota! Where were you? I don’t like this place...take me home Panel 58: Pujari tears coming out and hugging his kid Panel 59: Pujari asking lady and kid PUJARI
Panel 41: Late night she is going nearby that grave Panel 42: and starts digging
You all get ready. We are going meet Guru Sankardev Panel 60: Pujari, kid and fisher woman going Panel 61: Pujari and Fisher woman telling about the situation
Panel 43: She is looking at the boy Panel 44: Picks him up
Panel 45: And carries him to the pond
Panel 46: She is putting the kid under water
Panel 47 : After a while the same illusion happening
Panel 62: Guru Sankardev already knew about the magic pond but never told anyone Panel 63: Guru Sankardev to Pujari
Guru Sankardev
Panel 48 : the kid is alive, looking at her and fainting Panel 49: she is carrying him to her home
Panel 50: Morning boy disturbing her and telling
Pujari, your son needs you, its a gods gift to you for your good deeds, accept it. Panel 64: Guruji telling them
Caption
BOY
He asked them not to talk about the magic pond to anyone for future misuse
I want to go home, I don’t want to stay with you.. FISHERWOMAN Listen to me! You are my kid... Panel 51: after some days, a man seeing that little kid for some time and going away Panel 52: The man talking to Pujari
Panel 65: later, Guruji called his pupils and ordering them to dump mud into the pond forever Panel 66: He is telling his fellow men by indicating water and mud Caption
Man
Pujari! I have seen your kid playing at
Dumoni’s house
Panel 53: Pujari is confused and abusing him Pujari
Mind your language about my dead boy who I have buried myself.. Please leave my place Panel 54 : Later everybody started talking to Pujari about his kid playing in Dumoni’s house
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He asked his followers to dump the pond by carrying both water and earth on one shoulder. Panel 67: Guruji placing a Lord Krishna statue
Panel 68: Likewise, he and his followers dump mud in the pond and establish a Lord Krishna temple on it. Panel 69: Guru Sankardev writing
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Jungle Block
Caption After a few days near the banks of the river
Panel 1 : British rule/Assam/Puwmora-satra, people suffering from flood and crying for being homeless Panel 2 : British govt, asking them to leave the place and asking them to shift, a place called Kosumari of Moranhat
Panel 3: People travelling with their chief Caption
This is the journey of GA:M named ‘TAI’ (chief of Mishing Tribe). How he formed the village called Jungle block. How they came and settled in the remote area of Moranhat /Sivasagar, Assam. Panel 4: Tai giving water and helping his family members Caption
He came with 11 members including him. Panel 5: Tai and his family members reach Kosumari Caption
They reached Kosumari and settled down Panel 6: People suffering from thirst due to lack of water Caption
Due to lack of water Panel 7 : Tai and family members cutting Jungle Caption
They went in search of water Panel 8: They find a river and start dancing Caption
They found a river called Deroi. Panel 9: Tai and His family members making ChangGhar (house) near the bank of the river Caption
They brought their families and settled down there. Panel 10: Tai and his brothers walking in Paddy field
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Panel 11: They find a high land
Caption
They found a hilly area which can fight against floods Panel 12: They are walking inside and find three houses Caption
They found three Nepali families, who had settled there for years. And made friendship with them Panel 13: Family members making their own houses Caption
They all permanently came up and settled down. Panel 14: Nepalis looking at their settlement and getting angry Caption
The Nepalis didn’t like them settling down and occupying their lands. Panel 15: Paddy field
Caption Afternoon
Panel 16: Tai walking on paddy field Caption
One afternoon Tai was searching for his buffalo Panel 17: a dead buffalo lying on paddy field Caption
And his buffalo lying dead next to Nepalis house Panel 18: Tai’s brother telling
Caption
That his buffalo was killed by the Nepalis Panel 19: Tai having conversation with Nepalis Caption
They refused to tell him and start arguing with him, they also mentioned that they are taking their place. Nepali Get out from our place! Panel 20 : Tai slapping the Nepali
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Panel 21: And went back
Panel 22: Night,Group of Nepalis walking toward Tais house with Khukris
Adivasis
NEPALI
Come out! You dog... We’ll kill you ! Panel 23: One Nepali is climbing on to stairs of his house
Panel 24: A kick came on his face Panel 25: And he fell down
NEPALI
oyeeiii! Help! Panel 26: Tai with a huge butcher knife coming out and chasing them Panel 27: All the Nepalis running away by seeing his anger
Panel 28: Nepalis going with luggages Caption
After a few months they ran away from that place. Panel 29: A happy Mishing village scenario Caption
And that’s how the Mishing tribe had conquered the place, cut the jungle and established their Village. A small Mishing village of Moranhat. The village in a block and Jungle. So, called it Jungle Block Panel 30 Tai fighting against man-eater Caption
Once, village was attacked by a man-eater. He went out with his gun and chased him for a while. Suddenly, the man eater jumped back on Tai. He fought back and asked the other villagers to attack the man-eater. Nobody helped him as they were scared of the maneater. And at last he sacrificed his life for the rest of his people. And later, the story of great Tai from Jungle block got lost in the ages.
Panel 1: 1860, Chhota Nagpur Plateau region. Some British colonial planters were crossing that place in search of labourers to work in tea garden. Panel 2: They were following the smoke
Panel 3: Adivasi stopping them with weapons Panel 4: Britishers giving them bread and making friendship
Panel 5: They were meeting some more Adivasis and following them Caption
As all Assamese people refused to do labour works. Therefore, they came to this region in search of labor. Panel 6: Britishers looking at each other Panel 7: and smiling
Caption
They knew the Adivasis were hard working and skilled labour. Panel 8: They reach the village and giving food to them Panel 9: Planters talking to them Caption
Colonial planters asked them to come with their family, friends and settled down in a new place Panel 10: Adivasis becoming angry Panel 11: Refusing their proposal and throwing their breads
Panel 12: Officers and Planters getting afraid Panel 13: Adivasis shouting at them Adivasis
We don’t want to become your slave! Go away from here! Panel 14: The crowd becoming worse Panel 15: Starts attacking them
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Caption
PLANTER
They start attacking the colonials.
Don’t be foolish by shaking a plant. Work with us for a week, you’ll earn what you came for?
Panel 16: One planter stood out
Panel 17: And asking them to be silent Planter
Panel 29: Adivasis working in garden Panel 30: Adivasis getting money
Caption
Please listen to me? What am I going to say? Panel 18: Planter starts explaining by picking up a cut bush Planter
After a week, they got their payment Panel 31: Adivasis making house Panel 32: Painting on the wall
Caption
There is a gold plant in Assam, when you shake that plant. Many gold coins will fall on you. Panel 19: Adivasis becoming happy and excited Planter
and stayed here for the rest of their lives. Panel 33: Adivasis migrating to Assam Caption
Moreover, you will become rich. So come with us to collect those coins. Panel 20: Adivasis talking to each other
Panel 21: Adivasis shaking hands with officers
Until 1890, many Adivasis migrated to Assam as tea plantation labourers. Panel 34: A scenario of Modern factory and its people Caption
Caption
Presently, they are present in almost all districts of Assam. Their population is around 6 million. They speak Santhali, Oriya, (Nagpuri or Sadri uses among themselves), Hindi, Assamese and English.
Being poor and hungry, the allure of gold and richness was too hard for them to turn down. Panel 22: Adivasis packing up their things Panel 23: Walking with them
Caption
They became ready with them and came to Assam in search of Gold plant. Panel 24: traveling to Assam Panel 25: Assam
Panel 26: Planters showing them tea garden Caption
After they all reached Assam, they all were introduced to their Gold plant, Tea. Panel 27: Two of the Adivasis start shaking the plants Caption
The Adivasis started shaking those plants but nothing fell down except leaves. Panel 28: Planters coming nearby them and telling
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Production
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Character Design Characters are something we learn to love since we are children, through animations and cartoons. Characters are wild, unpredictable and unrealistic, we grow attached to cartoon characters and most of the time that bond never truly disappears from our hearts. That’s why even as adults we can spot a character that reminds us of ourselves, how we wanted to be or how we are now, and fall in love with it. Thus creating a good character implies that you must design that character in such a way that people will love and relate to it on a very intimate level. It’s all about the personality that you empower your character with, and that unique personality can derive from the way it looks, talks, walks, thinks, etc. Character design creates lovable or memorable characters, whether they are good or bad, cute or weird, happy or sad. Simply put, Wikipedia’s definition of Commercial Character Design is “is the process of creating a character and utilizing it to enhance or publicize a commercial entity through design”. Designers use characters in commercial settings specifically because of the way people relate to them. By using a well designed character as your brand mascot you are more likely to get people to have an emotional relationship with your products or business. Characters are friendly and appeal to almost all age groups. They attract attention with their wacky behavior and can instantly make your designs interesting.
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Hemodhor Pator
Generation
As his photo was not available, I took Lakhminath Bezbaruah’s as my character who was the grandfather of Assamese literature and one of the richest person in Assam.
• Hemodor Pator (Son) • Mahendra Pator (Father) • Bhadra Pator (Grandson) • Pet Dog • Villagers The characters were inspired from Mask art of Assamese dramatic performance on Hindu god and goddesses. Mask also know as mukha , are the base of the Assamese culture and tradition. They are worn during theatre and bhaonas, which revolve around the Assamese tribal myths and folktales. Since ages these masks have been the center of in attention. The traditional Assamese mask are made from variety of material, ranging from terracotta and bamboo to woods, pith and metals. They usually represent the local gods and goddesses, characters of ancient epics like the Mahabharata or historical figures. I have taken some of the element from Mukhas and built my characters. I would like to thanks to those wonderful artist who designed and created such great art form.
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(Stage 1) Experimenting with the form of the character
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(Stage 2) Experimenting with the form of the character
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(Stage 3) Final Character
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Mahendra Pator As his photo was not available, I took Bishnu Rabha ( Guru of Art) he was great poet,writer, painter, actor, singer and dancer of Assam. He gave his all life to art, have contributed lots knowledge and art to Assam. So, i took him as Mahendra.
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Bhadra R Pator School teacher (Oil India Higher secondary school, Moran). He lives in Oil India colony. And the Generation story based on him.
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Kalu
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Villagers
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Jungle Block
Tai (Ga:m Head of the Family)
• Tai (Ga:m Head of the Family)
Tai character is inspried from a person name called Pithu.
• Tai’s family members • British Officers • Nepaliese The Characters are inspired from old sculptures made up of stone during 8th and 9th century in Assam. And traditional characters from Sing-fu tribe of Arunachal and Assam
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(Stage 1) Women characters is inspried from Pithu’s Mother
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Experimenting with the form of the character
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(Stage 2) Experimenting with the form of the character
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(Stage 3) Final Character
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Tai’s family members
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British officers The Characters are inspired from Ronald Searle cartoons (British cartoonist)
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Nepalies The Characters are inspired from the famous Nepal cartoonist Rajesh KC
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Adivasis
Adivasi
• Adivasi • British Oifficers and Planter • Environment The Characters are inspired from the Adivasis of Chotta nagpur Plateau and the folk art Orrisa called Patta Chitra.
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(Stage 1) Experimenting with the form of the character
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(Stage 2) Experimenting with the form of the character
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(Stage 3) Final Character
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British Officers and Planters
Environment
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Sanjeevni Pukhuri
Mahapursha Srimanta Sankardeva
• Mahapursha Srimanta Sankardeva • Fisherwoman • Instrument players • Villagers In this story the character are inspired from manuscript illustration develop by Mahapursha Srimanta Sankardeva 600 years ago. the first illustrated example of which I find is the 17th century Chitra-bhagavata or, to use its original name, the Adi-dasama, the text of which was rendered into Assamese by Sankardeva, recovered from the Bali Satra of Nagaon. The main patrons of art in Assam were the Satras (Vaishnavite Monasteries), founded under the influence of Sankardeva who, during the 15th and 16th centuries, used various literary and artistic mediums to propagate his Bhakti cult. The Satras also had the social and intellectual environment conducive to the perusal of such activity.
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(Stage 1)
(Stage 2)
Experimenting with the form of the character
Experimenting with the form of the character
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(Stage 3) Final Character
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Fisherwoman
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Instrument Players
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Villagers
Storyboard Genration Sanjeevni Pukhuri What is a storyboard? Once a concept or script is written for a film, graphic novel or animation, the next step is to make a storyboard. A storyboard visually tells the story panel by panel. Your storyboard should convey some of the following information: What characters are in the frame, and how are they moving? What are the characters saying to each other, if anything? How much time has passed between the last frame of the storyboard and the current one? Why make a storyboard? Creating a storyboard will help you plan your comic book out panel by panel. You can make changes to your storyboard before you start finals, instead of changing your mind later. You will also be able to talk about your artwork and show your storyboard to other people to get feedback on your ideas.
Pandit and his son
Wikipedia’s definition: A storyboard is a graphic organizer in the form of illustrations or images displayed in sequence for the purpose of previsualizing a motion picture, animation, motion graphic or interactive media sequence. The storyboarding process, in the form it is known today, was developed at Walt Disney Productions during the early 1930s, after several years of similar processes being in use at Walt Disney and other animation studios.
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Layouts Genration
The first stage of making a layout.
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I drew lots of frames on A1 size newsprint sheet.
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Then I have drawn the story according to the script
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After that I cut the layouts and started composing the frame
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Later, after composition. I have pasted them on an A3 size sheet.
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Sanjeeni Pukhuri
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Final Layouts Generation Sanjeevni Pukhuri
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Generation
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Sanjeevni Pukhuri
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Final Sanjeevni Pukhuri
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Conclusion Sequential art offers tremendous resources to all writers and artists : faithfulness, control, a chance to be heard far and wide without fear of compromise. It offers range and versatility with all the potential imagery of film and painting plus the intimacy of written words and all that’s needed is the desire to be heard, the will to learn and the ability to see. I have learned a lot about comics since the beginning of this project and I know I have a lot more to learn.
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References Eisner,Will: Comics and sequential Art Mc Cloud, Scott: Understanding comics Graphic Novels: Everything You Need to Know by Paul Gravett Naren Kalita Axomor Puthicitra - A critical study on Assamese illustrated miniature paintings in Assamese. Published by Dilip Kr Dutta, Publication Board Assam 1996 Tribes of Assam Vol I, II, II by B N Bordoloi, G C Sharma Thakur and MC Sharma. The Plains Tribes of Lakhimpur, Dibrugarh, Sibsagar and Nowgoan by G C Sharma Thakur. “Data highlights: The Scheduled Tribes” (PDF). censusindia. gov.in. “The Scheduled Tribes of Assam”. Assam Tribune
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D J ACADEMY OF DESIGN Coimbatore