BEGIN:VCALENDAR VERSION:2.0 PRODID:-//Sundaram - ECPv6.18.2//NONSGML v1.0//EN CALSCALE:GREGORIAN METHOD:PUBLISH X-ORIGINAL-URL:https://sundarambd.com/bn X-WR-CALDESC:Events for Sundaram REFRESH-INTERVAL;VALUE=DURATION:PT1H X-Robots-Tag:noindex X-PUBLISHED-TTL:PT1H BEGIN:VTIMEZONE TZID:UTC BEGIN:STANDARD TZOFFSETFROM:+0000 TZOFFSETTO:+0000 TZNAME:UTC DTSTART:20230101T000000 END:STANDARD END:VTIMEZONE BEGIN:VTIMEZONE TZID:UTC BEGIN:STANDARD TZOFFSETFROM:+0000 TZOFFSETTO:+0000 TZNAME:UTC DTSTART:20230101T000000 END:STANDARD END:VTIMEZONE BEGIN:VEVENT DTSTART;TZID=UTC:20240711T055012 DTEND;TZID=UTC:20240711T055012 DTSTAMP:20240820T055242Z CREATED:20240612T043955Z LAST-MODIFIED:20240820T055242Z UID:2887-1720677012-1720677012@sundarambd.com SUMMARY:Kajol Rekha DESCRIPTION:Kajol Rekha \n \n \n \n \n \n \n \n \n \n \n \n \n\n\nসুন্দরম\, ময়মনসিংহ প্রযোজনা \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n Sundaram \n \n \n \n \n \n \n \n \n \n \n \n Sundaram is a creative arts practice center for the disabled which was established in Dhaka in 2019. At present\, eight Sundarams have been established in 8 divisions in the country – Dhaka\, Chittagong\, Sylhet\, Rajshahi\, Rangpur\, Barisal\, Khulna and Mymensingh. People with physical\, visual and speech-hearing disabilities are constantly engaged in creative work through various trainings. ‘Sundaram’ was born as part of the continuation of the theater practice for the disabled in 2013\, a joint initiative of Dhaka Theater and the British Council. The main objective of Sundaram is to integrate the disabled population of the country into mainstream cultural and social activities. In this way\, the common misconceptions and thoughts about the disabled in the society will be removed. The main goal of Sundaram is to facilitate the development of creativity by training disabled artists in various fields according to their intellectual and physical abilities. State and social structures are still not disability friendly. To make the larger population of the country aware and empathetic about the disabled and to develop disability-friendly facilities across the country. And in the process creating an inclusive society where people thrive as human beings\, regardless of their handicaps. \n \n \n \n \n \n \n \n \n \n \n \n British Council \n \n \n \n \n \n \n \n \n \n \n \n The British Council is an international organization of the United Kingdom working on cultural relations and educational opportunities around the world. We work to build connections\, understanding and trust between the people of the UK and those of other countries through arts\, culture\, the English language and education. Last year we reached 80 million people directly and 791 million people overall through online\, broadcast and various publications. A UK based charity run by the British Council Royal Charter UK public body established in 1934. We get 15 percent grant aid from the UK government. \n \n \n \n \n \n \n \n \n \n \n \n Director \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n Al Jabir \n \n \n \n \n \n \n \n \n \n \n \n He is working as an associate professor in the Department of Drama and Performance Studies at National Poet Kazi Nazrul Islam University. Currently he is doing PhD research on New Media and Cultural Heritage of Bangladesh. Published about 20 publications including book articles\, articles. He feels comfortable in regular playwriting\, directing\, designing. Apart from this\, he is performing as a regular voice actor in Bangladesh radio and dubbing serials and mime. The director is working with this vow in his greatness to proudly present the Bengali culture to the world in harmony with the spirit of the great liberation war and the country’s traditions. \n \n \n \n \n \n \n \n \n \n \n \n The words of the director \n \n \n \n \n \n \n \n \n \n \n \n In the current reality\, the traditional performance of Bangladesh is almost going through a critical period where it is endangered and extinct. At such a time\, after the centenary of publication of Mymensingh-Gitika\, drama “Kajalrekha” is being produced based on Mymensingh-Gitika’s turn with the participation of disabled artists. None of the crew of ‘Kajalrekha’ drama are professional artists. People with disabilities have been involved in the production as actors and behind the scenes as part of the initiative to explore new trends in the arts of people with disabilities. Considering the various odds\, this new industrial endeavor was as challenging as it was immensely joyful. This is for the sake of learning about the traditions of the country’s culture. As a result\, rather than quality judgment\, these artists need everyone’s encouragement and motivation so that they can become artisans of building a smart Bangladesh as human beings with artistic sense. \n \n \n \n \n \n \n \n \n \n \n \n Drama \n \n \n \n \n \n \n \n \n \n \n \n Kajol Rekha \n \n \n \n \n \n \n \n \n \n \n \n Compilation of Ancient Palagans of Bangladesh’s Mymensingh Region Professor Dinesh Chandra Sen of Calcutta University collected and edited traditional Palagans from Greater Mymensingh district with the help of local collectors and published them in 1923 in a book called Mymensingh Geetika. The history of folk songs or songs of Bengal is very old and rich. As there is diversity in lyrical content; Sometimes nature and other times human feelings\, folk beliefs\, rituals\, love-hate\, happiness-sadness\, palace politics\, caste discrimination\, conflict-conflict\, communal harmony have become the subject matter. The lyrics are presented in simple and conventional language\, rhymed poems and songs with metaphors-similes-ornaments in the guise of fairy tales. ‘Kajalrekha’. But at the time of publication or later\, no name of its author or publisher has been found. As a result\, ‘Kajalrekha’ is widely known as the turn of the fairy tale category in Mymensingh-Gitika.In the story ‘Kajalrekha’\, the names of the characters are individual characters and have special characteristics. For example: Dhaneshwar and Ratneshwar of the Saudagar class\, Hiradhana\, Sunchraja\, Sonar of the king and ruler class\, Sanyasi of the pious class\, Kankan-dasi and old woman of the lower class.The main character Kajalrekha Swashat is the epitome of traditional Bengali women. And the pheasant is represented as a symbol of divinity\, religion in a miraculous and metaphorical sense. And while Sucharaja’s cursed life is cursed by the gods\, his process of redemption is completely mundane. Which is the name of scientific modern medicine.Except for “Kajalrekha”\, almost all the narratives of Mymensingh Gita have tragic endings. Although placed in the royal family by the kindness of Kajalrekha\, the ungrateful Kankan-dasi takes the opportunity and commits injustice. The tragic fate of Kankan-dasi is therefore symbolized as the triumph of evil in the rhythm of good and evil\, and Kajalrekha’s regaining her honor and deserved status as an inventory of good.Mymensingh Gitika is a narrative from the Ugyan region\, but this story is from the Bhati region. Upstream’s historical commercial relationship with the kilns and the immense interest of the upstream people in the kilns gave rise to such stories. Besides\, there are modern attempts to show the reality of one’s own society in terms of other societies or in a different way. The history of trade in Bengal is very old. Along with trade with Arabia\, Greece\, Rome\, Bengal also had trade relations with South and South East Asia. That is why many stories like the story of Dhaneshwar\, the story of Chand Saudagar have many examples in our literature. They are considered as elements of Bengali heritage. While Kajalrekha’s narrative tells the travails of a very innocent woman\, it also presents the realities of fortune\, commerce and folk society.  \n \n \n \n \n \n \n \n \n \n \n \n On The Stage \n \n \n \n \n \n \n \n \n \n \n \n Butterfly: Afroza AkhterDhaneshwar: Shahadat SarwarHiradhar: Saifullah LitonSanadbasi: Ibrahim KhalilKajalrekha: Suraiya Haque\, Zobaida KhanamIndex: Iqbal Hossain Roni\, Rafiqul Islam MilonKankan Dasi: Sonia Moni\, Babli AkandMinisters: Rafiqul Islam Milan\, Ibrahim KhalilCommander: Anant Basak\, Moazzem HossainSonadhar: Moin Khan Billah\, Milan Bhuimali Ratebashwar: Maruf Hossain\, Rezaul Karim Shaon Grandmother: Hosna Akhter Maid Munirab Announcer: Moazzem Narrator: Hira\, Shaon\, Milan\, Anant\, Babli Gain: Milon\, Tahmina Aktar Hira\, Puja\, Moin Instrumental teamHarmonium: Pooja DasDhol: Mo: Lal Chan\, HridoyFlute: Ishtiaq Khan AkashOpen: Samudra ProbasiKhamak: MoinUkelele: Md. Naim\, Masood RanaSanai: KarnaCymbals: Sabuj PalViolin\, Sarengi: Redwanul Islam RumanMandolin\, Banjo: Gayen RakibDotara: Ershadul HaqueHarmonium: Saqlain Arafat \n \n \n \n Behind the scenes \n \n \n \n \n \n \n \n \n \n \n \n Screenplay and direction: Al JabirAssistant Director: Sadi Shubo\, Hasibul Hasan DiptaSet & Choreography: Al JabirLight: Wasim AhmedCostume: Arifa KhukuMakeup: Arifa Jahan SweetyProps: Navnita ChowdhuryStage Decoration: Khairul Bashar Mandal\, Syed Russell Hossain\, Afsan NakrekStill Image: Nazmul Hossain\, Limon Ahmed RiktAmbient Music: Samudra Prabal\, Noor Rahman PrantoCredit: Md. Abdul Qayyum\, Swapan Dhar\, Rezaul Karim Aslam\, CaritasDr. Aminur Rahman Sultan\, District Art Academy\, Mymensingh production URL:https://sundarambd.com/bn/theatre/kajol-rekha/ CATEGORIES:Completed,Shows ATTACH;FMTTYPE=image/jpeg:https://sundarambd.com/wp-content/uploads/2024/06/Kajol-Rekha-2-resized.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20240612T080000 DTEND;TZID=UTC:20240630T170000 DTSTAMP:20240821T035529Z CREATED:20240612T042824Z LAST-MODIFIED:20240821T035529Z UID:2880-1718179200-1719766800@sundarambd.com SUMMARY:Shwapno Kahon DESCRIPTION:Kajol Rekha \n \n \n \n \n \n \n \n \n \n \n \n \n\n\nসুন্দরম\, ময়মনসিংহ প্রযোজনা \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n Sundaram \n \n \n \n \n \n \n \n \n \n \n \n Sundaram is a creative arts practice center for the disabled which was established in Dhaka in 2019. At present\, eight Sundarams have been established in 8 divisions in the country – Dhaka\, Chittagong\, Sylhet\, Rajshahi\, Rangpur\, Barisal\, Khulna and Mymensingh. People with physical\, visual and speech-hearing disabilities are constantly engaged in creative work through various trainings. ‘Sundaram’ was born as part of the continuation of the theater practice for the disabled in 2013\, a joint initiative of Dhaka Theater and the British Council. The main objective of Sundaram is to integrate the disabled population of the country into mainstream cultural and social activities. In this way\, the common misconceptions and thoughts about the disabled in the society will be removed. The main goal of Sundaram is to facilitate the development of creativity by training disabled artists in various fields according to their intellectual and physical abilities. State and social structures are still not disability friendly. To make the larger population of the country aware and empathetic about the disabled and to develop disability-friendly facilities across the country. And in the process creating an inclusive society where people thrive as human beings\, regardless of their handicaps. \n \n \n \n \n \n \n \n \n \n \n \n British Council \n \n \n \n \n \n \n \n \n \n \n \n The British Council is an international organization of the United Kingdom working on cultural relations and educational opportunities around the world. We work to build connections\, understanding and trust between the people of the UK and those of other countries through arts\, culture\, the English language and education. Last year we reached 80 million people directly and 791 million people overall through online\, broadcast and various publications. A UK based charity run by the British Council Royal Charter UK public body established in 1934. We get 15 percent grant aid from the UK government. \n \n \n \n \n \n \n \n \n \n \n \n Director \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n Al Jabir \n \n \n \n \n \n \n \n \n \n \n \n He is working as an associate professor in the Department of Drama and Performance Studies at National Poet Kazi Nazrul Islam University. Currently he is doing PhD research on New Media and Cultural Heritage of Bangladesh. Published about 20 publications including book articles\, articles. He feels comfortable in regular playwriting\, directing\, designing. Apart from this\, he is performing as a regular voice actor in Bangladesh radio and dubbing serials and mime. The director is working with this vow in his greatness to proudly present the Bengali culture to the world in harmony with the spirit of the great liberation war and the country’s traditions. \n \n \n \n \n \n \n \n \n \n \n \n The words of the director \n \n \n \n \n \n \n \n \n \n \n \n In the current reality\, the traditional performance of Bangladesh is almost going through a critical period where it is endangered and extinct. At such a time\, after the centenary of publication of Mymensingh-Gitika\, drama “Kajalrekha” is being produced based on Mymensingh-Gitika’s turn with the participation of disabled artists. None of the crew of ‘Kajalrekha’ drama are professional artists. People with disabilities have been involved in the production as actors and behind the scenes as part of the initiative to explore new trends in the arts of people with disabilities. Considering the various odds\, this new industrial endeavor was as challenging as it was immensely joyful. This is for the sake of learning about the traditions of the country’s culture. As a result\, rather than quality judgment\, these artists need everyone’s encouragement and motivation so that they can become artisans of building a smart Bangladesh as human beings with artistic sense. \n \n \n \n \n \n \n \n \n \n \n \n Drama \n \n \n \n \n \n \n \n \n \n \n \n Kajol Rekha \n \n \n \n \n \n \n \n \n \n \n \n Compilation of Ancient Palagans of Bangladesh’s Mymensingh Region Professor Dinesh Chandra Sen of Calcutta University collected and edited traditional Palagans from Greater Mymensingh district with the help of local collectors and published them in 1923 in a book called Mymensingh Geetika. The history of folk songs or songs of Bengal is very old and rich. As there is diversity in lyrical content; Sometimes nature and other times human feelings\, folk beliefs\, rituals\, love-hate\, happiness-sadness\, palace politics\, caste discrimination\, conflict-conflict\, communal harmony have become the subject matter. The lyrics are presented in simple and conventional language\, rhymed poems and songs with metaphors-similes-ornaments in the guise of fairy tales. ‘Kajalrekha’. But at the time of publication or later\, no name of its author or publisher has been found. As a result\, ‘Kajalrekha’ is widely known as the turn of the fairy tale category in Mymensingh-Gitika.In the story ‘Kajalrekha’\, the names of the characters are individual characters and have special characteristics. For example: Dhaneshwar and Ratneshwar of the Saudagar class\, Hiradhana\, Sunchraja\, Sonar of the king and ruler class\, Sanyasi of the pious class\, Kankan-dasi and old woman of the lower class.The main character Kajalrekha Swashat is the epitome of traditional Bengali women. And the pheasant is represented as a symbol of divinity\, religion in a miraculous and metaphorical sense. And while Sucharaja’s cursed life is cursed by the gods\, his process of redemption is completely mundane. Which is the name of scientific modern medicine.Except for “Kajalrekha”\, almost all the narratives of Mymensingh Gita have tragic endings. Although placed in the royal family by the kindness of Kajalrekha\, the ungrateful Kankan-dasi takes the opportunity and commits injustice. The tragic fate of Kankan-dasi is therefore symbolized as the triumph of evil in the rhythm of good and evil\, and Kajalrekha’s regaining her honor and deserved status as an inventory of good.Mymensingh Gitika is a narrative from the Ugyan region\, but this story is from the Bhati region. Upstream’s historical commercial relationship with the kilns and the immense interest of the upstream people in the kilns gave rise to such stories. Besides\, there are modern attempts to show the reality of one’s own society in terms of other societies or in a different way. The history of trade in Bengal is very old. Along with trade with Arabia\, Greece\, Rome\, Bengal also had trade relations with South and South East Asia. That is why many stories like the story of Dhaneshwar\, the story of Chand Saudagar have many examples in our literature. They are considered as elements of Bengali heritage. While Kajalrekha’s narrative tells the travails of a very innocent woman\, it also presents the realities of fortune\, commerce and folk society.  \n \n \n \n \n \n \n \n \n \n \n \n On The Stage \n \n \n \n \n \n \n \n \n \n \n \n Butterfly: Afroza AkhterDhaneshwar: Shahadat SarwarHiradhar: Saifullah LitonSanadbasi: Ibrahim KhalilKajalrekha: Suraiya Haque\, Zobaida KhanamIndex: Iqbal Hossain Roni\, Rafiqul Islam MilonKankan Dasi: Sonia Moni\, Babli AkandMinisters: Rafiqul Islam Milan\, Ibrahim KhalilCommander: Anant Basak\, Moazzem HossainSonadhar: Moin Khan Billah\, Milan Bhuimali Ratebashwar: Maruf Hossain\, Rezaul Karim Shaon Grandmother: Hosna Akhter Maid Munirab Announcer: Moazzem Narrator: Hira\, Shaon\, Milan\, Anant\, Babli Gain: Milon\, Tahmina Aktar Hira\, Puja\, Moin Instrumental teamHarmonium: Pooja DasDhol: Mo: Lal Chan\, HridoyFlute: Ishtiaq Khan AkashOpen: Samudra ProbasiKhamak: MoinUkelele: Md. Naim\, Masood RanaSanai: KarnaCymbals: Sabuj PalViolin\, Sarengi: Redwanul Islam RumanMandolin\, Banjo: Gayen RakibDotara: Ershadul HaqueHarmonium: Saqlain Arafat \n \n \n \n Behind the scenes \n \n \n \n \n \n \n \n \n \n \n \n Screenplay and direction: Al JabirAssistant Director: Sadi Shubo\, Hasibul Hasan DiptaSet & Choreography: Al JabirLight: Wasim AhmedCostume: Arifa KhukuMakeup: Arifa Jahan SweetyProps: Navnita ChowdhuryStage Decoration: Khairul Bashar Mandal\, Syed Russell Hossain\, Afsan NakrekStill Image: Nazmul Hossain\, Limon Ahmed RiktAmbient Music: Samudra Prabal\, Noor Rahman PrantoCredit: Md. Abdul Qayyum\, Swapan Dhar\, Rezaul Karim Aslam\, CaritasDr. Aminur Rahman Sultan\, District Art Academy\, Mymensingh production URL:https://sundarambd.com/bn/theatre/shwapno-kahon/ CATEGORIES:Completed,Shows ATTACH;FMTTYPE=image/jpeg:https://sundarambd.com/wp-content/uploads/2024/06/Shwapno-Kahon-Brochure-20.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20240610T000000 DTEND;TZID=UTC:20240611T000000 DTSTAMP:20241006T100527Z CREATED:20240610T041624Z LAST-MODIFIED:20241006T100527Z UID:2769-1717977600-1718064000@sundarambd.com SUMMARY:Otopor Karim Bawali DESCRIPTION:Kajol Rekha \n \n \n \n \n \n \n \n \n \n \n \n \n\n\nসুন্দরম\, ময়মনসিংহ প্রযোজনা \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n Sundaram \n \n \n \n \n \n \n \n \n \n \n \n Sundaram is a creative arts practice center for the disabled which was established in Dhaka in 2019. At present\, eight Sundarams have been established in 8 divisions in the country – Dhaka\, Chittagong\, Sylhet\, Rajshahi\, Rangpur\, Barisal\, Khulna and Mymensingh. People with physical\, visual and speech-hearing disabilities are constantly engaged in creative work through various trainings. ‘Sundaram’ was born as part of the continuation of the theater practice for the disabled in 2013\, a joint initiative of Dhaka Theater and the British Council. The main objective of Sundaram is to integrate the disabled population of the country into mainstream cultural and social activities. In this way\, the common misconceptions and thoughts about the disabled in the society will be removed. The main goal of Sundaram is to facilitate the development of creativity by training disabled artists in various fields according to their intellectual and physical abilities. State and social structures are still not disability friendly. To make the larger population of the country aware and empathetic about the disabled and to develop disability-friendly facilities across the country. And in the process creating an inclusive society where people thrive as human beings\, regardless of their handicaps. \n \n \n \n \n \n \n \n \n \n \n \n British Council \n \n \n \n \n \n \n \n \n \n \n \n The British Council is an international organization of the United Kingdom working on cultural relations and educational opportunities around the world. We work to build connections\, understanding and trust between the people of the UK and those of other countries through arts\, culture\, the English language and education. Last year we reached 80 million people directly and 791 million people overall through online\, broadcast and various publications. A UK based charity run by the British Council Royal Charter UK public body established in 1934. We get 15 percent grant aid from the UK government. \n \n \n \n \n \n \n \n \n \n \n \n Director \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n Al Jabir \n \n \n \n \n \n \n \n \n \n \n \n He is working as an associate professor in the Department of Drama and Performance Studies at National Poet Kazi Nazrul Islam University. Currently he is doing PhD research on New Media and Cultural Heritage of Bangladesh. Published about 20 publications including book articles\, articles. He feels comfortable in regular playwriting\, directing\, designing. Apart from this\, he is performing as a regular voice actor in Bangladesh radio and dubbing serials and mime. The director is working with this vow in his greatness to proudly present the Bengali culture to the world in harmony with the spirit of the great liberation war and the country’s traditions. \n \n \n \n \n \n \n \n \n \n \n \n The words of the director \n \n \n \n \n \n \n \n \n \n \n \n In the current reality\, the traditional performance of Bangladesh is almost going through a critical period where it is endangered and extinct. At such a time\, after the centenary of publication of Mymensingh-Gitika\, drama “Kajalrekha” is being produced based on Mymensingh-Gitika’s turn with the participation of disabled artists. None of the crew of ‘Kajalrekha’ drama are professional artists. People with disabilities have been involved in the production as actors and behind the scenes as part of the initiative to explore new trends in the arts of people with disabilities. Considering the various odds\, this new industrial endeavor was as challenging as it was immensely joyful. This is for the sake of learning about the traditions of the country’s culture. As a result\, rather than quality judgment\, these artists need everyone’s encouragement and motivation so that they can become artisans of building a smart Bangladesh as human beings with artistic sense. \n \n \n \n \n \n \n \n \n \n \n \n Drama \n \n \n \n \n \n \n \n \n \n \n \n Kajol Rekha \n \n \n \n \n \n \n \n \n \n \n \n Compilation of Ancient Palagans of Bangladesh’s Mymensingh Region Professor Dinesh Chandra Sen of Calcutta University collected and edited traditional Palagans from Greater Mymensingh district with the help of local collectors and published them in 1923 in a book called Mymensingh Geetika. The history of folk songs or songs of Bengal is very old and rich. As there is diversity in lyrical content; Sometimes nature and other times human feelings\, folk beliefs\, rituals\, love-hate\, happiness-sadness\, palace politics\, caste discrimination\, conflict-conflict\, communal harmony have become the subject matter. The lyrics are presented in simple and conventional language\, rhymed poems and songs with metaphors-similes-ornaments in the guise of fairy tales. ‘Kajalrekha’. But at the time of publication or later\, no name of its author or publisher has been found. As a result\, ‘Kajalrekha’ is widely known as the turn of the fairy tale category in Mymensingh-Gitika.In the story ‘Kajalrekha’\, the names of the characters are individual characters and have special characteristics. For example: Dhaneshwar and Ratneshwar of the Saudagar class\, Hiradhana\, Sunchraja\, Sonar of the king and ruler class\, Sanyasi of the pious class\, Kankan-dasi and old woman of the lower class.The main character Kajalrekha Swashat is the epitome of traditional Bengali women. And the pheasant is represented as a symbol of divinity\, religion in a miraculous and metaphorical sense. And while Sucharaja’s cursed life is cursed by the gods\, his process of redemption is completely mundane. Which is the name of scientific modern medicine.Except for “Kajalrekha”\, almost all the narratives of Mymensingh Gita have tragic endings. Although placed in the royal family by the kindness of Kajalrekha\, the ungrateful Kankan-dasi takes the opportunity and commits injustice. The tragic fate of Kankan-dasi is therefore symbolized as the triumph of evil in the rhythm of good and evil\, and Kajalrekha’s regaining her honor and deserved status as an inventory of good.Mymensingh Gitika is a narrative from the Ugyan region\, but this story is from the Bhati region. Upstream’s historical commercial relationship with the kilns and the immense interest of the upstream people in the kilns gave rise to such stories. Besides\, there are modern attempts to show the reality of one’s own society in terms of other societies or in a different way. The history of trade in Bengal is very old. Along with trade with Arabia\, Greece\, Rome\, Bengal also had trade relations with South and South East Asia. That is why many stories like the story of Dhaneshwar\, the story of Chand Saudagar have many examples in our literature. They are considered as elements of Bengali heritage. While Kajalrekha’s narrative tells the travails of a very innocent woman\, it also presents the realities of fortune\, commerce and folk society.  \n \n \n \n \n \n \n \n \n \n \n \n On The Stage \n \n \n \n \n \n \n \n \n \n \n \n Butterfly: Afroza AkhterDhaneshwar: Shahadat SarwarHiradhar: Saifullah LitonSanadbasi: Ibrahim KhalilKajalrekha: Suraiya Haque\, Zobaida KhanamIndex: Iqbal Hossain Roni\, Rafiqul Islam MilonKankan Dasi: Sonia Moni\, Babli AkandMinisters: Rafiqul Islam Milan\, Ibrahim KhalilCommander: Anant Basak\, Moazzem HossainSonadhar: Moin Khan Billah\, Milan Bhuimali Ratebashwar: Maruf Hossain\, Rezaul Karim Shaon Grandmother: Hosna Akhter Maid Munirab Announcer: Moazzem Narrator: Hira\, Shaon\, Milan\, Anant\, Babli Gain: Milon\, Tahmina Aktar Hira\, Puja\, Moin Instrumental teamHarmonium: Pooja DasDhol: Mo: Lal Chan\, HridoyFlute: Ishtiaq Khan AkashOpen: Samudra ProbasiKhamak: MoinUkelele: Md. Naim\, Masood RanaSanai: KarnaCymbals: Sabuj PalViolin\, Sarengi: Redwanul Islam RumanMandolin\, Banjo: Gayen RakibDotara: Ershadul HaqueHarmonium: Saqlain Arafat \n \n \n \n Behind the scenes \n \n \n \n \n \n \n \n \n \n \n \n Screenplay and direction: Al JabirAssistant Director: Sadi Shubo\, Hasibul Hasan DiptaSet & Choreography: Al JabirLight: Wasim AhmedCostume: Arifa KhukuMakeup: Arifa Jahan SweetyProps: Navnita ChowdhuryStage Decoration: Khairul Bashar Mandal\, Syed Russell Hossain\, Afsan NakrekStill Image: Nazmul Hossain\, Limon Ahmed RiktAmbient Music: Samudra Prabal\, Noor Rahman PrantoCredit: Md. Abdul Qayyum\, Swapan Dhar\, Rezaul Karim Aslam\, CaritasDr. Aminur Rahman Sultan\, District Art Academy\, Mymensingh production URL:https://sundarambd.com/bn/theatre/otopor-karim-bawali/ CATEGORIES:Completed,Shows ATTACH;FMTTYPE=image/jpeg:https://sundarambd.com/wp-content/uploads/2024/06/Otopor-Karim-Bawali-Brochure-4.jpg END:VEVENT END:VCALENDAR