Read about another Bengali wrestler of the colonial period. Bhabendra Mohan Saha, better known as Bheem Bhabani for his wrestling prowess, was connected to the akhada of another eminent wrestler family of his time, the Gohos of North Calcutta.
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A physically weak child, Saha was often bullied by other kids. Moreover, he contracted malaria frequently causing his physical strength to deteriorate. This is when he decided to join akhada and build his body.
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He initially joined Atindrakrishna Basu's akhada, where he learnt the basics of wrestling. He gained prominence after defeating senior wrestlers of his time by employing superior tact and speed. He next moved to Kheticharan Goho's akhada (relative of the great Gobor Goho).
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Next, he taken under the tutelage of Ramamurthy Naidu, along with whom he performed circus across South Asia. He soon outperformed Naidu and had to quit his circus. He was acquired by Professor K Basak's Hippodrome Circus where he broke Ramamurthy's record
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of holding 2 automobiles instead of 1 with his bare hands.
In India, his eminence grew amongst the royal families. Acting on the request of the Maharaja of Bharatpur, he held 3 automobiles with his hands, while the Maharaja and British Resident occupied one of the vehicles.
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In another performance, Saha took on his chest an untamed elephant from the stable of the Murshidabad royal family.
He received wider recognition from the masses by performing in the Swadeshi Mela of Calcutta in front of Bipinchandra Pal, Surendranath Banerjee & Amritlal Basu.
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It is here where he received the title of Bheem Bhavani from Amritlal Basu.
However, he passed away in his early 30s, probably before reaching his peak. This lesser known Bengali muscleman inspired Bengali youth to reacquire their dominance in physical culture.
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Have a few thoughts on this.
There's no denying the fact that Ray expected his audience to be "intelligent" - intelligent here does not imply high education or cultural background, but the ability to comprehend objectively.
What he deserved was an intelligent audience that would watch his art or atleast an engage in constructive criticism. He often got none from the masses beyond Bengal but received plenty from the masses in Bengal & globally. Other parts of India, was majorly averse to his art.
People shitting on Ray for calling the Indian audience backward have happily consumed brain dead movies that were produced in Bollywood (exceptions being those movies directed by Bengali exports) for decades now.
Lots of people hating on Bose for his alleged Nazi connections.
In J.H. Voigt's (noted German writer) words, Netaji made a distinction between the Nazi regime and the German nation. His joining hands with Hitler was not an expression of his support of the Nazi ideology.
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"It was nothing but the abortive attempt to rally German support, and later also Japanese, to gain independence for India."
He specifically mentions that Bose was impressed with the German military success but unhappy about Hitler's policy.
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Voigt observed that the only cause which Bose had was India's independence. Thus, he had to overcome his strong inhibitions to Nazi ideology & threw in his lot with Hitler. He was prepared to do nothing for Germany but anything including harnessing German interests for India.
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This year marks the completion of Satyajit Ray's centenary, yet the ghosts of poverty porn & exoticization allegations have not stopped lurking around. Routinely attacked by the Indian RW, here's why some of his most criticized works have little to do with these allegations.
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Ray's 1st & India's 1st film that received international acclaim, was more of Bibhutibhushan Bandapadhyay's creation than Ray's. It was a bildungsroman novel set in rural Bengal, an emerging genre then, where the author traces the moral and psychological growth of a character.
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Coming to "romanticizing poverty", it must be noted that Panther Panchali was Bibhutibhushan's partly autobiographical work, greatly influenced by his own childhood. Calling this poverty porn is the denial of a man's experiences and more importantly Bengal's rural history.
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Masculine nationalism was not limited to the 19/20th ce Bengali men, but was also propagated by prominent women of the Bengali society. One such woman was Sarala Debi, who comes from the Tagore family, a Brahmo family that has been constantly accused of promoting effeteness.
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Sarala Debi Ghosal was Gurudev's niece and had close ties with Swami Vivekananda. She was introduced to militant nationalism through Bankim Chandra Chatterjee's Anandamath & Aurobindo Ghosh. She felt that the Bengali society needed to regain manhood through martial training
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She oft quoted, "battles of England are fought & won in the fields of Eton." which credits public schools of Eton that promoted careers in military, civil services & church for the martial success of England. She believed only muscular nationalism could revive the civilization.
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Colonial Bengal's muscular nationalism gave rise to the wrestling and akhada culture in Bengal, which in turn, placed India on the globe's wrestling map. The Guho family and their disciples are credited for establishing & popularizing the art of wrestling in Bengal.
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Starting with Gobor Guho (Jatindra Charan Guho), born into the family of wrestlers, he is the best known wrestler of his time from Bengal or even India. On reaching adulthood, he was 6'1" and weighed around 130 kgs. His expanded chest measured 48 inches.
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Born to Ramcharan Guho, son of great wrestler Ambika Charan, Gobor learnt the art of wrestling under the tutelage of his uncle Khetracharan & grandfather Ambika. The latter set up an akhada near Hatibagan, that became a breeding ground for revolutionary nationalist activities.
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