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IIC EXPERIENCE: A FESTIVAL OF THE ARTS, 2018

Shillong Chamber Choir performing at the Inauguration

Shillong Chamber ChoirINAUGURATION OF THE FESTIVAL

by Shri N. N. Vohra, President, IIC

CONCERT by the Shillong Chamber Choir

CONDUCTOR: Neil Nongkynrih

27 October 2018

The IIC Experience: A Festival of the Arts, has become a

landmark in the capital’s cultural calendar. On 27th October

2018, Shri N. N. Vohra, President, IIC, inaugurated the 15th

edition of the festival, which focused on ‘Experiencing the

North East’. The evening opened to a packed audience in

the Fountain Lawns, watching an ongoing film featuring

the geography, tribal heritage and lifestyle of the North

East, to the accompaniment of a background commentary

and photographs of the area.

The evening’s performance was a much-awaited

concert by the Shillong Chamber Choir, conducted by

Neil Nongkynrih. Living up to their formidable musical

reputation, it was befitting that the audience was given

a round-up of their top achievements, including their

performance at Rashtrapati Bhavan before the visiting US

President Barack Obama, as also their collaboration with

the Vienna Chamber Orchestra, among others.

Their concert choices of the evening corroborated these

honours with the opening number We Will Meet Again, their

voices rising to a sensational crescendo, accompanied by

a choice of instrumentation that revved up the mood. Other

numbers were attention-grabbing, not because of their

affiliation with the greats, such as Ustad Zakir Hussain,

the tabla maestro, or their tryst with Amitabh Bachhan or

Ehsan Loy, but each number was sheer musical genius.

The staccato tabla rhythms transformed into a musical

persona where the tabla wafted in the backdrop, while the

lyricism of the music gripped one’s immediate attention.

Elsewhere, they contemporised the familiar picks, like

Ajeeb dastaan hai… and the Tagore number Ekla chalo

rey…, aptly dubbed Walk Alone. The tug at the heart

came through in their signature rendition of Chhoti si

asha… which they have individualised with simple actions,

expressive of the sense of fragility the number evokes.

Also, the brevity of the written content of their numbers

allowed for improvisation and musical inclusions, turning

the performance into a true choir rendition.

Veering from reinventing an oft heard cache of numbers,

was their ‘Indian train journey’ which recounted musically

the mundane side of travel, in ‘railway lingo’ homilies set

to rhythm with chai…samosa…veg cutlets, bringing on a

smile of recognition. Others, like the salsa number, made

for quicksilver changes in mood. But it was their rendition

of Dancing Queen in action-packed intensity that became

the lodestar presentation of the evening. On call was the

background instrumentation accompanying the singing,

the astute coordination of individual singing parts, and

a strong grip on harmonisation that made the choir an

experience that will keep alive the IIC Experience all

year round.

■ SUBHRA MAZUMDAR

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Juxtaposing Past and PresentEXHIBITION

Tripura: Time Past and Time Present

CURATED by M. K. Pragya Deb Burman

INAUGURATION: Dr. (Mrs.) Kapila Vatsyayan

27 to 31 October 2018

Cultural ChronicleEXHIBITION

The Monpas and Their Mountains. An exhibition of photographs on the Monpas of Arunachal Pradesh and the monastic world of Tawang

PHOTOGRAPHS by Vinay Sheel Oberoi

27 to 31 October 2018

It is perhaps a little known fact that the small state of

Tripura was once a large and powerful empire. With

Independence, much of its territory went to what was then

East Pakistan (Bangladesh),

and today, only a single

national highway connects

Tripura to the rest of our

country. Mentioned in

significant religious texts

as well as in the edicts of

Emperor Ashoka, the region

is rich in cultural traditions

and archaeological sites.

A photographic exhibition

Tripura: Time Past and Time

Present, curated by M. K. Pragya Deb Burman, captured

much of the spirit of the region.

What was particularly interesting was the juxtaposition of

formula and touristy colour photographs of the present

with the sepia tones of the 19th century: unlike most

states of India, Tripura was particularly lucky in having

a maharaja obsessed with photography. As early as the

1850s, Maharaja Bir Chandra Manikya had been taking

daguerreotypes, graduating subsequently to the wet

collodion process and the glass plate. By the time he

started a Photographic Club in Agartala, and held annual

photography competitions in the palace, Bir Chandra’s

reputation as a talented photographer was widely known.

He soon introduced the new invention to the women in the

family. As few of these photographs have come into the

public domain, it was very interesting to see copies of a

number of them displayed in the exhibition.

If the overall number of images in the entire exhibition and

their accompanying texts were at times a bit overwhelming,

the viewer had merely to remind herself that the exhibition

brought alive a region and its rich culture in a far more

effective manner than the written word ever can.

■ MALAVIKA KARLEKARMaharani Prabha Devi from the Exhibition

The Monpas and their Mountains on view at the Quadrangle Garden

We hear the word Monpas, and perhaps we feel a yearning

for Arunachal Pradesh where this ethnic community,

followers of Tibetan Buddhism, resides, and this is probably

as far as our knowledge goes. But through 79 simple

and effective images, Vinay Sheel Oberoi dispelled this

ignorance and introduced us to a confident, compassionate

people, not quite familiar, but no strangers either.

The entry point to the exhibition was a clever collage,

the opening scene to photographs of immense authority

that followed: raw primary landscapes, the Tawang

Monastery, over three centuries old; construction of a

dzong; women wearing yak hair hats; Brokpa herders;

young monks sparkling with delight; and yes, fluttering

Buddhist prayer flags. Well thought out, the large format

images, with intensely detailed captions, were split into

nine broad sections, covering themes such as Dwellings

and Houses, Manifestations of Faith, Traditional

Agriculture and Torgya Festival.

But the exhibition went beyond an aggregation of pixels;

it provided a vital history lesson. The black-and-white

image of the Republic Day salute taken in January 1963

by an Indian Frontier Administrative officer was a unique

document in itself. All the photographs were also a

sociological homage by a passionate enthusiast to an

underexposed region. Can such exhibitions create any

intimacy with unknown spaces? Yes, they expand horizons.

■ MANNIKA CHOPRA

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rioting and insurgencies;

empowerment of women;

dichotomies and binaries

of old versus new;

conflicts and ironies

governing modern-day

societies; etc.

Expressed in a variety

of forms and mediums

including video pro-

jection and perfor-

mance, paintings in

various media, woodcuts

on fabric and rice paper,

even a ring of barbed wire

on a red cushion, and an

interesting installation

made of objects ancient

and modern, the works stood unburdened by superfluity

and overstatement.

■ ARUNA BHOWMICK

A Colourful Weaving TraditionEXHIBITION

Unbroken Threads, Broadening Narratives

CURATED by Sentila T. Yanger

INAUGURATION: Shri Ram Muivah

27 to 31 October 2018

Plethora of SubjectsEXHIBITION

Blurred Perimeters

INAUGURATION: Dr. (Smt.) Kapila Vatsyayan

COLLABORATION: The Raza Foundation

27 to 10 November 2018

variety of fare from textiles, designer-wear garments;

bead necklaces of different designs, most of them quite

heavy; clay pottery, cane and bamboo furniture; a variety

of bags; even an array of rather comfortable looking

bedroom slippers. Women sat working at looms specific

to their regions. The Puanpuii quilt from Mizoram was a

special attraction, fluffy as woven snowflakes, an essential

item in a bride’s trousseau.

The choice is difficult—modernise/commercialise and

taper these cultures to extinction; or resist, and let

them thrive spontaneously; anything in-between is only

wishful thinking.

■ ARUNA BHOWMICK

Handicrafts and fabrics from the Ao, Khiamniungan, Sumi,

Chakhesang and Yimchungru of Nagaland; threads of

divine myth from Manipur; heirloom shawls and textiles

of the Mizos; and contemporary textiles and designer

couture from the North East—all these were on display at

this exhibition.

The textile weaving tradition of the region is a very

old one, in most parts handed down from generation

to generation, refined and developed over time. In

spite of their recognisable character, the fabrics are

considerably diverse.

Natural fibres such as yak wool, nettle and tree barks are

utilised where cotton is not grown. Silk attained distinction

with the earliest reference to the highly sophisticated silk

of Kamrupa, the ancient name for Assam, according to

texts from the 3rd century BC.

A colourful and comprehensive display, it showcased a

Display from Unbroken Threads, Broadening Narratives in the Gandhi–King Plaza

Contemporary art from Arunachal Pradesh, Assam, Manipur,

Meghalaya, Mizoram, Nagaland, Sikkim and Tripura,

curated by Waheeda Ahmed, was showcased as ‘Blurred

Perimeters’ at the Art Gallery, Kamaladevi Complex.

The art, culture and lifestyle of a region anywhere in the

world manifests its geographical and ecological moorings.

The gradual introduction of industry creates huge chasms

between existing socio-cultural milieus, and inevitable

transitions ushered in by the process of modernisation.

True to their ilk, the artists covered a plethora of subjects

ranging from a sense of collective suppression and

isolation; disturbed personal psyche caused by bloody

Painting from Blurred Perimeters

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successful commercial film, Olangthagee Wangmadasu,

which encouraged film producers to make Manipuri films.

Sharma sees himself as a regional filmmaker, and feels

that regional cinema is Indian cinema, just like the states

in all their diversity and difference make up the Indian

nation. Elaborating on differences, he mentioned that since

people from Manipur have mongoloid features, with small

eyes and flat noses (quite similar to other North-eastern

states), they have a different way of expressing emotions,

which are not facial. Making actors imitate expressions of

actors from Hindi or south Indian films was not going to

work. He talked about Raas Leela, a Manipuri dance form

quite different from other classical dance forms in India.

There is movement, but there are no facial expressions—

the face is actually veiled.

In Imagi Ningthem, he tried to experiment with subtle

facial expressions and used a 16-mm Bolex camera to

shoot the film. Camera height and angles became very

important to capture emotions and expressions that were

subtle. Aribam Sharma wanted to change the ways of

seeing grief. ■ UMA TANUKU

Master of Subtle ExpressionsFILM FESTIVAL

Aribam Syam Sharma Retrospective

27 to 31 October 2018

At the recently concluded Retrospective of Aribam Syam

Sharma, it was a privilege to watch his internationally

acclaimed films: Imagi Ningthem (My Son, My Precious;

1981); Sangai: The Dancing Deer of Manipur (1988); Ishanou

(The Chosen One; 1991), Asangba Nongjabi (Crimson

Rainclouds–2003). The films showcased an excellent

partnership between a restrained filmmaker and his long-

term collaborator and well-known writer, Maharani Kumari

Binodini Devi.

Sharma’s first foray into films was to make music for the

first Manipuri film, Matamgi Manipur (1972). His first feature

film, Lamja Parshuram (1974), a huge commercial success,

paved the way for several seminal works of art. In 1980,

Olangthagee Wangmadasu (Even Beyond the Summer

Horizon), the first film with Binodini Devi, ran for 32 weeks,

a landmark record. And then came Imagi Ningthem, a

remarkable film based on a short story by Binodini Devi.

This film propelled Manipuri films onto the international

map. He has made 33 feature and non-fiction films.

His most recent film, Raas Leelas of Manipur, was also

screened at the retrospective.

In Conversation with L. Somi Roy, Sharma shared his

reasons for making his first film, Matamgi Manipur, a

formula film, to draw the attention of a Manipuri audience

accustomed to Hindi films. Then came the immensely

Aribam Shyam Sharma

Experiencing RasaPERFORMANCE

Moirang Sai and Lai-Haraoba Songs

By Mangka Mayanglambam with Laihui Ensemble, Manipur

28 October 2018

One of the stories that played out in this year’s The IIC

Experience should be written about, both for its feminist

quotient of breaking the glass ceiling, and for its brilliant

artistry. I refer to the programme of Lai Haraoba and

Moirang Sai songs.

The Laihui Ensemble has spearheaded the endeavour of

revitalising traditional and indigenous art forms of Manipur,

and presenting them in India and overseas.

The main singer, Mangka Mayanglambam, with a powerful

voice, grace, mellifluous musicality and dance skills,

broke age-old barriers when she began performing the

languishing male-dominated art form, Moirang Sai, which

is based on the traditional Manipuri ballad opera, Khamba-

Thoibi, particular to the Meiteis. When she performs, she

sings, dances and plays the pena. With the act of playing the

pena, she broke the glass ceiling, for initially women were

not allowed to touch the pena, a fiddle-like folk instrument

capable of producing a haunting plaintive sound, much like

the north Indian sarangi.

Mangka Mayanglambam opened her performance with

the ballad of Khamba and Mangang, before going on to

sing the Thoibi Lai Kaba, the song describing the return

of Princess Thoibi after a three-month exile. She was

trained in this art by her father Mangangsana, who also

accompanied her that morning. Her 18-year-old brother,

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Marjing Mayanglambam, also accompanied her, on

the pena, in the spoken-word parts and the balladic

dialogue parts.

She concluded the concert with a selection of songs, typical

of the ritual Lai Haraoba enactment of the myth of creation,

as a result of the union of father Sky and mother Earth.

She was joined in this piece by her disciple, the young but

promising Lingjelthoibi Yumkham. Percussionists Elangbam

Jayanta Singh on the dhulok and Ngangom Michael Singh

on the langden accompanied her. The performance proved

above all that experiencing of rasa is independent of the

familiarity with language!

■ ARSHIYA SETHIMangka Mayanglambam with Laihui Ensemble

Myriad Moods and Facets of KrishnaPERFORMANCE

Raas Leela of Manipur, presented by artists of the Jawaharlal Nehru Manipur Dance Academy, Imphal

CHIEF GUEST: Dr. Jitendra Singh, Minister of State for the Ministry of Development of North Eastern Region

31 October 2018

Nowhere in India is the Raas-Leela (dance drama) tradition

of the Srimad-Bhagwat as alive as it is in Manipur. Scenes

from the Srimad-Bhagwat are recreated in these Raas

Leelas, where the myriad moods and facets of the Krishna

legend are presented in a fascinating manner. The dance

style and the repertoire of the Raas in Manipuri dance

are attributed to King Bhagyachandra (18th century),

who, in a religious trance, saw Lord Krishna and the gopis

performing the divine dance. Both the Raas dances and

their exquisite costumes are attributed to the king’s dream.

A living tradition in Manipur, the Raas Leela is, in fact, an

extension of the Manipuri Nat Sankirtan.

The opening Basanta-Varnan depicted nature’s bounty in

spring, invoking Shringara Rasa as a preface to Samod

Damodar, an amorous duet based on Jayadeva’s

Ashtapadi Haririha mugdha-vadhu nikare and Chandan

charchita. The Manipuri folk song Thobi na came next as

a sensitive solo performance with the theatrical Vachika

Abhinaya. The pathos-filled female voice, enhanced with

the soul-stirring strains of the pensive pena, penetrated

the hearts of rasikas.

The Basanta Raas, revolving around the Sanyog-Viyog of

the lovelorn Radha–Krishna and the mirth of the gopis in

the company of Krishna, concluded with the traditional

‘Radha–Krishna Aarati’ that brought devotional fervour

to the mesmerising Raas Leela. The delicate movements

of Radha and the gopis in their glittering lehengas and

Krishna in his yellow attire and divine grace left the

audience spellbound.

■ MANJARI SINHA

Raas Leela performance

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TRADITIONAL BAMBOO HUT

FOOD FESTIVAL

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V I G N E T T E S F R O M T H E F E S T I V A L

President, IIC, Mr. N.N. Vohra inaugurating the Festival

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MUSIC IN THE GARDEN

RAAS LEELA

C U L T U R A L P E R F O R M A N C E S

Mr. N.N. Vohra, President, IIC, viewing the exhibition stalls along with Mr. Ram Muivah, Secretary, North Eastern, Council

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I I C V I E W

Visit by Dr. Jitendra Singh, Minister of State for the Ministry of Development of North Eastern Region, Chief Guest, on the closing night

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HANDICRAFT DISPLAYS

I I C V I E W

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An Evening of Pop MelodyPERFORMANCE

Jazz, Funk, R&B and Blues

By Ronnie and the Band, from Nagaland

Chief Guest: Shri Soli J. Sorabjee

28 October 2018

Rock and RollPERFORMANCE

A Night with GATC

Concert by Girish N The Chronicles, Sikkim

Chief Guest: Shri. Soli J. Sorabjee

30 October 2018

The other members of the troupe included Meyasunep

Imchen, a self-taught musician, who has been a part

of the church worship band in Dimapur, Nagaland for

quite a few years, and has won acclaim in national

and international competitions. Mhaseve Tetseo and

Bendangwati Longkumer mesmerised the audience with

their performance on the guitar and drums, respectively.

The essence of the gaiety of Naga life came alive as the

programme drew to a close.

■ ARVINDAR SINGH

The slight chill in the Fountain Lawns was dispelled by

the swinging music of Ronnie and the Band. From the

culturally evolved part of the North East, the vibrant state of

Nagaland, the Band performed an evening of riveting jazz.

Ronnie and the Band, a quartet formed in 2016, has a

special accent on rock solid and simple tunes inspired

by jazz. The band leader, Ronnie Odyuo, focused on the

numbers of Billie Holiday, Dianne Reeves, Nina Simone

and a host of others.

The numbers which enthralled the audience included

Waiting in Vain by Bob Marley, Holy by Jameela Woods,

Loving You by Dianne Reeves, and some Bossa Nova music.

Ronnie Odyuo with her band, Nagaland

Thump ! Wham ! Wail !

How else can we successfully navigate this fragmented

world but via heavy metal music? GATC provided just

such an opportunity, opening with a faithful rendering

of Led Zeppelin’s Rock and Roll, ‘it’s been a long lonely

lonely lonely lonely time!’ making us once again aware

of primordial life forces, muscles and sinews throbbing.

GATC transmuted us to the energy of exuberance and

confidence, that the world will be a better place.

Perhaps this is the secret alchemy of heavy metal rock

bands: they see angst, and transmute it into harmony and

joyous co-creation. The audience was singing and waving

torchlights throughout, standing and stomping with the

last few numbers.

Girish Pradhan must be lauded for the sheer stamina of his

vocal chords! Three young men accompanied on guitars

and keyboard, their Buddha-like faces and halos of

softly waved tresses giving no hint that their nimble finger

movements created sounds of intense aggressive density.

Perfect accompaniment of amplified base rhythms was

provided by drummer Nagen Sarki.

Though they sang of the yearning, alienation and

existential problems most pop groups never touch, there

was tangible camaraderie between them, a sense of

the democratic endorsement of each band member’s

contribution. Many of their own compositions were

presented, notably one about identity triggered by

Syrian refugees:  ‘Tell me who I am. Hey, do you even

know where I belong…’ At some level, each of us seeks

these same answers.

■ BHARATI MIRCHANDANI

Concert by Girish N The Chronicles

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Food Festival

Moveable FeastTHE IIC EXPERIENCE

IIC FESTIVAL OF THE ARTS: Food Festival

27 to 31 October

The Food Festival was a bonanza from North East India,

carrying the flavours, exotic herbs and vegetables from

that faraway magical land. Two chefs from Nagaland,

Joel Basumatari and Imna Longkumer, prepared the

opening and closing dinners. On 27 October, they created

an entirely unique dinner, drawing from the cuisines of all

the states, a veritable ‘moveable feast’. Who in Delhi had

heard and tasted crisply fried mong-mong, or a rice cake

with passion fruit coulis?

On the second day was served Chak-len or lunch from

the Metei people of Manipur, the temple food prepared

by the Bomans (Brahmins)—Gurumayum Sanatomba and

Hindangmayum Saratchandra Sharma. Manipur, known

for its dance and Vaishnavite rituals, has vegetarian

cuisine, although chicken and fish are eaten too. The food

is bland, but very flavoursome. Their star dish was chahao

kheer, made with black sticky rice.

The Assamese thali, Baankaahi; prepared by Utpala

Mukherjee and her staff, was served at dinner. There were

flavours from the highlands and the Brahmaputra Valley

with a whiff of Bengal; the Assamese are largely non-

vegetarian and their recipes are outstanding, especially

the tenga curries.

Khasi Kong is known for its variety of rice, and the

popular dish, jadoh. Although it is not a spicy cuisine,

onions, ginger and chillies are used, as also pork, whose

popularity runs through the length and breadth of the

North East. Particularly delicious were the pork balls,

radish salads and the fish chutney, thanks to Davidson

Shangpliang. The Sikkimese dinner was prepared by

Nimtho Restaurant, and the cuisine of the region draws

from three sources: Lepcha, Bhutia and Nepali.

On the closing night was the robust cuisine of Nagaland,

which included vegetables cooked in bamboo vinegar and

smoked pork with Anishi sauce. The exciting vegetables,

blandly cooked, balanced the exploding flavours of the

non-vegetarian dishes.

■ PREMOLA GHOSE

An Opportunity to Look EastIIC EXPERIENCE

‘These hills we come from…’ Voices from North East India

Talks, readings, presentations, discussions and in-conversations

CONCEPTUALISED by Ravi Singh, Speaking Tiger

INTRODUCTION: Air Marshal (Retd.) Naresh Verma

29 October 2018

A Being—Human; Being Human Human Beings. This was

a disturbing solo performance by actor–director, Lapdiang

Syiem from Meghalaya. She was supported by a one-

man multi-tasking band, Apkyrmenskhem Tangsong,

which played a variety of Khasi folk instruments, such

as maryngod, bisli and ksing. The play opened with

Syiem emerging from the audience, with sagging breasts

provocatively stitched to her costume, screaming at

Voices from North East India

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the top of her voice with the agonised delivery of an

embryo, symbolised by a balloon emerging from her

womb. Besides portraying angst about loss of identity,

dislocation and violence, one also perceived reflections

of real-life events being portrayed abstractly, but, at the

same time, the finger pointing at the audience was also

implied, though unobtrusively. It was as if they were

accomplices in the death of a mother, Ka Likai, who, upon

learning about the death of her daughter at the hands of

her current husband, jumped over the waterfall, which is

named after her—Nohkalikai Falls. Then there is Sophia,

the robot programmed to behave like a human being, who

is a Saudi citizen, who also wants to bear a child without

a clue about the pangs of childbirth. It wasn’t as if she

was only challenging the ruling class; Syiem also had a

dig at Khasi tribal society which disowned a woman who

married a non-Khasi.

Earlier on the same day, there was a presentation by

Somi Roy about a Manipuri play, Crimson Rainclouds,

written by his own mother, Binodini Devi. The play draws

on the playwright’s dialogues with the eminent sculptor,

Voices from North East India

IIC Quarterly LaunchLaunch of the IIC Quarterly: Autumn 2018; and monograph Vedanta Today by Dr Karan Singh

RELEASE: by Shri N. N. Vohra, President, IIC

Edited by Omita Goyal

30 October 2018

say that the publication of Dr. Karan Singh’s speech on

Vedanta was very relevant, as it sought to elucidate the

concept of Vedanta in the present day.

Dr. Karan Singh said that the edition of the IIC Quarterly

being released, contained a variety of subjects which was

a reflection of the versatility of the IIC Membership. He

said that over the years, the IIC Quarterly had impressively

sustained its superiority as a publication, which was no

mean achievement. Shri Soli J. Sorabjee and Dr. (Mrs.)

Kapila Vatsayan, Life Trustees of the IIC, were also present

during the launch.■ ARVINDAR SINGH

The function commenced with a welcome address by

Director of the IIC, Air Marshal (Retd.) Naresh Verma to

the launch of the IIC Quarterly as well as a publication on

Vedanta by Dr. Karan Singh. The Chief Editor, Omita Goyal,

highlighted the articles contained in this number of the

journal which included Gandhi’s Dialogue with Christian

Missionaries, the Role of Chinese Diaspora in India, two

photo essays and a set of three papers on the complex

issue of the Rohingya. The publication, Vedanta Today, by

Dr. Karan Singh, was based on a highly illuminating talk

on the subject which he had given at the IIC, she added.

President, IIC, Shri. N. N Vohra, said that right from its

nascent days, the IIC Quarterly had symbolised what the

Centre stood for, and the Autumn issue had some very

interesting articles of historical value. He went on to

IIC Quarterly Launch

Ramkinkar Baij (1906-1980), with whom she had studied

in Santiniketan, and who has left behind a collection of

sculptures and paintings of Binodini. Born a princess, she

broke free, unhindered by her royal past, to live life to the

hilt as a creative commoner, and evolved into an iconic

Manipuri modernist through her outstanding contributions

to poetry, the visual arts and dance. Finally, there was a

heartwarming poetry reading session by Janice Pariat,

Anjum Hasan, Mona Zote, Lalnunsanga Ralte, Mamang

Dai and Guru T. Ladakhi.

■ MANOHAR KHUSHALANI

This issue of the Diary has been assembled and edited by Omita Goyal, Chief Editor; Ritu Singh, Deputy Editor; Rachna Joshi, Senior Asstt. Editor. Published by Kanwal Wali, for the India International Centre, 40, Max Mueller Marg, Lodhi Estate, New Delhi - 110003. Ph.: 24619431. Designed and printed by Niyogi Offset Pvt. Ltd., D-78, Okhla Industrial Area, Phase 1, New Delhi-110020; Phone: 49327000.

Reg. No. 28936/77