2013 is the centenary year of M.M.Kelkar who ran single-handedly a Marathi literary magazine Vangmayshobha for 55 years non-stop. Kirloskar  came before Vangmayshobha and Hans and Vasant around the same time. Even then Vangmayshobha  has carved out a special place in the literary world. Kelkar started the publishing business in 1937 under the name of Manohar Granthmala, and Vangmayshobha  was launchad in 1939. In initial years, the Kelkar family contributed a great deal to the magazine—his uncle N.C.Kelkar, Prof. D.K.Kelkar and mother Geerijabai Kelkar. Many other literary giants joined these family members and enriched the journey of Vangmayshobha. In the initial years, it had N.C.Phadke, S.M. Mate, G.B. Nirantar, V.M. Joshi. Later V.S. Khandekar and P.D. Bhave too contributed. S. N. Navre, S. G. Malashe, Vasundhara Patwardhan, Madhu Mangesh Karnik, Sadanand Rege too contributed. G. A. Kulkarni too wrote for it. Vangmayshobha  published several genres of literature—debates, discussions, interviews, political write-ups, fiction, book reviews, short stories, novels, poetry, women’s issues etc. Kelkar published Lokmanya Tilak’s article defining Hindutva from Chitramayjagat  and N. C. Kelkar’s 1902 article on Israel in Vangmayashobha in 1948. Reprints of a great heritage, Kelkar invited many thinkers to write about socio-political issues. Its poetry section was enriched by Kavi Yashvant, Sopandev, Vinda Karandikar, Mangesh Padgaonkar and Dutta Halsagikar. Manmohan Natu’s Radha Tujha Sail Ambada  poem charmed everyone.

Kaksparsha, which was adopted to a movie, was published in Vangmayshobha. The writer of this story is Usha Datar. Between 1956 and 1964, Kelkar paid honorarium to the authors according to his capacity. To Kelkar, Vangmayshobha  was a sort of laboratory to create literature.

Kelkar avoided erotica and police investigation stories. He was very careful about proof reading. Kelkar’s autobiography Swabhavala Aushadh Nahi Ani Deva Pundhe Gati Nahi  was liked by the readers.

Kelkar edited Vangmayshobha  till 1992. When he started, he was 26. When he left, he was 79. In 1980s and 1990s, DD and movies competed with magazines to attract the audience, but Kelkar survived against these rivals. He roped in many cartoonists. He allowed artists like Dalal and Mulgaonkar to showcase their talents. Vangmayashobha’s covers were designed by artists like Padma Sahastrubuddhe, Vasant Sahastrabuddhe and Ashok Dombare.

Vangmayshobha created a virtual literary  treasure in 55 years of its existence. Kelkar wanted to publish select issues for the benefit of the readers but his wish never got fulfilled. He assigned the editorial responsibility to his younger son in 1992. In the changed circumstances, he published the last obituary issue on the death of Kelkar ( 5th Nov1994 ). Thereafter, Vangmayashobha was closed down. The surviving family members of Kelkar have digitised all the volumes of Vansmayshobha  between 1939 and 1992. They are available on bookganga.com. This is a real tribute to M. M, Kelkar.

Wisden is the Bible of cricket. It is published annually from England for the last 149 years. It completes 150 years now. It provides the valuable statistics. The first test match was played in 1877 on 15, 16, 17 and 19 March. Wisden was first published in 1864. It pre-dates the first test. It was previously called Wisden Cricketer’s Almanac. They used to write ‘ cricketer’s ‘  for the first four years, but from 5 th year, they used to write Cricketers’. Initially, apart from cricketer, they used to write about other sports. Its cover page was in Salmon pink colour but in 1938, it was converted into the yellow colour. To begin with , it carried 112 pages but now carries up to 1500 pages. The centenary issue was published in 1963. The annual has been started by a cricketer—Jone Wisden. The first editor was W.H. Crossford. Wisden in its 150 years life has been edited by 17 editors. The longest editorial tenure was that of Sydney Pardon. He remained an editor for 35 years. It selects Top Five Cricketers every year. This is going on from 1927.They formed an expert committee to select the Top Five for the Century. In 2004, they started selecting ‘Wisden Leading Cricketer in the World.’ The first one to receive this honour was Richy Ponting. Sehwag was selected consecutively in 2008 and 2009 for this honour. They arranged Wisden Trophy Match on completing 100 years. Wisden’s ownership too changed during  course of time – Robert Maxwell to McDonald, Sir Paul Getty and Bloomsberry.

Wisden’s editorials are important. Wisden collaborates with ESPN for online statistics.

Lavani

In Mumbai, Mee Kaat Taakali  ( I ‘ve shed my skin ) had been organised in June 2012 to juxtapose the old style of lavani and the new style, where each style was represented by five dancers. Though there is an element of sensuality and many songs have double meanings, there is also an overwhelming grace and aesthetic beauty. Lavani should not be narrowed down to an item number. It has much more potential. It is an art form.

In traditional lavani, there was more emphasis on expressions and conveying a meaning to the audience. In modern lavani, words are not given importance. There is focus on fast moves. The fast style is more appealing.The interest to understand the nuances of the dance is decreasing. In the old style, the dancers would sing as they dance. The costumes are changed in modern performances more often. Lavani dancers followed the custom that  once the dancer ties a ghungharoo to her feet, she will not get married.

Sangeet Bari

Many lavani dancers would stay at the Sangeet Baree theatres and perform everyday. They would reside in the theatre premises till their contract would expire. Different groups called Sangeet parties would perform there. The last such Sangeet Bari theatre in Mumbai closed down in 1992.