‘Jago Maa’ Book Launch Celebrates the Spiritual Power of Matri Shakti in Kolkata

Report

Sohini Bhattacharya

Photographs

Nilanjana Chattaraj

BAJMC Sem 3

Mentor

Prof. Moumita De Das



From L-R: Shri Ravi Singh Choudhary, Swami Paramatmanandaji Maharaj, Shri Kushal Choudhury and Shri Ashish Giri

Kolkata, 25 August 2026: The book launch of Jago Maa, authored by Shri Ravi Singh Choudhary, was held at the ICCR Library Hall in Kolkata in the presence of eminent dignitaries, authors and spiritual personalities. Organised jointly by Bharat Ekatvam Foundation and Boi Bondhu Publishers, the event unfolded in a deeply spiritual and reverential atmosphere, bringing together discussions on Matri Shakti, Devi Upasana and the cultural traditions surrounding the worship of the Divine Feminine. 

The programme commenced with the anchor invoking the significance of “Matri Shakti”, describing it as the “extreme protective and powerful creation of the world.” She then welcomed and addressed the distinguished guests. Although Smt. Sarbori Mukherjee and Shri Ashish Giri were unable to attend, the presence of Chief Guest Swami Paramatmanandaji Maharaj, Shri Kushal Choudhury and author Shri Ravi Singh Choudhary enriched the occasion with their reflections. 

 
     Author Shri Ravi Singh Choudhary

Speaking about Jago Maa, author Ravi Singh Choudhary shared that the book emerged from a deeply personal intellectual and spiritual journey. He revealed that he had initially begun writing in English but stopped after four years, eventually realising that certain emotions and experiences could not be expressed without “bhaav”. He subsequently wrote the book during the period between Durga Puja and Kali Puja. Explaining the inspiration behind the book, Choudhary spoke about his experiences in the Middle East and his growing curiosity about Tantra and why people often perceive it with fear. Questions surrounding deities such as Maa Chhinnamasta and Maa Tara further motivated him to explore the subject. He said that the book was an attempt to understand these questions, gather knowledge and move beyond curiosity. Having roots in Jharkhand, he has also incorporated references to temples and traditions of the region. From a pan-Indian perspective, the book seeks to present Bengal, its spiritual traditions and Devi Upasana, bringing diverse forms of worship together through a common thread. Following his address, Jago Ma was formally launched amid applause and smiles from the audience. 

Packed with audience at ICCR Library Hall

The spiritual discourse continued with Swami Paramatmanandaji Maharaj, who began his address with the chanting of the mantra “Om Sahana Vavatu.” He reflected on the deep and ancient roots of Shakti Sadhana, describing it as a force that has flowed through human civilisation for generations. He explained how humanity’s search for answers to the mysteries of creation gradually led people towards the divine and the worship of nature, rivers, trees, stones, crops and, eventually, the feminine principle. He emphasised that human beings gradually recognised that the seed of creation lies within the feminine, perhaps explaining the cultural idea of calling the nation “Desh Mata.” He further stated that the end of Pitri Paksha marks the beginning of Matri Paksha and elaborated on the hidden meanings and rituals associated with Durga Puja. According to him, while every worship is sacred, Durga Puja is not merely a puja but a “Mahapuja”, celebrating the all-encompassing presence of the Mother. 

Shri Kushal Choudhury expressed appreciation for Choudhary’s effort to awaken awareness of the Mother while living in Jharkhand. He highlighted his own long association with Matri Shakti, a publication he has been bringing out for 25 years, and spoke of his faith in real-life embodiments of feminine power, including Rani Lakshmibai and Rani Rashmoni. He concluded by saying that the true success of Choudhary’s work would lie in readers absorbing the essence of Jago Ma and applying its message in their own lives. The programme concluded successfully with closing remarks from members of the Bharat Ekatvam Foundation. 

L-R: Sohini and Nilanjana along with Author at the book launch

Stories That Nurture: From the Sacred Fires of Satya Yuga to the Digital Age

Guest Column

 

Souberi Chakraborty

 

Storytelling Educator & Author (The Tail of Tales)

Organizer & Licencee (TEDx SriVijayapuram)


pexels

 

Human beings have always told stories. Long before books, classrooms, cinema or the internet existed, people gathered around fires, in forests, temples and homes to make sense of life through narrative. Stories explained the mysterious, preserved collective memory, taught children right from wrong and helped communities understand their relationship with nature, society and the divine.

 

In the Indian tradition, storytelling is not merely entertainment. It is a way of transmitting knowledge, values and lived wisdom from one generation to another. The roots of this tradition reach deep into antiquity.

 

From Satya Yuga: when knowledge was heard

 

The traditional Indian conception of time begins with the four Yugas—Satya, Treta, Dvapara and Kali. While these are theological and cultural frameworks rather than historically datable periods, they express an important Indian idea: knowledge existed before it was written down.

 

The Vedas are among the clearest examples. They were preserved primarily through sophisticated oral transmission. The Vedic tradition used śruti—“that which is heard”—and elaborate methods of recitation and memorisation. Scholars note that Vedic texts were orally composed, compiled and transmitted over many centuries, with extraordinary attention to preserving their wording and sound.

 

This was more than memorisation. It was a living relationship between teacher and learner. Knowledge was heard, repeated, experienced and embodied.

 

The later Vedic literature expanded this world of knowledge through the Brahmanas, Aranyakas and Upanishads. The Upanishads frequently communicate philosophical ideas through conversations: a teacher answering a student's question, a father explaining truth to his son, or a seeker confronting a profound mystery. The lesson becomes memorable because it is carried through a human encounter rather than presented merely as an abstract proposition.

 

This is one of the earliest foundations of nurturing through narrative: instead of simply telling people what to believe, stories allow them to discover meaning.

 

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The epics: values embodied in characters

 

The Ramayana and Mahabharata took this narrative tradition to an extraordinary scale.

 

Instead of presenting morality as a list of rules, the epics placed human beings inside difficult choices. Rama, Sita, Lakshmana, Hanuman, Bharata, Krishna, Arjuna, Draupadi, Karna and countless others became vehicles through which generations could contemplate duty, loyalty, courage, sacrifice, injustice, compassion and the consequences of choice.

 

The Puranas continued this narrative approach. According to India's Centre for Cultural Resources and Training, the Puranas developed as encyclopaedic collections of legends and myths, incorporating creation, cosmic cycles, genealogies, religious practices, customs, pilgrimage and social values.

 

The important point is that knowledge was made human.

 

A child may forget the definition of courage. But the story of someone facing fear may remain for decades.

 

A person may forget a moral instruction about friendship. But a story about betrayal or loyalty can become part of their understanding of relationships.

 

Jataka, Panchatantra and the wisdom of the ordinary

 

Indian storytelling did not remain confined to gods, kings and sages.

 

The Buddhist Jataka traditions used stories of the Buddha's previous births to communicate ethical ideas. The Panchatantra used animals, kings, merchants, birds and ordinary human beings to explore friendship, intelligence, leadership, politics, greed and survival.

 

The Sanskrit tradition itself records a long history of storytelling. The Ministry of Education's Sanskrit resources identify works such as the Panchatantra, Hitopadesha, Kathasaritsagara and Vaitala Panchavimshati as important examples of India's story traditions.

 

The Panchatantra is particularly remarkable because it deliberately used narrative for education. Its stories were designed around practical wisdom rather than abstract lectures. A modern edition listed on Google Books describes the collection as teaching lessons about morality, strategy, leadership and human nature through animal fables.

 

The tradition travelled far beyond India. Scholarship on the Panchatantra traces its transmission across languages and cultures, demonstrating how stories can cross geographical and cultural boundaries while adapting to new audiences.

 

Katha: when stories became a community classroom

 

India developed numerous oral storytelling traditions. Katha vachaks, kathakaras and other performers interpreted religious and cultural narratives for communities.

 

The Indira Gandhi National Centre for the Arts documents the Katha Vachana tradition as an important form of oral transmission involving methods of narration, performance, audience participation and regional cultural expression.

 

This also made storytelling democratic.

 

A person did not necessarily need to read Sanskrit scripture to encounter its ideas.

 

The traditional Kaavad Katha of Rajasthan, for example, used painted wooden panels, songs and spoken narrative to communicate stories to communities. Modern practitioners have even adapted the form to communicate contemporary messages such as girls' education and hygiene.

 

In this sense, storytelling became an early form of inclusive education.

 

What changed in the modern age?

 

The medium changed, but the human need did not.

 

The oral storyteller became the author, teacher, theatre performer, filmmaker, radio presenter, animator, YouTuber, podcaster and digital creator.

 

Today, storytelling is used in classrooms, advertising, leadership training, therapy, public health, museums, journalism and organisational communication.

 

Modern educational research increasingly examines why narrative works. A systematic review published in 2026 examined storytelling approaches—including oral storytelling, picture books, drama, digital storytelling and multisensory approaches—and identified links with children's empathy development.

 

Research also suggests that narrative fiction can support sociomoral development by encouraging children to understand characters' perspectives, practise empathy and discuss complex social questions.

 

A 2026 study in NPJ Science of Learning found that children involved actively in storytelling showed improved learning outcomes and greater teacher-child neural synchrony compared with passive listening.

 

That finding takes us back to something ancient: learning becomes powerful when it is relational.


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Stories that nurture

 

Perhaps that is why stories have survived every technological revolution.

 

A story does not simply say, “Be kind.” It lets us meet someone who needs kindness.

 

It does not merely say, “Do not judge.” It lets us experience a character whose circumstances we did not understand at first.

 

It does not simply teach resilience. It allows us to accompany someone through failure and discover that falling is not the end.

 

The greatest stories do not force values into us. They give us the emotional space to arrive at values ourselves.

 

From the oral recitation of the Vedas to the philosophical dialogues of the Upanishads; from the Ramayana and Mahabharata to the Jataka tales and Panchatantra; from village storytellers to podcasts, films and digital classrooms—the form of storytelling has continuously evolved.

 

But its deepest purpose remains remarkably constant:

 

To help one human being understand another, to preserve what a society has learned, and to make wisdom memorable enough to be carried forward.

 

Perhaps, therefore, the future of education does not require us to abandon the oldest tools of learning.

 

It may require us to remember them.

 

Because before knowledge was written, it was told.

 

And before stories became lessons, they became experiences.

 

That is why stories do more than inform us.

 

They nurture us.

 

 ****


References and research sources

 

  • Oxford Bibliographies, Vedic Oral Tradition.

  • Ministry of Culture, Government of India, Vedic Heritage Portal.

  • Indira Gandhi National Centre for the Arts, Oral Tradition of Vedas.

  • IGNCA, Chanted Narratives: The Katha Vachana Tradition.

  • NCERT/SATHEE, Language and Literature of India.

  • Centre for Cultural Resources and Training, Literary Arts.

  • Google Books, Panchatantra – Classics.

  • Google Books, Paula Richman (ed.), Ramayana Stories in Modern South India.

  • Dewi & Kurniawati (2026), systematic review on storytelling and empathy.

  • Besser Ilan et al. (2026), Enhanced word learning and neural synchrony during children's storytelling, npj Science of Learning. 

Freedom 2.0: ISKCON Newtown Calls Youth to Break Free from Anxiety and Addiction

Report

Rupa Sethia

BAJMC Sem 3

Pics by Rupa Sethia

ISKCON Newtown organised its Mega Youth Fest, Prerana: Freedom 2.0, at Nityanand Hall on August 8, 5 P.M onwards to bringing together young people for an evening centred on the theme of inner freedom. With the message of “Azadi from Anxiety, Addiction, Distraction and Purposelessness,” the event aimed to address some of the challenges faced by today’s youth and encourage them to lead more purposeful and meaningful lives. The programme featured an inspiring session by mentor, monk and speaker Chaitanya Charan Das, along with music and dinner prasadam, creating an atmosphere of reflection, inspiration and community. 


The central focus of the event was the session by Chaitanya Charan Das, who spoke about the importance of inner freedom and the challenges faced by young people in today’s digital age. He discussed how anxiety, addiction, constant distractions and a lack of purpose can gradually affect the way young people connect with themselves and others. He particularly highlighted the growing dependence on smartphones, where people spend hours scrolling through social media, online content and sales, often becoming disconnected from real-life experiences and spirituality. He pointed out that people can become so absorbed in their phone screens that they stop noticing what is happening around them, including in their locality, among neighbours and even within their own families. According to him, this growing detachment is one of the major concerns for today’s youth. He encouraged young people to look beyond their digital screens, become more conscious of their surroundings and build meaningful connections with others. He also emphasised that true freedom does not simply mean freedom from external restrictions, but freedom from the distractions and habits that control our minds. His message encouraged the youth to develop a more purposeful, aware and spiritually connected outlook towards life.

 

 

The programme created a lively and peaceful atmosphere for participants of all age groups. The audience appeared deeply immersed during the Krishna Kirtan, with children, adults and elderly people joining enthusiastically. A little girl singing the devotional chants with a cheerful smile was a particularly heartwarming moment. The Nityananda Hall had simple decorations, featuring pictures of Lord Krishna, Radha and other Vaishnav-related images. The organisers also conducted an online quiz based on spirituality, Ramayana and Mahabharata, which received enthusiastic participation. A short film on ISKCON Delhi followed, explaining its establishment and growth. The event concluded with an interactive session where participants shared their concerns with Chaitanya Charan Das and received responses, making the programme engaging and meaningful. 

Prerana: Freedom 2.0 was more than a spiritual gathering; it offered an insight into the concerns and lifestyle challenges faced by today’s generation. The combination of spirituality, music, quiz, informative content and direct audience interaction made the event engaging. The programme concluded with a strong message of inner freedom, awareness, meaningful connections and purposeful living, leaving a lasting impression on the participants.

Rupa Sethia during the programme


 

চিঠি' না-লেখা ঠিকানায়…

Guest Column

 নীলাকাস

Amity University

Pexels

প্রশ্ন ছিল তোর কাছে,

চিঠি আমার, লেখা আজও আছে।

আজও তোর হাসি কি সূর্যোদয়ের সাক্ষী?

নীল চাহনি কি আনে অমানিশার রাত্রি?

প্রতি পলক-পাতে, ঘটে যায় কোন তারার পতন?

সেই চিঠি করি আজও যতন।


কাজল ধোয়া মুক্ত-রাশি!

ঝরায় কি ইশান কোণে মেঘ-রাশি?

আজও তোর স্পন্দ হৃদ-শৈল,

কারণ হয় কি ভূমি-ধস প্রাচীন শৈলে?

চিঠি আজও সঞ্চিত রাখিলে।


তোর আঁচল ওড়া হাওয়া!

কারণ কি শত শত বজ্রপাত হয়ে যাওয়া?

আজও তোর পায়ের ঝংকার,

এক লহমায় করে কি শান্ত সাগর তোলপাড়?

চিঠি আজও লেখা আছে আমার।


আমার মনে প্রশ্নের জাল বোনে,

কত কত চিঠি লেখা থাকে সংগোপনে।

চিঠি আজও পেলোনা ঠিকানা।

চিঠির আগুনে আমি আজ ভষ্ম-রাশি।

প্রশ্ন ছিল তোর কাছে, আজও অজানা।


আমার রাতের পর রাত পোহায়—

পায়না শুধু ভোরের ঠিকানা।


***


The Mind Behind Dhoop Khidki Ki...Kartikey Tripathi

Interview by

Aishwarya Siingh

BAJMC Sem 3

Director, Kartikey Tripathi with Aishwarya Siingh

"The more truth you write and show, the more deeply it echoes with people." This belief lies at the heart of Dhoop Khidki Ki, a production that moved audiences with its emotional honesty and quiet realism. Following the performance at Birla Academy of Art & Culture, ASCO caught up with the play's writer and director, Kartikey Tripathi, for a brief conversation. From his journey in theatre to the philosophy behind his storytelling.

  • Which scene in the play is personally your favorite and why?

All scenes are my favourite because they are nothing but a collection of truth and reality that came in front of me.

  • Which character in the play do you relate the most or is your favorite, and why?

Rachna Sharma, because we have seen our mothers, our grandmothers, aunties, masis, didis, maid didi go through the same thing.

  • What is something about theatre that films or OTT platforms can never replace?

Live audience interaction and immediate feedback.

  • What has been the most unexpected lesson theatre has taught you—not just as an artist, but as a person?

The much truth you write and show, the better it will echo with people and they'll love it.

  • Many young people admire theatre but hesitate to pursue it professionally. What would you say to them?

Learn from Rahul Dravid to stay on the pitch.

  • If you had to describe 'धूप खिड़की की' in one word, what would it be?

Empowering.

 

The Odyssey: Not a review but a note from a die-hard Nolan fan

Guest Column

Abhigyan De

Class: XII (Science)

South Point High School


The film poster: The Odyssey
A scene from the film

The Odyssey was an enthralling film. 

As a die-hard fan of director Christopher Nolan and the countless others like me across the world; All were eagerly awaiting the release of Nolan’s own twist on the greatest Greek epic of all time, The Odyssey. A rather ambitious project, but nothing out of the blue for Nolan. From the release of the trailer, this project was criticised heavily for its choice of cast, which had too many big names and the obvious historical inaccuracies. 


It is readily apparent to all viewers that this was an amazing cinematic experience. Academy Award-winning composer Ludwig Göransson’s music is one of the best elements of the film, with ancient Greek instruments used throughout. I personally loved watching it; the experience in the cinema hall was surreal. The cinematography and sound effects were highly engaging, creating an overall enjoyable viewing experience and leaving me on the edge of my seat for most of the film.


The book

Despite being such a good film, it is not a good adaptation of the story. Nolan has not adhered to the story. He has himself admitted to inspiration from Emily Wilson’s translation, which portrays Odysseus as a complicated, broken hero whose guilt becomes the catalyst for his catharsis, rather than the Greek hero in shining armour. He has made his own changes to the story, making Odysseus a broken man suffering due to his conscience, rather than what he was: a man so enamoured with his own ingenuity that he repeatedly makes others pay the price for his ego. I believe this is one of Nolan's best films and, as a cinematic experience, it's absolutely Oscar-worthy. But if we consider it as an adaptation of the Odyssey, it is not accurate, and Nolan has made far too many changes to the story to be considered accurate. 


We shouldn’t change a film as we do a book, despite the absence of many crucial plot points and an obvious pretentiousness in the storyline. (Odysseus’s enemy wasn’t guilt but pride, and the line of the ‘Bronze Age’ was dumb). It was, after all, a Nolan film and made for a lifetime experience. 


N.B: (THE ODYSSEY: Running in the cinema halls now)


Wikipedia:

The Odyssey is a 2026 epic action fantasy film written and directed by Christopher Nolan, who produced it with his wife Emma Thomas. An adaptation of Homer's ancient Greek epic poem the Odyssey, it stars an ensemble cast including Matt Damon, Tom Holland, Anne Hathaway, Robert Pattinson, Lupita Nyong'o, Zendaya, and Charlize Theron. In the film, Odysseus (Damon), the Greek king of Ithaca, undergoes a long and perilous journey home after the Trojan War and encounters mythical beings as he attempts to reunite with his wife Penelope (Hathaway).

 

The Trailor:

https://www.youtube.com/watch?v=VB17eWZK4Hk

Read more:

https://www.yahoo.com/entertainment/movies/articles/everything-know-homer-odyssey-watching-110000487.html?guccounter=1&guce_referrer=aHR0cHM6Ly93d3cuZ29vZ2xlLmNvbS8&guce_referrer_sig=AQAAAIjEq18ApaahqJ-cg-U1mtAtzGiUbpU-e0Nps4V9yfcfKR8KGiA67ovjGcWRsxwd-IKFEVWb_Wj7yy_LxovJ34AffUEkAEOdNSjedzUSEyVwARLqMTEK8eFSZZJR8LVQR2v6g08YVNg4YmtooECHdW7BPAG_PTouTCOzjojMtL9a

 

https://indianexpress.com/article/entertainment/hollywood/odyssey-christopher-nolan-mumbai-premiere-ticket-price-rs-3100-imax-venues-full-10780202/