SEASON'S GREETINGS

BHOPAL KE DAANAV (THE MONSTERS OF BHOPAL)

Union Carbide Corporation (UCC) CEO/Chairman – Warren Anderson.

Indian business partner - Keshub Mahindra. 

The Bhopal factory manager - J. Mukund.

The names of those convicted are: V.P. Gokhale, managing director; 

Kishore Kamdar, vice-president; J. Mukund, works manager; 

S.P. Chowdhury, production manager; K.V. Shetty, plant superintendent; and  S.I. Qureshi, production assistant.

All these names of monsters of Bhopal 84 are missing in the various smarty articles by equally smart Indian print media after 30 years of torture and 10,000 deaths.. Especially in the big dailies, on 2nd December 2014. They smartly shy away from the complete truth. Only Anderson is the culprit and others from India are holy cows.

Few days back I emailed my drawing series ‘GASSED'  which I am working on since 2010, along with my article to one of the most popular dailies’ in Delhi. But as usual they dropped it and just taken a cue from my series titled ‘GASSED’, as their heading ‘LEAK THAT GASSED A GENERATION’, for one of their shoddy article on 2nd December print in Delhi. I have no complaints, at least some part of my work got appreciated. 

Only bloody data and more data are published in various print issues. The majority print media houses in India, except for a few, are biased and do paid journalism. Now it’s 30 years down the road, so no one cares for a dying issue like BHOPAL Gas killings. No serious campaigning by the Indian media. 

Why are we shying away? Why hide the complete truth buddy...why do such shoddy reporting, without any fire in the content. 

Here, I have drawn a single monster with multiple heads to show the enormity of the individual. They (monsters) were many people but with a single face of evil.

The sufferings of the victims of Bhopal ‘GASSED’ tragedy, was a smart cover-up by the Indian Government (the political rulers of that time) and it is presently being ignored by all of us. One can dare to ignore the directives of the highest court of the land, Supreme Court of India. Anderson is dead, let him rote in hell. But what about the Indian operatives of Union Carbide. Bhopal is a case of mass killings, a simple case of genocide by few monsters. And monsters have no religion or nationalities. They are just killers…DAANAV!

By : Soumen Bhowmick

2nd December, 2014.

THE KILLERS OF BHOPAL 84

BHOPAL 84, ink on paper by Soumen Bhowmick

BHOPAL 84

Luna Bose Punishing the guilty and having them face the law is extremely important for survivors to attain closure to the horrors of the disaster. And in this case its no different.

I have no sympathies or condolences for a cold, callous and uncaring CEO/Chairman's Anderson. He just passed away a month ago. He is nobody other than just a mere CEO. Why no one hold the culprit & criminal Keshub Mahindra responsible? Even you, Soumen?

Where UCIL was 51% owned by Union Carbide Corporation (UCC) and 49% by Indian investors including the Government of India. The chairman, Keshub Mahindra, and the Bhopal factory manager, J.Mukund, moved on to new positions. Most of the Bhopal plant managers left the company after the plant closed.

In June 2010, some scapegoats (former employees of UCIL), all Indian nationals and many in their 70s, were convicted of causing death by negligence and each sentenced to two years imprisonment and fined Rs.1 lakh (US$2,124). All were released on bail shortly after the verdict. The names of those convicted are: V.P. Gokhale, managing director; Kishore Kamdar, vice-president; J. Mukund, works manager; S.P. Chowdhury, production manager; K.V. Shetty, plant superintendent; and S.I.Qureshi, production assistant.

I am not a white washed person nor do I put my conscience up for sale to the highest bidder. This December will be the 30th Anniversary of the tragedy. And according to the Government of India (GOI) and UCIL, virtually all claims had been reviewed and adjudicated by 2002. A total of Rs. 1511.51 crore was paid from the settlement fund, according to a GOI Scheme (program), which established the categories of claims and amounts of compensation, and which was administered by the Bhopal Gas Victims Welfare Commissioner. UCC played no role in the distribution of settlement funds. Where is the money? Why the lives of the victims and victims family hasn't been restored? Why MP is still a backward state? Fifteen Crore is a large sum.

The plant had been constructed and managed by Indians in India.

No Americans were employed at the plant at the time of the accident. From 1980-84, more than 1,000 Indians were employed at the plant -- but only one American was employed there and he left in 1982.

No Americans visited the plant for more than one year prior to the incident. And,during the 5-year period before, communications between the plant and the U.S. were almost non-existent.

The Government of India’s (GOI) Role...

Laws, regulations and policies generated by the GOI and Madhya Pradesh State Government (MPSG) permeated every aspect of the Bhopal facility from its inception. No action of any significance was taken without the approval of the GOI or MPSG.

The GOI required UCIL to maximize Indian involvement in the design, procurement, construction and operation of the plant and to minimize foreign involvement of any kind. The GOI restricted the use of imported materials and foreign consultants, and, as the U.S. Court of Appeals for the Second Circuit confirmed in 1987, "precluded UCC from exercising any authority to ‘detail design, erect and commission the plant."

The GOI closely monitored the progress of the plant, required detailed periodic reports and approved plans and drawings, including the MIC manufacturing facility and storage tanks, as well as the UCIL-designed waste disposal systems for the treatment and disposal of wastes, which also were approved by the MPSG authorities. The thrust of numerous GOI policies was to completely “Indianize” the project.

Now you tell me why Keshub Mahindra is above the law and is not reachable or for that matter the GOI and Madhya Pradesh State Government (MPSG)? The buck stops with them, since they were the 49% Share & stock holders.

My whole deal is Mahindra and his eight other cronies were there. One died during the trial. How come they were not convicted and liable for any compensation or clean up? How come he went building a whole empire of Mahindra & Mahindra? 

If Mr. Vijay Gokhale can't be convicted and argued that he is not responsible because he was located in Mumbai then How can Mr. Anderson be convicted, living on the other side of the globe? Also voluntarily and on his own volition, Mr. Anderson did visit the scene of the tragedy. He was arrested and placed under house arrest.Most people skip town or country. But he didn't. He actually walked into the lion's den.

A couple of years ago, Mahindra was making a deal with US companies to sell their tractors and trucks. It just fell though.

Dow and Bhopal together illustrate quite vividly how the authority of nation-states and their government are being usurped by the corporations of all hues giving birth to a perverse trans-nationalism. The assault on Bhopal clearly shows the dubious intent of the current policy regime. Peace, industrial peace must be built but it cannot be done without reversing the business as usual policies which demonstrate their intent.

The government's industrial policy is responsible for the world's worst disaster. Some 14 prime ministers have come and gone since the formulation of the first industrial policy and some Nine of them have occupied the prime ministerial chair after the industrial tragedy but sadly, regimes keep changing but the order remains the same. Corporations like Union Carbide and Dow are indulging in unacknowledged warfare which is charitably referred to as pollution and contamination must be brought under strict parliamentary scrutiny but before that the Cabinet Committee on Economic Affairs, the institution apparently accountable for giving clearance to Bhopal plant must be brought under parliamentary control. The nearly 15,000 dead and thousands more injured, demand it.

By : Luna Bose

Nov, 2014

*(I salute you Lunadi for this article, an eye opener for all Indians and the world at large.)

 

 

 

 

My tribute through art, to the BHOPAL GAS victims. This series is titled..."GASSED".

During the time of this monstrous killings of innocent Indians, I was a school kid in 4th standard. That soul stirring B&W cover photograph of India Today magazine still make me cry.. It was Raghu Rai's master work. Raise your voice in what ever way you can to show solidarity with the victims of BHOPAL GAS TRAGEDY...I rather call it BHOPAL KILLINGS 84.

SCREAM...

SILLY TIMES

Try to catch the essence of our living among the walking dead. Dead from heart and mind.

THE COLLECTIBLES

The Collectibles, pen and ink on printed card, Artist : Soumen Bhowmick, 2014

What else you want to collect for mere existence in this station hole, called home. Starting with the day we first breathe in, the pursuit of collection starts. Collect kisses, embraces, get that rare bottle of single malt, have the latest gizmos, the shining stones and few more dollars. 

Not happy with that…want more, go for it man grab those fast cars, pluck those juicy lips, smother those fickle beautiful bodies, marry the most gorgeous, give birth to the most happening, wear all those labels, go ahead make my day buddy. The big, the bad, the shining, the loudest and the beautiful, collectibles galore in this world of fickle moments of existence. Have them all.

Put a stamp of ‘I’ and ‘MINE’ in all things you can lay your eyes on. Collecting moments of glory is the best pass-time. Success has to be there or else you die. Failure is a crime, punishable with insult hurled upon the demoralized soul. Collect glory at all cost. Everything is now. The time has come to grab your moment. The light is low and the stage is crowded, so hurry. Push the weak and be mean. Collecting all and the best should be your paramount thought forever.

Finally just dug out your soul and lay it on the dirt and stomp on it hard, really hard…just kill the damn thing!


By : Soumen Bhowmick
October, 2014

BlueAnt Digital Talks to Soumen Bhowmick

There is so much happening in the ‘creative’ fields these days. There are conferences on how creative organizations must come together to form a ‘creative industry’ (wink wink, you know which one I’m talking about). New sites sites come up everyday, some of which show you 20Gifs that are apparently funny and assert your ‘Indian-ness’ at the same time. We now have ‘pop-up shops’, secret networking dinners for 20 people and invite only indie movie screenings. For us at BlueAnt Digital, its getting hard to keep up with it all.

And that’s only when we ‘actually’ get to leave office. Events aside, for all of us, leaving the office-dungeon at an earthly hour has become a daily struggle that would put the Gandalf-Balrog face off to shame.

So, we thought, if we can’t go to the action, lets bring the action to us. Starting last week, we started ‘BlueAnt Digital Talks’, a series of interactions in which we invite people from the creative fields to come and chat us up. The talks have no agenda and nothing is off-topic. The theme is simply to let creative minds engage, interact and caffeinate.

For our first BlueAnt Digital Talk, we invited Artist (and ex-advertising creative) Soumen Bhowmick to come talk to us. Soumen spoke to us about the difference between ‘art’ and ‘communication’, the aggressive one needs to sell media, his journey from being a commercial artist, advertiser, magazine illustrator to a gallery-only-art-for-arts-sake artist. Soumen recently concluded his first solo exhibition at the Triveni Kala Sangam in Delhi, called ‘Head Tale’. You can read about it here.

You can see some what he spoke to us about, in the series of ‘creatives’ below.

Head Tale: Effective for now but..

Review : Soumen Bhowmick / Johny ML (Art Critic & Curator, India)

Published on : www.cartanart.com, 01/04/2014

Soumen Bhowmick, in person, represents the quintessential image of an artist; fragile, soft, 
animated while speaking and dignified. Often when such artists exhibit in community galleries 
like Triveni in Delhi, despite their sincere efforts they do not get enough print or visual media space. Friendly folks who walk in would look at the works dispassionately or at times patronizingly. Artists, unlike in the mainstream galleries, here are eager to talk to you, get a comment from you. A word of appreciation makes them happier than a real purchase because they know, even in these post-boom years, words of encouragement matter more than money. Most of these artists find benevolent patrons in due course of time; these patrons support them by buying their works not as investments but as a gesture of appreciation and love. Critics use their words to encourage (sometimes, to discourage) and patrons use their money to do the same (sometimes, to spoil the artists).

Part (F.N.) Souza, part (Francis) Bacon, part (Philip) Guston, part (Ernst) Neiztvestny, 
part (George) Grosz and part (Bengali) folk artists, these works of Soumen Bhowmick 
are the meeting point of various pictorial traditions. In this solo show titled ‘Head Tale’, 
what one sees is a series of human heads done over the last five years and interestingly 
not a single human head resemble any real human head or anything near to it. The artist’s 
attempt is not to capture the very similitude of the human heads that we see milling 
around us today but his intention is to look at the ways in which these heads take shape 
in his own ‘head’. This is a way of perceiving people, not exactly as people but as 
creatures of a magical world. For an artist like Soumen Bhowmick, reality or the real world 
around him is a series of appearances and from a peculiar perspective human beings lose their perceived charm and they become creatures distorted by protrusions, intrusions and organic growths.

How does an artist come to view human beings in this way? Either it should be an outcome of the complete loss of faith in human beings as sublime entities or it should come from a belief that human beings who show beautiful countenances to others hide so many weird things in their minds. When the social structures demand a certain kind of behavioral pattern from people, theirs become a tortured existence as they fail to express their innate desires and cruelties within the controlled environment. That means human societies are perverted zones of permanent repressions. Soumen Bhowmick not only sees other people as creatures living within human forms but also sees himself as one, often as a victim or a saint tortured by the arrows of accusations. This pictorial device has been used by many artists aforementioned as protest, disparage and as active rebellion. In an absolutely changed social context, Soumen can emulate this stylistic device only to express his angst.

In his statement, Soumen says that his works are inspired by the scenes from the streets where faces pile up. He feels like giving them a comic twist and an ironic edge. In their distorted selves they look like clowns in a carnival, a menacing carnival of deception. Here notionally Soumen stands closer to Peter Brueghel who had depicted the human vices both perceived and imagined. However, I feel that Soumen needs to move a little further to articulate his views; an urgent departure from heads and faces is demanded. The danger of getting stuck to this language is palpable, which would eventually blunt his critical paintings and they would turn into decorative design with a signature style.

CARRY ON FOOLS

Trapped, pen and ink on paper, Artist : Soumen Bhowmick

No matter what you do or what your mind make your think, it's always darkness around here.

Fools do exist in my world of mediocrity and sin. They thrive and take a long time to perish.

They enter your world with free will and vanquish your sanity with their foolishness. 

That's their beauty dear.

Art is now a fool's business to run. Business, I do call it in all my true senses, not drunk friends, believe me.

Society is punishing us for our indulgences, for our honest lust for freedom. Freedom to express, freedom to

smell that last breath of life, freedom to make love to art, freedom to delve into our dark and lone-some alleys of existence. Freedom is the least available and chased by so many. Art is fooling around for a long time now. Time to face the music of destiny, the song of the forgotten hero will be played now, again and again. Go, take your side with the devil or the vanquished. Your choice will lead you to the depth of no return. The days of glory is now over, dark clouds of doubts are friends around. So just fool around with the clouds of deceit and few choices. Walk the path of hard pebbled roads, moron listen to your soul. For it never lies on purpose. 

The lights in my studio are now dimmed to escape the glare. The once loved images of art openings are

troubling the senses. The crowd is missing, the voices of holy buyers are few and getting rare to find

by every passing day. Carry on with the salvage of your destiny dear friends. We all are left with the fallen air castles that we once  ruled!

NATIONAL ART POLICY

I am drafting this NATIONAL POLICY ON ART, primarily for the promotion and encouragement to Indian art & artistsby the Government of India (Ministry of Culture). It’s just a compilation ofvarious suggestions to the Ministry of Culture, India.

Under ‘ART’ you have painting, sculpture,printmaking, new media, performing art and photography.

Under ‘ARTISTS’ any Indian individualwho has completed B.F.A., M.F.A, B.V.A., B.A. or minimum a diploma in art fromany recognized institution in India.


The Points for the NATIONAL POLICY ONART :

1.   There should be new art galleries onthe line of Lalit Kala Akademi, in Delhi. All major cities should be covered underthis plan. With a minimum floor area of 10,000 sq ft.

2.   Government should allocate publicspaces for art installation, or exhibition space inside Metro Stations,Airports, Colleges, Hospitals, Schools and Dilli Haats. They can even provideparks like Lodhi Garden or Central Park in Connaught Place for permanent openair art display areas. They can allocate walk-ways in Khan Market or any othersuitable place for weekend art exhibitions. Collect 10% of the sales from theartists.

3.   Raw materials for artists should beeasily available through public distribution system like KENDRIYA BHANDARS andKHADI. Even museums, Lalit Kala Akademi can also be roped in for this. Variouspapers, colours, brushes and other materials should be provided to the artistsat reasonable rate at KENDRIYA BHANDARS and KHADI throughout India. Materialscan be divided in two sections students and professional.

4.   Tax exemptions should be given oninvestment or promoting art or any art related activities. Tax rebate to anyindividual or corporate on a purchase of Rs.10,000/- (minimum). Art promotionand investment should be brought under CSR (Corporate Social Responsibility).Buying art should be encouraged by all departments of various ministries fortheir offices. Every corporate should take the responsibility of promoting at least5 art students yearly. Corporate should support various art projects; likemurals, public art projects, installations, paintings and performing art withintheir premises at least once a year.

5.   Art Biennales should be organized byGovt. or on PPP mode, throughout India. Apart from KOCHI MUZRIS which is now apopular international biennale, Govt. should come up with few more biennales inmajor metros. Theme based biennales can also be introduced.

6.   Courses on curatorial practices andart management should be introduced in all art colleges.

7.   Lalit Kala Akademi should be made thenodal agency for verification and authentication of art in India. LKA shouldsell research notes on art by Indian and international artists and scholars onart. DVDs and CDs on various Indian and international artists should beavailable in all art museums and LKA.

8.   Revive FESTIVAL of INDIA and YUVAMAHOTSAV. Involve SAARC countries for celebrating YUVA MAHOTSAV. It should bean annual affair. There should be exchange of artists within the SAARCcountries. FESTIVAL of INDIA should be organized throughout the world or atleastin major centres globally.

9.   There should be SAZ (Special ArtZone) on the line of SEZ ( Special Economic Zone). Government should chalk out areas within a city or in its outskirts for this matter. Mandi House, Hauz Khas village, Khan Market or Connaught Place can be declared 'SAZ's. Art galleries, art fairs, musical performances, open air art shows, installations and open air film shows should be part of this 'SAZ'.

10.  In art colleges there should be a course on 'Classical Indian Art'. Where one can learn Indian miniature painting of all styles. The students will learn theory and the practical nuances of this great treasure of Indian Art.

11.  Art tour packages should be introduced by Ministry of Tourism, for Indian & foreign visitors. Art tours will promote tourism and art at the same time. All hotels in India should work on this idea to attract more tourists and to promote art.

12.  Film festival on art should be a regular happening in all the metros in India. Video art, art documentaries, short art films on artists should be made part of it. All regional Lalit Kala Kendras and NGMA could be the venue for this. Even art colleges in India can be transformed into art film festival venues.

13.  A National Artists Database (NAD) should be developed online by Ministry of Culture for all Indian artists. All graduates from certified art colleges can register themselves in this National Artists Database for a nominal fee. This database will be much bigger and more will include most of the Indian artists, than the present Lalit Kala Akademi artists directory. Which unfortunately contains only those artists who have participated with National Art Exhibition.

14.  Art day or art week should be celebrated in all museums and NGMA. 


Author - Soumen Bhownick, September, 2014
Logo Design - Suvankar Nandi

HOW FAKE ARE YOU

To make and sell fake art is a real skill. I used the word ‘make’ because here you don’t create, just copy or clearly steal the soul of someone else art. Blame whom for this menace in Indian art and globally. I will talk about the Indian scenario here…blame the galleries, the buyers or the artists. You pick your choice. I quietly accept the fact that, fake is the new in-thing, especially in a fake society of ours.

Delhiwallahs are major devotees of fake art. They live by it, they take oath for buying fakes only. Next comes Mumbai and Kolkata. Till the time the thick headed morons in these cities demand for Hussians, Razas,Souzas, Tagores, Gaitondes, Hores, Shergills and many more masters, thebusiness of fake will flourish. Many galleries, art dealers or agents openly sell fakes. Either they are protected by the law or they don’t give a damn about it. Specially the art of Progressive Artist’s Group are in demand. Originals are mostly unaffordable by this flock of buyers. But, still they need that fake art to satisfy their ego.

Bless the poverty of opportunities for Indian artists and young graduates in art colleges. Lack of avenues to earn a decent living, except for some low paid art teacher job in a Govt. or private school. That too mostly offered to female breed of this community. The male ones are left to fend for itself. I explain this statement, the age limit for women candidates for DSSB teacher job is 42 and for male it’s 35.Similarly with KVP teaching jobs the age limit for women is more and for men it’s less. So it’s very natural and instinctive for male artists, to take to painting fakes of Indian or European masters. They are skilled, hunger in their belly and acutely helpless. Young, trained, talented art graduates from Kolkata, Bihar and Indore are mainly involved in this business. They just need some money to sustain. It’s a matter of mere livelihood for most of them. They create fake on a very low budget, not paid much. Just enough for their monthly room rent in Delhi or Mumbai. The middleman or the gallery mint the real deal. This situation of artists in India is duly exploited by the gallerists or art promoters to supply the never ending demand for Indian masters.

The show-off breed in Delhi, who just earned their millions desperately need some ego balm in the form of name tags as far as hanging art in their homes. They love to chat beneath a fake Hussain or Raza during their innumerous parties or social encounters. Why to buy an original, soulful piece of art by a young Indian artist. He or she doesn’t belong to the art map of our land. Rajiv Savara want to have a regulatory body to check fakes. I suggest that Lalit Kala Akademi takes the initiative as it’s the foremost body to promote art in India. Or the Ministry of Culture constitutes a separate body to take care of this matter. The Government should have a National Art Policy and guidelines for Art galleries to follow it by the book while doing business. What action would be taken for selling and buying fake art. Till the time there are no better opportunities for Indian artists, this business of fake will prosper and some day it will overtake the market for original artworks. 

The NRI Diaspora is also to be blamed for pushing the market for fakes. They are chasing big names only in Indian art. They fail to promote young Indian artists. There is a certain limit to original works of any artist. But here the scenario is so grave that, even when a certain work of Hussain, Raza or Tagore is in museum collection, the NRI or a DESI would demand to have it painted as a fake. He simply gets hold of a gallery or some art student to fulfil his demand. I see the rise in fakes after 2005 art market burst. Recession has fuelled the supply of willing artists to do this rascal’s job. Even college students feel no shame to earn some quick pocket money through this devious mode of earning. This shit is going on in many of the well known art colleges in India. 

You protest, shout, blame them or put them behind the bars; the business of fakes will go on. Vast number of artists are jobless, government apathy towards art and artists make the situation grave enough for a relook by our social thinkers. We have to question ourselves, for how long faking art is acceptable. When we can’t contain a crime we legalise it, that seems to be the reality now. 

Seriously, just how fake are we!

By - Soumen Bhowmick,

July, 2014

FORMATIONS, a series on paper by Soumen Bhowmick

BLACK & WHITES by SOUMEN BHOWMICK

My world of B&W drawings and sketches. Done over a period of more than 15 years.

All works on paper.

THE ART OF SOUMEN BHOWMICK

In this slide show I have displayed works done for the series CIRCUS OF THE ABSURD.
I had my first solo art exhibition in 2010 at Lalit Kala Akademi, Delhi, with this series of work. The show was well reviewed and appreciated by art lovers from different parts of the world. Norwegians, Americans, Germans, Koreans, Japanese, Italians and a large number of Indians.
Art Alive Gallery (Sunaina Anand) collected 12 of my works from this series. Fantastic sales, and large number of visitors had made this a successful art exhibition. For more works from this series, please do check the CIRCUS OF THE ABSURD section on my blog.

CIRCUS OF THE ABSURD - Solo Exhibition at Lalit Kala Akademy, Delhi

My first solo art exhibition, CIRCUS OF THE ABSURD held at Lalit Kala Akademi was covered by 'Kala Parikrama' programme on Delhi Doordarshan. The show was telecast in the month of April of 2010.

HEAD TALE coverage with CHAHAL PAHAL, ALL INDIA RADIO, Delhi

Interview by Radio Jockey Nirbhay of AIR, Delhi. It's an engaging interview of my solo show HEAD TALE. The interview revolved around my work and my observation of art in general in India. The exhibition went on from 15th to 25th March 2014 at Triveni Gallery, Triveni Kala Sangam, New Delhi. Got huge number of footfalls and fantastic review and coverage in the Indian media.

AQUA AEGIS FETE By Gallery Sree Arts

My work is also part of this international art show organised by Gallery Sree Arts of Gurgaon. 35 contemporary artists from around the globe have worked on a single theme of water and its conservation. The size of the artworks are same and on fabriano paper. For me, the challenge was to create some image that would make the viewer do some mental grinding on the particular theme of water conservation. The theme itself is very serious and a contemporary issue, globally faced by mankind. Hope I have done some creative contribution to answer this global issue.

ART BODIES - A Group Show

It gives me Great Pleasure & Privilege to invite you, 

your family, your friends & your colleagues to our group show

 of drawings, paintings and sculptures

ART BODIES

29 April - 5 May

11am to 7pm Daily 

Gallery 1

Lalit Kala Akademi

Rabindra Bhavan

Copernicus Marg, New Delhi

Metro - Mandi House 

Artists - 

BANOJ MOHANTY

PROMILA ARORA

RATNAKAR SUTAR

SHITAL VERMA

SUNITA LAMBA

SOUMEN BHOWMICK

R.S.V.P.  9810661959

Lalit Kala Gallery exhibition view

From Left to Right, Soumen Bhowmick, Promila Arora, Sunita Lamba, Jagdish Dey and Banoj Mohanty

From Left to Right, Soumen Bhowmick, Shital Verma, Sunita Lamba, Banoj Mohanty, Promila Arora and Ratnakar Sutar