8 February, 2026: Panelist for a special program titled- Dheeme Swaron kee Samvednaayein to be telecast on All India Radio on the occasion of World Radio Day. Professor Vartika Nanda shared the panel with Pradeep Sardana (journalist), Pankaj Sharma (journalist) and Dinesh Kandpal ( journalist and moderator)
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Media Management refers to the process of planning, organizing, directing, and controlling media resources and activities to achieve organizational goals.
It involves managing media content production, distribution, marketing, audience engagement, and monetization while balancing editorial independence, commercial interests, and technological advances.
Key Elements of Media Management:
1. Strategic Planning:
Media managers develop long-term plans, deciding what kinds of media products and services to produce, how to position them in the market, and how to grow audiences.
2. Content Management:
Supervising content creation to ensure it aligns with organizational goals, meets quality standards, and satisfies audience preferences.
3. Marketing and Audience Development: Identifying target demographics and designing promotional strategies to build and retain loyal audiences.
4. Financial and Resource Management: Overseeing budgets, controlling costs, maximizing revenue streams through advertising, subscriptions, licensing, and sponsorships.
5. Human Resource Management: Managing creative professionals, journalists, technical staff, and administrative personnel to foster a productive work environment.
6. Technology Management: Keeping pace with technological innovations — from analog to digital, from traditional broadcast to streaming and social media platforms.
7. Legal and Ethical Management: Ensuring compliance with laws governing media content (copyright, defamation, censorship), respecting journalistic ethics, and protecting editorial independence.
Origin of Media Management
Media management as a distinct field originated from the broader fields of management and communications in the 20th century, especially after the rapid expansion of mass media in the early 1900s. The need to organize, control, and maximize the business potential of media outlets (newspapers, radio, TV, later internet) led to the development of management theories specific to the media sector.
Early 20th Century: Growth of newspapers, radio broadcasting, and cinema created demand for systematic management.
Post World War II: Television became a dominant medium, requiring professional management techniques.
1970s-80s: The rise of media conglomerates and the deregulation of media industries worldwide intensified focus on media management.
Digital Era (1990s onward): The internet revolution transformed media production, distribution, and consumption, leading to new management challenges and innovations.
Why Media Management Developed
- Media companies shifted from public service to profit-making models.
- Increasing competition between platforms and channels.
- Complex production and distribution processes.
- Need to attract advertisers and keep audiences loyal.
EXAMPLE: Earlier, Doordarshan had a simple structure with little competition. But now, a channel like Aaj Tak competes with dozens of others and must manage content, TRPs, digital presence, and revenue — all requiring strong media management.
Growth of Media Management
Expansion with Technology: Cable TV brought multiple channels → required better content planning and ad management.
Internet and social media (YouTube, Instagram, OTT platforms) changed how media is created, shared, and consumed.
Rise of 24/7 news channels, reality shows, web series, and influencer marketing has made the media industry multi-platform and multi-format.
Growth in Career Opportunities:
New job roles: content strategist, digital marketer, media planner, brand manager, OTT platform manager, etc.
Media management now involves data-driven decision-making — such as using analytics to know which kind of videos get more views.
Media as a Business: Media companies now focus on branding, customer experience, advertising revenue, and digital expansion. Media is not just about informing or entertaining — it’s also about profitability and sustainability. Media management has grown from a supportive role to a core leadership function within media organizations.
Key Factors Influencing Growth
1. Technological Advancements: AI, mobile apps, streaming services.
2. Globalization: Access to global content and international collaborations.
3. Diverse Revenue Models: Ads, subscriptions, pay-per-view, influencer marketing.
4. Changing Audience Behavior : People now prefer on-demand, mobile-friendly, and interactive content.
5. Increased Competition: Many platforms fight for attention — YouTube vs. Netflix vs. traditional TV vs. Instagram reels.
Example: TVF (The Viral Fever), an Indian web content platform, manages content production, brand partnerships, and audience engagement on YouTube and OTT platforms.
CONCLUSION
Media Management is a dynamic and evolving field. As media platforms and audience preferences grow more complex, the importance of skilled media managers increases. Today, managing a media business is not just about creativity, but also about strategy, business acumen, and digital expertise.
Fundamentals of Management
1. What is Management?
Management is the process of planning, organizing, leading, and controlling resources (like people, money, machines, and time) to achieve specific goals efficiently and effectively. In simple terms: Management is getting things done through people in a structured way to meet desired objectives.
2. Definitions by Experts
Harold Koontz: "Management is the art of getting things done through and with people in formally organized groups."
Peter Drucker: "Management is doing things right; leadership is doing the right things."
3. Characteristics of Management
1. Goal-Oriented: Always aims to achieve objectives (e.g., increasing TRPs for a news channel).
2. Universal: Used in all industries — media, banking, education, hospitals, etc.
3. Intangible: You cannot touch it, but you can feel its impact.
4. Multidisciplinary: Combines economics, psychology, sociology, and statistics.
5. Continuous Process: Ongoing cycle — not a one-time task.
4. Importance of Management in Media Industry
Ensures smooth functioning of production houses, newsrooms, marketing teams, and digital departments.
Helps balance creative freedom with financial discipline.
Necessary for meeting deadlines, managing crises, building audiences, and staying ahead of competitors.
5. Functions of Management (The POSDCORB Model)
These are the core activities every manager performs, often remembered as:
1. Planning
Deciding what to do, how to do it, when and who will do it.
Example: A radio station plans to launch a new morning show – they decide on the concept, time slot, and RJs.
2. Organizing
Arranging people and resources in a structured way to implement the plan.
Example: Assigning a video editor, scriptwriter, and social media manager for a YouTube series.
3. Staffing
Hiring the right people and developing their skills. Example: A media house recruits anchors,
reporters, or graphic designers.
4. Directing
Motivating, influencing, and guiding employees to perform their tasks.
Example: A senior producer mentors a junior reporter on how to cover political news.
5. Controlling
Monitoring performance, comparing it with goals, and taking corrective actions.
Example: Checking if an ad campaign is delivering expected reach; if not, changing the strategy.
POSDCORB = Planning, Organizing, Staffing, Directing, Coordinating, Reporting, Budgeting (coordinating/reporting/budgeting are often included under other functions in modern models).
6. Levels of Management
Management operates at three levels in a typical media organization:
1. Top-level Management: CEO, Editor-in-Chief, Managing Director.
Sets overall goals and policies, makes strategic decisions.
Make strategic decisions like mergers, launching new channels or platforms.
2. Middle-level Management: Department Heads, Bureau Chiefs, Content Heads.
Implements top management policies, coordinates activities, and supervises lower levels.
Convert top-level goals into specific plans for teams.
3. Lower-level / Operational Management: Supervisors, Foremen, sub-editors, team leads.
Directly oversees operational employees, ensures tasks are completed on the ground.
Supervise day-to-day work like editing, scheduling shoots, posting content.
7. Example: Management in a Media House
Let’s say a media company wants to launch a new digital news platform:
Planning: Decide on the content categories — politics, sports, entertainment.
Organizing: Assign roles — who will write, who will shoot videos, who will manage the website.
Staffing: Hire writers, video editors, and SEO experts.
Directing: Guide teams to meet deadlines and create quality content.
Controlling: Monitor website traffic and ad revenue, and revise strategy if results are weak.
8. Conclusion
The fundamentals of management form the backbone of every successful organization, including media. Whether it's a news agency, production company, or YouTube channel — management ensures that resources are used wisely, employees stay productive, and goals are achieved on time. Understanding these basics helps media professionals become better planners, leaders, and decision-makers in a highly competitive and fast-changing industry.
Changing Phases of Media Management
What is Media Management?
Media Management refers to the strategic planning, organization, direction, and control of media enterprises such as television, newspapers, digital platforms, radio stations, advertising agencies, and production houses.
But media management has not remained the same over time — it has evolved with changes in technology, audience behavior, ownership models, and globalization.
Phases of Media Management (Chronological Evolution)
Phase 1: Traditional/Print Era (Before 1950s)
Focus: Print journalism, newspapers, magazines
Media Management Style: Family-run or small private companies
Key Characteristics:
Management was simple and editorial-focused. Editorial independence mattered more than profits.
Revenue came mainly from subscriptions and advertisements.
Decision-making was centralized.
Journalistic ethics and public service were emphasized over profits.
Example: The Times of India (originally founded in 1838) functioned with a strong editorial vision and less corporate influence during early decades
Phase 2: Broadcast Era (1950s–1980s)
Focus: Radio and Television
Media Management Style: Government control or state monopoly (especially in countries like India)
Key Characteristics:
Doordarshan and All India Radio in India were government-run.
Government monopolies controlled broadcast media.
Emphasis on information dissemination, education, public welfare and national building.
Limited channels, so competition was low.
Management was bureaucratic and slow-moving.
Example: Doordarshan was India’s only TV channel till the 1990s, and its programming was managed by civil servants, not media entrepreneurs.
Phase 3: Liberalization and Privatization (1990s)
Focus: Entry of private players, cable TV, and satellite channels
Media Management Style: Corporate, competitive and profit oriented
Key Characteristics:
1991 economic reforms in India led to a media boom.
Private news channels like Zee TV, Aaj Tak, Star Plus, etc. emerged.
Media companies began to function like business enterprises.
Shift from public-interest to TRP-driven content. Advertising and sponsorships became the major
revenue source.
Need for professional media managers grew.
Example: Zee TV was the first Hindi satellite channel in India and marked the start of private media ownership in TV broadcasting.
Phase 4: Digital Take off and Internet Era(2000s–2010s)
Focus: Internet, social media, YouTube
Media Management Style: Tech-savvy, real-time, data-driven, SEO-orientated
Key Characteristics:
Rise of Google, Facebook, YouTube, and later Instagram, Twitter, TikTok.
News and entertainment shifted online.
Traditional media had to adapt to digital or risk becoming irrelevant.
Media houses launched websites and e-papers. 24x7 news cycles, click-based journalism, and
viral marketing emerged.
Management began using analytics, SEO, content strategies.
The audience became producers too (UGC – user-generated content).
Digital Ad revenue outpaced traditional ad revenue.
Example: The Times of India launching its online version and using push notifications for breaking news.
TVF (The Viral Fever) became popular through YouTube.
Phase 5: Integrated, Convergent & Mobile-first Era (2015–Present)
Focus: Platform convergence, smartphones, AI, influencer economy, OTT platform
Media Management Style: Cross-platform, personalized, algorithm-driven
Key Characteristics:
Media brands operate across multiple platforms: web, app, social media, podcasts, etc.
Influencer marketing and content creators became integral to media planning.
Companies invest in AI tools, chatbots, and recommendation engines.
Business models are hybrid: freemium, subscription, paywall, etc.
Emphasis on data privacy, sustainability, and ethics due to regulatory pressure.
Rise of creator economy and micro-entrepreneurs.
Example: Netflix and Amazon Prime use user data to recommend shows.
YouTube creators manage their own channels like businesses — from branding to monetization.
Media companies now hire data analysts and digital strategists along with journalists.
Phase 6: Pandemic driven data shift (2020 onwards)
Focus: Remote production, digital transformation,
Media Management Style: Resilient, tech-dependent, health-conscious
Key Characteristics:
COVID- 19 forced media houses to go digital-first.
Rise in OTT consumption, webinars, and virtual events.
Media workers began working remotely — digital infrastructure became key.
Print media suffered due to distribution issues. Importance of crisis management and mental
health awareness grew.
Example: The Indian Express, Hindustan Times, etc., increased digital content and e-paper promotions during lockdowns.
Companies like Scroll, Quint, and Newslaundry shifted focus to memberships and donations.
Summary of the Phases:
Final Takeaway: Media Management has evolved from simple editorial oversight to a complex mix of business strategy, tech, creativity, and audience analytics. Today’s media managers must be:
Multidisciplinary thinkers
Digitally literate
Data-driven
Adaptable to change
Understanding these changing phases helps us appreciate the dynamic nature of the media world and prepares us to lead it forward.
Challenges and Issues in Media Management
Introduction
Running a media organization — whether a newspaper, news channel, digital portal, or production house — involves managing multiple resources. These include:
Money (Finance)
People (Personnel)
Land/Infrastructure
Machinery/Technology
Time & Content
Each of these areas brings its own set of challenges that media managers must understand and tackle efficiently.
1. Financial Challenges (Money)
Finance is the lifeblood of any media organization. Without adequate funding, even the most creative ideas can’t take off.
Key Issues:
High operating costs (e.g., salaries, licensing, software subscriptions, production costs)
Cash flow problems: Many media startups or digital platforms don’t break even for years.
Lack of investor interest in journalism-based ventures, especially those that are not TRP-driven.
Monetization difficulty: Particularly for digital platforms with free content — hard to convince users to pay for news.: YouTube monetization or Google Ads aren’t always reliable, especially with new policies like demonetizing certain types of content.
Volatile Ad Revenue: Most traditional and digital media firms depend heavily on advertisers. But ad budgets fluctuate due to recessions, elections, or brand boycotts and other market trends.
Subscription Fatigue: With too many platforms, audiences resist paying for multiple subscriptions, affecting paywall-based media outlets.
Non-Profit Journalism Struggles: Investigative portals like The Wire or AltNews often run donation drives but still face funding crunches due to niche content.
Example:
Digital news sites like The Wire or Scroll.in struggle with regular funding and rely on donations/memberships instead of ad revenue.
Managerial Tip:
Smart budgeting, diversified revenue streams (ads, subscriptions, events, branded content), and investor relations are essential.
2. Personnel Challenges (Human Resource/Staffing)
Media is a people-driven industry — journalists, editors, producers, designers, anchors, camera crew, digital marketers, etc., form the backbone.
Key Issues:
High employee turnover: People often switch jobs for better pay or creative freedom.
Workplace stress & burnout: Long hours, deadlines, and emotional toll (especially in newsrooms). Journalists and video editors often pull all-nighters, leading to mental health issues.
Skilled workforce shortage: Especially in emerging areas like data journalism, digital marketing, and podcasting.
Union-related disputes in traditional media (e.g., print, radio).
Gender inequality and harassment cases are still concerns in many media companies. The #MeToo movement exposed many major media houses for mishandling internal complaints.
Burnout Culture: Journalists and video editors often pull all-nighters, leading to mental health issues.
Retaining Talent: Freelancers, influencers, and content creators now offer independent alternatives. Skilled professionals often leave for more creative freedom.
Training Gaps: Traditional media professionals may not be comfortable with digital-first tools like SEO, analytics, or reels.
Employee Morale and Motivation: Pressure of deadlines, low pay, job insecurity, and ethical dilemmas can reduce productivity.
Example:
Many media organizations face backlash for poor treatment of interns or for not addressing internal complaints seriously (#MeToo in Indian media industry).
Managerial Tip:
Future managers need to foster healthy work cultures, encourage skill upskilling , and implement clear HR policies on harassment, pay, and growth.
3. Land and Infrastructure Challenges
Media organizations require physical space for:
Offices
Studios
Printing presses
Recording booths
Broadcasting towers
Key Issues:
High cost of land/real estate , especially in metro cities like Mumbai, Delhi, or Bengaluru.
Space Requirements: Media houses need adequate studio space, production facilities, and office infrastructure.
Licensing and regulatory hurdles in setting up broadcast towers or studios. Permissions for antenna towers or live coverage vans involve legal and municipal clearance.
Maintenance issues for large infrastructure (e.g., old Doordarshan buildings need regular upgrades).
Transition to Remote Work: Managing remote teams reduces reliance on physical land but requires robust IT infrastructure.
Remote work setup post- COVID has led to under-utilized or redundant office spaces.
Technological Infrastructure: High-speed internet, broadcasting towers, and server
infrastructure are essential but costly to set up and maintain.
Example:
During the pandemic, companies like Zee Media shifted to partial remote models, reducing the need for large office spaces, while also worrying about how to use or rent out unused properties.
Managerial Tip:
Use smart space planning — a mix of owned, rented, and remote infrastructure — and invest in mobile production tools like smartphones and portable editing kits.
4. Machinery and Technological Challenges
Modern media heavily depends on machines and technology — from cameras and printing machines to software, servers, and AI tools.
Key Issues:
High cost of advanced equipment (e.g., 4K cameras, drones, OB vans) Professional-grade machinery and software can be prohibitively expensive.
Rapid Technological Changes: Constant updates in cameras, editing software, broadcasting equipment require regular investment.
Frequent tech upgrades are necessary to stay relevant, especially for TV and digital media.
Maintenance and Upgradation: Keeping equipment updated and functional requires ongoing expenses.
Obsolescence: What’s new today becomes outdated tomorrow (e.g., floppy disks, mini-DV tapes).
Cybersecurity threats: Media houses are common targets of hacking and data theft. Protecting digital assets from hacking and piracy demands advanced cybersecurity.
Integration Issues: Coordinating old and new technologies within one organization can be complex.
Adaptation to New Formats: Media must adapt to new platforms such as mobile, OTT, and VR, requiring compatible technology.
Example:
TV news channels need expensive control room tech, editing suites, and real-time graphics software.
Smaller media companies can’t always afford such upgrades, impacting quality and competitiveness.
5. Content and Ethical Challenges
While not a “physical” resource, content is the core product of any media house.
Key Issues:
Fake news and misinformation – harming credibility; Fake News Epidemic: Some portals prioritize speed over verification, risking credibility and lawsuits.
Political pressure – many media houses are accused of being biased due to ownership or advertising influence.
Editorial Independence vs. Owner Bias: Business houses owning media channels may suppress critical stories about allies or advertisers.
Clickbait culture – editorial quality suffers in the race for viral content.“Shocking! You won’t believe what happened next!” works for traffic, but damages long-term trust.
Copyright infringement – media firms may reuse content without permission, leading to legal issues. Copyrighted content being reposted without credit is a legal landmine.
Self-censorship – Avoiding sensitive topics to maintain sponsors or avoid government backlash.
Example:
Some news portals may avoid reporting against certain corporate houses because they are major advertisers.
Managerial Tip: Managers must balance editorial integrity with business goals and create SOPs for fact-checking, verification, and compliance.
6. Audience-Related Challenges
Media companies must constantly adapt to the changing habits of their audience.
Key Issues:
Short attention spans (especially among Gen Z).
Shifting platforms – People now prefer reels, shorts, or OTT over traditional news.
Language and regional diversity – India has hundreds of languages, so one-size content doesn’t work.
Distrust in media – fake news and propaganda have made many viewers skeptical.
Demand for free content – people expect everything on the internet to be free, which hurts monetization.
Example:
Newspapers have lost younger readers to Instagram-based news accounts like The Swaddle, Finshots, or Indiatimes.
7. Regulatory and Legal Challenges
Media is subject to laws, licensing, censorship, and code of conduct.
Key Issues:
Broadcasting licenses and legal permissions are often delayed or denied.
Defamation lawsuits: Media companies must be very cautious in investigative journalism.
IT Rules (2021) in India brought more control over digital content.
Lack of strong regulatory bodies for digital content unlike print (Press Council) or cinema (CBFC).
Example:
The Government of India has asked OTT platforms to submit content to grievance redressal bodies, which has sparked debates about freedom of speech.
Conclusion
Media management is not just about content creation — it’s about smartly handling resources, people, money, space, technology, and ethics. Each of the following brings a unique challenge:
Finance → Budgeting and sustainability
Personnel → Skilled and happy workforce
Land → Real estate and physical infrastructure
Machinery → Tech efficiency and upgrades
Content → Credibility, relevance, and quality
To succeed in the modern media industry, future managers must be adaptable, tech-savvy, ethically aware, and financially smart.
Courtesy:
1st February, 2026: Speaker at the Forum Hall at the 7th edition of the Mathrubhumi International Festival of Letters at Thiruvananthapuram, Kerala organised by Mathrubhumi. The panel was on the topic ‘Notes from Prison’ with Professor (Dr.) Vartika Nanda and Rishiraj Singh (retired DG Prisons, Kerala, IPS) as speakers. The panel was moderated by R Nishanthini (IPS, IG, Police Headquarters). The theme of the festival this year was ‘Paradox of Pace’.
Gratitude: Dr. Venu V, Festival Director and Curator.
Team: Nikitha
Photos: Grace, Vineeth and Abhishek.
The students of Journalism at LSR, Batch of 2028 were assigned to prepare a newsletter comprising two different beats: Crime Beat and Education Beat by Professor (Dr.) Vartika Nanda for the paper: Reporting and Editing for Print on Thursday, January 22nd.
The class was divided into 4 groups with 10 members each and they were given 3 days of time to complete this activity.
She explained that the content should be informative, well-researched and well-organized. The class was divided into four groups with ten students in each group. Two groups were assigned the Crime Beat, while the other two groups worked on the Education Beat.
Students worked collaboratively in their respective groups to complete the assigned tasks. Each group meticulously selected relevant news stories related to their allotted beat. Through this process, students also understood the importance of analysing how a news story is structured and written for a newspaper, especially in relation to Crime and Education beat. s.
This is the assignment that was given to the final year students of Department of Journalism.
Film Review of Do Beegha Zameen.
Students are required to understand the difference between a film review and film appreciation.
DELHI POLICE:
KISSA KHAKI KA एक अनोखी पॉडकास्ट सिरीज़, जहाँ हर एपिसोड सिर्फ़कहानी नहीं एक सच्चा किस्सा है.. इस सफ़र के 4 साल पुरे होने पर इन क़िस्सों के हर किरदार को हार्दिक बधाई!
Vartika Nanda:
Today, we celebrate 4 years of the glorious journey of Kissa Khaki Ka by Delhi Police. My role as the storyteller has enhanced my understanding of this world. Gratitude to everyone.
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A chapter titled- The role of prison radio and storytelling in generative criminology- is written by Heather Anderson, Hayley Boxall and Vartika Nanda for the book titled- Beyond Autoethnography: Lived Experience Criminology, published by Routledge. Pages- 201- 222. Part 4 under the section- Applying Lived Experience. The book is divided into 4 parts.
This chapter has a detailed documentation and analysis of prison radios, with specific reference to Tinka Jail Radio in India, established by Tinka Tinka Foundation.
Gratitude: Dwayne Antojado, Danica Darley, Matthew Maycock,Heather Anderson and Hayley Boxall
Publisher: Routledge
Title: Beyond Autoethnography: Lived Experience Criminology
Year: 2025
Link: Beyond Autoethnography: Lived Experience Criminology। Routledge। Tinka जेल Radio। वर्तिका नन्दा
Kashish and Suchit join digitally to celebrate 5 years of Tinka Jail Radio in Panipat: Voices Behind Bars
When the Tinka Tinka Foundation released its 106th podcast celebrating four years of Panipat Jail Radio, it wasn’t just another broadcast—it was a testament to the transformative power of sound in prison walls. The episode carried echoes of resilience, creativity, and the unbreakable human spirit.
Adding to the celebration, a unique virtual gathering marked five years of Tinka Jail Radio. Two voices—once separated by geography, circumstance, and time—came together in a shared digital space. Kashish, a former inmate of District Jail, Panipat (Haryana), and Dr. Suchit Narang, who was released from District Jail, Dehradun (Uttarakhand) in 2025, had never crossed paths before. Yet, their journeys converged in this moment of reflection and celebration.
Music and Incarnation: The Common Threads
Despite their different backgrounds and timelines, Kashish and Dr. Narang shared two profound similarities:
Incarnation—their lived experience of incarceration shaped their perspectives and gave depth to their voices.
Music—a passion that became both solace and strength during their time behind bars.
Both led teams of radio jockeys in their respective prisons, steering the creative energy of fellow inmates into meaningful broadcasts under the banner of Tinka Jail Radio. Jail Radio proved to be a turning point in their lives. Conceptualised by prison reformer and head of the Department of Journalism at Lady Shri Ram College, Delhi University, Professor Vartika Nanda, her jail radios are silently transforming prison spaces to places of creativity and reform.
A Virtual Reunion of Voices
The virtual meet was more than symbolic—it was a bridge between two worlds that rarely connect. Kashish, who lent his voice to Panipat Jail Radio in 2021, and Dr. Narang, who carried forward the spirit of radio until his release in 2025, spoke of how the initiative gave them identity, dignity, and hope.
Their conversation reflected the larger mission of Tinka Tinka Foundation: to humanize prison life, to amplify voices often silenced, and to remind society that creativity can flourish even in confinement.
Beyond Walls, Into Hearts
The special episode and the five-year celebration together underscored the growing legacy of jail radio in India. What began as an experiment has become a movement—one that connects inmates across states, builds communities of sound, and offers rehabilitation through storytelling and music. Tinka Tinka Foundation has created an exclusive platform for inmates across the country to come together and celebrate.
As Kashish and Dr. Narang’s voices intertwined in the virtual space, listeners were reminded that radio is not just about transmission—it is about transformation.
YouTube: Tinka Jail Radio। Ep 106। Panipat। Haryana's first jail radio। Reformation through mic। Vartika Nanda - YouTube
Blog: Professor Vartika Nanda: Tinka Jail Radio। Ep 106। Panipat। Haryana's first jail radio। Reformation through mic: 5 years today
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An auspicious day today as we complete 5 years of Tinka Jail Radio in Haryana, starting with District Jail, Panipat. This is the most systematic prison radio in India, launched by the jail minister of Haryana on 16th January, 2021. Conceptualised by Tinka Tinka Foundation, these jail radios are especially mentioned in the book- RADIO IN PRISON, published by the National Book Trust India.
In Press: 16 January, 2026: दैनिक ट्रिब्यून: बंदियों का स्ट्रैस घटाने में मददगार साबित हो रहा जेल रेडियो
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youtube video: https://www.youtube.com/watch?v=p5FuO_vduNY
Shoot: 21 December, 2025
It turned out to be another fruitful Sunday. Thank you @ignca_delhi for organising such a wonderful exhibition on the world of advertising. It was an enriching experience. Congrats to the entire team who curated this mesmerising journey. Accolades for Shri Ram Bahadur Rai, Shri Sachidanand Joshi, Anurag Punetha and Iqbal Rizvi ji. I could delve into some almost forgotten images.
(1) Instagram
(1) Instagram
Tinka Tinka Foundation (TTF) is a Public Charitable Trust, registered in 2016 in New Delhi. It is constituted to work for prison reforms by encouraging prison inmates through art, culture, literature, education and journalism, trying to join jails together through Tinka Jail Radio and several other creative pursuits.
Founded by prison reformer and media educator Professor (Dr.) Vartika Nanda - Tinka Tinka Prison Reforms, its objective is to foster positive change, reformation and healing in prisons. TTF aims to become a bridge between prisons and society.
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0.12.2025 को अनुसंधान नेशनल रिसर्च फाउंडेशन (एएनआरएफ), टेक्नोलॉजी भवन, Ministry of Science & Technology, न्यू मेहरोली रोड, नई दिल्ली में "मीडिया और हिंदी" विषय पर राजभाषा कार्यशाला में मुख्य वक्ता.
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एक पूरे पन्ने पर तिनका तिनका
आप शायद उस वर्तिका को नहीं जानते होंगे जो 90 के दशक में अंबाला से शताब्दी में रवाना हुई, दिल्ली पहुंची. IIIMC की प्रवेश परीक्षा में पहला स्थान मिला था. इंटरव्यू भी टॉप किया था और अब दिल्ली स्थाई ठिकाना होने वाला था. बाद के सालों में IIMC में एसोसिएट प्रोफेसर बनी और आज दिल्ली विश्वविद्यालय में प्रोफेसर.
गाड़ी चली तो मेरे पीछे रेलवे का विशालकाय बंगला था, कुछ दिनो पहले अपनी कहानी- सितारों भरा आसमान- के पहले पुरस्कार के मिलने का संतोष था और था- पंजाब के आतंक की भयावह यादें.
मुझे सितारों और डर के बीच खुद को मजबूत करना था. तब टेलीविजन चैनलों की नौकरी, अध्यापन औऱ लेखन के बीच तिनका तिनका का जन्म हुअ.
सुबह अखबार मिले. दैनिक ट्रिब्यून से फोन आया था कि आज पूरे पेज का फीचर तिनका तिनका पर होगा. अखबार खोला. पंजाब, सितारों से भरा आसमान, सपने और इस दुनिया को बेहतर बनाने का संकल्प- कई भाव उमड़ते रहे.
तीन दशक और उस समाचार पत्र से इतना स्नेह. अभिभूत हूं. शुक्रिया Naresh Kaushal सर इस सम्मान के लिए. Arun Naithani जी इस विस्तार से , इस कदर डूब कर तिनका तिनका यात्रा पर लिखने के लिए. मेरे अंदर का छोटा शहर आज फिर से आश्वस्त हुआ. @followers @highlight Dr. Vartika Nanda Tinka Tinka Prison Reforms
आभार उन सबका जिन्होंने मुझ पर भरोसा किया. मेरे अध्यापक, सहकर्मी, छात्र, प्रकाशक, Delhi Police 👮♂️और देश की सभी जेलें.
Links:
- तिनका-तिनका मुहिम से जेलों में बड़े बदलाव - dainiktribuneonline.com
- https://www.youtube.com/shorts/mIKaMTHgirE
- (1) Naresh Kaushal - सलाखों के पीछे रह रहे लोगों की मन: स्थिति और उनके... | Facebook
छोटा करके देखिए जीवन का विस्तार
आंखों भर आकाश है, बांहों भर संसार
निदा फाजली की लिखी यह पंक्तियां उस शख्स पर सटीक बैठती हैं जिनके स्मपण में आज यह भव्य आयोजन किया जा रहा है. IIC के इस सभागार में शंकर संस्कृित प्रतिष्ठान द्वारा आयोजित डॉ. शंकर दयाल सिंह स्मृति समारोह में मैं वर्तिका नन्दा आपका अभिनंदन करती हूं.
सांसद एवं हिन्दी सेवी डा0 शंकर दयाल सिंह जी साहित्य तथा राजनीति के बीच की महत्वपूर्ण कड़ी थे। 1971 ( इकहत्तर) में वे 34 वर्ष की आयु में पहली बार लोकसभा में चुनकर आए और फिर 1989 से जीवनपर्यन्त राज्यसभा के सदस्य रहे। शंकर दयाल सिंह जी को उनकी लिखी चार दर्जन से अधिक पुस्तकों के लिए तो याद किया जाता ही है, गांधी और हिन्दी के प्रति उनकी निष्ठा के लिए भी उन्हें याद किया जाता है। संसदीय राजभाषा समिति के उपाध्यक्ष के तौर पर उनकी सेवाओं को भुला पाना कठिन है।
शंकर संस्कृति प्रतिष्ठान- डॉ0 शंकर दयाल सिंह स्मृति समारोह
27 दिसम्बर 2025 कार्यक्रम
1630 दीप प्रज्ज्वलन एवं स्व0 शंकर दयाल सिंह के चित्र पर माल्यार्पण
(रश्मि के साथ समन्वय करते हुए सभी प्रमुख आमंत्रितों को मंच पर बुलाएं)
1635 सरस्वती वंदना
(रश्मि से पूछकर कलाकार का नाम बताएं)
1640 स्वागत – रचिता रम्या, स्व0 शंकर दयाल सिंह की पौत्री एवं साहित्यकार
(आप कह सकती हैं कि रचिता इस परिवार की चौथी पीढ़ी का प्रतिनिधित्व करती है, जो साहित्य साधना में लगी हैं)
1645 प्रारंभिक उद्बोधन – श्री रामबहादुर राय, अध्यक्ष, इंदिरा गाँधी राष्ट्रीय कला केन्द्र
ऱाष्ट्रीय स्मारकों का संरक्षण और देश का विकास विषय पर प्रस्तुति
1700 विषय प्रवेश – रंजन कुमार सिंह, पत्रकार एवं लेखक (अभी तय नहीं)
1710 प्रस्तुतकर्ता – श्री रतीश नन्दा, निदेशक, आगा खान कला न्यास
22 December, 2025: Brut: Journalist Vartika Nanda went into the narrow lanes of GB Road to understand what life looks like behind closed doors.
Several women recount being misled or betrayed by their lovers or abandoned by their families before arriving there. Many do not reveal their age, and some say they had no option but to live there to make a living.
This story focuses on their living conditions, personal accounts, and the realities behind doors that are rarely opened to the public.
Professor (Dr.) Vartika Nanda is a prison reformer, media educator and media commentator. She is also the recipient of Stree Shakti Puraskar by the President of India, the highest civilian honour for women empowerment in India.
Brut India is the fastest-growing digital video publisher in the country. We're a young, independent platform producing compelling journalism in new formats.
You can also find us here:
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VN Channel: The year was around 1998 when Vartika Nanda visited GB Road fir the first time along with a woman police officer. Come 2025, watch the culmination of experiences take a new shape, with BRUT INDIA covering the reporting of Vartika Nanda. She was accompanied by Kiran Sethi, Sub Inspector in Delhi Police.
Thanks to you Brut!!!
Date of Telecast of the documentary: 22 December, 2025
President of India expressed her emotions on human rights and prison reforms. Attended the national conference.
भारत की राष्ट्रपति द्रोपदी मुर्मू ने आज मानवाधिकार दिवस पर एक सुंदर और सटीक भाषण दिया. उन्होंने सुनने का जो अवसर मिला, वो मन को संतोष से भर गया. अपने उद्बबोधन में वे बीच-बीच में अपने अनुभव पिरोती गईं. सबसे सुंदर उनका यह कहना लगा कि बड़े लोगों को कभी-कभी पीछे मुड़कर भी देखना चाहिए.
वे सहज थीं. सरल भी. लौटते हुए मन आश्वस्त हुआ. राष्ट्रीय मानवाधिकार आयोग को इस सफल आयोजन पर बधाई.
राष्ट्रपति के भाषण को सुनने के बाद आज फिर तिनका तिनका उम्मीद जगी कि शायद यह दुनिया अब कुछ बेहतर हो सकेगी.
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9th December, 2025: PRESS RELEASE: Tinka Tinka India Awards: Celebrating jails on Human Rights Day: 18 inmates receive National Tinka Tinka India Awards on Human Rights Day
18 inmates chosen for Tinka Tinka India Awards, 2025 across three categories: Painting, Special Mention, and Bandini. Out of the 18 inmates, 13 are convicts and 5 are under trials
This year the theme for painting was Music in Jail. Winners in the painting category has 11 men and 2 women
Tapas, a mentally disturbed convict inmate from West Bengal, has won the first prize. He is in jail since 2008
Special Mention Award is given to 4 inmates. Only one inmate has been chosen for Tinka Tinka Bandini Award this year.
Jury members were Arvind Kumar (IPS) Retd, DG Prisons, Madhya Pradesh and Dr. Rashmi Singh (IAS), Secretary, Women & Child Development Ministry, Govt. of NCT, Delhi and Professor Vartika Nanda, founder, Tinka Tinka Foundation (TTF).
More than 200 inmates and 50 jail staffers have received Tinka Tinka India Awards since 2015.
42 year old Tapas Mandal, incarcerated in Central Correctional Home, Berhampur (West Bengal) has bagged first prize in the painting category this year. A farmer, Tapas, is in jail since 2008 and is suffering from mental illness. His powerful artwork celebrates India’s diverse musical heritage through vibrant portraits and classical imagery. At its center, a divine figure symbolizes the unifying and transformative spirit of music. The piece demonstrates how artistic expression can inspire hope, dignity, and connection even in confinement.
Second prize is shared between two inmates. 55 year old Rajanikant Chhitubhai Chauhan, lodged in Lajpore Central Prison, Surat, Gujarat is awarded for his artwork capturing the longing for freedom and the power of music and creativity in jail. Blending symbolic images such as instruments, lotus blooms, doves, and prison, the paintings portray hope emerging from confinement. Chauhan’s compelling visual storytelling earned him the second prize this year, highlighting the profound artistic talent flourishing even in custodial settings. Sher Singh, 37 year old convict serving life imprisonment in Central Jail, Bilaspur (Chhattisgarh) has shared the second prize in the painting category. His sketch portrays a transformative journey in the jail, with inmates engaged in reading and music. A central image of broken chains symbolizes liberation and inner freedom. A memorial plaque honors Dr. A.P.J. Abdul Kalam’s inspirational impact on Sher Singh, who is pursuing creative work during incarceration.
Rohan Pai Dhungat, a convict lodged in Covalam Jail, Goa since 2006 has won the third prize for his painting depicting a solitary inmate sitting on the floor of a dark coloured, confined space appearing like a prison cell. The floor colour pattern, similar to piano keys, with alternate shades of white and black, represents the contrast between freedom and confinement, while a bird perched atop the windowsill suggests the hope to fly free. The distant background outside the window bars symbolizes a city skyline with high rise buildings, indicating a longing for the outside world. While serving his term, Rohan has earned a bachelors degree in English Literature, PG Diploma in Labour and Administrative Law, LLB, LLM, besides PG in Journalism and Mass communication and NGO Mgmt from Goa University.
9 inmates have received consolation prizes this year.
Two inmates from Gujarat are the recipients of consolation prizes. Prajapati Hardik Rajendrabhai, lodged in Central Jail, Ahmedabad, Gujarat since 2018 has received this award. Prajapati has done B.E , B.A, B.COM.
38 year old Dr. Rohit Rameshbhai Lonkar, lodged in Central Jail, Rajkot (Gujarat) has also got the consolation prize. Ph.D in Marine Biology, Rohit holds a bachelor's degree in fine arts too.
Reshma, a 23 year old under trial is lodged in Central Jail, Bilaspur Chhattisgarh. Her drawing depicts women with traditional instruments like the tabla, symbolizing how music fosters peace, expression, and emotional healing. Her painting also highlights the uplifting impact music has on the mental well-being of jail inmates.
Dharmendra, a 33 year old convict in Central Jail, Bhopal (Madhya Pradesh) since 2021, has drawn a picture showing the impact of music on the psychology of inmates.
49 year old Shovan Sarkar, is a lifer in Central Jail, Dum Dum (West Bengal). A graduate, Shovan has drawn a pencil sketch on the theme Music in Jail that depicts the power of music as a form of expression and liberation in the confines of imprisonment. The artwork features a solitary figure meditating, surrounded by musical notes and white birds, symbolizing the freedom that music and inner peace can provide. Through his detailed work, Sarkar conveys a deep message of hope, resilience, and the ability to transcend physical limitations through art and self-expression.
Roshani, an inmate lodged in Central Jail, Hisar (Haryana) is one of the proud recipients of Tinka Tinka India Awards, 2025. Her painting titled "Music in Jail" depicts a woman in a vibrant pink dress playing the violin under a street lamp, with musical notes depicting the flow of music. The peaceful scene contrasts with the harsh reality of a jail setting, suggesting that art and music can bring freedom of expression even in confinement. The scene is framed with soft pastel colors, evoking a sense of calm and hope.
19 year old convict David , lodged in Model Jail, Chandigarh is chosen for his vibrant artwork, which beautifully captures the therapeutic power of music. The piece features a person deeply immersed in playing the guitar, with swirling musical notes emanating from the instrument. He has been in jail since 2023.
44 year old Krishan Kumar, is under trial in District Jail Gautam Budh Nagar, Uttar Pradesh, serving imprisonment along with his wife. His painting highlights the therapeutic role of music in a prison setting. The painting revolves around the role of jail radio and the impact of musical programs on inmates. It underscores how music offers solace, hope, and a sense of home for individuals in confinement.
20 year old convict Aftab Alam, lodged in Central Jail, Jalpaiguri (West Bengal) since 2023 has portrayed a powerful scene of hope and longing in his painting. A prisoner kneels in prayer, gazing at a beam of light breaking through the bars, symbolizing hope for change and freedom. The wall is marked with tallies, indicating the passage of time.
Some of these paintings will adorn the walls of the jail and will be displayed in all their glory. These paintings stand as a true testament to the foundation’s motto: Creating rainbows in jail.
This year 4 inmates are chosen for the special mention award. This award is conferred upon inmates who demonstrate exceptional initiative and contribute meaningfully to the well-being and upliftment of their peers, thereby enriching the collective prison experience. All the four inmates are convicts.
48 years old convict Bitan Das, sentenced for ten years, has spent 7 years in District Prison, Prothrapur, Port Blair. He has consistently demonstrated exceptional talent, skill and dedication in the Jail Workshop, particularly in the craft of cane furniture making, which has significantly enhanced the overall standard of workshop production. He has also contributed towards training and guiding fellow inmates in this craft. His patience, willingness to teach and ability to innovate have motivated other inmates to learn productive skills and engage positively in reformation activities.
34 years old Tukaram Bhai Shankar Bhai Vasava, a convict in District Jail, Rajpipla (Gujarat), is incarcerated for 14 years. He worked with the printing press, agriculture, handloom and the kitchen (Rasoi) of the jail. He is currently working in the tailoring section of the jail , performing repairs and stitching work. He is also assigned to assist the government legal aid lawyer in helping illiterate prisoners with documentation, legal drafting, and preparing legal applications by the District Legal Services Authority, Rajpipla. He has also imparted training in carpentry, welding, painting, and fast-food preparation to other inmates, helping in their rehabilitation and livelihood.
34 year old convict Aaram, is serving a life sentence in Circle Jail, Shivpuri in Madhya Pradesh, since 2022. He volunteered to work in the furniture industry in the jail. After observing his performance, he was entrusted with the task of giving training to other inmates. Due to his efforts, Jail’s furniture industry is now working very well, where inmates are continuously being trained.
36 year old convict Mohan Singh Danu, is one of the most disciplined & value-driven inmates of District Jail, Dehradun, Uttarakhand. He has consistently contributed to uplifting the mental and physical health of prisoners as sports coordinator & physical trainer by imparting physical exercises training and through regular involvement in organizing different sports events for the young inmates. Owing to his efforts, mental health counselling & de-addiction classes have been made compulsory for the new inmates. Danu is a gold medalist in the “National Karate Championship 2019”. He has also been a physical trainer in Lal Bahadur Shastri Academy (LBSNAA) and ITBP Academy Mussoorie. Several inmates got inspired by his way of looking at life and he has gradually become a role model to fellow inmates.
Tinka Tinka Bandini: 38 year old convict Paanbai, lodged in Central Jail, Jablapur (Madhya Pradesh) has been chosen for Tinka Tinka Bandini Award this year. Incarcerated since 2016, she is now a Convict Officer Incharge and works in the cooking section as well. She has devoted herself to the care of women inmates and their children and motivates these inmates to learn different skills to empower themselves.
BACKGROUND: Founded by Professor (Dr.) Vartika Nanda, head, Department of Journalism in Lady Shri Ram College, Delhi University, Tinka Tinka Foundation (TTF) is a Public Charitable Trust, constituted to work for prison reforms. Tinka Tinka India Awards are the solitary awards in India that recognise the talents and contributions of prison inmates and staff. Tinka Tinka Foundation honors every year the creativity and extraordinary work done in jails through these awards. Tinka Tinka Foundation has earned a reputation for creating rainbows in jails through prison radio, podcasts, books and research. It has been mentioned twice in the Limca Book of Records.
YOUTUBE RESULTS:
Website: wwww.tinkatinka.org/ www.vartikananda.com
9 दिसंबर, 2025: प्रेस विज्ञप्ति: राष्ट्रीय तिनका तिनका इंडिया अवार्ड्स: मानवाधिकार दिवस पर जेलों का सम्मान 18 कैदियों को मिला राष्ट्रीय तिनका तिनका इंडिया अवॉर्ड्स
तिनका तिनका इंडिया अवॉर्ड्स 2025 के लिए कुल 18 कैदियों को चुना गया है. इन 18 कैदियों में से 13 सजायाफ्ता हैं और 5 विचाराधीन हैं.
इस साल पेंटिंग कैटेगरी का विषय 'जेल में संगीत' रखा गया था. पेंटिंग कैटेगरी के विजेताओं में 11 पुरुष और 2 महिलाएं हैं. पश्चिम बंगाल के तपस ने पहला पुरस्कार जीता है. तापस मानसिक रूप से परेशान सजायाफ्ता कैदी हैं और 2008 से जेल में हैं.
इस साल जूरी सदस्यों में ये लोग शामिल थे: (सेवानिवृत्त) आईपीएस अरविंद कुमार (डीजी जेल, मध्य प्रदेश), डॉ. रश्मि सिंह (आईएएस), सचिव, महिला एवं बाल विकास मंत्रालय, दिल्ली सरकार और तिनका तिनका फाउंडेशन की संस्थापक प्रोफेसर वर्तिका नन्दा. यह इन सम्मानों का 11वां साल है.
42 वर्षीय तपस मंडल बहरामपुर केंद्रीय सुधार गृह, बहरामपुर (पश्चिम बंगाल) में बंद हैं. उन्होंने इस साल पेंटिंग कैटेगरी में पहला पुरस्कार जीता है. पेशे से किसान तपस मंडल 2008 से जेल में हैं और मानसिक बीमारी से जूझ रहे हैं. उनकी दमदार कलाकृति में जीवंत चित्रों और शास्त्रीय इमेजरी के माध्यम से भारत की विविध संगीत विरासत का जश्न मनाया गया है. इसके केंद्र में एक दिव्य आकृति संगीत की एकजुट करने वाली और परिवर्तनकारी भावना का प्रतीक है. यह कलाकृति दिखाती है कि कैसे कलात्मक अभिव्यक्ति कैद में होने के बावजूद भी आशा, सम्मान और जुड़ाव को प्रेरित कर सकती है.
दूसरा पुरस्कार दो कैदियों बांटा गया है. गुजरात के सूरत की लाजपोर केंद्रीय जेल में बंद 55 साल के रजनीकांत छितुभाई चौहान को जेल के अंदर आजादी की चाहत, संगीत और रचनात्मकता की बदलाव लाने वाली शक्ति को दर्शाने वाली पेंटिंग के लिए चुना गया है. उनकी पेंटिंग में वाद्य यंत्र, कमल के फूल, कबूतर और जेल को मिलाकर दिखाया गया है कि कैसे कैद में होने के बावजूद उम्मीद पैदा होती है.
छत्तीसगढ़ के बिलासपुर केंद्रीय जेल में आजीवन कारावास की सजा काट रहे 37 साल के सजायाफ्ता बंदी शेर सिंह ने भी पेंटिंग कैटेगरी में दूसरा पुरस्कार जीता है. उनके स्केच में जेल के अंदर एक बदलाव लाने वाली यात्रा दिखाई गई है. जहां कैदी पढ़ने और संगीत में लगे हुए हैं. बीच में टूटी हुई जंजीरों की एक मुख्य तस्वीर आजादी और अंदरूनी स्वतंत्रता का प्रतीक है. एक स्मारक पट्टिका डॉ. एपीजे अब्दुल कलाम को उनकी प्रेरणा के तौर पर दिखाती है.
रोहन पाई धुंगट सजायाफ्ता कैदी हैं. वह 2006 से गोवा की कोवलम जेल में बंद हैं. उन्होंने अपनी कलाकृति के लिए पुरस्कार जीता है. जिसमें एक अकेला कैदी अंधेरे में फर्श पर बैठा हुआ दिखाया गया है. यह नजारा सलाखों वाली जेल की कोठरी जैसा दिखता है. फर्श का रंग पैटर्न पियानो की चाबियों जैसा है, जिसमें सफेद और काले रंग के शेड्स एक के बाद एक हैं. यह पैटर्न आजादी और कैद के बीच के अंतर को दिखाता है. जबकि खिड़की की चौखट पर बैठा एक पक्षी आजाद उड़ने की उम्मीद को दिखाता है. खिड़की की सलाखों के बाहर दूर का बैकग्राउंड ऊंची इमारतों वाले शहर के क्षितिज का प्रतीक है. जो बाहर की दुनिया के लिए उनकी लालसा को इंगित करता है. अपनी सजा के दौरान रोहन ने गोवा विश्वविद्यालय से अंग्रेजी साहित्य में स्नातक की डिग्री श्रम और प्रशासनिक कानून में पीजी डिप्लोमा, एलएलबी एलएलएम के साथ-साथ पत्रकारिता और जनसंचार और एनजीओ प्रबंधन में पीजी (स्नातकोत्तर) की डिग्रियां हासिल की हैं.
सांत्वना पुरस्कार: इस साल 9 कैदियों को सांत्वना पुरस्कार मिला है.
1. गुजरात के दो बंदियों को सांत्वना पुरस्कार मिला है. 2018 से अहमदाबाद केंद्रीय जेल में बंद प्रजापति हार्दिक राजेंद्रभाई को यह पुरस्कार मिला है. प्रजापति ने बीई बीए और बीकॉम किया है.
2. 38 साल के डॉ. रोहित रमेशभाई लोनकर, केंद्रीय जेल, राजकोट, गुजरात में बंद हैं, उन्हें भी सांत्वना पुरस्कार मिला है. मरीन बायोलॉजी में पीएचडी कर चुके रोहित ने ललित कला (Fine Arts) में भी बैचलर की डिग्री ली है.
3. रेशमा 23 साल की विचाराधीन कैदी हैं. वह छत्तीसगढ़ की बिलासपुर केंद्रीय जेल में बंद हैं. उनकी ड्रॉइंग में दिखाया गया है कि महिलाएं तबला जैसे पारंपरिक संगीत वाद्यों के साथ संगीत में शामिल हो रही हैं. यह दिखाता है कि संगीत कैसे शांति, अभिव्यक्ति और भावनात्मक उपचार को बढ़ावा देता है. उनकी पेंटिंग में जेल के कैदियों के मानसिक स्वास्थ्य पर संगीत के सकारात्मक प्रभाव को भी उजागर किया गया है.
4. मध्य प्रदेश की केंद्रीय जेल, भोपाल में 2021 से बंदी 33 साल के धर्मेंद्र सजायाफ्ता कैदी हैं. उन्होंने अपनी तस्वीर में कैदियों के मनोविज्ञान पर संगीत का प्रभाव दिखाया है.
5. 49 साल के शोवन सरकार पश्चिम बंगाल की दमदम केंद्रीय जेल में आजीवन कारावास की सजा काट रहे हैं. ग्रेजुएट शोवन ने 'जेल में संगीत' थीम पर एक पेंसिल स्केच बनाया है जो कैद की चारदीवारी में अभिव्यक्ति और स्वतंत्रता के रूप में संगीत की शक्ति को दर्शाता है. इस कलाकृति में संगीत की धुन और सफेद पक्षियों से घिरा एक अकेला व्यक्ति ध्यान करते हुए दिखाया गया है. यह संगीत और आंतरिक शांति से मिलने वाली आजादी का प्रतीक है. अपने इस विस्तृत काम के जरिए सरकार आशा लचीलेपन और कला तथा स्वयं की अभिव्यक्ति से शारीरिक सीमाओं को पार करने की क्षमता का गहरा संदेश देते हैं.
6. रोशनी हरियाणा की हिसार केंद्रीय जेल में बंद एक कैदी हैं. उनकी पेंटिंग का शीर्षक 'जेल में संगीत' है. उसमें एक महिला को एक स्ट्रीट लैंप के नीचे गुलाबी रंग की पोशाक में वायलिन बजाते हुए दिखाया गया है, जिसमें संगीत की धुन बह रही है. यह शांत नजारा जेल के कठिन माहौल के विपरीत है. इस नजारे को हल्के पेस्टल रंगों में सजाया गया है, जो शांति और आशा की भावना पैदा करता है.
7. 19 साल के सजायाफ्ता बंदी डेविड चंडीगढ़ की मॉडल जेल में बंद हैं. उन्हें उनकी जीवंत कलाकृति के लिए चुना गया है जो संगीत की थेराप्यूटिक शक्ति को खूबसूरती से दर्शाती है. इस कलाकृति में एक व्यक्ति गिटार बजाने में पूरी तरह डूबा हुआ है, जिसके वाद्य यंत्र से घुमावदार संगीत की धुनें निकल रही हैं. वह 2023 से जेल में हैं.
8. 44 साल के कृष्ण कुमार उत्तर प्रदेश की गौतम बुद्ध नगर जिला जेल में अपनी पत्नी के साथ विचाराधीन बंदी हैं. उनकी पेंटिंग जेल के माहौल में संगीत की थेराप्यूटिक भूमिका को उजागर करती है. यह पेंटिंग जेल रेडियो की भूमिका और कैदियों पर संगीत कार्यक्रमों के प्रभाव के इर्द-गिर्द घूमती है. यह इस बात पर ज़ोर देती है कि कैसे संगीत कैद में व्यक्तियों के लिए सांत्वना आशा और घर जैसा महसूस कराता है.
9. 20 साल के सजायाफ्ता कैदी आफताब आलम 2023 से पश्चिम बंगाल की जलपाईगुड़ी केंद्रीय जेल में बंद हैं. उन्होंने अपनी पेंटिंग में आशा और लालसा का एक शक्तिशाली नजारा दिखाया है. एक कैदी प्रार्थना की मुद्रा में घुटने टेककर बैठता है और सलाखों से आती रोशनी की किरण को देखता है. यह बदलाव और आजादी की आशा का प्रतीक है.
इनमें से कुछ पेंटिंग जेल की दीवारों की शोभा बढ़ाएंगी और पूरी भव्यता के साथ प्रदर्शित की जाएंगी. ये पेंटिंग फाउंडेशन के मोटो 'जेल में इंद्रधनुष बनाने की कोशिश' की सच्ची गवाही हैं.
विशेष उल्लेख (SPECIAL MENTION): इस साल 4 सजायाफ्ता बंदियों को विशेष उल्लेख पुरस्कार के लिए चुना गया है. यह पुरस्कार उन कैदियों को दिया जाता है जिन्होंने जेल में कोई उल्लेखनीय काम और योगदान दिया हो. सजायाफ्ता हैं.
इस प्रतिष्ठित पुरस्कार के लिए नामांकन संबंधित राज्य के जेल महानिदेशक द्वारा भेजे जाते हैं.
1. 48 साल के सजायाफ्ता दोषी बिटन दास 7 साल से जिला जेल, प्रोथरापुर पोर्ट ब्लेयर में हैं. उन्हें दस साल की सजा सुनाई गई है, उन्होंने उन्होंने जेल कार्यशाला में लगातार असाधारण प्रतिभा कौशल और समर्पण दिखाया है. खास तौर पर बेंत के फर्नीचर बनाने के काम में, जिससे कार्यशाला के उत्पादन का समग्र मानक काफी बढ़ गया है. उन्होंने इस शिल्प में साथी कैदियों को प्रशिक्षण देने और उनका मार्गदर्शन करने में भी योगदान दिया है. उनके सिखाने की इच्छा और नवाचार करने की क्षमता ने अन्य कैदियों को सकारात्मक दिशा की ओर शामिल होने के लिए प्रेरित किया है.
2. 34 साल के तुकाराम भाई शंकर भाई वसावा गुजरात की राजपीपला जिला जेल में सजायाफ्ता कैदी हैं. उन्हें 14 साल की सजा हुई है. उन्होंने जेल की प्रिंटिंग प्रेस खेती हथकरघा और रसोई (किचन) में काम किया है. वह वर्तमान में जेल के सिलाई अनुभाग में काम कर रहे हैं. यहां वह मरम्मत और सिलाई का काम करते हैं. उन्हें राजपीपला की जिला कानूनी सेवा प्राधिकरण द्वारा अशिक्षित कैदियों को दस्तावेजीकरण कानूनी मसौदा तैयार करने और कानूनी आवेदन तैयार करने में मदद करने के लिए सरकारी कानूनी सहायता वकील की सहायता करने का काम भी सौंपा गया है. उन्होंने अन्य कैदियों को बढ़ईगीरी, वेल्डिंग, पेंटिंग और फास्ट फूड बनाने का प्रशिक्षण भी दिया है.
3. 34 साल के कैदी आराम मध्य प्रदेश की शिवपुरी सर्किल जेल में 2022 से आजीवन कारावास की सज़ा काट रहे हैं. उन्होंने जेल में फर्नीचर उद्योग में काम करने की इच्छा जताई. उनके काम को देखने के बाद उन्हें दूसरे कैदियों को प्रशिक्षण देने का काम सौंपा गया. उनके प्रयासों की वजह से जेल का फर्नीचर उद्योग अब बहुत अच्छे से काम कर रहा है, जहां कैदियों को लगातार ट्रेनिंग दी जा रही है.
4. 36 साल के सजायाफ्ता कैदी मोहन सिंह दानु उत्तराखंड की देहरादून जिला जेल के सबसे अनुशासित और मूल्यों को मानने वाले कैदियों में से एक हैं. उन्होंने खेल समन्वयक और फिजिकल ट्रेनर के तौर पर शारीरिक व्यायाम का प्रशिक्षण दिया. साथ ही युवा कैदियों के लिए अलग-अलग खेल कार्यक्रम आयोजित करने में नियमित रूप से शामिल होकर कैदियों के मानसिक और शारीरिक स्वास्थ्य को बेहतर बनाने में लगातार योगदान दिया है. उनके प्रयासों के कारण नए कैदियों के लिए मानसिक स्वास्थ्य परामर्श और नशा मुक्ति कक्षाएं अनिवार्य कर दी गई हैं. दानु नेशनल कराटे चैंपियनशिप 2019 में गोल्ड मेडलिस्ट हैं. वह लाल बहादुर शास्त्री अकादमी (LBSNAA) और आईटीबीपी अकादमी मसूरी में फिजिकल ट्रेनर भी रह चुके हैं. कई कैदी जीवन को देखने के उनके तरीके से प्रेरित हुए हैं और वह धीरे-धीरे साथी कैदियों के लिए एक रोल मॉडल बन गए हैं.
तिनका तिनका बंदिनी अवॉर्ड: 38 साल की सजायाफ्ता कैदी पानबाई मध्य प्रदेश की जबलपुर केंद्रीय जेल में बंद हैं. उन्हें इस साल तिनका तिनका बंदिनी पुरस्कार के लिए चुना गया है. 2016 से कैद पानबाई अब एक दोषी अधिकारी इंचार्ज (Convict Officer Incharge) हैं. खाना पकाने के अनुभाग में भी काम करती हैं. उन्होंने खुद को महिला कैदियों और उनके बच्चों की देखभाल के लिए समर्पित कर दिया है. इन कैदियों को खुद को सशक्त बनाने के लिए अलग-अलग कौशल सीखने के लिए प्रेरित करती हैं.
तिनका तिनका इंडिया अवॉर्ड्स भारत का एकमात्र ऐसा पुरस्कार है जो जेल के बंदियों और कारागार स्टाफ की प्रतिभा और योगदान को सम्मानित करता है। जेल सुधारक प्रोफेसर (डॉ.) वर्तिका नन्दा द्वारा स्थापित तिनका तिनका फाउंडेशन हर वर्ष जेलों में की गई रचनात्मकता और असाधारण कार्यों को पहचानने और सम्मानित करने के लिए इन पुरस्कारों का आयोजन करता है। यह फाउंडेशन जेल रेडियो, पॉडकास्ट, किताबों और शोध कार्यों के माध्यम से जेलों में सकारात्मक बदलाव लाने के लिए जाना जाता है। लिम्का बुक ऑफ रिकॉर्ड्स में इसे दो बार स्थान प्राप्त हो चुका है। प्रोफेसर वर्तिका नन्दा दिल्ली विश्वविद्यालय के लेडी श्रीराम कॉलेज में पत्रकारिता विभाग की प्रमुख हैं. डॉ. नन्दा के काम का उल्लेख 2018 में भारत के सर्वोच्च न्यायालय एक महत्वपूर्ण आदेश में भी किया गया था. ‘भारतीय जेलों में महिला कैदियों और उनके बच्चों की स्थिति और उत्तर प्रदेश के विशेष संदर्भ में उनकी संचार आवश्यकताओं का अध्ययन’ पर उनके शोध को आईसीएसएसआर द्वारा मूल्यांकन कर उसे ‘उत्कृष्ट’ माना गया। तिनका तिनका श्रृंखला की तीन पुस्तकें – तिनका तिनका तिहाड़, तिनका तिनका डासना और तिनका तिनका मध्य प्रदेश भी जेल जीवन पर उत्कृष्ट कृतियों के रूप में पहचानी जाती हैं और कारागार जीवन पर एक प्रामाणिक दस्तावेज हैं।
सार: इस साल तीन कैटेगरी पेंटिंग स्पेशल मेंशन और बंदिनी को मिलाकर कुल 18 विजेताओं को यह पुरस्कार मिला है. पेंटिंग कैटेगरी की थीम- जेल में संगीत थी. इसमें 11 पुरुष और 2 महिलाएं सम्मानित हुए हैं. स्पेशल मेंशन पुरस्कार 4 बंदियों को दिया गया है. तिनका तिनका बंदिनी पुरस्कार के लिए इस साल सिर्फ एक कैदी को चुना गया है. तिनका तिनका फाउंडेशन ने पिछले 10 सालों में पूरे देश से 50 से ज्यादा जेल प्रशासकों और 170 बंदियों को उनके उल्लेखनीय प्योगदान के लिए पुरस्कृत किया है.
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