For the development of Correlated Objective Music Education and Training (COMET), a three-year professional music-education programme that uses technology to simplify the teaching and learning of music. The grant will also be used to develop short-term music education courses using COMET methodology, and for promotional and fundraising activities that will make the programme self-sustainable.
For three annual editions of a residency programme for fresh graduates of visual art schools across India, to culminate in three annual exhibitions. Each year, five artists will spend four weeks with an art critic at the Khoj studios in New Delhi, exploring their creativity and engaging with their peers and with senior artists.
For designing and conducting a series of workshops for women survivors of the communal riots in Gujarat in 2002. The workshops, which will build on the artist’s earlier attempts to integrate art, research and activism, are expected to be a model for how the arts might engage intimately with pertinent social concerns.
For reinvigoration of the sufiyana kalam of the mirs of Pugal, Rajasthan. A group of young musicians will be strengthened, the musical repertoire consolidated and performance opportunities created to address the issue of livelihood for the young Sufi performers. A trust will also be set up, run by members of the community, music scholars and enthusiasts, who will take ownership for the initiative.
For preparatory research towards a novel about the caste wars waged by the Nadar community in Tirunelveli and Madurai districts in Tamil Nadu during the 19th and 20th centuries. Based on an examination of archived police, court and other documents of the colonial administration, the novel will transform factual history into an emotionally ‘true’ portrait of these turbulent times in the life of the Nadar community, which in turn fed into the larger Indian struggle for independence.
For research towards a novel on the rise and fall of Carnatic music as a dynamic social form from the mid-1920s to the end of the 1960s. The researcher will consult archival material on the lives of Carnatic musicians and the technical innovations made within the music during this period; interview performers and critics who were associated with this phase of the music; and consult scholars working on Carnatic music. The project will also lead to English translations of selected memoirs written by Carnatic musicians, which will be useful for the novel but can also be more widely disseminated.
For research towards two novels––in Bengali and English––on the journey of a refugee colony to urbanity in post-partition Calcutta. Envisaged as a border-crossing genre, the proposed novels will explore the interface between ethnography, history, memoir and fiction. Dwelling on the texture of the ordinary and familial history to construct an archive of pain, anguish and hope, the novels are expected to challenge nostalgic accounts of the afterlife of the Bengal partition.
For the production of Bishar Blues, a film on the fakirs of Bengal, examining their music and their deeply spiritual everyday life as a living practice of radical syncretism. Bishar, the deviant branch of Islam practised largely by the lower castes, does not sacralise the Shariat, and its history in Bengal is replete with the assimilation of Buddhist, Tantric and Vaishnavite traditions and practices. In a context where Islam is increasingly under attack from different quarters, the film seeks to open up a crucial debate on secularism.
For the editing, designing and printing of Tamasha: Ek Rangadi Gamat, a book in Marathi on the Tamasha folk theatre form. The book––one of the outcomes of an IFA-supported documentation project––will contain about 250 photographs accompanied by text that describes the different forms of Tamasha prevalent in Maharashtra as well as the lifestyles of its performers.
For digital photography and annotation of 5,500 miniature paintings largely from the Jaina traditions of Gujarat and Rajasthan. The paintings, ranging from the seventeenth to the early twentieth century, form an eclectic and unique collection. to facilitate research on the materials. The project will improve scholarly access to the miniature paintings and facilitate preservation of the original materials.
For continuing the implementation of a dance-in-education programme in Bangalore. Movement classes will be conducted in schools and a cadre of dance teachers trained to facilitate the dance-in-education work. Funds will also be used to strengthen the institution’s capacity to sustain this programme through income from other sources.
For arts education groups and professionals in Southeast Asia and India to collaborate on workshops in built heritage, theatre, the visual arts and dance. Apart from facilitating creative exchange and mutual learning, these workshops are expected to help participants to build new methodologies and strengthen their practices in arts education.
For four art historians to identify, edit and annotate critical writing––in Bengali, Malayalam, Gujarati and Marathi respectively––on the visual arts in the first half of the twentieth century. The resulting selections will be published with the aim of reintroducing to a contemporary audience.
For creation of a production on ‘The Hare and Tortoise’, which will combine theatre and shadow puppetry. Through constant improvisations and experiments with the puppets, a script––which also looks at other famous races and a few imagined ones, with characters from Indian epics as also from other cultures––will be further developed and layered. Members of the theatre group will also train under resource persons from various traditional forms to develop the content of the production.
For the making of a film on Surabhi, a 120-year old travelling theatre company from Andhra Pradesh. Envisaged as a journey with the repertory company, the film, titled Mayabazar, will examine the everyday activities of these travelling actors and their families, rehearsals, exercises, the staging of the plays based on the epics and the puranas, the audience, sets, make-up and costume design. The film will also explore the traces of Parsi theatre, silent cinema from the Phalke era and the paintings of Ravi Verma in the design of the theatre company’s sets and costumes.