For a series of intensive and rigorous theatre and puppetry workshops with students, teacher trainees and teachers, with a view to reinforcing and institutionalising theatre arts pedagogy in primary and collegiate education in the Dharwad area.
A 35-day theatre workshop in Akingam village in Kashmir, with the purpose of reviving and revitalising the Bhand Pather theatre form. Performed in open spaces, especially as part of community celebrations, this theatre form has experienced a setback over the last few decades due to the militancy and insurgency in Kashmir. The workshop will reacquaint younger Bhand Pather artists with their legacy.
For a workshop-conference that brings together about 80 folk musicians of western Rajasthan to examine the changes in their music, repertoire and instruments, and discuss questions around the material welfare and dignity of their communities, and articulate their concerns, observations and insights. The findings of the discussions will be put together as a document, which will be circulated among government departments and non-government agencies.
For the photographic documentation and preparation of a full inventory of approximately 1,000 modernist paintings and prints from the late eighteenth century to the late twentieth century in the collection of Rajya Charukala Parishad, Kolkata. INTACH will eventually publish a detailed catalogue and hopes to convince Rajya Charukala Parishad to make its collection available as a permanent exhibition in the public domain.
For supporting a colloquium on ‘Accessing Arts Education: Possibilities and Challenges’. The colloquium will promote dialogue on national-level policy on arts education as articulated by the National Council for Educational Research and Training, debate curricular possibilities and limitations, highlight existing arts education initiatives and reflect on the experience gathered on the ground.
For development of Family Tree, a film installation for public space. Family Tree will explore the psychological consequences of migration, especially loneliness, melancholy and the emotional turbulence caused by life and work in alien surroundings. The installation will attempt to deform the concept of the family tree in order to consider 21st century family lives, which are dynamic and constantly in motion.
For the publication of a book that will highlight Khoj’s contribution to contemporary art practice in India and simultaneously serve as a critical compendium of alternative contemporary art practice of the last decade. The book, with over 200 colour illustrations, will showcase the seminal work of over 80 visual artists, carry lead articles by art critics and sociologists, and feature artists interviewing artists.
For the dissemination of Cotton 56, Polyester 84, a theatre production set in the mill lands of Mumbai. This production is the outcome of an earlier IFA grant and brings to light issues concerning the lives of the mill workers of Girangaon who lost their jobs en masse as a result of the textile strike in Mumbai in the 1980s. To fulfil the play’s artistic and political agenda, twenty performances of the play will be staged for working classes, primarily in Mumbai and other places in Maharashtra, in order to provoke new ideas and perceptions about their own identity and position in today’s world.
For the development of Chronotopia, a dance production inspired by the Tamil epic Silappatikaram, which will explore our struggle to make sense of the rapid changes that often defy conventional notions of space and chronology. Drawing upon the tenets of classical Tamil poetry, the production will develop a non-linear dramaturgy that establishes a connection between the landscape and the emotional and spiritual life of the characters, creating a geography of mind and imagination.
For interdisciplinary workshops involving students of creative writing, film and graphic design towards generating short narratives, a screenplay and a storyboard on the life of Dadasaheb Phalke. The workshops will follow a sequential order, with the short narratives feeding into the writing of a screenplay, which will in turn lead to the creation of the storyboard. These separate outcomes may be independently published and disseminated, while the final storyboard is expected to form the basis of a feature film on Phalke.
For reconstruction of images, texts and video documentation generated during earlier IFA-funded workshops on Dadasaheb Phalke. Five short experimental films, a two-hour documentary film, and the Phalke Factory website will be the outcomes of this project.
For theme-based museum education workshops for junior and middle-school children in eighteen schools in Kolkata. New modules will be developed in accordance with the history syllabus, incorporating the learning from the first phase and extending the pedagogic possibilities of the Indian Museum’s collection. A trust will be set up with the aim of furthering museum education in schools, and potential sponsors will be approached in an effort to diversify funding sources for the initiative.
For the preparation of the manuscripts for a ten-volume encyclopaedia on Bengali theatre (1795-2000). The encyclopaedia will cover plays, playwrights, theatre groups and other visual and textual material that have a bearing on theatre history. In the longer term, the aim is also to create an Internet archive of documents on Bengali theatre.
For the digitisation of 46,000 Bengali little magazines and the preparation of an open-access Internet archive. The project will make this valuable collection more accessible and expand the available resources for researchers. It will also help raise the library’s public profile and connect it to other institutions working with technology to make cultural resources available in the public domain.
For the theatrical adaptation of a twenty four-line Bengali poem, which is based on the Mughal emperor Babur’s prayer for the revival of his sick son and the poet’s own grief over his daughter’s illness, and makes a strong statement against the organised killing of the young, war, terrorism and genocide. The production—imagined as a montage interweaving events from different times and places—will make innovative use of lighting, space design, character movement and a chorus.
