Braveheart

By Suchita Mundhra

They should stand with their head held high and be felicitated for winning the battle of life.

This is what the subtext of Mansi Saraf’s public art installation at The Times of India Kala Ghoda Arts Festival, 2010 carried. She is not a regular artist and her installation comes as a part of her keen observation of the life around. Child Labour, is not a new problem and this is surely not the first time that an artist has tried to create awareness about this societal problem.

A multi layered installation that highlights not only the growing concerns about child labour but also the idea of how textiles are traditionally perceived .Mansi, a final year student of BFA Textile Designing in Sir. JJ College of Fine Arts wanted to make a small step towards giving textiles a different feel. Mansi says ‘that textiles are usually associated with opulence and are becoming more and more commercialised. We tend to be forgetting our roots. My aim was to adhere to the basics and obliterate ornamentation.’ The use of soiled ganjees, with medals pinned, looked paradoxical. Was it a mockery on the medals rewarded by the government or sarcasm to their plight and condition of the children? These are the manifold connotations that can be drawn out of the installation. The use of the ganjees as the object appears to be a forthright approach to the thought yet at another level it shows the bare minimum that these kids possess.

The flip side of the ganjees used three different thoughts all connected to childhood dreams and living. One of them had cartoon characters which are definitely not restricted to any age yet children are the ardent followers. The second ganjee had letters of the alphabet printed on them, to depict literacy and the need for education. These kids do have the desire to study but due to their limited means and resources, does not sustain. They need to run around to make a living for themselves and survival to them is more important than education. Because if they do not survive then how would learning A – Z be of any help. The third ganjee had a quilt which keeps a person warm. These kids who have been separated from their parents or do not get the affection from their family, yearn for warmth, maybe the artificial warmth that a quilt can provide. They yearn for the warmth that only a mother can give them. The artist has juxtaposed the existent with the non-existent. What the outer world sees are their soiled clothes but what lies within is hardly noticeable. The inner part of the ganjees is more vibrant and shows the missing shades in the life of these kids. The thing that really stands out is the shiny medals adorning the ganjees.

At different layers the installation juxtaposes the missing factors in their lives. The soiled shoes, tattered bags are all elements put together that give it coherence. The installation has a subtle appeal and puts the message across in a mild manner and it does not shout to make a statement. When asked Smriti, a second year student of Sophia College, Mumbai she had a different take and way looking at these public installations, ‘ I think most artists use such issues to make a mark and I think child labour is an over-used ‘subject’ now (she insisted on putting quotes as the cause has merely become a subject).’

It was a self exploration by the artist and the clarity of thought is worth mentioning. Such installations definitely give any artist to broaden the horizon and work collectively with the masses.

Penning food

Penning food
'Penning food‘An interactive session discussing how food could be perceived other than on plate; with a panel of food writers and the food lover audience, lets read what is food writing all about’

8th February 2010-02-09
By, Dhwani Dalal

Food, something that triggers all five senses, hardly means something more than to be eaten and a subject that is static merely to those who cook or rather who have too cook; is mostly ignored when perceived from the eater’s point of view and the most ignored genre of all - ‘food writers’. The Kalaghoda Festivity took the initiative to unbolt those secrets behind the tempting stories and the storytellers; underneath the skin. A panel discussion with columnist Vikram Doctor from Economic Times, Nilanjana Roy, Shoba Narayana writer in Gourmet and New York times and Rushima Ghidiyal an active food blog writer and a freelancer to discuss the current scenario of food writing and issues in today’s world, was held in the David Sasoon library garden of Colaba followed by the literature event organizers of Kalaghoda festival.

Many of the issues in food writing are generated by misconceptions of readers. Our attempts to read about food are always governed by reading only the books which have recipes; the essence of food culture goes beyond it which is again not only writing about the trend, style or review of a new restaurant in the town but how the food comes to our plate bringing the culture and tradition along with the palate. A recent attempt by a group of Palanpuri Jain assisted by Dr. Satyavati Zaveri to write about food beyond the recipe. Delicacies from Palanpuri Jain food culture were compiled together and named ‘Dadima no varso’ which is a chunky book that talks about the traditional recipes, atypical ingredients, methods of cooking and the community that owns this food heritage. The fresh element of this book is it’s deemphasizing the recipe. The book aims to safeguard the vanishing practice and flavors of Palanpuri dishes. The book sets an example for one to look at the various dimensions of food writing. Many times things get obscured; the list of ingredients that are disappearing, the extraordinary culinary techniques never documented; are the issues one should look into to remain connected with one’s roots.

Now, for such research and writing; despite of the skill one has to simply be passionate about the food. “You can write even if you are not a trained journalist but you have to be a food lover certainly,” says the editor of the ‘Upper Crust’ magazine, Farzana Contractor. As an experienced person in the field of food journalism, Farzana feels a little disappointed where the food writings are seen limited to the recipe, garnishing and decorations. She points out, “food should look the way it is; the Indian cuisine is great in taste but not in looks”. Her objection for decorative food images are for the demoralisation of the readers when they cook the same recipe at home which turns out unappealing visually. The writer is expected to think above all these elements and a have a keen observation power to write about food. Shoba’s take on ‘Ambica Appalam’ store is an article that covers the availability of special ingredients and the economics of food; touching on such hidden aspects is a sign of a vibrant writer. In discussion, the cognoscenti highlighted many flaws in present food journalism; such as personal views of the writer and assemblage recipes that belong to a family; resulting in vague vision of this subject.

Rushima came up with one of the problems regarding the little promotion of Indian cuisine books compared to overseas cuisine books. The publishing houses are not willing to publish a book that talks about our food culture, so the need for self publication arises. This is becoming a hurdle for writers. Gentlemen from the audience offered to sponsor a book which could cover the Indian traditional foods; the reason behind his thought being to carry the legacy of traditional cuisine to his grand children who are limited by fast food habits and malnutrition. Some publications are suffering the absence of dedicated food editors; more or less the subject has been of low importance due to the lack of efforts.The discussion had to end due to the time constraint; though lot of questions were left unanswered, but it surely raised question to the audience, writers to realize the loss we suffer in understanding our people and culture connected to our own food.

ENDS

SHOTS by Mumbai Police

“The hand that holds the gun, can also paint the world.” The proverb is slightly twisted but it serves the same purpose. The only difference is, it talks about Mumbai Police officers and not mothers! Kala Ghoda Festival in Mumbai shows the lighter side of these police officers. Among the various stalls that sell various art, craft and handicraft items, one of the stalls belong to the artists from the Mumbai Police. The stall was refreshing and pleasant change of image of the otherwise strict police force.

Policemen are generally known as people who are strict and severe and hardly have any interest in arts. In Mumbai, the police department is more than happy to show the world their other side. A few policemen and constables have displayed their painting and photography skills. The works are simply marvellous. Especially the photographs taken by a constable called Sanket Rathod.

Sanket’s hobby is photography. He clicks whenever and wherever he can. Camera has become an inseparable part of him. Whether on vacations or even at times on duty, he does not miss to capture the important event taking place around him. He has technically never taken any training for photography but the way he captures all the minute details in his camera, make his works no less than a professional photographer.

One of his works depicts an officer fighting against the terrorists on the fateful 26/11 incident. The picture has got Taj Hotel as its backdrop. The photo does not show the plight of people or how cruel the terrorists were. It rather shows the bravery and courage with which the National forces fought back. The other photos are more on the picturesque landscapes of Himalaya’s.

Mr. Shinde, a police inspector, who helps customers on the stall displaying the artefacts, was very happy about this activity. He said, “Even we (policemen) have other hobbies and talents. Festivals like this provide us a chance to show this creative side of ours. Otherwise we are seen as the least creative species on earth!” When asked about Sanket Rathod’s photography, he said, “Sanket is very talented. Especially when he captures human emotions, his picture conveys a lot more than what words can say.”

Anyone who sees the stall will agree with what Mr. Shinde says for Sanket. Miss Rohini was one of them. Rohini bought one of the photographs captured by Sanket’s camera. She said, “Sanket has done a great job and I bought this Taj Attack photograph, as a tribute to all the brave police officers who strive so hard to ensure our safety.” “We should encourage them by buying more paintings and photographs, so that next time the number of artistic policemen increases.” She added with a wink.

Thus, the Kala Ghoda is not only a platform for budding artists to show their talent, but it also has helped to discover the creative side of these stern looking police officers. Next year, we hope that there will be more number of policemen turning up to showcase their talents. Overall this whole exhibit juxtaposes the image of supposedly insensitive police officers.

Mannat-'k'not a wish

By Suchita Mundhra

Where artists are taking up causes like global warming, child labour, harmful effects of pollution as areas of exploration in their Public Art Installation, three Pune based artists Ulhas Kagde, Vaishali Kagde and Snehal Chordia strike a chord with the viewers through their installation. The artists have displayed their work in The Times of India Kala Ghoda Arts Festival in Mumbai. Their art explores the realm of spirituality and the age old beliefs that has become a part of Hindu worship since ages. ‘Mannat’, which is the vernacular word for wish is associated with desires that can be fulfilled with divine help.

The installation is in into two parts, the first dealings with spirituality and the second using common beliefs practised by people. A bell or ‘ghanta’ which is used during Indian poojas at temples was suspended from a tree branch. This huge bell with a tainted with copper hue acted as an umbrella to the other smaller bells painted in different colours. It is a common belief shared by most Hindus that the ringing of the bell produces an auspicious sound that invokes the Gods. The use of dull copper hue gave the bell a look reminiscent of old temples. The second part of the installation had a rack with threads tied on it. The knot represented the fulfillment of desires which is a common India belief. In a lot of pilgrim places in India this is practised with a great amount of devotion.

When asked Vaishali Kagde, one of the artists about the choice of this subject, she instantly replied ‘my keen interest in spirituality and the belief in the traditional practices shaped my thoughts in this direction. When I expressed this idea to two of my other friends their opinions echoed my voice and I thought that I found the right people to put these thoughts together. The choice of using newspapers to make the bells was a unanimous decision made by the artists.

Though, both parts of the installation individually carried a thought, there appeared tobe a lack of coherence. A thin line divides the two; tradition and belief and the installation also did not quite distinguish or define it well. The special mention of the sound of the bell associated with auspiciousness muted the installation because of the lack of any sound. Visually the bell looked appealing yet there was scope for further exploration in the medium. Amol Patil, a practising artist from Rachna Sansad Academy of Fine Arts and Craft, Mumbai felt that it was ‘conceptually unclear and the use of the newspaper to make the bells showed lack of innovation. Though the use of bright coloured bells gave it a mystic effect, yet there was scope for further improvement.’

‘K’not a wish, the subtext that the installation carried left some viewers baffled and disappointed too. Speaking to Sunidha, a homemaker says, ‘I liked the concept of the bell and the threads. However, as it said that one can tie a thread, I felt that it is real. But anyway, I could not find the thread. A few other people gave similar reactions as the art did not seem to capture and bring out the essence of the practise that has been taking place since ages.

The Economics of Short Film Making in India

By Lissa Chazot

The Kala Ghoda Festival 2010 has a dedicated team of experts who have shortlisted a list of films that will be screened in different areas of the Kala Ghoda Art District. An emerging trend in India which can be felt at the art festival is the increasing presence of short films and documentaries which in recent times have had a spurt of growth. On the 8^th, 10^th and the 14^th February 2010, a short film club called Shamiana will be screening shorts from across the county to a medley of people who throng the area to dabble in the experience of art that comes alive during the festival. The founder of Shamiana, Cyrus Dastur was happy to announce the screening of films from Ahmedabad- Ahmedabad Promenade, Live Wire and Rahim. Many professionals, producers and distributors are beginning to take interest in the emergence of short films and documentaries, as a medium of expression. Although this trend is still at its nascent stage, a panel discussion was conducted near the Kala Ghoda precinct, at the NCPA on 7^th February 2010 to inform the junta and the press about existing platforms of alternative cinema available which are not mainstream cinema. The panelists were Niko Nicolaidis, Rada Secic, Cyrus Dastur, Gargi Sen, Kuldeep Sinha and Raji Barjatya.

In order to understand the surge in interest in film making, it is important to consider the impact of the advent of decreased cognitive and financial cost of film making, the mobile and internet revolution and the increasing presence of the young generation in India. For example, many mobile phones are equipped with a camera making it easy and to experiment. Moreover, as Nicolaidis mentioned, “there is a proliferation of film festivals” and film clubs. Barjatya on the other hand emphasized the role of the internet, “3G connectivity is available in the market for users but as of now mobile phones can only screen films under three minutes, the touch screen has however increased the scope of mobile screening manifold.” Whatever be the reason why people are turning to filmmaking, be it for sales, due to passion or just to communicate, film making remains an expensive medium of communication.

Given the production cost of making a film, the question ‘How to bring about a model to ensure a sustainable and economically viable option to continue making more films?’ was explored and discussed by the panelists, citing examples from their own experience. Secic mentioned the financial and intellectual support lent by the Government of Holland to established as well as aspiring filmmakers. Barjatya added that “online viewing needed to be considered seriously as it has the capacity to bring in a paradigmatic shift in the way people view and consume films’, his efforts to provide video streaming of Bollywood films not only helps increase the viewership base but is also a good revenue model for the film makers and the distributers. This was strongly countered by some of the panelists present and the audience as well. Nicolaidis believed that viewing a film alone, online is not an authentic cinematic experience, while Sen believed that ‘documentaries have their own audience and need a dedicated platform to be able to remain sustainable.” But who do you screen for and where do you screen the short films? The answers are diverse and fast evolving.

Giving feedback about the panel discussion, Mr. B.B. Nagpal, a noted journalist who was present in the audience felt that although the learnt a lot, “there was no collaboration between the panelists and/or the audience”, restricting the impact of such forums. Pinaki Chatterji, an upcoming producer who was present in the audience however felt that the forum was very encouraging as it provided a platform for networking and was very informative as it “showcased the business side of the filmmaking business of documentary filmmaking which is fast emerging and has an international future.”

Between Shamiana screening films with an enviable flexibility, Magic Lantern bringing documentaries to the rural areas of India and Rajshree.com infusing the taste for shorts through video streaming, the opportunities are almost endless. Yet documentary film makers find it difficult to have theatrical releases and financial support. This is in part due to the fact that film makers still need to create and market. But with film festivals, online platforms, archiving and libraries of universities interested in the good quality short films being made, the scope and the sustainability of this trend remains unanswered but there are positive indications that hint towards a continued zest for short filmmaking.