Annual report 2003-2004 - India Foundation for the Arts
Annual report 2003-2004 - India Foundation for the Arts Annual report 2003-2004 - India Foundation for the Arts
My interest inposedphotographsgoes back tochildhoodexperiences ofsome of themore popular[photographic]practices.There were thestreet photographersin oldDelhi, withtheir boxcameras andblack cloths,ready to createa picture ofyou with yourfavourite star.And therewere thefantasycut-outs infairgrounds, ofEnfieldmobikes andairplanes. I wasequallyintrigued bythe quietnessof old b/wphotoshidden away inalbums, andhow, whenthese albumscame out, eyeswould growbright andstories wouldbe retold.Nishtha Jain
from one Indian language into another, mightbe one of the possible ways of redressing thislack. To further this idea, IFA convened a meetingof artists, critics and writer in Mumbai to takestock of the current state of art criticism inMarathi and Gujarati, and identify criticalliterature in the visual arts in each of these languagesthat might be worth translating into theother, and also literature in other languagesthat needed to be translated into Gujarati andMarathi. Participants discussed how we couldgo about selecting texts before translations arecommissioned and publishers identified.A similar meeting was convened, also inMumbai, to look at museums and art galleriesas possible sites for arts education as well asassess the possibility of adding value to culturalfield visits that schools organise for their students.The meeting was attended by museumadministrators, arts educators, heritage conservationistsand school representatives, andhelped us to identify a core group of peoplewho will turn their attention to creating educationalkits on Indian art that could be used inschools contexts.With support from the Japan FoundationAsia Centre, programme staff visited SoutheastAsian countries in March 2003 to understandthe nature and spread of arts education in theregion. Based on the valuable learning we haveacquired and the new contacts we have establishedin the region, IFA is developing a set ofprojects that would enable organisations workingin the area of arts education in South Asiato connect with their counterparts in SoutheastAsia. The projects under consideration includea school-to-school exchange programme, anout-of-school programme for young adults, anda theatre-in-the-community programme in ruraland urban settings. We are hopeful that TheJapan Foundation will partner IFA in supportingthese initiatives.Theatre DevelopmentIn April 2001, IFA invited selected theatregroups to apply for institution developmentgrants. Our aim was to help these groups toimprove their ability to promote their work inthe media and among potential donors, todevelop audiences and to leverage the marketfor their assets, skills and productions. Thetheatre groups were required to seek theassistance of an external consultant to developand implement their institution developmentplans. Progress that these groups made duringthe institution development phase of workwould be evaluated to determine which amongthem would qualify to receive endowmentgrants from IFA at a later stage.Although seven theatre groups showedinterest in seeking grants for institutionaldevelopment, only one of them—ChennaibasedKoothu-p-pattarai—eventually qualifiedto receive support under the programme. Mostgroups did not pursue their applications oncethey fully understood the programme’schallenges and expectations. IFA has regrettablyconcluded that, by and large, theatre groups inIndia prefer to get by on inspirational leadership,strong motivation and supportive personalnetworks. Theatre directors, long accustomedto operating in a relatively ad hoc manner,appear reluctant to introduce their groups toproper management systems and an open anddemocratic institutional culture.Koothu-p-pattarai (KPP) received a planninggrant to develop a two-year strategy for institutionalgrowth in June 2002 and then a largergrant to implement that strategy in March2003. KPP’s plan was to consolidate andenhance its repertoire of productions; widen itsaudience base in Chennai and gain a followingfor its work elsewhere in Tamil Nadu; engage inpromotional activities and create regular clientsfor its services and products; and generate21
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- Page 6 and 7: IntroductionNissim Ezekiel, the inf
- Page 8 and 9: arts in different Indian languages
- Page 10 and 11: Programme DevelopmentsArts Research
- Page 12 and 13: eastern India. The artist expects t
- Page 14 and 15: 10Some grantees have been more focu
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My interest inposedphotographsgoes back tochildhoodexperiences ofsome of <strong>the</strong>more popular[photographic]practices.There were <strong>the</strong>street photographersin oldDelhi, with<strong>the</strong>ir boxcameras andblack cloths,ready to createa picture ofyou with yourfavourite star.And <strong>the</strong>rewere <strong>the</strong>fantasycut-outs infairgrounds, ofEnfieldmobikes andairplanes. I wasequallyintrigued by<strong>the</strong> quietnessof old b/wphotoshidden away inalbums, andhow, when<strong>the</strong>se albumscame out, eyeswould growbright andstories wouldbe retold.Nishtha Jain
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