Grant

Centre for Studies in Social Sciences Calcutta

Grant Period: Over two years

For the publication of a book that documents the history of print advertising in the Bengali language, analysing its various forms and modes, and the media through which it was displayed and printed. The book will also catalogue commercial artists and their contribution to text and visual, and the impact of advertising on the material culture of Bengali households and patterns of consumption. In addition, a visual archive of over 3,000 documents will be made available on the Internet to trigger further research in the area.

Urmila Bhirdikar

Grant Period: Over one year and six months

For research into the history of Marathi Farce in the late nineteenth century and early twentieth century. The project will take into the account the social critique implicit in this form of theatre, as well as study female impersonation which was a characteristic of all Marathi theatre of this period. The research will lead to the writing of a monograph, translations of two Farces, and the creation of an archive of documents on the subject.

Arghya Basu

Grant Period: Over two years

For the making of a film exploring the cultural history of Tibetan Buddhism in Sikkim through the sacred dance theatre of Chham. The film will examine this ritual dance as it shapes and is shaped by its religious and cultural contexts, as well as the mutations in its traditional meanings through modernity and education. Titled The Listener’s Tale, the film seeks to be a witness to the contradictions and counter-forces that sustain this ancient art practice, the plurality of meanings it generates, and the active dialogue between the consciousness of the performers of Chham and its spectators.

Taran Khan

Grant Period: Over six months

For an exploration of the manifestation of Sufi thought in the lives of mofussil communities in Awadh and Punjab. The project, undertaken by a writer and a filmmaker, will enable them to approach Sufism through the filter of their different perspectives on contemporary Islam. The written texts, audio recordings and still photographs that emerge will generate material for a video film.

The Biblio Charitable Trust

Grant Period: Over two years

For digitising the archive of a literary magazine in order to maximise its website’s potential to serve as an educational resource and be an avenue for revenue generation. Marketing initiatives that target Indian and foreign universities and institutions are expected to help the magazine to become self-sustainable.

Vasudha Thozhur

Grant Period: Over one year and six months

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.

Khoj International Artists Association

Grant Period: Over three Years

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.

Brhaddhvani

Grant Period: Three Years

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.

Gurvinder Singh

Grant Period: Over two years

For putting in place a multi-pronged process to reinvigorate the bhakti and sufi music of the Punjab. Systematic audio documentation bolstered by an innovative marketing strategy—direct sales by the performers in the rural market and online sales from a website—is expected to economically benefit the performers and expand their audience.

The Seagull Foundation for the Arts

Grant Period: Over five years

For the production of the Seagull Theatre Quarterly (STQ) and the creation of marketing and fundraising capabilities that would enable the journal to become self-supporting over time.

Shubhalakshmi Shukla

Grant Period: Over six months

For identifying indigenous documentation methodologies and translating Malayalam folklore into English. An art historian working closely with a folk group will study the pernicious implications of the caste system on the future of ritual performance. The group will also interact with a similar community based in Chattisgarh.

Trista Madan

Grant Period: Over one year

For conducting theme-based museum education workshops for junior- and middle-school children in eight schools in Kolkata with a view to integrating museum visits with the teaching of history in the classroom. Following preparatory research in the Indian Museum, Kolkata, educational packages and multimedia presentations will be developed as workshop aids.

Collective Research Initiatives Trust

Grant Period: Over three months

For an interdisciplinary workshop, led by an organisation researching Mumbai’s urban culture, to initiate multi-disciplinary collaborations on Mumbai’s industrial history and the Mill Lands in particular. The workshop is expected to catalyse a series of Industrial Museum Workshops and culminate in the setting up of an Industrial Museum Archive.

Nakula Somana

Grant Period: Over six months

For an exploration, by two dancers, of the language of movement through the idioms of contemporary dance and ‘film dance’—dance seen in popular cinema—in order to understand where they intersect and how they differ. The process of collaborative creation of new work would be documented and shared in workshops and other teaching contexts.

Soudhamini

Grant Period: Over six months

For translating a theatre group’s production Brhannala into a film envisaged as a work that will explore the intrinsic differences between theatre and cinema in relation to ideas of space and time. Members of the theatre group, who are used to sharing a physical space with the audience, would be led to re-imagine their roles when they act in the film.

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