A very intriguing question emerged from the discussions around the process of the collage. Even small forms presented in two or three dimensions are very nuanced and layered in the facets that they share information through: material & texture, light and shadow, colour and form. Imagine how complex then is the creation of a space, which, in addition to the qualities enumerated above, also includes the dimension of inhabitation (enveloped by the elements making the space) and time (movement and pause). Such complexity can be overwhelming. Continue reading Emotive Collage
Working continuously online, without even sporadic occasions of sharing space tends to make us take for granted our accountability to the others that we work with. Online we also seem to miss out on opportunities of inspiration and improvisation, which otherwise could be readily available when we witness each other’s processes in person. Continue reading Summarising Phase-1
A significant and ambitious part of understanding the site and context of a design intervention is the mapping of one’s emotional association with various parts of the site. To carry out such a mapping we need to look beyond the transactional aspects of the site and design such as entrance, toilets, offices, cafe and so on. Ascribing only functions to the various areas and locations disregards the human dimension of inhabitation. I categorise inhabitation into the following kinds, which perhaps encompass all states of our being in a space: Solitude – being alone (not necessarily lonely); Intimacy – being with another or in a small group; Congregation – being in a large group. One of the most important realisations following such a mapping of inhabitation is that not only do we acknowledge all that already exists on the site, but it also creates the opportunity of appreciating the existing elements and conditions and accommodating them within the design. Such accommodation is essential to an ecological architecture. Continue reading Mapping Inhabitation
The four sites are essentially public spaces, actual or potential parks, waiting to be appropriated and turned into vibrant places for performance and public engagement. However, all four are very different in their context and character: Ketki’s site is a large redundant square between a multiplex and few office buildings in New Delhi’s Vikaspuri, Mugdha’s is a popular but unattended park in Ahedabad’s university area, Charvi’s is part of a vast manicured terrace garden and Prachi’s site is a park aggregating the backyards of a housing society in Delhi’s Rohini. Continue reading The Site of Intervention
Employing conversations as a vital tool of learning, and addressing the necessity for social engagement, curiosity and questioning oneself and others. If practised with openness, these allow for a faster and robust processing of information and deeper learning.
With no interference from the facilitator, the moderated sessions were self-regulated by the participants. This allows the participants to negotiate, establish and abide by the terms of engagement and navigate inter-relational complexities themselves. The intended outcomes of this independence are autonomy of ideas, courage to participate and a reduction in dependence on validation from authority.
Participants were required to document the process and present evidence of their understanding by posting summaries as a blog on the program website. No deliverable is considered complete without a publication of reflections. Continue reading Context Summaries
This summary comprises two studies: one is a recollection of an earliest experience of theatre or performance and the second is a short research on performances unique to one’s region or community. Both are intended to help participants deliberate on the nature, forms and contexts of performances while retaining a personal focus in the study. Continue reading Theatre & Performance
The first hour of everyday was to be dedicated to drawing, mostly from direct observation of the subject in presence. This exercise has a threefold objective:
1. Centring the body & mind, building hand & eye coordination and beginning the day in quietude
2. Building patience & perseverance in addition to developing visual & spatial representation skills
3. Developing a nuanced understanding of the inhabitants and protagonists of spaces Continue reading Drawing: Visual & Spatial Representation
Perhaps the experience of this program would not be complete without catching the dreadful disease. How can one really talk about creating a place for performance amidst the pandemic without having suffered Covid oneself? The mishap was inevitable and always on the radar. As early as February, when the third wave was ebbing, there was a forecast of the fourth wave coming in around June and July. There couldn’t have been a foolproof way of scheduling the program to avoid a wave or chance infections. We had to work with an intuitive and unspoken preparation of dealing with it, if and when it hit. Neither can I munch on whether I should have been hit earlier or later. Either could have jeopardised the program more than it has now. We have made a decent beginning and completed the first phase; I also managed to initiate some embodied processes for the residency leg of the program. It’s only that about ten days of our in-person engagements have been taken away. So, it seems that the best time for both the good as well as the bad is now. Continue reading Surviving Covid
The four and half months – between approaching IFA with my proposal in August '21 and receiving the wonderful news of their acceptance in January '21 – involved intermittent yet elaborate exchanges with their panel of experts. Responding to the chain of questions, mediated through Program Officer John Xavier, helped me immensely in understanding and articulating what I was embarking upon. Following are excerpts of the said exchange.
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by Siddharth Singh Continue reading Coordinator/ Facilitator’s Preparation