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OIOP Sep 2018 Vol 22/02 Sep 2018 Patriotism Redefined The Power of Literature know india better Chettinad A wedding and a grand tour The Readers The Indian Story FACE TO FACE A controversial alliance Supreeta Singh Great Indians : Dada J. P. Vaswani | Muthuvel Karunanidhi | Col. Magod Basappa Ravindranath, VRC MORPARIA’S PAGE Contents September 2018 VOL. 22/02 THEME: Morparia’s Page 02 INDIAN literature The Readers 04 Nikhil Katara Managing Editor The case of isolated teaching 06 Mrs. Sucharita R. Hegde Deepti Nair The Indian Story 07 Lakshmi Vishwanath Editor Not a drudge 09 Anuradha Dhareshwar Ketaki Nair Tomorrow is here 11 Vinitha Ramchandani Assistant Editor Multiliteracy is here to stay! 13 E.Vijayalakshmi Rajan Vinitha Ramchandani A controversial alliance 15 Shoma A. Chatterji Design Resurgam Digital LLP Know India Better Chettinad: A wedding and a grand tour 17 Nivedita Louis Subscription In-Charge Nagesh Bangera Face to Face Supreeta Singh 25 Shoma A. Chatterji Advisory Board General Sucharita Hegde Justice S. Radhakrishnan What did Dr. Ambedkar want? 29 Jashwant Mehta Venkat R. Chary Faux nature, fake wildlife? 31 Harshad Sambamurthy A timeless play 33 Prof. Avinash Kohle Printed & Published by Mrs. Sucharita R. Hegde for Book Review: my HANUMAN CHALISA 35 G. Venkatesh One India One People Foundation, Mahalaxmi Chambers, 4th floor, Great Indians 36 22, Bhulabhai Desai Road, Mumbai - 400 026 Tel: 022-2353 4400 Fax: 022-2351 7544 e-mail: [email protected] [email protected] visit us at: DADA J.P. VASWANI MUTHUVEL KARUNANIDHI COL. MAGOD BASAPPA www.oneindiaonepeople.com RAVINDRANATH, VRC www.facebook.com/oneindiaonepeoplefoundation INDIAN LITERATURE The Readers Reading together with a bunch of like-minded people can be a most pleasurable experience. And if such readings are conducted in a dramatic space, then it gets elevated to a whole new level, says Nikhil Katara, the Director-Curator of ‘Readings in the Shed’, an initiative which brings literature and theatre together in a very unique way. Those poems which have touched people’s hearts, but aren’t available on the bestseller racks of a bookstore. It is true that a lot of interesting literature, is not necessarily the most popular literature. Hence, the idea sprung in me to get a few like-minded people to read together. Thus, a small group of people, essentially theatre makers, came together to read plays about seven years ago. Plays were an interest- ing entry point for reading together. Since plays had multi- ple characters, multiple participants could engage in the reading together. The reading would move into discussions about themes, ideas and philosophy of the texts that were being discussed. Somewhere, the readings attracted like-minded people. The group that essentially started with three people, grew to many. People came, some stayed, some left. But what they shared, always stayed. A number of beautiful pieces of literature that stemmed from various parts of the world. Some were from Africa, some were from Norway, some seminal Indian works that I hadn’t heard about, unveiled themselves through random discussions, heated arguments, complex debates and simple conversa- tions. ‘Words from a shared past’: Readings from the Independence Day As the years went by, the readings grew more intensive and we diversified from plays, to short stories, to he ‘Readings in the Shed’ is a project that I undertook essays, to poems, and even a novel that we finished in in the year 2018. It is essentially a performance art (believe it or not) one day. The beauty of reading a story T initiative that focusses on bringing a contemporary or together had its own meaning, and I began to realise that a classical work of literature in the form of a ‘Reading’ and reading in solitude is markedly different from a reading performance format, in small alternative spaces across together. First, a reading together had a performance value Mumbai. The literature chosen is from different parts of the to it, because no matter who the reader was, they would world, written in different times, but are essentially close to always end up, rather peculiarly, reading as if they were on the times we live in, and find resonance in our own life here stage. This was not how people read in solitude. This wasn’t in India. a drama either, because the book in one’s hand limited the amount of movement one can or cannot do. The type of text But why Reading? also affected the quality of this performance. A play was performed differently to a screenplay, and a ballad was Everyone who has ever held a book in their hand performed differently to a sonnet. Every piece of text had a very fondly remembers a quote, a phrase or at least a small unique and rather beautiful dramatic quality to it, which little poem that they engaged with. Words, verse and prose, was a new form of entertainment. Second, the reading have a distinct effect on us as human beings. We romance always and unavoidably led to a discussion, which would the idea of a story and always have some to tell. What is necessarily spiral into many other conversations, some new life, but many stories with introductions, conflicts and works would reveal themselves, some political ideas which resolutions. I was not aware about surfaced, and sometimes just person- al experiences of readers came into the conversation. These This romance with the written word made me readings were a ground where small talk had no place. The contemplate, I wanted to read more, not the run of the mill community led to a group of people who came from all stuff that is being force fed to us through smart publicity, walks of life, their professions did not matter, their thoughts but those books and words that are not readily available. did. 04 ONE INDIA ONE PEOPLE July 2018 The reading in progress Readings in the Shed that cannot only be identified with one or the other. After many years passed an increasing need to share the Now, the question, What is the Shed? texts we have accumulated, arose. To make an even larger A shed is an idea and not a place. A shed can be community of readers, to bring those texts to the masses any structure which is ready to house a reading, ready to that aren’t necessarily well marketed, but are so rich in accommodate readers comfortably, and ready to support content that they cannot be ignored once their words have the experience. The shed keeps moving, and as it moves, reached the ear. So my co-reader, Himali and I set out on the voices reading the text change, and so does the form. the journey to read to a larger audience. The idea of ‘Read- What the shed provides is a ground for like-minded readers ings in the Shed’ was born. Each reading is a new chapter to find a place to read together, and then converse. In the of exploration, where fellow readers journey into the long run we would like to make a community of readers who unknown land of a new conglomeration of words. The first keep going back to the shed to read together, philosophise chapter was a play from Chile, the second chapter was together, and converse together. It also aims to make the short stories by women writers from Pakistan, the third world one large shed of readers, where texts can freely chapter was poems from Poland, and the fourth was travel between countries, and thoughts are exchanged with original writings (developed over four months in collabora- a discussion on the sub text and the context of the literature tion with ‘The Readings in the Shed’ Critique Team) by in question. playwrights from the UK for India’s Independence Day. ‘Readings in the Shed’ is an honest attempt to The Readings in the Shed is a project that not only make the world of literature marry the world of theatre, explores the power of the written word, but also explores the while being witnessed by readers in India, and in the device through which the mind receives this word. Theatre process, revealing texts and reading them in a format one and reading combine to form a third form of entertainment wouldn’t have experienced before. Nikhil Katara initiated his journey as a writer with his own production titled The Unveiling, a science fiction drama in the year 2011. To strengthen critical learning he initiated an MA programme in ‘Philosophy’ at the Mumbai university with optionals in Kant, Greek Hellinistic Philosophy, Feminism, Logic and Existentialism. His play Yatagarasu opened at Prithvi Theatre in 2016. He is a consultant facilitator at J’s paradigm (a novel performance arts institute) and writes book reviews for the Free Press Journal. ONE INDIA ONE PEOPLE July 2018 05 INDIAN LITERATURE The case of isolated teaching Teaching literature in today’s India is a rather challenging task, says a teacher of English literature, Deepti Nair. Rote and mechanical learning, as also other modern distractions, kill the beauty and wonder of literary works. Often, literature is taught in splendid isolation, which also doesn’t help the cause, she rues. Jane Austen allowed us a chance to live in her world, share its joys and anxieties, laugh at its silliness, and chafe at its limitations. Margaret Mitchell didn’t just tell a tale of a headstrong, vain girl and her tumultuous coming of age, but also made us feel the chaos and fear that is experienced when social and political structures are turned on their heads. They wrote about life. They made unseen places real.
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