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Comparative Aesthetics and Criticism of Contemporary Arts

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Comparative Aesthetics and Criticism of Contemporary Arts r DEPARTMENT OF ART HISTORY & AESTHETICS FACULTY OF FINE ARTS M.S. UNIVERSITY OF BARODA CORDIALLY INVITES YOU TO THE INAUGURAL SESSION OF U. G. C. NATIONAL SEMINAR ON COMPARATIVE AESTHETICS AND CRITICISM OF CONTEMPORARY ARTS KEY NOTE ADDRESS BY DR. (SMT) KAPILA VATSYAYAN MEMBER SECRETARY INDIRA GANDHI NATIONAL CENTRE FOR THE ARTS, NEW DELHI. TO BE PRESIDED BY PROF. V. C. SHAH VICE CHANCELLOR, M.S.U, BARODA WEDNESDAY,2ND JANUARY, 1991, 11.00 A.M. VENUE: GENERAL EDUCATION AUDITORIUM, M.S.U, BARODA SUBSEQUENT SESSIONS AT DEPARTMENT OF ART HISTORY & AESTHETICS PROFESSOR RATAN PARIMOO PROFESSOR V.S. PATEL DEEPAK KANNAL DEAN DR. SHIVAJI PANIKKAR FACULTY OF FINE ARTS (DIRECTORS OF SEMINAR) B,t..R ODA INAUGURAL SESSION WEDNESDAY. 2nd JAN. 1991 , 11 a.m. To be Presided by Professor V. C. Shah Vice Chancellor, M. S. University of Baroda. 1. Welcome by Prof. V. S. Patel Dean, Faculty of Fine Arts, M. S. U. Baroda. 2. Introduction of the Seminar, Prof. Ratan Pari moo. Director of the Seminar and Head, Dept. of Art History & Aesthetics. 3. Information regarding the Alumni Gathering on the occasion of 25th Anniversary of the Department - Smt. Aruna RathQd Lecturer, Dept. of Art History & Aesthetics. 4. Interrelation of Indian Arts, Lecture under Tagore Chair in Humanities Lecture Series as the Keynote Address Dr. (Mrs.) Kapila Vatsyayan. 5. Address by Prof. V. C. Shah, Vice - Chancellor, M. S. U. Baroda. 6. Vote of Thanks by Shri Deepak Kannal, Reader, Dept. of Art History & Aesthetics. 1 p.m. - 2 p.m. Lunch Break SESSION II 2.30 p.m. to 5.30 p.m. 1. Dr. Kapila Vatsyayan Interrelation of Indian Arts 2. Dr. Thomas Pantham Impact of British Colonial Rule in M. S. U. Baroda. India 3. Dr. Sudhir ~handra Impact of British Colonial Rule in Surat India 4. Prof. Kulbhushan Jain Modernity in Indian Architectl!re School of Architecture Ahemadabad. 5. Prof. Praful Kar New Historicism and M. S. U. Baroda. The Old Problem : Will the new Historicism provide an alt~rnat iv e to deconstruction. 6.30 p.m. MOHINI ATTAM PERFORMANCE, by Bharati Shivaji and Kala Ghanashyam ' Venue - General Education Auditorium 8.30 p.m. Dinner time SESSION III THURSDAY 3rd JAN, 1991 9 a.m. - 12.30 a.m. 1. Prof. Dinesh Mahulkar Logistics and Aesthetics Institute of Advance . Studies, Simla 2. Prof. G. P. Deshpanday Dialectics of Defeat J. N. U. , New Delhi 3. Smt. Geeta Kapoor A set of Theses on the Place of Art Critic, New Delhi Modern in Indian Cultural Practice 4. Dr. Ranjitsingh Rangila Art Object and Aesthetic Leap Centrallnst. of Indian Languages, Mysore 5. Dr. Smt. Rekha Jhanji Viablity of Comparative Punjab Uni, Chandigarh Aesthetics 6. Dr. Nitin Gupte Frankfurt School of Criticism M. S. U. Baroda 7. Dr. Alexander Henn Impact of Britisr. Colonial Rule in Heidelberg, Germany India Lunch Break - 1. p.m. - 2 p.m. SESSION IV 2.30 p.m. to 5.30 p.m. 1. Dr. Kapila Vatsyayan Interrelation of Indian Arts 2. Smt. Chandralekha . Innovations in Dance Choreographer, Madras 3. Smt. Bharati Shivaji Enriching Mohiniattam Repertoire Dancer, New Delhi 4. Dr. Sunil Kothari Innovation in Classical Indian Calcutta Dance An Overview 5. Shri P. K. Nair Organization of Time and National Film Archives space in Indian Film Song Pune Picturization a.30 p.rn. Screening of Ritvik Ghatak's 'Subarnarekha' Auditorium, Faculty of Fine Arts 8.30 p.m. Dinner time SESSION V FRIDAY 4th JAt ', 19;1 4't 9 a.m. to 12.:30 a.m 1. Shri :( N. P2.n ik;::.;; Rhythm and its Application Trivand n..: m 2. Dr. Ashok Ranade Contemporary Ao::;thetics and . N. C. P.,A, ~om bay Criticism : P ~rfo r minQ Arts 3. · Dr. \ ,- <.: ) 8hagwat Form and Content of Khyal Bor:,"ay 4. Dr. {S; nt.l Premlata Sharma Relevance of Rasa B. H. LJ Varanasi Theory far Contemporary arts with special reference to • Music . 5. P of. A. N. Mishra Form and its Concept Jiwaji ·Uni. Gwalior in ancient texts Lunch Break - 1 p.m. to 2 p.m. SESSION VI 2.30 p.m. to 5.30 p.m. 1. Smt. Gayatri Chatterii Ritvik Ghatak's Subarnarekha National Film Archi'.Jes, Pune 2, Prof. Satish Bahadur Aspects of Film F. T. I. I, Pune 3. Shri Hasmukh Baradi Dramatic space Performing Garage Theatre, and mass media art Ahmedabad 4. Dr. C!landrabhanu Patnayak Manipulations in the Trailor I G N Q U, New Delhi 5. Dr. Sanatkumar Vyas Loka Kalaka Natakomen S. P. Uni. Vallabh Prayog (Hindi) Vi dyanagar 6.30 p.m. LlLAVATI, Choreographed by Chandralekha General Education Auditorium 8.30 p.rn. Dinner time SESSION VII SATURDAY 5th JAN, 1991 9 a.m. to 12.30 p.m. 1. Dr. Ranjitsingh Bajwa Critical Theory and Aesthetic G N 0 Uni. objectivization in Folk Theatre Amritsar case study of Ras Lila Performance in Punjab 2. Shri Samik Bandyopadhyay Problems of Reading Calcutta Indian Theatre 3. Dr. Parminder Singh On Rajarao G N 0 Uni. Amritsar 4. Dr. Ganesh Devi The function of Criticism M. S. U. Baroda An Indian perspective 5. Shri Deepak Kannal Dalit Literature in Marathi M. S. U. Baroda An extension of Indian Romanticism? 6. Shri Narayanan Modern Kannada Novel Central lnst. of Indian Languages, Mysore 7. Dr. (Smt.) Urmi Kessar The Climate of Thought Punjab Uni. Critical Aesthetic writing in Chandigarh Pre-Independence India Lunch Break - 1 p.m to 2 p.m. SESSION VIII (Concluding Session) 2.30 p.m. to 5.30 p.m. 1. Shri Sandeep Sarkar Critique of Critical Criterion Art Critic, Calcutta 2. Dr. Shivaji Panikkar Indian Radical Painters & M. S. U. Baroda Sculptors Association - Prob­ lems of Political Art 3. Prof. Ratan Pari moo Material for the study of style, M. S. U. Baroda Narratology and Semiotics, from Sanskrit Literature and their Relevance for Pictorial Arts 4. Dr. (S mt.) Vaijayanti A Re-interpretation of the Navangule Vishnudharamottara M. S. U. Baroda Adhyay.a-41 Concluding Discussions 6.00 Alumni Association Meeting (Art History/Art Criticism) U. G. C. National Seminar On 'Comparative Aesthetics and Criticism of the Contemporary Arts' (Sister Arts in the Contemporary Context) from January 2nd to 5th, 1991 . OBJECTIVE AND SCOPE To mark the 25th year of its growth and development, the Department of Art History & Aesthetics, which has been recog­ nised by the U. G. C. under the DSA Programme since 1987, has planned to hold a National Seminar on Comparative Aesthetics and Criticism of the Contemporary Arts, during January 1991. The objective of this seminar is to bring together for the first time in a common forum, art historians, art critics, literary, film and theatre critics, including some of the intellectually ~inded practitioners of these arts, Sanskrit scholars of aesthetics, philosophers and sociologists, who have been observing documenting and assessing the contemporary manifestations in the various art expressions in varied media, in our country. The purpose is to realise together the manner the various art expressions have been reviving, developing and expanding, in India during the twentieth century and the perception of these by the respective critics and some distinguished practitioners. This will enable a well-studied idea of what has been happening rather than some piecemeal and confused documentation, of the mod­ ern creative genius enfolding in India, the new contemporary culture in the process of evolution and making. However, the accent will not be essentially historical, i. e., . the chronological/historica l, sequences of generations of practis­ ing artists, but rather keeping in view the above information, how the development should be critically grasped. It will be an analytical approach to assess the role of the revival of traditional heritage and forms at whatever degree and level, which was undertaken as a challenge to earlier western influence, which was less sensitive to the traditional forms. Interestingly, there has been another phase of western influence which is still going on, which is a combination of new values as well as a new perception of the now evident rich traditional forms also inspiring their relevance for contemporary creative experimentation. Concurrently, new critical concepts and view points have been developing in the western countries in relation to the new modes of art manifestations in film, theatre and the literary media. Consciously or unconsciously, current Indian critical scene is also showing awareness of these, which often are amazingly relevant even for the analyses of the traditional forms of Indian . theatre or dance or literature. Curiously, even traditional Indian theories seem to have relevance for interpreting modern experi­ mentation, including the post modernist persuits. Thus another objective of the seminar would be concerning . the wide range of cr:tical theories, both tradit!onallndian as well as modern western , and how and if' whict] context these serve as enlightening critical tools, even strtJct<.J ralism and semiotics. To sum up, our attempt will ,be to assess the Indian critical scene vis-a-vis the wide range of contemporary art expression­ how is the critical apparatus and process responding to the present day art practices and if it is adequately doing so. The seminar is also visu~lised as an interdisciplinary exercise at two levels. At one level all the creative art media are : e pre s ent~d including practitioners and critics from university d e p~'lt m8 nts and from amorg those who are professional free-lancers. At another level, besides the critics and artists, we expect some sociologists, philosophers and S3nsk;it aestheticians amc1g the participants. It will be a learning process for both rna sides ana ,herefore the artist and critic participan:s of the different art media, (lOWSO­ ever eminent and busy, are expected to stay together for all tne four days of the seminar so that there can be fruitful deliberations and interactions.
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