SAARC ART March 2017 Issue No. 3 I

Editorial Board Director: Mr. Wasanthe Kotuwella Deputy Director (Programmes): Mrs. Kishani Jayasinghe - Wijayasekara Culture Specialist: Dr. Lopamudra Maitra Bajpai Programme Officer: Mr. Karma T. Wangchuk IT: Ishan Amaraweera Designed by: Prem Dissanayake - FASTads Printed by: FASTprintery (Pvt) Ltd

SAARC Art - Issue 3, 2017, March SAARC ART March 2017 Issue No. 3 1

Message from the Director

t gives me great pleasure to of Painting was organised by Iannounce the publication of the SAARC Cultural Centre in the third issue of SAARC Art collaboration with Department Magazine from SAARC Cultural of Cultural Affairs, Ministry Centre (SCC). of Internal Affairs, Wayamba Development and Cultural Across the year 2016- the SAARC Affairs, Sri Lanka from October Cultural Centre witnessed several 2 to 6 at the Ape Gama premises events and programmes. The Battaramulla, Sri Lanka. This Centre successfully celebrated exhibition was to honour the International Women’s Day on occasion of Gandhi Jayanti being March 8 in collaboration with observed as World Non-Violence the Indian Cultural Centre with Day and more than 900 paintings performance of the play- Baawre were received from various schools. Mann ke Sapne by the all-women’s The winners were felicitated at theatre group from Kolkata the occasion of the celebration (India)- The Creative Arts. The of the SAARC Charter Day-on SAARC Artist Camp took place December 8-held at Hotel Ramada in Thimphu (Bhutan) from April with cash prizes and certificates. 25 to 28, 2016. The Film Festival The photographs of the same was held between June 1 to 6 at are available online- http:// the National Film Corporation saarcculture.org/gallery/32nd- Cinema Hall, Colombo. This was saarc-charter-day. Bangladesh a success with a Masterclass at the having being chosen as the SAARC Russian Cultural Centre with jurors Cultural Capital, 2017- the from Russia, South Korea and Director and the Deputy-Director France. A Handicrafts Exhibition (Programme) attended discussions & Symposium in Colombo was about the cultural programmes for held at BMICH in collaboration SAARC Cultural Capital in Dhaka with Shilpa Abhimani or National (Bangladesh) between November Crafts Council from November 24 to 25. Welcoming the new year- 2017- the SAARC Cultural Centre 17 to 20. The SAARC Exhibition 2 SAARC ART March 2017 Issue No. 3 calendar was printed in December Dr. Lopamudra Maitra Bajpai has an independent style of ballet and distributed with a welcome penned down our concept note. or dance drama in Sri Lanka. note in January- earlier this year. We have an article by Lyonpo And last, but not the least, Thakur S. Powdyel- former distinguished theatre personality Our programmes gave us an Education Minister from Bhutan from Bangladesh- Dr. (Ms) Samina opportunity to meet with many on culture and its interpretation personalities from across the Luthfa speaks of her interest in the modern global world. SAARC nations and this issue of and famous play Khona and the Honouring the lovely creations the SAARC Art is a reflection of importance of theatre and oral the same as we begin a journey of of the school children and their traditions in the modern global highlighting the significant aspect awarded paintings, this issue world. contains the pictures of the of Intangible Cultural Heritage We at the SAARC Cultural Centre through our magazine. This issue paintings and the prize distribution look forward to keep holding all is dedicated to understanding ceremony. An interview of Ms. planned activities in the year 2017 the concept of culture and the Ramanjit Kaur, an actor and with the same tempo bringing the art-form of theatre. We have two creative director of the all-women people of South Asia together, new appointments starting from theatre group- The Creative Arts January, 2017- Deputy-Director based in Kolkata (India) highlights forging brotherhood and spreading (Programme)- Mrs. Kishani an innovative attempt through the richness of culture and the Jayasinghe – Wijayasekara from Sri stage production. Maestro Mr. forthcoming issues of SAARC Art Lanka and Culture Specialist- Dr. Ravibandhu Vidyapathy, famous promises to surge forward with the (Ms.) Lopamudra Maitra Bajpai percussionist from Sri Lanka writes same notion of unity ’ about the significant influence from India. The issue has an Ayubowan introductory note by Mrs. Kishani of Rabindranath Tagore on Sri Jayasinghe – Wijayasekara. As we Lankan dance forms- leading Wasanthe Kotuwella begin with a fresh start, to the gradual development of Director 3

The World is a Stage of Creation and Wonder

By Kishani Jayasinghe - Wijayasekara Deputy Director (Programmes) SAARC Cultural Centre, Colombo SRI LANKA International Operatic Soprano; LLM (UK); LLB (UK); PGDip/Masters; ARAM; LRAM; DipRAM (UK)

very once in a while, something school educated and therefore the world beyond the shores of our Eamazing comes along...If one privy to the best education in paradise island of Sri Lanka. It is lucky enough to be at that perfect the country, in many ways, came in the form of a pursuit for place at that perfect moment then for nary a cent. I have spent legal prowess. I was a student of something truly special happens thirteen years totally immersed Law, being educated in the ways of and you get to witness it...but if in everything life had to offer and complex jurisprudence in England one is truly blessed, they get to be a was fortunate enough to represent and despite becoming a Master part of this golden moment... my country in the arts and in of Law, found it never really... My journey with the SAARC sports internationally. Being able got me. A sequence of fortuitous Cultural Centre is also to enjoy every minute of it, even accidents and coincidences lead nothing short of being one at that early age, was an added me to a world renowned singing such serendipitous and special boon. The end of a comprehensive teacher, who re-ignited a passion occurrence. Born and raised in and exhilarating school career, and started a fire which to this day Colombo, I was entirely National triggered an interest in exploring burns furiously and ferociously 4 SAARC ART March 2017 Issue No. 3 and inspired a true Sri Lankan girl and allows one the confidence to our common cultural heritage to take on the world of western always find the ability within, to to strengthen the fabric of our theatrical classical music: Opera. develop and nurture a wholesome social and cultural landscape and environment for creation and further reinforce the bonds that Studying the intricacies, mysteries artistry. tie us together as the South Asian and utter brilliance of the voice, Region. To build bridges, enhance classical music, theatrical arts and Despite all of this however, this cultural understanding within and exploring the sheer passion and particular golden moment in foster greater appreciation for the heightened visceral senses that question came not in the form of embody the performing arts, has unique and yet unifying aspects of intellectual examination of statues South Asian Culture. been the most fulfilling journey. and often arcane legal precedence Being a lawyer, satisfied an almost within the hallowed walls of the The theatrical experience, clinical and logical side of my legal system, nor the visceral embodying and satisfying the character and mind, but to have infusion of centuries of world visual, oral, emotional and the opportunity to give-in to the class operatic excellence upon the intellectual senses is an almost artist within, meant opening up legendary stage of the Royal Opera perfect tool with which to spread to a world of colour and eclectic House, but rather, from the eclectic, this understanding and tolerance sensations that truly symbolises the vibrant and diverse realm of the of diversity in real time and with very essence of being an artist. The the positive energy which only a hunger to devour culture in all its SAARC Cultural Centre, in my very live performance can bring. To forms and to brighten and enhance own home town of Colombo. experience our individual artistry, the very landscape of one’s everyday Joining the SAARC Family was at that present moment, in the life with all the glittering gems it has another one of those serendipitous to offer is indeed a rare privilege. ‘now’, and with almost immediate accidents that I firmly believe - as dissemination and absorption, is Being an artist, I was involved we Asians often do - was part of in all aspects of theatre from one very strong argument in favour my destiny. Having spent almost singing, dancing, acting, personal of the power of culture perhaps two decades away from the shores interaction, building characters, even more importantly, the power I call home and returning to serve exploring subtext and creating of truly experiencing that culture. not only my country but our entire stories through an experience like South Asian Region, was surely... It was no accident that William no other. written. To do so as an artist Shakespeare claimed "All the Having had the fortune/grit/ability and an international facilitator World is a Stage". It is in fact to win the single place afforded & administrator within my field as accurate a statement as one to a soprano on the Young Artist of expertise in the arts, was an could find. Upon that stage and Programme at the Royal Opera undeniable boon. within the boundaries of all its House in Covent Garden, which characters and colourful feast of is internationally renowned as the The very existence of the SAARC sensual delights, one finds that pinnacle of excellence, tradition Cultural Centre (SCC) is a art, culture and literature truly and training in the operatic world, cause for great celebration and has no boundaries, no limits, no was a life changing experience. gratitude and a tribute to the nationality, race or religion - it Having won numerous scholarships vital importance of recognising, simply exists and grows to enrich to get to that point and study and celebrating and sharing a diverse our own lives and deepen our train to be a Master of the Craft yet common cultural heritage understanding of humanity and at the Royal Academy of Music in amongst a vibrant segment of each other. London - itself a shining example people. To be able to contribute of precision and excellence - in all in some small way towards the This is our role here at the SAARC likelihood should have prepared me promotion, development and Cultural Centre: to give our for that....magic. However, nothing disseminating of that cultural region this supreme and sublime probably ever could. Training, heritage from one focal point is a experience and do so within the working with and learning from the true pleasure and nothing short of rich diversity of form and variety best, instills a sense of discipline, a privilege. available to us. So, we warmly self-confidence and know-how invite you join us on this journey of that very few other entities can Our collective vision is simple. discovery of this rich and vibrant match. The experiences of being To be an inclusive, representative SAARC Region as the epitome and a creature of the stage and a and vibrant cultural centre for all shining example of being a ‘World performing artist, shapes a life the eight Member States, using stage for creation and wonder’ ’ 5

Redefining Art Through Intangible Cultural Heritage Concept note by Culture Specialist Dr. Lopamudra Maitra Bajpai SAARC Cultural Centre, Colombo, Sri Lanka - Visual Anthropologist - BA (History Hons - Presidency College - Kolkata, India) - MA (Ancient Indian History, Culture and Archaeology- Deccan College Post - graduate and Research Institute - Pune, India) - MDMC (Mass Communication and Journalism - Symbiosis International University-Pune, India) - PhD (Ethnoarchaeology and folk culture with JRF from Indian Council of Historical Research - Govt. of India - University of Calcutta)

hat is art? …whether our being itself.”- echoing the words through a better understanding of “Wcreations of art should not be of Nobel laureate Rabindranath its two important pillars- tangible judged either according to their fitness Tagore1, we begin the year with and intangible cultural heritage- it to be universally understood, or their the third issue of SAARC Art with is often the former which takes philosophical interpretation of life, or their a fresh ethnographic perspective. a centre-stage in exploring our usefulness for solving the problems of the The quest begins with an attempt socio-cultural tenets of life. Several day, or their giving expression to something to have a closer look at culture and monuments, buildings, architecture which is peculiar to the genius of the heritage- for a better understanding and structures around us are people to which the artist belongs…I of the very ethos of the concept of often lauded for their beneficial shall not define art, but question myself art and analyse how it procreates roles in upholding the historical about the reason of its existence and try itself through an impulse of “our significance of a region or place, to find out whether it owes its origin to being itself ”. As the definition of however the latter is often shrouded some social purpose, or to the need of culture can be given an expression in oblivion for want of a better catering for our aesthetic enjoyment, or clarity of expression. Nevertheless, whether it has come out of some impulse 1.Tagore, Personality, ISBN 076618286X, Intangible Cultural Heritage (ICH) or expression, which is the impulse of MacMillan, NY, 1917 forms an important part of present 6 SAARC ART March 2017 Issue No. 3 global understanding of heritage around the globe, our present- Indian historical periods). Thus, and its multifarious representations day and urban communications from history to performing arts, of society, religion and culture. have been greatly influenced by handicrafts, essence of weaving Over the next several issues of these traditional examples to multifarious clothes’ patterns, SAARC Art, an attempt will be understand the multiple roles beliefs, rites, rituals, festivals and made for a better understanding of oral traditions in a globalised others- were all preserved in of the concept of ‘art’ through the world. Thus, modern films time bigger perspective of Intangible and again refer to storytelling time across cultures through oral Cultural Heritage as we gradually and theatre as an important tool traditions. These stand as sentinels explore the myriad venues of of communication. The modern of time and reflections of history expressions which have been culinary art also boasts of a and a knowledge-bank for learning existing amidst us for generations remarkable contribution of the for the future. and preserved as historical many recipes which have been chronicles, yet often go unnoticed. preserved and treasured across Across the following several issues culture all over the world- orally. of the SAARC Art magazine, we The opening page of UNESCO’S The many poems, riddles, songs will be exploring this diversity of website of Intangible Heritage and lyrics from around the world Intangible Cultural Heritage as we refers to a quotation “Africa also highlights the significance begin with the art of theatre from loses a library when an old man of local history and culture. In a dies.” The quotation, that often the SAARC countries. Amongst similar manner, music and dance attracts immediate attention the following articles, we begin also holds significant examples for its widespread applicability with exploring the definition of as the art is often passed on to all across the globe, refers to culture amidst a global world various students by teachers orally. a part of a speech made by by Lyonpo Thakur S Powdyel – One of the biggest inspiration Amadou Hampâté Bâ at the 1960 towards this learning process of President of the Royal Thimpu conference of UNESCO- “En oral traditions is the example of College of Bhutan. Theatre and Afrique, quand unvieillard meurt, c’est the ancient Guru-Sishya parampara performing arts personalities from une bibliothèque qui brûle.” (In Africa, (the tradition of maintaining a India (Ramanjit Kaur), Bangladesh when an old man dies, it's a library teacher-student relationship)- from (Samina Luthfa) and Sri Lanka burning). The words stand as across the nation of India- based silent sentinels to an immediate (Ravibandhu Vidyapathi) highlights on respect and knowledge-sharing. need- understanding our intangible the various representational aspect Dating back to thousands of heritage and the phrase’s of theatre with reference to women years- which primarily involved a applicability far supersedes mere and her many roles in the society. disciplined process of learning for geographical boundaries and sees Further, keeping to the true essence a holistic development of mind similar reverberations across almost and soul- the parampara (tradition) of exploring an ethnographic all spheres of the present world. was based on the concept of oral aspect of theatre, the articles also Oral traditions (including poems, traditions as the only method of highlight cross-cultural influences, rhymes, music, dance forms, etc) learning- through the two primary oral traditions and folklore as an have always formed a significant tools of- shruti or listening and smriti important tool of communication part of human existence, probably or committing to memory. Thus, even amidst the modern global from the time man started for several centuries the many world. scribbling, doodling, printing and histories from the region- including drawing on the walls of caves the great epics of The Ramayana As we look forward to further several thousand years ago. For and The Mahabharata as well as interesting interactions in the many centuries, they were the the many tales of The Jataka, The upcoming months, here begins only sources of education in many Panchatantra and also the several our quest for an universal, cultures. Down the course of thousands of folk tales - were ethnographic perspective of the history, several cultures remained committed to memory- up until philosophy of Intangible Cultural without a structured script very recently when most of them Heritage and an empathy to with oral traditions dominating were published under an organised explore and understand “What is and being the only method of and semi-mechanical printing press ’ communication. Though varied during colonial times (excluding art?...” in structure, content and format the many handwritten manuscripts Sincerely yours from these many examples of from earlier times from Late- folk and oral traditions from Ancient Indian and Medieval Dr. Lopamudra Maitra Bajpai SAARC ART March 2017 Issue No. 3 7

Introduction of Thakur S. Powdyel yonpo Thakur S Powdyel was awarded recently with the Distinguished LService Award by Samata Sahitya Academy on January 9, 2017, He has also been the recipient of the prestigious International Gusi Peace Prize in 2011 for Life-time Contribution to Education, and the Global Education Award in 2012 for Outstanding Contribution to Education. He served as Bhutan’s Minister of Education in the country’s first democratically elected government (2008-2013), having received the sacred Dakyen from His Majesty the King on April 11, 2008. Lyonpo Powdyel is currently the President of Royal Thimphu College, Bhutan. Lyonpo Powdyel is an educator by choice and motivation. His teaching experience spans schools, colleges and universities and includes leadership and management, organisational visioning, curriculum planning, teacher education and community service, among others. He writes regularly on educational issues, Gross National Happiness (GNH), and meditates on educational integrity, institutional honour, national self-respect and moral literacy. Lyonpo Powdyel has been chairman of important commissions and boards and vice-chair of many. He has travelled extensively across the length and breadth of his country and developed a deep understanding of the aspirations of his fellow-citizens and the needs of the country. He has represented the country at many international meetings and conferences and delivered talks mostly on the themes of Education as the Noble Sector and GNH. As the Minister of Education (2008-2013), Lyonpo Powdyel, in tandem with his colleagues, worked hard to achieve universal enrolment and gender parity at primary school level, enhance non-formal and continuing education, and restore education to its core function by initiating the Green Schools programme under the auspices of the Educating for Gross National Happiness initiative. As the people’s representative from the Dorokha- Trading Constituency, Lyonpo Powdyel made critical efforts and brought about visible all-round development of the four gewogs (group of villages) that remained virtually unknown and little developed till a few years ago. In his capacity as a Member of Parliament, he introduced some important bills particularly those affecting the welfare of women and children. Lyonpo Powdyel has been Visiting Professor at the Graduate School of Asian and African Area Studies, Kyoto University, Japan, and Maharishi University of Management, Fairfield, Iowa, USA, and has delivered talks at other university and college campuses as well. His published works include As I Am, So Is My Nation, Right of Vision & Occasional Views, and My Green School: An Outline. He is also the principal author of The Light of My Life. Deeply committed to strengthening national integrity and social harmony, Lyonpo Powdyel believes that all possible means, most of all education, and the finer aspects of democracy, ought to be marshalled to secure and strengthen the vital interests of the nation and the subjective as well as the objective well-being of our people. 8

I Am a Child of Culture By Lyonpo Thakur S Powdyel

ulture is to human being what Oxford English Dictionary defines Clight is to the sun. Culture is culture as the training, development and the way we are, the way we think, a need to be appreciated. Many years the way we act, and the way we ago, Kroeber and Kluckhohon express ourselves. It is through (1952 online) highlighted the culture and by culture that human scope and dimension of culture to beings express their true nature include the following- and their humanness. We are the • Topical – culture consists of a makers, the subject as well as the list of topics, or categories such object of culture. Culture originates as social organisations, religion in and is objectified by human and economy beings in their varied dimensions – physical, social, economic, political, • Historical – culture is an aspect of social heritage or tradition, intellectual, artistic, psychological, that is passed on to future emotional, spiritual, ethical. generations It is instructive to look at the old • Behavioural – culture is a Latin root of the word culture. It is shared phenomenon, a learned cultura – meaning cultivation. The human behaviour or way of life SAARC ART March 2017 Issue No. 3 9 • Normative – culture has to do obvious and subtle nuances and with ideals, values, or rules of expressions of culture as a natural living process of growing up. • Functional – culture has to do Culture manifests itself at two with the way human beings levels: tangible and intangible. The solve the problems of adapting two dimensions resemble the soul to the environment or living and substance. The tangible aspects together are the expression of the intangible. • Mental – culture is a complex Tangible culture represents of ideas or learned habits that the more obvious and material inhibit impulses and distinguish images of culture. It includes people from animals all – our literature, occupations, • Structural – culture consists of architecture, artefacts, and other patterns and inter-related ideas, visible and objective tokens. symbols or behaviour The intangible dimension • Symbolic – culture is based on precedes and animates the tangible arbitrarily assigned meaning dimension. The realm of the that are shared by the society. intangible is the realm of ideas Culture operates on at least three and beliefs and imagination. The levels of significance, namely : abstraction of the mind and the affections of the heart form the • What people think domain of the intangible. The • What people do humanity of the human, the • What material products they wisdom of the wise, the genius create. of the gifted, the sensitivities of Culture is an all-embracing all the awakened, the vision of the inclusive, expansive word. There enlightened go to the making of are over two hundred definitions the riches of intangible culture. of the word ‘culture’. Culture is a Intangible culture concerns the shared, learned, symbolic, adaptive way a community looks at life and and integrated phenomenon. It is death, forms its worldview, conceives transmitted from one generation to time and space, understands the another. We are born into a culture relationship between the human and and we learn and internalise the the natural and the supernatural, 10 SAARC ART March 2017 Issue No. 3 views its place in the scheme of communities and nations. Sadly, things, sees the nature of human however, culture often becomes beings, forms ideas of success and a divisive element and produces failure, and establishes its notions tension and ill-will. All too often, of the true, the good and the we belabour the differences that beautiful. A community or a society divide us rather than discovering conceives of its life and its many the similarities that unite us. possible expressions and looks for a medium to represent them. The In the words of Seymour Fersh- way a house is conceived, a temple “Within the next hour, 7200 babies imagined, a dzong (fort) envisioned will be born. At the moment of or a landscaped developed is the their birth, the infants will be more mind’s way of showing forth what like each other than they will ever it first realises in its inner working. be again. Their differences will The intangible is the womb of the grow because each of them is born tangible. into a different culture – into a way of life that has developed in a In as much as an individual particular way over a long period expresses his or her identity of time. From birth onwards, through his or her culture, each child is encouraged to be on a broader plane a country ethnocentric – to believe that expresses its life, its identity, and his homeland, his people, his its personality through culture. everything is not only different Culture, in its amazing variety but also superior to that of other and richness, is the proclamation people. The elders teach that the of a country’s being, its soul, its ways in which we do things are sovereignty. A nation, a society, a the natural way, the proper ways, community breathes and lives by and the moral ways. In other culture. places, they – ‘barbarians’ and Over the years, culture has come ‘foreigners’ – follow a strange way to assume diverse connotations and of life. Ours is the culture- theirs is levels of significance. Underlying a culture (italics mine) [Quoted in all the variety and change, one the Seymour Fersh, Understanding fundamental aspect remains Intercultural Communication, constant – culture stands for 1984, 84]. refinement, civilisation, good taste, Cultural education is thus, an demeanour, propriety, elegance, essential part of the process of and other positive values. Culture democratisation and participation is often defined as the cultivation in the rapidly changing life of the of excellence. That is why we often nation. Cultural insensitivity and describe a person as cultured arrogance could kill the possibilities meaning that he or she possesses of goodwill and tolerance that and lives out some of these values. celebrates the goodness of societies The ancient Greeks had the and nations. How can we make notion of a finely tempered nature to homes and communities, schools express the image of a cultured and institutions the living, flowing person, representing harmonious seats of culture that educate perfection, a perfection in which and inspire, that refine and the characters of beauty and elevate? After all, culture grows intelligence are both present, by absorption just as ideas grow and which unites “the two nobles of by reaction. Culture advances things”-“sweetness and light”- as and blossoms through respects, in the language of Swift. Rightly sensitivity and honesty. Culture is understood, culture can be a great the human-mark of human beings. positive force for building harmony Sweetness and light – these are the and understanding amongst people, hallmark of culture ’ SAARC ART March 2017 Issue No. 3 11

SAARC Non-Violence Day Painting Competition 12 SAARC ART March 2017 Issue No. 3

Winners of SAARC Non-Violence Day Painting Competition held on the day of Gandhi Jayanti on October 2, 2016

Junior Category

1st Place Ramika Poojan Sooriyaarachchi R/ Sivali Central College, Rathnapura SAARC ART March 2017 Issue No. 3 13

2nd Place Thamasha Dinithi Manawage Ferguson High School, Rathnapura.

3rd Place J.M. Namal Vishwa Bandara President's College, Kotte. 14 SAARC ART March 2017 Issue No. 3

Senior category

1st Place Nimesh Milinda Premasiri Daluwaththa Mo/ Medagama National School, Monaragala. SAARC ART March 2017 Issue No. 3 15

2nd Place S.M. Tharushi Kaveesha Manawage R/ Gankanda Central College, Rathnapura. 16 SAARC ART March 2017 Issue No. 3

3rd Place Hewagamage Dinushanka Chandimal Wijesingha Mo/ Medagama National School, Monaragala. SAARC ART March 2017 Issue No. 3 17

Prize distribution of the winners of the painting competition on the occasion of the 32nd SAARC Charter Day - held on December 8, 2016

Speech of Director- Mr. Wasanthe Kotuwella at the occasion of 32nd SAARC Charter Day- December 8, 2016 18 SAARC ART March 2017 Issue No. 3

Various prizes for the winners at the hands of different foreign dignitaries from across the SAARC memeber states who graced the occasion 19

Maestro Ravibandhu Vidyapathi speaks about the emergence of dance theatre in Sri Lanka and the influence of the ‘dance-drama’ of Rabindranath Tagore

he traditional Sri Lankan society through the benedictory was invited by Wilmot A. Perera Tdance forms that originated in rituals and later via Buddhist to lay the foundation stone for the age-old psychotherapic dance festivals, and arrived at a significant the Sripali Institute. Wilmot A. rituals, forged forth through the milestone in the middle of the 20th Perera, a connoisseur of the arts mists of mythology as a sacred art. century. This is the emergence of who visited Shantiniketan in 1932 This tripartite art of the Kandyan, the dance theatre of Sri Lanka. took Vishva Bharathi as the model Low Country and Sabaragamuwa for the art institute he wanted to styles evolved in close associations The arrival of Tagore in 1934 develop in Sri Lanka which later with the rituals for many centuries followed by Uday Shankar in became an important centre of and later attained greater heights as 1935 had a great impact on the modern Sri Lankan art. The group codified classical techniques. Along development of this modem from Shantiniketan consisted of 34 its path the dance mingled with the movement. On this visit Tagore dancers and musicians including 20 SAARC ART March 2017 Issue No. 3 the great artist Nandalal Bose. Lanka at that time. In fact it took folk forms gave expression to his They performed the dance-drama the next decade or more to evolve a rich musical compositions and vivid Sapmochan at Regal theatre in well tutored dance theatre audience poetic imagery. Colombo. The majority of the in Sri Lanka. audience consisted of the urban Tagore was fascinated by milieu. To these audiences that had The style and form of the freedom of expression in only been exposed to the staunch Rabindranath Tagore’s dance- movement especially in that of drama European modem dance. Later he traditionalism of the ritual dance encouraged his daughter-in-law on the one hand and to the over The term ‘dance-drama’ at once Protima Devi to learn those forms. ornamentation and somewhat advocates a style dominated An universalist, Tagore directed unrefined music and acting of the by dance. But Tagore’s dance- his dancers not only to learn the then popular Tower Hall style of drama is not dependent on body Indian dance forms, but also the theatre which was inspired by the movements alone. It is essentially movements of the Javanese dance, Parsi theater on the other hand, a song-oriented art. No Tagore European folk dance and Kandyan this was a unique and a refreshing dance-drama could be fully enjoyed dance of Sri Lanka, which he experience. Refined rendering without its poetry. The following incorporated into his choreography of song and music, the artistic quote from The Statesman (India) in a subtle manner. Affirming this execution of the dance movements newspaper 1939 well-picturises the fact Manjusri Chaki Sirkar says "At the subtle abhinaya of the dancers nature of the Tagore dance-drama Shantiniketan under his guidance and the simplicity of production in performance “the dialog is dancers absorbed movements that revealed its depth- all of converted into song as background from Kandyan, Javanese and these gave a complete aesthetic music and is symbolically European folk dances. The poet satisfaction to the spectators. interpreted by the characters was fascinated by the freedom of This fact was endorsed by Prime through the dance” movement in European modem Minister SWRD Bandaranaike and impressionist dance while the who wrote his impressions in a Tagore created four main dance- delicate structure of the Javanese review to the Ceylon Daily News - dramas namely Sapmochan-1931, dance-drama inspired him to create May 1934. Chandalika-1936, Chitrangada and Shyama 1939. Tagorean style an original form of dance-drama." “The curtain went up. My first of dance-drama is inspired by The Mudra Natya [ballet] and impression was one of aesthetic Far-Eastern and South-East Asian the modern dance of satisfaction at the setting and the dance forms besides its obvious Sri Lanka grouping which had simplicity and Indian roots. Especially the the beauty, which Greek drama Javanese dance-drama lured him to The arrival of Tagore in 1934 alone had been able to achieve”. create his original genre of Nritya followed by Uday Shankar in 1935 He continues “to some of us whose Natak. As for the choreography may be considered as major factors spirits had been saddened and ears in them the simplicity and that resulted in the emanation of defended by the creaking seraphina spontaneity of Manipuri and the the modem dance of Sri Lanka. and the discordant tone of the vigour and dignity of Kathakali Consequently many dancers Tower Hall actors- this was like in combination with some Bengali started going to Shantiniketan the breath of another and better Kandyan Dance world”. Bandaranaike’s review is not only an assessment of the dance-drama itself. He also implies the lack of discipline of the audience. “I must here enter a word of protest against the unmannerliness of some of the audience .... They seemed to forget that they were not witnessing a cinema show, but a performance that required complete silence and concentration for its appreciation”. This is suggestive of the fact that a sophisticated theatre culture had not yet been developed in Sri SAARC ART March 2017 Issue No. 3 21 Dayam-1938. They were performed by the students of Sripali and Shantidev himself danced in some of them. The choreography of these ballets were a combination of Manipuri, Kathakali and Kandyan dance. And instead of the pung, khol, tabla or any other Indian percussion, the Kandyan drum was played for music along with esraj, jala tarang and manjira. During his stay in Sripali, Shantidev also learned Kandyan dance from the traditional guru James Dammannagoda and the assistant Stage adaptation of the traditional indigenous dance teacher and Kandyan drummer Subanchi Lal. and other dance institutes in Rabindrasangeet, Rabindra Nritya and India. Chitrasena, Panibharatha, Manipuri and Javanese dance In his previous visit in 1934 with Nimal Welgama, Premakumara, movements to the students at Tagore, Shantidev witnessed Wasantha Kumara, Shesha Sripali. Between 1936 and 1938 Kandyan dance and was highly Palihakkara, Anagalal Athukorala Shantidev created four major impressed and this is how he and Soorya Shankar Mollligoda dance-dramas Seethaharana-1936, described it "this dance has virility are some of them who later made Urvashi Jayam-1936, Manohara that could inspire force even in an important contribution to the Bandanam-1937, and Chad Danta the most timid person" Perhaps it progressive dance art in Sri Lanka. Stage adaptation of the In Shantiniketan they studied traditional indigenous dance Kathakali and Manipuri dance forms together with the folk dances. Some of them were fortunate to dance in the Tagore dance-dramas produced by Shantiniketan during that period. On their return they started experimenting with new forms, which eventually became the foundation for the Sri Lankan modern dance. Through their work the dance developed in three main streams. 1. Mudra Natya or the Sri Lankan ballet 2. Creative dance miniatures 3. Stage adaptation of the traditional indigenous dance Of the above three streams, the Mudra Natya or the ballet art definitely was inspired and influenced by the Tagore’s dance- drama. In the year 1936, Shantidev Gosh from Shantiniketan arrived in Sri Lanka to teach dancing and music at Sripali. He taught 22

Mudra Natya or the Sri Lankan ballet

is this and lucid virile quality, the extended lines of the body and the flexibility of the movements that inspired Tagore to incorporate the Kandyan style in his dance- dramas. Beside the initiatives taken by the Sripali, the year 1936 saw yet another attempt to tell a story in dance and song. That was the Sirisangabo dance-drama mounted by Seebert Dias, veteran dramatist and actor and father of Chitrasena. He was also inspired by Tagore's theory of "Theatre as Dance". He too utilised traditional Sri Lankan drums like the getabera, daula, and thammettama for the music of this ballet. Mudra Natya or the Sri Lankan ballet The form and content of the early Simplistic group movements transcended the boundaries of Sinhala ballet were used in the choreography the Tagore dance-drama. Artists The early ballets produced at to enhance the character like Chithrasena, Wasantha Sripali under the guidance of dancing. Songs were sung by the Kumara, Premakumara and Shantidev Gosh followed the very background singers and dancers Shesha Palihakkara come under Tagore style. They contained with mime, hand gestures and this category. In fact they used the many songs, and were sung in uncomplicated dance movements Tagore style as a spring board to original Tagorean tunes using leap into more creative exercises Sinhala lyrics. At times songs were unfolded the story. The of ballet making. They did not also composed anew. Themes for choreography was an assimilation copy Tagore's format of dance- ballets were taken mostly from of Manipuri, Kathakali and the Buddhist Jataka stories. Nimal Kandyan movements. But later a drama, rather they practiced his Welgama who took part in these propensity towards more Kandyan own preaching of "borrowing ballets as a young student at Sripali movements was obvious. from the world market of cultures under Shantidev Gosh later created and paying it back in their own his own ballets in that original style While the Sripali artists adhered coin". They depended more on and remained faithful to the same to the authentic Tagorean style, the body language than poetry. genre hitherto. there was others who compellingly Songs were minimised and dance SAARC ART March 2017 Issue No. 3 23 and music took over. The use of Chithrasena, Wasantha Kumara Today the Sri Lankan ballet or "corp de ballet" that Protima Devi and Vajira later used this technique dance-drama has developed into and Tagore had introduced after to good effect. Yet the shadow more modern and contemporary styles. Yet the influence of Tagore western ballet and modern dance, of Tagore did not completely style is very much visible in them. now became an integral part of disappear. Even Chitrasena who As a whole, the development the Sri Lankan dance-drama. excelled in the art of choreography of all modern art dance, music, The movements and formations seemed to secure a couple of songs song, film and painting took place under the canopy of the Bengali of the dancers became complex, in his masterpieces like Karadiya renaissance and was nurtured expressive and more involved with and Naladamayanti thus keeping a alongside the Tagore school of the histrionics. Choreographers like string attached to the old style. thought ’

About Mr. Ravibandhu Vidyapathi

Mr. Ravibandhu is a famous drummer and percussionist (as well as choreographer and artistic director) of Sri Lanka and Consultant to the Ministry of Culture, Socialist Republic of Sri Lanka. He has a Dance Troupe called Ravibandhu – Samanthi Dance Ensemble and State Dance Ensemble which is promoting the purest form of Sri Lankan dances and performs all over the world. Ravibandhu was trained from childhood in traditional Sri Lankan dance forms by the guru Chithrasena and later travelled to India to the Kerala Kala Mandalam, where he received a rigorous formal training in the Kathak dance form. Upon his return, he established his own dance school- The Ravibandhu-Samanthi Narthayathanaya, with his wife Samanthi, also a dancer and dance teacher. He created the form of the Short Ballet, and has choreographed and danced in several critically acclaimed dance pieces which combine both the traditional and the contemporary – such as For The Young Killed in War and Judas. As a drummer, he has explored and experimented with the various aspects of drumming and drum composition widely, and has created new dimensions for traditional drums and drum rhythms. The Ravibandhu Vidyapathi Drum Ensemble has toured across the world, appearing at festivals such as WOMAD, and performed at the Kennedy Centre in 2008, to great acclaim. Ravibandhu himself has shared the stage with world-famous drummers such as Billy Cobham and Zakir Hussein. Today, the Ravibandhu Vidyapathi Drum Ensemble is widely regarded as Sri Lanka’s finest drum ensemble. 24 SAARC ART March 2017 Issue No. 3

The significance of theatre in the modern global world and her famous play - Khona an interview with Samina Luthfa university professor and a renowned theatre artist from Bangladesh

Q. What do you feel is the Q. Being an academic and a political context of plays, events, place of theatre performances university professor- your and roles. Moreover, as a performer in the modern global age of research interests variously I have learned skills to attract the media and communication? include - agrarian societies, attention of audience, that I often indigenous knowledge, labour use in my class as a teacher, in the Theatre has a definitive place even rights movements, social field as a social researcher and in the global age of media and movements, protest and in my academic presentations as communication because theatre political ecology. How does well. At present, it is difficult for is alive. It is such a dialectic art theatre help you to explore me to differentiate my roles as that the interaction between the such varied interests and a researcher, teacher, activist, a actor and the audience always does it help to bridge the performer and a playwright. I think is central in making a reality gap between academics and they are overlapping each other too unique each time it occurs. This performance? much to make what I am today. is something that the audience Theatre helped me first by giving never experience through other Q. Your play Khona is well me the avenue to write about things media of communication. Theatre known and very famous. that I cannot write as an academic. The character is based is also very important because Emotions and feelings that rise through this the troupe can involve on an important part of from my activist background mythology from India as well in the muck of everyday politics that are forbidden in realm of as Bangladesh. Where did you and power. This involvement can academic writing, can only be find the inspiration for staging happen in other media too but expressed in my plays. Moreover, Khona? theatre's major strength is in its the sociological insight and uniqueness achieved through its academic and activist knowledge Khona herself seems to be an dialogue between the actor and the that I have gathered so far helps me inspiration to today's women audience. understand the historical and socio- including me. I think I am inspired 25 by her because like many other women I also dream to become like her - outspoken, smart, down- to-earth and someone who does not accept anything for granted even if it was coming from very close family members. I like working with myths because they have many layers of meanings constructed within them while they are being constructed and reconstructed over a long period of time. They also speak about what society, back in those days, wanted you to hear through the story of the myth. I have been raised by two scientist parents who worked on agriculture. So, Khona was part of my upbringing because both of them used to mention her often. But her story was an unique scope for me to present a Marxist-Feminist critique of the myth that resonated with the contemporary suffering of women I have situated the play: Khona- Q. Any special sequence from and the subaltern in the hands of mihirer Dhibi, Chandraketu Garh in Khona which you would like to the patriarchy and the powerful. In Harowa, Chobbish Pargana, West share? order to work on the myth I went Bengal (the district of 24 Parganas I think Khona as a character has through extensive literature search. in the state of West Bengal in influenced me as an actor more I also visited the place where India). than Samina has in characterising her. In personal life, I get strength from her to stand against injustice. So, the whole play is my favourite. Khona actually speaks for the poor peasants and shows them way to move forward that enrages the powerful leading to her demise. But her spirit and her verses continue and thrive till today in many parts of Bengal. I love the last scene of the play, when peasants of the whole village gather around Khona when she recites her verses containing principles of agriculture and livelihood on the last seven days of her life and the villagers learn by heart their wisdom phrased in her verses and takes knowledge beyond generations. I never wrote even a sentence on Mihir severing her tongue because everyone knows what happened. I think that was a good decision as a playwright to end when she is actually in the process 26 SAARC ART March 2017 Issue No. 3 of transporting her knowledge to the generations to come. Q. The SAARC- countries share a lot of common history and heritage. What has been your experience with respect to your performance across any SAARC country? Do you have any memorable moments from such an experience? In Bangladesh, I have many memorable stories with my audiences and most has to deal with their families. In the states of West Bengal and Meghalaya where the play has been staged in India, we have received accolades and we could feel that the story resonated us the next day. However, we had parts are aware and they share same cultural and oral traditions well since people knew about to leave early morning the next like Khona's vachans and many Khona and her oral tradition. In day and he was disappointed. I will always remember his look that told more. Like rivers, language and its Kochbehar, an audience member heritages also flows and can engulf me how he felt connected to his came up to me after the show and vast lands and various cultures. said, he had heard several of the mother and his childhood through Khona is part of that flowing river vachans (proverbs) from his mother the play. This shows how connected that touches many of us despite the and he was very nostalgic. He this huge land of many poets and geo-political disconnect we have in wanted to bring his mother to meet litterateur is. People from different our lives curtailed by borders ’ SAARC ART March 2017 Issue No. 3 27

About Samina Luthfa and her work

orking as an Associate Professor in the Department of Sociology, at the University of Dhaka, WSamina Luthfa did her PhD in Sociology from the University of Oxford (UK), MA in Sociology from Lehigh University (USA) and MSS and BSS in Sociology from the University of Dhaka (Bangladesh). She has several research articles on political protests, women’s rights, indigenous people published in academic journals. Also known as Nitra- Samina’s interest however encompasses more than academics as she explores the vivid world of theatre as an actor and playwright based in Dhaka. Samina is one of the founder members and the CEO of a leading theatre troupe of Dhaka – BotTala. She is also a founder of the Oxford-based theatre group Theatre Folks and served as its vice-chair from 2011-2016. Since 1996, she has been performing in numerous roles in acclaimed plays: Khona, Crutcher Colonel, The Trial of Mallam Ilya, Teerthangkar, Rashtro Bonam, Twelfth Night (in Bangla), and Dog, Woman, Man, and The Tale of Two Friends (in English) for Subachan, BotTala, Theatre Folks and the Goethe Institute, Dhaka. As a theatre activist and playwright, she made her mark with two of her famous stage dramas – Tirthangkar and Khona. Khona has been translated by Professor Kabir Chowdhury and published in the Unforgettable Three. For the UK-based troupe Komola Collective she wrote Birangona in English. She jointly translated Shakespeare’s Twelfth Night with Asadul Islam. She is a member of the Women’s Playwright International. Her latest work in dramatisation of a famous novel Crutch er Colonel jointly with Saumya Sarkar received accolades too. She choreographed Crutch er Colonel, The Trial of Mallam Ilya and Jamuna. She designed costumes for Rupoboti, Teerthangkar and Twelfth Night. For her overall activities and performance in the theatre scene, she was awarded with the Mohila Parishod Sommanona 2009, Natydhara’s Tanushree Padak 2010, Arannyak’s Shommanona 2013, Theatre’s Mohammad Zakaria Padak 2013, Theatre Art Unit’s S M Solayman Prononodona 2014. 28 SAARC ART March 2017 Issue No. 3

Ms. RAMANJIT KAUR (Artistic Director, The Creative Arts, Kolkata-India) speaks about her focus and rejuvenating journey with an all-woman production

“All the world's a stage, the performing arts of theatre brings forth all-women’s theatre ever so important. The Artistic production- especially Baawre And all the men and women merely Director of Kolkata-based (India) Mann Ke Sapne as a voice which is players; theatre group- The Creative often not heard. I personally feel They have their exits and their entrances, Arts- Ramanjit Kaur proudly that the middle and upper-middle presents an all-women’s theatre class Indian women are the most And one man in his time plays many production- which is known to underprivileged- in terms of not parts…”- William Shakespeare voice the sentiments of women having a voice or a representation. and echoing the words of across various socio-economic How many times do we discuss Ramanjit Kaur, the voice of strata- especially her award issues that concern us? We smile the women and the many roles winning play- Baawre Mann Ke silently. Silence emerging from false she endorses across all cultures Sapne (Sound of Dreams). Quoting self-esteem, pride and finally the makes the representation through Ms. Kaur, “The Creative Arts many fears- concerning- rejection, SAARC ART March 2017 Issue No. 3 29 social unacceptance, ridicule, etc. Theatre is a platform that helps us get a voice, gain confidence, mould ourselves as well as our surroundings for the better, and teaches us relationship building.”

Speaking about her creative process of work with reference to Baawre Mann Ke Sapne as well as other productions- Ms. Kaur has a guiding principle which helps her in channelising her thoughts. She mentions that it is always imperative to look into two significant aspects. The first is to look into theatre as an art form and the other is to use and present theatre with a therapeutic cause in mind. “I have learnt various theatre exercises from different learned men and women from all over the world. Over the years- I have mastered the art to develop newer ways to present theater – with the inclusion of these various art forms as an exercise to help and heal and evolve everybody who is a witness to it- including the participants.” And the result of this brilliant outcome and practice is more than rewarding as Ms. Kaur mentions, “The journey in the past two and a half years have been that of bonding, sharing, emoting, enacting, analysing, but most of all exhilarating and rejuvenating. While using theatre as a therapy, it was touching to see everyone laying their heart bare- their anxieties, concerns, deep dark secrets and of course, sorrows and joys. Each one was brave enough to leave their situation open to discussion and feedback.”

Highlighting their performance about the all-women’s play- Baawre Mann Ke Sapne – Ms. Kaur adds that the performance has been inspired by a journey of various thought processes. “We have taken excerpts from short 30 SAARC ART March 2017 Issue No. 3 stories by various Indian women writers. Stories ranging from tradition and skepticism, collective responsibilities and individual choice, spanning themes of caste and hierarchy, relationships, physical and emotional violence, dreams and nightmares, sexuality and search for self-identity - with new vigour.” And the therapeautic representation of Baawre Mann Ke Sapne with reference to Indian women has an appeal across all sections of women as Ms. Kaur adds, “The project has been unique as it uses theatre as therapy with homemakers from middleclass and upper middleclass strata. These ‘non-actors’ have actually gone through rigorous training of discipline of time, space and body. They have had sessions from professionals on acting, theatre theories of communication, music appreciation, light and space design. I feel, the journey has just begun and we have much work to do in the future.” Baawre Mann Ke Sapne consists of various excerpts from different stories by Indian women writers, including Jhumpa Lahiri, Bulbul Sharma, Abha Iyenger, Irene Dhar Malik, Lalitambika Antarjanam and others- with a focus of global representation. “The focal storyline includes a certain Amma (Mother) taking a decision to travel to London to see her daughter. Through improvisations, the various inspirations of women writers have been woven together to exist in one space. The actors have taken inspiration from the written pieces and then developed them further according to their own impulse- which makes the play every so interesting.” ’ SAARC ART March 2017 Issue No. 3 31

Brief introduction about Ms. Ramanjit Kaur (Artistic Director)

amanjit Kaur has been Heaven On Earth as well as Fire and to children and adults. The Rworking as the lead Samir Mehanovich’s Ananth. theatre company is renowned actor with Neelam ManSingh for their experimentations about Ms. Kaur is also the recipient Chowdhry’s The Company for over various genres including, Site- of numerous awards- including- Specific Theatre, Theatre Science, two decades. Her performance Sangeet Natak Akademi career has taken her all over Theatre as Therapy or Theatre Bismillah Khan Yuva Puraskar for Development. She made her India and to Festivals worldwide, Award, Sanskriti Award and international directorial debut at including UK, France, Germany, Laadli National Award For Gender the Lylian Baylis Studio, UK in Italy, Japan, Singapore, Dubai, Sensitisation. Ms. Kaur was 2008, with the play Crab Soup, Pakistan Australia, Uzbekistan, also awarded international as part of the International and Sri Lanka. She has trained scholarships for her work, Theatre Science Festival. She at Centre School of Speech and including the French Embassy has also conceived and directed Drama, UK ; London Academy Scholarship (France) as well as many plays including site-specific of music and Dramatic Arts, UK; The Charles Wallace Award productions like Is Job Charnock coming to dinner?, Upon A Yarn and Birmingham School of Speech (UK) The Merry Go Round. Since 2011, and Drama, UK; Improbable In 2002, Ms. Kaur branched she has been directing plays with Theatre, UK and Theatre du out on her own as the Artistic all-women cast, like the national Soleil, France. Having many films Director of ‘The Creative Arts’, award winning play Baawre Mann to her credit also- Ms. Kaur has a company she founded with the Ke Sapne, Simayon Se Parey, Khatti worked in Deepa Mehta’s Videsh- aim of offering theatre training Imli Meethe Ber, Burning Bubbles 32 SAARC ART March 2017 Issue No. 3

About The Creative Arts

THE CREATIVE ARTS (TCA) Since the establishment of the The (2007) Showcased Theatre Science was established in Kolkata in Creative Arts, TCA has organised play Crab-Soup as work in 2002 with the following aims and workshops, seminars and produced progress in Imagining The objectives : site-specific performances, created Future III in Bangalore, India. original scripts and art exhibitions ÷ to create awareness about (2008) Shows of Crab Soup in with good response from and impart formal, systematic London in Theatre Science newspaper and television media. training in Theatre and other Festival. And Shows of Crab TCA also organises workshops on fine arts Soup at Tara Arts in London. life skills for corporates, teachers, ÷ to explore different genres of other professionals and parents. (2010) Launch of the creative arts Theatre studio - a fully equipped Since its inception, the TCA is workshop and performance ÷ to create original writings for credited with the following laudable space... Theatre performances- (2011) ...When things go bump in the ÷ and to involve artists from Original Productions by TCA various fields for National and night... (TCA's first Studio International collaborations. (2002) The Forest Party Theatre production) Since 2002 till date, TCA has (2002) Essence of Life (2012) Baawre Mann Ke Sapne – been imparting formal training (2003) Saving of the Old Mango Tree (an all-women Theatre to children and adults. In Production..) (2003) Closed Spaces 2010, TCA launched year-long (2013) Performed Baawre Mann- at Certificate course in Theatre. (2005) Arguments Goodbye and No Bratyajon International TCA has created Original Scripts Nightmares Theatre Festival and others.. for children and adults. TCA’s aim is to explore different genres (2008) Tiya’s Farewell Party, Manu (2013) Simayon Se Parey (an all- of Theatre. Hence, since 2002, Finds a New Home and Manav women production, based TCA has organized workshops, – the messenger on Partition Stories) seminars and produced site-specific (2009) Snow White and The Saline Curse (2014) Baawre Mann Ke Sapne performances, created original (2010) ...and the Piper played another at NSD’s Bharat scripts and art exhibitions with tune... Rangmahotsav- good response from newspaper and International Theatre Festival television media. Original Site-Specific Productions (2014) Received Laadli Media Important personalities have also (2004) Is Job Charnock coming to dinner? and Advertising Awards for been part of TCA- like Padmashree (2005) The Merry Go Round Gender Sensitisation for Neelam Man Singh Chowdhry, Baawre Mann Ke Sapne Govind Nihalani, Sujata Sen (2006) Upon A Yarn (director, British Council, Kolkata), (2015) Khatti Imli Meethe Ber (an all- (2006) The Merry Go Round – another spin S.V.Raman, Samarjit Guha, women Theatre production) (2006) Installation performance Neena Singh, Ananda Lal, Arthur (2016) Performed Baawre Man… – Launched Arthur Baisali Chatterjee Dutt, Sandeep (Sound of Dreams) at Brendon Cardozo’s first Kedia among others. Besides these International Women’s Day personalities, TCA also boasts about solo exhibition of charcoal at Colombo, invited by ICC a prominent list of guest faculties, pen and ink sketches with and SAARC, Colombo, Sri including- Daulat Vaid, Seema an installation performance Lanka. Biswas, Barun Chanda, Zarin -Faces and Verses. Chaudhri, Suman Sarawgi, Rimi (2016) Burning Bubbles (all-women (2006- B. Chatterjee, Sathya Saran, Rajesh site-specific theatre 2008) Indo-UK collaboration on Gupta, Sujoy Das, Kevin Rowntree, production, based on Theatre- Science project: Jeff Teare, Rebecca Gould, Mark Federico Garcia Lorca’s and Steve (2006) Workshops and Research House of Bernarda Alba)