My interview for the exhibition has appeared in a local newspaper
http://www.timesofoman.com/News/51761/Article-Oman-based-artist-captures-Indias-changing-culture-in-paper-light-and-sound-installation#
We had our Pecha Kucha Presentation for Task 3 today. Pecha Kucha is a very succint way to present work in all of 6 minutes and 40 seconds with 20 slides of 20 seconds each. It was indeed wonderful to see the diverse range work of all the 10 other artists in the cohort who have been busy making new experimental work in their studios since January this year.
I loved Jane Dudley 's work about people who have been institutionalized ,which was so intense, deep, thought provoking, emotional & touching.It has a raw,unfinished, imperfect feel to it which went very well with the theme she is exploring. She has conducted a huge range of experiments with paper casting, cling film sculpture, installation with miniature dolls, scratch paintings and has a collossal body of work.It was evident that she had completely immersed herself in her Task 3. The crudeness, unfinished quality is the common feature with my work.
Alex Kershaw's work deals with nature and this time she has explored maps in nature using daily walks in the woods as the method of exploration. Her presentation was quite extraordinary in the form of a performance. She had written a dreamy poetic, dramatic script and had introduced a sound element of chirping birds as background noise. She gently led us through her presentation , making us view the immense body of finished work she had created in the past few months.Her works are detailed, delicate and deal with the ephemeral and that is the commonality with my work.
We had to provide 3 adjectives for each of the members of the cohort and the adjectives given to my Task 3 by the cohort were exploratory, playful, poetic, professional, nostalgic, appreciative, warm, memory, experimental, reminiscence ,moving, childhood, ephemeral, beautiful, global resonance, multilayered, intricate, original, storytelling, historical, human, memory,containers of narrative storytelling.This was quite encouraging and exactly the adjectives I would like my work to be associated with.
Sunday ,10 May 2015
Sound Recordings
Sound is very strange thing. In fact, it’s not a ‘thing’ at all because it has no discernable substance or mass. It’s actually a process, a complicated process – of particles moving, of objects moving, of air moving and, sometimes, liquids moving. You cannot get hold of it, you cannot touch it, you cannot feel it in your hand. Things make sounds, and things have to move to produce sound, but sounds are definitely not things. When a sound has gone there’s nothing left but a memory. It’s like the complex gestures made by a calligrapher’s hand, wrist and arm; there are movements, time passes, something happens. But where a calligrapher’s gestures leave a mark on paper, a physical residue that can be seen, sound moves the air and leaves nothing behind. A sound unfolds in its own time and then it’s gone …. forever. Only a memory survives. And memory fades quickly.
I first got attracted to sounds when I visited Boisbuchet in France three years ago for a design workshop "Air Made Visible" led by Japanese designer Tomoko Azumi.The participants of this workshop had to capture the invisible on site by making something tangible.The workshop was located in the countryside and I recorded sounds of thousands of crickets generating a din on my IPhone.I also recorded the cacophony of dozens of birds returning back to their nests every evening and the pouring rain.(I did not use these sounds since I created a puppet theatre in the workshop instead)I have been recording sounds of construction, wind in the desert and moving train.There are many sounds from India.Street traffic sounds, hawkers sounds , the sound of conch shells blowing in a temple and of water dripping into a metal bucket . I never thought I would actually use any of these sounds and they remained forgotten and unedited in my computer.
For Task 3 I decided to use sounds since sounds and memories have a strong association.I dug out all the sounds which were stored in my computer. For the wedding band and circus sounds I edited sounds from the video footages of weddings and circus shows I had attended. The jump rope was the sound recording of the footsteps of my son skipping ,using a skipping rope.The rickshaw sound was of a poor quality since it was outdoors and the sound of the wind had interfered with the sound of the wheel. I decided to recreate this sound but that seemed impossible because I was not planning to visit India until the summer.I manufactured this particular sound by fusing two separate sounds-the sound of traffic in a busy Indian street and the turning of a a bicycle wheel(in my house) .I fused the two sounds using a programme Audacity (a multi track audio recorder and editor).So the rickshaw sound is not the sound of a rickshaw at all.
In our Group Critique on April 13th, Mark suggested I invest in a "Might Mic" which can be attached to the IPhone for getting a better quality of sounds.I might consider doing this if I wish to regularly use sound in my work.
Saturday, 9 May 2015
Casting
After much procrastination ,I started the last leg of my Task 3 though I am sure my research and exploration will not stop here.I am using sodium alginate to make molds of the objects I collected.Sodium Alginate powder is used by dentists to create molds of teeth for making braces and is a very quick and precise way to make casts.I had used slip casting as a method for earlier and it took a day to make a small cast.Slip casting is slow and tedious.With sodium alginate you can make a mold and cast in plaster in under one hour.I started with casting a spinning top.The first time I failed because I used tap water for mixing the alginate.The alginate starts to set immediately and I realised that to retard the setting process, cold water must be used.The second time I used cold , iced water which gave me time to mix the alginate powder into a smooth paste with an electric hand blender and adjust the object in a container filled with this paste.The alginate set under 3 minutes around the object carefully picking up the fine details and then I poured the plaster which set rapidly as well. Taking out the cast from the old was very tricky and ideally one must wait for 2-3 hours for the plaster to harden.In the excitement to see what had happened I did not wait, and in the process damaged the sculpture while retrieving it.Now for some obsessive casting in the next few days. Mess in my hair, clothes and studio , kitchen but how exciting!!Casting is like eye surgery (I guess) .One has to have deft fingers, think on one's feet, be very patient and strong hearted.There is not much room for error but practice practice practice makes perfect as with any discipline!!
He is my gardener "Gangaram who works in the grueling sun the whole day, walking from house to house , watering lawns, trimming bushes and brushing yards. I thought his feet could represent the rickshaw pullers feet.Sturdy feet. Eroded feet.A working class person's feet.When I told him I would cast his feet he was very cooperative and was very patient with me, enduring the icy cold alginate mixture around his feet without even flinching.
I decided to cast my hand with glass bangles on.
Monday, 4 May 2015
This is the cast of a "Viewmaster", my precious childhood toy which is no longer in circulation(except on Ebay).I have beautiful memories of this toy and it reminds me of many hot summer afternoons in India spent viewing intricate stories of other distant lands, fairy tales and underwater creatures.Now the spools are no longer available and my children find the toy useless and boring.I decided to cast it and in the process damaged the toy.The soft parts collapsed but was happy to have "pertified" it and make the memories associated with it more permanent.
The casting of the kite spool was fraught with difficulties.The mould cracked and the plaster spilled out leading to an incomplete cast.I redid the casting after a few days and by then the alginate had hardened . Even though I had used a release agent (petroleum jelly),it was not easy to extract the cast from the mold and it broke in a number of places.Yet strangely enough,I found the cast very interesting .It reminded me of objects of cultural significance excavated from a archaeological site.It looked as though it had been salvaged with great difficulty , the fragments had been put together to construct a whole and I like that quality about the piece.
At the end of the casting process, at least for Task 3 purposes, my studio resembled a veritable war zone.I also ended up slip casting a few more bottles from my earlier molds ......Slip casting made me realize that the casts are hollow and light while plaster casts from alginate molds are solid and heavy.The second difference is that the plaster molds for slip casting can be repeatedly used while alginate molds generate monoprint like traces- only 1 cast per mold.
I had a Peer Group Review with Rosi, Roshni and Iain last week in which we shared our work and processes at length and sought a reviews from one other.We wore hats of art critics and tried to provide constructive criticism to help develop the work/ideas of our peers.We were able to draw out from each other's experiences and what emerged was unexpected ideas and welcome advice.
This is what the group had to say about my Task 3.
Rosi
Your work is very delicate and beautiful, full of nuances and story. I think it's good that you use technology to make your paper cuts – it saves you time to invest in your creativity. I see your work as being mainly about telling cultural stories about change and loss, which are quite literal and illustrative. I think they must be quite powerful within your culture, but perhaps less so to western eyes. Who do you see as your audience/market? If you are looking towards the west maybe you need to make your issues of change/loss more universal/abstract?
I hope your exhibition going really well and wished I could visit in person.
Roshni
I am always delighted by how you are able to find inventive solutions to your paper-cuts ideas. I feel the hard work behind and also the issues you may have been confronted to as facing risks and overcoming the "comfort zone". Haven't we all matured from this course? Your ideas are now more towards fusing/merging as I see you are now turning towards performance and you are engaged in another level of learning with the grouping of the different elements/techniques. I also feel that you are more confident about what you are doing and you are pursuing your field of interest by working on a theme and developing on something which only you can do best (optimising on your capacity). I can relate to your idea of lost cultural heritage as it forms part of my concern too and as discussed; I found the ideas about globalisation/"westernising" of our cultures interesting and inspiring.
Iain
You have chosen a strong personal subject highlighting the disappearance of Indian culture, its traditions and lifestyle. The westernisation or globalisation of a country is a theme we can all relate to, when traditional jobs, skills and the people who were once apart of it, are now gone forever. Your handling of the subject, especially the cutout silhouettes on dark paper and then colour lit from behind, create a thoughtful and soothing effect. You also added separately, recordings of street sounds. Although, I can imagine them all together, it would be interesting to see a video of the silhouettes moving with the added street sounds in the background? I realise the recording of street sounds were not the best quality, but it still worked for me as an idea. It might be interesting to develop this idea, showing examples of the westernisation of India, the nemesis so to speak.
My comments on Rosi, Roshni and Iain's work
Rosi
You have been learning a new technique, using digital media which should hold you in good stead in
- creating mixed media works -making a montage of these works with paintings and photographs
- using the digital drawings as a reference to make oil/acrylic abstract paintings/ 3 D works
- printing the digital works on another surface like projecting on wood or printing on textile
- Painting these patterns on skin or using a projector to project on people for a live performance
So there are so many possibilities.
Roshni
You work reminds me of aboriginal art it has intricate, many times dotted patterns, with vibrant colours inspired by myths, legends and nature.It can be used to make large scale murals or as installations-placing coloured objects on the floor matching to the exact patterns and colors to create a 3 D work.The objects could be organic, found objects painted or everyday objects collected from flea markets or purchased from supermarkets.The work is very emotional and is impactful.
Iain
Yes I can see a change in the technique from a hyperrealistic to a painterly and fluid one.The speed in making the work is coming across to the viewer.No the words in the paintings were not working it would be better to title the works with the words instead.
Maybe the choice of subjects could be extended beyond your family at the next stage to include a certain set of people.For example I visited Satchi Gallery in July 2013 and attended the exhibition "Paper" .I clearly remember one work which was very powerful.It comprised of a series of 20 portraits of young children by Annie Kevans. When you read the concept you understood that these portraits were of the dictators Hitler, Stalin, Idi Amin,Kim ...etc so they all began as innocent children.An artist who is making waves in the Middle East is Maitha Demaithan.She creates scanography portraits of traditional people of UAE so in a way she is again documenting history, recording a era , a genre of people.So in my view whose portraits you are making and why is also very important.
Sunday 3 May, 2015
The installation of the work is now complete.The room it was installed in was small 15ftx30ftx12ft room ,so only one person can enter into the space at a time.
Learnings:
1.The shadows with the sounds can make a complete work.In future I can consider installing only cutouts with shadows for an entire space in a solo exhibition.
2.The paper panels with tissue backing were very delicate and can be tricky to transport.They tore in a few places and I patched them up with more tissue but that looked beautiful.It was a useful accident but can be very time consuming and frustrating.Thin coloured plastic can be used instead of tissue maybe...
3.I had expected to make the room completely dark , but I never anticipated that the 2 strings of 12 20 watt light bulbs each would make the space ambient.
4.I had initially placed the sound component in a iPod with head phones with the four sounds in a loop , playing throughout the day, but then realised that a docking station would work better. People can be drawn into the room with the sounds and can listen to the sounds while viewing the visual elements.
5.I had earlier thought I would introduce a fan to gently move the shadows and panels but it did not work.The panels touched the bulbs when they moved around and I scrapped the idea because it was a potential a fire hazard.The fan might work if the cutouts are from a lighter paper and maybe several hundreds of them.
I had the opportunity of installing the cutouts in a gallery in Muscat which I seized because my studio does not have the infrastructure to suspend the panels from the ceiling nor the white walls or the lighting to make the piece work.It will be on view during summer and I might get some feedback from the viewers which would be useful.I have titled the work "Shadows of the Wind" to convey the ephemeral nature of the piece and the impossibility of recording memories .
I began by laying out the cutouts on the floor and played with the arrangement.I mixed up of the images is giving it a open ended narrative which I am quite liking.
I attached the cutouts to white cords using fishnet wires and lighting was a simple table lamp I had in my studio.
Wednesday, 1 May, 2015
With 12 drawings completed, I pondered over how best I could preserve the drawings.They can be framed in sandwich glass but storage is an issue with framed works.I thought of hand stitching a book using Japanese stab binding method(the only book binding stitch I know) and bind a book with these drawings.Fortunately I found some handpaper(made in Thailand) from a near and thought the dark colour and rough texture of the paper would complement the translucent, delicate rice paper.I borrowed a large sewing needle from the upholsterer's shop for a few hours and stitched the book.I made a cover page illustration and titled the book :The Dying Professions in India-A record.It was a fun and relaxing making day and I was satisfied with the result!!
Tuesday, April 30, 2015
I made drawings of two more dying professions- The Ventriloquist and The Postman (which I am certain people from other countries would also be able to identify).
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| The Ventriloquist |
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| The Postman |
Tuesday, 21 April 2015
At this point I have completed making all the 4 panels of the papercut installation and will install the piece in a gallery space on April 30th.The panels with hang from the ceiling with lights behind them .I also plan to introduce a pedestal fan element to gently blow air onto the panels to make them sway gently resulting in moving shadows on the wall.I have collected objects for casting from India and recorded the sounds.
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| chalk drawing on black paper |
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| chalk drawing on black paper |
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cut out with tissue paper backing
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| cut out with tissue paper backing |
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| cut out with tissue paper backing |
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| experiment with torchlight behind a panel |
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experiment with the positives of the cutouts and a table lamp
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drawing in my studio
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| objects collected for casting |
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| objects collected for casting |
Tuesday, March 17, 2015
STEP 3-:Papercut Installation
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| spray painting large sheets of paper |
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| changing paper from white to black |
Monday, 16 March 2015
Figuring out ways in which I wish to approach this topic.
STEP1:Research:ONGOING
STEP 2-:Draw images of people doing their jobs which might "disappear" DONE
STEP 3:Installation cutting out people who have disappeared STARTED
STEP 4:Collect objects which are going obsolete and draw them STARTED COLLECTING
STEP 5:make 3D shapes of these objects either approximately(impressions from memory )or very accurately (by casting them in plaster).
STEP 6:Record sounds to create a audio piece of"lost objects"STARTED
STEP7 :alter/transform the actual objects by making assemblages of them
STEP 8:construct a bizare narrative around the people and objects using papercut drawings.
STEP 9: Talk to people in the dying professions and do an anthropological study , interpret and record the data collected.
What I will be unable to complete, I will carry over to the next term/next unit.
Sunday,15 March 2015
STEP 2
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| the drawings in my studio |
Tuesday 10 March 2015
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| Street Food |
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| "Kathputhli" puppets |
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| Wedding band, pen and ink, watercolour pencils on rice paper |
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| Rickshaw, pen and ink, watercolour pencils on rice paper |
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| Bioscope Man, pen and ink, watercolour pencils on rice paper |
Sunday, March 1, 2015
Puppeteers
http://www.bbc.com/news/world-asia-india-24772503
Bioscope man
Yesteryear entertainers, who fascinated many a child and adult with the unique cinematic treat of the bioscope accompanied by music, are coping with a future which has little space for them.
With television, multiplexes, internet, DVD, mobile phones and other sources of entertainment overshadowing the bioscope, endurance for practitioners of the trade is becoming a tough bargain.
What used to be considered a favourite pass time for children earlier, the bioscope has now retreated from the main thoroughfares of the city to remote villages.
http://www.indiamike.com/india-images/pictures/bioscope-man
http://www.thehindu.com/features/cinema/a-peep-into-the-bioscope/article2984651.ece
The Postman http://www.thehindu.com/opinion/open-page/oh-for-the-postman-dear/article1512887.ece
Vegetable vendors in India are getting pushed out with the arrival of the supermarkets
http://www.theguardian.com/commentisfree/2012/sep/21/indian-life-extinguished-by-supermarkets
http://www.economist.com/news/business/21625799-modern-food-retailing-has-struggled-win-customers-indias-old-fashioned-merchants-long
Wedding Military bands: The wedding season is the busiest time of year for the traditional brass bands that lead raucous processions announcing the arrival of the bridegroom to the neighborhood. Dressed in faded military-style uniforms or long silken tunics and turbans, brass bands playing the latest Bollywood tunes have long been a must-have at any Indian wedding.
But as the tastes of young, wealthier Indians shift to more modern music, young couples increasingly choose DJs playing electronic music instead of live bands. The shift is leaving band owners and musicians struggling to find gigs, exacerbating an already difficult existence.
Poor wages, irregular work hours and endless travel eventually take their toll, said Shanawaz Ali, a bandmaster who plays several instruments.
“At the end of more than 35 years of playing in different bands, I have no savings. Nothing,” said Ali, who has urged his children to take up other trades. “There is no future in the band musician's profession. “
Away from the bright lights of the wedding procession, it's a tough life for the musicians, with lots of travel, long hours and inconsistent pay. Most members of the nearly 100 wedding bands that operate in and around Delhi come from villages in neighboring Uttar Pradesh state, and many are related by blood or marriage.
“Weddings were small, family affairs, where all the music was provided by the band,” he said. “Today, the wedding ceremonies are spread over days and except for the part when the groom arrives, young people want to dance to the latest pop and electro music provided by DJs. “Some band owners have tried hiring DJs, but said they could not adjust to the music or afford the electronic equipment required. “It's different music, a different pace,” says Sharma a musician in a band. “I can't relate to it.”
http://www.dawn.com/news/1153289
Rickshaw pullers-:Hand-pulled rickshaws came to India most likely from China during early 20th century.
In 2003 two advocacy groups, Calcutta Samaritans and Action Aid India, published an exhaustive look at the lives of rickshaw pullers, A Report on Hand Rickshaw Pullers of Kolkata. Investigators studied all aspects of the lives of these men--their birthplaces, education, finances, religion, health, sexual practices.
The study found that nearly half of the estimated 18,000 rickshaw wallahs are 40 to 60 years old and have spent half their lives pulling a rickshaw. Most are from Bihar, a poverty-ridden state north of West Bengal, and most are illiterate and unskilled. They took an economic step up by becoming rickshaw pullers in the Kolkata metropolis.
Even so, most pullers are homeless. Some take shelter in a dera, a meager building that's mainly a rickshaw garage; others simply live in their rickshaw or on the street. Rickshaw wallahs work for more than 12 hours at a stretch, earning an average of about 100 rupees ($2.50) a day. Their top priority is paying the rent on their vehicle, then buying food and shelter. They also frequently have to spend some of their money bribing the city police who enforce rickshaw licensing and other regulations. Whatever may be left over often goes to their families back home.
Not surprisingly, rickshaw wallahs suffer from poor nutrition and lack of preventive health care as well as the effects of pulling two to three times their weight. Injuries and chronic conditions are common, as are diseases that come from being exposed to air pollution and contaminated floodwaters.
The West Bengal government's decision to ban hand-pulled rickshaws from the streets of Kolkata, while appreciated by many, is raising concerns about the need to provide alternative livelihoods to those rendered jobless by the ban. On August 15, Chief Minister Buddhadeb Bhattacharjee announced his plan to phase out hand-pulled rickshaws from the city in around five months, giving officials enough time to find other jobs for the 6,000-odd licensed rickshaw-pullers.
According to estimates by the All Bengal Rickshaw-Pullers' Association, approximately 35,000 people (including 14,000 unlicensed pullers) engaged in the business of hand-pulled rickshaws as owners, contractors and pullers are bound to lose their jobs following the ban's implementation.
Human rights campaigners have been demanding a ban on what they call a "feudal" means of transport since the 1980s.
The rickshaw-pullers, however, are sceptical about the government's promise to offer them an alternative means of livelihood. They say they would rather continue in their current profession. "It is our fate that we are poor rickshaw-pullers. If they take away our livelihoods without an alternative, how will we survive," asks 72-year-old Ganesh Shaw.
Environmentalists are also arguing that if all hand-pulled rickshaws are replaced by motorised ones, the annual pollutant load will increase by 11 tonnes of lead, 4,000 tonnes of particulate matter, 20,000 tonnes of carbon monoxide and 150 tonnes of nitrogen oxides.
Monday, 16 February , 2015
http://www.terraproject.net/en/photographers/simone-donati/rickshaw-pullers-of-kolkata
http://ngm.nationalgeographic.com/geopedia/Kolkata_Rickshaws
http://infochangeindia.org/livelihoods/news/ban-on-hand-pulled-rickshaws-will-affect-thousands-of-poor-in-kolkata.html
https://www.youtube.com/watch?v=T3Fjf_nNfyM
CONCEPT NOTE Change is inevitable, arising from our endless search for something new and improved.In this series collectively titled “Endangered”, I have documented traditional products, skills and manufacturing processes in India, which are slowly retreating from the public sphere and being replaced by mass produced commodities, in the wake of technological advancement and industrialization .I am not opposed to modernization, but at the same time, I would want to slow things down and force oneself to recognize and remember the beauty of these analog practices, in the realm of our digital age. I grew up in India with these traditional products and am recording my memories of them , as a legacy to future generations before they are lost forever. These vignettes reveal my urge to archive objects and ways of living that face extinction as India (and many other countries) see the collapse of traditional economies centred on craft and textiles.
Glass Bangles-A bangle street vendor came to our house for selling bangles before festive occasions. It is believed that if a bangle vendor comes home it means luck for the lady of the house. That is why we never refused him entry into our compound. Bangles signify the marital status of the wearer. After the wedding, the woman continues to wear her bangles as a charm of safety and luck for her husband, and if the bangle breaks before the husband’s death, it is considered an ill omen. Statistics reveal that size of the the labour intensive bangle industry in India, is dwindling because of intense competition from cheaper, factory made plastic products flooding the market.This has resulted in widespread unemployment in this sector.
Mime-:As a child, I would often watch mime theatres with my parents in auditoriums or informal street performances. In modern society, with the ever evolving and diverse entertainment available, mime acts no longer have a place. As children are growing up with more technology available to them, less imagination is involved in their play. This has resulted in audiences expecting to have their entertainment in a format which offers them the full experience as opposed to appealing purely to their sense of sight.
Circus-:Circus meant the thrill of watching impossible acts live and was affordable, fun and frightening.There was knuckle biting knife throwing, high wire stunts, a strongman,acrobatics, clowns, elephants,juggling ,trapeze,.It helped us escape the mundane and enter a playful world of imagination. Circus in India is dying, slowly but surely, in these days of instant e-entertainment, cinema and other varied restrictions like the banning of child artistes and wild animals from participating in these spine chilling acts.
”Lattu” (Spinning Top)-:Earlier, most of the Indian toys were produced in the unorganized sector.I met the toy sellers at local fairs with their colourful windspinners and spinning tops.We would play on the streets with our wooden tops, showing off our skills to friends.Nearly 40% of Indian toy companies have closed down in the last 5 years and rest 20% is on the verge of collapse as cheap factory made products are flooding into Indian market. The biggest threat is glitzy toys from multinationals
“Attar”(Perfume) -In my summer holidays spent with my grandparents in Varanasi, I encountered the overpowering smell of attar in the crowded bylanes. Now,In the remote town of Kannauj , the perfume capital of India, traditional workers are struggling to keep their craft alive .Competition from modern, branded, fragrance makers is fierce.Attar making is a painstaking task involving collection of rose and jasmine petals, sorting them, boiling them and distilling the liquid and later infusing sandalwood oil.This fight between small businesses and global groups,mirrors thousands of other battles across India between ancient practices and the forces of modernity.
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Approaches:Detailed discussions with Angela in this month's tutorial helped.I learnt that there are several ways to approach this topic.I could assume the role of a keen journalist. I could build case studies of real people I know/knew who have lost their jobs due to industrialization.I could do this using photography, drawings, interviews , voice recordings and objectively documenting facts.It could turn into a video installation perhaps.I could wear the hat of a archaeologist/anthropologist/historian.This can be done by botanical type drawings of objects or making casts/prints of objects which could turn into an installation.The third approach can be that of a storyteller.Since my work is a cocktail of fact and fiction, I want to start with these facts and transform them into hybrids using my imagination.Of course I am interested to be a storyteller .Or all the three.Time will tell. I have kickstarted this series with a set of 5 drawings and have written a concept note.The work will keep growing , developing and morphing as I go along.
My drawings are rice paper.Since the works are to do with something ephemeral(memory) delicate, fragile rice paper seemed appropriate.
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| Glass Bangles-Pen & Ink and colour pencils on rice paper |
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| Mime -: Pen & Ink, watercolours, colour pencils on rice paper |
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| Circus-: pen & ink, colour pencils, watercolours on rice paper |
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| 'Lattu" spinning toy-:pen & ink, colour pencils, watercolours on rice paper |
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| Attar (perfume) Pen & ink, colour pencils, watercolours on rice paper |
Sunday, January 15, 2015
STEP1
RESEARCH
Is Modernization Westernization? According to political scientist Samuel Huntington,modernization does not entail westernization but consists of industrialization; urbanization; increasing levels of literacy, education, wealth, and social mobilization; and more complex and diverse occupational structures while retaining rich cultural mores.To this may be added 1) technically rational modes of thought, 2) economic structures consistent with producing high technology goods, and 3) socio-political institutions that allow a society to participate in the global economy and modern technological development.
Huntington notes that drinking Coca-Cola does not make a Russian any "more western than eating sushi makes an American Japanese." Instead, Huntington thinks of the West as one of several major civilizations around the world. However,Western societies have been able to impose their technological innovations,philosophy, their way of thinking, their desires, their ideas, their tastes consumption patterns upon non-Europeans countries
http://www.livemint.com/Opinion/X4bmlNOEer1jMxpLFT9EjK/Can-India-be-modernized-without-being-westernized.html?
http://www.youtube.com/watch?v=jRQJR-FM6mI
Glass Bangles
http://www.drgbprabhu.net/jingling-sound-of-glass-bangles/
http://www.business-standard.com/article/beyond-business/a-requiem-for-firozabad-107020301003_1.htmlCircus
Circus
http://www.firstpost.com/living/how-indian-circuses-are-reeling-under-the-court-ban-on-animals-791703.html
Mime
http://www.bbc.com/news/world-asia-india-22949654
Street Food
McDonald is well-positioned to profit from surging demand for convenient, clean and affordable meals in India. The market for Western-style fast-food is still relatively small, but growing rapidly as a young population increasingly grabs meals on the go, or celebrates special occasions by dining out.
http://www.ft.com/cms/s/0/f8ac22fc-a7c1-11e4-8e78-00144feab7de.html#slide0
Will McDonald Burger King and KFC kill Indian street food?
Toy Seller
Nearly 40% of Indian toy companies have closed down in the last 5 years and rest 20% on the verge of collapse as Chinese products are flooding into Indian market, the biggest threat to the Indian toy industry and threat from multinationals like Lego, Mattle, Fisher Price and Hamleys .
http://in.reuters.com/news/picture/2012/09/17/street-vendors-in-india?articleId=INRTR382CE
http://assocham.org/newsdetail.php?id=4125
