All over the planet, Nature is calling for our attention. Join our festival of walking, online and in-person, to reconnect with what’s natural, both around us and within ourselves.

https://www.theworldwidewander.com/

LISTEN TO THE WORK OF PUSHKAR CARLOTTO
An Aurovilian composer
__________________
This is an improvisation, spontaneously performed, allowing the sounds and rhythms to appear and tell a story of their own. As a performer, I am just letting it happen, and using memory and observation to recall some elements when necessary. This is a musical experience, as well as a voyage in space and time. Sometimes one gets lost, and then finds the path again, and discovers new places, stays there for a while, then moves on to somewhere else, and on that road encounters other elements, sometimes common place, other times interesting, and sometimes new, but seen always with the eyes of freshness. Everything connects, somehow, and often elements reoccur, giving a cohesion to the narrative.
The title “Nocturne” is because this was performed at night. I also haven’t done any editing, so the music is in its original form.
After giving it some time to rest, I felt it could be interesting for others to listen to it, as it was for me, and so I am sharing it. To listen to it, the best way according to me would be to do it with an open mind, and allowing the music to carry you where it wants. Either lying down, or even just sitting very comfortably. I hope you enjoy it!

Within the discourse of Poetry and Cinema – the name of Abbas Kiarostami is inescapable. Revered as one of the most significant Iranian filmmakers, Kiarostami, also an acclaimed poet, has an eye for the quintessential ordinary – which he observes and expresses with extraordinary simplicity and profundity – rooted in the politics and poetics of Iran.

This two-day course will identify, analyze and appreciate a few of Kiarostami’s core artistic-philosophical / poetic leanings and that make up his cinematic world.

To know more:
https://filminstitute.auroville.org/2023/09/25/abbas-kiarostami-the-face-of-poetry-at-the-window-of-cinema/
Or call / message +91 9969879319
(whatsapp & telegram)
Please spread the word, Thank you @everyone!

We share our own work or show the work of global photographers we admire, discuss the history of photography, and share techniques. Anyone can bring and screen a small selection of images. 

• When: 05.00pm, 2 December 2022
• Where: Centre d’Art Gallery Multimedia room, Citadines, Auroville
• Email: centredart@auroville.org.in

Please park at the town hall parking

Web: www.centredart.in

MAP is partnering with the Deccan Heritage Foundation, the Centre for Islamic Studies, University of Cambridge, and the Bangalore International Centre for a series of lectures and seminars. From Konkan to Coromandel will present the pioneering work of scholars in various fields of knowledge from both the Northern and Southern Deccan regions of India.

The first lecture in the series, Translating the New Taste is led by Zoë Woodbury High, a PhD candidate at the University of Chicago.

• When: 21 October, 6:30 PM (IST)
• Where: Online, Event Sign up
• Register Here

Through an analysis of several of the oldest extant manuscripts of the Kitāb-i nauras, High will demonstrate how its author oriented the work towards a readership familiar with Persian literary models and conventions, even as he incorporated tropes drawn from an Indian context.

We share our own work or show the work of global photographers we admire, discuss the history of photography, and share techniques. Anyone can bring and screen a small selection of images. 

• When: 05.00pm, 14 October 2022
• Where: Centre d’Art Gallery Multimedia room, Citadines, Auroville
• Email: centredart@auroville.org.in

Please park at the town hall parking

Web: www.centredart.in

Enrol in this course today to get access to MAP upcoming interactive session, ‘Exploring South Asian Textiles’ with textile writer and curator, Mayank Mansingh Kaul on 14 October, 2022 at 6:30 PM (IST) via Zoom. 

Register Here

• When: Saturday, Oct. 15, 7:00am PDT, 10:00am EDT, 7:30pm IST
• Where: On Zoom
• To Register: https://us02web.zoom.us/webinar/register/WN_kgPFyYBoSRyWglkr_7UtEQ

Minhwa: Tuesdays & Thursdays / 10.00 a.m. to 12.00 p.m. Classes commence on Thursday, 6 October 2022.

Calligraphy: Mondays & Fridays / 10.00 a.m. to 12.00 p.m. Classes commence on Friday, 7 October 2022.

Course duration: 3months.

Limited seats available. Registration is on a first-come, first-served basis.

For further enquiries and to register, please call T: 044-2436 1224 write to: enquiries@inkocentre.org.

For More Information: https://www.inkocentre.org/clik2022/october/

Minhwa or Korean folk painting, is an extraordinary, unconventional form of traditional Korean art which encompasses a variety of subjects and methods of expression and displays a strong adherence to symbols and events drawn from everyday life. Minhwa ranges from bird and flower paintings to the tiger and the dragon and the ten longevity symbols. Strong lines, vivid colours, bold, unconventional wit, humour and innate optimism combine to create a philosophy that is uniquely Korean.

Seoye or Korean calligraphy is not a symmetrical arrangement of conventional shapes but rather, something like the coordinated movements of a skillfully choreographed dance – impulse, movement, momentary poise and the interplay of active forces combining to form a balanced whole. With simple, basic rules learn to write Hangul – the graphic Korean alphabet and draw flowers like chrysanthemums and cherry blossoms.

The classes are conducted by Ms. Park Soon Jin, a highly skilled Korean artist with over 20 years’ experience.

• When: SEPT 28 – OCT 6, 2022
• Where: Online
• To Register: https://collectivetraumasummit.com/?affiliate=inner

Our Language is a Queer Thing project – funded by British Council and in partnership with The Queer Muslim Project (India) – pairs three queer UK poets with three queer Indian poets in a project that explores their differing experiences and ask how language can be ‘queered’ to better reflect them. Join Amani Saeed (UK) and Megha Harish (India), Ifẹ Grillo (UK) and Anil Pradhan (India), Sanah Ahsan (UK) and Garfield Dsouza (India) along with project partners TQMP and workshoppers Saradha Soobrayan and Kostya Tsolakis as we launch our colourful pamphlet of new work and give our guests from India a proper Brummie welcome!

• When: Wednesday, 7th September, 6:30 PM (IST)
• Register here

A visit to the Museum Rietberg, not far from Lake Zurich, takes visitors on a journey around the world: the collection comprises art from Asia, Africa, America, and Oceania. Since joining the institution as its new Director in 2019, Annette Bhagwati has steered the museum through the pandemic and helped rethink its approach to public engagement in the years that followed.

The Director’s Cut series, anchored by MAP’s Director, Kamini Sawhney, offers a glimpse into how the institution of the museum is being reimagined and reinvented today and presents a unique opportunity to hear from reputed practitioners in museums around the world as they reflect on their institutional experiences, behind-the-scenes challenges, unique initiatives, and more.

2. Films and Discussion: Borderlands

Documenting personal narratives from India’s geographical margin

• When: 10 September, 5:00 – 7:30 PM (IST)
• Register Here

An open field with large trees on the side, barbed wire fencing in the centre and across the fence is a large network tower. Cows and humans walk along the fence.

Still from Borderlands (2021), Image Courtesy: Samarth Mahajan
Directed by National Award-winning filmmaker Samarth Mahajan,

Borderlands is an intimate exploration of how everyday lives intertwine with both personal and political boundaries across the Indian subcontinent. It tells the stories of six characters who live along the national borders of our country on the edges of Pakistan, Nepal and Myanmar. Divided families meet, love blossoms across borders, and traffickers get caught in this slice-of-life documentary.

Join us for a screening of Borderlands, followed by the film’s Director, Samarth Mahajan, and Associate Director, Nupur Agarwal, in conversation with Mahima Venugopal, at The Courtyard.

By exploring the four modes of expression, Angika, Vachika, Aharya and Sattvika, we will connect to the beauty and richness within us through this dance form. We are truly blessed to have Viraja and Shyamjith Kiran here with us to lead in this unique journey. We look forward to sharing, learning and surrendering with you!

• When: August 27 and 28, 10am-12pm & 2-4pm
• Where: A Sunlit Path, near Solar Kitchen

About the Facilitators:

Viraja & Shyamjith Kiran are a dynamic dancer couple trained from the illustrious Kalakshetra Foundation, Chennai. Both of them have previously been a part of the Kalakshetra repertory company taking up major roles and also taught as part-time faculty at their alma mater. They have had the rich experience of working with legends in their field like the Dhananjayans and Leela Samson to mention a few. The duo has also been trained in Kathakali under their guru Sadanam Balakrishnan. Involvement with these gurus, Kalakshetra and their independent pursuits has enabled them to perform at various prestigious venues across the world. Some of their critically acclaimed works include, Pareekshana, Mudivil Oru Aarambam, Svam, Aham, Rekha, Eeram and Samaagati. For more information about Viraja and Shyamjith Kiran, please visit www.virajashyam.dance.

Applications are now open for South Asia Festivals Academy (Beginners Level). This is an accredited online ‘distance learning’ programme between South Asia and the UK for early-career festival professionals. Participants will gain professional expertise to manage and run a festival – from programming and artistic development, budgeting, to festival marketing, and project management.

The 10-week immersive skills development course is delivered online by experts from the UK and South Asia.

South Asia Festival Academy courses are all accredited according to the Scottish Credit and Qualifications Framework (SCQF)​ which is Scotland’s national framework. The Beginners course is at SCQF Level 9 (equivalent level for Year 3 undergraduate degree in Scotland)

Course dates: The course starts on 19 September 2022 and will take place over 10 weeks, each Monday from 3.00 to 6.00 pm IST.

Course fee: £150

Applications close: Sunday 4 September 2022, 11.59 pm IST

Find Out More

• When: (Thurs, Fri, Sat, Sun) 18th, 19th, 20th and 21st August 2021; 3:00 to 6:00 pm IST
• Where: Online

How have Parvati and Lakshmi’s myths dominated mainstream cinematic plots for over five decades? Why does the Kali figure so often in horror films? Who is the most enduring manifestation of Saraswati in Bollywood? How is the female cop almost always the Durga archetype? How do Claire Underwood of the House of Cards and Olivia Pope of Scandal make such convincing Lakshmis? Shyaonti Talwar, the course director will critically examine cinematic narratives and trace in them the archetypal presence of Indian goddesses and their myths. 

Shyaonti has authored the book by the same name, ‘The Devi in the Diva’. Through the course, as in the book, Shyaonti will radically deconstruct the hegemonic notion of the goddess. She will look at the goddess, not as a divinity or a religious entity but as a socio-political construct and approach it from anthropological and ethnographic perspective. By tracing these archetypes through the myths, Shyaonti will extend this archetypal analysis of the goddess to cinematic texts from popular cinema.

The course also looks at the role of archetypes in creating the brand value of celebrities and defining the trajectory of their success. 

The course could be an exciting exploration for creative directors of films and ads, writers, actors, visual artists, media, communications and branding consultants, fashion designers, image consultants and leadership programmers. It could also interest those in the fields of analytical psychology, anthropology, Indian mythology and gender studies. 

Myths and Archetypes are universal, they cannot be contained within geopolitical confines; and they cut right across time. The course will help participants better decipher the archetypal projections of the feminine; and the media practitioners can create and present more empowering and non-normative projections of women in the media (cinema and advertising).

To know more, please visit – https://filminstitute.auroville.org/2022/07/11/the-devi-in-the-diva/
OR call/ message +91 9969879319

In the talk, Amba Sanyal will reminisce on her late father B.C. Sanyal, the eminent artist, and his experiences spanning over a 100 years of his life.

B.C. Sanyal
B.C. Sanyal studied at the Government College of Art & Craft, Calcutta, under the renowned art historian Percy Brown. He joined Mayo School of Arts, Lahore (now known as National College of Arts) as a teacher in 1929. He was instrumental in setting up the Lahore College of Art in 1937 where he taught artists such as Satish Gujral, Pran Nath Mago and many others. 

After the partition, he founded the Delhi Shilpi Chakra, a new platform for emerging artists and sculptors in India. In 1953, he joined the Department of Art, Delhi Polytechnic and served as vice-chairman of the Lalit Kala Akademi from 1960-1969. It was during his tenure at the Akademi that it held its first Triennale, now a permanent fixture.
 
As an artist working with watercolours and oil paintings, his themes revolved around archetypal human struggles and deeply focused on the economically deprived.

Amba Sanyal
Amba Sanyal, theatre artist and costume designer, is a recipient of the Sangeet Natak Akademi Award in 2008 for Costume design. An alumni of the Delhi College of Art, Shantiniketan (Visva- Bharati University), and the Ecole des Beaux Arts at Paris, Amba Sanyal worked in several spheres — art education, crafts design, and book illustration before returning to the theatre in the 1990s as a costume designer.
 
An expert in costumes and textile, Amba Sanyal has also written and published the first iconic volume on Saris of Madhya Pradesh.

(Collaboration: J.D. Centre of Arts)

• When: (Thurs, Fri, Sat, Sun) 18th, 19th, 20th and 21st August 2021; 3:00 to 6:00 pm IST
• Where: Online

How have Parvati and Lakshmi’s myths dominated mainstream cinematic plots for over five decades? Why does the Kali figure so often in horror films? Who is the most enduring manifestation of Saraswati in Bollywood? How is the female cop almost always the Durga archetype? How do Claire Underwood of the House of Cards and Olivia Pope of Scandal make such convincing Lakshmis? Shyaonti Talwar, the course director will critically examine cinematic narratives and trace in them the archetypal presence of Indian goddesses and their myths. 

Shyaonti has authored the book by the same name, ‘The Devi in the Diva’. Through the course, as in the book, Shyaonti will radically deconstruct the hegemonic notion of the goddess. She will look at the goddess, not as a divinity or a religious entity but as a socio-political construct and approach it from anthropological and ethnographic perspective. By tracing these archetypes through the myths, Shyaonti will extend this archetypal analysis of the goddess to cinematic texts from popular cinema.

The course also looks at the role of archetypes in creating the brand value of celebrities and defining the trajectory of their success. 

The course could be an exciting exploration for creative directors of films and ads, writers, actors, visual artists, media, communications and branding consultants, fashion designers, image consultants and leadership programmers. It could also interest those in the fields of analytical psychology, anthropology, Indian mythology and gender studies. 

Myths and Archetypes are universal, they cannot be contained within geopolitical confines; and they cut right across time. The course will help participants better decipher the archetypal projections of the feminine; and the media practitioners can create and present more empowering and non-normative projections of women in the media (cinema and advertising).

To know more, please visit – https://filminstitute.auroville.org/2022/07/11/the-devi-in-the-diva/
OR call/ message +91 9969879319

• When: (Thurs, Fri, Sat, Sun) 18th, 19th, 20th and 21st August 2021; 3:00 to 6:00 pm IST
• Where: Online

How have Parvati and Lakshmi’s myths dominated mainstream cinematic plots for over five decades? Why does the Kali figure so often in horror films? Who is the most enduring manifestation of Saraswati in Bollywood? How is the female cop almost always the Durga archetype? How do Claire Underwood of the House of Cards and Olivia Pope of Scandal make such convincing Lakshmis? Shyaonti Talwar, the course director will critically examine cinematic narratives and trace in them the archetypal presence of Indian goddesses and their myths. 

Shyaonti has authored the book by the same name, ‘The Devi in the Diva’. Through the course, as in the book, Shyaonti will radically deconstruct the hegemonic notion of the goddess. She will look at the goddess, not as a divinity or a religious entity but as a socio-political construct and approach it from anthropological and ethnographic perspective. By tracing these archetypes through the myths, Shyaonti will extend this archetypal analysis of the goddess to cinematic texts from popular cinema.

The course also looks at the role of archetypes in creating the brand value of celebrities and defining the trajectory of their success. 

The course could be an exciting exploration for creative directors of films and ads, writers, actors, visual artists, media, communications and branding consultants, fashion designers, image consultants and leadership programmers. It could also interest those in the fields of analytical psychology, anthropology, Indian mythology and gender studies. 

Myths and Archetypes are universal, they cannot be contained within geopolitical confines; and they cut right across time. The course will help participants better decipher the archetypal projections of the feminine; and the media practitioners can create and present more empowering and non-normative projections of women in the media (cinema and advertising).

To know more, please visit – https://filminstitute.auroville.org/2022/07/11/the-devi-in-the-diva/
OR call/ message +91 9969879319

Dates: September 1^st to October 22^nd, 2022
Sessions: 3 sessions per week | 4 hours per session | 21 sessions total
Twice a week with facilitators and once a week collaborative/group work at a mutually decided time.
Mode: Online
Course Leaders: Kai Tuchmann and Anuja Ghosalkar
Fees: INR 6000/-

If the price of this workshop is prohibitive, and the fees prevent you from participating, kindly contact us at saf.edu@serendipityarts.org. We have a limited number of supported places to enable participants to attend this workshop, with a fee waiver.

ABOUT

“Today here and now the document belongs to the power of the State and to very specific figures representing the State.   It carries the stamps of well-known faces, figures and names. There are new actors, new heroes, and new men of the state. To that extent, we need to tear the document away from some people—without tearing it. Our job then today is to make documents illegal, not as documents of the state, but documents of existence.”

[Excerpts from Soumyabrata Choudhury’s closing lecture for Connecting Realities— a symposium curated by Ghosalkar and Tuchmann.]

The entry point for documentary theatre practice is, as the name suggests, a document. The nature of this document is varied, complex, amorphous, and shapeshifting. As an entry point — a memory, a metaphor, a gesture, an image, a site, an artwork can all be considered documents. The nomenclature of the “documentary” is overloaded with truth claims, that are constituted through the permeable border of reality and fiction.

In the symposium, titled CONNECTING REALITIES curated by the facilitators of this course, theatre scholar Rustom Bharucha stated that approaching documentary theatre through aesthetic-formal definitions will always fall short, if one does not consider the different institutionalized frameworks of cultural funding. In the spirit of this reflection, our course will set out to nurture organizational architectures that fuel this form, for which a blueprint may not exist.

We will do so in a time when almost any pursuit of truth, intermingles with (social) media`s performativity—destabilizing the logical contradictions of truth-lies, fact-fiction, and real-fake. In our times of ubiquitous computing, real events instantly transform into media and data, housed on servers. Eventually, almost all human expression becomes storage, and an object of computable manipulation—beyond the control and knowledge of the entity, classical philosophy referred to as, “the subject”. What does it mean then, to tell stories under this condition of a shifting idea of subjectivity?

Our course will equip theatre-makers and artists with techniques and aesthetics to deal with an updated notion of the document in our digitized age. The methodological starting point for the course is rooted in practical experiments, while theoretical frameworks and texts will have an interpretive function, to enable and inform understanding. In addition, there will be curated conversations between invited international artists that the participants are mandated to attend.

REQUIREMENTS

• Kindly fill the google form with the mandated questions
• You can submit your responses either written OR as audio/video

APPLY NOW : https://forms.gle/tuje2hoNJ2Vjhp2eA

Live Webinar followed by audience Q&A
Sat 30 July | 2 pm – 3.30 pm (BST), 6,30 pm (IST) | E10
Register – www.bhavan.net
Email any questions in advance to stella@bhavan.net

Integral yoga is a path of freedom emphasizing individual needs and differences, with few universal recommendations. Yet, there are rare exceptions that Sri Aurobindo advised all to attain for safety and success in yoga. One of these is the ‘double foundation’ of establishing a wide peace and calm, and the decisive bringing forward of the psychic.  Indeed, one can wander for years and even decades, without making any real lasting progress if we do not carefully and diligently build this strong double foundation. 

The session will consist of a study of Sri Aurobindo’s ‘Letters on Yoga’ led by Jared Quek followed by a mantra chanting session for Peace facilitated by Vladimir.

‘If you keep the wideness and calm and also the love for the Mother in the heart, then all is safe, for it means the double foundation of the yoga: the descent of the higher consciousness with its peace, freedom and serenity from above and the openness of the psychic which keeps all the effort or all the spontaneous movement turned towards the true goal.’ – Sri Aurobindo

ProEnglish Theatre of Ukraine, World of English Speaking Theatres and Worldwide Ukrainian Play Readings invite you to the stage readings of contemporary Ukrainian playwrights.

Jill Navarre is participating as a director for one of the online plays, Give Me a Taste of the Sun. It will be live streamed this weekend.

• When: 25-26 June
• Where: Online
• For More Details: https://fb.me/e/1DZ1GFTco

Under Snow (Unter Schnee) 2011

Directed by Ulrike Ottinger

It is deep winter in the Japanese province of Echigo. The snowy landscape might look like the backdrop to a fairytale, but life in the white cold is arduous for the inhabitants of the region. Ulrike Ottinger observes contemporary life there and simultaneously sends off two actors on a journey to explore the region’s past. UNDER SNOW is a realistic documentary about a rural area and also an investigation of its myths.

https://www.goethe-on-demand.de/movies/unter-schnee

Ulrike Ottinger is one of the outstanding avant-garde filmmakers and contemporary artists of her generation. Her multi-layered work includes not only fiction and documentary films but also paintings and collages, photographs, theatre and stage productions.

• Course starts: 18-07-2022
• Course ends: 31-10-2022

• Course starts: 18-07-2022
• Course ends: 31-10-2022

Objectives

-To analyze the various theories of evolution of man as mentioned by Sri Aurobindo
-To research on the various stages of evolution as given by Indian and Western philosophers and Scientists
-To argue for and against each theory
-To comprehend and reconcile all the theories in the context of the present times.

Details

Facilitator: Dr. V. Ananda Reddy

Duration: 16 Weeks

Starting: 10th May 2022

Meeting on Google meet – once a week

Audio-video-reading material will be provided online

Methodology

Talks and discussions (faculty)

Reading (given by the faculty)

Research and Introspection (to be done by the students)

Writing Assignments on Logical thinking about the theories (to be done by the students)

Evaluation

Self-Reflective journal writing

Worksheets Individual Viva

Audio-Video Presentation on a topic chosen by the student in consultation with the facilitator.

A comparative essay of about 3000 words to be submitted at the end of this course.

For More Details : https://sacar.in/text-based-courses-2/