2007-01-25
Contacting The World - A Youth Theatre Festival
Contacting the World (CTW) is a bi-annual theatre project on a global scale. It aims to build communication and develop understanding between young people from a diverse range of cultures and backgrounds. It is also strives to push understanding of what theatre is and can be, internationally. Since 2002, theatre companies have participated from India, Sri Lanka, Nigeria, Pakistan, Bangladesh, Syria, Jordan, Trinidad, and Malaysia and in the UK, London, Manchester, Newcastle, Oldham, Cardiff, Bolton, Cumbernauld, Bradford / Leeds.
Contact Theatre in Manchester has developed Contacting the World since 2002. Contact is one of the UKs leading arts organizations working with young people. It aims to create a new vision of theatre by and for young adults (ages 13 +). It is renowned for its commitment to new work, diverse audiences and young people. Also The British Council, The Arts Council of England, Visiting Arts, and Manchester City Council were involved to make this event successful.
In the year 2006 companies from Leicester, London, Auckland, Stirling, Liverpool, and Manchester were participated from UK. The other companies were from Brazil, South Africa, Rwanda, India, Philippines and New Zealand. CTW 2006 was not only the theatre festival but also a theatre making process. In this process theatre companies are twinned (one UK with one international group) in October 2005. Over the next nine months we developed and devised new theatre pieces, working closely with our partner company. Working collaboratively, we share ideas, methodologies, themes and materials to create our new and very different theatre production. The main method of communication will be via email. There was also be a dedicated website, and a representative from each theatre company participated in an exchange visit with their twinned group. In June 2006 each company performed its CTW production at home, followed by a performance of the work at the Manchester event in July 2006. The eight day long event in Manchester also provided an opportunity to share skills and practice, through practical workshops sessions, discussion forums and other presentations of work.
About Phakama India
Project Phakama is an arts exchange programme involving young people, arts practitioners and educationists. Since its inception in 1996 in South Africa, a programme of intense cultural training combined with a series of adventurous public performances has blazed a trail of inspirational endeavor and left a legacy of networks and opportunities in its wake. Project Phakamas unique approach empowers each participant through the use of individual experience and imagination as the starting point for the creative process. At the heart of the project is the belief that, irrespective of differences in age, experience or culture, the makers of art can share the creative responsibility equally. The results are innovative and of the moment. Not only can new art be brought forth, but inspiration and hope created for a shared future.
Phakama in India was initiated in the year 2002. Sanjna Kapoor of Prithvi Theatre, Prasad Vanarase of FLAME, Dr. Meera Oke of Soham-TRD and Divya Bhatia are the National Creative Coordinators of this project. Project Phakama in India is nowadays supported by Foundation for Liberal And Management Education (FLAME), Pune. The team Phakama India selected through selection workshops and it includes young artists from the different parts of India.
About a play : Well Whose Coin Is It, Anyway? (!)
(The Production participated in CTW 2006 by Phakama India)
A youth play produced by PHAKAMA (India) has emerged entirely through answering the question What ignites you to make theatre and what questions do you feel are relevant to you?
The play tries to look at the tricky concept of globalization with an Indian perspective. It tries to find the answers to questions like would globalization initiate growth within the deprived sectors, would it result into an overall development or is it just increasing the gap between those who have and those who have not, resulting into an unbalanced growth. What is the position of India in this competition for survival? What role does the Indian middle-class play in this scenario? The questions are endless
As the name suggests, one may guess that the play deals with issues that bring forth the fact that instead of those people who rightly deserve the money and resources, they go into the hands of the undeserved the reasons are several!
The basic seed involved here is globalization. We make an attempt to showcase and explain the current situation in our country with respect to the modifying trends in economics and the changing concept of money for the youth, through the booming BPO industry juxtaposed with heavily poverty-stricken Indian peasants. The contrast is phenomenal. The production is evolved via the process of exploration of these issues through various theatrical skills including physical theatre, music, solid written texts and inclusion of creative ideas.
The play takes place with the backdrop of the situation where on one hand the BPO industry is on the rise providing jobs and fast-cash to the youngsters, and on the other hand, farmers committing suicides as they are unable to pay off their debts. It considers the fact of the two distinct economies existing in our country.
The two fundamental questions addressed here are
Why did I commit suicide? a question asked by a farmer; and
Why didnt I commit suicide? a question asked by a call centre employee
The clear irony in the two absolutely diverse faces of India and Bharat (Bharat is the real name of India in Sanskrit and native languages) is not only thought provoking, but also equally touching.
All these issues are raised on the one-hour canvas with a creative mixing of all shades; bright and dark. The basic question that haunts is whether I can laugh when my ears echo the wails of my countrymen. The play looks at the deeper meaning of Invasion.
The question we ask is:
O Globalization, would thou show me all thy colours, so that I may see the simple unseen truth that lies beneath thee!
The Workshops offered by Phakama India in CTW 2006:
The PHAKAMA Way
The Phakama workshop was based on the belief that, irrespective of differences in age, experience or culture, the makers of art can share the creative responsibility equally. The workshop helped the participants to understand the process of give and gain through various exciting exercises. The results were innovative and of the moment. Not only can new art be brought forth, but inspiration and hope created for a shared future.
Kashmir to Kanyakumari - Move It Our Way!
This workshop was an introduction to two major dance styles practiced in India, Kathak and Bharat Natyam. Both the forms differ in their approach and methods of codification. Simple introductory work in the workshop inspired some of the participants to learn more about Indian dances!
For more details about Phakama India contact:
Mr. Kaustubh Bankapure on kbankapure@yahoo.com
In the year 2006 companies from Leicester, London, Auckland, Stirling, Liverpool, and Manchester were participated from UK. The other companies were from Brazil, South Africa, Rwanda, India, Philippines and New Zealand. CTW 2006 was not only the theatre festival but also a theatre making process. In this process theatre companies are twinned (one UK with one international group) in October 2005. Over the next nine months we developed and devised new theatre pieces, working closely with our partner company. Working collaboratively, we share ideas, methodologies, themes and materials to create our new and very different theatre production. The main method of communication will be via email. There was also be a dedicated website, and a representative from each theatre company participated in an exchange visit with their twinned group. In June 2006 each company performed its CTW production at home, followed by a performance of the work at the Manchester event in July 2006. The eight day long event in Manchester also provided an opportunity to share skills and practice, through practical workshops sessions, discussion forums and other presentations of work.
About Phakama India
Project Phakama is an arts exchange programme involving young people, arts practitioners and educationists. Since its inception in 1996 in South Africa, a programme of intense cultural training combined with a series of adventurous public performances has blazed a trail of inspirational endeavor and left a legacy of networks and opportunities in its wake. Project Phakamas unique approach empowers each participant through the use of individual experience and imagination as the starting point for the creative process. At the heart of the project is the belief that, irrespective of differences in age, experience or culture, the makers of art can share the creative responsibility equally. The results are innovative and of the moment. Not only can new art be brought forth, but inspiration and hope created for a shared future.
Phakama in India was initiated in the year 2002. Sanjna Kapoor of Prithvi Theatre, Prasad Vanarase of FLAME, Dr. Meera Oke of Soham-TRD and Divya Bhatia are the National Creative Coordinators of this project. Project Phakama in India is nowadays supported by Foundation for Liberal And Management Education (FLAME), Pune. The team Phakama India selected through selection workshops and it includes young artists from the different parts of India.
About a play : Well Whose Coin Is It, Anyway? (!)
(The Production participated in CTW 2006 by Phakama India)
A youth play produced by PHAKAMA (India) has emerged entirely through answering the question What ignites you to make theatre and what questions do you feel are relevant to you?
The play tries to look at the tricky concept of globalization with an Indian perspective. It tries to find the answers to questions like would globalization initiate growth within the deprived sectors, would it result into an overall development or is it just increasing the gap between those who have and those who have not, resulting into an unbalanced growth. What is the position of India in this competition for survival? What role does the Indian middle-class play in this scenario? The questions are endless
As the name suggests, one may guess that the play deals with issues that bring forth the fact that instead of those people who rightly deserve the money and resources, they go into the hands of the undeserved the reasons are several!
The basic seed involved here is globalization. We make an attempt to showcase and explain the current situation in our country with respect to the modifying trends in economics and the changing concept of money for the youth, through the booming BPO industry juxtaposed with heavily poverty-stricken Indian peasants. The contrast is phenomenal. The production is evolved via the process of exploration of these issues through various theatrical skills including physical theatre, music, solid written texts and inclusion of creative ideas.
The play takes place with the backdrop of the situation where on one hand the BPO industry is on the rise providing jobs and fast-cash to the youngsters, and on the other hand, farmers committing suicides as they are unable to pay off their debts. It considers the fact of the two distinct economies existing in our country.
The two fundamental questions addressed here are
Why did I commit suicide? a question asked by a farmer; and
Why didnt I commit suicide? a question asked by a call centre employee
The clear irony in the two absolutely diverse faces of India and Bharat (Bharat is the real name of India in Sanskrit and native languages) is not only thought provoking, but also equally touching.
All these issues are raised on the one-hour canvas with a creative mixing of all shades; bright and dark. The basic question that haunts is whether I can laugh when my ears echo the wails of my countrymen. The play looks at the deeper meaning of Invasion.
The question we ask is:
O Globalization, would thou show me all thy colours, so that I may see the simple unseen truth that lies beneath thee!
The Workshops offered by Phakama India in CTW 2006:
The PHAKAMA Way
The Phakama workshop was based on the belief that, irrespective of differences in age, experience or culture, the makers of art can share the creative responsibility equally. The workshop helped the participants to understand the process of give and gain through various exciting exercises. The results were innovative and of the moment. Not only can new art be brought forth, but inspiration and hope created for a shared future.
Kashmir to Kanyakumari - Move It Our Way!
This workshop was an introduction to two major dance styles practiced in India, Kathak and Bharat Natyam. Both the forms differ in their approach and methods of codification. Simple introductory work in the workshop inspired some of the participants to learn more about Indian dances!
For more details about Phakama India contact:
Mr. Kaustubh Bankapure on kbankapure@yahoo.com
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