Vipul sangoi biography of william e
Rudrath joined Kalpavriksh in January as part of the Conservation and Livelihoods team. He is closely involved in the documentation, data curation, networking, research, advocacy and design for the Community Conserved Areas web portal communityconservedareas. On some days, he likes birding, listening to jazz and playing carrom. Learner Listener Observer Worked as a field associate with Ankur Society for Alternatives in Education and have more than three years of experience working with children and young women in marginalized colonies worked in Sunder Nagari, Delhi.
Experimental pedagogy includes watching cinema, book reading, writing stories and poems, storytelling, photography, observing characters and writing about them, and doing community research. I enjoy working with young women and children. Likes watching cinema and is passionate about writing. Currently based in Pune. Vasudha Varadarajan has studied development studies from Azim Premji University, and her areas of interest are gender, ecology, and livelihood.
She is a part of the core group of Vikalp Sutra, a collective working on dignified livelihoods.
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She loves art, and is interested in making her own graphics. Govind Khalsode has been working with KV for more than a decade. He joined as an office assistant back in , and is now the administrator. He handles a variety of administrative tasks like photocopying, printing, mailing and typing out documents. He also helps manage all KV publications.
She joined as a member of permanent KV staff as an accounts coordinator in January Ever since that, she has been single handedly and good humouredly keeping record of all the finances and making sure that we pay our bills.
Sharnamma is the earliest staff member at Kalpavriksh and has been with us since She helps to keep the office clean and makes tea and coffee for all every day. She is a great cook and every now and then treats everyone in the office to a delicious snack or meal! She is a Commerce graduate and has also completed Govt.
Diploma in Corporate Accounting. Her nature is very helpful. She is very sweet and talkative :. Ashish Kothari Ashish Kothari began working on environment and development issues in his school days in , as one of the founders of Kalpavriksh, an Indian environmental NGO. Neema Pathak Broome Neema Pathak Broome, has studied environmental science and completed a post graduate diploma in wildlife management.
Vipul sangoi biography of william blake: How they navigate these different influences and what they understand as culture are questions that are explored through a series of portraits and interviews with young people (aged ) from the South Asian community in Croydon and their parents/guardians.
Sharmila Deo Sharmila Deo joined Kalpavriksh in Kanchi Kohli Kanchi Kohli is a researcher working on environment, forest and biodiversity governance in India. Milind Wani Milind Wani is based in Pune. The images in both exhibitions will be of a range of performance styles, some of which tradition based, others of artists who see themselves as working in a contemporary hybrid mode.
The overall aim is to visualise how contemporary imaginaries inform new styles of presentation and determine new ways of perceiving, and consuming, Asian dance performance as a visual medium in the UK context. Theatre and performance practices are a study of the possible. They challenge the audience to dispel myths and to imagine creative possibilities and responses to our contemporary social, cultural and political environment.
By separating Asia from the notion of "tradition," this course aims at unfolding the contemporaneity of Asian performance and how it provides an insight for theatre-making. Students will also learn question the representations and the contentious issues that are portrayed either onstage or in real life. Through the introduction to contemporary Asian and Asian American theatre and performances by some of the most influential artists, we look forward to understanding contemporary performance culture transpacifically, interculturally, and transmedially.
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The attention will be drawn to the intellectual, artistic, social, political and cultural practice of theatre, and further rethinking how we perceive the world as well as how the world affects our experience of it. Contemporary Choreography: a Critical Reader, Modernity, as a West originated idea, carries far more complex meanings for Asia than for Euro-American culture.
Its evolvement in this part of the world has been closely intertwined with its history of colonisation, both by external and internal colonialists and in modes of political, cultural and economic colonialisms. It is in fact the tension and negotiation within and between these dual structures that distinguish Asian modernity.
I would argue that it is exactly this constant need to be in active interaction with its Western counterpart on the one hand and the incessant internal adjustments in response to historical conditions on the other that make Asian modernity a unique and vibrant phenomenon rather than a branch development of a Western original. The use of general descriptive names, registered names, trademarks, service marks, etc.
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Journal of Community Engagement and Scholarship, Log in with Facebook Log in with Google. Remember me on this computer. Enter the email address you signed up with and we'll email you a reset link. Need an account? Click here to sign up. Asian Dance theatre: performance through the lens. Lopez y Royo. Related papers Asian dance theatre through the photographic lens: photography and the dancing body in contemporary Britain.
Alessandra B. Eva Bentcheva. Tuan Iris Tuan. Film Review: "Cambodian performing arts. I also wish to thank the photographers for lending their work , the dancers and all the people that gave me emotional support during that very busy and very uncertain time that preceded the finalising of the exhibition. Asian dance theatre through the photographic lens: photography and the dancing body in contemporary Britain.
Introduction This paper examines the dynamics of photography and dance performance by focusing on photographs of dance, and of Asian dance theatre in particular.
The starting point for this discussion of the dancing body and Mavin Khoo its photographed representation is an exhibition I curated in early , at the Brunei Gallery, SOAS, London[1], as part of a series put on by the Gallery on photography and Asia. It was a self-contained project, which I undertook as an independent curator. In this paper I am revisiting the research questions underpinning the exhibition, providing an analysis of a few examples of the images on show and drawing some tentative conclusions about the practice of dance photography and its subject s.
I feel that the concerns of this project are still relevant: even now, five years on, no discussion of photography ever deals with dance photography as a specific genre, let alone the photography of Asian dance theatre. I find this neglect of the photographed dancing body and the lack of attention to the dynamics of visuality and performativity in current discourses of representation somewhat perturbing[2].
The time period covered was from the late s to The images exhibited by these photographers included a range of dance theatre forms, some tradition based, others created by artists who see themselves as working in a contemporary hybrid mode. The exhibition was sponsored by Akademi, a South Asian Dance organisation which in celebrated its 30th anniversary.
Akademi was in receipt of funding from the Arts Council of England and Natwest Bank in order to present, throughout , events aimed at marking its anniversary. After some negotiation, Akademi agreed to take on the exhibition at the Brunei Gallery as part of its portfolio of activity for the 30th anniversary and it also contributed by lending its own collection of photographs which it had specially commissioned through the years, since its foundation.
Akademi additionally requested and obtained a separate exhibition space in the foyer of the Khalili lecture theatre in the SOAS building[3]. In that space, Akademi exhibited old programmes and leaflets as also some costumes and artefacts, all part of the celebration of the history of South Asian dance in the UK, as spearheaded by Akademi, originally founded with the name Academy of Indian Dance in by Indian dancer Tara Rajkumar[4].
The exhibition comprised 23 images, of varying sizes. Simultaneously, it would account for a possible uniformity in the photographic representation of distinct performance genres in the opus of these particular photographers. One of the questions underpinning the research that informed the curatorial project was whether it would be possible to identify specific aesthetic photographic conventions relating to the performance genres photographed, and whether a distinctiveness of representation could be acknowledged.
The exhibition was an attempt at addressing these concerns. The exhibition project was perforce limited in its scope. It was also constrained by financial hardship: a print catalogue for the exhibition had been planned with essays to be contributed by a number of leading academics, featuring more work by the photographers, but the prohibitive costs involved prevented us to go ahead with this plan.
At this small symposium, a range of questions could be explored, investigating the significance of the photographic image for performers, choreographers, photographers and the general public. However, it must be pointed out here that for art photography, models do have a say: ideas for a shoot are discussed in advance and the model is asked about her preferences and praised for her input[7].
Altogether this curatorial project attempted to bridge a gap, by considering the role of the photographic image in fostering changes in viewing practices, specifically of Asian dance theatre, and the dialogic relationship between choreography and its photographic representation, also in relation to Asian dance theatre. Framed by the critical and theoretical debates which underpin contemporary visual culture as a disciplinary field, and thus drawing upon methodologies deployed in researching visual culture and visuality Rose , especially in terms of the photographic image and its ontology Wells , the project was concerned with the photographed dancing body, paying special attention to Asian dance theatre and its representation.
I was particularly concerned with how the dancing body, in relation to Asian dance theatre, is re-imagined through photography in the British context and the issues this raises.
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My expectation for this investigation was for it to be a contribution to discussions in a range of fields, from those addressing the relationship between dance, performance and visual media, exploring the visuality of dance and performance, to debates pertaining to the marketing and promotion of Asian dance theatre in a global context. Among the photographers whose work was exhibited at the Brunei, Allan Parker, has an excellent track record relating to design and marketing work, as does also Vipul Sangoi: the exhibition, I felt, was a way to initiate a review of current marketing strategies deployed for Asian performance practices in Britain and the colloquium presented an opportunity for initiating such a discussion.
The photographed dancing body open in browser PRO version Are you a developer? Some of such studies, focusing as they do on documentary photography, the representation of the body in photographic images, advertising and the commodity culture and photography as an artistic endeavour, are indeed relevant to and intersect with the concerns of my research.
These images have been to some extent commented upon in the context of critiques of tourism[9]. Other photographic images of Asian dance theatre, such as those taken in the context of ethnographies from the early 20th century onwards have also received scholarly attention[10]. They also work in other photographic genres, such as fashion and editorial, thus inevitably making genre boundaries very porous.
In terms of exhibitions, one can certainly say that dance photography is not really regarded as a mainstream genre. Yet photography is performative. A photograph is a performance moment, often very theatrical, at best staged by both photographer and photographed subject, even though that relationship can be an uneven one, heavily slanted towards the photographer in terms of power.
Dance photography has not been sufficiently theorised, but as mentioned earlier, it is apparent that photographers and dancers tend to work on the basis of a collaboration and this is a significant point of departure. Unlike other genres, dance photography is based on this premise of collaboration, particularly if we consider those photo sessions which are taken outside a direct rehearsal or performance context, in other words, photo shoots staged by photographers, dancers and choreographers, in a open in browser PRO version Are you a developer?
Steve Clarke, a New York City based photographer, in an article published in , writes that there are at least four reasons for photographing dance. Here I am summarising his arguments, adding some observations of my own. K, India and U. She has a deep understanding of people and how they intersect with organisations and society, and a unique perspective in understanding the dynamics of an organisation and its sub systems.
Passionate about social change, education and creativity expressed through food , Shuba sees social progress through meaningful dialogue. For a look at her professional history, see her LinkedIn profile. As a senior board executive, she has led business transformations of large multinational companies globally. Mary has taken a step back from corporate life and offers time to support and advise small organisations in optimising their resources.