And this is what I have been doing at Meta-Culture..

Hello Everybody!

Sorry its been such a long time since I last wrote. I have been settling in and settling down in Bangalore and at Meta-Culture. As I said in the last blog I wrote, I am working on the Open Enrollment Team for Meta-Culture Consulting and doing whatever else is required of me for Consulting as well as for Meta- Culture Dialogics.

The Open Enrollment Managing Workplace Conflict Workshop is going to be held on the 28^th and 29^th of August. This basically means it is crunch time for the team. We have 34 participants from different companies confirmed to come, which was quite a feat in itself considering how many companies had no clue what we were talking about when we called saying “We are a Conflict Management Company”. This two day workshop is important for Meta-Culture financially and it also introduces the organization and what it does to other companies who may then want either training or consulting services from Meta-Culture at a later date. Even though we have most of our participants confirmed we still need to get them to send cheques, fill out forms and also get other logistical details to fall into place.

Meta-Culture Dialogics had the second Bengaluru Speaks this last Friday. For those who haven’t read my last blog or don’t remember, Bengaluru Speaks is a forum for the discussion and facilitation of dialogue concerning citizens of Bangalore. Facilitation and Dialogue are integral parts of Conflict Resolution and this forum provides a safe place for people to come and talk to one another. At this Bengaluru Speaks the method of facilitation used was called ‘Listening Circle’. There were about 8 tables of 5 with one facilitator on each table. In the centre of the table was a origami flower (made by our Japanese colleague Koari) which served as a talking tool i.e. you could only talk if you had it in your hand. This method worked brilliantly and for the first time in my life I saw people actually actively listening and not interrupting each other once we got going. First we mixed everybody up and then got them seated at the tables. Beth and Ashok were facilitating the session whilst everyone else from the office sat at a separate table with 5 participants. The theme for the evening was ‘Dealing with difference’ and the first question we discussed was “Who do you consider an outsider to the community you belong to?”, the second question asked people to relate a personal incident or experience to explain why they feel that way about the ‘outsider’ they named in the first round. And the third round was a Q&A round. The questions and the theme really made people think and controlled environment ensured that they listened. On a personal note, I was extremely nervous in the beginning to be facilitating a table by myself, but it wasn’t to hard and the people at my table were extremely respectful of each others’ space. Some of the discussions got quite heated by the end but since people were no allowed to respond to each other or interrupt, it remained more or less peaceful and I think promoted understanding as opposed to conflict.

On the whole I absolutely love working here at Meta-Culture! The people in this office are awesome, interesting, respectful and friendly. I don’t feel like an intern at all but part of a team. There is virtually no politics in this office which I think is so rare. Everyo is one here seems open to constructive criticism and the environment is such that one can say anything to anyone as long as it’s respectful and well meaning. Some administrative changes have been taking place and I now have a Senior Manager (Beth) to report to. I’m probably going to have a meeting with her tomorrow to discuss my internship goals and what I would like to work on next. I’m super excited for whatever is next because so far everything has been a great learning experience and has been fun.

Hope all you other interns are having as good a time. Until the next blog then..

Cheers

Mihika

Found in Translation

I have spent most of my first month of intern-ship at Seagull Publications proofreading English translations of collections of Mahasweta Devi's stories as well as a couple of plays by Catherine Filloux. About Mahasweta Devi's stories- I was told that they were being revised for a worldwide publication. Therefore I would have to keep a lookout for native and colloquial words which would need footnotes.
The stories translated by the likes of Gayatri Chakravorty Spivak and Ipsita Chanda are mostly about tribal and rural Bengal and that too of bygone eras. Coming across words like 'Milk-Mother', 'daughter-in-law sister' and 'Lion-seated goddess' among many others, I felt that they were not sounding right- that something was being lost in translation. I realized that such phrases cannot be translated without losing their essence. This must be a major problem faced by any translator. Further as a Bengali I myself cannot relate to the local dialects of the rural and adivasi characters. That dialect once translated is twice removed from me. A reader to whom Bengali is a foreign language would be thrice removed from the nuances of the language. What is then to be done to overcome this hurdle?
The eventual aim or objective of language is communication- the eternal conflict of the what and how. The reader must then learn to apprehend truth through active imaginative empathy. The appreciation of such words in terms of the mot juste is fallacious. Hence the act of reading must be revised. And the word shouldn't be the doorway to understanding but the key with which you must open the door yourself. Its as if in earlier narratives the reader was a mere spectator and the author was a virtuoso magician who would conjure up a door out of thin air and make us see things through that doorway which have no basis in reality. But now the reader has to go up on stage himself,only nudged on by the author.
A case in point would be Catherine Filloux's play 'Eyes of the Heart'. It is about Cambodian refugees settled in the US who are still trying to come to terms with the atrocities inflicted on them during the Pol Pot regime. Here too I noticed clusters of words sticking out because they were translations of native words. But it is the spirit of the play that mattered and I could identify with the issues raised through 'active imaginative empathy'. My observation is that whether it is a translated work or a work influenced heavily by native rituals and colloquialisms- it requires involvement on the part of the reader which cuts across barriers of culture and language.

Internship with Kolkata Sanved ~ 2

At the end of my last post I mentioned my plans to introduce Image Theatre in my sessions with Apne Aap. However, after one class we began preparing for something that turned out to be much more exciting than anything I could have done using Image Theatre techniques: a skit on the occasion of Independence Day. Every year, Apne Aap puts up a small, in-house programme on 15th August (I hadn't been aware of this when I wrote my last post). This year was no different, and our classes for the rest of July and the beginning of August were geared towards getting a couple of performances ready. Khateja (a dance movement therapist from Sanved with whom I conduct these classes) and I decided to do two pieces -- one would be a dance performance, the other a short play. Right at the outset, I asked the girls to devise three skits (they were divided into three groups) that would convey what independence/freedom meant to them. They came up with wonderfully imaginative performances that dealt with street sexual harassment and the abuse of power (both of which denied them their right to freedom). Additionally, they put up a skit which revolved around a statue of Mahatma Gandhi and three individuals who pass it at different times and steal signature objects that we associate with Gandhi, which are adorning it (spectacles, a walking stick etc). I decided to weave these narratives together and develop a skit that would basically juxtapose the lack of respect accorded to a monument of Gandhi with the abuse of the ideals he stood for in present-day India (daily acts of exploitation). The girls were as cooperative as always and came up with dialogues like, "Desh azad hua, lekin hum kab azadi hogi?" (Our country has gained independence but when will we become independent?) All in all, I think the skit turned out to be as enjoyable as it was thought-provoking. The girls seemed to enjoy themselves a lot while they worked, enacting their roles with elan. The script was completely their own creation; Khateja and I only helped to give it a coherent shape and direction.

Looking back, if I could develop this piece further, I would like to examine how we could bring in Gandhian means of protest/resistance in the sequences where the girls decide to fight against the harassment they are facing. We could, then, extend the Gandhian metaphor further. Perhaps additional layers can be added to the performance if Apne Aap or Sanved wish to use the piece for a future programme.

Outside of Apne Aap, my other update is that I began conducting classes with 8-10 year olds at Patha Bhavan. Our activities with them are somewhat different, directed at providing enjoyment and not necessarily therapy (since it is a mainstream school, the needs of the children are different from children living in slums or shelter homes).

Next week, I'll be traveling to Murshidabad to conduct a day-long workshop along with another trainer from Sanved at a government shelter home. I expect that will throw up a completely new experience for me to muse over!

I'll Find Out: Trips with the Irish boys to Sabuj Sangha and DAS

The first time I heard that there were 40 Irish youth right here in Calcutta volunteering with various NGOs, I was overwhelmed.
‘Are they taking over?’, my boss asked.
I wondered whether there are 40 Indian youth right now in Calcutta who’re as committed to make a difference in the life of others, and thereby change, in whatever subtle manner, their own lives. Perhaps there are. But I don’t know them yet. I’ll find out.

Founded in 2002 in Ireland, Suas Educational Development is a movement dedicated to supporting quality education in targeted under-resourced communities, with programmes in India, Ireland and Kenya. They are committed to helping individuals fulfill their potential and play meaningful roles in shaping the world. Every summer, Suas recruits a group of 40 dynamic youth as volunteers to different social development bodies in India and Kenya, where they help build educational capacities of schools and teaching centres in under-served communities. I got to know about this wonderful initiative from a friend of a friend of mine. But even before that, Stephen Murphy of Suas, coordinator of the Irish team, found Choice on the internet. He wanted to know how youth leadership programmes function here. I met him and talked about Choice, sharing stories of successes and challenges. I was also eager to know how the Irish youth work, given especially the barrier of language. Stephen suggested that I visit some of the many centres the Irish youth are working at to get a better grasp of what they do, and importantly, how they do it. For me, it was also an opportunity to visit these NGOs and literally the ‘field’ they work in and see what kind of help Choice’s internship programme can extend to them.

On the first day Stephen and Kieran O’Brien, fellow coordinator, accompanied me to three schools run by Sabuj Sangha (www.sabujsangha.org) on way to Port Canning. Each of these centres attracts at least 50 to 60 kids from the locality, and is served by an average of three teachers. Add to that two Irish volunteers who not only work closely with the teachers to enrich their teaching capacity, but also interact directly with the kids. I was genuinely impressed by the way the Irish guys have picked up a lot of basic Bengali words and expression, and there seemed to be no hindrance whatsoever in their direct communication with the children. So, I realized the ‘language barrier’ doesn’t quite exist. Sabuj Sangha is dedicates itself to involve the entire community in the development process. So, it runs micro-finance projects that benefit the parents and even grandparents of the children who come to their schools. I realized that there’re infinite ways of pumping young blood into these initiatives. There’s tremendous scope for internships at Sabuj Sangha. The Irish volunteers are on a time-bound visit. But we Indians are here to stay. Or are we? I’ll find out.

The second day was dedicated to Development Action Society (www.das.co.in). They run similar schools for children, mostly in the underserved suburbs of Calcutta. I was struck by the wonderful discipline the kids maintain in these schools. Thanks to the teachers, who are obviously extremely well-trained. I do not remember being so earnest and so ‘bhodro’ when I was in school. One of the centres we went to was pretty much in the middle of the massive garbage dump near what is popularly called ‘Dhapa’. I was unaware of the thriving community there and it was great to see how the kids take school so seriously. The afternoon was excruciatingly hot and sweaty. But there was no dearth of studiousness. Once again, I was convinced that DAS is a place that young people should come to in order to learn and make a difference.

I see these visits as very important inroads into building lasting connections with two more wonderful organizations here in Calcutta. And moreover, it’s the beginning of a relationship with Suas. There’s a lot that Choice can learn from them. I’ll find out.

And now for some More Updates!

These past few days have been hectic for me. Richa, Megha and I have been thinking of conducting a workshop where we tie up with an apartment and we take the Writeherewritenow members to a Newspaper Printing Press and how it works and then maybe talk about the nuances of report writing. I've been to Frank Anthony Public School and they've agreed to give us four weekends in September and I have a meeting with Modern High School for Girls next week.

Since August is the time that most schools have their examinations, I'll try and do most of the setting up of workshops etcetera now.

More news later!

now u know who i am

once upon a time my friend said to me

they look for their bodies in the wind and ten years time
their dresses lead them to their tree
they sit under the tree
and cry

Translation Workshop Article in the Telegraph

http://www.telegraphindia.com/1080805/jsp/entertainment/story_9646855.jsp

just some random thoughts -- one poem by Celan

Fugue of Death

Black milk of daybreak we drink it at nightfall
we drink it at noon in the morning we drink it at night
drink it and drink it
we are digging a grave in the sky it is ample to lie there
A man in the house he plays with the serpents he writes
he writes when the night falls to Germany your golden hair Margarete
he writes it and walks from the house the stars glitter he whistles his dogs up
he whistles his Jews out and orders a grave to be dug in the earth
he commands us strike up for the dance

Black milk of daybreak we drink you at night
we drink in the mornings at noon we drink you at nightfall
drink you and drink you
A man in the house he plays with the serpents he writes
he writes when the night falls to Germany your golden hair Margarete
Your ashen hair Shulamith we are digging a grave in the sky it is ample to lie there

He shouts stab deeper in earth you there and you others you sing and you play
he grabs at the iron in his belt and swings it and blue are his eyes
stab deeper your spades you there and you others play on for the dancing
Black milk of daybreak we drink you at nightfall
we drink you at noon in the mornings we drink you at nightfall
drink you and drink you
a man in the house your golden hair Margarete
your ashen hair Shulamith he plays with the serpents

He shouts play sweeter death's music death comes as a master from Germany
he shouts stroke darker the strings and as smoke you shall climb to the sky
then you'll have a grave in the clouds it is ample to lie there

Black milk of daybreak we drink you at night
we drink you at noon death comes as a master from Germany
we drink you at nightfall and morning we drink you and drink you
a master from Germany death comes with eyes that are blue
with a bullet of lead he will hit in the mark he will hit you
a man in the house your golden hair Margarete
he hunts us down with his dogs in the sky he gives us a grave
he plays with the serpents and dreams death comes as a master from Germany

your golden hair Margarete
your ashen hair Shulamith.

A Guy wants to be an African

One of my friends Hu Xiangqian, whose works will be showcased in the Exhibition of Video Art from China, is working on a new project. The idea is to turn himself into a negro in 3 months and prowl the black community in Guangzhou... Sunbathing everyday... Curling his hair... While it is still unknown what he's going to do exactly... And the title of the work is, The Sun.

Hello!!

I'm sorry I haven't updated anything for so long - I have just been trying to get a stronger foothold on things here!!
the diagram I've drawn out is to explain the structure of my process I am adopting to gain the information I want. So far, I have dipped into the first part of it - studying the break up of the organization. There are two main sides to it - Kolkata, and Phulia. I'm looking at the Kolkata Section as of now. Bappaditya has gone to Assam for a workshop and will be returning on the 7th of this month, after which, we will make a field visit to the village.

This chart is how I intend to work my information. I am using Bailou as a model, or an example of design intervention that has kept in mind the fundamentals of sustaining the craft. Understanding the organization in a systematic way, I feel, will give me a clearer picture on the effort that is being made from one who has an academic design background. Once I jot down all aspects of this level, I intend on going into the village, and doing a similar break-up of their rural set up. This, along with the information I hope to gain on the state of the craft before Bailou entered the scene, and the origins of it, will give me the base on which my document will be built.

So far I have dipped into the first level of this chart. I have started my cross-section of Bailou, and its departments in Kolkata and Phulia. I have been introduced to the Kolkata Team, and I will be starting my conversations with them from tomorrow. So here starts the Kolkata Journey. Perhaps I should illustrate it as I go along? I say this, because each conversation I have gives rise to really strong images in my head. Lets see... I'll keep this a thought bubble, and when the next image comes along, I'll try sketching it out. If it works - well – that’s a new aspect to the project right there!!

Neighbourhood Diaries

Neighbourhood Diaries is a 15-session curriculum for adolescents living in socially and economically marginalized communities in urban South Asia. The curriculum has three components (which will occur consecutively and simultaneously)
1) Raising Critical Consciousness
2) Ethnography and Expression
3) Blogging