Jayachandran Palazhy, Artistic Director, Attakkalari Centre for Movement Arts
What is the role of arts festivals in a community? What role is your festival currently playing in the community and how do you see its significance growing?
Depending on the nature of the communities it serves, the specificities of the contexts of a particular festival, its domain parameters and its chosen focus, the role of the arts festival can vary. However, broadly speaking it would be desirable for an art festival to invest in ideas and people, provide a platform for showcasing innovative and fresh works of art even if the ideas put forward seem to go against the existing norms and challenge the status quo. In other words, it should set new standards for research, creation and presentation of works of art as well as offer the audience multiple ways of experiencing the works and engaging with the artists.
It should also provide the artists a platform to view each others' works, exchange ideas and encourage them to imagine new endeavors. It should also open up possibilities to connect the artists and their works with existing as well as new audiences locally, nationally and even internationally. In a nutshell, a festival is a time bound confluence of multiple strands of people (artists, audiences, promoters, delegates, admin and tech staff, educationists, critics, media personnel, volunteers etc), organizations, thoughts, ideas and works of arts. It creates a sort of magical realm where people are able to imagine and sometimes experience something out of ordinary.
A good festival should also attempt, in my view, to present emerging artists along with the established names. Building on the strengths of what it has achieved so far a festival should be able to imagine the future possibilities and take calculated risks to open up new avenues for the arts and artists. A good festival should help to create new works and nurture new visions as much as it presents existing works of arts. This investment in the arts and artists is vital so that the arts festival does not merely become an agency similar to a fair where products and services are sold.
It should also strive towards an inclusive approach in terms of meeting the needs of various sections of the community it serves as much as possible. An arts festival should also aim to sensitise, develop and sustain an audience in terms of their sensibilities, commitment to the arts and willingness to try new things. Of course there are several practical limitations that come in the way of achieving what we dream of as a set of ideal objectives and matching those with what is possible within the parameters of the ground realities.
Over the years with its efforts Attakkalari India Biennial has managed to make contemporary movement arts as an important force in the national arts scene in India. A decade ago when we started many people did not know about contemporary movement arts (dance), let alone different trends or leading players or significant works. That has changed considerably today.
Attakkalari India Biennial over the years introduced audiences of Bangalore to a myriad of performances in a variety of contexts – on stage, off stage (site specific & promenade), screen based, virtual etc. Technical presentation of performances has really improved over the years, thanks to the input of TransMedia Technologies. The administrative team of Attakkalari India Biennial has managed to professionalise the running of the festival and set new standards for arts management in the country where as the existing practices were far from it.
Attakkalari India Biennial 2011 attracted more than 30 International festival directors to Bangalore. Over the years several national and international collaborations, co-productions and exchange programmes have come out of Attakkalari India Biennial and various projects associated with it.
In what historical context does your festival operate?
Dance and music festivals were an integral part of people's lives in India for centuries. In fact dance enjoyed a pivotal role in our social, religious and artistic calendar till a couple of centuries ago. During the colonial time it suffered some setbacks. But after Independence there were efforts to rediscover and reinvigorate the arts. In terms of dance it primarily focused on classical dance and that too with a relatively narrow focus of what they called as rediscovery and protection of fast disappearing forms. But the lopsided strategies by self appointed custodians in fact helped to take away the reins of artistic practices from several families and communities who were the real practitioners and disenfranchised and marginalised them in the process. Many dance artists were forced to move to the cities and operate in a system controlled by the upper class interests, thus creating an artificial disconnect between the art form and the communities that sustained and nurtured it. Over the years this process helped to wipe out several important artistic streams and standardised them into so called 'classical dances of India', an artificial socio-political construct.
Without the real investment of ideas and mechanisms to ensure quality and innovation this approach resulted in many forms losing its essential vitality, authenticity and relevance in the life and imagination of people. Even the folk forms and community festivals which offered a creative and secular space for artistic expressions slowly gave way to this phenomenon. It is in this context we need to think of vitalising and empowering creative and contemporary spaces for secular art practices in India today.
The contemporary expressions ideally should benefit from the inherited knowledge and physical wisdom from our rich traditions and be confident enough to access, explore and benefit from knowledge created elsewhere in the world. We need to encourage and nurture idioms that stem from contemporary Indian experiences, our traditional knowledge systems, artistic expressions and are yet open to information and influences from other parts of our globalised world. This calls for sustained investment in terms of ideas, human, material and financial resources and a political will and commitment to consult and engage with the arts community in imagining, envisioning and strategising to build a vibrant contemporary arts scene in the country. Contemporary physical expressions that stem from life experiences, memories and imagination are so vital in offering an individual the possibility to situate oneself in a meaningful way in society today and make sense of one's own experiences. The opportunities for an empathetic encounter with such performances and achieving an out of ordinary experience is crucial in enriching an individual's life and making meaning and sense out of seemingly disparate experiences of everyday life.
Why do you think there is now a sudden spurt of activity in art festival-making in India? How important are such events in a developing/transforming/globalising society?
Traditionally arts events in India were part of social or religious calendar. However, in the process of rapid urbanisation and increasing mobility of people the social fabric is undergoing tremendous changes. It is almost impossible to retain the spirit and structure of the arts events associated with social and religious activities as it was few decades ago. In the fast developing urban landscapes in India there are hardly any provision for art houses and community art centres to produce or present such works on a regular basis. Year-long curated performances or arts events are hard to find let alone investing in and nurturing an artist or a genre of works. In this, situation arts festivals offer the possibility of designing a time-bound set of activities with defined focus and priorities.
When there is no national or regional vision or frame work for sustained arts activities as part of provisions for civic amenities in our urban centres, it is invariably easier for individuals, governmental or non-governmental organisations, corporate houses, media etc to visualise a time-bound festival rather than ongoing commitment. Even though festivals do not substitute the long-term need of such provisions it is a welcome development that it catches public imagination and media attention even if it is for a relatively short span of time. If it is well conceived and well executed, festivals can also play a role in sensitising and developing audiences and giving the much needed platform and profile for an artist in a national or international context as the case may be. Festivals also provide a platform for artistic exchanges and could result in collaborations and co-productions. They also help the local community to connect with artists and art forms from other cultures, thus broadening the cultural horizon of the individual and the community.
Do you think arts festivals are more accessible to their audiences, than other fixed arts organisations? Why?
It is not necessarily so. It all depends on how each activity is conceived and executed. As there is an intensity of activities in a short span of time it might look that a festival will attract more eyeballs and bring more people to a city or a locality during the event. However, there are examples of prestigious venues in the world doing the same by programming a season with reputed artists and cutting edge art works. There are not many venues in India yet with a committed audience base they can count on who will come to show after show throughout the year. In such circumstances festivals offer an alternative. Also festivals often are able to have a geographical spread across the city, thus attracting audiences from those locations who otherwise might not have gone for a show. It also allows you to have multiple events on any given day to meet the needs of different sections of the society.
What according to you are the key components that make up an arts festival?
I would prefer to talk about a contemporary movement arts festival that too in an Indian context. It would be great to imagine one day we will have a national cultural policy outlining the vision for the arts, particularly performing arts. If such a policy has provisions for the infrastructure for the performing arts such as ongoing mechanism for consultation with the artists to constantly review the policies for course correction, fine tuning and better delivery; research and development to access inherited knowledge from our traditions; access information from other cultures and create new knowledge; laboratories for experimentation and exploration; training to acquire and update skill sets; production facilities to match the best in the world; dissemination opportunities through purpose built venues and curated festivals; informed critical analysis; non-biased and impartial assessment and evaluation; quality control based on the parameters set by the artists themselves to avoid fixed notions of excellence; adequate and assured funding at least for few years so that one can plan ahead etc., then it would be easier to outline the components of a contemporary dance festival in India.
Today Attakkalari India Biennial as well as other festivals are working in a volatile environment where at any given point there are too many variables and it is almost impossible to have a well thought out programme that is curated well in advance so that the impact can be optimised. Therefore, in the current scenario in India most festivals are working in a constrained situation. Therefore, some of the following points might be difficult to adhere to in all circumstances.
• Invest in ideas, artists and artworks, not just buy existing works as products
• Develop other activities such as discussions, seminars, exhibitions, workshops and residencies around performance whereever possible.
• Provide something for everybody without diluting the integrity of the festival
• Established artists and emerging fresh voices
• Take risks without alienating the audience en-masse
• Make the festival relevant for the community while challenging jaded notions and convenient status-quo.
• Increase stakeholders
• Broaden partnership with organisations and individuals
• Sensitise and develop audiences to take them along with programming priorities
• Specific expert teams dedicated to different aspects of the festival such as artistic, administrative, technical, venue management, ticketing, media and public relations, accommodation and travel, accounts, insurance and legal expertise, health & safety, artists' welfare, education and outreach.
• Ensure financial security and healthy cash flow situation
• Appropriate venues and public visibility for each event
• Ownership by the arts community and society at large
• Dissemination of information nationally and internationally
• User friendly programme schedules, maps and directions for festival venues
• Helpline for any emergencies
• Inspiring staff and committed volunteers
Showing posts with label Attakkalari India Biennale. Show all posts
Showing posts with label Attakkalari India Biennale. Show all posts
Wednesday, November 2, 2011
Arts Management pratices at the Attakkalari India Biennale
Trupti Prasad, Festival Manager, Attakkalari Biennale
Organisational Structure:
Do you think Indian festivals are using European models of festival-making? If not, how are they different?
Attakkalari India Biennial has an identity that is its own but yes it does have global standards. Our mission statement a few years ago did say we would aim to give Bangalore the same stature as cities like Montpelier or Avignon.
In general, what is the period in which the team of festival works? During the entire year, or only in a period before and after the time in which the festival takes place?
It takes at least a year to 18 months to put together a festival of this scale. So it has now become almost a continuous process.
How has the role of the festival/artistic director evolved in the last few years in your opinion?
It is very important to have a festival director to give vision, structure and quality to a festival. Putting together a festival is much more that getting works to perform randomly.
How important is the location, legacy and place - understanding the context of the place and generating a passion for participating in the festival among local community?
Very important - we have always maintained Bangalore is ideally situated for a contemporary dance festival like Attakkalari India Biennial
Attakkalari is situated in Bangalore and has over the years built an audience for contemporary dance. On a macro level the nature of its geopolitical and cultural location makes Bangalore a strategic centre to initiate a North-South dialogue on innovation and performance arts with an international perspective
Programming:
Did you conduct any formal / informal feasibility studies before launch to check if your festival has appeal?
No, it wasn't about feasibility - it was about passion for contemporary dance and the need to make it grow in India and Indian dance scene grow in the world.
What are the key challenges in programming your festival and how do you overcome them?
The lack of good venues I would say is one of our biggest challenges today. We really need world class auditoriums.
Finance is hard to garner, but there are always a few visionaries in the government and outside it as well as a whole range of cultural agencies who come together every two years to make this festival successful.
Do you need to differentiate between and define works along the lines of ‘contemporary’ and ‘traditional’ – does that become a challenge, do you have to seek a balance between representing the two?
Attakkalari's stated mission is: Traditional Physical Wisdom, Innovation and Technology. All the work shown at the festival is contemporary movement arts based on this and selected by curators who know what they are looking for.
How do you balance local community needs with the interests of external visitors and media viewers/readers?
We do this by having the right mix of Indian and International work as part of the programme.
Audiences:
Are you focused on any particular kinds of audiences that you are trying to attract?
No.The more varied it is the better. Penetrating into areas hitherto unfamiliar with contemporay movement arts and bringing people from there to watch the shows is one of our main targets.
Do you find a disconnect between engaging the audience vis-a-vis respecting the work and the artist. Do you think there is a trend in arts festivals towards more interactive performances?
Audience appreciation is subjective and evolves with exposure. Interaction of course is wonderful but need not always be the only way to engage an audience. At the end of the day people are discerning enough to appreciate quality.
What other factors do you consider when measuring the success of your festival: meeting the festival vision, ticket sale/audience numbers or how successful a festival is in launching new artists?
Apart from what you mention media coverage plays a big role. Artist and delegate feedback, networks that develop, funding availabilty, more international interest to participate, partnerships, collaborations...these are all important.
Can you detail some of your outreach initiatives?
Through Attakkalari’s Education Outreach Programme, now in its 8th year, trained facilitators from Attakkalari’s repertory take the Movement Arts to schools across the socio-economic divide. Attakkalari has worked with government schools, schools for underprivileged children, a juvenile remand home as well as private and international schools.
Attakkalari also offers community classes every evening. Over the years the community dance classes have attracted increasing numbers of young people and are now held every evening at the Attakkalari studios including weekends. The classes are held at a time convenient for working professionals interested in dance. The classes expose a growing number of young people to constructive ways of self-expression through movement besides helping them develop valuable inter-personal and intra-personal skills.
During the festival, visiting choreographers from India and abroad, offer classes. These master classes are open to the public and hugely popular. This festival we even had someone fly in from Sri Lanka to attend two sessions offered by an American choreographer and one by a dancer from UK!
Marketing and PR:
How much of a role does social media and online marketing play?
They play a huge role. We used it extensively in the last festival and even more this time round. Media management is an essential part of organising a festival, requiring professionals to do it.
Have there been any other major shifts in arts marketing – besides the use of online media?
Wouldn't really know about arts marketing but yes, technology has brought about a huge shift in the way we disseminate information. A lot of tools are available today.
Funding model:
What sources of funding are available to you? Are there any funding bodies in India that you approach?
Yes, there are funding bodies and agencies available to us in India but the funding is not adequate for a festival hosted on this scale. Other partners are needed.
How important has tourism been for your festival?
The Karnataka State Tourism Development Board was one of our partners in 2011 and we hope this partnership continues. Artists from all over the world and different parts of India are here for almost three weeks before, during and after the festival. They are bound to take in the sights, sounds and flavours of Karnataka as well as India.
Organisational Structure:
Do you think Indian festivals are using European models of festival-making? If not, how are they different?
Attakkalari India Biennial has an identity that is its own but yes it does have global standards. Our mission statement a few years ago did say we would aim to give Bangalore the same stature as cities like Montpelier or Avignon.
In general, what is the period in which the team of festival works? During the entire year, or only in a period before and after the time in which the festival takes place?
It takes at least a year to 18 months to put together a festival of this scale. So it has now become almost a continuous process.
How has the role of the festival/artistic director evolved in the last few years in your opinion?
It is very important to have a festival director to give vision, structure and quality to a festival. Putting together a festival is much more that getting works to perform randomly.
How important is the location, legacy and place - understanding the context of the place and generating a passion for participating in the festival among local community?
Very important - we have always maintained Bangalore is ideally situated for a contemporary dance festival like Attakkalari India Biennial
Attakkalari is situated in Bangalore and has over the years built an audience for contemporary dance. On a macro level the nature of its geopolitical and cultural location makes Bangalore a strategic centre to initiate a North-South dialogue on innovation and performance arts with an international perspective
Programming:
Did you conduct any formal / informal feasibility studies before launch to check if your festival has appeal?
No, it wasn't about feasibility - it was about passion for contemporary dance and the need to make it grow in India and Indian dance scene grow in the world.
What are the key challenges in programming your festival and how do you overcome them?
The lack of good venues I would say is one of our biggest challenges today. We really need world class auditoriums.
Finance is hard to garner, but there are always a few visionaries in the government and outside it as well as a whole range of cultural agencies who come together every two years to make this festival successful.
Do you need to differentiate between and define works along the lines of ‘contemporary’ and ‘traditional’ – does that become a challenge, do you have to seek a balance between representing the two?
Attakkalari's stated mission is: Traditional Physical Wisdom, Innovation and Technology. All the work shown at the festival is contemporary movement arts based on this and selected by curators who know what they are looking for.
How do you balance local community needs with the interests of external visitors and media viewers/readers?
We do this by having the right mix of Indian and International work as part of the programme.
Audiences:
Are you focused on any particular kinds of audiences that you are trying to attract?
No.The more varied it is the better. Penetrating into areas hitherto unfamiliar with contemporay movement arts and bringing people from there to watch the shows is one of our main targets.
Do you find a disconnect between engaging the audience vis-a-vis respecting the work and the artist. Do you think there is a trend in arts festivals towards more interactive performances?
Audience appreciation is subjective and evolves with exposure. Interaction of course is wonderful but need not always be the only way to engage an audience. At the end of the day people are discerning enough to appreciate quality.
What other factors do you consider when measuring the success of your festival: meeting the festival vision, ticket sale/audience numbers or how successful a festival is in launching new artists?
Apart from what you mention media coverage plays a big role. Artist and delegate feedback, networks that develop, funding availabilty, more international interest to participate, partnerships, collaborations...these are all important.
Can you detail some of your outreach initiatives?
Through Attakkalari’s Education Outreach Programme, now in its 8th year, trained facilitators from Attakkalari’s repertory take the Movement Arts to schools across the socio-economic divide. Attakkalari has worked with government schools, schools for underprivileged children, a juvenile remand home as well as private and international schools.
Attakkalari also offers community classes every evening. Over the years the community dance classes have attracted increasing numbers of young people and are now held every evening at the Attakkalari studios including weekends. The classes are held at a time convenient for working professionals interested in dance. The classes expose a growing number of young people to constructive ways of self-expression through movement besides helping them develop valuable inter-personal and intra-personal skills.
During the festival, visiting choreographers from India and abroad, offer classes. These master classes are open to the public and hugely popular. This festival we even had someone fly in from Sri Lanka to attend two sessions offered by an American choreographer and one by a dancer from UK!
Marketing and PR:
How much of a role does social media and online marketing play?
They play a huge role. We used it extensively in the last festival and even more this time round. Media management is an essential part of organising a festival, requiring professionals to do it.
Have there been any other major shifts in arts marketing – besides the use of online media?
Wouldn't really know about arts marketing but yes, technology has brought about a huge shift in the way we disseminate information. A lot of tools are available today.
Funding model:
What sources of funding are available to you? Are there any funding bodies in India that you approach?
Yes, there are funding bodies and agencies available to us in India but the funding is not adequate for a festival hosted on this scale. Other partners are needed.
How important has tourism been for your festival?
The Karnataka State Tourism Development Board was one of our partners in 2011 and we hope this partnership continues. Artists from all over the world and different parts of India are here for almost three weeks before, during and after the festival. They are bound to take in the sights, sounds and flavours of Karnataka as well as India.
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