NE DA PAL NIS I H
YALA MAYA KENDRA KTM NEPAL 24/02/2012
CU LTU RE
SH OW CA SE
NEPALI DANISH CULTURE SHOWCASE
FOREWORD By the Royal Danish Ambassador to Nepal his excellency Morten Jespersen
The Danish Cultural Program was established in 2007 to support training and arts productions at the civil society level. The aim was to promote peace-building and reconciliation in Nepal, strive for an open and plural society with respect for cultural diversity, strengthen empowerment of vulnerable groups through active participation in arts and promote intercultural collaboration, dialogue and understanding between Denmark and Nepal through the medium of fine arts, visual arts and media. The current cultural program that started in September 2010 selected project ideas with the highest potential development. While there is a need for Nepal to preserve its cultural identities, the 9 projects focus on creating and showcasing contemporary art styles and expressions that will eventually utilize new skills and techniques to conserve the diverse cultures of Nepal. The introduction of initiatives such as children’s television, radio stories, film and intensive training programmes for photojournalists and filmmakers is a strategic decision to strengthen the outreach of the programme and widen the target group involved in cultural activities. The cultural programme aims to utilise popular media for a development agenda and work with Nepali broadcasters, artists and their Danish partners to improve the quality and the content of the programmes. I am happy to be showcasing a sample of some of the work done by the different organizations and would like to take this opportunity to thank the Nepali organizations and their Danish partners; the project staff at the Embassy including the cultural consultant and the organizers of this event. I believe that DANIDA’s support is important for the development of art and culture in Nepal.
Morten Jespersen Ambassador Embassy of Denmark in Nepal
CONTENT
INT RO RAD IO K LAS ATH ANA A IND A LI IGE VE A NOU MA RT H NDA S FI U L L MAY MA B A FA RCH AA M I ND LY T LYR I VE M H ICA A E ATR X L NEP D E AL M ANCE S STR USI C ED ENG TOD THE UCA NIN AY’S TOR G OUT S’ S Y P O H UTH OCI OTO RO ETY JOU ASI A RNA LISM
INTRO By Renchin Yonjan
The Danish Cultural program contributes to creating artistic vibrancy in Nepal. Artistic vibrancy is needed to create and showcase art expressions if the medium of fine arts, visual arts and media are to be developed for promoting values such as respect for human rights, good governance and equality and contributes significantly to building appreciation, understanding and peace. The current cultural program started in 2010 and continues to July 2012. The program supports 4 local and 4 partnership projects in the fields of Contemporary Art, Dance, Children’s Television, Film, Music, Family Theatre, Radio Stories and Photo Journalism.
The focus of the projects is on training and productions in contemporary art fields, institutional strengthening and building networks with art related organizations and communities at large. Realizing that performing arts companies and organizations require time and inspiring environments for artistic creativity and vibrancy the program has resulted in the development of a Nepal Picture Library at photo.circle; a Live Art Hub and a Resource and Learning Centre at the Indigenous Film Archive.
engage in the development of the cultural sector in Nepal. It has thus been the key criteria that the Danish partners are centres of excellence within the respective field and that they - or their main staff involved in the project - have relevant experience from Asia, preferably from Nepal and/or some of the neighbouring countries. This way the partners are able to respond adequately and professionally to needs for capacity building and support that originates from the Nepali organisations.
The root cause of success of the Danish Cultural Program is that it recognizes and respects the expertise, skills and knowledge of the local partners. Basanta Thapa, Shrijana Singh Yonjan, Nabin Subba, Ashmina Ranjit, Dayahang Rai, Subima Shrestha and Nayantara Kakshapati are well-known personalities who not only lead their organizations with passion, commitment and dedication but have also contributed to the development of their sectors through innovative programs and events.
An important aspect of the project has been the documentation of the processes that can later be utilized by the local organizations to build strong resource centres for cultural programs. This booklet is part of that documentation.
All partnership projects are based on a joint vision, a well-defined need for support from the NepalI partners and – on the Danish side - relevant professional competencies and motivation among the partners to
At a more personal level, I would like to thank the Embassy and the people of Denmark for supporting the Danish Cultural Program that recognizes, respects and builds on the dignity and knowledge of the people of Nepal. Renchin Yonjan Cultural Consultant Embassy of Denmark in Nepal
RADIO KATHA PROJECT TITLE
Radio Katha
PROJECT PARTNERS
Himal Association & Danish Writers Association PROJECT PERIOD
December 2010 – February 2012
. kills s g itin d wr m being on a ing the l st ytell isten to ersona n r o t p l re rs thei ries and to write e child p o l ve ed rag sto to de o write ncourag o encou n e t e tt dr n chil hildren e been projec g n me i eir i v c e u g a r l h a t h o o r th ev ou es f ren e of n on y to see ee i t enc ortuniti at child essenc a d s e r il it im th pp re . omp pportun he top th ing c tha a vides o rst time . The co BE LOST e a r K o T a in s o L ro fi ttee ave the writers. t the tra nd i Radi roject p s is the erience Y, IT WIL m m h a a i p p R g co writers p ten rmance writing n The n air. Th r own ex UR STO o i t t s e o i th t-li YO he rfo the read bout the OT TELL shor ecially elected and pe evelop t a y a s N p b d es ns ries YOU DO cted ildren, s ons jury ry entri to help atio t e l s e F o I di ed ss sto pli ers t ch was rs, ra ct is re ize torie so tha three p of their y design e s h 0 c n a oje glish top 2 es. A asis ciall ls, te f the pr s to orga o The i and En anguag n the b as spe o h eo sc o l w put al ngst outcom am’s in Nep s in two elected orkshop o m a s . te ve ie stor rs were 5 days w icipants iasm A positi o Katha s u h t i e . e r nt th ad winn hop. Th f the pa t of e ith you d the R o l s o a k te d gw ills wor rate workin t reques g sk e n n i e d ns sg tha rea a ha anizatio zations h t a oK org ani Radi ifferent ent org d fer and y dif titions. b n o cati r compe la simi
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WHY? Quality children’s stories encourage and motivate children to be imaginative and creative. Nepal lacks stories, literature and books that encourage children to read and write in order to develop individual creativity. School-going children are bogged down with didactic teaching in classrooms that offer very little opportunities for creative development. Radio was selected as a medium of sharing the children’s stories as radio has the largest outreach in terms of getting the stories heard by young and old, literate and illiterate. It is hoped that radio will take the voices of the children’s expressions to help adults understand children’s ideas, experiences and expectations. The outputs of the project are expected to encourage more children to explore and attempt to document their personal experiences.
Danish experts Sally Altschuler and Kare V. Poulsen facilitated a workshop to involve authors, publishers, radio and print journalists to design a story writing competition that would encourage children between the ages of 12 and18 to write about aspects of their own lives and situations. The story writing competition was launched in May 2011. 375 entries were received from 39 districts. 201 female and 174 male writers of which 99 are between the ages of 12 – 14 and 119 are between the ages of 15 – 18. The other writers have not specified their age. The top twenty stories that have been selected for publication have been sent by six Kathmandu-based and 15 out of the valley based writers. Six of the out of the valley-based writers are currently studying in Kathmandu. The top ten writers selected by a threeperson jury have been trained in story writing and reading by Danish experts. The top three winners are selected on the basis of their story entries and their performance at the training.
WHO? The project director was Basanta Thapa, Kedar Sharma was the network coordinator. Radio Nepal was involved in the project as a broadcaster. Ramesh Poudel and Ratnawali Shrama assisted the radio program. Members of the top 20 stories short-listing committee and jury require mention for their patience in reading and evaluating the entries on the basis of not only the structure but also using their experience and expertise to review content and potential of the writers. Sally Altschuler from the Danish Writer’s Association and Kare V. Poulsen played a significant role in designing the project and training the top ten writers in writing and story telling skills. Renchin Yonjan helped Himal Association from developing the project to bring it to a successful conclusion. Himal Association is a non-profit organization working in the fields of journalism, communications, publishing, education, film festivals etc. Its primary focus has been to make Nepal a more intellectual, a more knowledgeable society, conscious of various local, national and international issues that surround it through a variety of activities that help to enhance cultural understanding amongst scholars and general public alike.
LASANAA LIVE ART HUB PROJECT TITLE
Live Art Hub LOCAL IMPLEMENTING ORGANIZATION
LASANAA an alternative art space PROJECT PERIOD
October 2010 – July 2012
rinte n a g as ves omotin r e s at e y pr du th to art b dialogu a n a s t m e Kath ds valu constan tivism a ons n i r e d s ti spac rt Hub a t invite tablish a rganiza e v i A o s ct ec tera of a Live he proj aim to e non-art n i l T ica a. ent ent hat s phys blishm art aren shops t al differ ance a m s i r a k r t e o r b e s f er wo xt. ee m th sev t Hu gs, p y conte e Ar iece. Th racy fro rks and pted by n v i i n L r e oc two rt p naa ada iety. scre tempora spiring ers m l Lasa living a ing dem gh its ne s been c fi it n n a o so u ve ops, the con art. An i ians, wr h s acti trengthe ion thro tivism h hange t k ic or e in eir act r t c s ns, w ation ar bout th , academ an inter o and ollabora pment. A positive i t c rs nt ya rac c o inte d prese lyticall t teache tors too and r devel to bring r o f i a n s r fo ls used ssion a y and an rtists, a bate. Vis rk ha tool dividua s o i w e e l t a e l r in d ar cial and spac s of exp critica udents, e and d e b s and u a hb ink rt H rm urs nan t st earc pace, fi ive A tions. Fo ed to th d for ar s disco s L e e r te Th ou ag es bi do exhi encour een crea continu s to availabl t d n n a e a b ip s ge in ts ar has artic at make p Artis nment to enga w lo th . ro ts to al rogram s t envi urnalis ir views n e gra cy P jo rtial esiden and press th a p R e ex ovid ent of a r and p o t m gram stablish o r p e A the upport. o t gs led torin n e m
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WHY? Art activities in Nepal are mostly capital-centered and lack engagement on socio-political issues. The current art trend is still focused on beauty and balance at the aesthetic rather than conceptual level. Artists have limited opportunity to update themselves about contemporary art or the global art context. Art is an essential part of development, promoting critical thinking and analysis within the Nepali art community, and fostering collaboration among the local, national, and international art community. Networks between regional, national and international artists can help to promote different forms of art within the country.
Various experimental, conceptual and alternative Art Workshops, Interactions, Art Forums, Exhibitions, Film Screenings and an International Conference were organized as stand-alone or inter-related activities to develop the Live Art Hub. The activities brought together artists of all ages, ethnicities, geographical locations, political affiliations and levels of experience at one common platform to encourage learning through exchanges and create a national and international network of arts and culture. Participants overcome the limits set by societal norms through critical review and analysis. They gain the confidence to communicate and collaborate with people from communities within and outside their regular sphere of work. Regular monthly events facilitate interactions and debates on art and artivism.
WHO? While these projects were conceptualized and headed by Artivist Ashmina Ranjit, none of the work would have been possible without the grant support of Embassy of Denmark in Kathmandu and understanding of Mira G Gurung and Renchin Yonjan, or the creative synergy of the LASANAA family, the unstinting support of Martin Chautari, the active encouragement of individual artists and artist groups, the generous sharing by resource persons as well as the courage and faith of all of our project participants who have ventured into unfamiliar territory. LASANAA is an art trust registered in 2007 as a nonprofit company with the Company Registrar’s Office, Kathmandu Nepal. Lasanaa’s main objective is to bring about changes in society through art workshops and residencies.
INDIGENOUS FILM ARCHIVE PROJECT TITLE
Building Bridges PROJECT PARTNERS PROJECT PERIOD
o les t e, p o e p tur nous ous cul e g i en nd for i n indig m u o r fo aion aniz ide a format g v r o o r , 10 ive op e in ffect ganizers ort. ion t eminat e s s d i m an ss or supp ient festival n its e and di dom. s i ’ c t A c ffi F e 15 ts I wis hiv roj le, e iinab e Centre er the p ppor lop, arc ge and Fest l a u t s m s l d d s e i u c F n v e r s e l ous rnationa ridg ent, de s, know ng a d Resou rained u i n B d e l g i g i t te d um bu an n din ue al In y the in as had Buil rch, doc age, iss ey to earning ave bee n k o i s t b i h h L a l t a u tern festiva , Canada ve been men nt of the twriters rese on, lang n p I o l l a e V m a r ip ve iti (Nep nous fil Isuma T films h 11,Qata e de ablishm d 18 scr trad 1 c 1 r 0 u i 0 t l n e s a so by l2 ig nd pa FF 2 the e itors an re - NII gest ind anaged ther Ne Festiva autari a l a v Hum ollowing rs, 10 Ed m n sti do ilm Ch lar F en o er nnel ous an enous F Martin m fe ’s third phe l a m a fi r h o tion. l g n C oth dig nua ige IFA nd w orld d by mato ’s an s the w rs. The day. Ind Nepal In rganize youth a tions in A cine F I to ize d; da rac ith so 011 ril 2 cognize al organ 010 and 1, Finlan raction tions w nd inte p A In te re l2 01 ac ha tiv was ty of fes een Apri stival 2 ed by in el, inter researc ) l a e v v i w vat F ated te le betw mun follo com viewers abmago enings e intima ve motiv r k e a 1589 ned at S film scr . At a mo isdom h f e u scre series o thmand enous w a ig a K and NIP in d ind n a R s LAHU nt issue al. e p r cur of Ne s t c ri dist
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WHY? Building Bridges assists people to listen to one another, recognize and respect diverse ways of experiencing our world, and honor those differences as human strengths. The project enables indigenous peoples to express reality in their own voices and supports Indigenous Film Archive in its endeavor to attain its vision of the establishment of a multicultural Nepal where every individual has the right to live with dignity in a peaceful society that appreciates and respects diverse cultures, practices, traditions, knowledge, skills and wisdom.
Initially, Resource and Learning Centre was furnished with technical equipments and furniture to conduct all the trainings at the centre without any difficulties and to make it sustainable from the very beginning. With the equipments and classroom set up, Trainings on Festival Management was conducted by identifying local organizers to organize NIIFF extensions in their communities efficiently. Technical trainings on Cinematography, Screenplay Writing, Editing, Direction and Production, interaction programs and in-house Film Screening Programs were organized.
WHO? The Embassy of Denmark has supported IFA since 2007 by funding ‘Treasures of the Indigenous Peoples’ and ‘Synergy Network’ that helped IFA strengthen its human resource base and extend its sphere of activities to districts outside the valley of Kathmandu. Renchin Yonjan – Cultural consultant helped the projects achieve success through continuous mentoring. NFDIN (National Foundation for Development of Indigenous Nationalities); Gurung Film Association; Yakthung Munchait Chok Sayang (Limbu Association); Magar Film Association; Prachin Srijanshil Adavsi Samaj (Tharu) and Tamang Film Association; imagineNATIVE Films + Media Arts Festival; Skabmagovat - Indigenous Peoples Festival Night; Limbu Student Council; LAHURNIP and Nepal Federation of Indigenous Nationalities – Qatar supported film festivals The Board members of IFA established the organization with a vision to establish an archive of indigenous films and Nabin Subba, Sanjog Lafamagar, Padam Subba and Dipendra Lama continue to work voluntarily to ensure the attainment of IFA’s vision.
MANDALA FAMILY THEATRE PROJECT TITLE
Family Theatre PROJECT PARTNERS
Mandala Theatre & MINAP (Mithila Natyakala Parisad), Nepal & ‘Passepartout Theatre Production’ (PTP) Denmark PROJECT PERIOD
May 2011 – Jan 2012
in atre e h t mily d use of a f d an an s, outh ccess to e artist y , n tr a re hild ld have thea , c s r r o e f u t on area one sho ote wri ). h t ucti n d w y m d r n o o o r e r u r v g o p ca a ,s dp te to y an amilies eate ing tha m aims ps, light r h c p a f o r t r nd ro ra enog eatre fo avy, ex- f im is ndersta is prog tume, p c a s s , ’ e g o h h s e u ritin d that t ngs or h rtance s ty. T sets, co eatr on and i h l w T a y n r ( ti g al qu po ily n sto ndersta rge cas ams Fam focusin of high e im y materi o e h t t s y g u d a , ts in ph al ze to el da Nep ming ar enogra train o plays t requir all reali e, every ops. r e p h t c r e s o iv tw pl rs no th nperf ors and d wi d in the and do acto e of sim expens e d t r n. Co n t a o a e s s e c t i v v e u e s s s l r a r h at vo di alu ive he nfu es ss th rtists in versal v nograp y. Creat ssary to d co e n issu d c a o g i r a e n e r n n o c c o p e i t i u t t s an tr ,s ne The mira advoca f story thea ries with irectors g of the always d d a e o s h p n ,d to ot ot ge di ity hel ple s . Writers derstan at it is n ted b h messa simplic a m i e s r th un be ets wit the al c ve s ommon s realize Nep o plays ness of i f s o n t c e er es pe ing a ograph plac are used effectiv t 0 a 3 e cr in he al cen Nep ciated t lays ed s p n p i l e e s h f th ce pre ing o audien nnel ap g a t s se so The ecau atre per b n fusio als. The or or m graphy. o scen
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WHY? ‘Family Theatre’ was designed to tell simple stories with local content and flavor that would offer entertaining stories for children and families. Few Nepali plays offer families, encompassing a range of ages, to enjoy theatre as a family activity. Most plays are either too philosophical or produced to spread messages. The plays are mostly based on stories that are foreign to the audience at large in Nepal. Family Theatre believes that the two plays ‘Curly Hair’ and ‘The Clever Boy & the Demon’ contributes to the development of story writing and nurtures collaboration between writers and directors as partners.
Mandala Theatre Nepal collaborated with Mithila Natyakala Parisad (MINAP) Janakpur to find the stories, produce and stage the plays. Mandala produced the play “Curly Hair” and MINAP produced the play “The Clever Boy and the Demon”. Though the stories were different similar process and steps were followed. Stories were researched and selected to represent two ethnic communities of Nepal. At the “Story Development and Production Planning Workshop”, screenplays were developed and production plans prepared with the guidance of Jacques S. Matthiessen and Christian Q Clausen. A second workshop on the “Production Process” was held in November. The two theatre groups designed scenography, researched appropriate music and read and developed the characters jointly as well as at individual levels in the interim period between the workshops. The plays were premiered at the International Youth Theatre Festival on November 25th in Kathmandu. After touring 27 places separately, the two plays closed on December 31 in Janakpur.
WHO? Family Theatre was successful because of the passion and commitment of the stage artistes, crew and technicians. The Danish theatre experts Jacques Mathiesen and Christian Q Clausen spent long hours demonstrating techniques and patiently worked with the actors and scenographers in preparing and rehearsing. Renchin Yonjan, Cultural Consultant helped to translate, coax and ensure that activities were organized as planned. She was also helpful in solving communication problems between the two local and Danish partners.
MAYA AND MAX PROJECT TITLE
Maya & Max – Children’s TV series PROJECT PARTNERS
Creative Statements, Nepal and Danish Center for Culture and Development, Denmark PROJECT PERIOD
January – December 2011
. dren l i h ic epal pisode N r o f -e gram l. The 12 m Katho r p a x fro tive Nep alita dren of r-old Ma n from u r q thei ea hil dre and l t y c i u e l h 4 v o a 1 i c ab at et d rur nd form an and ya a they me n things arantee n a i , M rb e ld fu ing is gu isod ge and tain o both u -year-o m r p a e e t r en f 16 illa ls t rog ach is an t appea ntures o pal. In e f their v ut the p x a orks , a o b M e e w h t s v N p d t t e f d u n c n o a m o e aa ble hand a ogra d on the nt parts cial asp iewer gr r r c May e p t h ot v ils , e se a TV ere e sp y target n wh . On the duction r e It is ies is ba lore diff a r h d il es ro ar os p er or ch gn imag tise in p vision o ex unds wh the prim f TV s h d w e er at rirei ro ele du re h Sh s cre n and fo nish exp ucing t t man e backg r-olds a ily. i m w a r d n o a o a m rs prog h carto ision. D d in pro boratio hopes t 12 ye whole fa dive o o n t t a t e v i e l v l a v l le w .8 e ls ha homes ren’s Te ose invo rts in co d Max th lives rtain th e n n e n s e d ’ t a th n ha xp hil to en train anish e ce Maya ion c i childre ark in C s o i t v d D u le al tilize prod adem Nep the 3 ali te Nep al flood trong tr g was u e level, team to al. p n rin ns as ep in Ne rk has d ancho ore inte oductio am in N n pr gr m ma Den awork a al. At a he core s TV pro r p ’ t e e n cam ms in N ked with Childre a f r r o ao prog onjan w ic er t s Y a t jana in a fan r ushe
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WHY? Nepali television channels have no programs created for children whilst cable networks in Nepal flood Nepali children’s homes with cartoon and foreign images. On the other hand, Denmark has a strong trademark in Children’s Television. Danish expertise in production, camerawork and anchoring was utilized to train those involved in producing television programs in Nepal. At a more intense level, the 3 Danish experts in collaboration with Shrijana Yonjan worked with the core production team to produce Maya and Max that hopes to usher in a fantastic era of Children’s TV program in Nepal.
The production of Maya & Max started with a workshop for television anchors, producers and camerapersons on different aspects of making television programs for children. A Basic guideline was developed from the findings and prospective resource persons identified. After several brainstorming sessions the basic concept was developed and the team went on a research trip around Nepal to identify locations, children as key informants and resource persons as well as establish contacts at local levels. The characters Maya and Max and the crew was selected after several auditions. The Danish experts trained the producer, camerapersons and anchors to prepare them for the actual shoot, which took place in Sankhu, Lumbini, Chitwan, Pokhara and Kathmandu. However, there was still a long way to go. Editing and compilation of the stories into 12 episodes; composition and recording of the title song and animated information breaks had to be designed and inserted. Maya and Max was finally launched on November 20, 2011 followed by the telecasting on January 6, 2012 on Nepal Television at 6:05 pm with repeat telecasts at 10:30 am on Sundays.
WHO? Established in 2002, Creative Statements specializes in conceptualizing, coordinating and managing programs that make a difference and focuses on unique events that communicate through the medium of dance, music, workshops and film. Creative Statements worked closely together with the Danish partnerteam; Lars Gudmund, Jeppe Vig Find and Thomas Larsen. The first playing a crucial role in television productions, the latter having advanced experience with filming techniques. Jeppe on the other hand, a figure from a succesful Danish children TV program, brought an insight from how such programs can be both interactive, entertaining and informative.
LYRICAL DANCES PROJECT TITLE
Lyrical Dances LOCAL IMPLEMENTING ORGANIZATION
Nritya Aagan
PROJECT PERIOD
August 2011 – May 2012
s pher a r g eo chor t will e r i a p d ins ement th sitive n a l o te a Nep g of mov n and p to crea n i hy in tio es grap erstand munica chniqu o e r d o te m al ch ernal un m of co n dance ity. c i r y u t f cho lop l more in ul medi d moder musical o e p v u e gro idge the to d werf sical an and er a a s v o s r o p s m e i c sa eth ene dis as a al, clas at br ll as a e v g i h o e c o t t s t c n s s s n ring rategie ts as we cord al Da teacher e of da radition ts expre b c i d r l e t y L valu fuses t for i nce t cou ls and s exponen h and r rms. e a a n h d h t w t s o rc s il d fo and bute to ance style, kn oces ining sk urus an to resea dance d r i l p r t a a n s rg ew ce ric tra fy co enti evelop e. Ly ary dan enio also aim graph n d g s tly i n e o a r t d t o m o c rren oe d o o ch p r t e u s e j o c s f m n o r h c h re pr yo sig he nte nd a s. The c the s de ce teac e rigidit ers. The ers can a co a a d w e n h y th dan ject ach eograp lect positio tions of b o e e d t r s d n p d e a n s da at or lle om ee The pher gap cre and ski hich ch ve b lyrical c the foun a a r h g l rs n le ow ic reo ationa ache o class s built o geab itions t r e d t e e l e n t s s nc em ge ow po d da ce form nd syst epal. of kn cal com n k a c n s r N a la sa yri aphe g new d hnique forms of r sic l s g a o l c n c e re te hi f cho reograp ing new tic danc o p u o is p A gro g on ch develo d ritual n n e i r a work phers a itional d a r a reog e folk, tr rs dive
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WHY? Dance is an integral part of school functions, Nepali films and fund raising events. However, it has become increasingly obvious that these programs are put together hurriedly without much creative thought or endeavor. Most dance teachers lack systematic teaching skills and have little opportunities for learning. Lyrical dances emerged as a new art form after the cultural changes of the 1970s. Dancers wanted new ways to convey a wide range of human emotions through movement, rather than relying on the precision of classical ballet or the abstract quality of modern dance. Lyrical dances show expression, mood and often tell a story. The interpretation of the music is left to the choreographer. Dance teachers and choreographers involved in the project can learn the art of adapting existing dance steps and poses to suit new, modern music.
Nritya Aagan launched its lyrical dance project in July 2011 by identifying dance schools, choreographers and dance teachers committed to inspiring respect for dance. The process of interacting with the identified group was held in the month of August and September. After an intense orientation program and pre-master classes, participants were selected for a Master class with Lokesh Bharadwaj, a master in Bharat Natyam and contemporary dancer from India. A post master class session was conducted to select the choreographers and dance teachers that would be involved in the showcasing of lyrical dances in May 2012. Musical masterpieces from the 60s and 70s were researched, identified and selected for rerecording. Nritya Aagan arranged participation in dance recitals, conventions and personal classes on the contemporary dance forms for the selected choreographers and dance teachers. Extensive practice sessions have been held resulting in new innovative dance steps and choreographed pieces. The project is now in the process of recording the selected songs.
WHO? Nritya Aagan located in Jhamsikhel, Lalitpur is a dance school established by Subima Shrestha in 2009. The predominant dance form currently taught is Kathak. Nritya Aagan is a strong believer in the arts as creative forms that express stories, feelings, and contexts relevant to the performers and their worlds. Nritya Aagan aims to inspire young people to learn and appreciate different dance forms, maintain the integrity and essence of the forms and create a dance community well versed in different forms and principles.
NEPAL MUSIC EDUCATORS’ SOCIETY PROJECT TITLE
Empowering Music Teachers Through Education LOCAL IMPLEMENTING ORGANIZATION
Nepal Music Educators’ Society PROJECT PERIOD
November 2010 – July 2012
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WHY? Nepal lacks a widely accepted music curriculum or set of national standards for music teaching because the government has not supported such an effort. Most public schools do not have music programs; and while some private schools do offer extra-curricular music, too often musicians who do not understand music pedagogy lead them. The decision to include music as part of the schooling depends on individual principals, and courses of music learning is limited to the individual teachers or schools, and students who pursue university study in music are often complete beginners during their first year as a result of the absence of accepted standards.
It has been proved that music education improves a child’s brain in many ways: socially, cognitive development in general, independent thinking, understanding of mathematics and algebra, quick and efficient problem solving, and more. With the implementation of a good music curriculum and the training of professional teachers, Nepal could move ahead much faster. With this in mind, a two-year course of instruction equivalent to an associate degree in music education from a developed country was developed and an initial class of 15-20 Nepali music teacher participants funded. The curriculum sets national standards for music teaching relevant to Nepal that can initially be shared with schools in Kathmandu and later at a national level. The program is now capable of producing a class of music teachers every year using some of the present participants as trainers.
WHO? Dr. Gene Aitken gave form to NMES back in 2008 when he was invited by KJC (Kathmandu Jazz Conservatory), with the support of the US embassy. Jan Fadnes, a KJC teacher who was working for the Norwegian embassy at the time, came up with the first proposal and the title of the project. Nirakar Yakthumba made possible the participation of 50 music teachers that were trained by Dr. Aitken in 2008. Mariano Abello has continued to drive this program in order to make it a reality, and he never takes “No� for an answer. Renchin Yonjan believed that NMES was a great project. Mayo Shimonishi has been the primary teacher of the program, the one transmitting knowledge to our students. Rajat Rai and Inap Shrestha have backed Mayo in the educational process. NMES want to thank all the rest who are making this project a success.
STRENGTHENING PHOTOJOURNALISM PROJECT TITLE
Strengthening Photojournalism in Nepal PROJECT PARTNERS
PhotoCircle, Nepal & Danish School of Media and Journalism, Denmark PROJECT PERIOD
Feb 2011 – Jan 2012
11 to 0 2 y ar ebru F m m. e fro urnalis v i t a Jo iti e ng in edia and ed th y l o l b a r M en ud ea ject to the st ry, s a y chool of o a r w p o S e al� s, th tributes of mem nish Nep e a i n t D i i s n v ue co the cti ism e iss on a ive that rnal cle and i r t u o a l o j b for emin to arch can exp hoto hotoCir u s P h s l i g P in ho ca dd we hysi s well then between g an rary; a p ut how p g n i r n e n e ong dually, a “Str 012 lear ture Lib ons abo r 2 t / mus g y r m n i a i c i a t o v i s i h s u c P a d s t ac ue al Jan ircle ionals in nity. Thi am tha to te the Nep aises q C n o t o r i r o . u s s h og m dit es nd t of ing P nt profe to com ation pr In ad ishmen raphy a gh imag h s i l o e b uc et ph bl og ou esta y ed omp Nepali esta ali phot tory thr n h c i p l e a u r p o gr sf is the hoto of Ne ty, and h cces g into m ons for p u s m in ti er en rs iden s be grow urce pe longer-t rs. a e h r t a a o so ea ec proj hers wh s and re porting xt five y The p r p e in su ogra ache the n phot able te ital role ild over v u alu as v ill play a nds to b w nte nity cle i r i C o Phot
W
? T A H
HOW?
WHY? The absence of learning institutions that provide a creative, handson and global approach to photography is critical in Nepal. This greatly limits the development of photography as an important visual language that can analyze and debate important issues in the evolving Nepali socio-political life and shape how society perceives the world and affects social change. It is crucial for the development of photography that learning opportunities are available locally to create a new breed of Nepali photographers who understand their craft and use it as a powerful visual language.
The project enabled PhotoCircle to reinforce its physical infrastructure, strengthening its capacity to function as a resource centre for photographers where regular teaching/ learning activities have been taking place. The centre also houses a reference library, computer workstations with power back up, a photo studio and scanning facilities that photographers can access through a membership program. The project designed several workshop modules catering to photographers at introductory, intermediate and advanced levels. All works produced during workshops were disseminated through exhibitions, publications and local media networks. An exchange visit to the Danish School of Media and Journalism in Aarhus enabled a core group of photo. circle staff to understand and observe the running of a state of the art photography school, interact with faculty and students, visit Denmark’s top newspapers, participate in an on-going multimedia workshop and gather resources to begin drafting plans for a sustainable long term photography education program in Nepal.
WHO? The project was coordinated by Soren Pagter, Head of the Photojournalism Department at the Danish School of Media and Journalism, and NayanTara Gurung Kakshapati, Head of Programs at PhotoCircle. It enabled the participation of 32 Nepali photographers and directly reached out to more than 12000 people through exhibitions, publications and other dissemination activities. Activities have been carried out in collaboration with several local and international partners including the Pathshala South Asian Media Academy, Madan Puraskar Pustakalaya and Kathmandu University amongst others. This project would not have been possible without financial support from the Embassy of Denmark, and human resource support from its Local Projects Coordinator Mira Ghale Gurung and the Cultural Consultant Renchin Yonjan.
TODAY’S YOUTH ASIA PROJECT TITLE
Young in Nepal 2011 PROJECT PARTNERS
Thomas Kurek, Stephen Freiheit Hayes, Today´s Youth Asia (TYA) and Danish Center for Culture and Development PROJECT PERIOD
March 2011 – May 2012
ioord c t c oje ur A) pr duce fo Y T ( ro ia h As Hayes p ational t u o y’s Y reiheit on the n al two a d o n F t T tion Stephen roadcas 10, the fi a s i 0 n b r Orga mmake ms are in June 2 s h t u l a r oma d fi Yo g h e d T o e c n r s y u a p b le r e od s led techNepa ographe tion. Th been pr p e o h h t w a t orks intervie as of with and pho utes dur ms have w n n o i i tes uction, from ide their min progra erat Kurek a p 5 p i o 2 c o . m ti od rk In c Thomas rams of lus. Two h 2012 l par ision pr ents wo told fro nges. a c p g r r P e o o a e v t V r M p ha tud na NT ob of N ele ision hannel duced in eas dea of t ngles. S ies are t ain the c r v a e l s t C a subr o te u li b r o V c o e a t o p i i r r T t s r o a i e e s t l b va a et en gs ali Nepa ms will from give a g of journ cide wh ontribut rdin Nepal in he o s c h a t e e r f r t ou ps yc ce yd prog s. All picture o through cal y orksho nd choi iety, the can the w o e l i f v w ter een up o rary soc how ing a The nd in ntempo ocracy s A gro tephen. torytell ounding ade and a s o s ng r S ordi vide a c and dem and s, visual r the sur uld be m c e r e o lic ho ge pro niqu isions f es s oota ograms to repub f g n e a v c h r r u thei , what c prod du. The p espotism d n n a o n an dd regi o pla n Kathm rchy an s l a ona ents ted i Stud ntly edi n from m e . io sequ transit e youth e es activ f Nepal o eyes
W
? T A H
HOW?
WHY? The program block “Young in Nepal 2011” aims to introduce Nepali youths from various areas to the possibilities in producing debategenerating TV-programs for national mass media and to create a voice for a large group of Nepalese youth that would otherwise seldom be heard. The programs clarify issues and challenges faced by Nepalese youth and visually illustrate the issues they struggle with and their wish for improvement in their lives. The workshops and production of television programs provide Nepalese youth with an insight to how information and debate delivered through mass media can have a significant impact and provide understanding of problematic issues in a new democracy.
Thomas Kurek and Stephen Freiheit Hayes have previously collaborated with both Today´s Youth Asia (TYA) and Danish Center for Culture and Development (DCCD) on workshops in photography. Students were given specific topics to illustrate and the outcome was exhibited in Cultural House Kvarterhuset in Copenhagen and in Nepal Art Council in Kathmandu. A TV program on the process was produced by Image Channel and in general media coverage in both Nepal and Denmark was great, which led to the idea of producing TV programs for a broader audience reaching even remote areas of Nepal. Both TYA and DCCD were interested in continuing the collaboration and the idea of working with youth groups from various areas of Nepal was born. The topics got heavier as program 2 was produced in Birgunj in Terai area in collaboration with NGO Sano Paila and dealt with Hiv/Aids, drug addiction, trafficking, prostitution and sexuality issues.
WHO? Project coordinator Thomas Kurek is educated as social worker and works as coordinator of the activity center Magneten in Lyngby, a municipal leisure facilities for mentally challenged adults in Denmark. Thomas Kurek is also coordinator of StadscafĂŠen, a sheltered employment for mentally challenged citizens. Photographer Stephen Freiheit Hayes studied at the Czech Film School in Prague. First book published ten years ago including portraits of Dalai Lama and Yoko Ono among international artists. Photographic publications and exhibitions in Denmark, Germany, France, Spain, China. Currently working on documentary on monasteries in Nepal. Collaborates with Danish Foreign Ministry, Aids Foundation, Red Cross, UNICEF, Amnesty International a.o. www.freiheit.dk
OUTRO
Danish Center for Culture and Development has worked with culture cooperation in Nepal over the past 5 years. We are amazed by the talent, entusiasm and creativity demonstrated by some of our key partners in Nepal. The experience from the projects clearly shows that art and culture play a key role in development processes. Respect for cultural identity and diversity is a basic human right and art forms a key element in a open and free democracy. Active involvement in culture is also an effective means of empowering disadvantaged groups. So, we trust that the richness of the Nepali culture and the importance of the partnerships with Denmark have come across strongly in this beautiful event - the Nepali Danish culture showcase - and Danish Center for Culture and Development looks very much forward to the culture cooperation with Nepal in the future. Morten Gøbel Poulsen Head of Culture and Development Projects Danish Center for Culture and Development, DCCD
CREDITS
Ajay Upadhyaya, Amrit Yonjan, Anil Regmi, Ashmina Ranjit, Basanta Thapa, Bhim Shrestha, Bhushan, Shilpakar, Brinda Dewan, Chitwan National Park, Christian Q. Clausen, Cinema de Parallel, Dambar Chemjong, Danish embassy staff, Dharmendra Sewag, Embassy of Denmark, Firoz Bajracharya, Firoz Khadka, Fulbright, Gene Aitken, Gopal Yonjan, Harka, Lama & Team, IFA, Inap Raj Shrestha, Inhabitants of Sauraha, ISME, Jaco van der Dool, Jacques S. Matthisein, Jan Fadnes, Jeppe Vig Find, Kamal Baral, Kedar Sharma, Kishor K. Sharma, Krishna Bhattachan, Lakchu Maharjan, Lars Gudmund Hansen, LINEZ, Man B. Magar, Mantosh Lama, Mariano Abello, Martin Chautari, Mayo Shimonishi, Meera Ghale Gurung, Morten Gøbel Poulsen, Nabin Subba, Naraya GC, Narayam Prasai, Nare Chettri, Navashree, Navistha, NayanTara Gurung Kakshapati, Bhushan Shilpakar, Ninad KC, Nirakar Yakthumba, Nishant Shilpakar, Nivida Lamichane, NMES Members, Prabhat Rimal, Prabin Shrestha, Prashant Rajkarnikar, Prerana, Radio Nepal, Rajan Puwar, Rajat Rai, Rajiv Shrestha, Renchin Yonjan, Robert Moore, Rune Thorsteinsson, Salona, Samsher Lama, Sanjeevani, Yonzon Shrestha, Sarvasrika, Shanti Gurung, Shova Chand, Shrijana Singh Yonjan, Shyam Lama, Siddhartha K. Shakya, Subani Moktan, Subash Chandra Kharel, Subash Dahal, Sujin Joshi, Suku Lama, Sumit Pokhrel, Sumitra Manandhar Gurung, Sunita Shakya, Thomas Larsen, Tsering Rhithar Sherpa, Umbrello Design Solutions and many more.
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