VIBGYOR a performing arts magazine
FOUNDER’S EDITON | ISSUE NO. 2 | OCTOBER 2016 1
Editor-in-Chief Anirudh Popli
Chief of Production Atrey Bhargava
Design
Amal Bansode
Senior Editor
Vihaan Bhatnagar
Assoicate Editors Rishi Choudhary Naman Agarwal
Special Correspondents Ranvijay Singh Agastya Bhargava
Cover Artwork Credits: Anirudh Popli Back Cover Image Source: Pinterest 2
EDITORIAL Dear Readers, Performing Arts has played a crucial part of my life since as long as I can remember. The idea of being free, of temporarily becoming another individual, and of expressing my own perspectives without another individuals contradicting opinions has always fascinated me. Anybody who knows me, is aware of my frustration toward the discrimination between the ‘jocks’ and the rest. I have always found my calling in Art and Drama particularly, so it bothers me to see that a large portion of the most influential individuals in the world have the occupation that most children are ashamed to dream of. I hope that this publication will be able to remove the doubts of those who are not sure and strengthen the resolve of those who have decided. A noteworthy example of this resolve would be Bob Dylan, who has recently been awarded the Nobel prize in Literature for his exceptional skill in song-writing, struggled throughout the beginning years of his career due to his critiques. Another example would be the Nobel Laureate Dario Fo, whose wife was kidnapped and tortured for his controversial works. Thus, the destination is always worth the journey through any performing art. This issue serves to showcase the opinions of the students in the fields of Art, Music, Drama, and Spoken Word (Slam Poetry). The articles give insights on hidden art forms, techniques and also reflects the arts in school. Many of these art forms are being suppressed by societal dogmas. This is a big concern as art should never be suppressed by what people think. Art has always been and I hope will always be a journey undertaken by an individual where he or she explores their creative beings by themselves. The VIBGYOR for me is something more than just any other publication. It is a sense of accomplishment for me to see where performing arts has reached. It is a sense of reassurance that all my decisions in life were not made in vain. I hope it will have the same effect on all artists who read this. Happy Reading!
3
Dario Fo 1926 - 2016 Playwright, Actor, Painter
Heisnam Kanhailal 1941 - 2016 Eminent Theatre Personality
Bob Dylan Recipient of the Noble Prize in Literature, 2016
Special Thanks Mr Arnab Mukherjee Mrs Purnima Dutta Mrs Malvika Kala Nalini Malaviya Ojas Kharabanda Ishaan Kapoor Master-in-Charge Dr Mohammad Hammad Farooqui
4
CONTENTS A BRIEF HISTORY OF TANGO
BIAN LIAN
Armaan Verma page 06
Ranvijay Singh page 11
STROKES ON A CANVAS
DRAMA-THE JOURNEY
Agastya Bhargava page 07
Atrey Bhargava page 12
POWWOW
OBJECTIVISM OF ART
Ranvijay Singh and Kushagra Kar page 08
Nehansh Saxena page 14
THE SILENT ONE
THEATRE VERSUS FILM
LASTING NOTES
MOVE, PEN MOVE
Hitansh Nagdev page 10
Ranvijay Singh page 15
Interview with Anant Mohan page 18
Kushagra Kar page 24
SPOKEN WORD
OFF THE WALL
Agastya Bhargava page 20
Agastya Bhargava page 25
FRIGHT OR FLIGHT
WAR THROUGH EXPRESSION
Ranvijay Singh page 21
DRAMA IN DOON Ojas Kharabanda page 22
Anirudh Popli page 26
EVOLUTION OF DRAMA IN DOON
Naman Agarwal page 27
5
A BRIEF HISTORY OF TANGO ARMAAN VERMA Image Credit: HuTui6.com
The popular partner dance form Tango has become highly popular in the past century. It is practiced and learnt all over the world. It swept through all kinds of different cultures globally throughout the 1900s and the 1910s. This flamboyant dance also found its way into North American and European bars, ballrooms and salons. It mainly uses the technique of gliding steps for the dancers to move across the floor. There is a great amount of snatching and catching that goes with the staccato nature of its music. Tango originated in the 1880s in the working class district of La Boca in Buenos Aires, Argentina. The slums of Argentina were full of factory workers and European immigrants. In a predominantly male society at the time, the only source of entertainment lay in the comfort of bars and brothels, which were frequented by only the menfolk. Tango was born as a cheap source of entertainment in brothels, performed by prostitutes and accompanied by an orchestra of local instruments. Obviously, the instruments and music changed over time but it was not unlike what accompanies the dance form today. Since its origin was so unorthodox and unique, it was inspired by and used dance forms of Italian, Spanish, Argentine, and even African origins. The class system in the industrial and growing city of Buenos Aires was rigid, and the people of La Boca were not looked upon favorably by the aristocrats of Argentina. Initially, women of high birth were strictly prohibited by their families from taking part in such a performing art due to its lowly origin. The dance steps that tango consists of, even now, were originally meant to be flexible and arousing, which did not appeal to those who found it beneath their dignity. Ballroom dancing was predominant among the upper class. Buenos
Aires, even today, has such “tango bars� where immigrants line up to find partners to tango with, and tango is performed on the streets widely. Eventually, it caught the eye of foreign visitors. Tango was fascinating for Europeans, and many of them who had lived in Argentina, took it back to their own countries. There it spread like wildfire irrespective of all class and ethnicity. It was modified in minute ways to suit the taste of its performers, but tango dancers from Europe eventually found themselves performing for the upper classes of Argentina, where it was highly appreciated. In the past, Argentina has mimicked the lifestyle and culture of Europe many times and this was one of those times too. Tango was seen as a European dance, whereas the original tango was performed in the slums and suburbs of La Boca. This bold, expressive dance form grew more and more and soon became more elaborate with complex steps and terminologies that has gained the admiration of the international community. Although performed in various ways, Tango is still performed in Buenos Aires retains the original sense and feel that the Argentine workers felt while doing it in the brothels of working class. Source(s): http://dance.about.com
6
http://www.history-of-tango.com
STROKES ON A CANVAS AGASTYA BHARGAVA
This year Art in The Doon School has risen to a whole new level. From paintings to sculptures, the works of the boys have shed light on new topics. Art as an activity entails regular art society meetings, workshops, trips, and participation at various Inter School Art competitions and festivals. is year, The Doon School has taken part in several art competitions such as ‘Izhaar-e-Hunar’, ‘Spectrum’, ‘Jindal Art Fest’, and ‘IPSC Visual Arts Festival’. Here students from all over India showcase their talent in various categories such as cartooning, sculpture, painting, and other various other categories. At all these meets, Doscos presented commendable works of art and came back with several awards. Similarly, this year, the Inter-House Art competition is to be restarted in School. Although art should ideally not be competitive, such competition provides an opportunity for artists in each house to challenge themselves. It will surely bring out the creativity in artists in all houses and display commendable works of art. Which in turn will encourage the students of all ages to dedicate time and thus, grow as artists. This year, there have been several art workshops hosted by School and guest artists came in to share their expertise and experience with the community. The Calligraphy workshop was the first of the year. Calligraphy is often defined as decorative text, produced by a broad tipped edge. It was in the Calligraphy workshop that we learnt the basics of calligraphy such as sizing of the letters, styles of calligraphy and what nib gives what effect. Calligraphy has been used all over the world but perhaps it is most recognisable in Latin scripts or Roman Imperial Capitals carved on stones. Calligraphy is also used in India, China, Japan, Russia, Tibet and Thailand among other places. The popularity of calligraphy declined temporarily during the 15th century due to printing but it was revived during the 19th century.
Watercolour Workshop was another one which improved the artistic sense in students and helped enhance their skill, teaching how to incorporate the paints to produce a life-like painting. There are six techniques one can use when it comes to water colours: flat wash, which is done with a large flat brush, moved in straight lines across the page with very little pressure applied. There is also the graded wash which is similar to the flat wash but it uses more water and less paints than the flat wash technique. The third technique uses wet paints on wet paper to produce a blurry painting, while the fourth technique is only used in part of the painting, it uses a dry brush on dry paper giving it a very ‘rough’ look. The next technique is by using bits of tissue to dab paint that’s already been applied , which brings the softness into a piece of painting. The last technique is to soften the edges of a painting when it looks too rough, this can be done by rinsing the brush until it is s damp after painting the line and paint over the line. The dampness of the line should now be enough for a new paint to bleed into, as long as the paper is wet. giving a better understanding of the works of several water-colour artists such as Winslow Homer, David Cox, Charles Demuth and Ignacio Barrios. The Acrylic Sheet Workshop allowed Doscos to experiment with a material that is visually similar to glass but qualities that proved that is material is perfect for art. Acrylic sheet can be moulded into any shape easily at high temperatures and it is ten times more durable then glass, and it is can be painted or tinted and proved to be an interesting material to work with. To conclude, this year Art has raised the bar in terms of quality and skill and this should be something to be proud of, and with the help of the skilled faculty and the dedication of the students similar growth will be seen in the coming years.
7
POWWOW RANVIJAY SINGH AND KUSHAGRA KAR
Image Credit: Rezinate’s Blog
8
“Throughout the song, the tempo is on a constant rise, always staying in sync with the instruments and dancers. Depending on the region, and the tribe, the vocals would either be high falsetto or low showing the diversity of the tradition. Also, the lyrics used in these songs would often speak of Native American mythologies and war heroes form the past.”
Throughout history, festivities have always been synonymous with music and dance. This spirit carries on even today as is evident in the celebration of festivals such as ‘Powwow’. Powwow is a Native American festival which dates back to the 17th century when it was a social gathering of tribal medicine men and spiritual leaders. Today it is a celebration of the culture of Native Americans through as dance, singing and instrumental music. Music is a very important part of these festivals with drums, flutes and many other Native American instruments making it a very vibrant festival. The drum has especially been a core part of Native American music with its origins lying in the plains of Oklahoma. The drums were crafted in a very simplistic manner, with the usage of only a hollowed out log and raw hide buck skin. the flute was another essential part of the instrumental ensemble used by the Native Americans. It was used for multiple purposes including courtship, meditation and healing purposes. The flutes were constructed with great accuracy keeping in mind the specific user. An example of this would be how the length of the flute would be according to the distance between the wrist and armpit of the user. While the instrumental portion is integral, the main attraction is the vocals. e structure of the vocals would generally consist of four pushups. Throughout the song, the tempo is on a constant rise, always staying in sync with the instruments and dancers. Depending on the region, and the tribe, the vocals would either be high falsetto or low showing the diversity of the tradition. Also, the lyrics used in these songs would often speak of Native American mythologies and war heroes form the past. is serves not only as a source of entertainment but also a medium of oral history which has been passed down from generation to generation. A visual highlight of Powwow is the Native American dances that are performed. The bulk of the various performances in the festivities originated from the plains of Northern United States and Canada. The various dance forms include Crow Hop, Round Dance, Horse Stealing Song, Sneakup and others. The steps would often include quick movements such as spins and leaps although every dance would have its own unique
steps as well. Just as the beat for each dance would differ, the costumes too would be specific to each dance. Ranging from the colorful Fancy Dress Dance to the sober colors of the Grass Dance, the diversity effectively reflects many the hues of nature. Even till today, certain norms exist with regard to behavior during the Powwow festival. These often include rules against photography, proper respect for instruments and other rituals that would traditionally precede the festival. Though this has been diluted over the years because of modernization, the Native Americans continue to uphold the essence of these traditions. Not only has modernization affected the functioning of these festivals, it has deeply impacted the social perception of Native Americans and their roots. In recent days, this has led to the commercialization of the Powwow festival and has further diluted its ethos. For example, although Non-Native Americans are now allowed to participate in these celebrations, they must pay an entry fee and furthermore, cash prizes have now been established as incentives. Despite these drawbacks, the festival has mostly benefitted Native Americans as a whole. The essence of their culture is not only kept alive by it but it is also recognized globally and this is bringing the Native American community into the limelight. Furthermore, many of their traditions are being appreciated at the highest possible level through American Grammies, Canadian Juno Awards and the likes of these. Culture is where our roots lie and it is essential for the survival of any society. The Native Americans have had a rough history and only now are they being given the respect and recognition they deserve. The Powwow is a fantastic way to not only showcase the art forms of Native American culture but also to retain it for the generations to come. The purpose of this article was not to publicize the festival, but rather to inform the reader of a very essential part of our being: our culture. Not necessarily religion, but our roots and our history and the need for us to connect to it. Source(s): https://powwows.com http://www.mohicanpowwow.com
9
THE SILENT ONE HITANSH NAGDEV
Image Credit: public domainpictures.com
There was a time when the only means of communication were gestures and actions until languages were created. Instead of fading into obscurity when the spoken language was developed, this means of communicating through the ‘unspoken word’, has evolved into an art form: Mime as a genre of theatre evolved into a true art form in olden Greece, where artists performed everyday scenes with the help of elaborate gestures. Modern day mime is a type of art that is particularly popular in France where there are infinite number of interpretations and no interpretation is wrong. For example a smile could be interpreted in many ways. However, the success of the actor lies in getting the audience to interpret the way the actor wishes it to, rather than myriad other interpretations of the gestures. One such hugely successful mime actor is the great favourite ‘Charlie Chaplin’. His first film deal was with Keystone pictures. His introduction film was called ‘Making a Living’. It was around in 1915, in ‘The Tramp’, that Chaplin first appeared as the downtrodden, wistful character for which he is most famous. The very fact that Chaplin’s actions make us laugh when he means that we laugh, and cry when he wants us to cry, establishes his success as an actor who is able to convey exactly what he wants to. It is remarkable that a man with just his body can make us
laugh and cry without saying a single word. These artistes have the ability to create any imaginary thing and act as if it were actually there, in other words, mimes can create illusions and can persuade us to imagine the same. Being a mime actor takes a lot of creativity and coordination with your own body in order to precisely create an imagery of your imagined surrounding in the mind of your observer. While speaking a language we might play with words but in this case we will be playing with ideas and thoughts which is completely an cerebral game. These acts are generally comical, some are satires while some can be serious ones too. There are also various forms in which a mime can be expressed such as in literature, on stage, on streets, in films, cartoons, etc. Over time, mimes have also evolved with us. Right from the time when mimes were used to communicate for survival, they are now mostly for entertainment purposes as we can see them as silent cartoons which end up being more effective and entertaining than those ones with spoken language. In a nutshell I would like to say that mime is not only a form of art but also a platform of creating illusions and expressing intellectual thoughts. I would like to end with the words once said by a wise man that, “If you ask a mime to speak he will run short of words”. Source(s): http://www.mime.info/history https://www.britannica.com/topic/mime
10
BIAN LIAN The curtains open to a dancer, dressed in a traditional Sichuan style costume, who starts dancing to a small gong and Guqin, a seven-stringed zither without bridges(a classical Chinese instrument with over 3000 years of history). With superfluous, quick and dramatic movements, the colours of the dress merge to create a vibrant stage. With each step the dancer moves faster and faster. The dancer wears a mask; a mask which does not suit this scene of vibrancy with its displeased looks shown through its dark colours, yet it has a purpose to it. Within a blink of an eye the dancer shakes his head and without touching anything, changes the mask to a one representing happiness and elation. This element of surprise has been delighting the audience since ages. This is the art of the “Mask Changing Dance” and this exquisite dance form is known as Bian Lian. A traditional dance which has been around for more than three centuries, Bian Lian is one of the most beautiful dances in the world, one which requires immense skill for the portrayal of ‘masked’ emotions. It is a part of the Sichuan Opera and originates from a legend that speaks of a people’s hero, a Chinese version of Robin Hood who stole from the rich and gave to the poor, and who, whenever cornered by guards, would change his appearance to confuse them and escape capture. Since its inception, it has been perfected with seemingly effortless movements of changing the masks, which too, keep increasing as we bend our eyes along the movements of the dance. The most intriguing part of is that the technique of changing these masks has been heavily guarded and
RANVIJAY SINGH
secret. Except for a handful of performers and the “masters” of this great performing act, the technique is hidden from public knowledge. Image Credit: Moreover, it has been heavily guarded not only by the performers but also by the Chinese government as this technique is considered to be a national secret. Tracing it back to its origin, this skill has been passed down from generation to generation and thus, has made this art unique to South-east Asia. It was only till the late 1980s that performers from other countries learnt this art through a leak by a Chinese performer and started performing outside of China. The only thing that has been revealed regarding the technique of the dance publicly is that the performer wears multiple layers of masks made of smooth flowing material, such as silk, so that he can alternate smoothly. Bian Lian has been one of the most fascinating arts of China but simultaneously, it is also getting corrupted. Many performers and masters are giving in to the temptation of bribes and are now willing to teach anyone who is giving them the ‘right sum’. Specifically, in early 2000s, various celebrities started to give money to these performers. While most did not give into these temptations, some did. This is a stark reminder that agelong traditions can always get corrupted by capitalist tendencies. Bian Lian has been an integral part of Sichuan Opera and will always be so because of its exquisite performance and mysterious character. It is a true gem in the world of performing arts. Source(s): http://arts.cultural-china.com
http://www.odditycentral.com
Image Credit: visionsoftravel.org
11
DRAMA - THE PAST, THE INNOVATIONS FOR THE The human spirit thrives on drama and it functions its best in ‘dramatic’ situations. Aas Eckhart Tolle says “When you are not honoring the present moment by allowing it to be, you are creating drama”. Drama has dramatically evolved since its inception in ancient classical Greece, from priests impersonating biblical figures in the medieval ages to the new forms of realistic, symbolist, expressionist and contemporary drama; it has successfully made a mark on society. The essence of this activity is to make learning exciting and entertaining, thereby engaging the students rather than making them passive learners. Modern drama possesses an inner theme and underlying motif to it. Most of the plays seek to educate the viewers and portray the world in which we live. An integral element of this new form of drama is creativity, with the forthcoming of new techniques such as increased dependence on lights and sound, drama is now much more than just any theatrical work. Immaculate dressing and accurate sound adjustments are necessary for the success of any play. The use of proscenium stage has also diversified with revolving stages and astonishing surprises with the use of new tools and machinery. This mechanically built platform, within a theatre, can be rotated and is used for speeding up the change in scene during a play. Recently enough, the play ‘’Les Miserables’’ when originally performed in London had sixty-three rotations of the set, all possible only because of this new found technology. LED lighting
technology bringing blended shades on the spectrum, digital screenplay are few more innovations in this eld. At present, drama integrates itself with music and dance and enhances its effect and ability by more engagement of the audience. Music is now used for the full expression of dramatic action. With use of inventive generic mixing and increasing narrative complexity, drama’s popularity has immensely improved through the years. Despite such changes, the fundamental nature of drama remains the same. It still consists of plot, character, setting and theme. Recently enough, ‘mute plays’ have been successful. Something, which was unimaginable a decade ago, is now a reality. The whole play is carried forward with the resilience, facial expression and body language of the actor. No wonder, Charlie Chaplin’s plays have recently resurfaced, inviting an avid interest from all age groups in the society. It is this inherent quality of drama, which unlike any other art form, makes the viewer fall in love with it. Drama serves the purpose of education by making us, the spectatators look beyond the horizon, critique our own thinking and establish different perspectives for ourselves. Of late, I saw a play where a female character acted in twelve different roles without even communicating a line with the audience. Such is the power of drama; it creates an impact on an individual and forces him or her to think of possibilities, in turn, widening knowledge and insight. Sometimes theatre does not even need a stage; the new conception of radio plays without the use of the primary
Broadway’s Production of ‘Les Miserables’ Image Credit: Broadway Black
12
PRESENT AND A FEW FUTURE
ATREY BHARGAVA
visual component of drama is fascinating. Radio plays depend on dialogue, music and sound acts, such plays engage the listener to widen his imagination, recreate a new story for himself and are successful in reaching a larger audience with an enormous age gap. Cross-gender acting is no new activity too; it has been a part of drama since it was born. Be it plays where younger men portray women or vice-versa, the role has never failed to amaze the viewers. Such a role takes an actor out of his ‘comfort zone’ and forces him to learn the ways and lifestyle of the other gender. I speak with experience and believe in the fact that this type of drama not only provides amusement but also develops personal and psychological well-being. Another new use of theatre is found in drama therapy; it helps in achieving therapeutic goals by allowing clients to experience things actively and experientially in a safe yet stimulating environment. Drama empowers the weak, it gives them a voice through able actors to reach vast crowds and create poignancy. The new wave of change in Pakistani drama, empowering women and children has been successful in its own way, shows on channels like “Zindagi” highlight the plight and horrors faced by the Pakistanis and in a very succinct manner show the numerous similarities between our behavior and theirs. Thus, Drama has helped to connect the two nations and bridge gaps which our politicians have not yet achieved. Speaking from personal experience, I have noticed that these shows have made us more friendly and receptive towards Pakistanis and their culture and thought. Improvisation is another facet of drama and it is upon an actor to understand his role, comprehend for himself, and visualize emotions and feelings. The actor is expected to improvise according to what he understands and interprets. This activity bears fruit in enabling theatrical groups to broaden their mindsets and builds a sense of empathy in the actor. Innovative drama includes letting go of your inhibitions and valuing emotional integrity over audience response. Doing something out of the ordinary will respond to the innovative trigger of the audience and will create a lasting impact. Some innovative drills to improve theatrical skills are by playing games such as Hot seat, Name Dance, Lying, Emotional variability and Creative storytelling.
Hot seat is an activity in which artists sit side by side and both the artists on the left and right would compete for the attention of the one sitting in between. This activity should engage the player without any reason or physical touch. An alternative activity could be to play ‘Name Dance’. Actors will create a dance piece that uses their entire body to spell their name. Strangely artists could even practice to tell lies; this would engage the actor in constantly improvising and recreating a new story. Emotional variability would increase by practicing an exercise where one counts from one to ten, displaying different levels of his motion. For example if 1-2 are happy, this could change into an angry behavior soon and then maybe the actor can portray sadness. is would make acting versatile and imaginative. Additionally, storytelling is an activity where each actor calls out a word/sentence and the story goes strengthens trust and develops imagination between the actors. Theatre people and established actors and critiques of lm theatre who have visited the school in recent years, have also added to my minuscule dictionary of drama exercises. A combination of physical exercise and drama, knife and heart, focuses the entire actor’s attention to protecting himself and heralds the growth of “defensive instinct” in an actor. Moreover, it helps to remove the layer of discomfort between actors and their co-actors. Talking of discomfort, the penguin dance opens us to our deepest inhibitions; as the name suggests, dancing like a penguin removes the layer of social awkwardness which we as amateur actors tend to face. Another amusing activity, cleaning the bubble, entails making a bubble (circle) around yourself and cleaning it even without moving an inch. It helps in building exibility and enhances movement and body weight control, necessary for the acrobatics, an actor at times performs. Such and other drills are useful on actors, which have a thirst to improve and challenge themselves. I believe that acting is an opportunity one should never miss and only through these various exercises can one truly train oneself to be the best of actors. There is only one “mantra” in acting and Johnny Depp very concisely puts it “With any part you play, there is a certain amount of yourself in it, or else you are lying”. Source(s): https://www.jstor.org/stable/25106322 http://www.historyworld.net/wrldhis/PlainTextHistories.asp
13
OBJECTIVISM OF ART NEHANSH SAXENA The role of art in human life is to transform humans’ metaphysical ideas by selective reproduction of reality into a physical form—a work of art—that one can comprehend and to which one can respond emotionally.
-Ayn Rand
Ayn Rand, the renowned author and Objectivist of her time: upheld the helm of Objectivism. It is that philosophy which interprets Art to be the means that fulfils this need: by means of a selective re-creation, it builds man’s fundamental view of his own self and of his sole existence. It picks out those aspects his experience which are to be regarded to bear some significance. The Objectivist theory of art flows from an individual’s characteristic mode of functioning in acquiring knowledge. Art, according to Objectivism, is a servant to the human cognitive need: it allows human beings to grasp concepts as though they were perceptions. Art, as I reiterate, is a “selective recreation of reality according to an artist’s metaphysical value-judgments”—that is, according to what the artist believes to be ultimately true and important about the nature of reality and humanity. Art is an effective way to communicate a moral or ethical ideal. Art is not however, propagandistic; it just projects. Art is never necessarily an explicit statement of a strong philosophy, it is just formed out of an artist’s sense of life. Just as language is distinctively human, so is art. Every human society has imagined and recreated its world in stories and music, in pictures and sculpture, and in derivative forms of art such as theatre and dance. The formation of an artist’s artwork can be originated form the trinity of these axioms: existence, consciousness, and identity. An axiom is a proposition that defeats its opponents by the fact that they have to accept it and use it in the process of any attempt to deny it. The sole acknowledgement of the presence of axioms is not proof to the fact that the axioms of existence, consciousness, and identity are true. It is proof that they are axioms
withal, which they truly are at the base of knowledge and thus inescapable. In Art, the existence of something is the perceptually self-evident fact at the base of all other knowledge, i.e., that “existence exists.” Existence is identity. It is an entity of a specific nature made of specific attributes. That which has no nature or attributes does not and cannot exist. Hence Art too, which has no soul of its own should not exist; it is not art is the first place. As Rand wrote, “A leaf ... cannot be all red and green at the same time, it cannot freeze and burn at the same time.” Consciousness is the faculty of perceiving that which exists. To be conscious is to be conscious of some concrete existing entity. Consciousness itself cannot be distinguished or grasped except in relation to an independent reality. Many people think of art as an indescribable, almost mystical aspect of human existence. They feel it is a selfcontained realm, indefinable except in terms of itself. This has given license to those who want to turn making art into play. They say that art is anything one wants it to be and who reject objective standards for the arts. This view is standard fare among art promoters, philosophers of art, and many self-proclaimed artists. The result is that today the average person does not know what art is and what isn’t, and believes that the only basis for aesthetic preferences is subjective opinion and personal taste. The artist’s function is to interpret the world and present it as he or she re-envisions it. Source(s): https://www.theobjectivestandard.com/what-is-objectivism/
14
THEATRE VERSUS FILM RANVIJAY SINGH Film and theatre have always been compared with each other with the question of which one of the two is superior always being the point of contention. Personally, I feel that comparing these two would virtually be like comparing roses and apples, as both art forms are significant in their own respective aspects. So, rather than debating over out which art form is the better of the two, I would like to highlight the differences that demarcate the jurisdictions of the two; at the same time establishing that a mere comparison seeking which is more significant would be void. One difference is the type of audience. While in theatre, the actor must ‘connect’ with the audience in order for them to understand the character’s position, film actors are required to just enact their roles, highlighting emotions, without necessarily having to build a sense of communication with the audience. It must be noted, however, that the film industry is bound to run this way as audiences cannot be organized throughout the shooting of a movie. This predominant difference has an evident impact of both the art forms. Another major difference is that while acting in theatres one has to be ‘in’ one’s character throughout the play, actors in films keep coming on and off the set and as a result, in and out of their character which is, arguably, a challenging task. There is also a major change in the technique of acting itself. In theatre, actors need to have exaggerated and pompous expressions to express their emotion in order to be clearly visible to the audience from a distance. On the other hand, in films the camera captures images up close; so subtle expressions are captured and projected on large screens, eliminating the need for loud make-
up and expressions, making the performance look closer to real life. Undoubtedly, the skill used for both kinds of actors is, thus, quite divergent. There are many differences in the process of acting in the respective fields but one thing that will greatly affect the actor if he is working in film rather than theatre, is that while in theatre his physical appearance would not fully define his particular role, in films appearance will be critical in deciding the role as one needs to look convincing in the role one has been given. This restriction, in a way, makes theatre more accessible for the actors than film. To conclude, both these ways of acting are truly very distinct from each other and are equally challenging for the actor. Thus, instead of comparing the two, a sense of appreciation of both must be developed as both are vital in engaging the minds of the contemporary audiences in matters that affect us, from social issues to deeper philosophical pondering. Source(s): https://www.nyfa.edu https://www.theguardian.com
15
Nathan Sawaya ‘The Art of Brick’ Exhibition
Image Credit: Metro UK
16
17
LASTING NOTES VIBGYOR INTERVIEWS ANANT MOHAN, THE SCHOOL PERCUSSION LEADER Vibgyor: Being in SC form now, how do you think music has grown over the past six years of your school life? Anant Mohan: It initially started in D- Form when music was more like a past time for many people and less of a passion. After six years, be it music as a subject or various places that the school orchestra performs, music has now become more of a passion and less of an activity that gives pressure or a pass time activity for students. So that is why the passion, especially in your junior forms helps you grow as a musician once you reach SC Form. School is going enough opportunities to perform and hence, musical development is happening. VR: How do you feel you have grown as a musician over the years? AM: I initially came as a Tabla player to school. Learning in school mostly hap-pens through listening to seniors, at least for me. So as I joined as a Tabla player the first thing I saw was a variety of other percussions musical instruments and once I started trying my hand out on all of them I realised that they all were pretty similar and, due to my skills at Tabla, I could relate all other instruments to it. As I said before, school gives a lot of opportunities, so I got to perform at various competitions, functions and school events and hence, my talent was appreciated and I grew as a musician. As school also offers music as a subject it helped me a lot as the theoretical part of music, which is very important to learn, was already being taught to me through the subject. VR: Do you think the school music facilities are adequate enough for musicians to reach a certain level of music they would want to be at? AM: As compared to most schools, all schools just have a music department and a music room whereas in Doon, we have a music School with proper music class rooms. I feel the school can not provide better facilities be it instruments, be it teachers or be it infrastructure. So I feel that school is providing much more than just adequate in terms of musical facilities. VR: What do you think about the post as the School Percussion Leader that you hold?
AM: Unlike other activities or posts in school, I feel that the appointments held in music are really not fought for. Its just that people do music out of their passion and their will and in appreciation of that we get these positions. It really does not give us pressure but actually its something to be really be proud about because once we perform, whether being the orchestra leader or the percussion leader, the appreciation that our performance gets really makes you feel proud. Obviously the responsibility is there. Like I said before juniors learn the most from seniors even if the teachers are there as once they see seniors they take them as their role models. So rather than managing the orchestra, the main part of these positions enable us to make sure that juniors reach up or even exceed the level your are at in your SC- Form. VR: How do you think music as an art has influenced your life and your growth as an individual? AM: Music never lets me have ‘free’ time. It actually makes me utilise every moment. For example, even when I am walking it gives me a metronome. I feel that walking is one of the most useless things to do but I can compose pieces while I am walking as I have a constant metronome as my feet is the best metronome I can get. It helps me relieve all my pressure and I am very lucky to play more than just one instrument so I do have a choice of where I can take my pressure out but its just not all about taking pressure out! VR: As the Inter-House Music competition is a major component of Music in school, how do you think the level of competition is now? Has it risen over the years or would you think otherwise? AM: I feel the level of music in these competitions has greatly risen. Though I would accept the fact that in some categories its has fallen but that is bound to happen. There will always be a rise in some categories while there maybe a fall in some categories. is fall happens due to the fact that there is more participation from Juniors and this would eventually lead to a rise in the level of music as this provides more learning for the Juniors. So if a B-Former performs a solo right now, it is obvious that
18
Image credits: Rishi Shrishrimal
he or she would not be as good as a SC-Former but when he or she reaches their SC-Form they would either be as good as that SC- Former or most probably even better as he or she would have more than 3 years of experience at playing in the competition. Personally, I feel that I grew quickly as a musician due to that fact that I got to play solo in these competition since my D-Form. Once you get the opportunity to do so it gives you confidence in yourself and the music you play. So as the involvement of Juniors increases with each year in music and especially in the Inter-House level, the level of music in the InterHouse competition is bound to go higher than what it is right and what it has been. VR: What do you see as a major barrier to the development of music from a personal point of perspective and also seeing music as a whole? AM: To be a proper musician, one needs to practice his or her instrument or, if its a singer their vocal at least 3 to 4 hours a day and that is their self practice. As we are at a boarding school we have to do everything. I don’t blame school for it but obviously if you want to grow just as a musician you need more time. With so many activities, sports and academic work it is really tough to grow as a musician as you need more time. Not trying to blame anything but sports is the greatest barrier. e chances of getting injured are always high and getting injured is the worst thing that could happen to a musician. Even being out of practice for one week can pull a musician down. VR: What type of activities have you been a part of
outside school in terms of music? AM: Obviously at home I need to continuously practice. Otherwise, since people who know me know that I do music, I keep performing at various events when people request me to. I also get to perform while representing school at cultural events for example the cultural festival at Hopetown Girls School which is known as Izhare-Hunar. We often perform at National Talent Search competitions and as school is affiliated with Trinity College we get to perform there. School also helps give the Prayag Samdhi Samedhi Examinations for the Hindustani Instruments. So all these events give us an opportunity to perform other than just in school. VR: Lastly, is there anything you would like to say to all those young budding musicians out there? AM: I would say that the journey of becoming a musician is really tough because if you practice, lets say, for three hours, only than can you actually play for a mi-nute so it really requires immense patience. Also for these three hours you prac-tice, most of the time you will be jamming up so you really need to trust yourself if really want to reach somewhere. If start measuring the time and thinking that you can only play for one minute you will discourage yourself. So I would just like to say that have trust in yourself and the music faculty, who are amazing really, and with endurance continue music.
19
SPOKEN WORD AGASTYA BHARGAVA Many people have asked me “What exactly is spoken word?” upon hearing me mention it. Often, I am at a loss for words. How am I to respond to such a question? Should I simply say it’s performance poetry? But that would just not be enough. It’s different from poetry because it contains a person’s view of a particular topic. It has a deeper connection with the writer, whereas, in other kinds of poetry, people write about forests or rivers or something where the poems they compose, might or might not have nothing to do with them. Spoken word is often about what the person feels about something, it’s expressed with emotion, and my favourite thing about spoken word- you get to perform your own piece. Last year, our very own Editor-in-Chief founded the Doon School Spoken Word Group. The group in two short years has significantly grown. The Doon School Spoken Word Group hosted the very first open mic night, where poets expressed their views on several topics. In the meetings, every member of the Doon School Spoken Word Group writes a piece and presents it in front of the entire group, no matter what the content is about, as long as it is related to the writer, it is appreciated by the whole group. As well as being a great confidence booster, Spoken Word helps one voice one’s thoughts and people hear what the performer has to say because he’s presenting it in an interesting way, with either music or actions. Spoken Word often talks about problems which society is facing, which shows their concern and opinion on the matter they are talking about. During the first meetings of this year, several Doscos new to the idea of Spoken Word were shown videos of what spoken word is. Being one of those same Doscos I was blown away. The passion with which a speaker speaks is not only a fine example of expressing confidence but also, it shows the speakers conviction. There have been several events at which Spoken Word performers have left their audience with a
standing ovation as the only option. This is because the audience can usually relate to and identifies with what the performer is speaking about. They can relate to the whole idea of voicing the opinion that no one has voiced yet. Spoken Word, performed by several spoken word artists all over the globe, has made an impact on millions, people facing the same problems can often relate to the speaker’s piece more than others, which often unites people. Spoken Word requires a great deal of emotion be put into it for the piece to make an impact. The first spoken video I had ever seen was Shane Koyzcan’s ‘To this Day’. This was in my C-form and I remember, by the end of the video, I was left mesmerised. I had never before felt the way I felt in those 7 and a half minutes. With every word he said, with every problem that a different person had, I felt. I felt bad for the kids who had to go through those problems, and though it did not directly affect me in any way, I was persuaded emotionally, to really think about this, to think about how one man, who performed one piece, for about seven and a half minutes, had made an impact on me for life. It was three years later, when I found out that this is Spoken Word. Since the moment I heard it, I knew that this was not just poetry, it was something bigger. I was just not quite sure what it was at the time. Ever since I saw that video, all I had tried to do, is create a piece that would make an impact similar to what ‘To this Day’ had made on me. It was not until I joined the spoken word group that I was able to make a similar impact, and now that I realise that this form of poetry, is more than just words being recited, in front of your friends or your family or even just a group of people who you may not know. It is an outlet for a potpourri of your emotions, opinions and the problems you face every day. Spoken word is a way to make an impact, to voice your opinions where no one will judge you, because while you are performing you are an example of confidence.
20
FRIGHT OR FLIGHT RANVIJAY SINGH
Your heart beats faster. Hands start getting sweaty while your mouth dries out completely. The spotlight shines upon you while the audience critically looks at you waiting with expectations. You have nowhere to run. Most of us have experienced this dreaded sensation called “Stage Fright”. It is the phenomenon that deters one from exhibiting ones true skills in performing arts ranging from dancing to debating. Thus, Stage Fright is a major factor in how we perform. For a beginner, especially, it is one of the biggest barriers and frequently becomes the deciding factor in the manner of showcasing his ability. Sometimes, despite performing on a regular basis, the fear remains etched in ones mind and thus can potentially blight one’s future prospects in that field. All this makes it seem that perhaps Stage Fright brings no actual benefit to a performer of arts and that it should not even be referred to when talking about things that help our performance. Stage fright, however unbelievable as it may sound, does actually have its own advantages. Stage fright has a direct effect on the stress levels on our body which is essentially our body prepping up to face the demanding situations which we are greeted with while performing. This may often lead to the enhancement of the performance itself. One of the main factors of stage fright is, obviously, fear. Stereotypically, fear has always been looked upon as a negative when talking about performing arts but I feel that fear is needed. Fear keeps us on our toes and this is a good thing while performing as it gives us the drive for perfection that we need. The foremost reason why stage fright is beneficial is that the stress often makes us prepare even better beforehand as
we are afraid about the outcome and this improves the overall quality of our performance. Pressure obviously is not a positive thing but in the long run it surely is considered a pro as it makes us break our own boundaries. Secondly the stress received from this fright makes us be on our own edge and ensures that we do not get overconfident about our skills and talent which is always needed in an experienced actor. This will also make us always respect the stage that is provided to us because we understand as a performer the power we have when we are on that stage. We realize that as a performer it is our responsibility to not let this chance go to waste. Adele, the Grammy winning singer, is famously known to have stage fright and in an interview once said that “With my stage fright, I just don’t want to let people down,”. This is an example of how due to our fears we perform well. In conclusion, stage fright is not only that nerve racking experience we all felt the first time we ever stepped on stage or came to the podium to speak. It is rather an angel in disguise in the field of performing arts which enriches our performance a lot of times. It makes us reach our limits and sometimes even makes us break them. Mostly without us ever knowing. “Everything you want is on the other side of fear” -Jack Canfield Source(s): https://www.adaa.org https://www.washingtonpost.com
21
Bharat Choudhary and Dhruv Ahuja in Vijay Tendulkar’s ‘Ardh Satya’
DRAMA IN DOON OJAS KHARABANDA time and sacrifice; and without doubt Doscos possess these qualities clubbed with skill, and this is exactly what makes theatre in school one of the most respectful and renowned activities in school. On an extremely personal note, I believe that last year’s Founder’s productions were a testimony to this. Both Hindi and English plays were carefully and masterfully executed and kept the of tradition of producing exceptional performances alive in school. Doscos live in a closed, protected conformity and certain realities of life are sometimes concealed from the
“The theatre is the only institution in the world which has been dying for four thousand years and has never succumbed. It requires tough and devoted people to keep it alive” - John Steinbeck Doscos live and thrive in a set up, an environment, which, if utilized to its maximum potential, does not give you a minute to breathe. The fact that sometimes free time in school becomes a luxury really makes me wonder how the tradition of dramatics and theatre still thrives in school. Dramatics is an activity, an art that not only requires passion and dedication but most importantly
22
oblivious minds of Doscos, and due to various factors, these matters are sometimes left untouched. Well, I’m not trying to imply that as a community we are deprived of knowledge regarding politics, history and cultures of the world, etc. No, in these matters I believe we are well versed, but certain practical circumstances can’t be handled by technical knowledge and learning from books alone. This is where theatre comes in. Theatre is a reflection of society, and a rather sharp one. These plays portray various situations and instances which a boy might not be able to solve with only technical knowledge. Therefore these plays take us a step closer to the practical application and understanding of life. I believe that both the Hindi and English productions spectacularly projected various things that a boy living in a protected conformity needs to understand and comprehend on a more practical and visual level. Both the plays presented different settings and cases, but,without doubt, both did magnificently. The Hindi play was an adaption of the movie “Ek Ruka Hua Faisla” which was originally directed by Basu Chatterjee. The movie was wonderfully transformed into a theatrical performance by our extremely experienced director Dr. Mohammad Farooqui. Every aspect of the play, without doubt, was carefully thought of, and executed with perfection. The first scene of the play was succinct. It started abruptly and wrapped the essence of the play in those starting few minutes. This scene was an integral part of the play because, not only did it catch the audience’s attention, but also laid down a roadmap and basis for the rest of the play. As this enthralling first scene came to an end, with the crowd left wanting to know more, the director took a different approach. The story started to unravel at a steadier pace and an extremely well crafted and interested build up of suspense and excitement commenced. Leaving the building up of the story line aside, the one thing that made the play very crisp, is that the cast was not very big and because of this every character in the play was very distinct. Be it the characters’ dialogues or their body language, each one of the characters had a something special. Considering the play was in the MPH, the stage was restricted and could have spelled trouble for the play, but due to the expertise of the director, every inch of the stage was exploited with utmost proficiency to give the viewer the best experience. The play had numerous characters and all of these characters portrayed different attitudes and emotions. The actors, without doubt, excelled at expressing their characters but the lighting too played an extremely important part in this aspect of the play. The play had innumerable pros but if I don’t mention that one con that I have taken into account, I won’t be doing justice to the article. I believe that most scenes were extremely long.
Considering the set up of the play remained the same, it is understandable that the whole play was done in such few scenes, but this sometimes caused the audience to lose interest and broke the fluidity of the play. All in all, the play was extremely well performed and directed and was understood and appreciated by all. The English Play just like the Hindi one, was an adaption of a classic movie, a movie cherished by innumerable generations: “Dead Poets Society”. This film, without doubt, is one that can’t be missed by any school going boy and a theatrical performance of such a movie undoubtedly made the whole experience better. I believe that, choosing the play was not only a wise choice but also an extremely appropriate and much needed choice. The movie encapsulates every sphere of the transition of a boy to a man beautifully and I believe that the Founder’s English Play too adeptly portrayed this. The play was adroitly directed by Mr. Shrey Nagalia. The one thing about the play that really intrigued me was the production and exploitation of a new locale. The use of the ‘khud’ locale was a brilliant idea and impressively captured the appropriate feel of the scenes which were executed there. Another striking thing about the English play was the detail and the thought that was put into the costumes. All costumes perfectly fit into the scenes and every aspect of the costumes was flawless. The well directed humour in the classroom scenes not only added flavor but also helped capture a different side of young men. All in all, I believe that it was an exemplary production except for one tiny fault that I couldn’t fail to notice. In one of the scenes, the setting of the stage didn’t match the essence of the scene and the stage hadn’t been aptly used. I’m talking about the scene where the Headmaster is taking the assembly from the centre stage of the Rose Bowl and the pupils of the institution are seated in the top left locale of the Rose Bowl. Not more than twenty students were placed at that locale for this scene. Considering the fact that this was an assembly and there was such less availability of actors for the scene, I believe that such a vast area of the area shouldn’t have been used as to do justice to the feel of an assembly and to the scene. Excluding this specific minor flaw, I believe that the English Play was a dazzling performance and that it’s truly a pity that this year we will be devoid of a Founder’s Day English play. Dramatics and theatre in school is an art, a culture, a tradition, a way of life. Whatever it may be to you or whatever its importance may be to you it’s impossible to say that this is an activity which is enjoyed by the all: be it the actors, audience or the masters. Rehearsals for the Hindi play are already underway, so let’s hope that we are presented with another superb performance which holds testimony to the high standards of dramatics in school.
23
OFF THE WALL Image Credit: Her Campus
AGASTYA BHARGAVA Calm instrumental music has turned into Electronic dance music. Today we are experiencing a revolution, the change from music such as “Blue” by Eiffel 65 to a song like “Heathens” by Twenty One Pilots, denotes the change in the mind set of the musicians and audience. Music, though some of us may not accept it, has a deeper meaning than being just an appealing sound. “Heathens” a now famous song which has grasped the attention of several people throughout the world being the soundtrack of the recently released movie ”Suicide Squad” has led to people to explore the other songs by the same artist. This has led to the discovery (or in this case rediscovery) of the song Ride. Twenty one pilots have done other songs such as Fairly Local and Message Man and another one of their more famous songs : Stressed Out. Other artists have sensed this change of the human mind set and accordingly started producing a mix of EDM(electronic dance music) and other genres. Such artists are Justin Beiber who collaborated with Diplo and Skrillex in His album “Skrillex and Diplo Present: Jack U” in 2015. He recently released two songs “Cold water” and “Let me love you” which have been used in several remixes. Even songs such as “Yellow” by Coldplay have been used as an introduction for the remix of “Don’t Let Me Down” by Chainsmokers featuring Halsey, at the start of Tomorrowland 2016. Nowadays, there are also several Youtube channels that provide remixes of original songs, these channels give rise to prevailing artists such as Abstract who collaborated with Ruth B on her original song “Lost Boy” and renamed the collaboration “Neverland”. Neverland is different from “Lost Boy” as it has rap and EDM which has been added to the original song. Artists like KSHMR, who are of Indian descent, have introduced an Indian tinge to western EDM, and several songs have become hits one such song being “Dharma” which is a collaboration with the group Head Hunters. There has also been a rise in pure electronic music in India. Nucleya is an emerging EDM artist based in India, with songs such as “Chennai Bass” , “Little Lotto” and “Let’s Nacho”, Nucleya has managed to capture the attention of several Indian EDM lovers. Other artists, like Rihanna who is famous for her songs like “Diamonds”, “Emergency
room” and her collaboration with Eminem in both “Love the way you lie” part one and part two, has started producing EDM songs like “ This Is What You Came For” and “We Found Love” but has also been producing songs like “Work”. There are several artists who produce electro pop songs, artists like Ellie Goulding, Britney Spears, Charlie XCX, Icona Pop and Halsey have produced songs like “I Don’t Care”, “Emergency”, “Don’t Let Me Down”, “Colours”,”Boom Clap” and several other such songs. There have been other such fusions but one of the most interesting fusions is electro rap. This is because this genre has existed for a long time but has only resurfaced in the past five years. is may sound like a long time but songs that have been released five years ago still may not have reached the ears of many. There are several other artists who have produced songs that have quickly hit the charts, Zara Larrson being one of them with her songs “Lush Life”, “Never Forget You” and “ This One’s For You” but she is barely known for her songs “Secrets” or “If I Was Your Girl”. An artist who has been dominating the charts with her songs is Daya. She is the seventeen year old (turns eighteen in October) who had never released a song before 2016 but managed to get two of her songs heard world wide, “Hide Away” and “Don’t Let Me Down”. To conclude, several emerging artists are producing songs that are gaining them fame, but new songs only add to the value of the old ones. Source(s): www.capitalxtra.com
www.billboard.com
Image Credit: Bandcamp
24
MOVE, PEN MOVE KUSHAGRA KAR “My heart is a protest that I let rally against my ribs.” -Shane Koyczan After reading the lines above, what did you think? What did you feel? I doubt you felt anything. These three lines have no rhyme, make no sense in context to anything I have said till now and might as well be any other random three lines. Sure you might say that there is some deeper meaning to them but the truth is that you are just not reading them the right way. “How can I read it in another way?” you may ask. To that I say, play an appropriate tune and act them out. That is how ‘Slam Poetry’ works. It is a whole new dimension of poetry where the lyrics themselves may be touching, but the enactment of them is the key to feeling the true essence of the poem. e beauty of it is that it can either be heart melting like the rest of the above mentioned poem or like ‘Tomatoes’ by the same poet which is humorous and also gives us a very big lesson. Without alienating the experience, that is what I am out to explain. Not only will I talk about the various forms and depictions of Slam Poetry that can be found but also some of the individual pieces which are truly eye opening. As I have already mentioned, Slam Poetry comes in all manners. It can be romantic or tragic. It can be funny or satirical. In the end, though, no matter what genre it is, it is always satisfying. For example, ‘Tomatoes’ is a poem about a man who remembers each moment of his life because of the beauty of each moment and the detail of life. It talks about how he learnt the preciousness of time, of each moment and how everyone should value time. It talks about how he learns from his experience. One very prominent line which personifies what most people do every day is, “Yeah, but that was yesterday. Today I am more interested in tomorrow.” He later realises that he had been living a very foolish life and we understand this when he says, “Precious, because it’s quality is limited only by your ability to live within it. Put yourself into every second of every minute, And you will have a life worth remembering.” Life is what we make it and ‘Tomatoes’ helps us to understand that. Slam poetry does that to people. I end by
Image Credit: Shane Koyczan
Slam Poetry comes in all manners. It can be romantic or it can be tragic. It can be funny or it can be satirical. In the end, though, no matter what genre it is, it is always satisfying. sharing my experience with slam poetry. It was much like the first time anyone learns to ride a bike. You start with uncertaint, unsure of what is about to happen next, and slowly pick up the pace. Soon you are buzzing down the street with a hurry of overwhelming emotions. Feelings of happiness, excitement, fear and sorrow of it having to end take the centre stage in your mind. The first time I heard Slam Poetry was not just an extraordinary experience, it was celestial in its impact on me and frankly, on anyone. Source(s): https://www.poets.org
25
WAR THROUGH EXPRESSION ANIRUDH POPLI
Graffiti are writings or brusque drawings that have been scribbled, scratched or painted (illegally) on any kind of surface. It is an art form that requires a lot of talent, skill and dedication along with hard work to master. But unfortunately, due to societal prejudice it has become something that people only relate vandalism and crime to. It is nowadays done only through the medium of spray paint but was earlier also done through mediums such as aerosol paints and markers. It’s illegal as it is mostly done without the owner’s consent and has no proper meduium of propagation like other forms of art. Another reason why the state of this art form has become what it is today is that in countries like the United States of America where gangs or ‘criminal groups’ and other organizations paint their emblems on the walls of public buildings in the city. More so artists or, in some cases, rebels paint things that are politically controversial and this creates many problems the Government. If people implement their skill of Graffiti in places where they are permitted, the perspective that the modern society holds about it will transform evidently. Arguably, Graffiti acquires a more significant place in people’s lives than one thinks. It allows one to exhibit his inner-self in an expressive and bold platform; one where his or her views are represented without any restrictions. It must also be noted that this art form is special as it gives a chance to the underprivileged to showcase their talent and artistic skill, thus, establishing the universal nature of the construct of Art. For example, one of the world’s greatest graffiti-artists, ‘Banksy’, has become an icon and is a celebrated individual in the field of art.. His works are all so significant, relevant and admired by the world that they are hardly even considered controversial. Furthermore, it is often that people do not support the art of graffiti due to the fact that they are blind to the creative side of it and only look critically upon the fact that it is essentially a form of vandalism. As this art form has been heavily suppressed, artists often need to find secluded spots to create these artworks but this has luckily not let the art of graffiti die out . Many people may look upon it
26
negatively but the ones who do not have helped this art survive and thus, the art form continues to bloom. Picture this. There is a structure in a city that is the centre of attraction and many people come to the city to visit that structure but overtime that building loses its popularity. This leads to a decrease of people visiting that city. But then graffiti artists come and bring life to all those rundown structures. Giving that place a new face and a new identity. This restores the heritage in that city and people now visit it for its newly formed image. I’m sure I don’t need to put two and two together for you. Another observation I made regarding the need for Graffiti is that people need, or want change. People nowadays, including me, get bored of things extremely fast, and I’m not commenting on whether it’s bad or good, but we do get tired of seeing the same things again and again. And in this case, when we see the same boring old walls of buildings day-in day-out, we get bored and annoyed and feel like we need a change. And so it’s the graffiti that changes our perspectives and our mood, and makes us have a different attitude towards things. They bring out the child in us, full of imagination. Adding a small change in what we see changes our mindset about things, or so I feel. Concerned citizens, artists and also students have started painting the walls, sidewalks to spread awareness regarding volatile issues such as pollution and global warming, animal welfare and general hygiene. Thus, one must stop taking harsh action against graffiti artists as it clearly can be extremely relevant and significant to the society and moreover not limit people’s ability to express themselves. Source(s): https://www.graffiti.org www.smithsonianmag.com
27
Tejit Pabari in Manto’s ‘Toba Tek Singh’ 28
EVOLUTION OF DRAMA IN DOON
NAMAN AGARWAL
Dramatics is said to be the mother of all arts. It includes all forms of art ranging from music to dance and from design to architecture. It helps understand human psychology and emotions due to the various characters that we come across. Through these characters we study human souls. Like any other thing, drama too has a reason behind being performed and that is that through drama we spread messages and bring up social evils at many instances and is many a time seen as a source of entertainment. It is given a lot of importance both in India and the Western World. Drama has been said to be the ‘Fifth Veda’. Indian drama, especially Hindi , In Doon too, dramatics is given a lot of importance and is highly respected. It is an effective medium for the education of many creative skills in Doon. Drama in school has a vast history and has highly evolved over the years. Both, the Inter – House One Act Plays and the Founder’s Day Plays are highly awaited events. Theatre today in school is much different than what it was when school began. Earlier, only English Dramatic Performances took place in school. Even those scripts in hindi were translated and then performances took place. It was not given much importance and was not looked up to as something really enjoyed and was not an integral part of the school curriculum. The Founder’s Day play was the only play performed throughout the year. The first play that was performed in school was the play, ‘Upstairs Lecture Room’ in Founders 1936. Shakespearean plays such as The Merchant of Venice , Macbeth and Julius Caesar along with great plays such as Androcles and The Lion by George Bernard Shaw. Gradually, theatre in school started to take different forms. Different techniques of drama were used to make plays such as the concept of shadow theatre used in the plays ‘Rama’ and ‘Buddha’. Hindi Plays came into existence in the form of Summer Productions. English Plays were performed on Founder’s Day whilst Hindi Plays were performed in summer by Junior Boys, something that continues to exist till date. Groups from outside came and
started performing in school. The Bharatiya Kala Kendra from Delhi came and performed the ‘RamLila Dance-Drama’ in the year 1972 .Gradually ‘musicals’ became a part of the performances such as Beastly Tales in 1993 directed by Mr Shashank Vira with music provided by Mr Gursharan Singh and Mr Winston Gomez. Hindi founder’s productions started in the 1980’s with a system of alternate Hindi and English plays every year.’ Abhigyan Shakuntalam ‘ ‘Tughlaq’, directed by Mr Kamal Bhagat was a success in 1995. In 1995, the first joint production with Welham Girls’ School, ‘Draupadi’ was made under the direction of Mr Mohammad Hammad Farooqui .The concept of Street Plays also came about much later and was well received by all. Many dramatized reading performances have been put up in the past. Student Productions also is another production that people look forward to leading to three drama productions being put up on Founder’s .Something that has actively helped in recent years in drama are the workshops . There have been workshops held by eminent persons such as Mr M.K Raina , Mrs Neelam Mansingh, Mr Danish Hussain and Mr Vikram Ghosh. Popular and successful figures in theatre have come to school and performed plays such as Naseeruddin Shah who performed ‘A Walk By The Woods’ along with Rajit Kapur under the direction of Mrs Ratna Pathak Shah. He also performed ‘Waiting for Godot’ and ‘La Court Martial’. A performance had also been put up by Mr DilipTahil called ‘Don Quixote: The Man of Lamancha’. Theatre in school has given rise to many successful actors such as Rajiv Rai, Chandrachur Singh, Imaad Shah, Himani Bhatt, Vivaan Shah and of course Ali Fazal. To conclude Drama in school has highly transformed. It has after a long time become an integral part of the school activities. It has given a lot of opportunities to people to discover themselvesand realise their potential and not only to actors but also those artistes who are involved indirectly such as dancers and musicians Both , the willingness of boys and the quality of theatre in school has improved in course of time. 29
Jeff Koons ‘Now’ Exhibition Image Credit: jeffkoons.com
30
31
Copyright The Doon School The Doon School is not affiliated with any school with the word ‘Doon’ in its name. 32