Annual Report 2011-2012 - India Foundation for the Arts
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Annual Report 2011-2012 - India Foundation for the Arts

India Foundation for the Arts Annual Report 2011-12

About IFAIndia Foundation for the Arts (IFA) is one of the country’s leading independent arts funders,championing the cause of arts philanthropy and advocating the importance of the arts in publiclife. In the last decade and a half we have substantially enriched India’s cultural landscape andinfused passion and professionalism into the business of arts philanthropy.IFA was set up in 1993 to focus on urgent but unattended needs in specific areas of the arts.Since we began we have committed over seventeen crore rupees (three million, one hundred andfifty thousand US dollars) to projects located in almost every corner of the country. Our supporthas gone out to independent research and teaching institutions, cultural and developmentorganisations, scholars and artists.Today we fund cutting edge artistic practice, support initiatives to bring the arts into theclassroom, assist in institution development and infrastructure creation, fund research in the arts,help in the preservation and transmission of valuable cultural knowledge, and create publicplatforms for the dissemination and advocacy of the arts. We also act as a source of informationand expertise to those in the arts community and beyond.Divya Vibha Sharma, resident at Gati Summer Dance Residency 2012, rehearsing Peace of Plastic.Photograph: Courtesy Soumit & Soumita.

Mission StatementTo enrich the practice and knowledge of, widens public access to, and strengthen capacitiesand infrastructure in the arts in India, by supporting innovative projects, commissioning researchand creating public platforms.Vision StatementTo ensure that the arts, in all their diversity, are nurtured and valued because they enrichindividual and community life and are critical to envisioning the future of our society.Beliefs and Values StatementThe arts are indispensable to individual and community well being. Support for the artsshould be widely accessible without prejudice to class, language, religion or gender. It is vital toencourage reflection on the arts as well as reflective arts practices. Transparency, mutual trust andgive-and-take must characterise the business of arts philanthropy.

INTRODUCTIONAsimple thought inspired the setting upof India Foundation for the Arts (IFA)in 1993—that support for the artsmust be shaped by the concerns and aspirationsof people in the arts and not by the dictates ofthe market, state agendas or developmentaldiscourse.That thought guides what IFA does eventoday. What has changed, however, is how IFAfunds the arts. At the start we made onlygrants, which strengthened research, practiceand education in the arts. In 2005-06, we alsobegan to administer projects ourselves,recognising that arts organisations in Indiaoften lack the bandwidth or mandate to makecertain vitally needed interventions in the arts.We have now introduced fellowships—twowere awarded this year—to enable artists andcurators to pursue projects that marshal theresources of public archives. In the coming year,we expect to offer fellowships to curatorsinterested in developing exhibitions or leadingother initiatives that look at museumcollections with fresh eyes.The broad objective of these fellowships isto galvanise public institutions that aremandated to advance research and education inculture and the arts. We believe that archivesshould host seminars, talks and exhibitionsthat draw upon their holdings, thereby activelyinfluencing arts scholarship, practice andteaching. Equally, museums can better serve thecause of public education by allowing theircollections to be re-presented and invested withdiverse narratives. We hope the interventionsthat our fellowships make possible will provokearchives and museums to fulfill their missionwith greater passion and purpose.As our support for fellowships indicates, wecontinue to believe that the creativity of theindividual—which can transform arts practiceas well as the functioning of arts institutions—cannot be ignored by a philanthropicorganisation dedicated to the arts. The samebelief partly explains the growing number ofgrants that we are now making for workshopsand residencies, which have offered youngervisual and performing artists opportunities forcreative exchange, guidance by experiencedpractitioners, and wider exposure to their fieldof interest.It is also true, however, that we support suchinitiatives because they help to develop the softinfrastructure for the arts, apart fromempowering and imparting momentum to anew generation of arts organisation that areengaging with the larger issues in the arts. Forinstance, the conferences we have fundedduring the year, besides enriching artsdiscourse, have enabled arts and researchcommunities to act in concert to strengthen theareas of the arts in which they are invested. In2011-12, nearly half of IFA’s funding forprogrammes (totalling Rs 122 lakh for 20grants, two fellowships and one selfadministeredproject) was allocated for thepurpose of creating a nurturing environmentfor the arts.We ended 2011-12 with 256 Friends of IFAand 55 donor patrons (who have donated Rs 1lakh or more to IFA). Five of a recentlycompleted series of films on IFA highlight whysome of our individual donors feel it isimperative to support the arts. Their generosity,along with our other fundraising initiatives, hasbrought in Rs 146 lakh during the year.Facing Page: Rekha@50, artwork by Rekha Rodwittiya, gifted to IFAfor its fundraising exhibition Big Picture II.

1 2Importantly, some of IFA’s trustees joinedother key donors to contribute Rs 69.73 lakhtowards our new building. IFA is now closer tohaving its own home—a home which willenable us to fulfill our growing responsibility tothe arts, where we will be able to display theremarkable outcomes of the projects we havefunded, and where artists will be able todevelop and present their work. IFA completes20 years in 2013 and we are hopeful that, withfurther support from individuals, trusts andcompanies, we will celebrate that milestone inour new office and art space.October 2012Anmol VellaniExecutive Director

My reason to become a Friend of IFA is for the passion you show, thevision you have and the time and energy you spend to create a space forimagination and dialogue in this world. Katelijn Verstraete, Friend of IFA

3 4ARTS RESEARCH AND DOCUMENTATIONIFA began offering archivalfellowships this year to address theinterests of two of its grantprogrammes—Arts Research andDocumentation and Extending ArtsPractice. These fellowships have beendesigned to respond to the urgent need toenergise public archives in India, whilesimultaneously addressing the researchimpulse inherent in artistic and curatorialprojects. Our aim is to see archivesfunctioning less as mere repositories, andmore as sites actively influencingdiscourse and creativity in the arts. It isour hope that these fellowships, whichenable artists and curators to use archivalresources to create artworks andexhibitions, will encourage public archivesto recognise their role as activeparticipants in the arts.We received 15 applications, five of whichwere sent out to a team of three externalevaluators. They recommended that twofellowships be granted—one to Ekta Mittalfor work with the Archives of Indian Labourand the other to enable Nandini Chandraand Samina Mishra to curate a film festivalusing material from the archive of theChildren’s Film Society of India.In response to our Request forProposals, which we send out annually,we received 165 applications from acrossthe country. Following a thoroughinternal and external evaluation of theproposals, we made six grants, whichcover a wide range of subjects—thecontributions of female performingartists, minority literary traditions, statecommissioned public art, miniaturepaintings, and the mutations that folkmusic undergoes as it enters newmusical, social and cultural contexts.Three of the grants will results in films,including one animation film.While IFA continues to be engagedwith arts research and writing in Bengali(we made a grant to enable digitisingand archiving of early 78 rpmgramophone records of Bengali plays),we also commissioned a three-memberresearch team to produce a report on thegaps that exist in arts research anddocumentation in Marathi. We arecurrently examining therecommendations of this report andconsidering the feasibility of introducinga Marathi Language Initiative.Gramophone record labels of Bengali playsperformed between 1900 and 1930.See also page 6.

7. Himanshu Verma, New DelhiRs 5,00,000 over one year5 6For research and the making of a film on the journey of a Genda Phool song, with its originsin Chhattisgarhi folk music, across varying musical, cultural and social contexts. The project willtrace the various transformations and appropriations of the song and the different meanings it hasacquired as a result.8. Indrani Majumdar, KolkataRs 2,80,000 over two yearsFor the collection, digitisation and archiving of 78 rpm gramophone records of Bengali playsperformed between 1900 and 1930. The project will document the plays performed on stage aswell as those produced exclusively for gramophone recordings.FELLOWSHIPS1. Samina Mishra and Nandini Chandra, New DelhiRs 1,50,000 over one yearFor research into the archive of the Children’s Film Society of India (CFSI) to shed light onhow the State, as embodied by the CFSI, imagined and represented the child. The research willcover the period from 1955, when CFSI was established, to the early 1980s. The project willresult in a monograph and a curated package of films from the CFSI archive.2. Ekta Mittal, BangaloreRs 1,50,000 over one yearFor research towards a travelling exhibition kit consisting of materials from the Archives ofIndian Labour. This project will also extend earlier research with migrant labourers in Bangalorethat culminated in a short film titled In Transience. The kit will make material from the Archivesavailable to a wider public and the footage gathered during the filming ofIn Transience will be deposited in the Archive.

7 8NEW PERFORMANCEThis programme has increasinglyfocused on helping to create anenvironment that fosters creativeexchange and nurtures reflective performing artpractices. This focus was reflected in oursupport for two conferences, a dance residencyand a three-month theatre workshop this year.The national conferences we funded wereboth concerned to outline action plans tosupport and strengthen networks amongspecific constituencies—TYA (Theatre forYoung Audiences) practitioners in the one caseand Dalit/Adivasi theatre workers in the other.The first conference assembled around 150TYA practitioners and stakeholders working indiverse linguistic contexts to discuss theconcept of TYA, its need and its potential.“Such a conference to create a forum forinteraction was long overdue. There is a greaterneed for concerted efforts to encourage anddevelop consciousness about excellence inchildren and youth theatre, explore diverserelations between theatre and education, andcreate appropriate dramatic literature for theyoung. The almost total absence of adolescentliterature and youth theatre is shocking,” saidDr Ashish Ghosh, founder director ofANANT, a theatre group in Delhi andconvener of this conference.The second conference brought togetherperforming artists, writers and thinkers toreview the historical development of theDalit/Adivasi theatre movement, investigateexisting Dalit/Adivasi forms of expression andtheir relationship to other performancepractices in India, and critically reflect on thebroad notion of ‘Dalit-ness’ as includingadivasis and women.The Gati Summer Dance Residencyreceived a second round of support. In thisthird edition of the residency (GSDR 2011) sixchoreographers worked with mentors and peersin a progressive series of intensive sessions andwere assisted to develop a critical eye towardstheir work. The residency culminated in thepublic presentation of the work developed bythe residents. Urmimala Sarkar, evaluator ofGSDR 2011, wrote, “Gati has continuouslyexhibited a strong commitment to facilitatingthe work of young dancers, questioning andformulating their own future paths throughtheir dance practice. The ‘process’ as well as the‘product’ of the residency, underline theimportance of sustaining such an effort.”Also supported was an extended workshopoffering four young theatre directors fromAssam expert guidance to develop individualproductions that respond to socio-politicalchanges in the region. The theatre-makingprocess was followed by a performancefestival that presented all the theatre pieces inthe home towns of the four directors,soliciting active participation and supportfrom local communities. “In the long run,”says Mrunal Bora, one of the workshopfacilitators, “the project will establish amutually supportive community ofperforming artists who are exploring newdirections in Assam.”Ashavari Majumdar in her experimental choreographicpiece, Surpanakha. See also pages 10, 31, 32, 33 and 34.

NEW PERFORMANCE: GRANTS1. The Gati Forum, New DelhiRs 6,00,000 over three monthsFor the third edition of a residency programme for six emerging choreographers from diversedance backgrounds and regions. The resident artists will engage in intensive workshops anddiscussions with peers and mentors over ten weeks to create individual pieces of work, which willbe shown to the public at the conclusion of the residency.2. University of Delhi, DelhiRs 3,89,200 over two monthsFor a three-day national conference bringing together performing artists, writers, educationistsand teachers to discuss theatre for young audiences (TYA) in India and its relationship to otherperformance and pedagogical practices. The conference will strengthen existing networks amongTYA stakeholders and outline possible actions to support their future endeavours.3. Navtej Johar, New DelhiRs 3,00,000 over six monthsFor the creation of a dance-drama performance based on Jean Genet’s play, The Maids.Combining padams in Bharatanatyam and the dramatic narrative of the play, the performance willreflect on the lives of the devadasis. The maids will be performed by male dancers and multi-mediaimages will be used to convey the devadasi’s experiences and the socio-cultural setting of theperformance.4. Badungduppa Kalakendra, Rampur, AssamRs 6,00,000 over four monthsFor a three-month workshop to enable four young theatre directors from Assam to developproductions that critically engage with the socio-political changes and cultural diversity of theregion. The directors and their team members will tour together to present the newly created workin their respective home towns and share their theatre-making experience with local audiences.5. Pyara Kerketta Foundation, RanchiRs 4,03,750 over two monthsFor a two-day national conference on contemporary Dalit/Adivasi theatre in India. Theconference will review the historical development of the Dalit/Adivasi theatre movement, study itsconceptual underpinnings, investigate its existing forms of expression and critically reflect on itsrelationship to other performance practices in India. The conference also aims to strengthennetworks among Dalit/Adivasi theatre artists and outline possible actions to support their work.

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EXTENDING ARTS PRACTICE11 12During 2011-12 thisprogramme supported workby individual artists seekingto explore new artistic processes, engageinterdisciplinarity, and stimulatediscourse on contemporary arts practices.The programme also continued tofacilitate cutting-edge residencies in orderto nurture budding artists and help buildcapacity in emerging arts institutions.To build on the achievements of theinaugural residency offered by the GoaCentre for Alternative Photography(Goa-CAP) in 2010-11, IFA decided toextend support to Goa-CAP’s secondresidency, ALTLab 2.0, as well. Fourphotographers—from Delhi, Bangalore,Shillong and Guwahati respectively—spent two months at Goa-CAPexperimenting with a variety ofphotographic processes, equipment andsurfaces to develop and extend theirphotographic practice. A major additionin the second residency was theintroduction of a three-day walkingexpedition over 38 km to sensitise theresidents to the local ethos andencourage them and use the experienceto reflect upon their practice. Thesuggested route offered a multifariousperspective on Goa, covering the touristyCalangute, the developed village ofAldona, the mining areas of Bicholim,and the underdeveloped village ofSanquelim. P Madhavan, co- founder ofGoa-CAP, believes that the walkingcomponent “helps residents internalise adeeper understanding of art as a part ofeveryday life—a way to view life—ratherthan an object to be produced”.With IFA’s support, Goa-CAP hasdeveloped a strong network of artists andresearchers working with alternativephotographic practices; securedindependent funding; and is now wellplaced to spearhead developments inalternative photography in collaborationwith other stakeholders in the field.We made two individual grants thisyear, one for research and another forartistic production. Vidyun Sabhaneyreceived support to extend her practice asa contemporary comic book artistthrough the study of three folk traditionsthat tell stories through pictures, andTejal Shah was given a grant to create amulti-channel video installation, whichwill feature at Documenta (13), theinternational arts festival to be held inKassel, Germany, in July 2012. (See thegrant descriptions on the next page formore information on these grants.)I want to go back to Sikkim and set up on my own, a community darkroom and pursue alternative practices [of photography] there. I also wantto build awareness and improve the knowledge of enthusiastic learnersthrough workshops once I have perfected the craft myself.Tashi Nordem Lepcha, ALTLab 2.0 Resident, Goa-CAPCyanotype by Uzma Mohsin, resident at ALTLab 2.0, a photography residency organisedby the Goa Centre for Alternative Photography. See also page 13.

EXTENDING ARTS PRACTICE: GRANTS13 141. Vidyun Sabhaney, New DelhiRs 5,09,000 over one yearFor the creation of sequential visual storytelling techniques based onthe study of three picture-based folk performance traditions. With theaim of enriching the contemporary comic book form, the project willfocus on how Patuachitra from Bengal, Kaavad from Rajasthan andTogalu Gombeyatta from Karnataka depict stories from the Mahabharata.2. Tejal Shah, MumbaiRs 4,99,000 over eight monthsFor the creation of a multi-channel video installation titled ‘Betweenthe Waves’, which uses text and dance choreography to explorecontemporary conceptual understandings of the relationship betweenAnimal – Human – Machine – Divine. Drawing upon Donna Harawayand Virginia Woolf, along with theories of evolution and existing religioculturalpractices, the project will highlight the inevitability of interstitialexistence and challenge received notions of gender, race, evolution andconsciousness.3. Sunlight Trust, GoaRs 5,18,000 over four monthsFor the second edition of a four-month residency programme, whichwill enable four Indian photographers from diverse cultural backgroundsto explore and experiment with different approaches to the photographicmedium. This edition will introduce a three-day walking expedition tosensitise the residents to the local ethos and encourage them to use theexperience to reflect on their practice.The [Extending Arts Practice] programme is quite justified in seeingitself as a catalyst for precipitating a radical re-formulation of an artist’spractice. In providing a . . . financial buffer, the grant frees you up topursue projects and ideas that are devoid of any immediate commercialbenefit. Seen this way, the grant allowed me to articulate my own practiceon terms that are more conducive to my intellectual and artistic priorities.Abhishek Hazra, visual artist and IFA grantee

CURATORSHIPThis year the grants made underthis programme supportedthree artist residencies at theKhoj International Artists Residency(KHOJ), a film curatorial workshoporganised by the Katha Centre for FilmStudies (KCFS), and two workshops oncuration conducted by the Association ofArtists, Academics and Citizens forUniversity Autonomy (ACUA).Shaped by their residencies at KHOJ,Akansha Rastogi, Rattananmol Johal andLeon Tan curated shows in an exhibitiontitled Augmenting Practices held in NewDelhi in 2011. Akansha used anethnographic approach to study andarchive the work, production practices andstudio space of the visual artist RanbirKaleka, resulting in an exhibition thatoffered provocative reflections on therelationship between artist and curator.Rattananmol explored the evolution of thedocumentary form—the questions it raisesabout representing multiple and subjectivetruths, and its display in contemporary artspaces. Leon curated KHOJ’s archivalmaterial using augmented reality platformson mobile phones, making it widelyaccessible to smart phone users.KCFS conducted a five-day workshopon film curation led by six film curatorsand theorists, followed by a more intenseone-day mentoring workshop. Theworkshop introduced the 20 participantsto a wide range of cutting-edge debates onfilm curation, including film archiving, filmfestivals, cinematic language and form, newtechnologies, audiences and spectatorship.Curatorial projects proposed by five of theworkshop participants were selected forfurther development, resulting in curatedfilm screenings in Mumbai over fiveweekends in February-March 2011. Thesefilm events—which explored themes asdiverse as food and cinema, documentaryaesthetics, avant-garde film exhibition, andsilence in cinema—were open to the publicand moderated by a film scholar inconversation with the curator.ACUA organised the third and fourthin its series of workshops in Hyderabadand Jammu respectively. The Hyderabadworkshop held at the Sarojini NaiduSchool of Arts & Communicationaddressed the thematic of ‘Museums andPopular Culture’ while the workshop heldat the University of Jammu explored thequestion of ‘Art and Conflict’.The programme inched closer torealising its key objective of developing aCuratorship curriculum which draws uponthe knowledge and discourse enabled byeach nodal centre involved in theprogramme. The newly formed School ofCulture and Creative Expressions atAmbedkar University, New Delhi, will beintroducing an M.A. in Curation in 2013,where the curriculum will be implemented.In addition, IFA continued to develop itsown website on Curatorship, which willhost key materials generated through theprogramme.

15 16GRANT1. Katha, New DelhiRs 5,97,000 over one year and eight monthsFor the expansion of the workshops offered by an ongoing initiative to train young filmenthusiasts and film and art students in the theory and practice of film curation. Also supportedwill be ancillary workshops and mentorship to provide conceptual and practical guidance toparticipants whose curatorial ideas have been selected for screening at a film festival.

ARTS EDUCATIONThe year saw the beginnings of a newdirection for Kali-Kalisu, thegovernment school teacher trainingproject in Karnataka that was initiated in 2009in partnership with Goethe Institut/MaxMueller Bhavan. Phases one (2009) and two(2010) were built around arts and capacitybuilding exercises; in phase three this year,teachers organised and participated in regionalconferences in Bidar, Dharwad and Mysore.Titled ‘To Inspire, Analyse, and Reinforce Kali-Kalisu’, these conferences showcased theclassroom practices of Kali-Kalisu, expandedthe constituency of interested teachers andactivated many local artists and educationists tothe cause of arts education.At the Dharwad conference, teachers gainedinsights into important debates in artseducation through topics such as ‘OralTradition and its Relevance in SchoolingChildren’ and ‘Partnerships Within and BeyondSchools for Arts in Education’, among others.An evening leather puppet performance byGombe Mane sparked off conversations aboutclassroom applications among teachers. InMysore, the plenary topics included ‘ArtsEducation: The Foundation of Education’, ‘Artsin Education for a Knowledge Society’ and‘The Role of the Arts in Improving QualityEducation’. An important highlight of theMysore conference was a play performed bystudents of the Government High School inGumballi, Chamarajanagar District, and codirectedby a Kali-Kalisu Master ResourcePerson.One of the most important objectives thisyear has been to work towards Kali-Kalisu’ssustainability. To that end, we have pursuedfruitful conversations with the Department ofState Education Research and Training(DSERT) and the National Council ofEducational Research and Training (NCERT)to incorporate Kali-Kalisu within pre-serviceteacher training programmes. We have alsocontributed position papers and shaped a newsyllabus for arts education for the DSERT’steacher training programme. Animplementation plan for the new arts educationsyllabus is underway.An Artist Seminar was held on January 30and 31, 2012, in Bangalore. The seminar

19 20enabled artists engaged in the field of educationto share their work and discuss the challengesand successes of their arts education projects.The deliberations were complemented byschool visits for a firsthand glimpse of the Kali-Kalisu project in action.The third national arts education conferenceon the topic of ‘Diversity and Social Justice’ washeld on February 3 and 4 in Bangalore. Thefour plenary sessions shed light on a variety ofsubjects, ranging from equity of access to artseducation to the role of the arts in shaping aninclusive classroom. The panel discussions werecomplemented by four breakout sessions thatengaged participants in hands-on activities. Akey highlight of the conference was theroundtable discussion with Kali-Kalisuteachers who shared their continuing work inarts education in their schools.Publicising the successes of Kali-Kalisu hasalso been an area of focus this year. A processdocument detailing Kali-Kalisu’s approach andmethod has been circulated among a variety ofstakeholders in arts education. A four-pagecolumn in Bharat Gyan Vigyan Samiti’sTeacher magazine for disseminating Kali-Kalisubased activities among teachers has also beenactivated. We have also commissioned anImpact Assessment report for Kali-Kalisu.Our success in securing a fourth year offunding from Goethe Institut/Max MuellerBhavan has enabled two bold, new directionsfor the project. In the coming year, we willsupport a ‘model school’ initiative to connectteacher training in the arts to the immediatesocio-cultural realities that surround the schooldistrict, and through the medium of the arts,bring together teachers, school administration,students, parents and local artists to addressthem. We will also fund four projects shapedby Kali-Kalisu teachers that connect the arts toeducation in meaningful and innovative ways.PROJECTKali-Kalisu: Expanding Arts EducationNetworks and DiscourseRs 28,30,791For two-day regional conferences titled ‘ToInspire, Analyse, and Reinforce Kali-Kalisu’ inBidar, Dharwad, and Mysore; a two-dayseminar called ‘Arts Education: Challenges andSuccesses’; and a national-level arts educationconference on ‘The Artist and Education:Diversity and Social Justice’.Astad Deboo and hisdance troupe from theSalaam Balak Trustperforming BreakingBoundaries at IFA’s thirdnational Arts EducationConference in Bangalorein February 2012.

SPECIAL GRANTSOur special grants have remainedcommitted to supporting projectsthat are anchored on the ideas of‘community’ and ‘sustainability’. With anunderstanding that community arts projectsoften require longer periods of engagement, wehave given attention to how the projects wesupport might be sustained beyond thetermination of our funding.Guided by this focus, we supported threecommunity-based projects during the year.Kolkata Sanved, an organisation working in theareas of movement therapy and performance,was supported to facilitate creative workshopsfor children living on the railway platforms ofSealdah, Howrah, Asansole and Baruipur inWest Bengal. Titled ‘Platform Beat’, the projectdraws inspiration from the dramatic and freeflowingyet vulnerable and challenging lives thatthese children lead. By bringing togetherstorytelling, movement, music and theatre, theworkshops will offer the children a broadpalette of artistic experiences and skills totrigger their creativity. The project will beexecuted in partnership with fourorganisations—CINI Asha, Don Bosco, Prajakand Nirman—which have createdshelters/rehabilitation centres for thesechildren on each of these platforms. The workinitiated under this project will eventually besustained by these organisations, which arepoised to develop into cultural centres.notions of ‘folk’, ‘traditional’ or the ‘national’. Allinfrastructural and logistical support for thisproject will be provided by the North EastNetwork (NEN). Primarily a women’s rightsorganisation working also with the youth,NEN will work intimately with Aditi on thisproject with the idea of expanding itsprogrammes across the Northeast to includesimilar arts initiatives.The third grant was made to researcherSumitra Ranganathan to archive theperformance practice and repertoire of theBettiah gharana of Dhrupad. Given that thereare currently only two living expert performersof the tradition and that the musicians andstudents in Bettiah live in a depleted andisolated musical environment cut off from thelarger world of Hindustani music, this projectseeks to reinvigorate this ‘endangered tradition’through the establishment of physical andonline archives. While serving the importantpurpose of capturing a rich musical practice,culture and history, the archive will provide anenvironment for empathetic and criticallistening and learning, thereby creating theconditions for the continued transmissionof Bettiah Dhrupad tofuture generationsof musicians.Mumbai-based painter and animationfilmmaker Aditi Chitre was supported toconduct a storytelling and visual arts workshopfor twelve children in Chizami, a village inNagaland. The two-week process will create aliberating environment in which the childrencan explore their identities and expressthemselves in new ways, uninhibited by

GRANTS1. Kolkata Sanved, KolkataRs 8,12,000 over one year and four months2122For creative arts workshops with children living in and around four railway platforms in WestBengal. Drawing inspiration from the dramatic, rhythmic and free-flowing character of railwayplatforms, the project will enable the children to experience and explore a wide range of artisticprocesses drawn from storytelling, movement, music and theatre. The workshops will lead to fourlarge site-specific performances and the emergence of the four organisations as communitycultural centres.2. Aditi Chitre, MumbaiRs 3,47,400 over six monthsFor a storytelling and visual arts workshop for children from Chizami in Nagaland. In theabsence of any encouragement for the visual arts in Nagaland, this project will give the childrenthe opportunity to explore their creativity by engaging with various styles of narration,visualisation and illustration. The workshop will result in a book of stories illustrated by thechildren as well as exhibitions of their artworks.3. Sumitra Ranganathan, ChennaiRs 5,00,000 over one year and six monthsFor preserving and sustaining the performance practice and repertoire of the Bettiahgharana, one of the oldest and richest traditions of Dhrupad. Through interactions with twocontemporary musicians living in Kolkata and Bettiah, the musical ecology of Bettiah Dhrupadwill be documented and reinvigorated. The project will result in a multimedia physical archivelocated in Bettiah and Kolkata, an online portal and a guided listening DVD of the Dhrupadof Bettiah.IFA pushed the boundaries of my thinking on what it couldmean to put a multi-dimensional archive at the heart of an effortto preserve and sustain the performance practice and repertoireof the Bettiah gharana. Sumitra RanganathanPainting by a child who participated inAditi Chitre’s story writing and illustrationworkshop in Chizami, Nagaland.

COMMUNITY ENGAGEMENTApart from making grants andimplementing projects, IFA ensureswider public engagement with thework that it supports by organisingconferences, workshops, festivals and granteepresentations, in addition to bringing out amagazine and an online quarterly newsletter.We organised five grantee presentationsduring the year. The first showcased five grantsmade under the Bengali Language Initiative inKolkata. There were three such presentationsin Bangalore. The first, at the launch of IFA’sCapital Campaign in Bangalore, saw DivyaVibha Sharma and Rajyashree Ramamurthystage a performance of the contemporary dancepiece Don’t Be Dotty, which was created at theGati Summer Dance Residency 2010, of whichIFA was a key supporter. In the second,contemporary puppeteer Varun Narainentertained members of the ITechLaw 8thInternational Asian Conference 2012 withexcerpts from his new production, Out of theBox. Finally, Akansha Rastogi, a participant ina curatorial residency supported by IFA, madea photo-presentation on her experimentalcuratorial project, for which she inhabited andarchived artist Ranbir Kaleka’s studio. InChennai, M V Bhaskar electrified audienceswith a presentation on his unorthodox projectto ‘conserve’ the Ramayana murals of theChengam Venugopala Parthasarthy temple inTamil Nadu by photographing, scanning andtracing the murals and rendering the images foranimation and kalamkari work.The IFA Film Festival, which screensselected IFA-funded documentary films on thearts, was held in Allahabad this year, inassociation with The Centre for Theatre andFilm, University of Allahabad. The HindustanTimes reported, “The films screened at thefestival showcased great promise making this alandmark event, a true homage to the still andmoving image that constitutes film as an artand not just commercial entertainment.”

The readership of IFA’s bi-annual magazine,ArtConnect, continues to grow. In the comingyears, we expect ArtConnect to find a place ineducational institutions both here and abroad,particularly in departments of South Asianstudies, art and aesthetics, and performance. In2011-12, we brought out a special issue onnetworks and collectives in the arts. Throughconversations and critical essays, this issueassessed the influence and relevance ofconfluences and partnerships among artists in aglobalised world.Since we now place greater emphasis onexpanding our circle of individual donors, weare more alert to the need to develop multiplechannels for publicly communicating theimportance of supporting culture and the arts.We are grateful to filmmaker Sumantra Ghosalfor agreeing to make a second set of films forIFA. These films cover the Gati SummerDance Residency 2011, feature grantees underthe Bengali Language Initiative, and record theperspectives of five of our donor patrons. Ourdonor patrons spoke about what made themsuch strong supporters of the arts, sharing their23 24beliefs that the arts are indispensable becausethey offer inspiration, help build communities,give future generations a cultural legacy toinherit, add value to brand building and set oneon a path of self-discovery. We will be sharingthese films at various public platforms andthrough online channels in the coming year.We have also strengthened our onlinecommunication and now engage with ourconstituency more consistently through ourwebsite, weekly emailers and social mediaplatforms. This has helped us connect withartist groups and communities across thecountry, and allowed us to share ourcommunication material more effectively. As adirect result of these efforts, audience turnoutat IFA-organised events has grown manifold.We have also revamped our quarterly e-newsletter, which conveys news about ourgrantees, and announces our requests forproposals, new grants and fundraising events.The new design, which now incorporates manymore arresting images from IFA-supportedprojects, has been welcomed by IFA’s growingdatabase of subscribers.Her Obsession is Not MyObsession, artwork byV S Blodsow, exhibitedat IFA’s fundraisingevent, Big Picture II.Courtesy Atul MalhotraCollection.

MARKETING AND BUSINESS DEVELOPMENTWith the help of IFA’s trustees andsome key donors, we were ableto raise Rs 69.73 lakh (anotherRs 9.5 lakh has been committed) towards ournew building in Bangalore. IFA is now manysteps closer to having its own home—a homewith the infrastructure we need to fulfill ourgrowing responsibility to the arts; a homewhich will allow the invaluable outcomes of ourwork to be accessed and shown. It will also be ahome for artists, offering them facilities to trainand interact, and rehearse, record and presenttheir work. We are hopeful that, with furthersupport from individuals, trusts andcompanies, IFA’s permanent office and art spacewill be ready for occupation in 2013.In an effort to raise funds for our buildingcampaign, we embarked on the second editionof Big Picture with the help of IFA’s GoldDonor Patron and art collector, AbhishekPoddar. Eighty-nine artists donated 103artworks to Big Picture II, which wasinaugurated by visual artist Rekha Rodwittiyawho donated an artwork for the exhibitionand persuaded the artists of the BarodaCollective to do likewise. We are indebted toall the artists who came forward to supportthis initiative, which raised Rs 16.57 lakh forIFA’s building.This year we were able to raise a total ofRs 146 lakh through our various fundraisinginitiatives. We continued to receive supportfrom the Axis Bank Foundation for our grantto Bharat Gyan Vigyan Samiti; from theGoethe Institut for our Kali-Kalisu initiativeand an Arts Education Conference (see theArts Education section); and the AMMFoundation for our Corpus.We organised three fundraisers in Bangalore—Adhe Adhure and August: Osage County,both directed by Lillete Dubey, and Arms andthe Man directed by Naseeruddin Shah. Wealso organised a special showing of Butter &Mashed Bananas for The Park Hotel,Bangalore. Sponsorship and support for ourvarious public events came from a range ofcorporate houses. We thank Louis Philippe ofthe Aditya Birla Nuvo group, ING VysyaBank, Amicorp, The Leela Palace, UnitedSpirits Limited, Sumukha Art Gallery, ThePark Hotel, Kingfisher Airlines and NeemranaHotels for their support.In our endeavour to reach out tocorporations, we organised IFA@Oracle,showcasing ten artworks from Big Picture II atthe Whitefield office of Oracle to sensitise itsemployees to the visual arts. We shared a smallpresentation with the employees about theconnections between the arts and science. Wealso featured one of our grantees, puppeteerVarun Narain, at the ITTECH LawConference in February.Individual donations through our DonorPatron Circle and Friends of IFA continued tobe a steady source of support for IFA. Twodonors came forward to underwrite grants thisyear. We are grateful to Francis Wacziarg forsupporting a grant made to Thomas McCarthyto research and document the padams, lovepoetry in the Carnatic music tradition,composed by the seventeenth century poetKshetrayya, and to Sirish Apte for supportingthe grant to Makarand Sathe for the translationfrom Marathi to English of a three-volumestudy on the socio-political history of modernMarathi theatre. Twenty individuals joined our

25 26Donor Patron Circle and the number of Friendsof IFA had grown to 256 by the end of the year.We have set up an office in Mumbai, hiringa Marketing Manager who will oversee ourengagement with the city. We expect toestablish a much large presence in Mumbaithrough featuring the work of our grantees inthe coming year in partnership with Project 88,ArtIndia, Prithvi Theatre and the MohileParikh Center. Our purpose is to make ourwork better known to those in the city whomight want to seek support from us and thosewho have been looking for a dependable avenuethrough which to support the arts.Being a Friend makes onebelong to a vibrant, exciting andcreative force, which is successfullycreating a bridge between art andits lovers; between tradition andnovelty; and between form andfiction ... I am proud to be aFriend of IFA.Sajai Singh, Friend of IFABy sponsoring the arts . . . youare making a statement about yourbusiness or brand, [which] is whatcompanies need to recognise.Samrat Som, Donor Patron of IFAUntitled artwork by Upendranath T R, exhibitedat IFA’s fundraising event, Big Picture II.Reproduced with the artist’s permission.

REPORT ON FINANCES27 28(i)(ii)(iii)(iv)(v)Auditor’s Report to the members of the Board of Trustees of India Foundation for the ArtsWe have audited the attached Statement of Financial Position of India Foundation for the Arts asat 31 st March, 2012, and the relative Income Statement for the year ended on that date, both ofwhich we have signed under reference to this report. These financial statements are the responsibilityof the management. Our responsibility is to express an opinion on these financial statementsbased on our audit.We conducted our audit in accordance with the Auditing Standards generally accepted in India.Those standards require that we plan and perform the audit to obtain reasonable assurance aboutwhether the Financial Statements are free of material misstatements. An audit includes examining,on a test basis, evidence supporting the amounts and disclosures in the Financial Statements. Anaudit also includes assessing the accounting principles used and significant estimates made by themanagement, as well as evaluating the overall Financial Statement presentation. We believe that ouraudit provides a reasonable basis for our opinion.We further report that:We have obtained all the information and explanations, which to the best of our knowledge andbelief, were necessary for the purposes of our audit.In our opinion, proper books of account have been kept by the Foundation so far as appears fromour examination of those books.The Statement of Financial Position and the Income Statement dealt with by this report are inagreement with the books of account.In our opinion, the Statement of Financial Position and the Income Statement dealt with by this reporthave been prepared in all material respects in compliance with the applicable Accounting Standards.In our opinion and to the best of our information and according to the explanations given to us, theStatement of Financial Position and the Income Statement together with the notes thereon andaccounting policies attached thereto, give the information required, and also give a true and fair view:(a) in the case of Statement of Financial Position, of the state of affairs of the Foundation as at 31 stMarch, 2012; and(b) in the case of Income Statement, of the excess of Expenditure over Income for the year endedon that date.for Thakur, Vaidyanath Aiyar & Co.Chartered AccountantsFRN: 000038NPlace: New DelhiDate: August 16, 2012(V. Rajaraman)PartnerMembership No. 2705Tamed and Toiled – 6, artwork by Anand Gadapa, exhibited at IFA’s fundraising event,Big Picture II. Courtesy the Suresh Nichani Collection.

STATEMENT OF FINANCIAL POSITION AS AT MARCH 31, 2012PARTICULARS As at 31-03-2012(Rs)SOURCES OF FUNDSCORPUS FUNDSIR RATAN TATA TRUST – CORPUS FUNDOpening balance 63,25,158Add: Interest income for the year 5,07,539Less: Expenditure for the year 4,45,400PERFORMING ARTS FUNDOpening balance 2,22,28,750Add: Interest income for the year 1,39,215Less: Expenditure for the year 8,27,200NAVAJBAI RATAN TATA TRUST GRANTOpening Balance 4,06,563Add: Interest income for the year 888Less: Unspent grant refunded to grantor 4,07,451GOETHE-INSTITUT/MMB GRANTOpening Balance 11,65,490Contribution for the year 35,54,950Less: Expenditure for the year 28,15,791JAMSETJI TATA TRUST GRANTOpening Balance 74,07,092Add: Interest income/contribution for the year 2,40,90476,47,996Less: Expenditure for the year 37,69,354Less: Refundable to Jamsetji Tata Trust 38,78,642STAFF WELFARE FUNDCAPITAL ASSET FUNDTOTALAPPLICATION OF FUNDSFIXED ASSETS (Written down value)INVESTMENTS (AT COST)CURRENT ASSETS (NET)Current assets 1,79,70,621Less: Current liabilities 44,23,072ACCUMULATED DEFICITTOTAL20,03,92,85063,87,2972,15,40,765019,04,64901,25,6303,25,01,64426,28,52,8353,25,01,64420,20,49,5481,35,47,5491,47,54,09426,28,52,835As at 31-03-2011(Rs)19,82,87,06463,25,1582,22,28,7504,06,56311,65,49074,07,09283,6372,73,35,55226,32,39,3062,73,35,55221,71,50,9451,66,25,11321,27,69626,32,39,306Significant Accounting Policies and Notes to the AccountsA. Accounting Policies1. Expenditure and Income are recognised on accrual basis.2. (a) Grants obtained by the Foundation to the extent utilised for revenue purposes are taken as income.(b) Grants disbursed by the Foundation are treated as expense and unutilised grants when received are treated as income.(c) Assets acquired are treated as expenditure as these are met out of the current year’s income and the assets so acquired are shown notionally as fixed assets at cost less depreciation (straight line under the Companies Act)by contra credit to a Capital Asset Fund.(d) Since the entire cost of fixed assets is met out of revenue, depreciation is not charged to income and expenditure account separately.(e) Asset disposed off or written off are deleted both from the gross fixed asset and the corresponding Fund Account.3. Income from investment of dedicated grant funds is credited to the respective grant funds.4. (a) Investments are shown at cost. The diminution in the value of investments, if any, is intended to be accounted for at the time of disposal, since in the normal course, the investments are intended to be held on a long-termbasis. However, if, in the opinion of the management, the diminution in value is likely to be permanent, the same is provided for.(b) Residual balance in Premium paid and discount earned on investment of securities have been absorbed in the current year and adjusted in the interest income account.

INCOME STATEMENT FOR THE YEAR ENDED MARCH 31, 2012INCOMETRANSFER FROM GRANTS FOR PROGRAMMES/EXPENSESTRANSFER FROM BUILDING FUNDDONATIONS, EVENTS & ARTS SUPPORTINTEREST ON INVESTMENTS OF CORPUSMEMBERSHIP & SUBSCRIPTIONREFUND OF GRANTS DISBURSED UNUTILISEDMISCELLANEOUS INCOMETOTALEXPENDITUREPROGRAMMESArts research and documentationExtending arts practiceArts education (including grant expenses of Goethe-Institut)Special grantsNew performanceOther programme costsNRTT Grant expensesJTT Grant expenses for CuratorshipLess: Programme expenditure met out of own fundsLess: Capital expenditure included in the above, capitalisedEXPENDITURE MET OUT OF OWN FUNDSPROGRAMMES (INCLUDING GRANTS)OPERATING EXPENSESBOARD OF TRUSTEES & COMMITTEE MEETING EXPENSESFUNDRAISING, PROMOTIONAL & WORKSHOP EXPENSESFIXED ASSETS ACQUIREDBUILDING UNDER CONSTRUCTIONTOTALEXCESS OF EXPENDITURE OVER INCOMECURRENT YEAR(Rs)1,17,36,38752,20,22090,92,6591,42,96,5823,33,5003,23,9739,1234,10,12,44427,50,90327,87,40028,15,7918,06,00024,30,9506,57,9601,22,49,004076,47,9961,98,97,00081,60,6131,17,36,38701,17,36,38781,60,6131,91,92,2317,36,09585,55,49637,80052,20,2205,36,38,842(1,26,26,398)PREVIOUS YEAR(Rs)1,25,95,183067,51,3501,65,78,4394,86,3083,31,41168,4353,68,11,12633,92,79017,06,90052,17,5326,07,31927,63,7414,36,2591,41,24,54131,00056,92,9101,98,48,45172,53,2681,25,95,18349,6001,25,45,58372,53,2682,71,53,7707,35,31534,15,3421,60,0288,85,0025,21,48,308(1,53,37,182)INCOME APPROPRIATION STATEMENT FOR THE YEAR ENDED MARCH 31, 2012ACCUMULATED SURPLUS (DEFICIT) : Opening balanceADD: EXCESS OF EXPENDITURE OVER INCOME FOR THE YEAR(21,27,696)(1,26,26,398)1,32,09,486(1,53,37,182)ACCUMULATED DEFICIT : Closing balanceTOTAL(1,47,54,094)(21,27,696)(c) Income from mutual funds (growth schemes) are accounted for at the time of redemption. If such investments are shifted from one fund to another, the income realised thereon is accounted for in proportion to the time theinvestment was held by the respective funds.5. Retirement benefits to officers and staff in the form of superannuation and gratuity are funded by means of policies taken with the Life Insurance Corporation of India. Leave encashment is accounted for on actual payment whenleave is encashed since leave is not allowed to be accumulated beyond 60 days.B. Notes1. Differences between fund balances and respective investments are either lying in scheduled banks or awaiting withdrawal from the investments of the fund having surplus investments.2. Grants committed and instalments pending disbursement is Rs 35,42,900, which includes Rs 7,41,500 pertaining to sanctions made in earlier years.3. Membership and Subscription fee of Rs 3,33,500 includes Rs 50,000 received from an individual towards life membership of ‘Friends of IFA’.4. Additions to Fixed assets acquired includes a sum of Rs 52,20,220 towards expenses incurred on the construction of building in progress. Subsequent to March 31, 2012, a commitment to spend a further sum of Rs 112.81 lakhhas been made.5. The amount of penalties received from the staff for their late attendance is grouped under Staff Welfare Fund in the Balance Sheet as the same is intended to be utilised for the welfare activities of the staff members of IFA.6. Previous year’s figures have been regrouped where necessary.

We acknowledge with gratitude the support of:AMM FoundationAxis Bank FoundationGoethe-Institut, BangaloreSir Ratan Tata TrustJamsetji Tata TrustThe Ford FoundationWe thank all our Donor Patrons who havemade general donations to IFA, contributed toour corpus, underwritten specific grantsand supported events:Platinum Donor Patrons(Donations over Ten Lakh)Deepika JindalJamshyd GodrejLavina BaldotaPramilla MalhoutraSaroj PoddarGold Donor Patrons(Donations of Five to Ten Lakh)Abhishek PoddarHarish BhartiaKalpana RainaNarotam SekhsariaPankaj AgrawalS N AgarwalSudha MurtySunil Kant MunjalWe would like to thank all the individuals,foundations and corporations who havesupported our events and other initiativesthrough the year as well as Friends of IFA fortheir support of our work.31 32Silver Donor Patrons(Donations of One to Five Lakh)Anjum JungAnoop SethiAnu AgaArchana HingoraniAshish DhawanAshok WadhwaAshoke DuttAtul MalhotraChander BaljeeDavid PlatenDevashish PoddarGaurav GoelGopalkrishna Pullela BachiDr Illana CariappaIshwar BhatJaved AkhtarKavitha D ChitturiLatha ApparaoMadhavi SwarupMilind TakkarMohan KrishnanMudit KumarNeelesh HerediaNikhil PoddarParth AminPheroza GodrejPriti PaulRashmi PoddarRKP ShankardassRustom JehangirSamrat SomSandeep SinghalShimi ShahShirish ApteSuresh NichaniTara SinhaTarique AnsariV G SiddharthaVictor MenezesVijay CrishnaVinneeta ChaitanyaYogi Sachdev

BOARD OF TRUSTEESJaithirth Rao, Industry, ChairpersonBina Paul Venugopal, CinemaChiranjiv Singh, Civil ServiceFrancis Wacziarg, Commerce, Heritage ConservationGitha Hariharan, LiteratureIshaat Hussain, Finance and IndustryJitish Kallat, Visual ArtsLalit Bhasin, Law (From July 16, 2011)Nandita Palchoudhuri, Arts and Crafts (Till November 4, 2011)Piyush Pandey, AdvertisingPrakash Belawadi, Cinema and TheatrePriya Paul, IndustryRathi Vinay Jha, Civil Service (From July 8, 2011)Ravi Nedungadi, Finance and IndustryRomi Khosla, ArchitectureM V Subbiah, Industry (Till November 4, 2011)M V Subbiah, IndustryPATRONSAmitav GhoshUstad Amjad Ali KhanEbrahim AlkaziLalgudi JayaramanMrinalini SarabhaiNaseeruddin ShahShekhar KapurShyam BenegalSyed Haider RazaRaja Syed Muzaffar Ali

STAFFAnmol VellaniExecutive DirectorArundhati GhoshDeputy DirectorSanjay Iyer (Till May 23, 2011)Programme ExecutiveShai Heredia (Till October 31, 2011)Programme ExecutiveAshutosh Shyam PotdarProgramme ExecutiveAnuja GhosalkarProgramme ExecutiveAnupama PrakashProgramme ExecutiveAruna Krishnamurthy(From August 16, 2011)Programme ExecutiveRashmi Sawhney (From March 1, 2012)Programme ExecutiveSumana ChandrashekarAssistant Programme ExecutiveMohit KayceeAssistant Programme ExecutiveBindu Vaz(From October 3, 2011 to March 31, 2012)Director: Marketing & BusinessDevelopmentMenaka RodriguezManager: Individual ContributionProgramme & Arts Services33 34Joyce GonsalvesManager: EventsJigna Padhiar (From December 1, 2011)Marketing Manager (Mumbai)Samarpita Samaddar(Till December 23, 2011)Public Relations OfficerDeepa B P (From February 1, 2012)Public Relations OfficerSwar Thounaojam (Till October 16, 2011)Communications OfficerShivani Bail (From December 14, 2011)Communications OfficerNeelima P AryanWebsite ManagerT C JnanashekarManager: Management ServicesC Suresh KumarDeputy Manager: Management ServicesPramila Bai K KFront Office AssistantVISUALS: Courtesy IFA grantees.Savitha SunderOffice AssistantCOVER: Sunitha, resident at Gati Summer DanceResidency 2012, rehearsing Woo Man Investigations.Photograph: Courtesy Soumit & Soumita.DESIGN: Mishta Roy.PRINTED AT: Manipal Press, Manipal.

Rakesh M P S, resident at Gati Summer Dance Residency 2012, rehearsingA Dream of Silence. Photograph: Courtesy Soumit & Soumita.

India Foundation for the ArtsApurva, Ground Floor, No. 2594th Cross, RMV,2nd Stage, 2nd BlockBangalore - 560 094, IndiaTele: +91 80 23414681/82Fax: +91 80 23414683E-mail: contactus@indiaifa.orgWebsite:

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