The Place of Play at RRCEE’s Summer Fellowship Programme

The Regional Resource Centre for Elementary Education runs a wonderful 2 week-long residential fellowship programme for teachers. Designed to introduce the participants to all kinds of ideas by a diverse group of academics and practitioners from across disciplines, the SFP emphasises that Education has to be looked at through multiple lenses. I have been part of the Core Team and have learnt so much from the process of collaborating with people from other disciplines. The SFP began on June 1 and finishes at the end of this week.

Last week, we played with the idea of Play at RRCEE’s Summer Fellowship Programme. We asked this diverse group of teachers a question: when was the last time you played and what was it you did? The list mainly comprised games – badminton, dumb charades, cards – structured, with rules. But some examples of spontaneous play did sneak in – playing with a pencil, a lock of hair, a tube of toothpaste, a jump over the stairs. We spoke of what those spontaneous acts of play represent for us and for children, how play helps us to understand ourselves and the world and what play means to the creative process – whether we can create anything without playing. Then I shared two stories with the group – one of my favourite films, The Red Balloon and the Crossword Children’s Book Award winner, Timmi in Tangles – that not only show the centrality of play in the lives of children but also point towards how losing play can bog adults down, turn us into Grinches, drain all the sunshine and music away and make it impossible for us to look at the world in a new way. The session ended with the participants sharing a Memory of Play and why they think it stuck with them.

In the words of Jay Griffiths, champion of childhood, it is time for “A Ludic Revolution (and a doodle)”!

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A NEIGHBOURHOOD REVISITED: A workshop to create neighbourhood narratives with text and pictures with children at The Reading Caterpillar

Children belong not just to their kin but also to their kith. But in the urbanscapes that so many of them inhabit today, what is their kith, their land? And in our increasingly sanitised and scrutinised world, how can they wander through this and forge their own links with their kith?

I worked with children, 7 to 10 years old, to explore the neighbourhood that is home to of their Library. Over 4 days, the children observed, photographed and interviewed what they saw, what they heard and the people they encountered. They used all this as a reference material to put together a short narrative account of the neighbourhood, Nizamuddin. Here is a glimpse of their work.

GROUP 1  

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GROUP 2

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GROUP 3

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GROUP 4

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Lekh, Lekhan aur Lekhak: Sharing Stories with the young writers of Ankur Society for Alternatives in Education

Yesterday I was invited by the Ankur Society for Alternatives in Education (http://www.ankureducation.net/) to interact with a group of young girls who are part of Ankur’s writing initiatives. The organization has been working in the field of experimental pedagogy with children, young people, women and the community in under-served worker settlements in Delhi. They have done exemplary work in drawing out narratives and perspectives from young people in these less visible spaces of the city. So, I was delighted to be asked to listen to their stories and to share my work with them.

9 young women, between the ages of 14 and 20, from the different Ankur collectives gathered at their Lajpat Nagar office and we spent about two hours listening to each other’s stories. Writing in HIndi, many of the texts were still works-in-progress. They were extremely skilled with a sharp eye for details from the world around them. Nazmeen’s piece, Neha Ka Savera, about a rainy morning in the basti spent observing her enigmatic neighbor, Neha, who is not allowed by her mother to mingle with the other girls stood out for its keen observation of basti life and a philosophical exploration of relationships when you live cheek-by-jowl. Asha wrote about a love affair and elopement and raised questions about freedom, mobility and happiness for women in the basti. Bharti’s amusing piece, Tension, was about the tension of spending the three hundred rupees won from a lottery. Another seemingly humorous piece that made a significant social comment was Lalita’s Lady Conductor, about a young woman’s first day of work as a lady conductor and how under pressure of all the scrutiny, she succumbs to the painful experience of threading her eyebrows. The texts reflected the writers’ engagement with the world around them. Deepa’s piece, Afwah, about rumours of violence that affect everyday life in these settlements, and Sunita’s piece, Red Light, a collection of scenes from a traffic crossing, reflected their sense that the writer’s role is not just to observe the world but also to comment on it.

It was really interesting for me to give them feedback and think of how the pieces could develop. They plan to work some more on their texts based on these comments. I then shared my story, The House At The Corner from the collection, First Proof 7 (http://www.penguinbooksindia.com/en/content/first-proof-7) which I’m thrilled to say they loved. I read the story in English and translated the bits that were not easily understood by them as we went along.

The interaction really underlined the need for such writing to be available for readers who primarily or only read in English. These are stories from our city – from that settlement behind the metro line, the basti across the river, the lanes behind the mall. And yet they remain unheard by the millions who shop in the mall, cross the river and travel by metro everyday. Here’s a call to publishers – how about publishing these stories in Hindi and in translation?

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At the National School of Drama, Tripura

In February 2015, I taught a module on Contemporary India and Childhood to students of Theatre-in-Education at the National School of Drama in Agartala, Tripura. Apart from sharing my own work and discussing issues of contemporary childhood in India, I asked the students to do some fieldwork – find children and spend an afternoon talking to them about their everyday lives. These were then presented in class and based on these conversations, the students put together stories of everyday childhood – of going to school, of playing cricket, of taking care of household chores, of making a new friend, of writing a letter to the Prime Minister. These are some pictures from their conversations with children.

And this is me with the students!

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Stories must be told otherwise they die

Stories are a way of making sense of the world. So I make films, write, teach and conduct workshops to make room for multiple stories of the world.

I studied history at St Stephens College, Delhi University and Mass Communications at the Jamia Millia Islamia, New Delhi. I work as a documentary filmmaker, writer, facilitator/teacher and sound recordist, and have a special interest in media for children.

My work has shown at the Open Frame Film Festival, New Delhi, Mumbai International Film Festival, Karachi International Film Festival, Dhaka International Short & Independent Film Festival, Tricontinental Film Festival, Commonwealth Film Festival, Manchester and the International Symposium of Electronics Arts(ISEA). I was awarded the Sea Change Residency by the Gaea Foundation, USA in recognition of my work across disciplines.