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Buildings as living heritage
Heritage buildings are often seen as that: heritage, preserved
like museum pieces for people to look back in nostalgia, or
as for researchers to build on the bricks of history. But
lived heritage space can also be re-used in a new avatar and
ensure its continuity without destructing its architectural
value.
This was amply demonstrated at a recent workshop entitled
'Kolkata's Architectural Heritage and Urban Regeneration"
organised by the British Council and Calcutta Tercentenary
Trust. The latter was formed in 1990 with the 'aim to encourage
understanding and conservation of the European artistic, architectural
and cultural heritage of India.' It has since successfully
restored oil paintings of the Colonial era at the Victoria
Memorial Hall, and work is still going on. Kolkata, once called
the 'city of palaces' has some of the finest examples of British
colonial architecture too built during the city's tenure as
capital of British Indian empire till it was shifted to Delhi
in 1911. Many of them are now in the heritage list. However,
most of them need urgent attention- and funds, before they
crumble down as they are in a dilapidated condition.
One of the ways to ensure that such buildings are not lost
to history could be
looking anew at their potential for 're-use.' S. K. Mishra,
president, INTACH (Indian National Trust for Art and Cultural
Heritage) showed through slides how the collapsing nooks and
crannies of the Jailsalmer Fort, Sonar Kella for Bengalis
fed on Satyajit Ray's eponymous adventure film, have been
restored. More than 500 people still live within its walls
but they have not been displaced but better facilities are
being given and taught to take pride in their heritage. The
premises like Rani ka Mahal , Har Rajji Ka Mahal, etc. are
also being re-used to showcase local art and crafts, locate
museum and archive. Plans are also afoot to reintroduce the
1763 Patiala Fort, repository of the biggest collection of
war medals in the world (thanks to king Bhupinder Singh's
hobby), as a museum and cultural hub. But Mishra also cautioned
that ' When re-using an old building, we must think of what
it was originally meant for- and how to re-use it now so that
there's no dichotomy in the ambience."
Some of the best examples of how that can be done, without
spoiling the mood' was demonstrated by Giles Quarme, chairman
of the Ancient Monuments Society, England, who talked on "
Re-using historic buildings: British Perspective." His
firm specialises on alteration and restoration of historical
building and was also responsible for building of Visitor's
Centre at Lady Diana memorial museum at Althorp Park, and
the restoration of the Indian High Commission's premises at
Kensington Palace. The popular Covent Garden area, with its
historical market revived but as visitor-friendly as in the
past, a 1890 dispensary in Zanziber island to a beautiful
museum , the original tobacco dock to today's Oliver's Wharf
in the Docklands area in London were some of the examples
he showcased. " Make environ attractive and economically
viable. If you give it to the community it will be preserved.
And conservation can make money too with flexibility in attitude."
Quarme feels that India has huge potential with hundreds of
heritage buildings.
However, its needs will, and a wider perspective. Barun De,
vice-president, Asiatic Society, expressed 'a certain disquiet'
at the way the listing and preservation of the Kolkata's heritage
buildings, is going about.
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Looking a new
at folk plays
West Bengal is known as a hub of theatre experimentations.
Over the years it has presented some of stalwarts and best
plays of contemporary Indian theatre. So it was perhaps fitting
that the first National Folk Theatre Festival organised by
the ministry of culture, Government of India, should be held
in Kolkata and organised by the Eastern Zonal Cultural Centre
(EZCC).
The festival was planned because, as Anuradha Mukherjee, director,
EZCC, reminded, much as people talk and discuss about contemporary
plays, whether in Mumbai, Delhi or Kolkata, the traditional
folk theatre have been getting a short shrift. Yet, they are
the traditions from which later-day plays have evolved. It
is also important to look at them anew, not only from the
performing art heritage point of view but also to give sustenance
to those who still practise them. City folks could thus experience
Naqqal a popular folk theatre form from Punjab as well Bhadreswarir
Golpo from Bengal. It is a folk tale from Panchakot near Bishnupur,
near the Bankura-Purulia border. Bhadu festival, worshipping
the goddess of crops, with Bhadu songs are very popular in
this area.
"Modern theatre is better off comparatively. This festival
is an attempt to rejuvenate the folk tradition of plays and
encourage folk performers," Mukherjee pointed out. But
for that, even folk theatre has to adapt to modern sensibilities,
at least theme-wise. Indian folk theatre is basically about
mythical figures, built around the eternal tug-of-war between
the good and bad and drawn from epic characters. But today,
many theatre groups are experimenting too. Keeping the traditional
format, they are taking up themes like drug abuse, violence
against women, etc.
It was amply showcased by some plays which came from other
zonal centers. Nautanki , a ballad format play from north
India was the base for the play Pukar but it talked about
Hindu-Muslim bonding. Restaphen, a play from Manipur is based
on the tradition of Shumang Leela . Here only male performers
and singers participate. While the courtyard theatre format
has been retained, the story of the play is about Restaphen
who loses his parents during the anti-terrorism war against
Afghanistan post 9/11. From Manipur to Afghanistan- it is
an interesting cross-over indeed. It also shows how the traditional
and the contemporary can merge together to ensure its survival
by retaining audience interest in an age of fast changing
media.
The festival promises to be an annual affair and should be
an interesting add-on to the cultural calendar of Kolkata's
connoisseurs.
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