Making Political Popular
My larger vision towards art is to make “political art popular”.
For me, Art is the farming land, where we are seeding a new future.
The first thing is, to prepare the land for farming.
First, you plow the land. Then you leave it, then you seed it, and then slowly the small plants will be seen. After that, the work is to keep watering it. In the context of Art, Audience, and Politics, it is to build trust with the people/audience/ spectators. Building new communities/audiences is my primary practice. While valuing the current art appreciators, I always work on developing new spectators/audience. I do this with sensitivity while giving some flavors of newness in terms of content, form, and politics.
Often, the stories of the people struggling on the ground are told by some third party, and that third party profits from the story in some way while the person whose experience it is, is exploited. I want to provide an opportunity, a platform for these less visible artists to express their stories for themselves, without a mediator interpreting the experience through the lens of someone with certain class privileges. I wish to develop a program where we can invite and work with people who, although might not have a certain language, will have a large body of work, which can be seen and can be heard from them directly.
Although it is necessary to be able to approach the work with a critical mind, I also feel that the expression of emotions is important. Too often, the people who benefit from attention and resources are those who are able to use a particular kind of language to promote their work. We need to support those artists who may not be able to articulate their practice in writing or speech, but who are able to express their practice through the art itself. These are the people who need to be nurtured and need exposure.
“For me, this art walk is a pure performance which talks about issues and does something about it,” says Pankaj reiterating that he does not want to call his Art of Walking project any sort of activism. And it’s very common for Indian artists to be slotted under ‘activist’ bucket in Europe, something he wants to steer clear of.”
“Haunted by images of migrant labourers in India walking home during the lockdown, two Indian artists in Europe shared their experience by an arduous journey of their own, walking through The Netherlands, Belgium and France and covering 348 km on foot.”
“The energy was kind and warm, as Tiwari established a feeling of togetherness pouring out of something we had in common: a memory of making paper planes, a childhood wish to ‘see places. Thus, when he started telling me his story, he had already turned me into an active listener, even a character.”
“Talking about the unique concept, director Pankaj Tiwari says, “We didn’t need a story. These girls have faced a lot and that needed to be told. And so we stuck to a simple theme.”
Deccan Chronicle (January 23, 2018)
“Director Pankaj Tiwari’s immersive play
showed how we as society contributes to
rape culture and misogyny.”
Deccan Chronicle (September 5, 2016)
“Theatre requires a willing suspension of
disbelief but Carnival:A Fest of Bodies
demanded a complete surrender.”
Indian Express (February 23, 2013)
Desires of the Undesired
While everything else has to come, here is presenting a small part of Sarah’s ‘Desires of the Undesired’.
Opera to the People
A small video from Maria Magdalena Kozlowska’s ‘Constructive interference’. Being part of the residency ‘We are here'