Learn Curve for Girls

Category: Uncategorized

  • Knowledge quests and investigations into Indian feminism – Interview with Dr. Sushumna Kannan

    Could you talk about your career journey?

    My career began when I started my masters in Cultural Studies. I did English Literature in my bachelors. Studying English literature was a launch into the questions of selfhood. When I was younger, I had read Hindu Philosophy. English Literature felt like it could be a way of enquiring into ourselves. There is a joy in studying the social sciences and humanities and focussing on culture.

    The kinds of questions cultural studies answered didn’t satisfy me.

    As I was doing my PhD, it occurred to me that cultural studies answered the how question (how things are done?) rather than the why question (why they occur in the first place?) I wanted the why question answered. Knowledge quests are in a very fundamental way asking about the why question. I started getting answer to the Why question through Hindu studies. I was studying Akka Mahadevi. I was studying an array of religious studies.

    I read over 200 books in feminism. I do identify as a feminist. I have read a lot from the discipline of religious studies. In the United States, I did a lot of religious studies research. It is an interesting engagement. I love some scholars and don’t love some of them.

    Could you talk about your reading?

    The academic reading is read in order understand ideas, draw comparisons, etc. Culture Studies reading helps gain a different impression of history and culture. It is a different experience. Reading fiction is an altogether different experience. It allows to experience in images, in full colour and sensory details. I have read 200 odd novels. It has been a joyous experience. I have read English literature, Kannada and regional books in translation. Amit Chowdary is one of my favourite writers and ‘Strange and Sublime Address’ is one of my favourite books. I love the way he writes. Shashi Deshpande and Arundhati Roy are two of my favourite writers. The impulse to write a novel or a poem next follows me.

    Could you talk about history writing from India?

    Until 1970s, history writing in India was conducted bias free. Since the 1970s, very left leaning ideologies have taken over history writing in India. There are two very different things – one looks white and one looks black.

    Could you talk about women’s history writing in India?

    Women’s history in India can’t be understood unless we understand StreeDharma. In a Jain scripture we get glimpses of women performing rituals and yagnas. The Upanishads are known for the Brahmavadinis – independent women who are independent scholars. In the Upanishads we get small glimpses of how women lived. Who were the foreigners who altered us? Hindu warrior code was clear that you should not fight a woman. The warrior code of the other side seems barbaric now and they did fight women. Streedharma, which looks very regressive, was set up in these circumstances. Women are restricted to their home. Uma Bharati, Andal – the stories of these women give us a glimpse of lives of women in ancient India.

    There are two tasks that hindered the history writing process in India – extreme tolerance for the project and extreme hatred for the project.

    Hindu Dharma did offer women compensations. If women due to family commitments could not participate in spirituality – equalities and substitutes were offered. Hindu dharma did offer that. That is kind of feminist.

    What about the unique place of Goddesses in Indian history?

    Celebrating Goddesses in a country where women can’t still be what they want to be in society fully, is showing futility. Women in India should be like Goddesses in real life. We retain the ancient goddess tradition in India. We once had women who were brahmavadinis – that is the goal.

    Could you talk about the Dus Mahavidyas in this context?

    If you tap into these energies – you will never be disappointed. For me however, this is an academic endeavour and an active research process that gives the answers.

    Could you talk about your research topic and Bhakti in particular?

    Bhakti opened a way for women out of StreeDharma. To pursue knowledge is a bhakti search in medieval India. Wherever there were hostile external circumstances some women became bhaktas – living within and living detached. They lived in society but in a detached manner. Times can be very difficult in an unsafe society and society still feels unsafe. That needs to change.

    Akka Mahadevi is addressing a deep quest within. As far as time immemorial in India there has been a quest for the self, a philosophical quest. She is a part of this ancient tradition. It has been there for men and women. The quest for the self within remains in India. The interesting this about Akka Mahadevi is that she does not deny StreeDharma and recommends it for women in general. Akka Mahadevi was a part of the Veerashaivaite movement. Her Ista devta was Shiva as Mallikarjuna. Veerashaivism had a tantric understanding of Shiva and Shakti. Here we can clearly see the connection between tantra and bhakti. Scholarship tends to look at literary aspects of bhakti writing without understanding their experiences.

  • Learning from stories – Interview with Suhani Dewra

    Story knowledge systems of India

    Could you talk about how and in what form you encountered the stories of India?

    My maternal grandfather used to tell stories at night during vacations. The school curriculum included stories in both Hindi and English. Starting from classes 2nd and 3rd, the English teacher would narrate stories to us. She would narrate it like a storytelling performance with voice modulation. I used to like listening to her so much. I used to read also – Cinderella, Rapunzel, Puss in the Boots. I especially liked folktales.

    Could talk about how listening and stories as a child had influenced you?

    Indic Stories influenced me tremendously, as also did stories like Snow White. They all had an imprint on me. In the 9th standard there was a speech from the Bhagvat Geeta, a speech given by Krishna to Arjuna before the war. The speech goes, “If you lose your mental composure, you will lose completely.” In my adult life, I always went back to this Bhagvat Geeta speech when I needed some clarification or guidance. I was deeply influenced by the Ramayana. Lord Rama is an obedient son, so I wanted to be obedient like him.

    “In Celebration of Being Alive,” the Dr. Christiaan Barnard story taught me about the lesson of celebrating life.

    They make me thoughtful and in my adult life, the stories I have heard as a child, have played on my subconscious mind.

    The stories existed before there was writing on paper or TV. Indian stories are numerous. I watch the Ramayana every time there is new version.

    What can children learn from our stories?

    Much can be learnt from stories. There is a deep focus on family life in Indian stories. The Ramayana is all about standing for your blood.

    How are Indian stories different from western ones?

    The landscape is very different. Snow-white is played out on a vastly different climate zone. Cinderella too. The landscapes itself create a deep difference in the storytelling styles. Culture gets transferred through stories – any culture. If you look at Krishna stories – they advocate community living. In all Indic stories there is a great emphasis on community living.

    In Indian stories you get a good sense of the grandeur of Indian lifestyles.

    Any message on Indic stories?

    In India, people take the stories as sacred and very seriously. They could just let stories be stories.

  • Rare music for rarer narration – Interview with Deepa Kiran, International Storyteller

    About your background?

    My background in education is a Masters in English Literature. Before that I did a Bachelors in Nutrition. Since 2000, I have been in the field of English Language Teaching. I have been teaching English in different schools. And I started using stories and storytelling for English Language Teaching. My background to storytelling is that I am trained in Bharatnatyam, Kuchipudi and in Rabinder Sangeet. I have worked in the All India Radio. I was a part of an oration club in Secunderabad. I learnt the flute and the violin. My parents put me in Chinmaya Mission at an early age and here I learnt to chant the Bhagvat Geeta. There was an environment and culture of stories, music and dance here. Formally I started telling stories to my students in 2000.

    I grew up living in 13 states in the country. Everyone in my family speaks 4 to 5 languages, extended family included. I have had a multilingual and multicultural upbringing.

    On your journey as a storyteller?

    I loved telling stories. In 2000, as an English teacher I realised that narrating stories was very useful for schools and children. I had done stories before in the All India Radio. I had recorded Alice in Wonderland as a series there. But this was chosen by my boss. But in 2000, I chose to tell stories in the classroom because I thought it was beneficial. Children could relate to the stories better, be more enthusiastic about the language, talk in English and turn in homework. In 2005, I studied teaching English in the English and Foreign Languages University. I could connect the dots back. I could see what I was doing with storytelling in the classroom was working. And I could connect the dots forward. What I did at EFLU I could use as a teller and in the classroom.

    Another milestone was, in 2010 I started singing songs in my stories. In 2011, I got a project for Dasaavatram for children of NRI. I sat with my Kuchipudi teacher and composed the story in English and also with Sanskrit and in other Indian languages. The performance included narrating the story with music and dance – a style I continued since then.

    In 2017, I founded the Story Arts Foundation as a trust to work with the Government and NGOs. Starting 2016, I started travelling internationally for my work to do stories from the Indian culture and perform them for a global audience. My focus has been on stories found in the Indian culture.

    Your favourite story?

    This was one that my father told me. He was my first storyteller at home. He would often narrate the story of Yellaam Nanmaikku. There was King and he had a trusted minister and he would keep saying Yellaam Nanmaikku Yellaam Nanmaikku. The king would find this irritating some times to hear Yellaam Nanmaikku – everything was good. One day the King ate a lot of Brinjal and got a little ill. Physicians were called in. And still all the Minister could say was ‘Yellaam Nanmaikku’. The King was furious and threw the Minster in jail. Still all the Minister could say was ‘Yellaam Nanmaikku’. The next day the King and his troop went on a trip to the jungle. A thorn pierced the King’s hand and he ended up with a bandage. Meanwhile, without the minister, the King and his band got lost in the jungle. They reach a place where there are jungle dwellers who are going to make a sacrifice. The King realised he was going to be sacrificed. The drum rolls started for the sacrificial ceremony. But the sacrificers soon realised that the King was an imperfect sacrifice as his hand was bandaged. The king was released and he and his troop reach the palace safely and realised that Yellaam Nanmaikku, all was good. The King had his minster released. The Minster was still in a cheerful state of mind. The King asked how come the Minister said Yellaam Nanmaikku to being thrown in jail. The minster said, ‘They didn’t sacrifice you because your hand was bandaged but if I had joint the troop and they would seen I have no bandage and sacrificed me. The King agreed – Yellaam Nanmaikku.

    I had heard this story from my father and narrated it frequently to my children. Once when I was disappointed with something my younger son said Yellaam Nanmaikku. So, the story came back to me. My father, me, my children and from my child to me – that’s how the story travelled.

    Your favourite Indian story collection?

    Stories from the folklore of India and our Itihasa Puranas. I feel deeply connected to stories of our land. It has something to do with my style of narration – which is very Indian. I like narrating stories from the Ramayana for children. For myself, i like reading the Upanishadic stories.

    Any world geographies, whose stories you enjoy?

    I enjoy listening to all narratives – Norwegian stories, African Stories, Australian Aboriginal stories. I find that stories from Africa have a lot of music and are extremely lyrical. They have a special quality of language and orality in them. When I had been invited by the University of South Africa to visit six schools in the municipality I realised that reciting African poetry was a part of the African culture and tradition. This was apparent as child after child recited African poetry in a particular manner. They have a tradition of oral poetry recitation. Even if you don’t understand the language, you will feel the power of the cadence.

    How would describe your connection to storytelling?

    Just like some people like cooking and specifically cooking for others. Storytelling for me is like that. I like to cook a story and share it with others. With storytelling, we sit down, share a story and listen to it together.

    You use a lot of rare musical instruments in your narrations, could you talk about these?

    I look for instruments whenever I travel. They are not new in my life. I started playing a palm sized piano when I was 10 years old. I learnt the flute for one year. I learnt musical instruments at Bal Vihar and Bal Vikas, the majeeram, harmonium, cynabal are all used in Indian bhajans. I have a very interesting musical collection. Many of my musical instruments are from distant and far off places. This bird made from clay is hollow inside. You have to fill this water inside. With the water, the bird will make a chirping sound. I got the Xutuli from Assam.

    From the Haridasus, who are Harikatha performers in the state of Andra Pradesh, i got this musical instrument the Alandu. My friend came from Australia and was attending a Haridasu performance and got this for me from them. These are not available commercially in shops.

    I got the Dapu from Malayasia, it is made from monitor lizard skin. I soundscape my stories. I am a storyteller and not a musician. While narrating stories my focus is on the storytelling not a musical or dance performance.

    I used a rattle in the Banyan and the Sparrow story. Rattles are common for children and are available everywhere. My focus is in getting the right music for the storytelling. I have the damaru. It is played with the rope, not the hand or the stick. I got this Shaker from Pondicherry. It is made of dried seeds. All cultures have such musical instruments. I got cymbals from Dharmashala with typical Tibetan patterns embossed on them. From Bengal, I got the Duitara – which has two strings. Baul storytellers use this instrument. I got this from Baul singers when I was attending a children’s writing residency in Bholpur, Shantineketan. In Nepal I got a meditation bowl that has a nice resonance. In Kolkata, I got the ocean drum, which creates sounds of water. From Northeast Thailand, I got the flute. I was visiting a music department of University where I had been invited. The flute has to be rotated to create the sound – a sense of sadness or happiness depending on what you want for the story.

  • A mathematical story from the country that gave the world zero – Deepa Kiran Storytelling Video Review

    In the book Sapiens, Yuval Noah Harari notes that traditional civilizations spoke the language of stories and narratives and coded their knowledge in this form. He also notes that since the scientific revolution, the language of Sapiens has shifted to Mathematical Formule. All contemporary systems of knowledge use the language of mathematics. This story Musical Story on Chess by accomplished storyteller Deepa Kiran forms a bridge between these two systems – the language of stories and the language of mathematics. In Deepa Kiran’s expert narration, we are transported to the Kingdom of Raja Shorobatra. The King has no work or passtime except playing chess. He can’t be bothered with royal duties and remains settled in his chessgame. Meanwhile the inventor of Chess, a local sage resides in a gurukul. The King is informed of this and promptly meets the sage who invented Chess. But there is a twist to the tale and the video must be watched for this. But what we can see, perceive and learn from the ancient folktale is not just the complexities of mathematics and the perceptions on the game of chess and the games of maths as the very games of life. From the country that gave the world zero, comes this ancient maths story. Deepa Kiran’s unique presentation with dance, music, a host of musical instruments, songs including a famous one by Meera Bai take us to the roots of Indian culture – where in the serene, mantric culture of the seers we find profound investigations into the nature of the universe which can only be articulated in the form of mathematical riddles. A must watch for all culture, storytelling and mathematical enthusiasts.

  • Storytelling Video Review  – How a young poor girl became a snake-doctor! Folklore from Kerala by Deepa Kiran

    Of some of the treasures Youtube has to offer, there is the storytelling channel of Deepa Kiran. And within this channel you can find this gem of a story – How a young poor girl became a snake doctor. Deepa Kiran starts us on the storytelling journey with a musical introduction. A custodian of the rare folk instruments of India, Deepa Kiran plays them with ease and finesse. Starting the story by inviting the musical storytelling spirits Deepa Kiran slowly leads our way into the story. Deepa’s storytelling style is filled with musical notes and pauses. She doesn’t rush us into the story as if she is in a speeding hurry to narrate the story and be done with it. Instead, she takes her time. She welcomes us in with a song and hasta mudras. There is a slowing down of time in Deepa Kiran’s narration. As if the space time continuum itself bends to hear her words. Time is an attribute of causation (and what are folktales if not causation). Space is created and expanded in this folktale through the use of an exquisite setting, music from rare instrument collected no doubt with difficulty and a spontaneity of telling. As Deepa Kiran starts you know you listening to teller with unique voice and a uniquer story. Deepa Kiran narrates a story that is so Indian in its ethos and motifs – use of mantras for healing snake bites, the well revered snakebite vaidyan and then makes us reflect on power and hierarchies within the folds, the encasement of a very powerful and positive story that encompasses the triumph of the young nayika Kamala. A story about perseverance and enthusiasm, a story of triumphs. What the story teaches us is that mantra Kamala uses may be useless but powers accrue to her because of her sincere belief in the act of what she is doing. This story about mantras, a fake one that becomes a real source of healing and power, makes thing about the logic of mantras and how they work. Are they a string of sounds in a particular order and of an particular inference or are they invested with the enthusiasm of the sadhaka alone and therein lies their power. This storytelling video is on the whole a meditation on sound and meaning making. Meaning making because this is a story about who makes most meaning of a particular wish – healing and curing others of snake bites. Is it Nambodari Vaidyan who as the guardian of the sacred mantra, and the revered snake doctor, bearer of a tradition that can save from venom, or is it the young girl Kamala who turns a venomous string of sounds into healing source for herself and the whole kingdom?

  • The uses of storytelling – Interview with Nivedita Kolekar – Part 3

    Kathalaya Interview Series

    What are the uses of storytelling?

    Storytelling fosters the social and emotional development of the child. The main offshoots of storytelling are that it fulfils children both socially and emotionally. Schools are not completely equipped to work on some of these areas of each and every student. I felt the need to fill the void. I worked children’s language, communication skills, creative skills, logic and reasoning abilities etc,, I made the sessions interactive.

    How did Kathalaya influence you?

    Geeta has been a great influence and a guide. She works so much towards your growth. She will tell you – “You have reached here; you should reach here.” She helped me get started as a storyteller.

    Some tips for storytelling?

    I am very positive about the connections between storytelling and nature. I use storytelling to make children aware of nature. It is very interesting to note how storytelling and nature go hand in hand.

  • Excellence in storytelling – Interview with Nivedita Kolekar – Part 2

    Kathalaya Interview Series

    Could you talk about the relevance of storytelling?

    Once anything is put in the form of story it can easily be understood and remembered. We never forgot the stories our grandparents told us. When we hear stories – this is the space we return to after so many years. The storyteller and the essence of having stories told to us aligns with us. I have had a chance to understand the efficiency of the storytelling process through my work for children.

    Could you talk about creating a curriculum for early childhood education?

    I did this and built the curriculum for early childhood education. I used storytelling to teach children about maths, science and social science. Basically, I evolved a concept-based storytelling curriculum. I was very clear that I wanted to tell children concept-based stories.

    On your unique storytelling journey?

    It’s been a great journey – but it was least expected of me to take this path. When I made it to the storytelling pathway, I decided to make it financially work out for me too. A lot of people will tell you, “There is no money in storytelling.” But I could make a career out of storytelling. I made it financially lucrative too.

  • ‘Storytelling chose me’ – Interview with Nivedita Kolekar – Part 1

    Kathalaya Interview Series

    Your career trajectory?

    I am an electrical engineer. I was with Konika films. I had great growth in that company. They made camera films. I am a Kannadiga. I was managing aftersales. I was in many managerial roles and managed multiple projects. I worked on System Integration. I worked on seamless management of audio-visual facilities. I was in the managerial area for 24 years – business development, client servicing and everyday operations.

    Your storytelling pathway?

    I had no clue about what storytelling was. I was highly involved in presentations to clients. I was otherwise not someone who would read books. Storytellers are usually from literature background. I took a storytelling course. Storytelling gave a lot of exposure. Other people are an integral part of the storytelling experience. Storytelling opens the heart. Storytelling is deep engagement with children on a daily basis. My feeling is that I didn’t chose storytelling. Storytelling chose me. I did learn a lot with Geeta Maam. She is a great person to learn from. She opened the heart of storytelling for me. The Kathalaya storytelling diploma was a deep dive into storytelling. The diploma internalised storytelling for me and skilled me with different techniques in storytelling. I learnt to use different practices for storytelling. I started preschools in Mumbai. I run eight centres, all in Mumbai, where I teach storytelling. I am part of two international schools where I do storytelling as a part of the curriculum. I teach parents storytelling for their children. I find that storytelling is a skill that helps me breathe. We are all storytellers.

    Can you talk about storytelling for the classroom?

    Once I turned into a storyteller, I have an eye and ear out to absorb details that can help create great stories. I made my own curriculum for storytelling for early childhood development.

  • Rimi – Movie Review

    Rimi has won the Best Screenplay (Student) at  DadaSaheb Phalke Film Festival Award 2021, after which it went ahead to premier at IFFSA – Toronto 2021, Indisches FilmFestival Stuttgart 2021, IDSFFK Kerala 2022 and India’s only Oscar Qualifying FilmFestival – Bengaluru International Short FilmFestival 2021. It has also bagged awards at Regina International Film Festival, Artist Forum – New York City and Sunderland Short FilmFestival 2022, UK. Rimi was also MetFilm’s student entry to the BAFTA Student Awards 2021.

    To return to the beginning. To return to the self. This movie is a story of The Return. It is the heroic journey going inward. The story of a housewife disconnected from her own self, begins in a typical Indian middle-class house and kitchen with the chai boiling. The heroine Rimi, played by Deepa Kiran, is dressed in a nightie in the opening scene a dress as de-energised as her daughter’s friend Riya’s is bright, who makes a dramatic entry at the transformation scene, and is in flamboyant looped earrings and colourful clothing. Back to the beginning scene, the onions are tossed in the pan, husband’s cloths are ironed, vegetables are fried and the whole family of four, Rimi, her husband, her son and her daughter, sit at the table while Rimi pours the cornflakes in a bowl. Food acts as a metaphor, wherein the chai in the traditional Indian glass cup, the cut onion, the milk all are invested with the power that the banal holds over the spontaneous and creative. Life giving nutrition suppressing life. Mid-way through Riya arrives as a guest and asks Rimi about what she feels about the rain outside. And yes, it has been raining since the very beginning. Watch the film to experience Rimi’s return to herself.

  • Rimi – Dada Saheb Phalke awarded short film

    Rimi, an Indian housewife, feels trapped in the roles of a mother and wife, bound by domesticity. After years of entanglement, everything comes crashing down on a rainy day when she meets Riya, a free-spirited woman whose beauty and magnetism stir a deep longing in her. Rimi realizes she has sidelined her dreams for her family. As an awakening unfolds, she stands at a crossroads—torn between the life she has known and the liberation she now craves.

    Released world-wide 

    Watch @ https://www.watchmyfilm.com/movie/rimi