Milan Kundera wrote: "The struggle of man against power is the struggle of memory against forgetting."

We live in a world where the internet never lets us forget, and yet we are silent witnesses to the erasure of events and people. In a world like this, what does it mean to forget? And more importantly, is forgetting simply a function of the brain or an act of choice?

Kundera also wrote, “To laugh is to live profoundly.” When and why do we laugh? Even as our laughter signifies joy, does it continue to mask irony, pain and grief?

We want The Festival of Laughter and Forgetting to be a complex set of imaginings on the conditions of laughter and forgetting, beyond the immediate provocation.

We hope the performances will explore the Kafkaesque landscape we navigate through body, movement, text, storytelling, imagery or technology, questioning what, how, and why we forget, and whether we can retain the ability to continue laughing.

The times we live in provide us with endless reasons to laugh even as we forget why we are laughing. 

Festival Curtain-Raiser

5th November, 2019


Show starts at: 7:30 PM

Nava, Dramanon & Aravani Art Project

80 minutes
Kannada
For ages 8+


Synopsis

‘Nava’ explores the stories of 9 urban transwomen through the 9 rasas. The performers take the stage to explore the Navarasa boxes and through their performance, unbox, expand, challenge and defy fixed notions of what constitutes the Navarasa and who can be its Nayakis. ‘Nava’ interrogates what 'performance' means as the actors have never performed on a theatre stage before, but understand and use performance in diverse ways in their lives. Therefore, when they perform on stage, it has to be on their terms - the stage must expand to accommodate their understanding of performance and not the other way around.

Through their telling, they provoke, question, inform, challenge and expand dominant ideas of Haasya, Adhbuta, Bhibatsa, Krodha, Shrungara, Bhaya, Veera, Karuna, and Shanta. They bring their bodies, stories, and voices which have been deliberately silenced and willfully ignored, to reclaim their rightful place – the center stage.

‘Nava’ is a devised play, created and performed by Veena, Chandri, Shanti, Prarthana, Purushi, Jyothi, Sandhia, Thara and Swetha from Aravani Art Project and directed by Sharanya Ramprakash. This project is supported by the India Foundation for the Arts, under the Project 560 programme.

‘Nava’ is the result of a collaboration between Aravani Art Project and Dramanon, Bengaluru. It started as a workshop collaboration to interrogate what 'performance' means since the transwomen had never performed on a theatre stage before, but had understood and used performance in diverse ways in their daily lives. If the women were to perform on the stage, it had to be on their terms - the stage would have to expand to accommodate their understanding of performance and not the other way around. After several months of working together in the lovely space at Ashraya, the beginnings of the play, ‘Nava’ started to take shape. 

The largeness of spirit, sharp understanding of acting and the unbridled sense of fun that the women brought with them to the working space made this journey into a life-changing one. The process has radically altered our understanding of the world. None of us who entered this space 6 months ago are the same today. Bringing together several collaborators across fields of music, theatre and activism, we are proud to open the Ranga Shankara Theatre Festival 2019 with our very first public show and the journey continues.   

Dramanon: Dramanon Bengaluru started in 2006 as an artist’s collective that supports original writing, nurtures new talent and uses theatre tools for learning and development at workplaces. Over the last 13 years, our work has travelled widely to festivals and venues both nationally and internationally, such as the Writer’s Bloc Festival, Mahindra Excellence in Theatre Awards (META), NSD’s Bharath Rang Mahotsav, Theaterfestival Schwindelfrei, Germany, India@UK festival, London, KalaaUtsavam, Singapore and most recently at The Hindu Theatre Festival 2019.

Aravani Art Project: While the visibility of Transgender people is increasing in popular culture and daily life, the members still face stigma and systemic inequality. With a mission of reducing this in the society, we at Aravani Art Project bring about change in the way society views the community.We do this through various artistic interventions and co - create all our creative expressions in collaboration with the people from the Transgender community.

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Credits

Created and Performed by: Veena, Chandri, Shanti, Prarthana, Purushi, Jyothi, Sandhia, Thara and Swetha
Directed by: Sharanya Ramprakash
Dramaturgy and Production Design: Surabhi Herur
Assistant Director: Aswin Varrier
Music: Pardafash
Art Design: Sadhna Prasad
Costume Design: DivyaRunwal
Light Design: Swetanshu Bora
Stage Management: Aditi Patkar
Production Managers: Sridhar R Prasad and Poornima Sukumar 
Special thanks to Shanthi Chacko, Pushpavalli and everyone at Ashraya, Bengaluru for your support, love, space and to Goethe Institute, Bengaluru for providing their rehearsal space

6th November, 2019

Show starts at: 7:30 PM

Riḥla, Aagaaz Theatre Trust

70 minutes 
Hindustani
For ages 14+ 

Synopsis

Riḥla is an adaptation of Andreas Flourakis’ award-winning play I Want A Country . A crisis in a nameless country brings about a demand for change. A group of young rebels seek to chart out a course for a ‘new country’, a new identity, fresh values, a space to feel safe within ... They argue and fight, they mock and educate each other, they reveal their dreams, fears, and secrets. Their quest to define a new world is a voyage into some great unknown: to a place they can only imagine and covering a distance they cannot fully conceive. It is also a leap of faith, for them and for us. At the very least, they will arrive to tell the tale.

When I first read Andreas’ play, I was beguiled by its ability to speak about a dire subject with humour and verve. The weight of the crisis never seemed to drag the narrative into the grim rumination or despair that is the dominating note of a lot of media, art, and dialogue on this subject. It eschewed Tragedy for the more humble and light-footed satire. As storytellers, we have the choice to trudge the predictably straight line of cynicism or to leap into the loops and spirals of doubt and curiosity. 

The young characters in Riḥ la struggle over their ideas of nationhood and identity, the state of religion, politics and the economy, and over their understanding of empathy and welfare. Looking at them we could either say, “these people are doomed”, or we could ask the question, “where will they go from here?” The latter approach is less resigned to our existing attitudes and knowledge of how the world works. It suggests that we cannot know or agree on everything, that our wisdom and experience is not enough and that the story is yet to unfold for these characters, and so why should they not be hopeful? As artists and people, we are more excited by this narrative because a question is almost always more beautiful than a statement.

We are Aagaaz Theatre Trust, an arts-based organisation dedicated to creating inclusive learning spaces that nurture curiosity and critical thought while creating safe spaces for dialogue, in an attempt to weave a more equitable urban fabric. Engaging children and young adults across social and geographical boundaries, we relentlessly question ‘what is’ to probe ‘what could and should be’ to learn ways to act and perform beyond just the stage. In 2015 we registered ourselves as an independent community arts organisation under the Trusts Act.

Aagaaz performs stories that raise questions and create dialogue amongst diverse audiences. At the core are the 11 adolescents from Hazrat Nizamuddin Basti who are growing into arts practitioners, theatre-makers, and facilitators. We engage the young through inclusive and diverse learning spaces in Delhi/NCR and performances in a range of venues and non-venues. We have taken our work to 10 cities across the country and have performed/are performing in prestigious festivals such as Gender Bender 2016, Saharanpur Pustak Mela 2016, The Old World Theatre Festival 2018, META 2019 (we won the Special Jury Award), The Hindu Metroplus 2019, Equal Festival at Ranga Shankara 2019, Serendipity Arts Festival 2019

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Credits

Cast Mohd. Saddam, Muzammil, Shahid, Nagina, Ismail, Aslam, Zainab, Nagma Khatoon, Tuba Jalal, Nahid Jalal, Jasmine
Stage and Visual design: Oroon Das & Smruthi Gargi Eswar (Odd Works)
Light Design: Deepa Dharmadhikari
Production Management: Sanyukta Saha 
Publicity design & Stage management: Devika Bedi 
Translation: Rahul Rai
Assistant Director: Sakhi U.
Director: Neel Chaudhuri

7th November, 2019

Show starts at: 7:30 PM

Hello Farmaaish!, Dur Se Brothers

80 minutes
Hindi
For ages 10+

Synopsis

Hello Farmaish! is a heartwarming story of resourceful women who surpass the limitations of society and their surroundings, to reinvent the world they live in. Inspired by the intrepid Kalpana Chawla, a group of enterprising women embark on a whimsical adventure from a small Haryanvi settlement into Outer Space, and back again! As Space Shuttle Columbia takes off into the Earth’s outer orbit, teddy-bear makers in a remote village hear about Kalpana Chawla’s mission into space. Minaz, a young girl and Gita, her older teacher venture on a path to track the odyssey that captures their imagination.
The play is a rollercoaster ride from reality into science fiction to dreams and back to reality again. With the help of radio airwaves and some stunning leaps of imagination, there is no stopping this village from defying gravity!
Hello Farmaaish! is also a tribute to the rural community radio stations of India.
Originally produced for Aadyam, an Aditya Birla Group initiative. 

Hello Farmaaish! is a whimsical adventure- Inspired by the Space Shuttle Columbia and Kalpana Chawla, a group of enterprising women travel from a small Haryanvi settlement into Outer Space, and back again! With the help of radio airwaves and some stunning leaps of imagination, there is no stopping this village from defying gravity.

Our story is also a tribute to the rural community radio stations of India. During our research, we met many radio jockeys from rural stations in the Mewat region of Haryana who shared their intrepid stories with us. They are inspiring women and men who daily through their broadcasts work towards expanding ideas, extending support and creating new horizons for their communities.
Our play is a rollercoaster ride from reality into science fiction to dreams and back to reality again. Based on several true incidents and a good dose of fantasy. HelloFarmaaish is going to make you laugh and cry and find new wonder - not just for outer space but also for the valiant heart within” - Yuki Ellias.

Dur Se Brothers is the innovative production company founded by theatre-maker Yuki Ellias. The group has a number of successful shows - Charge! and Yatagarasu (Keep Calm and Dance) and the much-acclaimed solo performance Elephant in the Room (a multiple META Award winner) under its banner.

Dur Se’s productions have travelled far and wide in India and across the world - including to the Edinburgh Fringe Festival (part of the India@UK 2017 official showcase), the 8th Theatre Olympics, Hindu Metropolis Festival, Kala Ghoda Arts Festival, Bandra Festival, India by the Bay in Hong Kong and many more. Hello Farmaaish! An original script commissioned by the company was the Joint Winner of the Sultan Padamsee Award for Playwriting 2018 and a runner up at the Hindu Playwright Award 2018.

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Credits

Co-Written by (Story): Yuki Ellias & Sneh Sapru
English Script: Sneh Sapru & Yuki Ellias
Hindi Adaptation: Vidit Tripathi, Sneh Sapru & Yuki Ellias
Director: Yuki Ellias
Cast: Abhay Mahajan, Puja Sarup, Priyanka Setia, Vaishali Bisht, Tanvi Lehr Sonigra, Vrinda Kacker, Yuki Ellias and others
Lights: Designed Asmit Pathare
Lights: Operated by Vikrant Thakar
Sound Design & Original Score: Pruthu Parab
Songs: Mohammad Muneem
Costume Design: Priyanka Babbar
Executive Producer: Niloufer Sagar

8th November, 2019

Show starts at: 7:30 PM

Sangeet Bari, Kali Billi Productions

2 hours 15 minutes with interval
Hindi / Marathi 
For ages 8+ and PG

Synopsis

Lavani is part of Maharashtra’s cultural milieu for several centuries. It is a performance that breaks the fourth wall and entertains, engages and interacts with the audience. The fun is in watching it live along with singing and music. Most women, who start dancing in Sangeet Bari theaters, belong to nomadic tribes such as Dombari, BhatuKolhati, and Kalwat who have been into the entertainment professions for many generations. The girls are initiated in this profession by tying of ghungroo and after this, they are not allowed to get married. They have children out of wedlock and the children take mother’s name, surname, and caste.
Sangeet Bari is a theatre production that combines multiple narratives such as the Lavani woman, the musicians, the customer, and the researcher/narrator. It also includes live Lavani performances of old traditional Lavani which are either unknown or forgotten. Our focus is on the lives of these
women and we attempt to portray them as artists and human beings unlike the popular image of a seductress or victims. We have weaved a mix of old and new Lavani songs that will showcase different types and styles of performing Lavani.
This is our humble effort at creating a platform for the Lavani woman to tell us her story.

This production uses a documentary theatre form to explore and understand the world of Sangeet Bari, its traditions and the women artists who rule this world. Lavani has always been part of Marathi cultural milieu. The Lavani woman has been a key character in many films and novels. But the male gaze has dominated this portrayal, reducing the Lavani Woman to a caricatured portrayal vacillating between ‘Sati Savitri’ (a victim without any say or choice) to ‘KultaNari’ (woman with lack of any moral values). Through our production, we are trying to bring agency to the Lavani Woman to narrate her own story, which is as complex, beautiful and full of erotic energy as the Lavani songs she performs. 

This production is done in collaboration with traditional Lavani artists from Aryabhushan Theatre, Pune and Sangeet Natak Academy awardee ShakuntalabaiNagrkar. There are no actors, everyone including the Writer-Director duo play their own role.
The play is full of music, dance, and masti.

Kali Billi Productions was founded by Savitri Medhatul and Bhushan Korgaonkar in 2014. ‘Sangeet Bari’ is our first theatre production which we opened in Marathi in 2015 and in Hindi in 2017. The play has been performed in various theatre festivals across India.

We conduct ‘Lavani Workshops’ with eminent dancers, Sangeet Natak Academy Awardee ShakuntalabiNagarkar and Akanksha Kadam for actors, dancers, students, and dance enthusiasts. Our workshops include an introduction to the world of Lavani in addition to Lavani choreography.
In 2016 we started an initiative called ‘Baithak’. We invite artists to share their process and thinking behind the work. Our collaborative projects include a Lavani music video on woman’s consent with Paromita Vohra of Agents of Ishq and a dance production ‘Sringar Rang’ with Vaibhav Arekar and Sankhya Dance Company that explores Sringar through Bharatanatyam and Lavani.

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Credits

Writer: Bhushan Korgaonkar
Director Savitri Medhatul
Artists: Pushpa Satarkar, Akanksha Kadam, LatabaiWaikar, Chandrakant Lakhe, Vinayak Jawale, SumitKudalkar, Savitri, Bhushan and Sangeet Natak Academy Award winner Shakuntalabai Nagarkar
Hindi Translation: Manisha Korde, Gauri Konge, Vikas Zutshi
Production Design: Neeraja Patwardhan
Publicity Design: Kunal Vijayakar
Production Support: Vilas Kundkar, Balaji Jadhav
Lights: Vilas Humane
Sound: Ruchir Chavan

9th November, 2019

Show starts at: 7:30 PM

The Hunger Artist, Aum Yash Kendra

75 minutes without interval
Marathi, Hindi, English
For ages 14+ 

Synopsis

Inside a steel cage, the hunger artist makes a living by fasting. Outside, we, the well-fed, watch on. This is the story of cotton pickers, the story of the great fast, the story of anonymous childhoods. The real story of White Gold. A fruitless story. Inspired by Franz Kafka's chilling short story by the same name and Namdev Dhasal's masterpiece poem 'Bhook' (hunger), The Hunger Artist is a moving portrayal of the agrarian crisis, the idea of Spectatorship and ultimately the state of physical and psychological hunger as the modern human condition.

“In the last decades interest in hunger artists has declined considerably. Whereas in earlier days there was good money to be earned putting on major productions of this sort under one’s own management, nowadays that is totally impossible. Those were different times.” So begins Franz Kafka’s short story titled, A Hunger Artist - the extraordinary tale of an artist who takes on elaborate fasts for the amusement of the general public. A public, that is soon losing interest in this genre of performance. He struggles to retain their attention and is forced to prove the authenticity of his hunger repeatedly. One day in desperation, taking his fast to an extreme, the protagonist starves himself to death in his cage. Only to be replaced by a young, gluttonous panther, whose insatiable appetite for food, begins, once again, to attract large crowds to the zoo.

Like all great pieces of art and literature, this archetypically Kafkaesque parable written in the 1920s lends itself to many complex interpretations and themes that become more definitive and veracious, as the years go by. Until in the end, this begins to be seen for what it has been all along, a story simply about the ‘condition’ of the modern human being. About what it means to be human in our times. An idea which is at once, fiercely political as well as deeply psychological. This is the exact path of inquiry we embarked upon as part of making this theatrical production. Our intention is also to examine 'our' relationship - with the current and the timeless themes that Kafka puts forth. However, our interest lies not only in merely retelling Kafka's tale but to put it against our country's context of hunger, starvation, and fasting. Our influence in this regard comes from our present and our recent past conditions - recent march of farmers from Nasik to Bombay to demand for justice, to the recent starvations deaths in the country, the iconic fast of Irom Sharmila and its following repercussions, to Gandhiji's fast for liberation, to the famines of Bengal, to the idea of hunger itself. This a glimpse of the range of our concerns that brought us to the idea of making this piece. This and the idea of the hunger artist being a metaphor for the modern human condition.

Aum Yash Kendra is a premier Speech & Drama Centre in Prabhadevi that has been running successfully since 1997. The focus here is not only on Speech & Drama but also on: Language skills, Confidence Building, Personality Development and so on. They are affiliated with the Trinity College, London, and their students have been successfully giving various grade exams in the Performing Arts and Communication Skills Category. This is their first production.

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Credits

Director: Gurleen Judge
Performed by: Mandar Gokhale
Choreographed by: Surjit Nongmeikapam Dramaturge Suhel Banerjee
Sound Design: Muktak Kanjilal
Puppet Designed by: Kapil Dev
Sound operator & production manager: Sahil Dagia
Video Operator: Robin Patel
Lights Operator: Rahul Joglekar

10th November, 2019

Show starts at: 7:30 PM

Eidgah Ke Jinnat, Bhasha Centre

120 minutes with interval
Hindi / Urdu 
For ages 14+

Synopsis

Ashrafi and Bilal are orphaned siblings stranded and defined by the troubles in Kashmir. 18-year-old Bilal is the pride of the region, part of a teenage football team set for great heights, and pushed to the limits by the violence around them. Haunted by hope, his sister is caught in the past, and Bilal is torn between escaping the myths of war and the cycles of resistance.
Interweaving true stories and testimonies with Islamic storytelling, the play paints a magical portrait of a generation of radicalised kids, and a beautiful landscape lost to conflict.

Eidgah Ke Jinnat’ (The Djinns of Eidgah), was long overdue. I had stalled my own directorial attempt at this play (the play has had several outings around the world in English) because ever since I can remember, I had wanted to make this play in Hindi/Urdu.
This production is a culmination of many years of thinking about this Hindustani translation. Textually, visually and performatively, several shapes change when a play moves from English to Hindustani. Language - and its functions - not only interprets words but also the distance a story is from the context of its makers. The difference between “Allah Hafiz” and “Khuda Hafiz” for instance is further exacerbated when the play is in an Urdu speaking world as compared to an English world. The bodies of the characters, their pauses, their interaction with space, the alignment of objects in the space. Everything is deeply connected to the language of the play. As a writer, I am always wary of translating my work myself but as a director, the translation in space interests me deeply.

Ultimately, the theatre in my view is a form of poetry. Every element of it has a purpose in time as it does in space. Theatre is a verse in multimedia. It needs to be composed and constructed like poetry. It must at the same time emerge and be developed. It must be organic and yet technically sound. It must work with both the outer eye of meaning in society and the inner eye of meaning to self. This play about Kashmir, in Jaipur with a team comprising of cast and crew from around the country, has allowed me to engage in the attempt to create this verse, in its totality. There is, of course, no measure of success at an attempt that an artist can give for oneself, however, I do think it has been an absolute privilege to be part of this extraordinary pan-Indian team at the Jawahar Kala Kendra.
It is only together - and in unison - that the nuances of tragedy can be explored. War, like a tragedy, has no one shade. Not only does it mean different things to different people but it also means different things to the same person at different moments. Subjectivity, like theatre, is something one experiences in parallel both as an individual and as a collective.
This double-bind, this creation of meaning and experience of the one and the many, is as central to this production as it is to the story of Kashmir and of course to the act of performing tragedy in a world looking for a God of escape.
In the end, the meaning is multiplied when the audience arrives. For in our collective gaze, we go deeper into our individual fears, guilt, and sense of loss. For ultimately, when we defend our positions, we must remember what stories have told us since time immemorial - that life in its finest moments is an act not in opposition to the event of mortality but irrevocably in defense of poetry. – Abhishek Majumdar

Bhasha Centre is a Bengaluru-based theatre company founded and run by Abhishek Majumdar, Sandeep Shikhar, and Vivek Madan. Eidgah ke Jinnat is our first production. We are currently working on a reimagining of Prithviraj Kapoor's Kisan, to be staged on March 2020.

While quality productions are a hallmark of the company’s offerings, Bhasha Centre also has a significant focus on training in the theatre and research into Dalit and Women’s studies as the foundation of our work going forward.

Rerum iste in explicabo veritatis error quod unde quos aspernatur laborum, quae amet praesentium, molestiae vel libero voluptate sapiente dolorem harum ratione optio debitis suscipit. Minima eaque minus reprehenderit laudantium?

Lorem ipsum dolor sit amet, consectetur adipisicing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip ex ea commodo consequat.

Lorem ipsum dolor sit amet, consectetur adipisicing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip ex ea commodo consequat.

Rerum iste in explicabo veritatis error quod unde quos aspernatur laborum, quae amet praesentium, molestiae vel libero voluptate sapiente dolorem harum ratione optio debitis suscipit. Minima eaque minus reprehenderit laudantium?

Lorem ipsum dolor sit amet, consectetur adipisicing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip ex ea commodo consequat.

Lorem ipsum dolor sit amet, consectetur adipisicing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip ex ea commodo consequat.

Lorem ipsum dolor sit amet, consectetur adipisicing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip ex ea commodo consequat.

Lorem ipsum dolor sit amet, consectetur adipisicing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip ex ea commodo consequat.

Lorem ipsum dolor sit amet, consectetur adipisicing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip ex ea commodo consequat.

Lorem ipsum dolor sit amet, consectetur adipisicing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip ex ea commodo consequat.

Lorem ipsum dolor sit amet, consectetur adipisicing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip ex ea commodo consequat.

Lorem ipsum dolor sit amet, consectetur adipisicing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip ex ea commodo consequat.

Lorem ipsum dolor sit amet, consectetur adipisicing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip ex ea commodo consequat.

Lorem ipsum dolor sit amet, consectetur adipisicing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip ex ea commodo consequat.

Credits

Cast: Abhinav Bhal, Ajeet Jeet Singh Palawat, Ashwath Bhatt/Sandeep Shikhar, Avneesh Mishra, Aqib Mirza, Bhanu Priya Bhatia, Chinmaya Madan, Divya Bhomia, Hitesh Kumar, Shreya Arora, Shubham Singh Bagri, Sudarshan Dadhich, Vijay Patidar
Associate Directors: Manzoor Ahmad Mir, Neel Sengupta
Assistant Directors Abhishek Mudgal, Mumal Tanwar
Costume Design: Pallavi Krishna
Sound Design: Nikhil Nagaraj
Lighting Design & Music Rajesh Singh
Set Design: Sarika Pareek
Make up Nandu Wadke
Backstage: Ishana Pareek, Sonal Gupta, Sumit Kumar, Rashmi Khanna, Yash Khan
Stage Manager: Saatvika Kantamneni
Producer: Vivek Madan

Curated Displays

5th - 10th November, 2019

12 PM onwards | Ground & First Floor Foyer

Exhibition

These 30 artworks from across the world, including photographs, text, illustrations and paintings create the perfect backdrop against which this year’s festival will unfurl.

Bioscope by Indian Music Experience

Look into the bioscope and reclaim your childhood and experience nostalgia
with multi-language film music with a theme of happiness and laughter.

Mural by Aravani Art Project

Through their work, the trans-women and women artists focus on the process of artmaking and the conversation it enables.

Declaration of Empathy: A photo essay by Sandeep TK

Sandeep TK is practicing lens-based artist from Thalassery, Kerala, living and working in Bangalore. His practice involves moving images, documentary photography and fictional narratives that involve himself.
A few years ago, Sandeep met Annamma, and it was upon seeing her strength and courage that he was motivated to embark on this photographic project. Though the focus is on Annamma, the artist tells many stories about a sexual minority that is discriminated against, living on the margins of society. 

Curated Events

5th November, 2019 | 6 PM

Scapes of Karnataka

A music session with Urban Folk Project

6th November, 2019 | 6:30 PM

Jitna Hamara Sach

A Hindi and Urdu Poetry Reading Session by Anjuman

7th November, 2019 | 6:30 PM

Women who shaped Science and Technology

A talk by Jahnavi Phalkey, Founding Director, Science Gallery, Bengaluru

8th November, 2019 | 6:15 PM

The amorous adventures of Shakku and Megha in the valley of consent

Film by Documentary Filmmaker Paromita Vohra

6:30 PM

Let's Lavani!

A crash course on the signature moves in Lavani.
Demo session by Savitri Medhatul, Director, Sangeet Bari 

9th November, 2019 | 11 AM

Comics as a tool of subversion

A talk by Aarthi Parthasarathy of Kadak Collective

12 PM

Made to Order

An interactive game by Fields of View

(Entry by registration: rsfest2019@gmail.com

12 PM - 6 PM

Zine Workshop by Kadak Collective and Sanitary Panels - Day 1

(Entry by registration: rsfest2019@gmail.com)

6:30 PM

Pardafash

An evening of spoken word and electronica.

10th November, 2019 | 11 AM

Lest We Forget- Ethical, Legal and Moral Conundrums in a changing world

Talk by Justice Nagamohan Das.

12 PM to 6 PM

Zine Workshop by Kadak Collective and Sanitary Panels - Day 2

5th November, 2019 | 6:30 PM

Parvaaz

A raw, intimate performance.

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Festival Designed by

In Association with

Address

36/2, 8th Cross,
JP Nagar 2nd Phase
Bangalore 560078
 

Contacts

Email: rsfestival@rangashankara.in Phone: 080-26493982 |

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