“Children are fantastic, with imaginative, great minds”

                                                                                                                               Michael Sherin and Gill Robertson

Gill Robertson is a theatre maker with over 20 years experience of creating world class, award winning theatre for young audiences. In 1999 Gill founded Catherine Wheels Theatre Company and since then has produced over 20 shows for children and young people which have toured to schools, village halls and theatres across Scotland. Abhijit Ganguly spoke to her on the sidelines of a workshop on creating theatre for the young audience organized by Think Arts.

Why is theatre important for children?

Children are fantastic, with imaginative, great minds for theatre. Where I come from in Scotland the history of theatre for young audiences was educational work but over the past 20 years the work created for children is focused on offering a vivid, exciting and thought provoking experience rather than passing on a message. My company Catherine Wheels creates work for all ages with a focus on 5-12 year olds but we have also made work for toddlers and teenagers. I would rather create for children than adults as they are a more honest audience, if they are bored, you know it. Adults are more polite and pretend to be interested,

What is the fantastic part of your work ?

 I work with professional actors, designers, choreographers and composers to create work for children. That’s the way I work. In the 4th week of rehearsals we bring in children to watch the show. It is like putting on a new pair of eyes. You watch the play through them. It helps to see what is working and what is not working. Being in India now is incredible and working with  these 12 talented Indian artists is an honour.

With all these gadgets, how do you motivate children to come to the theatre ?

I think once you get them there, if the work is good, they will be totally engaged. Getting them can be the problem. In Scotland we have that problem as well. So we take our work into schools. There you have an audience ready and waiting. The more they see good interesting work, the more they want to see it. School theatre can inspire, kids, teachers and parents. Yes, parents come and enjoy it as much as their children. Then opinions about theatre and a belief in the power of theatre grows. It doesn’t have to be a competition between technology and live arts. they are different but there needs to be a balance. Technology (computers, i-pads, tv) is there in front of them. You don’t have to work to get there. But sitting in a live performance with a live audience is a very different experience.

What are some of the themes you have for your theatre work?

It can be anything. We have two plays we are touring at the moment; lifeboat is touring the USA set in ww11 and it is a girls adventure story about friends who support each other when a tragedy occurs. And in France we are touring “white” in which men live in an all-white world. One day a red egg appears into their white world. And the men have to deal with colour for the first time. There is a simple  narrative, very few words and a striking set. (in the past) We have done fairy-tales such as Hansel and Gretel and also I have adapted books. Lots of different types of works. Last one I created the voice thief, a promenade production about a man who captures little girls voices and turn them into nice, smooth, polite voices. so as you can see my work is varied.

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Pakistani theatre enthralls Indian audience

                                                            Zain Ahmed

 Zain Ahmed, Artistic Director, National Academy of Performing Arts(NAPA), Pakistan, feels that theatre can act as a medium to help bridge differences and reconcile conflicts between India and Pakistan. Art and culture joins hearts of individuals living on both sides of the border.

Recently, NAPA Repertory Theatre, Pakistan, performed a play named “Stumped” at the Academy of Fine Arts, Kolkata, as part of the 4th International Theatre Festival organised by Kalindi Bratyajon. Stumped addresses the two major obsessions in Pakistan: cricket and conspiracy theories. Corruption in cricket becomes a metaphor for the degeneration of society and the play holds up a mirror to the audience, who can see the collapse of idealism and principles and yet, continue to support a decaying and corrupt system. Talking about the present scenario of theatre in Pakistan, Zain Ahmed told "We are seeing a growth in theatre and films in Pakistan. The last ten years have been very interesting as there has been many institutes including NAPA and quite a few universities that have started programmes to train people in filmmaking and theatre. Now graduates from these institutes are coming into the market and creating opportunities for themselves. If we provide enough training to enough people, obviously the art form will grow. A lot of social issues are being highlighted in the plays, a lot of political theatre is being done apart from comedy, musical and satirical plays. For instance, Anwar Maqsood has now started writing plays and his plays

are very strongly satirical."

(L-R) Hammad Khan, Ubaid Iqbal, Zain Ahmed, Rauf Afridi, Huma Tassawar, Erum Bashir and Hammad Siddiq

 Other major attractions

Oscar Castro Ramirez

Besides teams from Kolkata and Delhi, troupes from Aleph Theatre, Paris, Janakaraliya, Sri Lanka, and Prachyanat, Bangladesh performed at the festival. Speaking about the current theatre scenario, Oscar Castro Ramirez, Director, Aleph Theatre, France, told, "There is both good and bad contemporary theatre. Good contemporary theatre is one which I can understand. Every playwright, director, actor should have a humanistic approach and try to have a political impact through his work. Art has to be healthy to the one who is doing it and to the one who is watching it."

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Kind hearts, not coronets helped them make it. Travelling around the world without a penny

                                                                                                                                                        - Milan Bihlmann and Muammer Yilmaz            

When Milan Bihlmann and Muammer Yilmaz  set out on a Journey across the world in 80 days, they didn’t have a penny in their pockets but a rich vision. And they owe their success to a large extent to the hundreds of kind hearts and helping hands that kept them going.  Abhijit Ganguly speaks to them during their stopover at Kolkata.

Milan Bihlmann has studied international business and is working in the corporate world. So what led him to leave a lucrative job? Milan explains, “My business career taught me to focus on revenue profit. You always have to get something out of a project. But I felt how one can invest one’s ability, knowledge and power to change the world. I wanted to do a meaningful project, which has nothing to do with profit. Everything that comes out of this, any kind of revenue we earn, will go to our non-profit organization. Our aim is to shake the people. If we can travel the world without any money, what is not possible? This is a big statement for humanity!”

This was a very difficult and scary journey. How did they feel as they moved on? Milan says, “Each day we wake up without knowing what we are going to eat, where we are going to sleep, we just know that something will happen. Some people will help.

We have the confidence and optimism within our heart. We have countless touching experiences every day. This is because if you travel without expecting everything is a present; even sleeping in a general compartment in a train on the floor is a present. One of the most touching experiences was in Turkey in the Kurdish area where we were waiting longer for our visas. Then a car pulled up, and a person, (who turned out to be the Mayor of that area) came out and invited us to his place where a beautiful wedding was taking place. We were treated like kings. There were bad moments as well, but the good moments outshone the bad moments.”

Muammer Yilmaz says, “The most important aspect of this journey has been the people. We realize that many people want to live a normal happy life. For instance, in Varanasi, people explained to us why people take a holy dip in the Ganga. It is one of the most polluted rivers in the world. But they explained spirituality is more important. Until we met them, we wouldn’t have realized it. When you travel and meet people, your perception changes.”

Milan says, “We need to have a lot of confidence in humanity. Everywhere you go you will find kind hearted people willing to help you. If you worry about something, you spend a lot of emotional energy on an event that might happen. Do not worry about the future. I believe it will be good. And it turned out that most of the times, it was even better. For instance, in Kolkata we had no idea about the city. We came across Iftekhar Ahsan of Calcutta Walks, an organization that arranges walking tours of the city. He was very hospitable and helped us. Amit Saraogi of Anmol Feeds, sponsored our onward trip to Bangkok from Kolkata.”

Maummer added, “Ours is a humanitarian travel. Around the world in 80 days without money; showing there are good people everywhere. It does not depend on society, country or religion. The people are very important for us.

Don’t believe in stereotypes. Don’t be afraid, travel outside.” They will now cross the Pacific before attempting to get to New York and return to the foot of the Eiffel Tower from where they started (www.optimistic-traveler.com). For the next 60 days (till Christmas eve), they aim to raise USD 12.500 for the NPO Haiti Care (https://www.indiegogo.com/projects/optimistic-traveler-for-education- in-Haiti). 

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"Indian classical dance is a marathon and not a short distance dash" - Ramli Ibrahim

                                                                                                                                  photo courtsey - sutra dance foundation

Recently a nine-member group of the Sutra Dance Theatre, Malaysia performed hour-and-a-half long ‘Krishna, Love Re-invented’ at the Indian Council of Cultural Relations (ICCR) Kolkata.The show is directed by Malaysian dancer Ramli Ibrahim with lighting designs by Sivarajah Natarajan of the dance company. Accomplished in ballet, modern, and Indian classical dance, Ramli Ibrahim is a cultural icon who has performed internationally for more than three decades.He is now curating the Dance Component of a comprehensive Arts Festival in Kuala Lumpur:DiverseCity: Kuala Lumpur International Arts Festival 2015. Abhijit Ganguly spoke to him on the sidelines of the show.

What led you to start Sutra Dance Theatre?

This is a long story. I formed Sutra Dance Theatre more than 32 years ago in 1983 when I returned to Malaysia from Australia after more than 8 years as a professional dancer there. Sutra Dance Theatre was established in order to consolidate my artistic activities – artistically and administratively in a more organized manner. By artistic, I mean my choreographic forays and my teaching activities as I needed good dancers to execute my repertoire and choreography. By administrative, I wanted also to be more efficient in the way I organized our shows, get funding and brand our artistic products.

What is your opinion on the current climate of the performing arts for upcoming dancers?

There is a shift in young dancers’ mentality as the digital and virtual world gets more pervasive and seems to numb their imagination, aesthetic senses and preferences. Upcoming dancers now want instant gratification from the work they’ve put in.  Unfortunately, this is not the nature of classical arts - you can’t quick achieve success and there is no short cut. The discipline in all ‘serious’ and classical art systems, be it music, dance, visual or anything, requires time, energy and dedication. Young people are now easily distracted from the hard work of honing their talent. They consume cheap popular culture like they consume junk food. This affects their aesthetic choice. They don’t read anymore and don’t have time to get into the depth of their art. The current climate is not conducive to classical art as consumerist; cheap popular art is so pervasive and effective in distracting young people from dedicating their time, talent and life to real Art.

What is the most important thing for a dancer in terms of creating his/her own niche—style, experiment, physique or creativity?

As I mentioned, serious art requires time, energy and dedication. Of course, you have to have a mentor/guru who helps to guide you to go about the right way. I believe in this. A good teacher not only teaches the right technique and style but also guides the right approach the dancer should take in making decisions about his or her career options. The wrong guru can simply wreck your technique or enthusiasm. There must be a certain amount of idealism and striving for perfection for a dancer. Then, there are the prerequisites qualities – aptitude and talent, right physique, determination and passion. Last but not least, a great deal of luck!

Learning Indian classical dance requires some effort and long term dedication. Are young people still willing to undertake the endeavor?

Indian classical dance is now so popular that it’s everywhere. This does not mean that all is well. There is now a sea of faceless barbie-dolls classical dancers cavorting on stage which is  a pain to watch. Needless to say, very few will make it. The field is becoming more and more difficult as Indian classical dance has to compete for attention with other popular forms for reasons mentioned above. Indian classical dance is a marathon and not a short distance dash. Only the talented, hardworking, passionate and intelligent will survive! 

What suggestions can you make  for incentivizing dance in countries like India where dancers are forced to look for alternative professions to meet livelihood needs?

Dance is difficult and I think it is the same everywhere. I represent that generation which viewed dancing was viewed as a privilege and gift. We did not see it as a mere profession. We did not dance to ‘meet our livelihood needs’. We danced to live… We now lament  the passing of an era. This may sound far-fetched and cliched but it’s true. The livelihood comes as a result – it comes as a natural outcome of our dedication and success. I think if you want to have a comfortable livelihood, then dance is the wrong choice of a profession. Having said that we have always fought that dancers should get paid for the work. But a dancer’s life is hard everywhere – be it in New York, Malaysia or India. I do believe that it’s one of the hardest and heart-breaking professions. So, be prepared.

There are many young dancers who are interested in taking up dance professionally. What is your advice to them?

I don’t usually give  any advice as dance itself will decide for them. Truly, dance is not just a job but a calling. There is also ‘serious’ and commercial dance. Professionally, you have to seek what ‘drives’ you. Eventually, things will find their own level and square things off equitably. The talented, hardworking and lucky will seek further and ‘find’ themselves in dance and consequently, their own niches. Dance is experiential. You cannot ‘get it’ by watching it on the YouTube. I guess the rest, who do not realize this, will still be glued to their digital world and just watch as it goes by… 

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Innovation is one of my primary reasons for playing music, the other is expressing feeling-Matt Keegan

One of Sydney’s most in demand Saxophonist, Matt Keegan regularly performs throughout Australia and around the world. He appears on over 50 albums, is a featured soloist for many well-known groups both past and present and has performed at music festivals across the globe.

In 2011, Keegan won the prestigious MCA Freedman Fellowship for jazz and has subsequently produced a recording with new cross-cultural group The Three Seas in New Delhi, India.  His band, The Matt Keegan Trio, have released five albums to critical acclaim and regularly tour nationally Keegan’s saxophone playing currently features in a variety of professional ensembles. He is a band member on the hit TV show, The Voice, arranging for, and leading the horn section.  He performs in Mahalia Barnes’s band, The Soul Mates and is an integral member of jazz ensembles including the Mark Isaacs Resurgence Band, The Stu Hunter Experiment, the Steve Hunter Band, 20th Century Dog, and the Jazzgroove Mothership Orchestra.

In professional capacity he has also played, recorded and or toured with groups including the Darren Percival band, James Muller Band, The World According to James, Phil Slater’s Sun Songbook, The Beautiful Girls, Jackie Orszaczky, Thirsty Merc, The Japan Australia Jazz Orchestra (JPN) and Maroon 5 (USA).

How did your tryst with saxophone begin?

I began playing the clarinet from the age of 8 at my school and added the saxophone when I began high school age 12. Most saxophone players are encouraged to begin their practice on the clarinet. 

Describe your compositional process? From where do your initial ideas come from? 

I generally have ideas for compositions when I am in a relaxed mood with a clear mind, often while walking. When an idea pops into my mind it is my practice to record into my phone or write it down immediately.   I will then return to these initial small inspired ideas at a separate time to develop them into pieces in a more considered manner. 

How important is musical innovation to you?

Innovation is one of my primary reasons for playing music, the other is expressing feeling. I have always found I can put more meaning into music if I have made it myself and I feel it is fresh. I have always been attracted to artists that are innovators in their fields and in my personal music practice I strive to develop interesting ideas that I have not heard before. 

Any challenges with being a jazz musician?

There are challenges to be faced in any creative pursuit or self employed person. At the moment, my main challenge is maintaining the right balance between using my musical talents as a source of income to provide for my family whilst maintaining high standards and integrity in my own artistic output.  Another challenge as a musician is the unpredictable nature of the work and cash flow. 

Music has been transformed so much by technology in recent times. What has that meant to your music and the way you view music?

I personally find it very exciting and inspiring. These days you are only limited by your own imaginative process as to what can be achieved.  Technology can be used to generate amazing sounds and of course it is so much easier to record music now. It was this kind of recording technology that made my most recent project in India possible. I am the director of a new group, The Three Seas - we were able to live and record an album together in a beautiful haveli in a remote part of the Rajasthan desert. The surroundings inspired us and the technology captured the sounds and feeling. 

Any upcoming projects we can look forward to?

Yes. The Three Seas project I was describing will be released in India in a few months.  It is a blend between Bengali folk music and western contemporary styles. You can find out more about it at: www.thethreeseasmusic.com

How was your experience performing in Kolkata? Do you plan to collaborate with Indian musicians in the future?

I really enjoyed performing in Kolkata on this occasion. Playing with Kendraka at Plush was a great experience through which I made some new important musical relationships and friendships. This was my 3rd trip to India and I will definitely return again soon.  I intend to perform concerts with The Three Seas but also wish to develop my new musical connections with people like Bumpy and Kendraka.   

Any words of wisdom for aspiring musicians?

Don't be afraid of your own musical heritage. I hear many young musicians from different cultures who try to sound like western bands at the total expense of their own musical heritage. I am not saying don't be influenced by these bands - go for it!  But it is the way you choose to assimilate these influences. To me it is the blend of styles and ideas that is interesting. Innovation, not just copying.  Keep your ears open! Listen to as much different kinds of music as possible. Work hard at your craft. It's only those that give up that don't succeed.  

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One has to realize one is a lifetime learner- Giuliano Modarelli

Originally from Italy, Giuliano Modarelli is a virtuosic guitarist unique in his style. During his early musical training and throughout his research and experience, he has explored many different genres of music leading him to develop a unique, hybrid style which is now instantly recognizable in his sound.Having studied Jazz at University, he went on to develop through the Indian Classical tradition and his unique and exceptionally innovative style is a subtle blend of Arabic, Flamenco, Latin and European Folk. His breadth of knowledge and soulful improvisation make for compelling listening and viewing.

 

How did your tryst with Indian classical music happen?

 

I was exposed to Indian classical music as a child .I had records of Indian classical music. I always had an interest in Asian music in general. When I was in college I had a module on Indian classical music. I was very fortunate to have Jesse Banister and Dharmveer Singh as my teachers. By the end of the third year they asked me to join their band.

 

I came to India and met more musicians. I met Shamik Dutta who introduced me to Protyush Banerjee and Pt Buddhadev Dasgupta who are my gurus and took care of my formal training.

 

Do you think Indian music is the 'in thing' globally now?

I think it is a very rooted tradition and quite conservative but there is a lot of scope for experimentation. The west has strong interest in this music because it is an improvised art form. Then, the Bollywood industry has brought in the more commercial side of music which has made people take a closer look into Indian classical music. Then masters like Ravi Shankar and Zakir Hussian surely have done a lot of groundwork in popularizing Indian classical music abroad. InEurope there is a massive Indian community who has brought this music to the west. There is more awareness now; one can find dancers learning Kathak, jazz musicians learning ragas and talas. 

 

How did you run into the idea of playing Indian raga music on the guitar? Did you face any particular challenges when you began experimenting with this unique idea?

 

I did a module in Indian Classical music when I was doing my jazz degree, and I felt very inspired and connected with many of the concepts. Also the work of John Mclaughlin with Shakti was definitely of great inspiration for me. 

 

I would say that the all process of learning Indian Classical music on the guitar, it’s all together a big challenge. The guitar was not design for this music so there is much that it can't be done but just implied (like shrutis - microtones-) but this is a challenge that you will always find when you are trying something different.  You will meet endless compromises and limitations but you can also discover innovations. 

What has been the most satisfying project so far for you?

 

I have a project called Kefaya. It is most interesting in terms of my music research. It is an international group of musicians conceived and led by me and pianist Al MacSween. Since 2011, we have been exploring global folk traditions through improvization, electronics and contemporary influences. The sound results from a deep understanding of different musical traditions as well as extensive collaborations with artists from around the world.

 

Your word of advice for aspiring musicians?

Practise a lot. Listen to music. You have to be focussed. One has to realize one is a lifetime learner. Get rid of ego and fears. You have nothing to lose.

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“I think to grow like a musician it is very important to keep his determination to work things where we are not good”- Guillaume Blanc

Born in 1981, Guillaume began playing the violin at the age of 5. After studying classical violin, he learnt to know and love other musical aesthetics under the guidance of a great violinist and teacher of jazz improvisation Didier Lockwood. He also trained under Octavio Lopez, renowned contemporary music composer. Since 2001, he participated in many music and film projects that allow him to perform regularly both in France and abroad. He was invited as a soloist by famous French artists, such as SportoKantes , Didier Lockwood, André Ceccarelli, Jool, Louis Winsberg, The Rabeats.   In 2011 he was a finalist in Stéphane Grappelli’s Jazz Violin International Competition, winning the award for “Scenic Performance”. He holds a national degree (“Diplôme d’Etat”) in violin teaching, and teaches violin and viola in several conservatories in France. He is currently working on the development of Electric Suites, a Dj Set combining live instrumental and electronic music.

How did your tryst with violin happen? What were your initial inspirations? 

I met the violin when I was 4 years old! It was very simple: I saw a concert of the famous jazz violinist player  Didier Lockwood and from this moment, I wanted to do like him.

How do you see the present scenario of Violin (in general)?

I think there are a lot of brilliant violinists in western classical music...more and more and it becomes difficult to do his place in this area ....however, we are not a lot in jazz and improvisation so there are a lot of things to do in this aesthetic.

What in your opinion are the pros and cons of electric vs. acoustic violins?

I think there are no contradictions between acoustic and electric violin

We don ´t play the same repertoire with an electric and an acoustic violin. 

electric violin doesn’t take the place of acoustic one. It’s just different 

Which do you prefer?

Personally I prefer the big sound of the electric one when I play on stage and I prefer the subtlety of the acoustic one when I play and work at home.

Any upcoming projects we can look forward to?
I will develop Electric Suites in Europe and Asia and I will work with the choreographer Celine Pradeu Kanagasabai on a project which is called " Ballet ", it mix dance and music, it will be exciting !

How was your Kolkata trip experience?

I know about Kolkata because I went last year for 15 days with my family, it was an awesome city, very different of Paris, the city where I leave. it was a great and rich human experience.

Any words of wisdom for aspiring musicians?

I think to grow like a musician it is very important to keep his determination to work things where we are not good, it’s difficult but this is the only way to progress, it’s my opinion. 

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Still we know that nobody wants to pay for something he can get for free!- Abaji

Abaji was born in Lebanon, arrived in France in 1976 just after war. Music is a tradition in the family so he began the guitar at eleven followed by other instruments: clarinet and percussions and oud and bouzouki and flutes brought from his travels all around the world. Later he worked on the transformation of instruments to synthesize his musical passions: Indian music, Oriental music and blues. 

Where does the future of music lie - in downloads or in streaming services? 
Music is air; it was transformed into objects during a few decades. During those years lot of people made "good money”! It is over now. It is no more the music business that will do that "good money"; it will be those who define the commercial ways between the music business and the audiences. The meeting point is "publicity and commercials”! So both download and streaming will be part of the new business. Still we know that nobody wants to pay for something he can get for free!

What is your take on online piracy and illegal file-sharing problems?
I think that internet is the new frontier! To reach these new frontier lots of battles, lots of thieves, lots of music to discover! The leaders who want to rule the internet will have to be very careful... As everybody think the net as a free market, free bashing, free anything place to be! But in fact nothing is for free.... There is always someone who makes money with files he shares without paying for it.... Here is "publicity and commercials" coming again! The one who rules the highway will make you pay even if you don't take a dime out of your pocket! Your eyes and ears will see and listen to a commercial that is how you pay with your time. In fact that is the new business: make the people stand in front of the screen during the commercials.

What is your vision on Social Media as a tool to promote and get your music out?
I think that social media is a specialized way of what I answered above. Still a musician has to use what is offered to connect with audiences. They want the people to be in front of their computers for the promotions they are selling... We also have to use the same ways to do our promotion BUT we musicians don't do money through it! It is a way to connect and announce, to express our different talents and to get closer to people we met once or twice in our life! As I travel a lot, social media is the perfect tool to be close to people I met after a concert in India or China! And meet them again if I come back. It is a direct link to them.

What do you think the music industry will look like in 10 years?

Ten years! It is a century with the speed of the net! No one can tell what it will look like! But I know one thing: there will always be two businesses. One is the supermarket of music selling anything and on the other hand there will be the small shop, the artist himself or a small group of music lovers. I am part of the second business for sure!

What is your biggest advice for an independent musician?

My advice is to never listen to advices! Hahaha !!!

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A ‘love story’ of a Greek nun that just happened...

The Theotokos Greek Orthodox Girl’s Orphanage was started in 1999 by Ignatios, the Bishop of Madagascar, and Sister Nektaria Paradisi, the orphanage’s current director. The orphanage provides food, shelter, love and education for over 100 Indian girls. In just the past year, it has adopted many girls, sent four to college and also opened a boy’s orphanage.

How did a Greek nun end up in India in the first place?

Sister Nektaria says, “I never thought about India.I was always wanting to help poor people. I was thinking of going to Africa, because my my second language is French. But I was sent to South Korea.In 1991 one priest from there came to Kolkata reopen the Greek Church in Kolkata.It belongs to the Greek State. It has been declared a Heritage building by the Kolkata Municpality. It was closed for 20 years because there was no Greek community anymore. It was in a pitiable state almost abandoned. I was told to help the Greek priest who came from Korea to help him with the renovation work.” She adds, “I never had an intention to stay here, infact I didn’t pay any attention to learning the language. By end of 1992 I left back for Greece as I felt sick. Later on in 1997 I came back to India just to meet people with whom I met here during festivals.Once you come to India you never forget. You always want to come back!!.In 1998 the orphanage was established and I was asked to take care of the orphan children. I thought I would stay here for a couple of years and then return. When you have an orphan baby who has no one in his life, you raise her up, you are touched by them. You can’t abandon them. So I stayed back.” 

For instance Debi who came to sister when she was 9 months old. She was on her lap all the time.She slept in her arms. Sister used to sing in Greek to make her sleep.

The first word she spoke was a Greek word!

 But the financial situation in Greece has prevented the flowing of donations from Greece to India . The Greeks in Greece used to be a main donor for this philanthropic effort in India.Sister Nektaria says, “As it is not like before. I am not unhappy. I beleive God will provide, it is His children, His work. He will provide. I want to build a wall close to our backyard. But I have stopped it due to lack of funds.We have five schools and five dispensaries in the remote villages. Everything is free of cost. We have to pay teachers. We have to pay teachers and staffs. We have to pay taxes.” If things improve she has many plans. “One is a new building to for high school.Another is to reduce expense, to start farming inside, grow fish in our pond, have cows for milk, rear poultry and grow vegetables so that we don’t need to buy it from outisde. But for this one need to have capital. But right now it isn’t possible” says Sister Nektaria with a lot of hope and excitement. “My happiness is to see these orphans grow up and be capable to stand on their own feet.I think love. If you love you forget yourself.” sighs of Sister Nektaria.

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KolKata Konnector

Abhijit Ganguly, is an extensively published journalist based in Kolkata, India. His stories cover the global arts scene and the fusion arts movement with the culture and art of India. Ganguly’s work includes personal interviews with world renowned dance troupes, film directors, fine artists, sculptors, as well as jazz, hip hop and classical musicians. He is known for presenting an inside view of the artist's craft and what motivates their creativity. Ganguly also delves into the artist's take on what a young person in Kolkata can learn from each artist, so that the youth of the city can learn to master these skills.

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