Amid the harshness of life in the Capital, where the markets are unfriendly to all but the best lined pockets, traffic is a nightmare and intolerance the norm, the India International Centre stands as a quiet oasis of all that is best in human endeavour: art, contemplation, scholarship and an exchange of ideas in a soothing green environment. Though it is a fairly exclusive club whose membership is opened to newcomers only rarely, the IIC has escaped the elitist tag because so many of the programmes – performances, seminars, film screenings, exhibitions – that take place on the premises are open to the public with free admission. October 9 sees the inauguration of The IIC Experience, an annual festival that features a range of art forms and cuisine. Kavita Sharma, Director, IIC, sheds light on the festival, its aims and evolution. Extracts:
How do this year’s two distinct themes, World War I and the Northeast region of India, help bring out the values and work the IIC stands for?
This year is the centenary of the beginning of World War I. It was the beginning of a total and inhumane war that affected millions and many of our soldiers perished on alien soil. We thought we would mark it with a section of the film festival and 12 films from Britain, Germany, France, Australia and Canada are being screened. Coincidentally, one of our members, Keki Daruwalla, suggested readings of poetry written ‘in the trenches’ by soldier-poets of Britain, Australia, Canada. Penguin India has also published letters written from France by Indian soldiers and the group added German poets as well as some women’s voices.
The IIC has, since the inception of the festival, always included something from the Northeast and this year we wanted to open and close the festival with programmes from there. The two events – Rida and the Musical Folk (Meghalaya) and Draupadi (Manipur) – represent two distinctive identities and cultures. An exhibition on the Stillwell Road that goes from Assam to Yunnan in China and a Naga dinner complete the Northeastern focus.
What kind of curation process is involved?
The Festival epitomises and celebrates what gives the Centre life as it is an attempt to present some of the richness and range that takes place at the IIC in keeping with its objective of being a space fostering diversity, freedom, innovation, creativity and learning. The entire spectrum of activities that take place at the Centre – dance, music, film, exhibitions and cuisine – is presented during the period of seven days. The festival presents both Indian and international events keeping in mind the words of our Founder President, Dr. C. D. Deshmukh, that the IIC is a place for “exemplars of various cultures (to) stay together for a while… in order that the sharpness of intellectual exchange is softened by the graciousness of good fellowship”.
We use indoor and outdoor venues, matching the content with the physical environment. In 2009 and 2010 we held thematic festivals on The River and The Forest. As they were thematic, seminars and discussions formed part of the festival.
The IIC’s charter is very wide and we try to bring the best and also the lesser known of performances, films and the visual arts, on the festival platform. For example, one year we brought a group from the Sunderbans to present a folk play, Bonbibi and at the other end of the spectrum, a wildly popular Flamenco show that brought an audience of over a thousand.
Over the years, has it kept to the stated plan, or has it changed, evolved and crystallised into something different?
Yes, it has certainly evolved. Perhaps our experience over the last decade has taught us to pare things down a bit and not overcrowd the days giving more space to people. We have increased the number of international activities and the venues have increased since the Kamaladevi Complex was built. However, the essential character has remained the same. It is literally an experience of the IIC in seven days with a touch of colour and festivities.
Could you tell us something about your association with the IIC?
My association with the Centre is a very early one as both my father and uncle were members. I used to come to the centre as a young girl mainly to the library. Then after I got married my husband, who was a Foreign Service officer, became a member. I had been teaching at Hindu College at the time I got married. I retained my career in spite of some obvious obstacles. I remained an avid user of the library and would attend programmes, time permitting and when I was in the country.
From the Centre, I imbibed the values of the Centre since my early years. Apart from the information and knowledge that the Centre imparts and the aesthetics that it develops, it also teaches serenity, ethics, contemplation, the ability to see multiple points of view and the interaction with people. The essential aim of the Centre is to develop cultural understanding, nationally and internationally, the only route to peace but which can be highly contentious. The contention is removed because the Centre provides a space in which plurality and diversity are valued in good fellowship. This lesson has stood me in good stead in life; a difference of opinion must never affect personal relationships. Then when I became the Director here, I tried to keep my focus on that valuable lessons and hope that we have collectively made a small contribution towards that aspirational value. I learnt a lot from my colleagues who have been here longer than me, the Trustees who have made great contributions in their respective fields, and the Members who are some of the best minds of the country.
