International Colloquium on Artistic Research
Organised By
SNDT Women’s University, Mumbai In Collaboration with University of Quebec,
Montreal (UQAM), Bureau du Quebec a Mumbai((BQM) and Tata Institute of Social Sciences
Venue: Juhu Campus, SNDT WU, Mumbai
14th March 2023
No. of Participants: 33
SNDT Women's University, Mumbai, Bharatiya Gyan, Sanskrit Evam Yog Kendra, in collaboration with, University of Québec à Montréal (UQAM), Bureau du Québec à Mumbai (BQM), and Nalanda Dance Research Centre organized an International Colloquium on Artistic Research: Transdisciplinarity, Art & Knowledge on Monday 14th March, 2023, at the Committee Room, SNDT Women’s University, Juhu Campus, Mumbai.
The colloquium aimed at examining the key elements of artistic research and giving an overview of how it is carried out in India, with artists enrolled in PhD programmes at the SNDT WU and Mumbai University, as well as in Canada, where it is practiced as part of the doctoral programme (Études et pratiques des arts) at Université du Québec à Montréal. Moreover, epistemological and methodological concerns were discussed through examples of various research projects incorporating Indian classical artforms.
The program was inaugurated by dignitaries – Prof. Ashish Panat, Director, Innovation, Incubation and Linkages, SNDT WU, Mr. Francis Paradis, Director & Consul, Quebec Government Office in Mumbai, Dr. Uma Rele, Principal, Nalanda Dance Research Centre, Prof. Mathieu Boisvert, CERIAS-UQAM, Canada. Dr. Jitendra Tiwari, Director, Bharatiya Gyan, Sanskrit Evam Yog Kendra, felicitated the honourable guests. Dr. Vatsala Shoukla, Coordinator, Bharatiya Gyan, Sanskrit Evam Yog Kendra, welcomed the guests and the august gathering of performers and research scholars from Canada and India and introduced the theme of the colloquium. Dr. Sangeeta Desai offered a formal vote of thanks.
Panel 1 was moderated by Prof. Mathieu Boisvert. Dr. Jonathan Voyer, Ph.D., UQAM and musician, spoke on "Artistic practice and artistic practice as research." While exploring the difficult connection between academia and art, Dr. Voyer argued against the divide between creative practice as itself and artistic practice as study.
Dr. Meenal Deshpande, PhD (SNDT WU), presented her paper on "The Aesthetics of Jod- Ragas in Hindustani Classical Music." Dr. Deshpande focused on her study on the jod ragas performed by particular gharanas and their contribution to Hindustani music. She insisted that thorough and intensive reviews of the relevant historical and analytical literature make up the research technique. The study is based on her personal experience, learning and performing jod ragas. Dr. Vaidehi Rele-Lal, PhD (Nalanda Dance Research Centre), in her presentation- Synergy of Science and Shaastra – Fitness for Dance! argued that dancing for wellness is a widely adopted idea, but incorporating "Wellness for Dance" into standard classical dance education programmes can assist dancers of all Indian classical dance styles live better lives.
The students of Sanskrit Department, SNDT WU performed on the Bhagavadjjukiyam – a classical Sanskrit satirical play by Bodhayana.
Panel 2 was moderated by eminent Bharatnatyam exponent and creative choreographer Mrs. Rajshree Shirke. Mrs. Julie Beaulieu, PhD candidate, UQAM, presented a research paper on "The dancing body as production of knowledge." The presentation's main focus was a discussion of how the dancing body might generate knowledge within the framework of a choreographic composition. As a starting point, the methodology and method of the speaker's current PhD thesis were outlined.
The research looks at how the interaction of the dancer with the mythico-philosophical imagery of the yogin influences the sensory experience during the creative process. Dr. Rekha Tandon, PhD, presented on "Choreographing in the language of Odissi with reference to the principles of yoga." Based on unique interpretations of what constitutes "proper" and "incorrect" form, Dr. Tandon asserted that there are numerous distinct "styles" within the Odissi dance tradition.
She had come up with a convincing internal reasoning for herself as a result of her extensive instruction under several Gurus in the classical tradition over a long period of time. Mrs. Smriti Talpade (Natyasmriti Academy of Performing Arts) presented on "Critical Analysis of Marg tattwa of Taal with Chhand." The behaviour of Marg tattwa and the marg paddhatti that the taal adheres to as specified in Sangeet Ratnakar were clearly described in her research presentation.
The examples made it evident how the chhand alters the pattern with each new course the marg tatwa takes while maintaining the other elements of the taal. Dr. Madhuri Deshmukh, Associate Prof. at Nalanda Dance Research Centre, in her paper- "The Art of classical dance in performance and in research", said that a careful examination of dance's history reveals that it has long served as the foundation of Indian culture. Dance has influenced many other art forms, including music, painting, sculpture, etc. since antiquity.
The third panel was moderated by Prof. Mathieu Boisvert. Mrs. Sonia St-Michel, UQAM, Quebec presented on "Bhava: bridging creation and Theravada Buddhism." She discussed her findings from a creative process she began in 2021–2022, while taking a graduate course on „Theravada meditation and the creative process. ‟ She went right into the construction of a duet exploring ideas of „Flight‟ with one foot in Theravada Buddhism and the other in Odissi dance. Ms. Alapini Joshi, PhD candidate (SNDT WU), in her paper on "Methodologies for Research in Music", argued that it is important to enjoy musical treasures as they are being created.
Therefore, research procedures in music are a little different compare to other fields. Her discussion tries to comprehend the research approaches employed for music research in light of this demand. Kasturi Deshpande, PhD candidate (Bombay University) and musician presented a paper on "Analysis of Jod, Mishra, Sankirna and Anvat ragas with reference to Gharana." She said Hindustani and Carnatic styles of Indian classical music each have their own distinct histories and traditions that date back more than three thousand years.
Gharana and Ragas are the two main pillars of Hindustani music. In Hindustani classical music, the Gharanas, commonly referred to as khayal gayaki, denote various performing styles.
Finally, the colloquium concluded with Prof. Mathieu Boisvert summed up the discussions. A token of appreciation was given to all speakers and the moderators by Dr. Vatsala Shoukla and Dr. Dnyaneshwari Talpade. Dr. Jitendra Kumar Tiwari offered a formal vote of thanks to all the partners, presenters, and participants.