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History of Parlours in India

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रेनिअससन्स १४ ते १७ वे साल

पंधराव्या शतकात  uch  श्रेणीतल्या स्त्रिया त्यांचे कपाळ  उंच दिसावे  म्हणून केस तीव्रतेने मागे बांधत असे, आणि मागील केस हे पोषाखाने लपवत असे. इटलीच्या उबदार वातावरणात तेथील स्त्रिया वेणी घालायचा, केसांवर अलंकार लावायच्या  किव्वा टोपी घालायचा.  त्या काळात ब्लॉन्ड केस हे उच्च श्रेणीचे प्रतीक होते. त्यामुळे पुरुष आणि स्त्रिया दोघेही स्वतःचे केस ब्लॉन्ड रंगाने रंगवत असे. ते यासाठी केशर किंवा कांद्याचे साल या गोष्टी वापरात असे आणि इटलीच्या स्त्रिया तर तास तास भर उन्हात बसत असे आणि केसांना ब्लॉन्ड रंग देत असे.

एलिझाबेथन १५५८  – १६०३

सोळाव्या शतकात सगळे पुरुष लहान केस आणि लहान दाढी ठेवायचे कारण फ्रान्सिस पहिला याने स्वतःचे केस चुकून जाळले होते. राणी एलिझाबेथ हि तर खऱ्या arthane या काळातल्या स्त्रियांनसाठी एक आदर्श होती. समाजातील स्त्रिया तिचा गोरा चेहरा आणि लाल केसांची नकल करायच्या. केसांची नकल करायच्या. त्या भरपूर प्रमाणात पांढरी पावडर आणि लाल  टोप वापरात असे. एलिझाबेथ सारखं दिसायला स्त्रिया सफेत किंवा पांढरे शिसे वापरायचे, पण या गोष्टी हानीकारण होत्या. इटालियन स्त्रियां सारखं एलिझाबेथही स्वतःचा गालावर शिष्याचा उपयोग करून लालसर रंग द्यायची. ती स्वतःचा पापण्यांना, ओठांना आणि हातावरच्या निळ्या नसांना अलाबास्त्र पेन्सिल ने रंगवत असे, शेवटी आणण्याचा पांढऱ्या भागाची पूड लावत असे, त्यामुळे हे सगळे चिकटून राहत असे.

इसवीसन १८ १७००-१७९९

अठराव्या सालात श्रीमन्नत पुरुष पांढरे रंगाचे टोप घालत असे. जे त्यांनाच मानेला वेणीसारखे बांधत असे आणि मानेला रेशमाच्या पिशव्या किंवा काळ्या बोवने झाकत असे. काही पुरुष तर स्वतःचे केस या पद्धतीने वेणीसारखे बांधायचे. अठराव्या वर्षाच्या सुरुवातीला महिला स्वतःचे केस लहान, गाडी केलेले किंवा कुरुळे केस ठेवायच्या आणि त्याला हार घालून किंवा बोव घालून सजवायच्या. १७७० पर्यंत केस रचना hi घोड्याचा  तक्क्या किंवा तारेच्या पिंजर्याने तयार होत असे, त्याला पावडर लावण्यात येई. काही केस 3 feet पर्यंत हवेत राहत असे आणि त्याला बरोबर करायसाठी स्प्रिंगचा वापर केला जाते. ह्या  केसांना अजून सजवण्यासाठी पंख, रिबिनी, रत्न अशे वेगवेगळ्या वस्तू वापरात असे. अश्या बांधणीसाठी १ ते ३ आठवडे लागत असे. अधिवेशनाच्या वेळेस खुललेले केस हे  समाजकंटकांना आकर्षित करत असे. १७८० सालात उधळपट्टी आणि उपचार यांचा विरुद्ध प्रतिसाद म्हणून पुरुष व महिला हिररिसॉं (हेचडॉग), जाड कुरळे केस ठेवत असे.

व्हिक्टोरियन १८३७- १९०१

व्हिक्टोरियनच्या काळात लोक साधेपणा, नैसर्गिक सौंदर्य, संयमी आणि मेकअपशिवाय राहणे पसंद करत असे. वरील श्रेणीतील आणि मधातल्या श्रेणीतील स्त्रिया सौंदर्यप्रसाधन वस्तू कमी वापरत असे. भाग रंग हे वेश्या आणि नट्यांसाठीच आरक्षित होते आणि ते कामाचा वेळेस वापरात असे. सामान्य महिला फक्त चेहेऱ्यावर पोवडेरच लावत असे. त्या काळात समाज  आरोग्यशास्त्र आणि आरोग्यावर जास्त भर देत असे आणि पुष्कळशे  नियतकालिका खराब प्रतीचा सौंदर्यप्रसाधन वस्तूं बद्दल संगत असे. त्या वस्तूं मध्ये शिष्यासारखे विषारी पदार्थ असायचे. १८४० च्या सुरुवातीला स्त्रियांचे डोके गोंडस आणि शांत, तेल लावलेले असायचे. एकोणविसाव्या शतकात पुरुष लहान, कुरुळे ठेवत असे. ते केसांना मॅचसार तेल लावत असे. त्या काळात  पुरुष वेगवेगळ्या प्रकारच्या मिश्या व दाढ्या ठेवायचे.

इसवीसन १९२०

विसाव्या शतकाचा सुरुवातीला काही सामाजिक लोक्कानी व्हिक्टोरियन सौंदर्य  दर्जा बद्दल आवाज उठवला. आता नवीन प्रकारात महिला “बॉबकट”, वेव्ह अश्या केसांचा शैली महिलांच्या स्वातंत्र्याचे प्रतीक म्हणून गाजू लागल्या. सिनेमाचा प्रभाव महिलांचा केस शैलीवर दिसू लागला. त्या काळात महिला त्यांचे केस सिनेमा नटी सारखे ठेवत असत. त्या लौइसे ब्रूक आणि क्लारा बोव यांचा केस शैलीचा नकल करायचा. या कला मेकअपचा उपयोग वाढला होता. गोऱ्या महिला साधारणतः आपल्या गालाला पांढरी पावडर आणि लाल रंगाची मलाई लावत असे, पापण्यांना हिसका देऊन वर करत असे, ओठांना लाल रंग लावत असे आणि वरील ओठांणवर जास्त लक्ष देत असे. आधुनिक रीतीचा समझ असलेले लोक मधांत भांग पाडत असे किंवा  कौशल्याने केस मागे गेट असे. ते केसांना तेल व सुवासिक पदार्थ लावत असे, त्यामुळे केसांना एक चमक येत असे व केस एका जागेवर राहत असे. हि शैली रुडॉल्फ वेलेन्टीनो नामक एका सिनेमा कलाकारामुळे प्रसिद्ध झाली. कॅब चल्लोवायने “कंक” नावाची केस शैली प्रसिद्ध केली.लोक म्हणतात कि सुंदरता हि मानवांनी अनुभवलेली फक्त एक सामान्य भावना आहे. पण खऱ्या अर्थात सत्य हे खूप गुंतलेलं आहे. सुंदरता या शब्दातच एक संपन्नता आहे. आपण दररोज या शब्दाचा उपयोग वेगवेगळ्या गोष्टींना उपमा द्यायसाठी वापरतो.  उदाहरण द्यायचं झालं तर, हि स्त्री सुंदर आहे, हे मूळ किती सुंदर आहे,  हे चित्र किती सुंदर आहे, अश्या वेगवेगळ्या गोष्टी व व्यक्तींना म्हणत असतो. तसा सुंदरता हा शब्द प्रशंसा करायलाच वापरला जातो, पण त्याचा नेमका अर्थ हा संदर्भावर अवलंबून आहे.

अठराव्या शतकात सुंदरता या शब्दाला एक वेगळेच महत्व आले. अठराव्या शतकात शौदर्यशात्राचा उदय झाला आणि या मुळे सुरतेला एक वेगळेच महत्व आले. शौदर्यशात्राध्य सुंदरतेला बाकी सगळ्या पेक्षा जास्त महत्व देतअसे. यानंतर सुंदरतेकडे एकागांभीर्याने बघितल्या जाऊ लागले. सुंदरतेवर विविध सिद्धांत मांडले जाऊ लागले. तशी या कलेची सुरुवात ग्रीक लोकांन पासून झाली. आता सध्याचा काळात जे हि काही सुदंरता वाढविण्यासाठी सौंदर्यप्रसाधन वस्तूं वापरल्या जातात,  त्याचा उदय ग्रीकलोकांनपासून झाला. सुंदरतेचा  विकास प्रत्येक ठिकाणी वेगवेगळ्या प्रकारे झाला, पण ग्रीक लोकांनी त्याचा विकास एका वेगळ्या श्रेणी वर केला. ग्रीक लोकांना स्वतःची सुंदरता वाढविण्यासाठी किंवा तशीच ठेवण्याचे  प्राधान्य  होते. अश्याच प्रकारे रोमनही स्वतःच्या पसंदी प्रमाणे सुंदर दिसायचा प्रयन्त करत असे. अश्याच प्रकारे उंची हि सुंदरतेचा एक भाग समजल्या जात असे. महिला आणि पुरुष आपल्या उंची कडेही विशेष लक्ष देत असे.

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Parlour: Partnerships and Collaborations

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In order to give the audience a genuine journey, OQ needs the following elements within the performance:

Beauty products used in Salons:

  These will form the backdrop to some of the stories being performed. In order to make a visual impact we need at least 100-200 individual pieces of creams, shampoos etc used in the salon trade. These will not be used and returned to the respective salon / supplier after the performance.

A Hairstylist:

Since hair is a very big part of the performance, we would like to create a live art piece with a hairstylist who will cut and style an actor’s hair during the piece. If time permits we would also like to invite members of the audience to take the seat and spill their heart as their hair changes shape.

Joining our Group… err Company

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We have been getting a lot of calls lately, possibly because of an online service that listed our name as one of the top 4 theatre groups to join in Pune. These calls and at times WhatsApp messages invariably start with a variation of the question “How do I join your group?”. This is a valid question, a pertinent one even, however, not every creative collective will have a simple answer to that. We certainly don’t. And though it is fun to receive interest and see the enthusiasm for stagework in the city, there are certain things that should be considered before making that call.

So here is a little guide for anyone who wants to join our group:

  1. Orchestrated Q’Works is a Company, a Theatre Company. We’ve worked very hard to get ourselves registered.
  2. A lot of our work happens in English, but we are not an English Theatre Company. Language is not what defines our creative practice.
  3. We use process-based approaches to create new work for stage. This means that we start with a concept in mind and work together using text, movement and drama to explore it. This exploration can go in many directions and often what comes out as a performance in the end is not really what anyone imagined in the beginning. Yes, there is room for actors here, there is room for dancers and movement people, for musicians, visual artists, live art-makers, researchers and writers – but it is all process-based.
  4. We work with Community Theatre. This means we work with non-actors or individuals who are drawn to our central theme and want to be part of a creative process. Our current initiative on this is Project Beard. Do read more about it.
  5. We also work on the professional level, creating work with (mostly) full-time, professional performers and artists. This work feeds in to long-term academic understanding and evolution of single concepts. For example, our latest professional endevour looks at the intersections of women, labour and beauty though the lens of the beauty parlour. Read more about it here.
  6. If you want to be part of these two areas of our work, do know that it may not be a performing part. Like most theatre companies struggling to survive and make new work, we expect all stakeholders to contribute to things like marketing, fundraising, social media, PR and other associated areas of work. We do not ask anyone working with us to pay us for letting them work with us. 
  7. Before you get in touch, think about what you want to do in theatre. Do you want to act? Are you working and looking for a weekend hobby? Do you want to get over stage-fear and improve your presentation skills and confidence levels? Or do you want to make theatre? Do you have a throbbing idea that you want to see come alive on stage? Do you want to use theatre to create a dialogue for change in this world? Once you know this, you’ll be able to understand if we are the right space for you. For example, OQ is generally not a great place for people who want to act in scripted plays for the commercial stage. Our work is usually bold and intimate. We like pushing boundaries and exploring new territory. Read about our past work and that of our Founder and Artist Leader here.
  8. And lastly, it doesn’t matter if you’ve never done “theatre” before or if your voice and accent aren’t perfect (what is perfect anyway?). Your age, gender, sex, sexuality, experience, language, region etc does not affect our choice. As long as you believe in the power of ideas, feel the magick of stories and are willing to push past inhibitions to explore uncharted territory, OQ will always be a space for you.

So, you want to join our company, do a little homework and then fill in this Google Form!

 

About ‘Be Wise or be Friendzoned’ article in Times Life

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In response to this article printed in Times Life on the 1st of November:
…/articlesh…/49596996.cms
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Often, India is behind the curve on a lot of trends. But is it really so backward that Indian newspapers should feature a concept that has been debunked in the west way back in 2013, and proven to be as legitimate to male privilege as a woman cooking dinner and then bending over to perform wifely duties?
Let’s spell it out, shall we?
The ‘friendzone’ is not a thing. It never has been. It never will be.
In case, you want to do some research, here are some links for you to get started:
(…/the-friendzone-is…/)
…/115…/it-s-not-the-friend-zone-guys-it-s-you
The only people who use the word ‘friendzone’ are sexist Neanderthals who believe that being nice to a girl means being entitled to romantic or sexual interest from her.
That being said, yes, a lot of people take advantage of the proverbial good guy (or girl, actually). That, as Gurcharan Das puts it, is the difficulty of being good. Yes, it is wise to teach our children (of all genders and sexualities) strategies to avoid being taken advantage of. But to explicitly make this universally human concept into bigoted, gendered indoctrination that teaches guys to demand for shit they have no right to? It’s not just absurd but retrograde. It’s dismissive of urban culture, the very thing the supplement aims to appease. It’s like telling the people of the Himalayas of the glories Yeti.
It’s a myth, get over it.
It’s bad enough that movies like Ranjhaana that glorify stalking and rape culture are still being made. Its bad enough that the police can use consenting couples as a way to fulfil their monthly quota. It’s bad enough that women have a hard time talking about their sexual needs and still being respected.
It’s bad enough.
Stop contributing to the mess.
Sincerely,
Hina Siddiqui

Being One with Hiroshima and You

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It’s been a while…

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A lot of the past few months has been spent carefully dodging the question ‘So, what play are you working on now?’

My standard answer is some variation of ‘Creative side on the back-burner, this year dedicated to consolidating the business end of things’.

For a certain part, this is true. For the most part though, I have no way of explaining that I am negotiating the ridiculously self-appointed knife’s edge that still keeps the worlds of the artist and that of society separate. I have no way of communicating how the stability of making money of my art has severely undercut my ability to experiment, explore and simply take risks, in ways that I can’t even begin to understand. No desire really to get in to how jaded a part of me feels with the dearth of social comprehension that suffocates me like a poisonous fog. At times any way. I feel like I’d let people down if I somehow let it slip that I’ve become sensible but I still remain me.

Also, it probably bruises the ego to admit how cowed stability can make you. I mean, this is a company (yes, registered and all) that I worked my butt off to get off the ground. That did plays that were stopped by the police, that got plays done internationally, made the city first ever English Theatre Festival happen… the company that now sits around waiting, for something that I can’t yet define. A company that for a while had a lot of people associated with it, that has now become a front for a single artist’s (me) current inaction. A company that now feels the brunt of outliving public memory while straining under the weight of burgeoning nostalgia. A company that is an idea in search of makers.

A company that is taking a deep breath, waiting for it’s owner to dive in deep again, so that it can fill up her lungs maybe some day bring her back up again.

A company that needs to stop dreaming of being an organization, but embrace the individual that has always defined it.

An individual who is not yet dead. Just resting.

The Object of My Affection: Chronicles of OQ’s Drama Class

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Most of our childhood goes in being told that every object has a specific use and using it it anyway other than that specifically mentioned will lead to specific… well…  consequences. Consequences such as being phenomenally yelled at (or beaten, depending on how you were raised) for using dadima’s chhadi as a tactical weapon during the epic siege of the holy bargat ka jhad. Sooner or later, staying on the good side of the parent/teacher/tribal elder becomes so important that magick beans, X-ray goggles and the Cape of Evil return to being just cuff-links,  glasses and a badly tangled mess of  soup spoons, staple pins and mum’s new salwar (long story). In short, we stop playing, grow up and need to get jobs.

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The problem with that equation of course, especially in an upside-down world where the education system is geared to produces masses but the job market wants to hire individuals, is the complete elimitnation of creativity from the process of growing up, because creativity is simply that – using/seeing/applying things in ways they weren’t meant to be used/seen/applied. Lateral thinking as Edward De Bono likes to call it, or being ‘out-of-the-box’ as the corporate with a boxed-in vocabulary likes to believe, is the basis of many personality traits – all of them desirable, especially in children growing up to face a drastically different reality where Doraemon has replaced Do-it-Yourself and idle time which may generate ideas that can change the world is filled up by things that will no doubt keep the world from changing.

And this is why, we bring objects in to the classroom, to allow an exploration of everyday things sans their prescribed uses. The process involves helping children see the potentials of an object by stripping away it’s identity and creating new meanings or uses for it. And though some things were broken, it was all in the pursuit of creativity and thus highly forgiveable or so I am hoping is how my mom will feel.

While younger children worked with objects in pretend-play, the older ones created “museum exhibits” and became curators of their own collections. Here are some of the highlights of the session.

Arav

Arav telling us a story of a Lion (the puppet in his hand) and a Peacock (the quill stuck unceremoniously in the djembe case), who were friends till the Lion got hungry.

Arnav Arnav telling us about a ship, how it saw a rock through a magnifying glass and lit a firework (too small to be seen on camera), burned up and sank down.

Shyan

And Shayan telling us about an Elephant and a Duck who were saved from a multi-dimensional whirlpool by a magick ring.

 

 

From tackling gross motor skills to promoting higher level thinking – all of it achieved through objects rounded up from my living room. A process that will carry on to the discovery of puppets, object theatre and a lot of crazy, unbjectionable ideas!