Forum No.30
7th Dec 2019

Forum No.30
7th Dec 2019

Forum No.30
7th Dec 2019

Forum No.30
7th Dec 2019

Forum No.30
7th Dec 2019

COLLABORATION | LAGE RAHO

COLLABORATION | LAGE RAHO

COLLABORATION | LAGE RAHO

COLLABORATION | LAGE RAHO

COLLABORATION | LAGE RAHO

Forum_30-Main-forum-page

DESIGN THINKER & CONSULTANT
Anubha Kakroo

SENIOR JOURNALIST, JGU
Kishalay Bhattacharjee

PSYCHOANALYST
Madhu Sarin
 

DESIGN THINKER & CONSULTANT
Anubha Kakroo

SENIOR JOURNALIST, JGU
Kishalay Bhattacharjee

PSYCHOANALYST
Madhu Sarin
 

DESIGN THINKER & CONSULTANT
Anubha Kakroo

SENIOR JOURNALIST, JGU
Kishalay Bhattacharjee

PSYCHOANALYST
Madhu Sarin
 

DESIGN THINKER & CONSULTANT
Anubha Kakroo

SENIOR JOURNALIST, JGU
Kishalay Bhattacharjee

PSYCHOANALYST
Madhu Sarin

DESIGN THINKER & CONSULTANT
Anubha Kakroo

SENIOR JOURNALIST, JGU
Kishalay Bhattacharjee

PSYCHOANALYST
Madhu Sarin

CO-FOUNDER, SAHAPEDIA.ORG
Vaibhav Chauhan

DASTKAR
Laila Tyabji

FOUNDER, WORD OF MOUTH MEDIA
Vineet Panchhi
 

CO-FOUNDER, SAHAPEDIA.ORG
Vaibhav Chauhan

DASTKAR
Laila Tyabji

FOUNDER, WORD OF MOUTH MEDIA
Vineet Panchhi
 

CO-FOUNDER, SAHAPEDIA.ORG
Vaibhav Chauhan

DASTKAR
Laila Tyabji

FOUNDER, WORD OF MOUTH MEDIA
Vineet Panchhi
 

CO-FOUNDER, SAHAPEDIA.ORG
Vaibhav Chauhan

DASTKAR
Laila Tyabji

FOUNDER, WORD OF MOUTH MEDIA
Vineet Panchhi

CO-FOUNDER, SAHAPEDIA.ORG
Vaibhav Chauhan

DASTKAR
Laila Tyabji

FOUNDER, WORD OF MOUTH MEDIA
Vineet Panchhi

DESIGN THINKER AND CONSULTANT
Anubha Kakroo
DESIGN THINKER AND CONSULTANT
Anubha Kakroo
DESIGN THINKER AND CONSULTANT
Anubha Kakroo
DESIGN THINKER AND CONSULTANT
Anubha Kakroo
DESIGN THINKER AND CONSULTANT

Anubha Kakroo

 

Anubha Kakroo talked about the art of viewing and perceiving and how she incorporates visual and material culture into her work. She spoke about the research methods she uses, like secondary and archival viewing, which allows her to interact with popular cultures and different aspects of those cultures and their mythologies, museums, cinema etc. Anubha states that “Content may be king but context is God."

A postgraduate from the School of Planning and Architecture, New Delhi, Anubha did her Masters in Design Management, specializing in Strategy, Innovation and Branding at Brunel University, London. She shared her experiences at S.P.A, how she was one of the few students at the department of Industrial Design which was formed in 1993.

S.P.A Delhi’s Department of Industrial Design was one of the first few design departments outside of Ahmedabad and Bombay. Anubha worked with brands such as Tinkertoy and K.F.C., as well as engaged with craft intervention. She mentioned how during her journey she realised that “design was often taken for just an end product”. She then decided to go to Brunel University of London where she studied Design and Strategy. In 2003 she published her own thesis on Design Thinking . She went on to tell us how she made a jump teaching in massive institutions such as NID, NIFT, British Council of India and TVB School of Habitat Studies. She mentioned how she kept growing throughout her journey, and went from being a hardcore architect and designer to somebody who works more in strategic design education leadership. She was Head, Programmes, at British Council for India and Sri Lanka, Director at Design and Cultural Insights for Future Brands India Ltd. and Project Director & Senior Brand Consultant for DMA Branding. Currently, she is the Principal Design Coach Q-GLUE.

Written by Mohan Godwal

 

Anubha Kakroo talked about the art of viewing and perceiving and how she incorporates visual and material culture into her work. She spoke about the research methods she uses, like secondary and archival viewing, which allows her to interact with popular cultures and different aspects of those cultures and their mythologies, museums, cinema etc. Anubha states that “Content may be king but context is God.”

A postgraduate from the School of Planning and Architecture, New Delhi, Anubha did her Masters in Design Management, specializing in Strategy, Innovation and Branding at Brunel University, London. She shared her experiences at S.P.A, how she was one of the few students at the department of Industrial Design which was formed in 1993.

S.P.A Delhi’s Department of Industrial Design was one of the first few design departments outside of Ahmedabad and Bombay. Anubha worked with brands such as Tinkertoy and K.F.C., as well as engaged with craft intervention. She mentioned how during her journey she realised that “design was often taken for just an end product”. She then decided to go to Brunel University of London where she studied Design and Strategy. In 2003 she published her own thesis on Design Thinking . She went on to tell us how she made a jump teaching in massive institutions such as NID, NIFT, British Council of India and TVB School of Habitat Studies. She mentioned how she kept growing throughout her journey, and went from being a hardcore architect and designer to somebody who works more in strategic design education leadership. She was Head, Programmes, at British Council for India and Sri Lanka, Director at Design and Cultural Insights for Future Brands India Ltd. and Project Director & Senior Brand Consultant for DMA Branding. Currently, she is the Principal Design Coach Q-GLUE.

Written by Mohan Godwal

 

Anubha Kakroo talked about the art of viewing and perceiving and how she incorporates visual and material culture into her work. She spoke about the research methods she uses, like secondary and archival viewing, which allows her to interact with popular cultures and different aspects of those cultures and their mythologies, museums, cinema etc. Anubha states that “Content may be king but context is God.”

A postgraduate from the School of Planning and Architecture, New Delhi, Anubha did her Masters in Design Management, specializing in Strategy, Innovation and Branding at Brunel University, London. She shared her experiences at S.P.A, how she was one of the few students at the department of Industrial Design which was formed in 1993.

S.P.A Delhi’s Department of Industrial Design was one of the first few design departments outside of Ahmedabad and Bombay. Anubha worked with brands such as Tinkertoy and K.F.C., as well as engaged with craft intervention. She mentioned how during her journey she realised that “design was often taken for just an end product”. She then decided to go to Brunel University of London where she studied Design and Strategy. In 2003 she published her own thesis on Design Thinking . She went on to tell us how she made a jump teaching in massive institutions such as NID, NIFT, British Council of India and TVB School of Habitat Studies. She mentioned how she kept growing throughout her journey, and went from being a hardcore architect and designer to somebody who works more in strategic design education leadership. She was Head, Programmes, at British Council for India and Sri Lanka, Director at Design and Cultural Insights for Future Brands India Ltd. and Project Director & Senior Brand Consultant for DMA Branding. Currently, she is the Principal Design Coach Q-GLUE.

Written by Mohan Godwal

 

Anubha Kakroo talked about the art of viewing and perceiving and how she incorporates visual and material culture into her work. She spoke about the research methods she uses, like secondary and archival viewing, which allows her to interact with popular cultures and different aspects of those cultures and their mythologies, museums, cinema etc. Anubha states that “Content may be king but context is God.”

A postgraduate from the School of Planning and Architecture, New Delhi, Anubha did her Masters in Design Management, specializing in Strategy, Innovation and Branding at Brunel University, London. She shared her experiences at S.P.A, how she was one of the few students at the department of Industrial Design which was formed in 1993.

S.P.A Delhi’s Department of Industrial Design was one of the first few design departments outside of Ahmedabad and Bombay. Anubha worked with brands such as Tinkertoy and K.F.C., as well as engaged with craft intervention. She mentioned how during her journey she realised that “design was often taken for just an end product”. She then decided to go to Brunel University of London where she studied Design and Strategy. In 2003 she published her own thesis on Design Thinking . She went on to tell us how she made a jump teaching in massive institutions such as NID, NIFT, British Council of India and TVB School of Habitat Studies. She mentioned how she kept growing throughout her journey, and went from being a hardcore architect and designer to somebody who works more in strategic design education leadership. She was Head, Programmes, at British Council for India and Sri Lanka, Director at Design and Cultural Insights for Future Brands India Ltd. and Project Director & Senior Brand Consultant for DMA Branding. Currently, she is the Principal Design Coach Q-GLUE.

Written by Mohan Godwal


Anubha Kakroo talked about the art of viewing and perceiving and how she incorporates visual and material culture into her work. She spoke about the research methods she uses, like secondary and archival viewing, which allows her to interact with popular cultures and different aspects of those cultures and their mythologies, museums, cinema etc. Anubha states that “Content may be king but context is God.”

A postgraduate from the School of Planning and Architecture, New Delhi, Anubha did her Masters in Design Management, specializing in Strategy, Innovation and Branding at Brunel University, London. She shared her experiences at S.P.A, how she was one of the few students at the department of Industrial Design which was formed in 1993.

S.P.A Delhi’s Department of Industrial Design was one of the first few design departments outside of Ahmedabad and Bombay. Anubha worked with brands such as Tinkertoy and K.F.C., as well as engaged with craft intervention. She mentioned how during her journey she realised that “design was often taken for just an end product”. She then decided to go to Brunel University of London where she studied Design and Strategy. In 2003 she published her own thesis on Design Thinking . She went on to tell us how she made a jump teaching in massive institutions such as NID, NIFT, British Council of India and TVB School of Habitat Studies. She mentioned how she kept growing throughout her journey, and went from being a hardcore architect and designer to somebody who works more in strategic design education leadership. She was Head, Programmes, at British Council for India and Sri Lanka, Director at Design and Cultural Insights for Future Brands India Ltd. and Project Director & Senior Brand Consultant for DMA Branding. Currently, she is the Principal Design Coach Q-GLUE.

Written by Mohan Godwal

 

SENIOR JOURNALIST, JGU
Kishalay Bhattacharjee
SENIOR JOURNALIST, JGU
Kishalay Bhattacharjee
SENIOR JOURNALIST, JGU
Kishalay Bhattacharjee
SENIOR JOURNALIST, JGU
Kishalay Bhattacharjee
SENIOR JOURNALIST, JGU

Kishalay

Bhattacharjee

 

Kishalay is a senior journalist who has reported widely from India’s conflict zones for over two decades, especially from the regions of Leh & Ladakh, J&K, the North Eastern states and the Maoist corridor.

He has authored many books published by India’s leading publishing houses including Che in Paona Bazaar: Tales of Exile and Belonging from India’s Northeast, Blood on My Hands: Confessions of Staged Encounters and most recently An Unfinished Revolution: A Hostage Crisis, Adivasi Resistance and the Naxal Movement. He has received many accolades such as the Ramnath Goenka Excellence in Journalism Award (2006-07) for his coverage of internally displaced people.

Kishlaya was born in 1969, the year of Woodstock, when man landed on the Moon, when the Civil Rights Movement gathered steam and social upheavals were widespread. It was a time of major conflicts, and the Vietnam war, Bangladesh war and carpet bombing of Aizawl made news headlines everyday. Kishalay sheds light on why news journalism in India fails on various fronts as it does not have a sustainable revenue model. Corporatization of media has greatly influenced the news agencies with control over information and reporting, and so, Kishalay considers news journalism as good as dead.

He expanded on how news journalism propagates stereotypes and the kind of discrimination we see today. Kishalay emphasizes on the importance of reporting and story-telling without bias, and extensively. He concretises on this point by giving an example of Lakshadweep. He inquired if we knew how people of Lakshadweep get their drinking water. The water is shipped from Kochi to Lakshadweep everyday. Resources such as electricity and medical care are shipped to the island on a daily basis. Every six months, doctors from All India Medical Institute travel to tend to the healthcare needs of the island.

Kishalay took it upon himself to ensure he reported from the remotest of locations, irrespective of what is popular as a news item. Kishalay authored books to ensure his stories reach the multitude. He then spoke about the books he has penned. Presently, he is working on identity, citizenship and statelessness. He talks about migration and how it is impacting people and the country. He ended his talk with a brief description on his initiative on understanding and documenting cultures and lives around rivers - called River Dialogues.

Written by Vinod Anthony Thomas

 

Kishalay is a senior journalist who has reported widely from India’s conflict zones for over two decades, especially from the regions of Leh & Ladakh, J&K, the North Eastern states and the Maoist corridor.

He has authored many books published by India’s leading publishing houses including Che in Paona Bazaar: Tales of Exile and Belonging from India’s Northeast, Blood on My Hands: Confessions of Staged Encounters and most recently An Unfinished Revolution: A Hostage Crisis, Adivasi Resistance and the Naxal Movement. He has received many accolades such as the Ramnath Goenka Excellence in Journalism Award (2006-07) for his coverage of internally displaced people.

Kishlaya was born in 1969, the year of Woodstock, when man landed on the Moon, when the Civil Rights Movement gathered steam and social upheavals were widespread. It was a time of major conflicts, and the Vietnam war, Bangladesh war and carpet bombing of Aizawl made news headlines everyday. Kishalay sheds light on why news journalism in India fails on various fronts as it does not have a sustainable revenue model. Corporatization of media has greatly influenced the news agencies with control over information and reporting, and so, Kishalay considers news journalism as good as dead.

He expanded on how news journalism propagates stereotypes and the kind of discrimination we see today. Kishalay emphasizes on the importance of reporting and story-telling without bias, and extensively. He concretises on this point by giving an example of Lakshadweep. He inquired if we knew how people of Lakshadweep get their drinking water. The water is shipped from Kochi to Lakshadweep everyday. Resources such as electricity and medical care are shipped to the island on a daily basis. Every six months, doctors from All India Medical Institute travel to tend to the healthcare needs of the island.

Kishalay took it upon himself to ensure he reported from the remotest of locations, irrespective of what is popular as a news item. Kishalay authored books to ensure his stories reach the multitude. He then spoke about the books he has penned. Presently, he is working on identity, citizenship and statelessness. He talks about migration and how it is impacting people and the country. He ended his talk with a brief description on his initiative on understanding and documenting cultures and lives around rivers - called River Dialogues.

Written by Vinod Anthony Thomas

 

Kishalay is a senior journalist who has reported widely from India’s conflict zones for over two decades, especially from the regions of Leh & Ladakh, J&K, the North Eastern states and the Maoist corridor.

He has authored many books published by India’s leading publishing houses including Che in Paona Bazaar: Tales of Exile and Belonging from India’s Northeast, Blood on My Hands: Confessions of Staged Encounters and most recently An Unfinished Revolution: A Hostage Crisis, Adivasi Resistance and the Naxal Movement. He has received many accolades such as the Ramnath Goenka Excellence in Journalism Award (2006-07) for his coverage of internally displaced people.

Kishlaya was born in 1969, the year of Woodstock, when man landed on the Moon, when the Civil Rights Movement gathered steam and social upheavals were widespread. It was a time of major conflicts, and the Vietnam war, Bangladesh war and carpet bombing of Aizawl made news headlines everyday. Kishalay sheds light on why news journalism in India fails on various fronts as it does not have a sustainable revenue model. Corporatization of media has greatly influenced the news agencies with control over information and reporting, and so, Kishalay considers news journalism as good as dead.

He expanded on how news journalism propagates stereotypes and the kind of discrimination we see today. Kishalay emphasizes on the importance of reporting and story-telling without bias, and extensively. He concretises on this point by giving an example of Lakshadweep. He inquired if we knew how people of Lakshadweep get their drinking water. The water is shipped from Kochi to Lakshadweep everyday. Resources such as electricity and medical care are shipped to the island on a daily basis. Every six months, doctors from All India Medical Institute travel to tend to the healthcare needs of the island.

Kishalay took it upon himself to ensure he reported from the remotest of locations, irrespective of what is popular as a news item. Kishalay authored books to ensure his stories reach the multitude. He then spoke about the books he has penned. Presently, he is working on identity, citizenship and statelessness. He talks about migration and how it is impacting people and the country. He ended his talk with a brief description on his initiative on understanding and documenting cultures and lives around rivers - called River Dialogues.

Written by Vinod Anthony Thomas

 

Kishalay is a senior journalist who has reported widely from India’s conflict zones for over two decades, especially from the regions of Leh & Ladakh, J&K, the North Eastern states and the Maoist corridor.

He has authored many books published by India’s leading publishing houses including Che in Paona Bazaar: Tales of Exile and Belonging from India’s Northeast, Blood on My Hands: Confessions of Staged Encounters and most recently An Unfinished Revolution: A Hostage Crisis, Adivasi Resistance and the Naxal Movement. He has received many accolades such as the Ramnath Goenka Excellence in Journalism Award (2006-07) for his coverage of internally displaced people.

Kishlaya was born in 1969, the year of Woodstock, when man landed on the Moon, when the Civil Rights Movement gathered steam and social upheavals were widespread. It was a time of major conflicts, and the Vietnam war, Bangladesh war and carpet bombing of Aizawl made news headlines everyday. Kishalay sheds light on why news journalism in India fails on various fronts as it does not have a sustainable revenue model. Corporatization of media has greatly influenced the news agencies with control over information and reporting, and so, Kishalay considers news journalism as good as dead.

He expanded on how news journalism propagates stereotypes and the kind of discrimination we see today. Kishalay emphasizes on the importance of reporting and story-telling without bias, and extensively. He concretises on this point by giving an example of Lakshadweep. He inquired if we knew how people of Lakshadweep get their drinking water. The water is shipped from Kochi to Lakshadweep everyday. Resources such as electricity and medical care are shipped to the island on a daily basis. Every six months, doctors from All India Medical Institute travel to tend to the healthcare needs of the island.

Kishalay took it upon himself to ensure he reported from the remotest of locations, irrespective of what is popular as a news item. Kishalay authored books to ensure his stories reach the multitude. He then spoke about the books he has penned. Presently, he is working on identity, citizenship and statelessness. He talks about migration and how it is impacting people and the country. He ended his talk with a brief description on his initiative on understanding and documenting cultures and lives around rivers - called River Dialogues.

Written by Vinod Anthony Thomas


Kishalay is a senior journalist who has reported widely from India’s conflict zones for over two decades, especially from the regions of Leh & Ladakh, J&K, the North Eastern states and the Maoist corridor.

He has authored many books published by India’s leading publishing houses including Che in Paona Bazaar: Tales of Exile and Belonging from India’s Northeast, Blood on My Hands: Confessions of Staged Encounters and most recently An Unfinished Revolution: A Hostage Crisis, Adivasi Resistance and the Naxal Movement. He has received many accolades such as the Ramnath Goenka Excellence in Journalism Award (2006-07) for his coverage of internally displaced people.

Kishlaya was born in 1969, the year of Woodstock, when man landed on the Moon, when the Civil Rights Movement gathered steam and social upheavals were widespread. It was a time of major conflicts, and the Vietnam war, Bangladesh war and carpet bombing of Aizawl made news headlines everyday. Kishalay sheds light on why news journalism in India fails on various fronts as it does not have a sustainable revenue model. Corporatization of media has greatly influenced the news agencies with control over information and reporting, and so, Kishalay considers news journalism as good as dead.

He expanded on how news journalism propagates stereotypes and the kind of discrimination we see today. Kishalay emphasizes on the importance of reporting and story-telling without bias, and extensively. He concretises on this point by giving an example of Lakshadweep. He inquired if we knew how people of Lakshadweep get their drinking water. The water is shipped from Kochi to Lakshadweep everyday. Resources such as electricity and medical care are shipped to the island on a daily basis. Every six months, doctors from All India Medical Institute travel to tend to the healthcare needs of the island.

Other than the challenges of the private sector entering eye care system in India, Government sectors are empanelling private hospitals, which lead to higher pay opportunities for doctors with the same number of qualified professionals having degrees every year. With their central mission of serving the greater good, they need to maintain a balance between business and retaining doctors, without undermining their ethical and compassionate stance. They are also conscious of ensuring doctors with quality skill-sets and being updated on technology advances in the sector.

Kishalay took it upon himself to ensure he reported from the remotest of locations, irrespective of what is popular as a news item. Kishalay authored books to ensure his stories reach the multitude. He then spoke about the books he has penned. Presently, he is working on identity, citizenship and statelessness. He talks about migration and how it is impacting people and the country. He ended his talk with a brief description on his initiative on understanding and documenting cultures and lives around rivers - called River Dialogues.

Written by Vinod Anthony Thomas

 

PSYCHOANALYST
Madhu Sarin
PSYCHOANALYST
Madhu Sarin
PSYCHOANALYST
Madhu Sarin
PSYCHOANALYST
Madhu Sarin
PSYCHOANALYST

Madhu Sarin

 

Madhu Sarin is one of the most highly trained psychoanalysts in the country with a focus on probe therapy. Previously, she taught philosophy at the Graduate Faculty, University of Delhi, New York University, and has been a Visiting Fellow at Columbia University. Born in the 60s, her generation was brought up during a revolution, which molded their thinking in a certain way. She found it was not easy to get a good job or position in India as a woman with a confident and outspoken nature; and so, Madhu moved to the United States, where she lived for 11 years.

Today, the scenario around therapy has become quite open with more and more people making the choice to see a psychologist. She spoke about how she doesn’t believe in giving advice but helps people find their own answers with the belief that they are not children looking for guidance but adults looking for a fresh perspective. She strongly believes that the hallmark of adulthood is the responsibility to make decisions and one can’t shy away from it. The discussion continued with a probing question - If we all need therapy - which Madhu addressed, saying one should feel a need or a reason to see a therapist, and if one felt a deep conviction, they should definitely do a session to realise where the issues lie. Therapy today is about reducing misery and suffering, ‘feeling better’ whatever that might mean to you. Her work strongly revolves around enhancing a person’s capacity and helping them deal with their issues to the core so that they are dealt and gone forever. The Forum platform lent the space for an engaging conversation, which led to a great round of questions from people around their own issues or ones experienced by people close to them.

Written by Nishita Karun

  

Madhu Sarin is one of the most highly trained psychoanalysts in the country with a focus on probe therapy. Previously, she taught philosophy at the Graduate Faculty, University of Delhi, New York University, and has been a Visiting Fellow at Columbia University. Born in the 60s, her generation was brought up during a revolution, which molded their thinking in a certain way. She found it was not easy to get a good job or position in India as a woman with a confident and outspoken nature; and so, Madhu moved to the United States, where she lived for 11 years.

Today, the scenario around therapy has become quite open with more and more people making the choice to see a psychologist. She spoke about how she doesn’t believe in giving advice but helps people find their own answers with the belief that they are not children looking for guidance but adults looking for a fresh perspective. She strongly believes that the hallmark of adulthood is the responsibility to make decisions and one can’t shy away from it. The discussion continued with a probing question - If we all need therapy - which Madhu addressed, saying one should feel a need or a reason to see a therapist, and if one felt a deep conviction, they should definitely do a session to realise where the issues lie. Therapy today is about reducing misery and suffering, ‘feeling better’ whatever that might mean to you. Her work strongly revolves around enhancing a person’s capacity and helping them deal with their issues to the core so that they are dealt and gone forever. The Forum platform lent the space for an engaging conversation, which led to a great round of questions from people around their own issues or ones experienced by people close to them.

Written by Nishita Karun


Madhu Sarin is one of the most highly trained psychoanalysts in the country with a focus on probe therapy. Previously, she taught philosophy at the Graduate Faculty, University of Delhi, New York University, and has been a Visiting Fellow at Columbia University. Born in the 60s, her generation was brought up during a revolution, which molded their thinking in a certain way. She found it was not easy to get a good job or position in India as a woman with a confident and outspoken nature; and so, Madhu moved to the United States, where she lived for 11 years.

Today, the scenario around therapy has become quite open with more and more people making the choice to see a psychologist. She spoke about how she doesn’t believe in giving advice but helps people find their own answers with the belief that they are not children looking for guidance but adults looking for a fresh perspective. She strongly believes that the hallmark of adulthood is the responsibility to make decisions and one can’t shy away from it. The discussion continued with a probing question - If we all need therapy - which Madhu addressed, saying one should feel a need or a reason to see a therapist, and if one felt a deep conviction, they should definitely do a session to realise where the issues lie. Therapy today is about reducing misery and suffering, ‘feeling better’ whatever that might mean to you. Her work strongly revolves around enhancing a person’s capacity and helping them deal with their issues to the core so that they are dealt and gone forever. The Forum platform lent the space for an engaging conversation, which led to a great round of questions from people around their own issues or ones experienced by people close to them.

Written by Nishita Karun

 

CO-FOUNDER, SAHAPEDIA.ORG
Vaibhav Chauhan
CO-FOUNDER, SAHAPEDIA.ORG
Vaibhav Chauhan
CO-FOUNDER, SAHAPEDIA.ORG
Vaibhav Chauhan
CO-FOUNDER, SAHAPEDIA.ORG
Vaibhav Chauhan
CO-FOUNDER, SAHAPEDIA.ORG

Vaibhav Chauhan

 

Vaibhav Chauhan is an art conservator, culture aficionado and heritage treasurer. He has devoted the past 9 years of his life contributing to the field as a co-founder of Sahapedia, which is an online knowledge resource on art, culture and history. He is a qualified chemical engineer who found his passion for art restoration and has been a part of the national manuscripts mission by the government.

In his talk, he briefly spoke about his events from childhood and visits to his ancestral village, which shaped his inclination for culture and heritage. During his days from National Mission for Manuscripts, while chasing manuscripts from one region to another, he discovered they hold immense knowledge across all verticals of study. Yet, few of us are unaware of the abundant information available. Being a government project of this scale, there were restrictions not to reveal anything about the scripts, which made Chauhan feel curbed and discontented.

In 2009, he and his team members from the National Mission for Manuscripts started a one-of-its-kind, free online resource base dedicated to art, culture and history. Saha means ‘being together’ in Sanskrit and they named this initiative Sahapedia as the team wanted it to be a work of collaborative effort. Its main objective was to spread knowledge without any restriction and fear.

Chauhan mentions, during the initial days of starting Sahapedia, they realized that a lot of available information is locked and inaccessible, due to which a major chunk of their time went into convincing the authorities to open up. It was fascinating to witness as he also dived a little into the changing consumer behaviour and how reading is shifting its course to short narratives and creative visuals. Due to the changing scenario, Sahapedia also hosts heritage walks in more than 65 cities. The best part is one can enjoy these priceless heritage possessions without any cost.

India has always been rich with the amalgamation of diverse cultures and the topic culture in itself shares a very delicate relationship with its people. Chauhan expressed his struggle to maintain a neutral connection because of people’s sensitivity towards one’s culture but he proudly mentions being on a safe page throughout his career. He ended his talk on a very positive and hopeful note, of never stopping to deliver what people love and cherish.

Written by Sukanya Panda

  

Vaibhav Chauhan is an art conservator, culture aficionado and heritage treasurer. He has devoted the past 9 years of his life contributing to the field as a co-founder of Sahapedia, which is an online knowledge resource on art, culture and history. He is a qualified chemical engineer who found his passion for art restoration and has been a part of the national manuscripts mission by the government.

In his talk, he briefly spoke about his events from childhood and visits to his ancestral village, which shaped his inclination for culture and heritage. During his days from National Mission for Manuscripts, while chasing manuscripts from one region to another, he discovered they hold immense knowledge across all verticals of study. Yet, few of us are unaware of the abundant information available. Being a government project of this scale, there were restrictions not to reveal anything about the scripts, which made Chauhan feel curbed and discontented.

In 2009, he and his team members from the National Mission for Manuscripts started a one-of-its-kind, free online resource base dedicated to art, culture and history. Saha means ‘being together’ in Sanskrit and they named this initiative Sahapedia as the team wanted it to be a work of collaborative effort. Its main objective was to spread knowledge without any restriction and fear.

Chauhan mentions, during the initial days of starting Sahapedia, they realized that a lot of available information is locked and inaccessible, due to which a major chunk of their time went into convincing the authorities to open up. It was fascinating to witness as he also dived a little into the changing consumer behaviour and how reading is shifting its course to short narratives and creative visuals. Due to the changing scenario, Sahapedia also hosts heritage walks in more than 65 cities. The best part is one can enjoy these priceless heritage possessions without any cost.

India has always been rich with the amalgamation of diverse cultures and the topic culture in itself shares a very delicate relationship with its people. Chauhan expressed his struggle to maintain a neutral connection because of people’s sensitivity towards one’s culture but he proudly mentions being on a safe page throughout his career. He ended his talk on a very positive and hopeful note, of never stopping to deliver what people love and cherish.

Written by Sukanya Panda


Vaibhav Chauhan is an art conservator, culture aficionado and heritage treasurer. He has devoted the past 9 years of his life contributing to the field as a co-founder of Sahapedia, which is an online knowledge resource on art, culture and history. He is a qualified chemical engineer who found his passion for art restoration and has been a part of the national manuscripts mission by the government.

In his talk, he briefly spoke about his events from childhood and visits to his ancestral village, which shaped his inclination for culture and heritage. During his days from National Mission for Manuscripts, while chasing manuscripts from one region to another, he discovered they hold immense knowledge across all verticals of study. Yet, few of us are unaware of the abundant information available. Being a government project of this scale, there were restrictions not to reveal anything about the scripts, which made Chauhan feel curbed and discontented.

In 2009, he and his team members from the National Mission for Manuscripts started a one-of-its-kind, free online resource base dedicated to art, culture and history. Saha means ‘being together’ in Sanskrit and they named this initiative Sahapedia as the team wanted it to be a work of collaborative effort. Its main objective was to spread knowledge without any restriction and fear.

Chauhan mentions, during the initial days of starting Sahapedia, they realized that a lot of available information is locked and inaccessible, due to which a major chunk of their time went into convincing the authorities to open up. It was fascinating to witness as he also dived a little into the changing consumer behaviour and how reading is shifting its course to short narratives and creative visuals. Due to the changing scenario, Sahapedia also hosts heritage walks in more than 65 cities. The best part is one can enjoy these priceless heritage possessions without any cost.

India has always been rich with the amalgamation of diverse cultures and the topic culture in itself shares a very delicate relationship with its people. Chauhan expressed his struggle to maintain a neutral connection because of people’s sensitivity towards one’s culture but he proudly mentions being on a safe page throughout his career. He ended his talk on a very positive and hopeful note, of never stopping to deliver what people love and cherish.

Written by Sukanya Panda

DASTKAR
Laila Tyabji
DASTKAR
Laila Tyabji
DASTKAR
Laila Tyabji
DASTKAR
Laila Tyabji
DASTKAR

Laila Tyabji

 

Laila Tyabji is a well-known and respected name in Indian Crafts and one of the founding members of Dastkar, a Delhi-based NGO working with traditional Indian crafts. To talk about her 40 years of work with Dastkar for the forum in 20 minutes was a tough challenge. Laila showed us select pictures and shared stories about the works and her experience connected to them. She also talked about her personal journey from a ‘snooty English-speaking Welhamite’ to a ‘crafty’ lady. She started her art education and career from Faculty of Fine Arts, Baroda and continued to overturn expectations by living alone, renting a ‘barsati, and paying for her own bread and butter which was quite bold for 1960s Delhi.

Design in those days was a very ‘fluid’ word and not taken over by a singular meaning. In this milieu, Laila’s love and dedication for crafts started with an early opportunity to go to Kutch in the 70s and work with Gujarat Handicraft Corporation. She noticed how the extraordinary crafts of embroideries, bandhani, tie-dying, Dari-making, wood carving, lacquer turning, Rogan, pottery and leather copper-bell casting were all practiced by people who were agrarian, herders and nomads. From her perspective of being born and brought up in a diplomatic family, and well-traveled abroad, Laila began questioning why craft communities were not flourishing economically. This led to the idea of ‘Dastkar’ being born along with six other founding members who had common concerns but believed in the huge potential of craft. The point was to connect crafts to its consumers in the most mutually beneficial way. She wanted people of India to think of crafts as ‘gold mines’ being relevant to present needs and not as a low cost profession with a ‘primitive lost charm’.

Laila also rejects the idea of craft ‘purism’ which opposes the separation of crafts and its historical tradition. She believes that craft has responded over centuries, responding to the needs of people. Today, the very reason crafts are declining is because people have lost touch with craftspeople. They are being pushed to the lower end of the economic class and being used for their hand skills. Dastkar pushes the idea of innovation amongst craftspeople and realises the potential of growth crafts community can have, evolving from what they have been doing over generations.

Written by Siddharth Kothiyal


Laila Tyabji is a well-known and respected name in Indian Crafts and one of the founding members of Dastkar, a Delhi-based NGO working with traditional Indian crafts. To talk about her 40 years of work with Dastkar for the forum in 20 minutes was a tough challenge. Laila showed us select pictures and shared stories about the works and her experience connected to them. She also talked about her personal journey from a ‘snooty English-speaking Welhamite’ to a ‘crafty’ lady. She started her art education and career from Faculty of Fine Arts, Baroda and continued to overturn expectations by living alone, renting a ‘barsati, and paying for her own bread and butter which was quite bold for 1960s Delhi.

Design in those days was a very ‘fluid’ word and not taken over by a singular meaning. In this milieu, Laila’s love and dedication for crafts started with an early opportunity to go to Kutch in the 70s and work with Gujarat Handicraft Corporation. She noticed how the extraordinary crafts of embroideries, bandhani, tie-dying, Dari-making, wood carving, lacquer turning, Rogan, pottery and leather copper-bell casting were all practiced by people who were agrarian, herders and nomads. From her perspective of being born and brought up in a diplomatic family, and well-traveled abroad, Laila began questioning why craft communities were not flourishing economically. This led to the idea of ‘Dastkar’ being born along with six other founding members who had common concerns but believed in the huge potential of craft. The point was to connect crafts to its consumers in the most mutually beneficial way. She wanted people of India to think of crafts as ‘gold mines’ being relevant to present needs and not as a low cost profession with a ‘primitive lost charm’.

Laila also rejects the idea of craft ‘purism’ which opposes the separation of crafts and its historical tradition. She believes that craft has responded over centuries, responding to the needs of people. Today, the very reason crafts are declining is because people have lost touch with craftspeople. They are being pushed to the lower end of the economic class and being used for their hand skills. Dastkar pushes the idea of innovation amongst craftspeople and realises the potential of growth crafts community can have, evolving from what they have been doing over generations.

Written by Siddharth Kothiyal

 

FOUNDER, WORD OF MOUTH MEDIA
Vineet Panchhi
FOUNDER, WORD OF MOUTH MEDIA
Vineet Panchhi
FOUNDER, WORD OF MOUTH MEDIA
Vineet Panchhi
FOUNDER, WORD OF MOUTH MEDIA
Vineet Panchhi
FOUNDER, WORD OF MOUTH MEDIA

Vineet Panchhi

 

Vineet 'Panchhi' is the founder of Word of Mouth Media - he started the company after quitting the corporate field in 2009. Word of Mouth Media makes films, jingles, light and sound shows and consults in the area of internal communication and leadership development. ‘Panchhi’ is best recognized for writing simple poems and reading them on camera, a recent foray of his. His poems have found their space on social media, and some have even gone viral, including 'Safed Kameezen' that was shared by Amitabh Bachhan. Two of the poems were recently adapted to advertising films by Ford, and HP. Panchhi lives in Dehradun and travels to work wherever films and shooting take him. These lines from his poems best sum up his attitude towards work and life:

“Wakt aa gaya ki Zindagi pe gaur kiya jaaye,
Sab kuch toh kar chuke hai, ab kuch aur kiya jaaye.”

At the forum he enthralled us with his poetry and storytelling in an organic demonstrative presentation, weaving his own life stories to set the context for his poems, which search for answers to fundamental questions about who we are, family and relationships, the making of homes and the making of our lives. Not a trained poet, Panchhi has his own style. He confesses he doesn't know any big names in the art and adds laughingly that he has just begun to learn about leading voices to sound a bit impressive. His newfound entry into poetry has not stopped him from being popular and captivating in the circles. Written in what can be described as Hindustani style and read out by him in a direct, strong throw of voice, his poems are easily appreciated by a wide audience. All his poems were his reflections on life and had an underlying sense of melancholy. Some were a lighter take and made us reminisce, while others made us do an objective reality check. His personality greatly complimented his style of narration leaving a spell-bound audience asking for more.

Written by Namita Jain


Vineet 'Panchhi' is the founder of Word of Mouth Media - he started the company after quitting the corporate field in 2009. Word of Mouth Media makes films, jingles, light and sound shows and consults in the area of internal communication and leadership development. ‘Panchhi’ is best recognized for writing simple poems and reading them on camera, a recent foray of his. His poems have found their space on social media, and some have even gone viral, including 'Safed Kameezen' that was shared by Amitabh Bachhan. Two of the poems were recently adapted to advertising films by Ford, and HP. Panchhi lives in Dehradun and travels to work wherever films and shooting take him. These lines from his poems best sum up his attitude towards work and life:

“Wakt aa gaya ki Zindagi pe gaur kiya jaaye,
Sab kuch toh kar chuke hai, ab kuch aur kiya jaaye.”

At the forum he enthralled us with his poetry and storytelling in an organic demonstrative presentation, weaving his own life stories to set the context for his poems, which search for answers to fundamental questions about who we are, family and relationships, the making of homes and the making of our lives. Not a trained poet, Panchhi has his own style. He confesses he doesn't know any big names in the art and adds laughingly that he has just begun to learn about leading voices to sound a bit impressive. His newfound entry into poetry has not stopped him from being popular and captivating in the circles. Written in what can be described as Hindustani style and read out by him in a direct, strong throw of voice, his poems are easily appreciated by a wide audience. All his poems were his reflections on life and had an underlying sense of melancholy. Some were a lighter take and made us reminisce, while others made us do an objective reality check. His personality greatly complimented his style of narration leaving a spell-bound audience asking for more.

Written by Namita Jain

 

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