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Published online by Cambridge University Press: 15 January 2009
‘Jagran’ means ‘awakening’ – as Aloke Roy, the director of this Delhi-based company points out, a more immediate term for most of his marginalized Indian audiences than ‘consciousness-raising’. In a multilingual society. Roy also found in mime a more immediately expressive means of theatrical communication for the street-corners and other sites of urban dereliction where his company typically performs its fifteen to forty-minute pieces, each of which focuses upon a particular social issue or contemporary problem. Parminder Kaur Bakshi, of the University of Warwick, recently visited the company in Delhi and experienced their work, which she here introduces before discussing with Aloke Roy the origins, development, and techniques of the group. Outline scenarios of a selection of the Jagran pantomimes accompany the feature.
1. Details of Jagran's audience in the resettlement colonies are given in Mehra, Rekha, An Attitudinal Evaluation of the Impact of Pantomime (Jagran: Delhi, 1978), p. 2Google Scholar; and Fernandez, Aloysius Prakash, Evaluation, 1979–1980 (Jagran: Delhi, 1980), p. 3–4.Google Scholar
2. Gupta, Shubra, ‘Dramatizing Drug Dangers’, Sunday Mail, 21–27 09 1986, p. 3.Google Scholar
3. Kidd, Ross, ‘Domestication Theatre and Conscientization Drama in India’, Tradition for Development: Indigenous Structures and Folk Media in Non Formal Education, ed. Kidd, Ross and Colletta, Nat (Berlin, 1980), p. 415–41Google Scholar; and Lambert, Prudence J., Popular Theatre as Conscientization: an Effective Approach to Non-formal and Social Education for the Third World, Unpublished M. A. Dissertation for the Agricultural Extension and Rural Development Centre, Reading University, 08 1981, p. 59–60.Google Scholar
4. ‘The Circle of Certainty: Ethics of Communication for Development’, Indian Journal of Youth Affairs, II, 2 (1980), p. 27–36, p. 32.
5. Quoted by Andresen, Margot, ‘Jagran’, Action (Summer 1977), p. 8.Google Scholar
6. From a ‘Brief’ written by Aloke Roy (1981).
7. In a resumé by Aloke Roy (1987).