ASTITVA CA. 1973 TO 1976: AN EXISTENTIAL QUEST BY ARTISTS FOR ARTISTS

Exhibition Catalogue Cover, Courtesy: Dilip Ranade

The fugacious group formed by the third generation of the Mumbai based modernist painters emerged in the early seventies named Astitva, to solve the sustenance woes of the artists. The article collate the facts and angst of the much spoken but less documented artist's group. 

Prabhakar Barve, Ink on paper, 1975, Courtesy: Bodhana Arts And Research Foundation

Artists are not altruists. They like any other social members struggle to maintain their existence and the artistic endeavours and make a living in the society. Artists aren’t granted a privileged Astitva.

A group of twelve painters emerged that was headed by Prabhakar Barve sometime in 1972, called Astitva. While the term has both semantic as well as practical connotations, the aim was a simple and straightforward one. The memorandum published in the catalogue of first and the only exhibition (group) of Astitva Group makes its purpose clear. The exhibition of the group was held by the Max Muller Bhavan, Mumbai at the formerly Stuttgart Hall, in the fort area on October 9, 1974.

‘ASTITVA' came into existence as a group of twelve artists, in January 1974. The aim of 'Astitva' is to create a situation which allows an artist to paint and to exhibit minus the worry of the financial factors involved. It is noticed that the major difficulty an artist faces today is the element of financial risk involved in exhibiting his works on his own. Hence, it was felt that the group should help the artist by purchasing one painting, valuing up to Rs. 1000 when the artist exhibiting his work experiences a total financial loss. In order to provide funds to purchase such paintings. Each member of the group contributes Rs. 10 per month. Since the inception of 'Astitva’ besides, to give a substantial start to this scheme each member artist has contributed two of his recent paintings to this exhibition. The sale proceeds shall constitute the group's funds, which shall specifically be used to purchase paintings.’

The group managed to help Apolonario D’Souza and few others by purchasing their works from the exhibitions, which are said to have been donated to the National Gallery of Modern Art, Mumbai upon the conclusion of the group.

The number of members was restricted to twelve to be able to manage the operations. 

The first set of artists who formed the group and exhibited were Anandmohan Naik, Bharati Kapadia, Dilip Ranade, G. S. Adivrekar, Gautam Vaghela, Nirupama Karkhanis, Prabhakar Barwe, Prabhakar Kolte, Shobha Godbole, Sukumar Dutta, Thakore Patel, V. K. Wankhede. Other members that replaced some of the original members were Shakuntala Kulkarni and Lalitha Lajmi.

The aim was pertinent as the number of galleries and exhibition spaces were limited during the days lacking a structure to the economy of sustenance. The financial independence was and is crucial for a sustained practice. Many artists loose track with the existential angst. Besides the fundamental aim of supporting the artists, the focus of the group was to meet up and conduct discussions about the current art affairs and exhibitions in the city. The era was influenced by the formalist ideas and it took a hard grip on the minds of several artists in India. Barve was one ardent formalist in his own way with a reference to tantra art. The regular meetups were coordinated by Dilip Ranade through postcards informing the date and place of the gathering. Mostly the meetups took at the Elphinstone canteen, Barve’s studios after the office hours at the Weaver’s Service Center. At some point in time, they started to visit each member’s place so that one gets to see each other’s works and discuss. (It is also said by one of the members that the residence of Anandmohan Naik in Bandra was the main location for the meet-ups.)

Artists photographs in the exhibition catalogue, Courtesy: Dilip Ranade

The group though restricted to twelve members, was flexible to meetups where people like Kavita Sahani, Bhadrakant Zaveri, from theatre background actively contributed to the discussions. Bharti Kapadia cites the role of Bhadrakant Zaveri in starting the group as being pivotal. He is also said to have brought in diverse views regarding the discussions significant to theatre perspective. A foreign artist is reported to have visited once. Nirupama Karkhanis and Shobha Godbole discontinued. With some ideological difference, Prabhakar Kolte is reported to have withdrawn and went on to pursue his practice independently. Kolte perhaps has fond memories of the exchanges and locates Barve as the key of Astitva group. Eventually, Lalitha Lajmi who stayed in Colaba those days joined the group. Later Shakuntala Kulkarni too became a part. The disbanding of the group is said to have happened after a meeting at the residence of Lajmi.  The information incidentally based on the memories of the participants, unfortunately, least of the informal exchanges have been recorded to testify the facts. Even though, these slight memory differences avail scope for analysing the group formation and its modalities.

Bharati Kapadia, Untitled, Ink on Paper, 1972, Courtesy: Bharati Kapadia

Prabhakar Kolte, Watercolour on Post Card, 1976

The conversations that bound the members together revolved around the concepts of formalism. The language of conduct was primarily English and partly Marathi. The topics were usually conducted based upon work(s) of any particular artist or the fundamental elements of a pictorial etc. Barve led the talks and generally his works are said to be the entry for the discussions. The formal elements of space, colour, texture, volume, line, shapes, forms, their interaction on a picture plane, the effects of certain distortions etc. occupied the discussions.

Shakuntala Kulkarni, Untitled, Engraving,

1976, Courtesy: Artist

Shakuntala Kulkarni acknowledges the role of such discussions in a thorough formalist understanding. This has helped her formulate the later works with diverse experiments with the medium and concepts. However, Barve being a strict formalist didn’t respond to her works based on socialist ideas. The artists didn’t refuse the socialist approach but regarded formal aesthetics more than any other values associated with image making. Therefore, artists, Navjot and Altaf couldn’t be part of the Astitva group as they followed Marxist ideology into their practice. One can notice a strong compositional sense adhering to formal aesthetics amongst the group members. Especially Barve, Dilip Ranade, Vasant Vankhede and Gopal Adivrekar. Bharati Kapadia says ‘the confidence to speak up, and put forth your ideas and seeking responses was the key feature of the group’.

Vasant Vankhede with his painting. Courtesy: Bodhana Arts And Research Foundation

The gatherings even planned some experiments for their primary purpose. Postcards were customised with Astitva label. All the artists were expected to paint on the small format of postcards to be sold at an affordable price. It’s not known how many of the members actually responded to the idea, but an example painted by Dilip Ranade is available for the record. Another similar attempt was of much curiosity. All the eleven members were to paint as a response to the twelfth member’s work, but there is no documentation of the same to be discussed. The group also intended to widen the range of interaction with writers and poets. However, this intention doesn’t seem to have worked further as the group disbanded sometime around 1976.

Gopal Adivrekar, Anatomy of Banaras, Oil on canvas, 1970

Courtesy: Ratnadeep Adivrekar

The senior members like Vaghela, Adivrekar, Barve, Vankhede have had almost formed and realised their material, approach and stand towards their works. Adivrekar worked with sand for textures in the painting. Anandmohan worked in watercolour, papier-mâché sculptures painted with enamel paints. Hence the scope of shifts or changes remained mostly with the younger members. It must not be read as rigidity by stages of the practice.

Lalitha Lajmi, Dream of a Mask, Etching, 1975, Courtesy: Artist

The groups’ only exhibition was fairly reviewed in the newspapers appreciating the efforts of the group and highlighting the works of some artists. Two works of each member and comprising of abstraction, semi-abstraction, symbolical paintings and collages made with newspapers and magazine illustrations were displayed in the Astitva show. The Times of India art critic comments of the act being an attempt of financial self-protection than creative contribution, but also appreciated the works of abstractionists in the group. Some of the members simultaneously participated in a group show called ‘Seven Painters’ that had black colour as the common element reflecting the reactions of the artists’ towards the current socio-political atmosphere infected with corruption. Astitva was critiqued to have been lacking a ‘base’ whereas the Seven Painters show was perceived to provide a fascinating study of emotions and reactions to the theme.

After the group disbanded some of the members continued to meet at the Milkbar - a location opposite to the CSMVS (Formerly Prince of Wales Museum) a canteen for the secretariat where they met and discussed till late evening. Prabhakar Barve, Dilip Ranade, Bharati Kapadia and Bhadrakant Zaveri, Vasant Vankhede, Shakuntala and occasionally Lalitha Lajmi met every Friday. The sole purpose was to converse. Akbar Padamsee, Vikram Sethi is reported to have visited the meetups. Eventually, after 1994, Barve’s health declined and the discussions too.

The event of Astitva appears linear to the thought. The proceedings were limited to fewer economic transactions, but the beneficiaries largely profited through the conversations conducted. However, the existential angst of financial security remains classically unanswered. Several artists in the past have attempted to challenge, divulge, and formulate modes of financial backing for the community of artists. Royal patronage and institutional support have partially served to pad the impact. Would have the group continued their exercise; we might probably have had a better system to bank upon, instead of endlessly writing funding, scholarship and residency proposals!

The data for the article has been sourced from conversations with the existing members of the group Dilip Ranade, Bharati Kapadia, Prabhakar Kolte, Lalitha Lajmi, Shakuntala Kulkarni, Anandmohan Naik, a catalogue of the first exhibition, and newspaper articles.

Warli Writers of the Twenty-First Century

An enumeration of the current practices of young Warli artists Tushar and Mayur Vayeda, Rajesh Vangad hailing from Devgaon, Dahanu.

Tushar and Mayur Vayeda, Gathering of Gods, Poster Colour on Cowdung primed canvas. ca. 2016

Tribal painters are popularly imagined to be painting on the walls of the cave in their aboriginal attire with bare bodies and the skin painted in organic abstract patterns. Today, the kind of attire for Warli tribe has become ceremonial, ritual purpose and the garbs of these forest inhabitants are indifferent to any urban dweller. With shifting lifestyles, the community members have sought to different occupations and employment available in their neighbourhood.  With this in the mind, we shall explore the nature of the Warli practice today, the newer idioms they have adopted to keep the tradition alive with a relevance to their changed geography and surrounding habitat. 

Rajesh Vangad, City Life

Warli has become an art form more practised by several non-Warli community members. Though there are both positive and adverse connotations to it, Padmashree awardee Jivya Soma Mashe a resident of Ganjad village in Dahanu, Maharashtra is credited for a widespread reach of Warli. A dynamic proponent of the native visual form,Mashe’s dynamism lies in bringing Warli painting, beyond the confines of ritual based imagery and depicting the nature in myriad compositions. His innovations in the compositions and meticulously formulated folklore are a treat to the sight of any viewer for its sheer reverberating visuals. An international figure, the humble artist who passed away on May 15, 2018, at the age of 84 is highly revered. A befitting tribute to him would be to sensitise the viewers to appreciate the indigenous processes and significance of region-specific practices. 

Jivya Soma Mhase at his home in 2015. © Gauri Gill

I was introduced to two promising young artists Tushar Vayeda, Mayur Vayeda, and eventually to their elder Rajesh Vangad who studied under the tutorship of Jivya Mashe. After pursuing digital animation and business management course Tushar and Mayur respectively decided to resume to their roots and with a driving inclination have successfully ventured into their creative tradition making a mark on the global map following the footsteps of Jivya. 


Writing Warli was fundamentally ritual based and originally produced on residence walls by married women evoking the sanctity desired for occasions like childbirth, weddings called chauk. Warli is considered to be written or inscribed rather than painted. Chauk the square enclosure of several lines inscribed with the central female deity-Palghat devi, a ladder, sun and moon as a witness, a comb and other auspicious elements. The iconographic system is diverse with a range of symbols bearing specific meanings and function are religiously maintained as part of the chauk. Usually, the activity of writing is performed by married women and widows sing the ritual songs. The sons are the soul of ceremonies. With the advent of practice on paper, the mobility changed from static wall mural to display scrolls and many men took it up as a source of revenue with several government aids for empowerment. About thirty or more native males are into writing traditional Warli using paper or canvas surfaces and commission-based works. 


As part of the shifts in lifestyle, an unfortunate development that is noted by the young artists is of the weakening relationship of the children with their land, their inhabiting nature. They carry mobile phones instead of toys and rural games and are barely observant and connect to the heritage. Further, the traditional narratives are getting lost because of trickling knowledge downward the generations. Some senior Warli-writers prefer not to share them for vested interests. 


Originally freshly harvested rice powder was used for the traditional white pigment, however, poster colours, acrylics are being used with brushes on paper and canvas as surface, for the ease of utility. Perhaps, new elements like electronic objects, vehicles, planes, modern buildings too have become part of the Warli nature. While nature and surrounding was their original source of rendering, today their neighbourhood is populated with concrete houses, motor vehicles, telephones, mobiles, railways etc. The Vayeda duo uses cow dung sourced during the monsoons to prepare the cloth surface that gives a range of deep olive-green hues to sepia shades. The colour fades towards the end of monsoon with a reduction in water content of the grazing land. The local cows graze in the surrounding neighbourhood yielding a good raw material for the surface preparation. A mixture of Cow dung and PVA solution is used for priming muslin cloth to be used as the surface. Brush like a tool made of kasar bamboo was used as a traditional instrument but very few use it as the stylus. 

Generally, each narrative is completed in a single painting. Mayur and Tushar are trying to spread it out onto multiple paintings to elaborately describe the tales with utmost details increasing the scope of visual exploration. While, there are several traditional stories, but novel idioms are being used to illustrate them. Especially the new/modern forms carry the influence of seeing nature on the television sets or study of science by the duo. These are evident in the adapted shapes of marine life and other flora and fauna. One of the significant stories that the brothers are pursuing is of the maha-pralay – the great floods that have stark similarity to the Genesis story of Noah’s ark. Bottle Gourd was used to saving the lives of organisms that grew for hundred years on the land and eventually the interior was prepared for the floods by ants and other insects and a pair of selective creatures were accommodated. The gourd then survived all the inhabitants for several days and banked to a land mass. The Vayeda brothers are portraying this tale in a series of paintings.

L to R Mayur Vayeda, Nikhil Purohit and Tushar Vayeda 

Along with the prime activity of Warli-writing Tushar and Mayur are actively involved with a Japanese NGO on a ‘green’ project called noko that means no in the Warli dialect, to create sustainable structures and organic agricultural practices including beekeeping. Their family history is an illustrious one with their grandfather starting the first school in the village at his residence. Their mother continues to serve as a school teacher educating the newer generations of the tribe.

Rajesh Vangad, Shantaram Gorkhana, Sadashiv Mashe, Anil Vangad, Hareshwar Vanga, Balu Dumada, Manoj Bhadange, Kishore Mashe, Amit Dombare, are amongst the few artists who are creatively innovating and adopting idioms for newness in the flow. 

Gauri Gill and Rajesh Vangad, Building the City, 2016, from the series Fields of 

Sight (2013--ongoing), Courtesy: The Artists

Rajesh has extensively travelled all over the world showcasing his innovative Warli skills. The exit gate of terminal two of the international airport in Mumbai flaunts a special Warli that is automated to switch into a new image (set of three images) periodically. He and Tushar have decorated the huge facade wall of the Tata Memorial Hospital in Parel to create a positive atmosphere for the ailing patients. One of the main highlights of Rajesh’s work is the collaborative work Fields of Sight” (2013 - ongoing) with the photographer Gauri Gill that got showcased at the Documenta 2014. The achromatic photographs by Gauri record the landscape of the village and industrial developments with the Warli artist as a conscious observer of the happenings. Rajesh contributed by inking his responses on the photographs visualising the multi-dimensional existence from the past and the present. The imagery bears Warli iconic drawings of rivers, animist ritual, botanical species, a sky veiled with birds in flight over the sea, deforested mountains as well as new imagery to record such events as migration to the cities or the advent of telephone towers and cell phones.

The value system of the artists holds the thread to the future of Warli and its painterly tradition. There are a variety of painters working on craft objects, textiles etc. But some of them personally don’t encourage commodification. Some elders protest the use of Warli on packaging, making it a commercial design element as opposed to its sacred significance. It’s now upon us, the readers, the connoisseurs of Warli whether to promote fallacious practices or to encourage sustainability.

The data for the article is based upon personal interviews of the artists and visit to Ganjad, Dahanu. 

Art Space And Props

Review of the exhibition during Pune Biennale 2017 with the nostalgic re-presentation of Pune’s celebrated artist’s studios.

Re-presentation in the world of visual arts has become a convoluted term, trying to mean many different things at different moments. However, the term used here is with its primary meaning of presenting again. The re-presentation of observed studio-based practices of visual artists belonging to the diverse genre, falling in the frame of yester centuries.  The exhibition Art Space and Props formulated by the Pune residents, artist Nitin Hadap, designer Pramod Riswadkar and graphic designer Abhay Joshi during the Pube Biennale at Pt. Bhimsen Joshi Kaladalan, displays a well-researched perception of the artists’ studios who have been a significant part of the evolution of visual arts in Pune. The re-presented studios belong to the artists hailing from the baithak systems to the modern styles viz. court painter Gangaram Tambat, academic painter Gopal Deuskar,  painter and ceramist Bal Wad, photographer W N Bhat, academic sculptor Dattatray Khatavkar, and modernist Vijay Shinde.

The exhibition format is an educative one with apt infographics and supplementing visuals along with the keenly arranged central studio booth setups belonging to each aforesaid artist. The exhibition makes good use of current printing and installation technology to justify the descriptive yet insightful research performed on the habitational activity of studio practices. It is indeed a challenging job to weave a story that evolves over a long period of time, with several socio-economical influences, and most importantly the unique style of each artist.

The curators’ primary objective was to create the ambience of the working studios. “The aim is to provide the spectator information related to props space and ambience under which they worked. Our endeavour was to furnish a view which provides clue about these interactive aspects and elements with an integrated approach while taking a note of visual forms.”, says the trio.

One important aspect is to make the distinction between the seating and standing posture based practice that informs the work. The standing or sitting posture and gestures have an inherent effect on the work of art. Abundant space is required in the process of creation of abstract art. High level of discipline is maintained while doing a portrait in an academic style. A photo-studio along with studios of painters provided a unique experience. Evolution of Visual Arts of Pune could be noted and studied through the works of the eminent artists who represent their genre as well as the period.

The paintings of the Peshwa court painter Gangaram Tambat (c.1790) trained under the British academic style provide evidence of his mixed visual language reflected from the standard practice of sitting on the floor and making small sized paintings. One may look at Gangaram as representative of his age.

A master of western technique, Gopal Deuskar’s studio presents us with placing the canvas on the easel, working in standing or seated posture, sketching from life, standardised painting procedures along with colour sequencing and such other techniques. His works had a marked influence on academic style. The studio is re-presented similar to the predetermined positions of British style.

Bal Wad having a dual practice of painting and ceramics his studio displays a combination of both methods. With a job experience of serving as an Art Director in M/s Camlin (I), he had acquired in-depth knowledge of material and media.

W N Bhat who owned a professional studio at Laxmi Road in Pune was the pioneering spirit behind starting an educational program in Photography at Fergusson College, Pune. His camera caught the subtle moods of many eminent personalities, such as Pt. Jawaharlal Nehru, Mrs. Indira Gandhi, eminent sitarist Pt Ravi Shankar and lot many others. Thus, it is pertinent to include the studio of a photographer in the timeline of the visual evolution of Pune.

Eminent sculptor popular for his contributions for the festive installations, Dattatray Khatavkar’s studio carried that Fibre-glass which has a slightly pungent smell occasionally. His studio used to be replete with casting moulds, half-done yet to be finished articles, lumps of mixed wet earth and like. He designed on his own innumerable tools and gadgets and crafted them himself.

A deep impression is observed of modernist Vijay Shinde on Pune’s young artists. He created awareness, injected curiosity and developed their understanding of Modern art. His method of creating abstract paintings was a bit complicated. He used to mix paint on pallets using a roller for getting the desired effect. He gestured his body in a specific manner for large strokes on canvass and balanced technique and unimaginable effect. He used to spread his canvas on ground and paint.

The curators behind this notable display adorn positions of significant academic importance. Nitin Hadap is an artist and HOD of Fashion Designing Department, MNVTI, MKSSS, Pune; with a specialised interest in Indian Art History and the History of Modern Art. He has a Ph.D. in archaeology on the subject ‘Composite Motifs in Indian Art’.

Pramod Riswadkar is a designer by profession, with professional experience in the industry as well as academia. He has worked with several industries and was associated with Symbiosis Institute of Design, as HOD (Communication Design).

Abhay Joshi is a practicing graphic designer with a wide range of experiences in print-media spanning more than two decades. He is associated with MKSSS – Manilal Nanavati Vocational Training Institute for Women, Pune as a Visiting Faculty.

With the first step of this exhibition conducted during the Pune Biennale, the trio intends to expand their research and incorporate wider dynamics of the studio practices regionally as well as conceptually.

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Art & Education Goes For A Toss!

An overview of the education scenario of visual arts in Maharashtra through the lens of recent movements in the state.

Is Art a way of Education? Does teaching Art, help education?

The phrases of ‘death of art’, ‘death of painting’ keep surfacing now and then to check the validity of art praxis in general and certain practices in particular. The statements of this type impress the idea of redundancy and either invalidate or question the implications of the ideas already in practice. A similar questioning is imposed on the validity of art education and its current pedagogical modes of dissemination, throughout the nation. The objections are mostly displayed informally and the wise who object find cover under their dogmatic routine. The people who have been registering their formal objections are observed to be doing so under the protocols of their employment. However, the present case study does not lie in this clear binary of formal or official actions versus informal movement for pedagogical revision supplied with vested personal benefits or communal welfare. The article does not attempt to find immediate solutions or direction for actions but to assess and table the complex cold turmoil evident through various societal movements.

38th School Art Educators, Sangli, Maharashtra

The discussion here emerges from my visit to the annual art educators’ seminar conducted on 29, 30 April 2017 at Sangli, Maharashtra in the premises of Kalavishwa Mahavidyalaya. Nearly four hundred art educators associated with state-run primary and secondary schools and some private trusts participated in the seminar. The entire activity raised some serious queries pertaining to the role of ‘institutions’ in art education. Due to a keen interest in art education I, in general, was curious to discover the concerns addressed and understand an overall modus operandi of the art teachers associations. The subject being layered, my concerns extend to art education and the diverse ideas relating to formal academic art education, schooling as well as informal learning.         

While we live in the atmosphere of the so-called contemporaneity, the mainstream art world, itself, is full of anxieties regarding the practices relying on technological advancements, identity crisis, societal concerns as well as differences and political struggles. While art education is an integral part of this climate, the scenario could be categorically comprehended through school level education and formal academic education. Art education is further influenced by the factors of State administrative system accompanied by the vague willingness of the personnel for the development of the creative sector. In the year 2015, the state government of Maharashtra passed a resolution declaring to stop new appointments for the posts of art and sports teachers, and to hire them on visiting basis or as guest faculty providing them remuneration of Rs. 50 per session. This induced anxiety among the candidates from all over the state, especially from rural regions who had aspired to be employed as teachers. The candidates, completing their Art Teacher Diploma (ATD) or Diploma in Art Education (Dip. A.Ed.), were suddenly rendered jobless by the state. Several trials of sporadic efforts are made to revoke the decision, on regional levels. The Art Teacher’s Association of Maharashtra, its office in Pune, has been chasing the respective authorities for justice, right from the Directorate of Art, Mumbai to the Cultural and Education Ministry. The excitement was further enhanced by reducing the teaching classes from six classes to four, and recently it has been further cropped to two classes per week. The teachers are of the opinion that in order to make the children prepare and start working on the given subject itself takes considerable time. This allows very little scope for any sorts of creative engagement or skill development. The annual surveys published in the newspapers boast of increasing aptitude of students towards Fine Arts as compared to the conventional streams of Science and Commerce. Given this piece of information, numerous students appear for the grade examinations, the grades of which help in the increased marking of the matriculation exams. While the scope of learning the subject is highly limited in these state board schools, the tuition mania brawls all over the suburbs promising great grades. As an effect, the urban ‘drawing’ teacher finds a rich source of income besides the school salary!

Although the economics appears to be interesting, the question of the ‘content’ being shared or learned as art is dubious. As per the prevalent, most students and teachers learn from a state-approved drawing-book full of prescriptions for each sub-subject. On one hand, where the contemporary art has superseded human comprehension of what art is, on the other hand, the domestic school is still preaching from the old testaments. Further, the threat to the jobs of the employees teaching also annotates the chaos. Thinking of the progressive International Baccalaureate (IB) schooling for arts, it brings in a whole new mechanism of learning by excerpts through the popular art history. The parents are satisfied to see their ward successfully imitating a Van Gogh or a Picasso or an Art Deco or an Art Nouveau object. One cannot discount the exposure to art history and ever the same one must not discount child-centric learning where the fact sustains that children learn based on their own inclinations and not for the sake of getting ‘educated’.  However, it is not righteous to jump to a conclusion declaring the genuine efforts taken by fellow art educators and inferring to be redundant. Perhaps their honest efforts are the avenues of encouragement for aspiring artists.

The seminar at Sangli reiterated the protection of employment and emphasised on new recruitment to ensure continued art education and promotion of artistic faculties. Several political leaders and officials from the Education Department extended their support to the existential struggle. The seminar brought together art educators from several regional pockets of Maharashtra and the representatives of the same had organized visits to the Directorate of Art, Mumbai and public rallies to the Ministry to make their demands heard by the authorities. It was in vain. The central association based in Pune has approached the house of law to resolve their drudgery with the hope that the bureaucracy heeds to their demands by reason.

Upon considering the second category, of art colleges in Maharashtra, the scenario grows more complex. One has witnessed several strikes called by students and institutes like Sir J. J. School of Art, Mumbai, Abhinav Kala Mahavidyalaya, Pune, Raheja School of Art, Mumbai etc. demanding basic requirements of regular teaching staff and fundamental facilities.

Perhaps, the situation has encouraged self-learning among students who, being independent, seem to progress in their artistic careers. Though there are efforts made to improve the pedagogy, the system or means of imparting the revised curricula to the teaching staff and its implementation in the learning arena is not observed to be efficient enough. Further, the body responsible for upgrading and maintaining the status of art education in the state is, generally, either devoid of a responsible head or held by a person from a non-arts background with a little understanding of art based learning. The state government recently awarded autonomy to the Sir. J. J. School of Art. It has spurred several queries and doubts about the institution’s role and responsibility. The validity of the certifications issued by the Mumbai University to the students, the validity of the Directorate of Art as per the All India Council for Technical Education (AICTE) or UGC norms are being questioned. Though the responses to all these doubts raised are unclear, the pressing question is whether Art is considered a free activity or is it a free time activity?

Art history has witnessed suppression of freedom in many instances and artists have always managed to find their niche or vent to establish their ideas through their creations. In the wake of the latest technological breakthroughs, the avenues of expression and creative experiences have diversified sporadically. While the faculty of art education and its future seems grim, we can be optimistic of the engines of Biennale, art fairs, and digital educational programming to bring about a different perspective and usher positive change where interdisciplinary functioning is a primary mode of functioning.

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कला नियोजन: दृश्यकला क्षेत्रातील जुने पण नवे उद्योग प्रणाली

कला ही मुक्त, स्वच्छंदी आणि ललित असण्याचे आपण सगळे जाणतो. हे जरी वास्तव असलं तरी सांस्कृतिक व सामाजिक दृष्टीने कलात्मकता, सांस्कृतिक वारसा, रसिकता, मनोरंजन इ. आपल्याला समजेल अशा रीतीने पोहोचवण्यासाठी जी व्यवस्था कार्य करते त्याला आपण कलेचे व्यवस्थापन असे म्हणतो. या व्यवस्थापनेत सजग आणि संवेदनशीलरीत्या काम करणाऱ्या व्यक्तीला कला नियोजक किंवा कला व्यवस्थापक असे म्हणू शकतो. समकालीन आणि ऐतिहासिक वारसा, पुरातन वाङ्मय, शिल्प, चित्र, भित्ती चित्रे, स्थापत्य, काव्य, अनेक घराणे किंवा तांडा यांच्याकडे परंपरागत चालत आलेल्या चालीरीती, भौतिक जीवनाशी निगडित वस्तूंची परंपरा, धार्मिक किंवा शुभ प्रसंगी म्हटली जाणारी पदे, गीत, ओव्या, नाटय़ आणि नृत्य प्रयोग, वस्त्रालंकार, वेशभूषा, खाद्य पद्धती असे विविध विषय कला नियोजनाच्या कार्यात समाविष्ट होतात. कला नियोजकांचे प्रचलित रूप म्हणजे विविध समारंभांचा आयोजन कर्ता म्हणून, पण आज नियोजकांची जबाबदारी सांस्कृतिक घडामोडींना दिशा देण्याची आहे. सांस्कृतिक वारसांच्या संगोपनाला UNESCO व UN, SAARC अशा अनेक प्रमुख संस्थांकडून जागतिक पातळीवर प्राधान्य मिळत आहे. या लेखातून कला नियोजनाचे कार्य कशा पद्धतीने घडते, त्यातील सामाजिक, आíथक आणि वैयक्तिक प्रगती या व इतर अनेक मुद्दे समजून घेता येतील.

कला नियोजन ही संस्कृतीच्या प्रवाहात सातत्याने कळत नकळत प्रयोगात असलेली संकल्पना आहे. आपल्या सोसायटीत होणारे सांप्रदायिक कार्यक्रम हेसुद्धा काही अंशी कला नियोजनच. हे व्यासपीठ जिल्हा ते आंतरराष्ट्रीय पातळीवर जेव्हा उपलब्ध होतो तेव्हा त्या मागे विविध कार्यक्षमता, अद्ययावत तंत्रज्ञानाची ओळख, समाज व्यवस्थेचे भान, स्थानिक-जागतिक राजकीय स्थिती, सांस्कृतिक घडामोडींविषयी सजगता हे अत्यंत महत्त्वाच्या बाबी आहेत. औपचारिकरित्या कला नियोजकांचे कार्य आपल्याला वस्तू संग्रहालये, कला दालने, सांस्कृतिक संस्था, ग्रंथालये, संगीत, नाटक, सांस्कृतिक संमेलने, मोठय़ा कंपन्यांमध्ये असलेले सांस्कृतिक विभाग, लिलाव घर आणि डिजिटल मीडिया अशा विविध ठिकाणी आढळते. संग्रहालय, कला दालन अशा ठिकाणी त्यांना क्युरेटर, किपर, गॅलरी सहाय्यक, शिक्षण अधिकारी या पदांवर कार्य करताना आढळतात. संगीत, नाटक, सिने-कार्यक्रम, मुलाखत यांच्या प्रस्तुती मागे सर्व प्रकारच्या नियोजनाचा भार सांभाळणारे मॅनेजर्स, प्रोग्रॅम ऑफिसर (कार्याधिकारी) व त्यांच्या सोबत काम करणारे सहाय्यक हेसुद्धा कला नियोजकच होत. लिलावघरांमध्ये मोठय़ा प्रमाणात कला वस्तूंचे आíथक देवाणघेवाण होत असल्याने कलेचे जाणकार, अभ्यासक, अर्थशास्त्राचे ज्ञान असणाऱ्या व्यक्ती या ठिकाणी विविध पातळीवर कार्य करतात. मोठय़ा उद्योग समूहांमध्ये उरफ  अंतर्गत शिक्षण, सामाजिक विकास योजना राबविल्या जातात ज्यामध्ये कला ही शैक्षणिक पाश्र्वभूमी असलेल्या व्यक्तींचे कार्य योजनेला योग्य आणि कलात्मकरीत्या राबवण्यासाठी महत्त्वाचे ठरते. त्याशिवाय काही उद्योगसमूह कलासंग्रहदेखील करतात तर काही संदर्भात आंतरराष्ट्रीय वारसांच्या संगोपनासाठी आíथक आणि तांत्रिक साहाय्यदेखील करत असतात. अशा ठिकाणी नियोजकांची भूमिका महत्त्वाची ठरते. जे वेळच्या वेळी घ्याव्या लागणाऱ्या निर्णयांना आपल्या कलेविषयक माहिती आणि संबंधित राष्ट्रीय, आंतरराष्ट्रीय नियमांच्या पालनासाठी आवश्यक उपाय देऊन काळजी घेतात. UNESCO सारखी आंतरराष्ट्रीय संस्था सांस्कृतिक संयोजनाला, सर्वार्थाने समावेशक अशा कला शिक्षणाला प्राधान्य देत आहे. यामागील हेतू असा की, कलेच्या संवर्धनातून सृजन मूल्य आणि सांस्कृतिक वारसा यांच्यातील प्रवाही प्रक्रिया अबाधित ठेवणे.

कला संयोजकांचे कार्य उपरोक्त क्षेत्रांप्रमाणे भिन्न आणि विविधता पूर्ण असू शकेल. कलेचे संवर्धन या शब्दातच अनेक आणि विस्तीर्ण असे अर्थ गíभत आहेत. समोर असलेले कला प्रकार, कलाकार, त्यातील सौंदर्य आणि अर्थ-व्यापार, सौंदर्य मूल्य, त्याची व्यापकता, त्या कलाप्रकाराचे आणि स्थानिक जीवनाशी असलेले परस्पर संबंध, त्यात गुंतलेले व्यावहारिक आणि कायद्याची बाजू या सर्व गुणांचा विचार करणे, त्या विचारांना प्रत्यक्ष रूप देऊन सातत्याने आजच्या जीवनात त्याचे महत्त्व टिकवणे हा कला संयोजकांच्या कार्याचे प्रदीर्घ परीघ आहे. अर्थात हे सर्व कार्य वेगवेगळ्या पातळींवर, क्षमतेनुसार, इच्छा, रस, चिकाटी, उपलब्ध संसाधनांच्या आधारे सुरू राहणारी धडपडी क्रिया आहे. होतकरू आणि जिज्ञासूंना असे प्रश्न पडत असतील की, अशा परोपकारी कार्य करणाऱ्या लोकांचे घर कसे चालत असतील? त्यांना मिळणारा मोबदला सामान्य जीवन जगण्यास पूरक आहे का? त्यांचे कसे भागते?

लेखात वर सांगितलेल्या उपक्षेत्रांपैकी बहुतेक क्षेत्र ही संघटित आहेत, ज्या ठिकाणी कामाचे स्वरूप आणि व्याप्ती बव्हंशी ठरलेले असतात. बहुतेक ठिकाणी रोजगार कायदे लागू आहेत ज्यामुळे या क्षेत्रात काम करणाऱ्या लोकांना इतर सहकाऱ्यांसारखेच नोकरीचे फायदे उपलब्ध आहेत. असे असतानाच कला क्षेत्रातील अधिकाधिक काम स्वरूपातून घडते. या क्षेत्राशी निगडित लोक मुळातच स्वच्छंदी, मुक्त विचारांचे आणि काही प्रमाणात विक्षिप्त स्वभावाचे असतात. अशा लोकांना नऊ ते पाच कार्यपद्धती आवडत नाही. बरेच वेळेला त्या त्या क्षेत्रांच्या कार्याच्या मागणीनुसार ठराविक वेळा वा मर्यादांचे पालनही शक्य होत नाही. याला आपण डायनॅमिक वर्क सिस्टिम म्हणू शकतो.

कला नियोजक जणू पडद्यामागचे कलाकार असतात. त्यांच्या कार्याची व्याप्ती आणि गुंता कार्यक्षेत्राप्रमाणे बदलणारी आणि त्यासाठी लागणारी शैक्षणिक पात्रता, अभ्यासू वृत्ती हे सर्व भिन्न  असल्याचा अंदाज वाचकांना आलाच असेल. गेल्या काही दशकांमध्ये अशा प्रकारच्या संयोजनाला व कामाला वाव आणि गरज वाढली असून या कार्यासाठी आवश्यक गुणांविषयी जाणून घेऊया.

कलेविषयीची आस्था हे प्रमुख गुण जे कोणत्याही कला नियोजकामध्ये अत्यंत महत्त्वाचे आहेत. समाज आणि संस्कृतींचा पोत याची जाण हे दुसरे महत्त्वाचे घटक. निवडलेल्या कलेच्या निर्मितीचे प्रत्यक्ष अनुभव किंवा निरीक्षण, त्या कलेचा इतिहास आणि आजची वाटचाल, याबद्दल समज आवश्यक आहे. याबरोबरच त्या कलेतील व्यवहाराचे आणि आíथक व्यापाराचे अंदाज असणे अभिप्रेत आहे. संगणकीय ज्ञान, संभाषण कौशल्य, वेळेचे नियोजन, कार्यसिद्धीसाठी सहकाऱ्यांसोबत काम करण्याची तयारी, प्रवासाची आवड, आपले संपर्क वर्तुळ प्रबळ करणे आणि आपल्या वैयक्तिक क्षमता आणि मर्यादांची समज हे सर्व गुण कला नियोजनातही आवश्यक आहेत.

एकूण कला क्षेत्र ही आजवर अनियोजित पद्धतीने चालणारी यंत्रणा राहिली आहे. कलाकार, कला शिक्षण संस्था, कलेला पाठिंबा देणारे रसिक, कला दालने, सरकारी योजना या सर्वाचा ताळमेळ भारतात अजून हवा तेवढा बसलेला नाही. स्वातंत्र्योत्तर काळापासून आजवर हा समग्र कला उद्योग अजूनही संभ्रमात आहे. पण बदलत्या काळानुसार या क्षेत्रातही प्रगतीचे वारे फिरू लागले आहेत. अर्थात जेव्हा कलेला उद्योगाचे रूप दिले जाते तेव्हा कलात्मक स्वातंत्र्यावर मर्यादा आणि शक्यता दोन्ही वाढतात. कलेतून मनोरंजन, नीतिमूल्यांची जोपासना, समाज सुधारणा होणे अशा अनेक अपेक्षा आणि जबाबदाऱ्यांचे ओझे कला आणि निगडित यंत्रणांवर टाकली जाते. योग्य आणि समावेशक अशा योजनेतून या अपेक्षा पूर्ण होण्यास दुजोरा मिळेल आणि सांस्कृतिक संवर्धनाचे कार्य पुढे जाऊ शकेल.

पुढील लेखात कला नियोजनाचा इतिहास, विविध संस्थांमधून दिले जाणारे औपचारिक प्रशिक्षण आणि पदवी, नमूद केलेल्या उपक्षेत्रांमधील कामाचे स्वरूप, संलग्न आíथक, राजकीय मुद्दे या सर्वाविषयी माहिती करून घेता येईल.

Article Publshed in Loksatta

कला नियोजन आणि संधी

NGMA, मुंबई येथे विद्यार्थ्यांसोबत प्रदर्शनांतर्गत कार्यशाळा

कलेची आवड असलेल्यांसाठी कलेची निर्मिती इतकेच काही करिअर नाही!

कला नियोजन ही संकल्पना निरनिराळ्या संस्थांच्या माध्यमातून चालत आलेली परंपरा आहे. विसाव्या शतकापासून या विषयात औपचारिक दखल घेऊन विद्यापीठांमधून पदवी अभ्यासक्रमांना युरोप, अमेरिकेत व लंडन येथे सुरुवात झाली. इतिहासात कला नियोजन हे अनेक पातळींवर आणि सुप्तरीत्या आणि बहुतेक वेळी इतर सांस्कृतिक व्यवहारात समरस असल्याने त्याचा नेमके इतिहास मांडणे अवघड आहे. तरी १९७० नंतर जागतिक स्तरावर दृश्य आणि रंगमंचावरील कलांचा समाजावरील परिणाम ओळखून त्याचे व्यावसायिक, आíथक आणि सांस्कृतिक लाभ घेण्यासाठी या क्षेत्रातील शैक्षणिक अभ्यासक्रमाची सुरुवात झाल्याचे कळते.

कला नियोजन हे व्यावसायिक गरजेतून तयार झाले, ज्यामुळे अपेक्षित कलात्मक परिणाम अगर बदल (समाज आणि कलेत) घडवून आणण्यासाठी, त्या परिणामांचा प्रभाव मोजण्यासाठी आणि निरीक्षणातून पुढील धोरणे तयार करण्यासाठी उपयुक्त साधने प्राप्त होतात. नियोजन आणि नियोजकाचे कार्य दृककला नियोजनाच्या एका उदाहरणातून पाहू या. सध्या कोची येथे आयोजित करण्यात येणाऱ्या आंतरराष्ट्रीय कोची मुजिरीस बिएनालेसारख्या मोठय़ा कला प्रदर्शनाच्या उदाहरणातून नियोजनाचे टप्पे, गुंता आणि व्यवहार समजून घेऊ. पहिल्या लेखात नमूद गुणांखेरीज नियोजनासाठी संयोजक दष्टी हे महत्त्वाचे. प्रदर्शनपूर्व तयारीत प्रदर्शनाची भूमिका – कन्सेप्ट व हेतू, प्रदर्शन स्थळ, आवश्यक आíथक पाठबळ आणि उपलब्धता, कलाकृती किंवा सहभागी होणाऱ्या कलाकारांची निवड, निवड प्रक्रियेचे निकष, स्थानिक राजकीय, सांस्कृतिक धोरणांचा अंदाज घेऊन प्रदर्शनाच्या प्रभाव आणि परिणामांचा अंदाज बाळगणे प्रदर्शनाच्या यशासाठी अत्यंत महत्त्वाचे आहे.

प्रदर्शन वास्तवात आणण्यासाठी गरजेची क्रिया ज्याला लॉजिस्टिक्स म्हणतात असे कार्य म्हणजे प्रत्यक्ष कलाकृतींचा संग्रह असतो. तो त्या त्या कलाकार किंवा संग्राहकांकडून मागवणे, प्रदर्शन दालनात मांडणीचा आराखडा तयार करणे, कलाकृतींचे सुरक्षित वाहतूक, कलाकृतींचा विमा, आवश्यक सरकारी आणि खासगी परवाने, दालनात असणारी विद्युत आणि प्रकाशव्यवस्था, व्हिडीओ किंवा साऊंड मांडणी – कलाकृतींसाठी विशिष्ट वातावरण निर्मितीची, त्यासाठी टीव्ही/ प्रोजेक्टर, योग्य ध्वनिप्रकाश योजना, दालनात दर्शकांना कलाकृतींच्या निरीक्षणासाठी उपलब्ध मार्ग व फलक अशा सर्व बाबींचा नियोजकांच्या संघाला तयारी करणे अभिप्रेत आहे. याव्यतिरिक्त अनपेक्षित अडचणी आणि आव्हानांसाठी अनुभवी आणि चतुर नियोजकांचा संघ असणे, आवश्यक आहे.

प्रदर्शन काळात कलाकृतींच्या संरक्षणासाठी (इजा होणे, चोरी होणे, नसíगक आपत्ती) योग्य ते उपाय करणे अत्यंत महत्त्वाचे आहे. कारण ज्या कलाकृतींना राष्ट्रीय आणि आंतरराष्ट्रीय ख्याती आहे त्यांचे कलात्मक आणि आíथक मूल्य प्रचंड असते. योग्य काळजी घेतली न गेल्याने कलाकृतीचे नुकसान तर होईलच त्याबरोबरच नियोजकांच्या विश्वासार्हतेवरही प्रश्नचिन्ह उपस्थित होते.

प्रदर्शनाचे यश बहुसंख्य दर्शकांच्या सहभागात आहे. त्यासाठी उपयुक्त असे प्रचार – समाज माध्यमे, वर्तमानपत्र, वृत्तवाहिन्या, संकेतस्थळांवर पुरेशी माहिती, सातत्याचे जाहिरात हे आवश्यक घटक आहेत. याहीपेक्षा दर्शकांना गुंतवून ठेवण्यासाठी विविध कार्यशाळा, फिल्म प्रदर्शन, चर्चासत्र, कलाकारांसोबत वॉक थ्रू अशा कार्यक्रमांचे नियोजन करणे, ही प्रदर्शनाव्यतिरिक्त करण्याची कामे आहेत. सहभागासाठी विद्यार्थी, कला-विद्यार्थी, उत्सुक आणि हौशी कलाकार, सामान्य वर्ग, विशेष गरज असणारे नागरिक अशा सर्वाचा विचार केल्याने खऱ्या अर्थाने प्रदर्शनाचे सार्थक होते.

वर दिलेली सर्व माहिती एका आदर्श कला नियोजनाचे अगर प्रदर्शनाचे अविभाज्य घटक आहेत. पण वास्तवात असे चित्र तयार होण्यासाठी अत्यंत धाडसी वृत्ती पाहिजे. त्या सोबत सक्षम कार्यप्रणाली आणि सूज्ञ, तत्पर आणि चिकित्सक असे सहकारीदेखील पाहिजेत. अर्थात हे सर्व कोणत्याही नियोजनात लागू पडणारे घटक आहेत. कलेत मात्र या सर्व गुणांसमवेत कला संबोधनासाठी नेमके विषय आणि आशय हेरण्याची क्षमता सर्वाधिक महत्त्वाची. सामाजिकदृष्टय़ा नाजूक विषय हाताळताना विषयाची प्रदर्शनातून मांडणी अशा रीतीने करावे लागते, ज्यामुळे दर्शक-समाजाला विचार करण्यास प्रेरित करेल.

NGMA, मुंबई येथील दालनाचे दृश्य

आधुनिक दृश्य कला ही भारतीय सांस्कृतिक जीवनात सलग न आल्याने समकालीन दृक भाषा समजणे अवघड आणि आपल्या आजच्या जीवनाशी विसंगतदेखील आहे. ही विसंगती युरोपातून भारतात आलेल्या नूतन कला प्रवाहांच्या परिणामाने निर्माण झालेले आहे. त्याशिवाय जलद गतीने बदलणाऱ्या समाजव्यवस्था आणि तंत्रज्ञान यामुळे संभ्रमाचे वातावरण कला नियोजकांपुढे असलेले प्रमुख आव्हान आहे. कलाकृतींतील सौंदर्यानुभव, आणि महत्त्व कमी न करता त्यातला आशय बहुसंख्याकांपर्यंत पोहोचवणे अत्यंत कसोटीचे आहे. सांकल्पनिक आव्हानांशिवाय राजकीय आणि आíथक आव्हानेही या संपूर्ण प्रक्रियेला विराम लावणारे ठरू शकतात. आंतरराष्ट्रीय पातळीवर प्रदर्शन आयोजित करताना सामील असलेल्या देशांच्या आपसातील सांस्कृतिक धोरणे, प्रदर्शन साध्य होण्यासाठी मध्यस्थी करणाऱ्या शासकीय आणि बिगरशासकीय संस्था यांच्यामधील संवाद, अर्थसाहाय्य पुरवणारे प्रायोजक व मिळणाऱ्या धनराशीचे नियोजन, जमा-खर्च या तेवढय़ाच आव्हानात्मक बाबी आहेत. आयोजकांची विश्वसनीयता सिद्ध झाल्याखेरीज प्रायोजकांचे आणि शासकीय पाठबळ मिळणे कठीण आहे.

आतापर्यंत मांडलेल्या विषयात मोठय़ा पातळीवर होणाऱ्या प्रदर्शनाच्या उलाढालींचा विचार आपण केला. यातल्या बहुतेक बाबी सर्व दृश्यकला आणि रंगमंचीय कलांच्या नियोजन आराखडय़ात थोडय़ाफार फरकाने सारख्याच असतात. नियोजन म्हटल्यावर ऑन फील्ड आणि डेस्कटॉप वर्क दोन्ही कमी-जास्त प्रमाणात असतात. अनेक प्रकारच्या लोकांशी संवाद साधणे, भेटीगाठी घेणे, ऑफिसमधून ई-मेल संपर्क, कार्य निर्वाहासाठी आखलेली कामे आणि दिलेल्या मुदती, अनुदान प्रस्ताव लिहिणे, ग्रांट लेखन, घडामोडींचे दस्तावेजीकरण (डॉक्युमेंटेशन), फोटोग्राफी, रिपोर्ट तयार करणे, जमा-खर्च राखणे, वेळच्या वेळी प्रसारमाध्यमातून उपक्रमांची बातमी देणे, त्यासाठी आकर्षक पोस्टर बनविणे या व इतर अनेक कामे सामील असतात. अर्थात सगळं काही एकच व्यक्ती करणे अपेक्षित नसून अनुभव, ज्ञान, आवड आणि चिकाटी या आधारांवर नियोजकांवर जबाबदारी सोपवली जाते. काही छोटय़ा संस्थांमध्ये ही अनेक कामे दोन किंवा तीन व्यक्ती सांभाळत असतात.

कला नियोजन क्षेत्रातील शिक्षण जगभरातील विद्यापीठांमध्ये, खासगी संस्थांमधून पदवी आणि पदव्युत्तर अभ्यासक्रमांतून उपलब्ध आहेत. आर्ट्स मॅनेजमेंट, क्युरॅटोरिअल स्टडीज, हेरिटेज मॅनॅजमेन्ट, लिबरल आर्ट्स स्टडीज, मानव्य शास्त्र, वस्तुसंग्रहालयाचे शास्त्र – म्युझिऑलॉजी, बीबीए, एमबीए अशा निरनिराळ्या अभ्यासक्रमांतून कला नियोजनाचे प्रशिक्षण सुरू आहे. काही आंतरराष्ट्रीय लिलावगृहांनी घरांनी कलावस्तूंच्या व्यवहाराच्या प्रशिक्षण अभ्यासक्रमालाही काही वर्षांपूर्वीच सुरुवात केली आहे. भारतात मुंबई आणि बडोदा विद्यापीठाचे म्युझिऑलॉजी अ‍ॅण्ड कन्झव्‍‌र्हेशन, सिंबॉयसिसमधील लिबरल आर्ट्स, मास कम्युनिकेशन, टिळक महाराष्ट्र विद्यापीठातील इंडॉलॉजी, हेरिटेज टूरिजम, लखनौ येथील राष्ट्रीय सांस्कृतिक संपदा संरक्षण अनुसंधानशाला येथील कार्यशाळा, बेंगळुरू येथील सृष्टी या कला आणि डिझाइन संस्थेतील विविध अभ्यासक्रम, असे अनेक प्रकारचे अभ्यासक्रम उपलब्ध आहेत. त्याशिवाय मुंबईतील मोहिले पारीख केंद्र, दिल्ली येथील फाऊंडेशन फॉर इंडियन कंटेम्पररी आर्ट्स, इंडिया फाऊंडेशन फॉर आर्ट्स, स्पिक मॅके, काही कला दालने अशा विविध खासगी संस्थांमधून कार्यशाळा, संशोधन अनुदान या माध्यमातून कला नियोजन शिकणाऱ्या आणि कार्य करणाऱ्या जिज्ञासूंना ज्ञान आणि स्थानही मिळत आहे.

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