BITTER SWEET

"Tell me what you eat, and I'll tell you who you are"
- Jean Brill

Bitter sweet is an interactive play written to work as a participatory research piece, based in Bidar, Karnataka. The narrative rides on the question of what self sufficiency or food dependence is for the people who grow it for us. Through the medium of critical making, the work explores the question of what self sufficiency would mean in a farmers life in the context of the green revolution, commercial farming through the three generations that reside in the village. The story takes a turn at multiple points owing to the intersectional transparent nature of food.

Team : Individual
Role: Research, Writing
Tools: Action Research, Practice based research, Critical Making
Duration: 3 months | Srishti Institute of Art, Design and Technology X Team YUVAA
X Living Labs Network

BRIEF

The focus of the project was to explore creative practice as an act of listening and negotiating to enunciate the everyday use, maintenance and future of these water structures. Capabilities and learning outcomes

1. Carry out practice-based & place-based research in collaboration with communities from respective micro-contexts
2. Combine making with ethics in practice to co-develop grounded methods to coproduce outcomes, outputs, artworks or artefacts

We will facilitate and explore collaborations in interdisciplinary teams and transdisciplinary modes of action-research. With each one of you bringing your own creative practice to collectively design research methods and co-develop outcomes that can initiate a dialogic process to understand the multiple modes of conservation and development trajectories relevant to the listed micro-contexts above. The intent is not to solve but to support through creative practises.

PROJECT PROPOSAL

ABSTRACT

Vollokoti is a small hamlet housed within the walls of the Bidar fort and Hamilapur, an area lying outside the fort is composed of fairly larger village settlements. A common thread between these locations are the agricultural practices taking place in these areas that serve as primary livelihood generators for the people. Taking these locations as epicenters of research, this project aims to understanding the evolution of diets with the change in farming practices over time and its overarching effect on the health and well being of farmers.

CRITICAL INQUIRY AND RESEARCH QUESTIONS

During our fieldwork, eating with the locals at temples and local food from eateries made the kind of food eaten in rural areas versus the urban very evident. Unlike the urban setting where our food choices are almost perennial as we eat similar food all through the year, in a rural setting the food people eat is based largely on what they grow and availability which means that local diets naturally change seasonally. However, several factors diversify or alter the diets of the people, say historically invasions by several other communities made availability of certain ingredients available, influencing the culinary practices. The availability of water and change in techniques of farming could have also changed what people eat over the generations. For instance, what made puranpoli an essential dish with sugarcane being a highly water intensive crop? What other food practices evolved or changed over time? Similarly, the presence of spicy food, the descriptions of cool and warm food that the farmers mentioned visibly coincided with their crop cycles seasonally and was a response to their geographical conditions. This led to the inquiry of how food adaptation as a response to on their availability and natural conditions works. Additionally, considering the lifestyles of farming communities to be highly labour intensive jobs with farmers of all ages on their feet all day, what culinary practices did they adopt to support the nature of work and what effect does it have on their health and wellbeing? Thus the primary inquiry for this project lies in understanding the relationship between crops grown and local food cultures and adaptations that are a result of it. The aim is to also examine this relationship through the lens of how market forces and introduction of non indegenious methods have played a role in changing the culinary practices of the people in the context and the effect it has had on their health and wellbeing. Traditionally local knowledge systems would thus be inevitably used as a basis for supporting and understanding this larger inquiry.

CREATING LEARNING ARTEFACTS

FIELDWORK

During our fieldwork, eating with the locals at temples and local food from eateries made the kind of food eaten in rural areas versus the urban very evident. Unlike the urban setting where our food choices are almost perennial as we eat similar food all through the year, in a rural setting the food people eat is based largely on what they grow and availability which means that local diets naturally change seasonally. However, several factors diversify or alter the diets of the people, say historically invasions by several other communities made availability of certain ingredients available, influencing the culinary practices. The availability of water and change in techniques of farming could have also changed what people eat over the generations. For instance, what made puranpoli an essential dish with sugarcane being a highly water intensive crop? What other food practices evolved or changed over time? Similarly, the presence of spicy food, the descriptions of cool and warm food that the farmers mentioned visibly coincided with their crop cycles seasonally and was

POSSIBLE OUTCOMES

POSSIBLE OUTCOMES

What can telling these stories do for the audience?

How can we bring in the experience of food in the performance?

What would the future of the performance be? How could it make a larger impact?

What can telling these stories do for the audience?

Traditional play
Rehearsed reading for the final outcome

Will need more research - more stories

3 drafts - finding actors and workshopping

What can telling these stories do for the audience?

1 section of the play devise with the people/ children

Play with the food collected, health techniques perspectives around that collected
Recipe performance

#1 THEATRE

Unveiling the lesser known

WHAT IS CRITICAL MAKING?

Design Thinking : Solving a problem
Critical making : Refining a problem space

Critical making, as a term, was initially used by Matt Ratto in 2008 and first published in 2009 to describe the combination of critical thinking with hands-on making—a kind of pedagogical practice that uses material engagements with technologies to open up and extend critical social reflection.

PLAYWRITING AS A CRITICAL MAKING TOOL

Narrative building through writing play allows for a deep understanding of the entire world one builds and that could help in unravelling the smaller bits of a system and understanding them in deapth

Looking at systems

Complexities in circumstances

The complexity in a the system can be portrayed through reversals in a characters arc, the plot or even

Playwriting a way to address the in betweens

Unlike with writing for film, playwriting is completely free form. This allows not only for more creativity, but also creates more room for interpretation from the directors and actors when reading the play.

Consider the different points of view

Highly collaborative medium. Allows for evolving and changing of the story with the people itself. plays tend to be far more character focused instead of world or plot focused. This characteristic is further enhanced by the fact that the plot of a play is always explained via.

CHARACTERS THAT EMERGED

The characters that emerged were a result of the free writing process. All characters are inspired from people I met and their characteristics, situations and circumstances were mixed and matched to develop these characters to build the story.

A small land holding farmer

early 70, Bhim’s mother used to be a landless farmer

Bhims son studies in the nearby government school

Works in the anganwadi attached to the school

An aspiring politician. On the committee for agricultural decisions

IDEAS/ QUESTIONS THAT EMERGED

Post Introduction of the green revolution, farmers began changing their crops from the traditional crops to cash crops. While there was an increase in yield and maybe money, for small land owning farmers who could eat what they grew, they were now dependent on outside sources for their food

Growing cash crops help the nation:
1. National food security
2. Economy - generating livelihoods
How does homogenising the agricultural ecosystem work? and at what cost?

Shifting to organic farming methods that are now being introduced by the government where in there is no stable market, a low incentive but of major value for the environment.
Does the farmer take the risk when his other crops are ensuring atleast a low but stable profit?

What is available is what you eat.
What you it is symbolic of who you are
Caste and food

Self Sufficiency

Stability vs Risk

Larger impact vs individual impact

Survival vs Status

POSSIBLE OUTCOMES

Traditional Play

A script written to raise questions for an audience that is away from the context, people from the urban spaces who are far from the reality of what is happening on ground. This work would thus be a conversation starter and a provocative work for the people.

As a final outcome, a table reading of the script would be performed.

What is available is what you eat.
What you it is symbolic of who you are
Caste and food

FINAL SCRIPT

Bright living room with modern inventory
Bright living room with modern inventory
Bright living room with modern inventory
Bright living room with modern inventory
Bright living room with modern inventory
Bright living room with modern inventory
Bright living room with modern inventory
Bright living room with modern inventory

While going to a new place for a project is exciting, there were several challenges that I faced and learnings that came as a result of it. The two main learnings were - Planning and adapting. Planning for the field is very important I realise now. Even if the plan does not work out, going with the plan in hand can keep one grounded on the field and then if other insights drive one to another direction, it should be done with grace. Some plans do not always work out, some do and some divert the project. Finding a middle ground for all of these while keeping the other contraints such as time and access to field is extremely crucial. From the beginning of this project, I have wanted to challenge myself as a designer. The methods of design and research that this project was bringing forth was very different from what I had done in projects earlier and I wanted to explore the different design philiosophies before graduating. But it has no been easy. Being so used to the problem solving structure of design thinking, where all your steps lead you to finding a problem area and then the steps and toolkits help you solve it, stepping away from that to create for only provocation has been a difficult journey. The change in order of events and marrying the two design processes has been challenging too and I am yet to figure out how to do it efficiently.

One thing that I have learnt though is that there is no right and wrong before you do. Only once you start doing, will you know what is wrong and will have enough to correct it. A dilemma that kept coming up was whats the point in continuously creating work that displays the problem? If there is a problem, I should just go and solve it or atleast try. What is the point in making work that displays every problem and asks questions. Because to be able to solve somehting, one must be able to critically think about it. Without that critical thinking, no conversation, no action can take place.

I realised the beauty that there is in the honesty of people you meet who come from a different background as you, how very comfortable we are in our own bubbles in the city. This was a project that took me through many challenges that I wouldn’t have faced if it had not been for me working alone in a context as well as doing something that I have been longing to do - theatre and thought I would pursee further. This project helped me realise the potential design and creative practices have at the grassroots and I would want to continue pursuing this field.

When we are making creative work, how do we ensure that the community, the people we are writing about is at the forefront of the work because it is about their life and their experiences than ours. Do we keep work very realistic? Or where do we draw the line of creative freedom? The most ethical way to achieve this would be to collaborate with the people. That is a mistake I made this time. Even though my aim in the project was to collaborate, due to mistakes I made on field, i was unable to and thus it resulted in my voice probably being more in the work, that theirs. I sincerely hope to correct this the next time I am on field now that I know what I did wrong.

REFLECTION