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Editor's Notes

• #2: Good Morning and Thank you very much for your kind invitation to be a part of this very important event organized by Sujata and Uma and I am very happy to be here during the monsoons. I was asked to share with you my journey into illustration and how came to do what I do. I must confess I never really thought of doing illustration since I studied Fine arts and painting and illustration was something that commercial artists did.. But never say never and though I was a reluctant beginner I find I do enjoy this part of my being and for which you can blame one publisher. Tulika Publishers are solely responsible for my being in this domain, since they showed more confidence in me as an illustrator than I did and if it weren’t for Radhika Menon who singlehandedly pursued me in the days of no email or mobile phones, only letters and public phones. I had made an animated film called All About Nothing, which was really a conjecture on how the zero was invented. I had done this for the Nehru Centre for an exposition on India, when I was at NID. I have no idea where Radhika saw this film because it was before youtube and internet etc. She wrote to me saying she would like me to make this into a book for children. To fob her off I said the copyrights are with Nehru Centre so I couldn’t do this. She said, don’t use those images, the IPR is still yours. I said but it has no text! She said we will write it for you… I said NID wont let me do this and you cant pay me, she said I will speak to the admin at NID. Now what does one do? I said, I will send you some images and if you think its Ok then we will do it. And that’s how I did All About Nothing. This was followed by Subir ‘s The Boy who loved to colour and then Sameer’s House. It was exciting to work with text by someone else and to think about how the images would add another layer to the words. Tulika encouraged me to come up with ideas for books and gave me all the support to explore new avenues and also to make my animated films into picture books. I have also worked with other publishers, Bookworm being one of them, but to a large degree I have worked consistently with Tulika since 1998.. There is comfort in knowing and working with the same people and I have learnt a lot about doing books just by working with them. When a publisher invests so much confidence and trust in you, you feel very motivated and committed. So yes, I took baby steps into illustration and was nurtured by Tulika. I thought for the time that we have and no doubt you have some questions for me too, I would talk about a few books that I feel have taught me a lot and where the process became most important for me. I have illustrated books for which the text was written by another author, I have collaborated with traditional artists to make books on stories that they have told, and I have explored the form of the book itself, where the relationship between words and images has been interrogated.
• #3: Some of my work is focused on doing collaborative work where the book has emerged by working with traditional artists. So we did the Gandhi book with a Warli artist and The Bhil Story with a Bhil artist and Its all the Same with a Kaavad artist. However, I want to talk more about the book Home which is based on my research into the Kaavad storytelling tradition.
• #4: The Kaavad is a painted wooden shrine, used by the itinerant storyteller (Kaavadiya) to recite stories and genealogies for his hereditary patrons. The box is covered with images that are identified by the storyteller as he unfolds the box. He uses the same image to recite multiple narratives and to identify patrons from various villages. Contrary to other practices where the image particularizes the word, here the word or voice particularizes the image. This makes the Kaavad highly inclusive because it allows an image to hold many stories and several persons to be a part of a narrative or shrine.
• #5: The storyteller brings the Kaavad to his patron’s home once a year, which is at the end of the harvest season in winter and performs a recitation. The storyteller begins the recitation by brushing the Kaavad with a peacock feather (considered sacred) to ward off evil, as well as to draw the attention of his listeners by pointing at the images as he gradually turns the panels, embarking on his journey of telling.
• #6: He alludes to the stories with the bare minimum and does not recite any story fully because it is assumed the patron knows the stories. He mentions the name of the protagonists and the key actions performed by them in the story, thereby invoking the patron’s memory and imagination. The community considers such a recitation to be equivalent to performing a pilgrimage. The recitation of the genealogies raises the status of the patron because the storyteller endorses their lineage to a saint or a god. Origin myths reinforce the connection between the community members and their ancestors from the epics. This gives the members the opportunity to raise their status beyond that which is constrained by conventional social stratifications. He also mentions the generous donations made by the patron and his extended family. Individual identity is thus acknowledged against the backdrop of a community identity, and seemingly considered important as far as it contributes to finding a ‘place’ in the community. The Kaavad thus serves the function of sustaining a community.
• #7: It may be noted that the Kaavad community is a marginalized community that lies outside of the classical Hindu caste system and are referred to as OBCs (Other Backward Classes) by the government of India. The Kaavad storytelling is a living but waning tradition which the community has sustained over time. It is approximately 400-years old (Lyons 2007), although its origin myth suggests that it existed from the times of the Hindu epic Ramayana.
• #8: The invention of the Kaavad is attributed to a mysterious woman saint called Kundanabai who gifted the portable shrine to the storytellers and they in turn have kept it alive with the help of the artists. The Kaavad is one of the lesser-known forms of storytelling from Rajasthan and shares some traits with the wooden puppets (kathputli) and the painted scrolls (phad); both in the manner of its making and performance. However, the Kaavad defies restrictive labels like ‘artifact’, ‘painting’, ‘story’, or ‘performance’. It is at once all of these and more - a work in which painting, recitation of genealogies, narratives and gesture coalesce to create a complete work of art or an experience.
• #9: Home is a children’s picture book sans story. The book is inspired by the unique structure of the Kaavad and its characteristics of inclusivity, community building and the potential for multiple narratives. My premise was that if pictures with a few words are provided without narratives, they may motivate a child to create their own stories, individually and as a group. They may share the complex components of their lives and build lucid connections to explore and comprehend what they confront and perhaps even find resolutions. We have also assumed that such a book offers a space for free associations that may provide insights into a child’s world and possibly create a platform for an interaction between children, their parents and teachers in formal and informal places. We anticipated the book would lead us to learning about the impact of socio-cultural contexts in interpreting images. It is not a book that is to be read alone. It requires a community of listeners and a reader.
• #10: ‘Home’ shares a fair amount of similarities with the Kaavad but also differs from it in several ways. Like the Kaavad, the book is structurally designed to be a standing book that can be opened in several ways, inciting curiosity. Accordion folded flaps flank a central panel where a cut-out window invites the child to look out at the world through a frame and yet know that what is seen through the frame is a only a part of a whole. The window frame makes them aware of choices of what to include and through that extension know that something is left out. It may also be used as a theatrical stage for children to perform with puppets or toys of their choice or convesre with each other.
• #11: In the Kaavad the storyteller points an image and narrates a story, similarly, in the book children are invited to choose any image and narrate a story of their own. All panels have painted pictures against a red background with keywords that prompt discussions around home and family from the human and animal world. One set of flaps has images from the animal world and the other has humans. There is no formal sequence but the images are distributed thematically in clusters on indidividual flaps and within the flap each image is separated by grid lines, as found in the Kaavad. Themes include family, homes, gendered identities and animals. The approach is inclusive as the images portray several families and homes that children could identify with. In the Kaavad one image represents multiple patrons; here too, the image could mean different things to different children, inviting them to draw on their own cultural context. Some may identify with the images, others may recall various tales. Images are not simply representations of reality; they are contextual and suggest worldviews. For example, normative illustrations depict a family unit consisting of father, mother and two children and every child may not feel included. Such depictions may alienate those that do not belong to such a family (Sabnani 2010). In the book, like the Kaavad, there is a possibility of identifying with different kinds of family units; from a large joint family or a single parent unit or a gay couple. When a child looks at an image or text s/he may recalls a story from memory or imagine new ones co-opting the listener as a collaborator for new memories. Unlike the Kaavad, Home, as an object needs no rituals to be performed, it is secular in nature and invites universal use. It is not performed by a single individual and can be used by multiple children. It has a cutout window that allows for multiple interpretations on how to engage with it. It is nonlinear and allows students and children to access it in multiple ways as well read the images in any order they wish. There is no tacit understanding between the tellers and listeners; it does not assume a shared knowledge between them. However, a teller may seek collaboration from listeners to move the story forward, a challenge that the Kaavad too offers, conceptually.
• #12: Then we invited a child to tell a story using the same image. Soon, everyone wanted to tell their own story and held the book in their hand while telling their story. Some told a known story and others made up their own stories. Some children invented a story around one image and others combined several images to construct their narratives.
• #13: In Vadodara, children wanted to make their own version of the book and drew images in them on themes of their own choice. One student made an autobiographic story on adoption using the flaps to show a childless couple bringing a child from an orphanage and celebrating her birthday at home (Sabnani, 2010).
• #14: Kannal Achuthan, an MPhil student, from the Faculty of Education, University of Cambridge, UK, used the book to explore whether “picture books that offer a gap between the text and the reader offer the most scope to promote verbal, visual and narrative literacies” (Achuthan, 2011). Achuthan carried out the test with two boys and two girls of multiple ethnicities, between the ages five to seven years, in their homes. The children responded to the book structure, to the images and recalled memories of events while looking at some images. They also created their own versions of the book. Some of the findings that were interesting and different for us were their response to the book structure itself. The boys called it a rocket book and the girls said it reminded them of a hotel and home. They invented stories and explanations for the people they saw in the images and one of them said the book reminded them of ‘Noah’s Ark’ (Achuthan, 2011).
• #15: A weeklong workshop with Early Learners and kindergarten kids at the American Embassy school in Delhi in 2013, led us to expand the repertoire of the Kaavad and Home to create homelike installations with the children and their teachers. The children were from various countries between the ages of five to seven. It was collaboration between several sections in the school and they made the structure with discarded cardboard boxes on which they pasted their paintings of ‘homes’ and ‘friends’ they missed or had left behind. They made large cutouts in the ‘walls’ and used them as theatre windows to perform with their handmade puppets. The response to the book was like most other children we had met so far. They all wanted to ‘play’ with it. One group sat around it closing the flaps together to make a shower and wanted others to stay away. One child ran around with the book looking out the cutout window, using it as a frame for himself and as way of looking at everyone.
• #17: At this point all the kids used the cutouts in their installation walls to stick their heads through which to speak to each other.
• #18: In a more recent investigation carried out independently by Anisha Dalvi, the book was shared with underprivileged children at ‘Asha for Education’, an organization that is actively working towards bringing basic education for a ‘socio-economic change’. The responses to the images from this group were similar in some instances and quite different to the ones from children going to private schools. They were more inclined to label the images and describe the situation in which the figures were found. A child seeing the image of a man with balloons said “The balloon man has stolen balloons from someone else and is going to sell these balloons for Rs 2.” When probed further as to why he felt the man was a thief, he said ‘because he is dark’. Another child combined several images from different flaps of the book to create a narrative about a boy who nearly drowns in the river but is rescued by a dolphin, only to be devoured by a tiger and then saved by a seal and taken home to safety by his mother and sister. In this story the child turned the book several times to identify the different characters that were spread on different flaps and connected them into a complex narrative of being attacked and rescued. We wanted to explore how one image could have multiple interpretations and this led us to ask three children to narrate stories about a single image. They chose an image of two nomadic women walking with a camel carrying all their belongings including a child, elicited three stories from three children with a similar theme of the fear of abandonment
• #19: Finally, we also shared the book with the Kaavad storytellers, even though they were not the identified audience for the book; they were the carriers of the tradition that had inspired us and we were curious to know their responses. They were surprised that the Kaavad could also be made on paper and said the structure reminded them of the Kaavad but the art was different and the folds were not in the ‘correct’ direction. Two of them discussed three images on a flap and said they could tell one of the Kaavad stories using those images. They wanted to link all three images on a flap to construct a story they knew. They identified the image of a man outside the green house as a schoolhouse with a man studying at the entrance and the nomadic family taking their child to the jungle to collect food. This encouraged us to think about an image’s flexibility to be molded for different contexts.