welcome to
International Theatre Conference &
Prof. G Sankarapillai Endowment Lectures
20, 21 & 22 January 2025
Call for Papers:
The abstract should reach us before 07 December 2024
For further details. Please contact the seminar coordinator Ms. Najumul Shahi
Mobile No : +91 9446371906 | Email Id: itcsdfa@gmail.com
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you informed with further details .
The Interplay Between Performance, Theatre and Tourism: Historical Entanglements, Contemporary Dynamics, and Future Prospects
Introduction Performance and tourism are interwoven practices, each offering patrons an escape to different places, times, and lives through expressive, communicative, and embodied encounters. Both are vital sites of public pedagogy, cultural diplomacy, and cosmopolitan consciousness, providing pleasure and knowledge from the spectacle of others and elsewhere. While often interrelated in the context of cultural experiences, performance and tourism have distinct focuses and objectives. Performance usually involves the presentation of artistic or cultural expressions such as music, theatre, dance, etc. Its main purpose is to engage, stimulate the audience’s thoughts, convey a message, or provide entertainment. Performances often highlight skill, creativity, and emotional impact. Performances can be live or recorded and are often evaluated based on the quality and impact of the presentation. Tourism, on the other hand, involves travel for leisure, recreation, or cultural exploration. It focuses on the experience of visiting new places, discovering local customs, and enjoying various attractions and activities. The goal of tourism is to provide visitors with enjoyable and memorable experiences, often highlighting the natural, historical, and cultural assets of a destination. While performance can be a significant aspect of tourism, drawing visitors to events and cultural showcases, tourism encompasses a broader range of activities beyond entertainment, including sightseeing, adventure activities, and culinary experiences. This International Theatre Conference aims to explore the historical and contemporary connections and disconnections between theatre and tourism, examining how they shape and are shaped by economic and political processes like colonisation and neo-liberalization and speculating on their future as emerging technologies reshape these industries.
Objectives
1. To analyse how tourism impacts Performance, theatre and vice versa.
2. To investigate how theatrical ways of seeing, knowing, and acting shape tourism experiences.
3. To understand the influence of economic and political processes, such as colonisation and neo-liberalization, on performance, theatre and tourism.
4. To predict the future trajectory of theatre and tourism considering technological advancements.
Theoretical Framework
The metaphor of performance is pivotal in tourism studies, rooted in the quest for authenticity. This concept suggests that tourists often encounter 'staged authenticity'—commercial performances designed to meet tourists' expectations. This notion is contentious but essential for understanding the sociological perspective that social life is inherently dramatic, with individuals playing specific roles and managing impressions in social interactions. The framework also considers performativity, particularly in the context of gender categories, where repetitive actions reinforce cultural norms. This perspective shifts from a static view of performance to a dynamic conception of performativity, emphasising ongoing social interactions and the possibility of resistance to entrenched norms. Historical Context Historically, Performance, theatre and tourism have been entwined through the staging of cultural spectacles for visitors. From ancient Greek festivals to Renaissance pageants, to the Ram Nagar’s Ram Lila in Varanasi to Theyyam in Kerala, theatrical performances have attracted tourists, contributing to cultural exchange and economic growth. The rise of colonialism and neoliberal economic policies further intertwined these practices, as colonisers used theatricality to exoticise and commodify colonised cultures, and neoliberalism transformed cultural heritage into marketable experiences. Contemporary Dynamics In the modern era, both industries continue to shape and reflect societal changes. Performance and Theatre productions often draw tourists to cultural hubs, creating economic benefits for local communities. Conversely, tourism influences Performance and theatre by dictating the themes and styles that cater to global audiences seeking cultural immersion. This reciprocal relationship also plays a role in cultural diplomacy and public pedagogy, promoting a cosmopolitan consciousness through the spectacle of others and elsewhere. Technological Advancements and Future Prospects Emerging technologies such as virtual reality (VR), augmented reality (AR), and artificial intelligence (AI) are poised to revolutionise both theatre and tourism. These technologies offer new experiences of presence, embodiment, and mobility, potentially transforming how audiences engage with performances and tourist sites. The future of theatre and tourism will likely involve hybrid experiences that blend physical and digital realms, offering unprecedented opportunities for creativity and engagement.
Call for Papers
We invite submissions for the upcoming conference on the intersection of theatre and tourism. Papers on the following topics, as well as other related topics, are welcome:
Case Studies Analysis of specific instances where theatre and tourism intersect, including festivals, cultural heritage sites, and contemporary performances.
The gathering insights from industry professionals, tourists, and theatre practitioners to understand current trends and future expectations.
Ethical Implications and Socioeconomic Consequences in Slum Tourism This topic invites scholars to explore the phenomenon of slum tourism, where tourists visit impoverished areas to gain an 'authentic' experience. It should critically examine the ethical implications of commodifying poverty, how such tourism affects the local communities, and whether it leads to any meaningful socioeconomic benefits or merely perpetuates stereotypes and exploitation. Scholars could analyse case studies from various global contexts to highlight both the detrimental and potentially positive outcomes of slum tourism.
Unintended Consequences of Tourism Development in Marginalized Communities This topic focuses on the displacement of local communities and the appropriation of their culture due to tourism development, including the impact on traditional performances and theatrical expressions. Papers should investigate instances where tourism projects have led to the forced relocation of residents, the erasure or commercialization of local cultures, and the ways in which these actions disproportionately affect marginalised groups. Scholars should examine how tourism-driven theatrical performances can both harm and help preserve local heritage, seeking a balance between tourism growth and the stability of community life and cultural integrity.
Strategies for Inclusive and Sustainable Tourism Practices This topic encourages scholars to propose and evaluate strategies for making tourism more inclusive and sustainable, particularly through the integration of community-based theatre and performance. Papers could explore policy measures, community-based tourism initiatives, and corporate social responsibility practices that aim to distribute the benefits of tourism more equitably. The focus should be on practical solutions that address socioeconomic disparities and empower underprivileged communities. Scholars are invited to discuss how incorporating local theatre and performance can enhance cultural understanding and ensure that tourism development contributes positively to these communities' well-being and social equity.
We invite scholars to submit papers that critically examine the intersection of tourism, performance, and ecology, highlighting the often-overlooked environmental impacts of tourism-driven cultural performances. This topic seeks to explore how tourism not only consumes cultural heritage but also impacts natural ecosystems through activities that may degrade local and natural environments. Papers should address questions such as how performance-based tourism can balance ecological sustainability with cultural preservation and what role local and indigenous performance traditions play in promoting ecological awareness. We aim to foster discussions that lead to sustainable tourism practices that respect and protect both cultural and natural heritages.
We welcome submissions that investigate the relationship between tourism, theatre, and anthropocentrism, critically questioning the human-centered approach to cultural tourism. This topic challenges scholars to consider how theatrical performances designed for tourists often prioritize human experiences and narratives at the expense of other species and the environment. Papers should explore the implications of this anthropocentric bias in tourism driven theatre, and how it shapes tourists' perceptions of their roles in the ecosystem. We seek to promote a broader understanding of theatre as a medium that can transcend human-centric viewpoints and foster a more holistic, inclusive approach to tourism.
We invite papers that delve into the role of tourism and theatre in fostering interfaith dialogue and understanding. This topic encourages scholars to explore how theatrical performances within tourist settings can serve as a bridge between different religious traditions, promoting mutual respect and cultural exchange. Papers should examine case studies where theatre has successfully facilitated interfaith communication and identify the challenges and opportunities in using performance as a tool for religious harmony. Our goal is to highlight the potential of tourism and theatre to contribute to a more inclusive and harmonious global society through respectful and insightful interfaith engagement.
We seek submissions that explore the potential of tourism and theatre as instruments of peace building and conflict resolution. This topic invites scholars to investigate how theatrical performances tailored for tourists can promote peace and reconciliation in post-conflict regions. Papers should analyse the ways in which theatre can address historical grievances, foster dialogue, and build bridges between divided communities through shared cultural experiences. We aim to uncover the transformative power of theatre in tourism to not only entertain but also heal and unite, contributing to long-term peace and stability in areas scarred by conflict.
Exploration of how VR, AR, and AI are currently used in performance, theatre, tourism, and potential future applications. We eagerly anticipate your contributions to these fields of study as well as any other topics you wish to explore within the realms of Performance and Tourism.
Expected Outcomes
1. An understanding of the symbiotic relationship between theatre and tourism.
2. Insights into how economic and political processes shape these industries.
3. Projections on how technological advancements will transform theatre and tourism experiences.
4. Recommendations for industries' students, teachers and stakeholders to harness these insights for sustainable growth and cultural enrichment.
Epilogue
This conference may explore the historical and current connections between theatre and tourism, showing how they influence each other and are affected by economic and political changes. By looking at new technological trends, we can discuss the future of these global leisure industries and imagine new ways for people to engage with culture and learn through experiences. However, we must also consider whether this is another example of forced marketing. In today's world, everything is often scrutinised for profitability and marketing potential. Many human sectors feel pressured to join the global market, leaving no room for alternatives. Are we pushing theatre and tourism together in a way that makes them grow but also risks losing the integrity and ethics of theatre and performance? In a world where profitability often overshadows other values, are we pushing theatre and tourism to merge just for growth, risking the loss of performance and theatre’s true essence and conscience? Or are we forcing theatre and tourism to merge so both can grow, potentially at the cost of theatre’s original values and ideas?
Important Dates
The distinguished figures who inspired and illuminated the path in days gone by
Dr. Vayala Vasudevan Pillai
Dr. Vayala Vasudevan Pillai, a distinguished scholar and devoted Gandhian, delivered enlightening lectures on theatre, Gandhian philosophy, and societal issues. Exemplifying Gandhian principles, he embraced a life of simplicity and profound generosity, evident in the themes of his plays. Under the guidance of the seasoned theatre genius G. Sankara Pillai, he entered the realm of alternative drama, fusing Western theatrical elements with Indian classical tones rooted in ritual concepts.
A globetrotter like Tagore, Dr. Vayala extensively explored the West, studying and teaching theatre. His plays mirrored expansive human experiences, blending Western theatrical diction with Indian classical tones. Over three decades from 1980, he traversed over twenty countries, immersing himself in the study of theatre, attending plays, and engaging with dramatists and scholars. His passion for sharing acquired knowledge with students was unwavering.
Dr. Pillai revitalized theatre, addressing the contemporary human condition, identity crises, existential angst, and social inequality. Directing over forty plays, including translations of works by Bond, Karnad, Synge, and Beckett, he tirelessly pursued a new spatial concept in modern theatre. His foray into children's plays reflected his belief in shaping the future through them, creating a unique world where their joys and sorrows took center stage. Acknowledged with accolades such as the Sangeet Natak Akademi Award in 2009, Dr. Vayala Vasudevan Pillai's theatrical journey left an indelible mark, blending cultural influences to enrich the global theatrical landscape.
Prof. S. Ramanujam
Born in 1935 in Nanguneri, Tamil Nadu, Shri S. Ramanujam earned a Master’s degree in English before completing a diploma in drama at the National School of Drama, Delhi, in 1967. His career included roles as a Fine Arts Lecturer at Rural University in Gandhigram until 1977, followed by an Assistant Director position at Calicut University's School of Drama until 1985. He concluded his teaching journey as a Professor and Head of the Drama Department at Tamil University, Thanjavur, until 1995. As a seasoned director, Ramanujam curated over fifty productions in Tamil, Malayalam, Telugu, Hindi, and English. Notable works include "Karutha Deivathai Thedi" in Malayalam, "Variattam" in Tamil, and a Telugu rendition of Bhasa’s "Urubhangam." "Karutha Deivathai Thedi" is hailed as a milestone in Malayalam theatre, exploring the theme of seeking God within. His adaptation of Euripides’s "The Trojan Women," titled ‘Veriyattam,’ skillfully transposed the Greek classic into a Tamil context using "opparis" (laments) and traditional Tamil folk art forms. Ramanujam's contributions extend beyond directing; he has written numerous plays, adaptations, and published books on theatre practices in Tamil and English. Actively involved in reviving traditional performances, he played a pivotal role in reintroducing Thappattam in Thanjavur and reconstructing the lost temple theatre form of Kaisikapurana Natakam. Ramanujam’s connection with Malayalam theatre grew through his association with the veteran G. Sankara Pillai. His observations on Kerala's theatrical growth highlight the region's inclination towards reading plays as literature, distinguishing it from other regions where short stories dominate literary preferences.
P. K. Venukuttan Nair
K. Venukuttan Nair(1931-2012) left an indelible mark as an Indian drama personality and Malayalam movie actor. Notable for his multifaceted contributions, he served as the vice-president of the Kerala Sangeeth Natak Akademi and was affiliated with the Kendra Sangeet Nataka Academy. Nair's prowess in professional acting garnered him numerous accolades, including the prestigious P. J. Antony Reward in March 2002, and he participated in state-level contests. As an engineer-turned drama artist, he achieved national recognition by winning the Best Manager award for 'Swathi Tirunal' in 1988 and 'Othello' in 1992. His play, 'Elamkulathe Amma,' focused on the mother of the Socialist patriarch, earning significant acclaim. In addition to his theatrical accomplishments, Nair showcased his acting skills in four films: 'Swapanadanam,' 'Swayamwaram,' 'Oru Cherupunchiri,' and 'Ulkkadal.' His commitment to the arts extended to leadership roles, serving as the vice-president of the Kerala Sangita Natak School and contributing to the Kendra Sangita Nataka College. With his passing at the age of 81 in Thiruvananthapuram, K. Venukuttan Nair's legacy endures as a testament to his significant contributions to the cultural landscape.
V N Krishnan Namboothiri
Born on January 15, 1831, in Valluvanad Taluk of Palakkad District, this remarkable individual embarked on a journey that would leave an indelible mark on the world of dance. After completing his school education, he delved into the realms of Kathakali, Kerala Nadanam, and Bharatanatyam, honing his skills in Chennai. His career took a multifaceted turn as he assumed the role of a dance instructor at the Kalaivani School of Dance. Simultaneously, he showcased his talents at Gemini Studio, making significant contributions as both a dancer and choreographer. Expanding his expertise, he mastered Chau and Kathak, showcasing his versatility. A global dance odyssey ensued as he traveled across continents, refining his art under the guidance of Pandit Udayasankar, serving as the lead dancer for the Indian Classical Dance Group. His journey led him to Bharatiya Kala Kendra, where he assumed the role of Director, collaborating with the renowned Kathak performer, Sri. Birju Maharaj, initiating impactful projects. One notable project, performed in Russia, featured "Kumara Sambhavam," gaining widespread acclaim. A passionate advocate for the arts, he actively engaged with the Indian People’s Theater Association, traversing the globe and leaving an indelible mark. His close association with the School of Drama from its inception showcased his commitment to its growth and development. His contributions to this institution remain unforgettable. Trips to Finland with theatre performances broadened his influence, attracting students from diverse locations eager to learn Kathakali and theatre under his tutelage. His legacy extends beyond borders, a testament to a life dedicated to the enrichment of the performing arts.
Jos Chirammal
Jos Chirammal (1953 - 2006) stands as the foremost architect of Kerala's modern theatre, dedicating his entire life to disseminating the essence of serious and high-quality theatre across every corner of the state. Often regarded as Kerala's first theatre director, he pioneered the notion that a script could be dissected and interpreted based on the director's vision, reshaping the landscape for Malayali theatre enthusiasts. His influence transcended even his mentor, Prof. G. Sankara Pillai, a trailblazer in Kerala's modern theatre. Chirammal continued the relentless pursuit of theatre initiated by Prof. Sankara Pillai, founder director of the School of Drama, Thrissur, where Chirammal was an alumnus of the illustrious first batch. This batch included luminaries like filmmaker Shyamaprasad, playwright-director-actor-academician P. Balachandran, actor-teacher Jayasoorya, and renowned theatre figure Sandhya Rajendran. Beyond his directorial prowess, Chirammal excelled as an actor trainer, drawing inspiration from globally acclaimed theatre figures like Maya Tangberg-Grischin, Prof. S. Ramanujam, Kathakali actor Krishnan Namboothiri, and Kutiyattam scholar G. Venu. His unique actor training methodology, a synthesis of formal training and personal insights, produced vibrant performers who continue to grace Kerala's stages. Chirammal's impact extended to 'street play' in Kerala, where his contributions remain unparalleled. His legacy endures as a testament to his transformative influence on Kerala's theatre landscape, shaping generations of performers and nurturing a culture of profound theatrical expression.
P Balachandran Nair
Padmanabhan Balachandran Nair (1952 – 2021) was a versatile Indian artist known for his contributions as a writer, playwright, scenarist, director, and actor in Malayalam literature and cinema. Born to Padmanabha Pillai and Saraswati Bhai on 2 February 1952 in Sasthamkotta, Kerala, he married Sreelatha, and the couple had two children. Balachandran gained acclaim for his play "Paavam Usman," earning him the Kerala Sahitya Akademi Award and Kerala Professional Nataka Award in 1989. His film scripts, including "Ulladakkam" (1991), "Pavithram" (1994), "Agnidevan" (1995), "Punaradhivasam" (2000), and "Kammatti Paadam" (2016), showcased his storytelling prowess. He marked his directorial debut with "Ivan Megharoopan" (2012) and made notable appearances in films, with "Trivandrum Lodge" (2012) being one of his memorable roles.
Safdar Hashmi
Safdar Hashmi, born to Haneef Hashmi and Qamar Azad on 12 April 1954 in Delhi, emerged as a prominent figure in political and cultural activism. Completing his M.A. in English literature from Delhi University, he briefly taught at universities in Garhwal, Kashmir, and Delhi. After working at the Press Institute of India, he became the Press Information Officer for the Government of West Bengal in Delhi. In 1984, Hashmi left his job to dedicate himself fully to political cultural activism. A founding member of Janam, he excelled as a theoretician and practitioner of political theatre, particularly street theatre. Hashmi's talents extended to playwriting, lyricism, theatre direction, design, and organization. His acclaimed film scripts, writings on culture, and contributions to children's literature underscored his multifaceted impact on Indian cultural and political spheres.
Ramachandran Mokeri
Ramachandran Mokeri (1947 – 2022) was a prominent figure in Kerala's theater scene, known for his dedicated focus on revolutionary social theatre practices. Hailing from North Kerala, South India, Mokeri was a multifaceted theater activist, actor, director, writer, and scholar. His significant contributions included serving as the director at the School of Drama and Fine Arts, part of the University of Calicut's campus. Situated in Aranattukara, a suburb of Thrissur city, this institution offers formal education and training in drama and theater. Affiliated with the National School of Drama, Mokeri played a pivotal role in shaping the curriculum and fostering a vibrant creative environment for aspiring artists. Ramachandran Mokeri's legacy extends beyond his individual roles; he championed the cause of social theater, leaving an indelible mark on Kerala's theatrical landscape. His influence as a practitioner, educator, and advocate for revolutionary themes will continue to resonate within the realm of Indian theater.