Latest news with #Kochi-MuzirisBiennale
The Hindu
6 hours ago
- Business
- The Hindu
Kerala needs a comprehensive creative economy policy to unlock growth potential
As Kerala positions itself toward a knowledge-based economy, it is imperative that we recognise and harness the untapped potential of the creative and cultural sector — a sector that has long flourished informally but now deserves structured policy attention and investment. Kerala's demographic and economic realities make a strong case for embracing the creative economy. Traditional industrialisation is challenged by the State's limited land availability, high population density, and comparatively high labour costs. Moreover, youth aspirations have shifted dramatically. Many young Keralites, while globally renowned for their work ethic — particularly in healthcare and IT sectors — are increasingly reluctant to take up blue-collar jobs back home. As a result, it is estimated that over one-third of Kerala's informal workforce now comes from other Indian States. While Kerala has made notable strides in the IT and consulting sectors, inclusive development demands we address opportunities for those outside the formal tech pipeline — particularly freelancers, women, and creative entrepreneurs. According to the Periodic Labour Force Survey 2023, Kerala's female labour force participation stands at only 25.5%, far below the national average of 37%, despite having the highest female literacy rate in the country. Cultural and creative legacy Kerala has always punched above its weight culturally. Malayalam cinema, acclaimed for its storytelling and innovation, has earned national and international recognition— with recent blockbusters reaching audiences far beyond state borders. Events such as the Kochi-Muziris Biennale, Asia's largest contemporary art festival, and traditional spectacles such as Thrissur Pooram and Nehru Trophy Boat Race, attract global visitors — yet their economic impact remains largely unmeasured and underleveraged. The creative talent pool in Kerala is broad and dynamic — spanning film, animation, visual effects, architecture, design, advertising, performing arts, fine arts, and digital media. The success of Keralites across global creative industries is a testament to this vibrant ecosystem. This has not happened by accident — it is the result of progressive movements, social investments, and education reforms over the decades. Cultural capital to creative capital Kerala's cultural richness is deeply embedded in its architecture, literature, and traditional art forms such as Kathakali, Mohiniyattam, Theyyam, and Koodiyattam — many of which are now recognised as UNESCO Intangible Cultural Heritage. Institutions such as Kerala Kalamandalam, established in 1930 and now a Deemed University, have not only preserved endangered art forms but also attracted international students, making Kerala a hub of cultural exchange. The State has also invested in contemporary institutions such as the K.R. Narayanan National Institute of Visual Science and Arts and the Kerala State Institute of Design, alongside a growing network of media schools and fine arts colleges. These are strong building blocks for a formal creative economy. Time for a unified policy approach Despite this potential, Kerala's creative sector remains fragmented and underserved. While progressive initiatives such as the Kerala Design Policy and the AVGC-XR Policy (focusing on animation, visual effects, gaming, comics, and extended reality) are commendable, a comprehensive, inclusive, and coordinated 'Creative Economy Policy' is urgently needed. Such a policy should: Recognise all sub-sectors — from performing arts and digital content to crafts and design. Support entrepreneurship, local economic development, and export-readiness. Enable structured skilling, mentoring, and incubation for creative professionals. Drive inclusion, particularly for women, youth, and traditional artisans. Build robust infrastructure for festivals, residencies, and marketplaces. A global template Kerala can look to models such as the UK's Creative Industries Council, a cross-industry body that advises the government on the needs and opportunities in the sector. A similar entity in Kerala — a Kerala Creative Industries Council — could streamline policies, remove duplication across departments, and provide long-term strategic guidance. An economic engine for the future The creative economy is projected to represent 10% of global GDP by 2030, according to UNESCO. India's Ministry of Information & Broadcasting has already identified the AVGC-XR sector as a 'sunrise industry', and global players such as Netflix and Amazon are investing heavily in Indian content. Kerala is well-positioned to ride this wave. With geographic charm, cultural depth, and abundant talent, the State has all the ingredients to become the 'Cannes of India' — a hub for creative excellence, tourism, and cultural commerce. What Kerala needs now is a focussed, inclusive, and tech-enabled strategy to turn its cultural capital into creative capital. With the right ecosystem, we can build a future where Kerala's creative products are 'Made in Kerala, Consumed by the World.' The author is Country Head, World Design Council – India
New Indian Express
4 days ago
- Entertainment
- New Indian Express
Kerala's cultural, political ethos add depth to the Biennale, says curator Nikhil Chopra
After battling much uncertainty, the Kochi-Muziris Biennale (KMB) is officially making a comeback. Earlier this month, the Kochi Biennale Foundation announced that Nikhil Chopra, a multidisciplinary artist based in Goa, will curate the sixth edition of the much-celebrated art festival. The 110-day event, titled 'For the Time Being', will run from December 12 to March 31, 2026. Nikhil, associated with HH Art Spaces, a Goa-based artist-led organisation he co-founded, interweaves performance, drawing, photography, sculpture, and installation in his works. Between 2014 and 2017, he performed at the second edition of the Kochi-Muziris Biennale, the Bienal de la Habana, the 12th Sharjah Biennial, and documenta 14 in Athens. In this interview with TNIE, Nikhil talks about his journey with the Biennale, his curatorial vision, and his identity as an artist. Excerpts:
United News of India
19-07-2025
- Entertainment
- United News of India
Italian duos' Ravi Shankar piece at pre-Biennale concert wins huge applause
Kochi, July 19 (UNI) Half a century after maestro Pt. Ravi Shankar composed the iconic L'Aube enchantée (The Enchanted Dawn) as a two-instrument score in Raaga Todi, Tommaso Benciolini and Lorenzo Bernardi, two young musicians from Italy performed the 11-minute composition during a flute-and-guitar concert in the city. Flautist Benciolini blew out softly the morning melody while Bernardi plucked the strings of his guitar to further enhance the pathos of the classical notes tuned by the legendary sitarist in 1976. The piece won special applause at the gathering in Mattancherry, where the visiting duo presented a 75-minute performance, jointly organised by the Kochi Biennale Foundation (KBF) and the Italian Cultural Institute, as part of the lead-up to the upcoming Kochi-Muziris Biennale. At the Indian Chamber of Commerce building, Tommaso and Bernardi tuned on an electronic tanpura ahead of playing L'Aube enchantée that evolved out of a meeting Ravi Shankar (1920-2012) had with French flautist Jean-Pierre Rampal and his compatriot Alexandre Lagoya (guitarist) in the mid-1970s. 'Of late, nine months ago, as we knew of this India trip coming, Lorenzo and I did some research, wanting to present an item for the audiences in this country,' said 34-year-old Tommaso, adding that they have been playing the piece in all venues of late. The duo's Kerala programme, titled 'Echoes of Italy' came after their concerts in Delhi, Lucknow and Dimapur in Nagaland. L'Aube enchantée begins with a brief alaap sketching the scale of the poignant Todi, largely developed by Mian Tansen who sang in the court of Mughal emperor Akbar in the 16th century. As Benciolini and Bernardi rolled out the piece, which was a part of the trans-continental 'East Meets West' album conceived by Ravi Shankar, the audience on Friday evening listened in rapt attention, only to explode in loud cheers at the end of the performance. The pair next contrasted the dawn raga with 'Nightfall', a contemporary composition known for its simplicity. Tuned in a minor scale that partly corresponds with the Indian classical raga Keeravani, the piece known for its minimalist brilliance is composed by Italian Roberto Di Marino, now 69. This came after a three-movement sonatina composed by New York-based Marco Beltrami known for his association with Hollywood and TV scores in America. 'This carries a lot of inner dialogue,' said Bernardi. The concert began with an Italian overture that used to typically open the operas during the Enlightenment period. The longest among the pieces the duo performed was a 22-minute centrepiece by 20th-century Argentine Tango composer Astor Piazolla of Italian descent. The sixth edition of the Kochi-Muziris Biennale, titled 'For the Time Being', will be a 110-day show opening on December 12. Curated by artist Nikhil Chopra with HH Art Spaces, an artist-led organisation based out of Goa, the biennale will conclude on March 31, 2026. UNI DS GNK
New Indian Express
18-07-2025
- Entertainment
- New Indian Express
Kochi Biennale Foundation screens ‘The Leopard's Tribe'
KOCHI: The Kochi Biennale Foundation (KBF) screened the acclaimed documentary film, 'The Leopard's Tribe', on Wednesday evening. Directed by Miriam Chandy Menacherry, the 39-minute documentary essays the acquisition of the Aarey forest area adjoining the bustling Mumbai for building a metro car shed. It focuses on development versus conservation, and talks about environmental protection through the inhabitant tribal community. For the original population of Aarey in Goregaon, renowned for the Sanjay Gandhi National Park called the 'Lungs of Mumbai', the big cat is their god of daily worship. Even so, the forest belt is being destroyed for a facility to maintain and repair the local trains that form the core of the megacity's surface transport. The film pans out the message that sustainable construction activities can go hand-in-hand with economic rise and social well-being. KBF showed the film in Edappally, amid the active participation of Kochiites. The screening at the Kerala Museum comes five months ahead of the sixth edition of the Kochi-Muziris Biennale (KMB) by the KBF.
New Indian Express
16-07-2025
- Entertainment
- New Indian Express
Sixth Kochi-Muziris Biennale curated by Nikhil Chopra to begin from Dec 12
NEW DELHI: The 6th edition of the Kochi-Muziris Biennale will begin from December 12 across various sites in Kochi, the Kochi Biennale Foundation (KBF) announced on Wednesday. Titled "For the Time Being", the biennale will be curated by artist Nikhil Chopra with HH Art Spaces, a Goa-based artist-led organisation. The 110-day international contemporary art exhibition will feature a diverse programme of talks, performances, workshops, and film screenings, as well as programme verticals including the Students' Biennale, Invitations, Art By Children, the Residency Programme and the Collateral. Even though the full list of artists will be announced in October, a curatorial note by Chopra said that the KMB will embrace process as methodology and position 'friendship economies' as the very scaffolding of the exhibition. The biennale will move away from the convention model of a singular, central exhibition-event. It has been envisioned as a living ecosystem "one where each element shares space, time, and resources, and grows in dialogue with each other". "In Kochi, a historic port city where trade once connected distant worlds, we begin with our site and region to engage in dialogue with emerging global perspectives. This rootedness allows us to resist the pressures of the conventional biennale model as a finished spectacle, and instead shape something that is evolving, responsive, and alive," Chopra said in the note. The multidisciplinary artist said that the biennale will be shaped by the generative force of the "ecological, political, and emotional precarity of Kochi", as he invited artists to seek resonance across geography and time, "to trace shared memories, mirrored struggles, and new affinities rooted in empathy and deep listening". "We would much rather learn from the complexities of human history, choosing to confront the contradictions and fragilities of our present. While we recognise that art alone may not change the world, we believe when cultures collide, that encounter can, at the very least, provoke conversations," he said.
