Micro schools: Going beyond textbooks - Livemint
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Micro schools for homeschoolers Among the many people who find micro schools interesting are homeschoolers. After all, the idea hits very close to home. Sandhya Viswan, a homeschooler, educationist and mother of two sons, is considering developing an open-source content app for homeschoolers in India.
Unlike registered institutes, many of us do not believe in standardized tests or assessments. Even if the government only wants a portfolio or a blog to show that we are educating our children, this goes against the grain for a homeschooler because we develop the curriculum very organically and to measure it would be to lose the flow.
In Mumbai, co-ops exist and are similar to micro schools. These are zonal groups that have planned activities and get together once a month or more, with older children sometimes facilitating learning for the younger children.
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Nano schools—smaller still A few weeks ago, Rajat Toshniwal and his business partner Ami Patel Desai had a seminar in Bengaluru for parents, educationists and entrepreneurs who are interested in new-age micro schools.
Along with Desai, he has developed Oogway Microschools as a platform that will train parents and entrepreneurs to take the concept forward. We will give them tools. Much like a micro school, the nano school is one that consists of five to 10 students for one teacher and this is also an idea we are discovering. The curriculum will be developed by us. The first set of customers may either go on to become part of their set-up or start their own franchises and go forward in their own way.
Toshniwal and Desai have envisioned Oogway as being less rebellious than AltSchool, for the simple reason that parents in India may not be ready for such a stark change. Still, Oogway plans to be non-academic and yet encourage children to achieve mastery in areas that interest them.
Sandeep Dutt, the chairman of Fabindia School and Leaning Forward, has spent decades exploring what makes schools work. By their nature, micro schools evolve organically to discover their learning rhythm and franchising the idea could undercut the efficacy of a personalized learning programme. Would micro schools work in India? Besides video, Devasher also works on large-scale wall drawings, text, prints, found objects and works on paper. The artist makes little distinction between method and material.
Soon after his training in fine arts from the Vasai Vikasini College of Visual Arts followed by a postgraduate diploma in Indian aesthetics from Mumbai UniversityMorey started off as a formalist painter—from self-portraits on large canvases, he started working on paintings related to his immediate world, from the ceiling fan to the corner of his studio, to the play of colours on the floor.
This engagement with his environment led him to what has now become the chief concern in his practice: They will resonate with every resident of an urban sprawl. They show staged scenarios within an old freezer—against the ice building up are everyday objects, pressure-cooker whistles in one, a lighter in another.
The title of the show itself was derived from a graphic novel from the s, which deals with the fear of the atom bomb. When we last met him at the opening of his show at Studio-X inhe was preparing for the second edition of the Kochi biennale, as well as a solo show at Galerie Karsten Greve in St Moritz, Switzerland. On 10 December his works were part of an exhibition curated by Girish Shahane, at a collateral event of the ongoing Kochi biennale.
AroundNai also began to take photographs of empty billboards, half-torn down, while travelling. His recent works showcase close-cropped versions of these billboards. His abiding concerns and experiments with humble materials and unusual media and with process expand the possibilities of art rather than revolt against its basic conventions—an attitude which places his work in relation to the artists of the Arte Povera movement.
Waqif says one of his aims is to bridge the gap between modern and vernacular practice with his work, from those based on his research on water-harvesting techniques in the pre-colonial era, to sustainability. Recent works make use of reclaimed material, from construction sites as well as trash found on site. With works that allow viewer experience to be enhanced through their interaction with it, Waqif also attempts to stir debate on questions of accessibility of art, from its commercial value to the idea of simply touching artworks.
Most of his works, especially site-specific ones, are not designed to sell, says Waqif. The camera itself is now an important medium for him. In video and performance works, he explores the idea of crisis.
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Mohanty has since stopped portraiture, bored by the demands to stick to a tried and tested structure. His recent visit to Fukushima in Japan led him to document the radiation zone; he is now creating docu-fiction videos on the idea of victimhood. The straight line continued to remain the material with which she later started to explore architectural spaces and how our bodies understand them.
We are all performers when we navigate such a space, she says, with the architect as the director who has preconceived where we enter the space and where we turn. In spatial drawings, using light against thread, she allows viewers to move into it through the shadows created, in an attempt to break the notion of a drawing as a still object.
In her site-specific work at the Sarai Reader 09 show at the Devi Art Foundation in Gurgaon, she says her attempt was to respond to the given space rather than occupy it. The exploration of space is taking her conceptual art, which can be priced from Rs50, to Rs5 lakh, in varied directions. In one of her recent performative pieces, she gave herself instructions: Sit in a room and work from The idea was to explore how programming works on the brain and the tussle between the conscious and subconscious mind—when tired or in pain, Gupta found her conscious mind urging her on.
She made a 22ft drawing in five parts.
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His creations are often a tongue-in-cheek interpretation of common objects. It continues to corrupt itself and the gatekeepers of the system continue to celebrate the flaws in it.
We have no set rules, no set structure, maybe no permanent space as well.
The artist, whose works are priced anywhere from Rs20, to Rs9 lakh depending on their scale, studies intensely the inter-relationship between colour and light. Colour transmutes from light to surface, from matter to material, it interferes, blurs and informs the visual and psychological associations we make within our everyday. Colour is one of the most challenging phenomena, because the minute it occurs, it changes. In my work, I look at colour as material, and light as fiction that plays on that material surface.
The prolific artist, who is well regarded internationally, participated in the Prague Biennale ofreceived the Civitella Ranieri Foundation, Italy, fellowship inand has had exhibitions at the Hara Museum of Art in Tokyo, and at the triennale at the New Museum in New York curated by Eungie Joo. In a artist statement that accompanied her exhibition War With The Stars, which derived from origin myths, Apang wrote: