As of 1 January 2020, Rijeka (Croatia) and Galway (Ireland) will hold the title of European Capital of Culture for one year.
“Thanks to their title of European Capital of Culture, Rijeka and Galway will be harnessing the full potential of culture to enrich our life experience and to bring our communities closer together”, stated Vice-President for Promoting our European Way of Life Margaritis Schinas. “Promoting culture as a core element of our way of life has many positive impacts on society, in terms of social inclusion, integration and economic growth. It enables people to gain new experiences, skills and opportunities to participate in society and to make our societies fairer and more inclusive. I wish them every success in this endeavour.”
“The European Capital of Culture initiative brings people together and highlights the role of culture in promoting the values on which our European Union is built: diversity, respect, tolerance and openness”, statedCommissioner for Innovation, Research, Culture, Education and Youth, Mariya Gabriel. “A successful Capital of Culture is inclusive and meaningful to its citizens. It is also open to the world, illustrating our Union’s willingness to promote culture as a driver for peace and mutual understanding worldwide whilst bringing long-lasting socio-economic benefits to its region. I very much look forward to visiting both Rijeka and Galway and wish them every success in 2020.”
Rijeka is the first Croatian European Capital of Culture bringing it international visibility, which will extend to the rest of the Western Balkan region. ‘Port of Diversity’ will be the motto, with hundreds of projects among 250 partners from 40 countries. Rijeka’s cultural programme focuses on the themes of water, work and migration, connected to its identity, but also current issues in the wider world. The opening exhibition will feature Rijeka’s famous artist, David Maljković, with other highlights including ‘The Sea is Glowing’ exhibition; a world music and gastronomy festival – ‘Porto Etno’; and new permanent installations of contemporary art on the coastline. Opening celebrations will take place on 1-2 February 2020.
Galway is the third city in Ireland to hold the European Capital of Culture title (after Dublin in 1991 and Cork in 2005). Galway’s cultural programme motto is ‘Let the Magic In’, exploring quintessential local themes of language, landscape and migration – with a European and universal relevance and resonance. The ‘Hope it rains’ theme will use Galway weather as a source of creativity; while other highlights include a celebration of world literature – with a dramatic interpretation of the world’s oldest surviving literary epic, the story of Gilgamesh; and excerpts from Homer’s Odyssey, read on Galway beaches. Meanwhile, new installations will celebrate the beauty of Connemara and County Galway. Galway 2020 will begin in February 2020, at the start of Imbolc – the first Celtic season in Ireland’s ancient, pre-Christian calendar.
Melina Mercouri, then Greek Minister of Culture, took the initiative to start the European Capital of Culture in 1985. It has since become one of the most high-profile cultural initiatives in Europe. Cities are selected based on a cultural programme that must have a strong European dimension – promoting participation and active involvement by city inhabitants, communities and various stakeholders; and it must contribute to the long-term development of the city and its surrounding region.
Holding the title of European Capital of Culture gives cities the chance to boost their image, put themselves on the world map, promote sustainable tourism and rethink their development through culture. The title has a long-term impact, not only on culture but also in social and economic terms, both for the city and the region.
In 2019, Plovdiv in Bulgaria and Matera in Italy were European Capitals of Culture. Following Rijeka and Galway in 2020, the future European Capitals of Culture will be Timisoara (Romania), Elefsina (Greece) and Novi Sad (Serbia, candidate country) in 2021, Esch (Luxembourg) and Kaunas (Lithuania) in 2022, Veszprém (Hungary) in 2023 and Tartu (Estonia), Bad Ischl (Austria) and Bodø (Norway, EFTA/EEA country) in 2024.
Akanksha Sood Singh: The Woman of the Wild
Akanksha Sood Singh is among India’s premiere multi-award winning natural history filmmakers. She is known for her extreme passion and brilliant story-telling. With two decades of work experience that covers the range and breadth of film production, she has been documenting some of the most rare and endangered species across India. Her films have been televised across the globe, not just for the strong stories and breathtaking visuals, but also for the empathy her work has created towards the natural world and exposed the need for conservation.
Under her banner, The Gaia People, she wants to bring a change, bust myths, showcase the incredible diversity we live with and ignite hope for the future. This is more for the next generation – the future custodians of this heritage. How will they emphasize and protect anything they don’t see? We want them to grow up with pride, empathy and responsibility towards the environment. And thus, the first step is to know what their natural world holds.
Among the 250+ awards and nominations, she has won four National Film Awards given by the President of India, a UN Film Award, the Global Icon for Mass Media 2020 and the Diversity Leader Award 2020 by the World Congress of Science & Factual producers. She is one of the Jurors for the International Emmy ® Awards – Documentary category, member of the Jackson Wild Advisory Council and a consultant to the United Nations Environment Programme.
Can you tell us more about why you named your production company The Gaia people?
My company is fuelled by individuals who come together to work with me on natural history films. The Gaia – Mother Earth – is what unites the diverse group – the fact that we want to tell stories of the natural world. So when we were brainstorming for a name for the production house, this seemed apt.
Why did you start Women of The Wild India?
WOTW started in May 2021. It was more out of sheer frustration because I could not find a single point source to know about women who are working in the field of environment and STEM. Social media as a platform is today a directory of sorts too – but looking through it to find individuals can be daunting. Names are misleading, bios may not be added, photographs can be abstract. So I thought, why not bring them together under one umbrella. Tell their stories – Who are these women and what do they do? How did they get here? What are the issues they face? How can they collectively become a cohort to inspire others through their journeys?
If in the 21st century we don’t put the spotlight on women working for the environment and if we don’t start throwing up issues we face, it will never happen! Now is always a good time!
Tell us about your personal experiences being close to the wild.
I grew up fascinated by television and the visuals it threw at me of wild scapes around the world. Back then I had no idea I could be a “filmmaker”, but I knew that I wanted to travel around the world and see those places and capture them in some way. Opportunities came my way early in life, I recognised them and I made the best of everything. It’s been close to 20 years now working in the wild, telling stories of the natural world using visuals and technology, and I must confess it is exhilarating. On the scale of 1 to 10, financially this career is at 3, but “job satisfaction” sits at 10! There is never a boring day – it is not 9 to 5 and there is constant adventure and challenge and drama (something I thrive on)! There is peace and tranquility at work space – away from the unbearable chaos of the city! I can take my children to the office with me! I get to travel, to meet people and to explore habitats and the creatures that live therein! And then there is storytelling – a tool that I love to use and exploit – to help with research, with communication, with awareness, with fundraising, with education – it’s a skill and I am proud to be a specialist factual story teller!
You are going to star in Season 3 of The Brink. What role do you play there?
Hahahahahahhaaaa! Me in front of the camera is now probably going to be a retirement plan! No, I do not star in On The Brink. I am the producer, director, writer (and even the cook) of the series being made in partnership with The Habitats Trust. Yes, we are in production for Season 3. And like how we change the format every season, this one too is evolving with a very new and distinct treatment.
On the Brink – we hope to make this one of the longest running series in India that puts the limelight on lesser known species and habitats in the country. There is so much diversity and if people do NOT know, if they keep seeing and chasing just the megafauna, how will you create empathy and action for the natural world?
What are some wildlife documentaries you recommend young nature enthusiasts to watch?
Everything and anything! Globally, brilliant content is made on animals, habitats, behavior, natural events, issues, etc. Watch everything as an audience and soak it up. As you grow older, work towards visiting the places you see. And if what you see and experience excites you, start exploring ways in which you can work for the wild. This is one industry or career option that won’t ask what percentage you got in your 12th boards or what grade you got in college – it asks for passion, commitment, mental strength and creativity.
Is nature conservation the same as wildlife conservation?
Conservation is the sustainable use of nature by us. Preservation is protecting nature from us.
Wildlife depends on nature for food and shelter. So nature conservation is directly related to wildlife conservation. If the habitat / forest of an area is conserved, then the wildlife of the same area gets protection.
Wildlife conservation is protecting plant and animal species and their habitats. Wildlife provides balance and stability to nature’s processes – every plant, bird, animal, insect is there for a reason – is there because it plays a role in the ecosystem. So wildlife conservation ensures the survival of these species.
What is a story from Women of The Wild India which has personally inspired you most?
ALL OF THEM! I can’t single out one. Each woman has so much to say and there is so much to learn from their journeys. For me, the BTS (behind the scenes) of Women Of The Wild is the real part – connecting with the ladies, hearing their stories, answering their questions, hearing their trauma and trying to figure ways of healing and networking and opportunities. That is the whole point of this platform.
I want to make each and every woman a role model – without that there will be no inspiring the next generation. Break the stereotype.
What fuels your passion for the wild?
That’s a tough one! I don’t know – I have never given it a thought! I do this because I can’t think of doing anything else! This is not a JOB. This is my being. I live and work in a space that accepts me as an extension of itself.
What can we do to break gender stereotypes in wildlife conservation?
This can be a very long list, but some points:
Start with making gender an everyday conservation at home and breaking stereotypes at home – for both boys and girls. As parents, lead by example.
Learn and convert information into knowledge and talent to use as a tool
Women should encourage and stand up for women
Uncondition yourself and the men you know
Hold organizations, departments and individuals accountable.
Daisy Rockwell on translating
To communicate effectively, one must learn as many languages as possible. And if it is not possible to do that, one must ideally try to use translations to draw deeper connections with individuals across borders of language. Translations are an important part of intercultural awareness and understanding. In Literature too, translations help to make texts more accessible globally as well as increase understanding about culture from a global standpoint. I came across Daisy Rockwell on book influencer pages on Instagram where they spoke about her award winning translations. Being a sucker for travel and understanding diverse cultures, I knew I had to talk to Daisy about her experiences with languages and translation.
Daisy Rockwell is an award-winning translator of Hindi and Urdu literature, and artist, living in the United States. One of her recent translation works – “Tomb of Sand” has been nominated and awarded several literary prizes. In this interview, we take a closer look at her translations works.
What got you interested in translating Hindi and attracted you about the language?
I started learning Hindi in college because I loved learning languages and wanted to learn something totally unfamiliar to me. In graduate school, my mentors, AK Ramanujan and Colin P Masica encouraged me to try my hand at translation.
In many Indian elite schools, Hindi is not preferred by students and parents alike. What are your thoughts on that?
English is the global lingua franca, so many people around the world are eager to master it. But the attraction to English is also a relic of colonialism–that sense of insecurity that Indian languages are somehow not good enough. It’s not true, of course!
What is your favourite part of the book – ‘Tomb of Sand’?
Tomb of Sand is so rich and varied that I have many favourite sections. I love the part when the son, Bade, perches in a tree full of crows and remembers his mother’s saris. I also love the episode of the Serious Son. But really, it’s hard to pick.
Why did you choose ‘Tomb of Sand’ to translate from Hindi to English?
The Bangla translator Arunava Sinha approached me about the project, because Deborah Smith, founder of Tilted Axis Press in the UK, was keen to publish it. Arunava brought me and Geetanjali together.
How can we encourage more youth to speak and stay connected with local languages?
Well that I don’t know! I notice that many people have started reading Tomb of Sand and the original Hindi, Ret Samadhi, side by side, and I love that. I wonder if dual language publications would help people get excited about local languages.
What are other books you are translating or plan to translate in the future?
I am working on Channa, Krishna Sobti’s first novel that was never published until shortly before her death, and Rukogi Nahin, Radhika? by Usha Priyamvada.
What other languages intrigue you? How do you plan to further your interest in them professionally?
I don’t know if I will ever learn another language well enough to translate it. But during the pandemic I have been having great fun learning Korean using Duolingo and other online language learning apps.
What are some of your favourite books that you recommend to our readers?
I can’t resist recommending my own! The Women’s Courtyard, by Khadija Mastur, and Falling Walls, by Upendranath Ashk, both translated by me.
Namita Gokhale – The name behind Jaipur Literature Festival
A woman who wears many hats and an inspiration for writers across India, Namita Gokhale carries a vibrant persona of enthusiasm for art and ideas. A busy woman indeed with multiple projects to manage and juggle, Gokhale is best known as co-founder of the infamous Jaipur Literature Fest which attracts writers, readers and aspiring authors from across the world. Truly putting Jaipur on the world map and attracting many travellers to the well-deserved pink city, well known for palaces, forts, royalty and inspiration alike, Gokhale has added a fresh charm of literature to the city over the years. Now an intellectual hub, a melting pot for writers, Jaipur owes many a great thanks and gratitude to Gokhale for the reputation the lit fest has earned over the years.
As an aspiring author myself, co-incidentally I found myself in Jaipur while I was on a call with Namita Gokhale. Fascinated to be in her company on call and privileged to have my ideas heard by her, I couldn’t help but reflect on how the Lit Fest has transformed over the years. In this short interview, Gokhale reflects light on the Jaipur Literature Festival (JLF), authors at the fest, her personal favourite books and ideas on literature. Having inspired the youth of India with her ideas and impact, she continues to be humble about her experiences. It is every aspiring writer’s dream in India to attend and speak at the Jaipur Literature Festival, and it is Namita Gokhale who stands behind fuelling the dreams and sparking higher creativity among the youth of India. Before we even start the interview, I want to say – Thank You.
What inspired you to start Jaipur Literature Fest?
The Jaipur Literature Festival was set up by me and William Dalrymple, and so many others, in an effort to bring readers and writers from India and around the world to speak about their books and creative process. It was propelled and inspired by a love of literature.
How are the speakers for the fest chosen each year?
William and I draw up our short lists. Sanjoy Roy of Teamworks, the producers of the festival, shares his ideas and suggestions. Our diverse interests and perspectives provide the festival the 360 degree range and depth that gives it such a unique flavour and personality
How was the fest alive and active during times like the pandemic?
We began with a series of digital sessions titled ‘Brave New World’ – and added new sub-themes and editions, learning on the job as we went along. We have an enormous digital outreach, across continents and time bands, and our recent hybrid edition was a huge success both on line and on ground.
How can literary fests reach more people in the comfort of their homes?
Literary editions have already acquired the extra dimension of view-from-home …and they will become more immersive and participatory with the passage of time.
What was the response at the fest like this year?
The digital editions drew vast audiences. The on ground festival at Jaipur was a spectacular success and received an emotive response from writers and readers alike. Human contact is so vital to communication.
With apps like Audible, what is the future of the written word?
I believe in the future of the spoken word, which is such an intrinsic part of the narrative process. Audio brings the voice back to the word, adding an important sensory dimension to the text.
What was your personal favourite read recently?
I loved reading ‘Tomb of Sand’ – Daisy Rockwell’s vibrant English translation of Geetanjali Shree’s brilliant Hindi novel ‘Ret Samadhi’. It truly deserved its place in the international Booker shortlist.
What COVID-19 taught us about risk in a complex, inter-connected world
A new UN report has shed fresh light on the ways that the COVID-19 pandemic unleashed cascading risks, particularly on...
The Caribbean is ‘ground zero’ for the global climate emergency
The UN Secretary-General’s final day in Suriname began on a small plane and ended at a podium. A 90-minute flyover...
In Afghanistan, women take their lives out of desperation
The situation for women is so desperate in Afghanistan that they are committing suicide at a rate of one or...
Potanin’s core business unfazed by personal sanctions
The news agencies’ report that Vladimir Potanin the president of MMC Norilsk Nickel PJSC was first mentioned in the UK...
Growing insecurity in Rohingya Refugee Camps: A Threat to South Asian Security?
5 years have passed since the Rohingya refugee influx in August, 2017. Bangladesh is currently hosting 1.2 million Rohingya refugees...
The Rise of the Sovereign Wealth Funds And How They Are Affecting Global Politics
A revolution is taking place in world finance, and it appears that the world is sound asleep. Investment entities owned...
Lessons of Ukraine and the Death of Leadership: Only History Exists
Having considered a plethora of articles pontificating on Moscow’s military action in Ukraine, whether journalistic, academic, ideological, purely propagandistic and/or...
Economy2 days ago
A Dynamic Private Sector and an EU Orientation Should Be the Driving Force in Ukraine’s Recovery
Economy4 days ago
G7’s $600 Billion projects, no threat to Chinese BRI
Tech News4 days ago
World Economic Forum Releases Blueprint for Equitable and Inclusive AI
Middle East4 days ago
Qatar’s pragmatic foreign policy and its global clout
Middle East3 days ago
Dynamic diplomacy: From SCO to BRICS
Americas4 days ago
The Canal System and the Development of the Early American Economy
Economy3 days ago
COVID-19 Drives Global Surge in use of Digital Payments
Finance3 days ago
Circular Economy Key to Supporting Thailand’s Resilient Recovery