&ldquo;IIT Jodhpur is committed to impart quality education to facilitate the creation of qualified, competent and responsible human resources to meet the emerging technological challenges of the world. It is working towards creating an equitable learning platform that is positive, accessible and effective in the face of the modern societal and scientific advancements.

Flexibility in curriculum, in all its academic programs, encompassing elements of teaching, research, creativity, innovation and entrepreneurship is the most unique feature of IIT Jodhpur. The Department of Science and Technology (DST), under the National Mission on Cyber Physical Systems, has identified IIT Jodhpur as a Technology &amp; Innovation Hub in the area of Augmented Reality and Virtual Reality. The institute has also been nominated as the coordinator for the Jodhpur City and Knowledge Cluster by the Office of Principal Scientific Adviser, Government of India.

The sprawling 852-acre IIT Jodhpur campus is a majestic tribute to the deep-rooted diverse cultural heritage of the region. The campus is an architectural masterpiece, which is slated to become an international exemplar of sustainability with net-zero energy, and advanced water and waste management strategies.&rdquo;

IIT Jodhpur

An introduction to a book is meant to introduce it to its potential readers, that is, to chart out the role it intends to perform. Any worldly-wise person would advise that it is always convenient to perform roles that society chooses for us. For attempts to transgress hese roles often trigger society's 'discipline and punish' mechanisms. © 2023 Rajdeep Konar and Social Science Press. All rights reserved.

School of Liberal Arts (SoLA)

To Stage or Not to Stage Tagore: Performing Tagore's Plays

To stage or not to stage tagore: Performing tagore's plays

This article intends to critique the spectres of authority which haunt theatrical interpretations of Rabindranath Tagore's (1861-1941) plays. As Tagore is a cultural icon, since even before his demise his plays have been made sites for exercising cultural and institutional authority. A consequent uneasy anticipation of denunciation or censorship has essentially deterred theatre directors from creatively interpreting and staging his plays. In terms of discourse also, there has been a spiral of silence regarding the presence of such authority. It is only since the beginning of the twenty-first century, after the termination of the copyright to Tagore's works, that the situation has lightened considerably. This article deals with the above phenomenon in two segments. While the second segment provides a close analysis of one of the first productions to radically subvert the status quo regarding the creative staging of Tagore's plays, the first provides a contextual, historical build-up to that moment. The article argues that in dramatic theatre authority is often validated on the basis of an 'archival logic' of thinking which requires systematic dismantling. Copyright © International Federation for Theatre Research 2020.

Theatre Research International

Staging Tagore beyond the Spectres of Authority: Suman Mukhopadhyay's Falguni: Suchana (2001)

Sukracharjya Rabha, a visionary theatre practitioner, established the Badungduppa Kalakendra in a remote village at Rampur and was also the director of the well-known “Under the Sal Tree” annual theatre festival. His theatre practice that was rooted materially, economically and ecologically at the heart of an indigenous community, creates a distinctly different political economy, which departs radically from previous attempts by the exponents of the “Theatre of Roots” movement to indigenise theatre in India and formulates a critique of it. © 2019 Economic and Political Weekly. All rights reserved.

Economic and Political Weekly

Sukracharjya Rabha (1977–2018) Empowering community through theatre in Assam

In my essay I would like to investigate the shift of paradigms in the relationship between theatre and politics that director, playwright and actor Ajitesh Bandopadhay (1933-83) was bringing into Bengali theatre. I would like to analyze how in the field of theater he was trying to form a threshold space: a threshold where politics and ethics, community and the individual, global and local can exist together as equals not imparting the hegemony of one on the other. How Ajitesh strove to conceive a theatre which puts forth itself as an analytical presence of life and society unmediated by an ideological or ethical regime. I would like to argue that it is in such a liminal presence in theatre, politics and the world; that the key to our future community of equality lie. This would also be an attempt at reclaiming the legacy of Ajitesh, whose influence on Bengali theatre has been hugely underplayed by the rather scanty posthumous attention being paid to his work. © Rupkatha Journal on Interdisciplinary Studies in Humanities.