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The Alkazi Foundation for the Arts (AFA) is a Registered Charitable Trust in New Delhi (India), dedicated to the preservation and study of the cultural history of India. Ebrahim Alkazi, the Foundation’s Chairman and Director, has amassed a private collection of 19th- century photographs, the Alkazi Collection of Photography (ACP) as well as materials relating to post-Independence theatre in India, the Alkazi Theatre Archives (ATA). Both the collections are housed at the AFA, which carries out research on these extensive holdings in preparation for a continuing series of scholarly publications and exhibitions.
Read MoreEbrahim Alkazi&#;s biography offers an intimate look at the father of modern Indian theatre
Gandhi’s every word shook Alkazi that day. By the time the meeting was over, he was thinking in idealistic ways. He walked home with a lightness in his step that was unfamiliar to him.
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“&#;The manner in which Gandhiji was able to reach out to each and every person in that huge audience, he not only captured their imagination, but more importantly, encouraged them to take action&#; Isn’t that what was meant to happen in theatre too? Theatre was the field he (Alkazi) felt more and more drawn to. It was a field where one could make a difference, where one could directly affect the lives of others and bring people together,” writes Amal Allana in a new biography, Ebrahim Alkazi: Holding Time Captive (Penguin), which marks the centenary of Alkazi, who was born on October 18,
Aman Allana, theatre director and daughter of Ebrahim Alkazi (Credit: Alkazi Theatre Archives)After India gained Independence, the work of nation-building started in every sector. Alkazi emerged as the father of modern Indian theatre, the creator of institutions, plays and students.
‘Ebrahim Alkazi’: The meteoric rise of an artist who shaped contemporary theatre aesthetics in India
Ebrahim Alkazi, a noted art connoisseur, collector and gallery owner, founded the Art Heritage Gallery in Delhi with his wife, Roshen Alkazi. In Ebrahim Alkazi: Holding Time Captive, the personal is public in the biography of the thespian, as his daughter Amal Allana demonstrates in an endearing ode. Written in a conversational tone, the book traces the simultaneous arcs of Alkazi’s careers and abiding passions – theatre and visual art. It is an illustration of the meteoric rise of an artist who envisioned theatre as a democratic and inclusive endeavour as he charted his own path of marrying aesthetics, technique, approach and social responsibility.
The grain of an artist
In retracing the intimate trajectory of her father, Allana also follows the thread of what goes into the making of an artist. Recreating an artistic milieu that informs, provokes and facilitates a deep immersion into the arts reconstructed through years of research. Alkazi’s buoyant student years in England to days of creative differences in Mumbai that led to the formation of the Theatre Unit, to a pioneer
Amal Allana
Ebrahim Alkazi
Holding Time Captive
Amal Allana
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Amal Allana’s compelling biography of her father is the first carefully researched, full-length account of the life, work and times of Ebrahim Alkazi, one of the giants of twentieth-century theatre and a key promoter of the visual arts movement in India. Evoking the excitement of Alkazi’s student years in England, the controversies that surrounded his provocative ideas to transform the theatre movement in Bombay and later in Delhi, as the director of the National School of Drama (NSD), this book charts Alkazi’s meteoric rise to the top, with his modernist staging of plays and his aim of putting Hindi theatre on the map.
It was at the Sangeet Natak Akademi that Alkazi first confronted resistance to his ideas on the role of tradition in the making of a new ‘national’ culture. By the s, disillusioned with the curtailing of civil liberties and a dysfunctional bureaucracy, he ultimately resigned from the NSD, developing his own independent institutions for the promotion of the visual arts in India as well as abroad. Staging the cultural history of India between the s and s, and featuring a gala
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