Dinesh Revankar studied Applied Art at the prestigious Sir J. J. Institute of Applied Art in Mumbai. His favourite technique is the dry brush and he has a passion for colours, which he uses to blend beautifully and recreate wonderful real life sense.
Africa is about the land of wildlife, mammals, reptiles and birds - the cradle of life on this planet. African people bond with the wildlife - varying from huge mammals like elephants, hippos and rhinoceroses through to the big cats: lions, leopards and cheetahs, to more than 2,000 species of birds.
As a visual artist I indulge with this kind of habitat on a day to day basis. This is really fascinating. I am a surrealist artist; I create images from nature which are diverse and I try to keep simplicity in my artworks. I use oil on canvas and sometimes mixed media, depending on the nature of the subject.
This article describes the contribution of creativity to human development in the new nation of Timor-Leste, exemplified in a case study of community art centre Afalyca. By taking a creative approach to the challenges of life in his developing country, the young leader of this enterprise, Marqy da Costa, is realising his own potential more fully and offering enriching experiences to others. The impact of his centre on a range of stakeholders, including staff, participants and the wider community is discussed.
For participants, the outcomes of their involvement include enjoyable opportunities for creative expression; valued recognition from national and international audiences; the broadening of life experience to encompass new possibilities for self-actualisation; skill development and income from employment and sales.
The factors that have contributed to Afalcya's creative achievements are examined. These include inspiration and assistance received from organisations and individuals in and outside of Timor, family support, and the age and gender of leaders. Also significant are founder Marqy's personal characteristics of artistic talent, social and language skills, love of learning, persistence and conciliatory approach to conflict. Barriers to the realisation of Afalcya's potential include lack of systemic recognition of the value of creativity for sustainable development, unsupportive bureaucracy and gender related restrictions of participation for women. The potential for similar initiatives to contribute to a positive future for Timorese people is explored.
Timor-Leste, creativity, arts participation, human development.
Conexion Dracula was conceived in 2010 when Analisa Williams (Casa Cultural Huellas) and Andres Maduro (Maduro's Tropical Flowers) met at an exhibition of Oswaldo de Leon Kantule. Both had wanted to create an artist residency but never had had the opportunity to do so. Analisa had the art world insight, experience and had organized creativity workshops. Andres, on the other hand, managed the Finca Dracula Orchid Sanctuary, a collection of more than two thousand orchid species and inspiring gardens - the perfect setting for such activity. Both were perfectly matched to this project.
Later in 2011 they got together and organized what was the first Conexion Dracula.
We're delighted to hear from Andres Maduro that there has been a great response from six different nationalities to their invitation to their 2013 Conexion Dracula artists' retreat in Panama. This, he says, includes some really talented artists. You will be able to hear more about Conexion Dracula in an article by him coming soon, along with a gallery of artists' work.
Earlier this year I gave the Annual Crichton Carbon Centre Lecture at the Crichton Campus in Dumfries and Galloway (Scotland). The following piece is an 'interview version' of that lecture, carried out by Dame Barbara Kelly.
I've always thought about leadership broadly and related those thoughts to many of the wonderful people that I have worked with and for, and learned from reflecting on their performance and my own. However, for the purposes of this piece I need to thank Dr James Martin for his inspiration.