IGODAP UP CLOSE with REJI SYNE

IGODAP UP CLOSE

with 

REJI SYNE

Reji Syne's art form of choice is filmmaking - a medium that he feels is extremely influential and a powerful tool for disseminating information.  He talks with Kelly Griffin about film making in India, inspiration and the need for exposure.

Recently you won the ‘Special Jury Mention’ Award at the We Care Film Festival, with the documentary film ‘Delicate Patterns’. Tell us about ‘Delicate Patterns’ and participating in the festival.
 

The film was one episode of the Santhwanam (literally translated as Consolation) series that earned the most viewers in the history of Malayalam television (Malayalam is one of the regional languages of India and has a robust television audience.)

The concept behind the series was to take the television audience closer to people who experience cerebral palsy, blindness and other disabilities.

It was rooted in my personal experience as a visual artist of needing to have a sense of social commitment. I was using the medium available to me to highlight the social situation, where disabled people can be trapped in islands of isolation and far detached from mainstream society.

Delicate Pattern gave a comprehensive understanding about those with Cerebral Palsy. I felt that this is relevant in a society like India.

 Reji Syne accepting the 'Special Jury Mention" Award 2010

 
From what I have seen on IGODAP, your films have a strong cultural influence. Where do you draw inspiration from?
 
I owe everything as a visual artist to the beautiful place I belong to – Kerala, the south-western most state in India. Unlike most other parts of the country this small, green state is vibrant in social relations and artistic expressions. Sandwiched between mountains on east and sea on west, the narrow strip of land features a spectrum of spectacle and expression. I grew up amidst this.

It has always been my attempt to delve deep into my culture and its different manifestations to equip myself better for my career and also to learn more about my own roots.

Video: GANDHI JAYANTHI, directed by Reji Syne

How do society and your personal experience of disability impact on your life and work, and how do you express this in your work?

To begin with, I feel that the rehabilitation ratio is much less in India compared to any developed nation. I have found, over the years, that there are no agencies or guilds to support disabled artists in a productive way, especially those working in the visual media.

I have learnt that it is hard for a disabled person to survive in India, not to mention a visual artist, as we are pitched in constant competition with able-bodied persons. Unless we have sound financial backing, it is very hard to pursue a career as visual media artist.

On the other hand, I have never let this condition restrict my work or water down my passion. I overcome this by always reviving my spirit of enquiry and urge to learn and try out new things. That was the energy that I found while doing street theatre productions and also working on the longest single shot non-fiction film.

The latter has been acknowledged by the Limca Book of Records and I had to keep moving with the camera crew over a landscape featuring rough terrain, rivers and temple festivals, directing the entire sequence.

 
What’s the best thing about creating films?  What’s the worst?

From my experience as a filmmaker, I can tell you that that the best thing about making films is the impact visuals have on minds. This is the magic of story-telling.

Since time immemorial, people could be moved, both in positive and negative senses, by narration. I want to tap the positive impact of the medium as this is a powerful tool for disseminating information and gathering support.

During my career as a filmmaker, concentrating on films with social messages, I have experienced the overwhelming influence the medium can exert on society. I want to take this to the next stage, which is wider and more penetrative in perspective.

It is here that I find the worst thing about filmmaking in India. There are very few funding agencies ready to take up the cause of disabled or socially-isolated communities. This could be the reason behind the general lack of interest in producing meaningful films.

Under the existing situation, there are no means for filmmakers to identify the possibility of marketing our films in the international scene. Another issue is the lack of exposure that we get as filmmakers, with little chance to encounter different genres of movies.

 
If one thing were to change to make the work and role of artists who experience disability more significant, what would it be?

One thing that can work wonders for disabled artists is more exposure and wider acceptance of their works.

An opportunity to participate in any international film/documentary production, especially in developed countries that have better infrastructure and support for disabled artists, could boost their confidence level and conviction in their own ability.

 
The Film Industry is a difficult field to get into.  What does it require to become a successful director and how would you define ‘successful’?

I believe one becomes a successful filmmaker when the message of the film reaches a wider audience. As I have said before, the magic of film is bringing about social impact. Success means using the medium to create awareness and spread the good word. If a filmmaker could do that through his/her works, I would treat it as a success.

Video: "Me": a short visualization meant to impart positive energy on peop...

What other projects are you working on?

I am working on Manikantan, the first full-length animation film in Malayalam, which is held up at its final stages due to shortage of funds. This is an international production, with investors from across the globe. But the recession took its toll on the film just as it was nearing its completion. This film was an important stage in my career, as I was planning to set up a Village for Disabled Artists using the revenue from the film.

Also, I am engaged in the production of a morning show for Amrita TV, one of the leading Malayalam satellite television channels. Unlike most other studio-oriented morning shows, this one is a travelogue type which takes important cultural landmarks in India to the television screen. This is a first in Malayalam television history and has been accepted well by the audience, as evident from the market ratings.

This has kept me engaged as I had to travel across the country with my team.

Video: Mural experiment from "Udayamritham", our morning show.

 
How could IGODAP assist you to achieve your artistic goals?

I look forward to getting a chance to work in close quarters with disabled artists who work in the visual media, especially those outside India.

I would also like to participate in exchange programmes with any production studios outside India, as I believe this would help a lot in developing my skills. I believe IGODAP could help me in this.

As I said earlier, I am at present working on a film, and I also expect to find like-minded investors who can support me in realising my dream project through IGODAP. I expect to get support if I can circulate the word amongst other members.

During my career, I have met many talents who are forced to leave fields of their artistic potential and take on odd jobs for survival. I want to change this and am planning to harness every bit of help that I can identify.