Michelle Chawla runs Tamarind Tree, a social justice initiative at Dahanu, Maharashtra. She writes for the StoryWeaver blog about why she and her team are staunch advocates of open philosophies. 

Having taken a vociferously strong position advocating the benefits of digitisation and the use of technology in education, I have found that more often than not, there is a huge discomfort and resistance when we talk about a digital educational experience for children. This stems from two critical issues  - one is that most people have not entirely comprehended how technology can be used in learning. They associate technology to be equal to watching youtube videos rather than learning computer coding for instance -- where a student is producing something not merely consuming it. 

Secondly, there is a serious lack of a deeper sociological and political analysis with which they see knowledge or technology in society today. When it comes to reading, passionate readers with skepticism for technology state - “I need to touch and feel a book that I am reading, smell the paper and turn the page. That is the true reading experience”. They go on to claim that this is extremely important for children who are starting out as young readers.  Educationists add to this view stating that children need to be exposed to a culture of reading through a space like a library in order to make them curious readers. Technology and digital reading may not help in creating this. 

Unfortunately, the reality is that “knowledge” and more specifically the printed word belongs only to the privilged few.  

Most young children in our country do not have access to the wonderful world of books  because knowledge has been commodified and is restricted or denied through a complex regime of copyrights, licensing and profits.  Education is a product to be purchased and only those capable of buying it become “knowledgeable” and educated”.  There is an urgent need to look at education & knowledge from the perspective of equity and access –  to have a wider world view which is inclusive and collaborative rather than being proprietary and exclusive.  Seen from this lens then, the battle is very clear. 

Our work in building equity in education is to re-appropriate knowledge and put it in the public domain to make it accessible and freely available to all. Whether this is by photocopying texts and distributing (as is the case of the Delhi University photocopy shop) or using tools of digitsation - the vision remains the same. 

Tamarind Tree is a small initiative to fulfil this dream. 

Located in a village in north western Maharashtra in the tribal region of Dahanu, Tamarind Tree is an experiment in education – a space where we work towards building a culture of learning, a culture of equity, a space that aligns itself with the global movement to encourage and use Open Educational Resources (OERs) so that we can collaboratively build a better world. 

Open Source & Contextual Content

With 150 first generation learners on its campus, this has been both exciting and challenging.  The learners are predominantly from the tribal community of the Warlis. Their mother tongue is Warli which is a mix of Marathi and Gujarati. Given that the State run Zilla Parishad schools are entirely in Marathi, tribal kids feel a sense of alienation given that Marathi is not their first language. Moreover, many schools continue to perpetuate age old prejudices against the tribals. 

However, teaching in their mother tongue is next to impossible since it is a colloquial language intended purely for basic communication. Its limited vocabulary and lack of script make it unviable for a tribal child to learn many concepts and ideas.  At Tamarind Tree, we opted to use English as the medium of instruction because it is one of the only critical mediums today that is generating new knowledge be it in science, math, technology or literature. We consider our space a multi-lingual one taking the tribal child gently from her mother tongue Warli to English. 

Given the realities of the learners (who require contextual content) and of our complete committment to the philosophy of Open Source content, we began looking for material. More often that not, we found it be inappropriate or proprietary. So we began developing our own content and hosted it our curriculum on My Big Campus ( an online virtual learning environment). 

Yet the one resource that we have have successfully and more than comfortably used for over four years are the openly licensed stories from Pratham Books - first from Scribd.com and then later from StoryWeaver (both the open community as well as those published by Pratham Books). Philosophically, StoryWeaver believes that knowledge should not only be freely available but should be collaboratively built and shared by all in as many mediums as possible.  We stand by this. Moreover, the stories  are contextual, simple and told in a format and manner that children find easy and entertaining. The illustrations have done wonders to motivate our students to read. 

 A student reading a book on StoryWeaver in class

Open Source e-library available wirelessly

At Tamarind Tree, there have been many ways in which we have used the digital stories from StoryWeaver.  We have projected stories on the screen in a group learning model and done several Read Aloud sessions.  Students have read stories on laptops individually in a class and teachers have facilitated their reading and comprehension. Another successful style (especially with the younger ones) has been the use of the audio story first on speakers in a class followed by the text to ensure retention and comprehension. However, these approaches had logistical and operational issues of having to load the ebooks and the audio on individual laptops and making sure that all children have the book they need. 

Its also important to understand that in spite of being only 120 kilometres from Mumbai, Tamarind Tree and the villages around continue to be in the media dark region, denied of internet access. Communities have to depend on the prohibitive 3G data charges to access net on their phones and the dream of a digital India connected on broadband remains on paper. 

To overcome these issues and to move to a system that made access easier and faster we have set up an e-libary server that hosts books, newspapers, journals and periodicals. The Library server uses Calibre , a comprehensive and open source e-book management tool. The libre in calibre stands for freedom, indicating that calibre is a free and open source product, modifiable by all. Our e-libary hosts books in the epub format only, as it is the most widely supported vendor-independent XML based (as opposed to PDF) e-book format; that is, it is supported by the largest number of e-Readers.

   

Tamarind Tree's e-library server                                                            Browse and read what you like
 

The server currently hosts approximately 2000+ books  and is hosted in a room on the campus. The server is linked to a 2.4 Ghz radio on the Tamarind Tree network and voila the library is available anywhere on campus on a digital device (android phone, tablet or a laptop). Students, teachers, visitors can now read books from StoryWeaver  on their phones or machines on the Tamarind Tree Network without having to log onto the internet. Besides books from the StoryWeaver, our e-library contains only those books that are free of copyright and in the public domain sourced from sites like Gutenberg, the Internet Archive and others. We are also in the process of setting up an Audio and Video server on the campus that will host educational content. 

All these servers are being made available to the community outside of the school campus through a project called a School without Walls.  The project is setting up a wireless mesh network (on 2.4 Ghz) that will connect these servers to nodes in the village. By investing in a simple domestic router, the community is being able to access the e-library server at home and read a book with their child at home. (You can read more about this project here.)

 

The wireless mesh link

  

Village kids reading a book accessible on the wireless mesh link in their
homes 

At the end of showcasing our e-library, many people still ask us if we have physical books to offer the children. The answer to that question is immaterial.  The reality is that we must read between the lines to convince ourselves that the denial of knowledge to large sections of society is an injustice to be fought. 

Maybe... just maybe digitisation will help us fight that battle. 

P.S  There is not a single book shop in the entire Dahanu taluka from where a child can buy a book. A few stationery shops in the Municipal area may keep a book or two, but thats insignificant.  Contrary to whats being said about a digital India, there is no broadband infrastructure being set up in the 174 villages of Dahanu taluka, where 68 percent of people are tribals. 

(All images, taken by Michelle Chawla.)

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Vinayak Varma is an illustrator, writer and editor based in Bangalore. He is the author of 'Angry Akku', 'Jadav and the Tree-Place' (Pratham Books) and 'Up Down' (Tulika Books), and was the founder editor of Brainwave magazine. His articles and short stories have been published in The New Indian Express, DNA, Deccan Herald, The Hindu, Muse India and Out of Print Magazine, and he has illustrated books for Penguin, Harper Collins, Hachette, Scholastic, Duckbill and Pratham Books. You can visit Vinayak online at www.mixtape.in, instagram.com/mixtape.in and twitter.com/eyefry. 

Vinayak is judging the 'Who is Ameena?' contest and shares some insights on illustrating for children's books for those of you planning to enter.

To start off with, here's a general overview of the process that I (and most other illustrators) follow:

1. Once I receive the brief for a book, I first try to identify a set of visual criteria that will work best for it: 

• A governing style -- if I want to try something entirely new, which is different from the way I've drawn before, I create a mood board with a bunch of reference illustrations from various sources (Pinterest works particularly well for this purpose), and I try and spend some time at a good children's book store (like Lightroom in Bangalore) for some inspiration;

• The medium -- I decide what art materials I should use, how much of it should be traditional media, and how much can be digital, etc.;

• Visual research -- if I'm drawing an animal, for instance, I'll need photo references of that animal in various angles and poses. Similarly, for landscapes, buildings, flora, etc.

2. I then sketch character designs for the central protagonist(s) in the book. I do multiple iterations in several styles, so that I have varied options from which to choose.

3. Next, I make thumbnail drawings for all the illustrations -- these are very rough, and meant only to indicate the overall composition of each illustration. Along with these, I make one detailed drawing, as a proof of what the rest of the book will look like. 

4. I then submit all these to the art director or editor I'm working with, for their approval.

5. Once approvals come in, and pending any corrections, I make detailed pencil sketches of all the pages (based on the thumbnails I already made), ink these drawings, and go ahead with the final colouring.

A few general tips and tricks:

-- You can build consistency in your artwork (and pose a fun creative challenge for yourself) by defining a very specific colour palette, and drastically limiting the number of inking and colouring tools you use. Visual consistency also comes from creating a strong internal logic for your style of illustration, and sticking to it. For example, some artists choose to draw characters' eyes as little black dots, some draw white circles with black dots, some draw them in the shape of large pomfrets, and some draw anatomically correct eyes. Similarly, there are the artists who draw buildings, landscapes and objects with perfect perspective and clean lines, while others may use a more impressionistic approach. What you choose to do in any of these instances is entirely up to you, but once you've made your choice, you need to stand by it for the rest of the book.

-- Your art should add a whole new dimension to the story. Instead of merely repeating what the text says, allow your illustrations to take creative liberties, and add interesting details that go beyond what the writer has suggested. Remember that picture books always have two authors -- both the writer and the illustrator are creative equals in this medium, working in tandem but with distinct viewpoints -- so don't be shy of exerting your unique authorial and artistic vision.

-- Having fun while illustrating is important, of course, but it might also benefit your artwork to imagine that this might be your last and greatest work, and that everyone is going to judge the hell out of you based on how well this turns out. I often use this strategy to frighten myself into delivering (I hope) a somewhat-above-average product. And it works for the most part -- except when I allow the fear to paralyse me into a state of deep inertia... Hmm. On second thoughts, maybe this isn't the best advice in the world. Yeah, okay, forget I said anything. Just do that 'having fun' part.
In summary: look at lots of picture books before starting out, make strong artistic choices, take plenty of creative risks, and have fun.

For more details on 'The Who is Ameena?' contest and to enter, click here.

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The best part of spending time with kids is if you smile at them, sooner or later, even the shiest of kids will turn and smile back at you. No barriers, no divides, they don’t know what categories are. So they haven’t divided people into them… yet. So let’s catch the kids at that warm welcoming age when they can learn about different cultures and lifestyles, and can take such things in their stride as casually as they take their mother’s repeated request to stop throwing things around! Only books can take you through lives of people who look, live and believe differently than us. So here is a list of stories where beauty lies in the differences:

 

Where Did Your Dimples Go? By Radha HS and Kruttika Susarla

Have you ever tilted your head in all directions and stared hard at your parents trying to figure out how you look like them? Langlen didn’t have to look so hard. Her Manipuri mother and Tamil father were ready with all the answers her curious mind could think of! Available in ten Indian languages!

 

बारिश में क्या गाएँ? By Mala Kumar and Manisha Chaudhry

You can almost hear the earthy tones of a wind-swept Rajasthani voice in this story. And then a dinosaur comes in. No, seriously. See how these two contrasting elements literally make it rain in this story, translated in French, Italian and Japanese too!

 

My Car By Phidi Pulu

He loves his car. Angry mother or broken teeth, come what may, he will drive it everywhere. Take a ride to the moon and the stars with Khaidi. Read about his car in Telegu and Konkani too!

 

Sam's Christmas Present By Annie Besant and Alicia Souza

It’s Christmas! And what do most kids care about during Christmas? Presents! Sam has been looking for his present…. In every corner of the house. Will you help him? Available in Hindi and Marathi!

 

 

Chuskit Goes to School! By Sujatha Padmanabhan and Madhuvanti Anantharajan

This here is a heart-warming one. Chuskit wants to go to school. Seems simple enough for most of us reading this through our digital devices. But for a girl on a wheelchair with the rough landscape of Ladakh, this basic wish soon becomes a matter of privilege. Read how one smart and kind gesture of a little boy helped Chuskit go to school.

 

 

The Boink Mystery By Mala Kumar, Manisha Chaudhry and Soumya Menon

You get a huge mixing pot of traits, complexities and cultures when you look at a basic classroom. The Boink Mystery translated in Bengali, Kannada and other languages, will speak to you through a child’s perspective of a cluttered world; it will even speak to you through a small blue alien!

 

How Old is Muttajji? By Roopa Pai and Kaveri Gopalakrishnan

Grandparents are old. Sure. But HOW old exactly? Too many grandparents around us don’t know their exact age. When Putta and Putti found out that their sweet Muttajji doesn’t know her age, they decided to embark upon an investigation that led them through some of the most fascinating chapters in Indian history. Read this popular story and be enthralled in Bengali, Gujarati, Tamil, Marathi and many more languages!

 

Susheela's Kolams By Sridala Swami and Priya Kuriyan

Imagine making kolams so pretty, so popular, that they make their way to the skies. Susheela is exceptionally proud of her kolams, now that even the Air Force has taken special interest in them! Read this story in 9 languages and enter her visually beautiful world that’s tied together with traditions.

 

Mangoes And Mischief By Sreedevi Gopakumar and Sahitya Rani

You know how they say that when we are hungry, we eat like a monster. So what happens when an actual monster gets hungry? Maangasura, the lover of Mangoes and all Mango meals, is here! Moidootty and Malu must gather their wits… and lots of mangoes… to break his curse. Read this latest upload on StoryWeaver to find out if they succeed!

 

First House By Nabanita Deshmukh and Phidi Pulu

Our journey of increasing our comforts is possibly never-ending. We didn’t always have four walls around us to keep us warm and a roof over our heads to keep the sun and rain away. Then how was the first house made? This story, set in present day Arunachal Pradesh, imagines the answer to that question, and even involves the beautiful creatures of that area. Read in Tamil and Kannada too!

 

I am Tashi By ROGPA NGO, Dhasa

Want to see the stunning landscape and lifestyle of Tibetans through a nine year old’s perspective? Let’s take you through the Tibetan Himalayas, meet some Buddhist pilgrims on the way, and have some tea and momos too! Read this beautifully illustrated story that’s written by our community member in English and Tibetan.

Do you have a favourite story that talks about different kinds of good? Tell us what it is in the comments, or on Twitter and Facebook!

 

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