Aagaaz’s Team Grows ~ Sanyukta

Aagaaz was imagined as a space for its members to grow as professional theatre practitioners. We took a big leap towards both these goals in August 2018. Our core group members will be joining us every year now, as drama-based facilitators.

Saddam, Nagina, Muzammil, Ismail, and Shahid are the first of the lot. Each of them have been co-leading Ajab Gajab projects with Sakhi and Devika. While Ismail and Muzammil led the project with the Heritage School  in Vasant Kunj; Saddam, Nagina, and Shahid co-led the project in Hazrat Nizamuddin Basti. Shahid has also been working with children at The Community Library Project along with Mihir.

The group of five have also taken on a larger chunk of production related work with our two plays— Raavan Aaya and Bhagi Hui Ladkiyan. All of them are also equipping themselves with skills such as working with lights, handling sound equipment, learning to use emails, and documenting. We are excited with the possibilities of the team developing and working with many other children led by our core group members. Our goal is for them to begin leading independent projects by August this year.

Meanwhile, we wait for Nahid, Zainab and Jasmine to join the gang.

Exploring boundaries in lands far away ~ Ismail Shaikh

मुझे जब पता चला के मैं New Mexico जा रहा हूँ, मुझे बहुत अच्छा लगा क्योंकि मुझे नई जगा जाना बहुत पसंद है। नए-नए cultures, नए लोग, वहाँ के खाने पीने के तरीके- मैं सब बारे में सीखना चाहता था।

हम New Mexico में Chaco Canyon, Santa Fe और Taos गए थे। Chaco Canyon वहाँ की सबसे पुरानी सभ्यता है। उसको देखकर मुझे हड़प्पा सभ्यता की याद आई, जिसके बारे में हमने school में पढ़ा था। उसके अलावा हमने Pablo House नाम के ऐतिहासिक घर देखे, जो ज़मीन के अंदर बने हुए हैं। मुझे Santa Fe भी बहुत पसंद आया। वह भी एक historical site है जहाँ लोगों ने कहीं सारी jewelery की दुकानें खोली हुई हैं।

एक चीज़ जो मुझे interesting लगी थी, वो थी वहाँ के लोगों की rules follow करने की आदत। वहाँ के लोग बहुत आराम से गाड़ी चलते हैं और मोड़ पर हमेशा slow हो जाते हैं। वे हमेशा left और right देखते हुए आगे बड्ते हैं और road cross करते हुए लोगों की सहायता करते हैं। यह careful तरीके से जीने वाली बात मैं अपने theatre skills के द्वारा आगे लेकर जाना चाहता हूँ। मुझे लगता है के हम सबको इससे कुछ सीखने का मौका मिल सकता है और शायद लोगों की सोच में बदलाव भी आ सकता है।

मुझे एक दिन याद है, जब हम सब गाड़ी से कहीं जा रहे थे। अचानक से हमने आसमान में एक खूबसूरत rainbow देखा। ताज्जुब की बात तो ये है के उसके दो minute बाद एक और rainbow भी आ गया। आसमान 2 rainbows के साथ बहुत beautiful लग रहा था और मुझे अच्छा लगा के उसे देखने का मौका मिला।

America जाने से पहले मैंने expect किया था की वहाँ ज़्यादातर बड़ी बड़ी buildings होगी और एक अलग सा वातावरण होगा जो मुझे बहुत खास लगेगा।  मैंने सोचा था के वहाँ का खाना तो बहुत ही अच्छा होगा। लेकिन America के जिस हिस्से में हम थे, वहाँ ना तो बड़ी buildings थीं और खाना तो मुझे बिलकुल पसंद नयी आया। असलियत जानने पर मेरा भी नज़रिया बदल गया।

English Learning at Aagaaz ~ Shailaja

When approached by Devika to help the Aagaaz group hone their skills of speaking English, my reaction was more of the joy in getting to interact with the group than the ‘how’ of the requirement. It is only when I started giving deeper thought to it that I realised that getting to know them was the important component in embarking further on this path.


So we started by meeting every Sunday for an hour or so, initially just being together, me trying to reduce my ‘Devika ki mummy’ tag and they were probably just getting comfortable around me. Simple vocabulary exercises, rhymes and games were introduced and I was able to gather data on where they were and how we could go ahead. What was enjoyable was their lack of inhibition with me and willingness to try it all.


Some were comfortable with speaking but seeking flow, vocabulary and pronunciation, others were hesitant to speak but willing to learn. As the weeks passed, a rhythm evolved. We started with simple word games and moved to sentence level exercises. Role playing was an important part of the sessions. It gave context as well as comfort to a group that is already immersed in theatre and its processes. In fact, sometimes the challenge was to have more speech and less drama.


Recounting stories, converting Hindi song lyrics into English, stories to scripts and then enacting them, directed conversations as in interviews and reporting were some of the activities that enabled the group to practise their speech as well as use diverse vocabulary. Vocabulary based word games were an integral part of each session even if a very mundane task of selecting words out of a theme and creating sentences using those.


For the initial sessions focus was not placed upon correcting them at all, the aim was for the group to be at ease with speaking and to acquire a certain flow. There has been a challenge in the varying abilities but the activities allowed flexibility within that for most cases. Reading was avoided for a long time due to this. Off late we have upped the ante and simple scripts have been introduced for chain reading, together or in small groups. Here a little intervention for pronunciation is being included. Recently they have embarked upon creating their own script and the idea is to keep increasing the complexity of that self-furnished text.

It’s a wonderful group with lively participants, the  sessions are largely joyful and friendly, the varying dynamics between the young adults lending to the relationship with and within the session in interesting ways. The endeavour is also to let them learn within the space of being themselves and not turn ‘English’ into a larger than life institutional requirement. There is tremendous (un)learning for me as I gather my intuitions and dispositions to be challenged, negotiated and ‘played’ with every Sunday at Aagaaz.

Samvidhan Live Culminates~ Sanyukta

Commutiny the Youth Collective’s project Samvidhan Live interested us from the word go. It was developed while Nishant and I were still Changelooms fellows in October 2016  when our mentor Kanika Sinha, was knee-deep into developing a board game that facilitated young people’s experiential engagement with the Constitution. We were interested from the word go.

However, of the many organisations participating in the game, we were only able to join in earlier this year and completed the exercise week before last with an end of the project reflection. Eight of our core group members participated  as four pairs. Here are some of their ruminations from their journey.

 

  • Jasmine and Saddam

They visited three heritage sites to complete one of their tasks. Safdarjung’s Tomb, Lodhi Garden and Humayun’s Tomb made their list.

Their primary struggle was overcoming their resistance to history related research. Since their experiences with subject had not been great, they had to push themselves to ask people for information.

They were fascinated by the comfortable presence of people from the transgender community, at the Safdarjung Tomb. This helped them think about the inclusive/ exclusive nature of public spaces in Delhi.

They also visited a religious centre for education to compare its practices to those they have seen in schools.


The Jagriks decided to go to a Madrasa- School of Islamic Studies. They discovered that these centres were relatively much more well kept and clean than any school premises they had seen.

After speaking to someone who worked at the Madrasa, they came to know that violence was quite prevalent there. They also felt uneasy about the lack of freedom given to the students in the space.

 

  • Shahid and Nagina

There was a week when they found a particularly difficult task to grapple with. They had to pledge for organ donation.

The Jagriks realised that their families would not give them the permission to make an independent choice about such matters. In addition to that, their religion and culture also didn’t encourage organ donation.

However, this didn’t stop them from looking at this as an opportunity for learning. They discovered that the procedure for donation is far from simple and generally takes a long time. They also came to know that sometimes organs are removed prematurely, which can lead to major problems.

With another task they had to explore their relationship with the environment. What are the sustainable practices in their everyday lives?

Their primary struggle was asking people to consider switching to more environmentally friendly options. In addition to that, they decided to feed their neighbourhood animals, and came to terms with the care and attention it required.

Their major takeaways were the changes they decided to make in their own lives. It was an opportunity for them to acknowledge the areas in which their contributions can make a difference.

 

  • Muzammil and Zainab

They got a chance to think about their duties. They created some adolescent friendly amendments and closely analysed their loyalty towards the constitution.

They struggled to find information about their constitutional duties, especially when they didn’t have instant access to the internet.

Their major takeaway from the task was understanding the procedure around reporting, women’s harassment complaints.

They also had to speak to a child labourer, in order to complete their task.

Their primary struggle was convincing a young child to talk to them about his/her situation. They confronted a few individuals who showed no inclination to entertain their questions.

The Jagriks expressed that they did get a glimpse of the oppression, without actually having one-to-one conversations. According to them, the responsibility on the children itself was reflective of their burden.

 

  • Ismail and Nagma

With one of their tasks they  explored the validity of the law that marks poverty lines are below  Rs32.

They spent a whole day trying to survive within that measly sum.

They realized that the amount would get exhausted within the first few hours of their day. Ismail spent his money on petrol, while Nagma paid her mother their daily rent, and finished her cash at the washroom.

The Jagriks expressed that the law they experienced was extremely unfair and needed immediate attention.

Like Saddam and Jasmine, they too spent a day visiting heritage sites. Humayun’s Tomb, Lodhi Garden and Matka Shah’s Peer made the list.

Their primary struggle was asking people about these places and their history. The whole process of inquiry was harder than they had imagined.

Their major takeaway from the task was understanding how the origin of these various heritage sites is relevant to their existence today. They also got an opportunity to observe the distinct ways in which people interact within these public spaces.

With a simple board game, the Jagriks (that’s what the participants were called), would explore two tasks each week – one to be completed individually, and another with their partner. The tasks were based on the rights and duties that create the backbone of our Constitution. It is a powerful set of words, and I am tempted to say ‘especially now’. Through this game we discovered that it’s not just a set of words, but a living, breathing, dynamic text. We, who live in the world of theatre, where we know that the meaning of the written word lies in its performance, found the Constitution close to our worlds.

Aagaaz, No longer a Toddler!- Devika

Children in their years of early development, slowly start to understand concepts. They develop a sense of self and discover time which eventually leads to the acknowledgement of something as simple as age. Aagaaz has had a very similar journey. Dates and starting points were very irrelevant to us when we were smaller and younger. Now, our work and our community has grown and we are beginning to grapple with our identity in the larger ecosystem and ways to stay connected – to our growing world and also our roots. We decided to create a birthday ritual for ourselves – drama games and a show and all our friends.

June was an amazing month for many reasons. One of them was lack of time, which made the process of planning and preparation rigorous and exciting. A special version of Duniya Sabki was the most important element of the day. The core group put their hearts into it and they did everything required to ensure that the play was made, that too beautifully. They practiced at night, negotiated with their families and pushed their bodies without complaining about fatigue. The grown up Aagaaz, was reflected in their actions and decisions.

Muzammil, the director of the play shared that this became a process of mapping Aagaaz’s journey. On an occasion like this, he wanted to present something meaningful and relevant to the group.Despite all the challenges they encountered, he received a lot of support from the rest of the actors. He was impressed by their commitment, especially since they all agreed to practice during late hours. There was a lot of hard work involved and inputs from Sanyukta and others only came in one night prior to the performance.

Saddam, from the core group found the preparation rather challenging at first. He expressed that a lot of the actors didn’t show up initially and punctuality was an issue. He was also constantly concerned about Muzammil, Ismail and Nagina’s energy, which varied depending on the intensity of their work at KHOJ Studios. He was glad to see a gradual shift in the attitudes. Saddam pegs the success of the performance, on the seriousness that emerged during the last few days of rehearsal.

The day itself was like an exercise in ensemble work. We co-created the space for our guests. Cleaning up the space, bringing food, cleaning, labelling and greeting people- all of it happened without much effort. The larger community also blended in with ease. Something about the whole experience was magical. ‘Bhelpuri Khalo’ and ‘Roohafsa lelo’ became the code words for ice-breaking and conversations happened with old friends and new.

We were lucky that some of out near and dear ones, took out time on a busy weekday. The added their own zeal to the space. Like every other birthday, we couldn’t have survived without a small dose of rituals. Mridula from Theatre Professionals and Dhruv, who mentors Aslam – one of our core group members, fulfilled this need by bringing two wonderful cakes. This helped us embrace the cliches we love, and allowed us to consume them in grand proportions.

The performance spoke for itself as the refrains of Safdar’s lines cushioned Aagaaz’s journey and Ankit from Play for Peace helped us set the tone with energisers that had all of us radiating with joy and sweat on the muggy day. Awkwardness permeated the air when everyone was asked to share their favourite ‘Aagaaz Memory’. The initial discomfort gave way to some thoughtful sharings, funny anecdotes and significant stories. There was laughter, running, dancing, selfies, unexpected conversations, and ideas that emerged out of nowhere. Our initial nervousness around not being able to host people, slowly disappeared. Eventually, an invisible thread connected us all and now we are further tangled up in each others’ stories.

ACTing on and off stage

The core group of actors from Aagaaz, have been engaging with regular conversations about gender and sexuality. The adolescent girls meet me on a weekly basis to co-create a safe space.

I have always been fascinated by the prospect of exploring gender as a theme with adolescents. However, this group at Nizamuddin is responsible for opening my eyes to the struggles and significance of such crucial and controversial work. I feel that I have come a long way as a learner, if not a facilitator. My initial conversations with the girls were primarily scientific and factual. We discussed the details of menstruation and spent a whole lot of time naming body parts and critically examining myths and taboos around menstrual health. Gradually, we moved towards understanding personal space, ideas around consent and objectification and slowly transitioned into exploring the notion of pleasure.

Aagaaz’s vision statement says “we relentlessly question ‘what is’ to probe ‘what could and should be’ to learn ways to act and perform beyond just the stage”. We constantly strive to understand the world through theatre, and sometimes we dramatic work based on our lived experience. Being selected for Gender Bender in 2016 ( a festival co-curated and supported by Sandbox Collective and Goethe Institut, Bangalore) with Urban Turban, was more of the latter.

As I watched the three actors perform the work-in-progress piece in Hazrat Nizamuddin Basti on the 23rd of April, I saw how beautifully they are negotiating their understandings and confusions around their bodies, identities, and their worlds through the thin overlapping space between performing on and off the stage. Urban Turban explores how gender plays out in the everyday lives of three girls living in Nizamuddin Basti. The play explores their struggles, their confusions and their attempts to make their space in the world. It explores their stories, yet manages to encapsulate bits of their next-door neighbour’s story, bits of their school friend’s story, bits of my story and maybe bits of the story being lived by a woman you saw walking on the street.

Our director, Dhwani Vij uses aspects of physical theatre, object theatre and immersive theatre to create an experience that makes the intricacies of these everyday episodes come alive.

In the play, we see the girls in their familiar environments doing the things they do. There is a morning routine, going to school, interacting with the neighbourhood and being at home. The theatrical technique is highlighted when the girls start singing about all the things they don’t understand about the world. The lyrics of the song are comical yet powerful. There is a point where the girls say that ‘sadkon par masti nahi karna samaj nahi aata’ and the simple statement blatantly outlines the patriarchal power structures and the restrictions they create.

Coming back to the show I watched in Hazrat Nizamuddin Basti, we performed for the community workers of Aga Khan Foundation. This show will remain in our memories for posterity. It was extremely special. This is the school the girls went to as children, this is the neighbourhood where they live and the audience comprises of the people who co-exist in this environment and share this ‘lived experience’. Performing in these circumstances takes a lot more strength, especially when it has potential to confront reality. There is no possibility for the actors to remove themselves from the context after the curtain call.

 

Process oriented theatre is slow work. Sometimes, it takes a while to notice small yet significant insights that emerge over a period of time. This performance for the community, and a few other instances have marked a major shift in how the girls interact with world. 17 year old Jasmine feels that change doesn’t happen overnight and little interventions can make a difference in the way people perceive gender. She feels optimistic about using performance to challenge mindsets and hopes that these messages would influence her environment at home. 18 year old Nagina was glad to see that the questions thrown at the actors, were answered by the women in the audience themselves. She felt that it signified common experience and a relatable understanding of the context. The play triggered moments of self- evaluation for some of the women in the audience and that was also a crucial response, according to her. A moment from the audience interaction that stands out for me was an older woman in the audience saying,” I am going to stop gossiping about young girls from now onwards.”

16 year old Nagma, has other perspectives to offer. She talks about the fear of performing in front of people who might tell her parents what her ‘theatre’ is all about. At the same time, there is acknowledgement of the fact that performances such as these, have potential to show a mirror to society. She strongly believes that change starts from the self, and Urban Turban is a trigger in that direction.

Suddenly, I am able to see how the girls are understanding th larger purpose and long term impact of their work. They feel the need to create more sustainable and frequent exposures in their community. In addition to the performative element, our Darpan sessions have also seen some beautiful turning points. One such moment happened during a recent workshop exploring personal perspectives on gender. We used improvisation games, embodiments, visual arts and scene work to talk about society and the moral standards it imposes on girls. We also managed to do deeper into it, by looking at our narratives of ‘Ideal Women’ and detecting the loopholes there as well. This snippet from a short piece they improvised during this session, highlights their ability to understand the topic with respect to both context and privilege.

(An interaction between a low caste scholar, a middle class housewife, a wealthy socialite and feminist activist)

Scholar: मेरी बेटी को तो देखो कैसे कपड़े पहन के बाहर घूमती रहती है| समाज क्या सोचेगा?

Activist: उसे जो करना है करने दो| समाज समाज समाज!! क्या समाज तुम्हारी थाली पर खाना रखता है या तुम खुद?

Housewife: हम इस समाज का हिस्सा हैं और अभी हम यहाँ से बाहर नही निकल सकते| ह्मे खुद को लोगों की बातों से बचाना है, क्योंकि ह्में ही सुनना पड़ता है|

While dialogues in Nizamuddin are becoming more nuanced by the day, we are still quite new to creating similar spaces with unfamiliar adolescents. Our work at Pehchan Centre in Jaitpur, is taking a different trajectory. Recently, we realised how engaging with the arts consistently can transform an exercise from an intimidating instruction to an opportunity for personal expression. And this hardly took us a few weeks. However, the challenge now lies in pushing ourselves to go deeper into the ideas and the processes.

Dialogues Transcending Boundaries

We are guilty of saying it too often about too much, but then it’s true! We are so excited about Nagina, Muzammil and Ismail. Aditi and Radha from KHOJ reached out to us earlier this year about 18+ year olds from Aagaaz, who have worked in Khirki Extension, being a part of a project supported by World Learning (USA). The project explores the dynamics of cultural identity and cultural heritage through. A group of young people from from Khirki Extension and Aagaaz have been virtually engaging with young people from New Mexico. A programme designed to create cultural exchange, two of the three from Aagaaz will travel to New Mexico in early July. Very few of the core group members fit the criteria, specially the former. The three of them, though are constantly bringing in their learnings from the journey to the rest of us. Watching the project from the fringes, we leave you to read what those directly involved in the process have to say.

Aditi Chauhan, KHOJ

Diversity of rituals belonging to clusters of human population worldwide has created behavioural references that continue to outline our identities, passed on with a purpose of persisting through time. While the celebration of this diversity has found more enthusiasts now more than ever, the virtual proximity across space alluding to ideas of globalization has also seen great resistance and adverse reactions to migration of cultures. The necessity for documents validating and defining our identity (simultaneously accentuating the difference) in a particular place restricts movement of expressions and interactions.

Redefining the margins and tracing the routes back to cultural heritage and cultural identity, youth in the neighbourhoods of New Delhi and New Mexico are collaborating through a virtual exchange program titled Voices From the Margins. This community arts initiative by Khoj International Artists Association and Global One to One (USA) supported by World Learning (USA) as a part of their global project Communities Connecting Heritage seeks to preserve and promote longevity of cultural heritage by engaging with youths worldwide through creative mediums of expression.

The eight members of the team from New Delhi represent a vivid network of socio ethnic communities existing in the city and hailing from different Indian states and countries. Ashif Khan, Ismail, Nagina, Muzammil, Leeda Ferozy, Romeo Kiseke, Suraj Tamoli and Yanki Lhamu Bhutia will navigate their ways to understanding their identities and resolving conflicts through discussions and exercises in spoken and written word format, illustrations and performing arts. Teams from both the countries have been interacting virtually, bringing to fore varied interpretations of the margins, sharing specificities of their heritage and identity, similarities and unique perspectives on issues that concern the youth from diverse backgrounds in different situations and spaces. This four month long project will conclude with an in person exchange of both teams and exhibition in June, 2018, with the aim of encouraging this dialog in public and personal spaces and facilitate the creation of a more receptive environment to cultural diversity and preserve the heritage that outlines our identities.

Nagina, Aagaaz Core Group Member

The team members from Aagaaz have some very interesting insights to offer. 18 year old Nagina explains that she never analysed her heritage so closely. ‘Voices from the Margins’ has helped her see how much her everyday life is influenced by the hand-me-downs of her heritage. She talks about something as simple as her surname and religion and goes on to her something as complex as her angry temperament. Interacting with a diverse group of people, has also managed to increase her awareness about the difficulties one faces due to migration and racism.

Ismail, Aagaaz Core Group Member

19 year old Ismail expresses the joy he experienced while talking to the exchange students in New Mexico via virtual means. He claims that the interaction was his favourite moment since it managed to defy the need for common spoken language. His words indicate that the two groups of young people found common ground, in being strangers to each others’ worlds.

Muzammil, Aagaaz Core Group Members

Muzammil, who is of similar age chose to talk about the long term impacts of being a part of such a program. As a performer who is keenly interested in theatre direction, he looks at this as an opportunity to find relevant thematic areas. He has been observing the exercise that they are doing around creating an ideal state, and is specifically interested in going deeper into the challenges they are facing in the process. He feels that they throw light on the current state of humanity, which has possibilities for dramatic exploration.

Khirki Music Ensemble- Journey so far.. By Anirban Ghosh

What started as an experiment in Khirki (Somehow Khoj had trust in us that we will be able to create interesting programmes with this community) today has resulted in 3 full-fledged programmes for us at Aagaaz (Unlearning Uncentered, किस्से Connection and Khirki Music Ensemble). Khirki music ensemble emerged from the need to create and engage the hidden musicians from Khirki, and give them a platform to express and collaborate with other like-minded individuals from within the community.

The first audition call was a disaster – we actually waited (somewhat like the two photographers from Jane Bhi do Yaaron – Naseeruddin Shah and Ravi Baswani who are waiting for people to turn up for the opening of their photo studio) till 4 pm but nobody showed up. We knew we had to do this and it would somehow work out, so we started finding ways to get people to join this ensemble. That’s when we bumped into Swati’s ‘Recharge ki dukaan’ where she was also running a makeshift recording studio. I started spending time and jamming with the musicians who come to record there and found some amazing rappers (Anubhav and Ravi) and a young Bollywood singer (Kumud).  Zubin (from Khoj) connected me to these two Congolese musicians (Romeo – guitar/vocals and Zoom – Bass man / vocals) who blew me with their renditions of some really hip Congolese songs. I started jamming with this group and this began the journey of creating KME with this motley crew of young musicians from Khirki.

The ensemble right now is just 5 rehearsals old, but we do believe that we will be able to put together solid performances given the enthusiasm and will of each individual. We are hoping that more people will join this ensemble in some course time, but till then, we will keep doing what we do the best – create music that crosses borders/languages/cultures and brings people together in Khirki.

Theatre with ‘The Community Library Project’, Panchsheel Vihar By Priiya

 

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There is a deep sense of kinship to be working again with a group of participants who have already been led into a theatrical journey of sharing ideas and experiences, and it provides for a pleasant challenge. These workshops become a continuation of an educational exercise through theatre and play an important part in the evolution of thought itself.  The group of kids from The Community Library Project at Deepalaya at Panchsheel Vihar are in gears for the second series of workshops with us and that has us moving.

Following the first performances that culled out of Duniya Sabki in a workshop format, the second series revolves around stories, storytelling and the storytellers. The stories that we are working on are the ones that have been read by this group of 12 avid readers over the last few months, stories that they carried beyond the books . Through a range of narrative and improv exercises, we are experimenting with the numerous ways in which these stories could possibly be told. Their choice of stories they want to tell is in itself a fascinating reflection of what appeals to these children as unique individuals.

As with most workshops, as much as planning ahead of time is essential, many thoughtful developments happen during or after the planned activities, and the dynamics of set exercises are prone to modification on a daily basis. After the initial step of sharing stories in our workshops, we are now gradually shifting our focus towards the act of narration of the stories, using various techniques involving images, machines, non-linear narratives and humanization of objects around us. In the recent workshops, most of the brainstorming sessions have been whirling towards an attempt of bringing to surface the impact of invisible characters in each child’s story. This exercise is an effective way of understanding the varied perspectives that can alter the narrative direction of the story being told. This has set in motion the process of not only thinking but also acting from various point of view. Interestingly, one of the children has chosen the guitar in her story to be the storyteller and another one is trying to make a box of paint talk, oh! it’s going to be fun.

मैं और मेरी mentor.. By Jasmine

मेरी mentor गायत्री है ! मुझे उनके साथ बात करना और time बिताना बहुत अच्छा लगता है | मैं अपनी सारी बातें उनसे share करती हूँ और गायत्री सब सुनती है | वो तो मेरी मजाकिया हरकतों को भी झेल लेती है!

ज़िन्दगी में कभी कभी मैं बहुत ज्यादा अकेला feel करती हूँ और किसी को बता भी नहीं पाती | कभी-कभी बहुत सारी कठिनाईयां आ जाती है जिसका मैं सामना नहीं कर पाती या मेरे किसी दोस्त की परेशानी मुझे परेशानी दे रही होती है या फिर पढ़ाई में कुछ problem होती है | मैं हमेशा चाहती थी के ऐसा कोई इंसान हो जिसको मैं बिना घबराये ये सब बता सकूँ | अब गायत्री मेरी mentor है तो उनसे बात करके feelings share कर सकती हूँ और कई बातों का solution भी निकाल सकती हूँ |

इन सब चीज़ों के अलावा गायत्री और मैं बहुत कुछ साथ में भी कर सकते है और आगे चल कर करेंगे | मैं गायत्री से नए-नए पकवान और English सीखना चाहती हूँ | मैं चाहती हूँ के गायत्री dance सीखे और मुझे भी सिखाये | और हम कई दिन साथ में गाना भी गायें !

मैं चाहती हूँ के गायत्री जैसी है हमेशा वैसी ही रहे, कभी न बदले | हमेशा मेरी एक दोस्त की तरह रहे | कभी-कभी मुझ पर गुस्सा भी हो तो मुझे अच्छा लगेगा ! I love you गायत्री !