The Colour of Britain - ACE273.9

Kapoor sculptures. Kapoor refuses to accept that his use of pigment is "quintessentially Indian". Kapoor sculpture. Kapoor: if it’s Indian, so be it; if it isn’t, it isn’t. The point is "how" is his engagement with the work. Kapoor sculpture. Kapoor. It has a relationship with the body that is direct and passionate. Kapoor sculpture. Kapoor VO on how he’s been working towards a "tactile" emotional sense, looking for fast and durable emotional responses. Kapoor sculpture; VO Bhabha. Bhabha is excited by the way in which Kapoor’s work refuses to be "settled" into national or cultural representation or identity. Kapoor sculpture. Kapoor: "the reality of being Asian in Britain is very important to me"; he feels very passionate about racism, etc. Street scenes. Kapoor VO on how racism and other issues affect him every day. But, as an artist… Kapoor sculptures. Kapoor VO continues. Kapoor: … those issues aren’t given central focus. Making art is a deeply political act. Kapoor sculpture: Kapoor VO: the poetic act is itself a political act. Kapoor: … and he therefore doesn’t feel the need to make a work "in protest". Romance With Footnotes (1994) by the Shobana Jeyasingh Dance Company. The Caucasian Chalk Circle performed by the Tara Arts Theatre Company. Jeyasingh: it’s increasingly difficult to define culture in terms of nations. Notions of "home" are more important. Verma: England is now "home" for him. His notions of England must intersect with those of someone whose birth and background are entirely English, and it is those intersecting points that will enable a new form of Englishness to emerge. The Caucasian Chalk Circle performance. Jeyasingh talks of the "slow battle" to become part of British culture; one day the British Council may even send them to India as being representative of British culture. The Caucasian Chalk Circle performance. Grusha crosses the bridge. Credits