project report oat- pali

8/20/2019 Project Report OAT- Pali

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OPEN AIR THEATER- PALI

OPEN AIR THEATER AT LAKOTIA

For Pali Town

Contents

Page

1. Backgroun o! t"e Pro#ect.............................................................................................1

1.1. Focus area..................................................................................................................1

1.2. Objectives..................................................................................................................2

1.3. Coverage of the Cities................................................................................................2

1.4. Financing Pattern.......................................................................................................3

$. Pro#ect Town....................................................................................................................%

2.1. Introduction................................................................................................................4

2.2. Climate ...................................................................................................................4

2.3. Physiograhy..............................................................................................................4

2.4. !eograhy..................................................................................................................4

2.". #istorical ..................................................................................................................."

2.$. %emograhy...............................................................................................................$

2.&. Poulation Projection of the 'o(n.............................................................................&

2.). *eed of the Project.....................................................................................................)&. T"eatre 'esign................................................................................................................(

3.1. +sects of 'heatre %esign.........................................................................................,

3.2. 'he *ature of 'heatre %esign....................................................................................,

3.3. 'heatre Forms..........................................................................................................1-

3.4. 'he !oals of 'heatre %esign...................................................................................12

3.". 'he tage and /ac0stage.........................................................................................13

3.$. 'he #ouse and Front of #ouse................................................................................14

3.&. Project ite...............................................................................................................1"

%. Pro)osals an Reco**enations................................................................................1+

4.1. ethodology............................................................................................................1$

4.2. ssential %esign Factors..........................................................................................1&

4.3. chedule of ates Considered in stimates.............................................................1)

4.4. Proosals .................................................................................................................1)

,. Co**unit- Partici)ation.............................................................................................$

/1/


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".1. /enefits of Community Particiation......................................................................21

".2. Community Particiation in fficient anagement ystem...................................22

".3. ustainability of Community Particiation..............................................................23

".4. Factors favouring the sustainability of community articiation............................23

".". Institutional Caacity /uilding................................................................................24

".".1. *eed for +ccountability...........................................................................24

".$. Information ducation and Communication............................................................24

".&. Public ducation......................................................................................................24

".&.1. !rou ducation......................................................................................24

".&.2. ass ducation........................................................................................2"

+. O)eration an 0aintenance........................................................................................$

. 2ocial I*)act o! O)en Air T"eatre..............................................................................$3

3. Cost Esti*ates...............................................................................................................&

/$/


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1. Backgroun o! t"e Pro#ect

!overnment of India accorded sanction to the continuation of the cheme of 'agore Cultural

Comle5es6 from the 7I Plan to 7II Plan at an estimated cost of s. )-.-- crore. 'his is a

historic moment8 that after $- years9 a scheme of this magnitude has been introduced by the

inistry of Culture: its imact (ill be far reaching. It has an ambitious rogramme for long

neglected cities8 to develo them as centres of e5cellence for romoting8 reserving and

disseminating the rich cultural traditions of the country by creating ne( Cultural Comle5es

in the country in the form of auditorium8 rehearsal halls8 training centres8 green rooms etc. and

also for renovation ; ugradation ; moderni


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e. 'raining Centre; school for theatre; music; dance8

1.$. O6#ecti7es

'he objectives of the Tagore Cultural Complexes scheme are :

'hrough the scheme of 'agore Cultural Comle5es8 (e are creating the infrastructure for

nurturing our national erforming talent. Our job is to ensure that this is done in the best

ossible (ay to serve the erforming arts and theatre at its core. If this scheme (or0s

effectively8 it (ill imact on the entire eco@system of erforming arts in the country that (ill

have long lasting effects on develoing the value of theatre and erforming arts8 thereby

contributing enormously to the cultural fabric of our country.

1. 'he revisited version of cheme 0no(n as A'agore Cultural Comle5esB cheme (ill

continue to foster and coordinate activities in the tates; ='s in different cultural fields

such as music8 drama8 dance8 literature8 fine arts8 etc. and romote through them the

cultural unity of the country and rovide avenues for creative e5ression and learning to

the younger generation.

2. 'hese cultural comle5es (ill (or0 as centres of e5cellence in all forms of art and culture8

(ith facilities and infrastructure for stage erformances >dance8 drama and music?8

e5hibitions8 seminars8 literary activities8 film sho(s8 etc. 'hey are intended8 therefore8 to

go beyond the original 'agore +uditorium scheme and foster a multi@dimensional interest

in creativity and cultural e5ressions.

1.&. Co7erage o! t"e Cities

Selection of the Project

Follo(ing Organii? tate !overnments; =' +dministrations9

>ii? /odies set u or sonsored by tate !overnments; =' +dministrations9

>iii? /odies set u or sonsored by the Central !overnment or organiiv? =niversities8 unicial Cororations and other !overnment aroved agencies9 and

>v? euted not@for@rofit Organi


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1.4. Financing Pattern

Financial assistance under the cheme for any roject (ill be normally uto a ma5imum of

s. 1" crore in t(o installments in the ratio "-:"-. In e5tremely rare cases8 of outstanding

merit and relevance8 the financial assistance can go uto s. "- crore8 subject to necessary

araisal;aroval mechanism rescribed for ne( Plan chemes. Financial +ssistance (ill be

released in consultation (ith integrated Finance. 'he uantum of financial assistance by

!overnment of India8 inistry of Culture is limited to $-D of the roject cost of a non@

recurring nature. ecurring e5enditure8 if any8 (ill be the resonsibility of the grantee

Organi


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2.Project Town

2.1. Introduction

Pali to(n oularly 0no(n as EPali ar(arE is located in the south@(estern art of ajasthan

at the intersection of 2"o4&* latitude and &3o2- on the right ban0 of /andi river at a

distance of about &" 0ms south east of Godhur and about 3-- 0ms south of Gaiur. It lies at an

elevation of 212 meters above mean sea level. Pali is also a rail(ay station on Godhur@

ar(ar section of *orthern rail(ay. Godhur is the nearest airort.

2.2. Climate

'he climate of Pali is dry and hot (ith humid condition during rainy season from Guly to

etember. It has an average annual rainfall of 412mm. 'he summer is hot and dry (ith

average daily ma5imum temerature of 4-oC and average daily minimum temerature of

2&oC. %uring the (inter average daily ma5imum temerature is 2"oC and minimum is 1-oC.

'he humidity conditions also vary (ith the temerature and rainfall. 'hus in +ril and ay

the humidity is 3- to 4-D8 but during rainy season it is &- to )-D and in (inter it is "- to

$-D.

2.3. Physiography

'he site on (hich the to(n stands is comaratively high ground li0e mound bet(een the river

in the south and shallo( deression in the north and east. 'hese deressions aear to be the

old time river beds of /andi river8 (hich might have changed its course. #o(ever8 this site

rovided the natural defence for the to(n and also the resence of river enhanced its religioussignificance.

2.4. Geography

'he soil strata of Pali to(n in general consists of

Hoose sand @ - @ 4 meters

#ard soil mi5ed (ith boulders @ 4 1- meters

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2.. !istorical

Pali8 the industrial to(n of ar(ar region has ancient origin but a modern loo0. 'he history

of its gro(th dates bac0 to 1- Century +.%. (hen it (as a lace of learning and ilgrimage of

Gain and #indu religion. 'he temle of Parsh(anath is said to be as old as 1-th

Century +.%.8

(hich (as earlier a ahavira temle and idol of Parsh(anath (as laced there in 12 th

Century +.%.. It (as also visited by number of Gain aints. +long (ith Gain the #indu religion

(as (ell established in Pali. 'he famous omnath temle belong to 1- th Century +.%. 'he

inscrition dated 11"2 +.%. refer it to the region of Jumarole. 'o the north@east of the to(n

is the temle of Pateles(ar ahadeo (hich is the oldest temle of to(n belonging to ) th

Century +.%. 'he Pallivals8 both Gain and #indu are said to be originated from Pali.

arlier8 Pali8 (as held by the /rahman Community in grant from the Parmars and ajut

chiefs till it (as comletely over@o(ered by ao hia8 the founder of athore dynasty in

ar(ar in 12th Century +.%. %ue to religious significance8 the old develoment of to(n (as

mainly near the temle along the roads leading to them. 'hus the old to(n has a comact

develoment (ith narro( streets bordered by high buildings. 'he comactness (as also due

to limitations on its hysical gro(th in south by /andi river and in north@east by Hoharia

'an0. /esides its religious character8 it (as also an imortant centre of trade and commerce in

the ast.

'he rail(ay line (as introduced in the to(n in 1))2@)"8 (hich encouraged some

develoment in the north near rail(ay station. *o significant develoment too0 lace in Pali

till the year 1,418 (hen eth ani am /angur established hri =med ill. 'he

establishment of this mil brought a ne( life for the eole8 roviding direct and indirect

benefits. Khile it rovided emloyment to thousands of (or0ers8 it also encouraged other

economic activities in the to(n8 li0e trade and commerce8 transortation etc. + number of

other infrastructural facilities li0e hosital8 higher secondary school8 college. Kater (or0s8

electricity etc. (ere rovided in the to(n. 'he gro(th of Pali (as future enhanced after the

construction of Ga(ai dam roject in the year 1,") (hich increased the agricultural outut in

the hinterland. Kith the conversion of eter gauge to /road gauge8 Pali to(n is no(

connected (ith imortant to(ns of tate and outside tate.

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'he most significant asect of develoment in Pali to(n (as the gro(th of cotton te5tile

rinting and dying industries8 (hich had made this to(n full of life and roserity in

economic develoment. + number of industrial areas have develoed in Pali to house this

industry. 'he ne( residential colonies have also develoed. 'he housing board has also

constructed houses here. + ne( grain mandi has been established. 'hus the old to(n of Pali

(ith an area of about 2"- acres has no( gro(n to the siLear 1,41?8construction of Ga(ai %am >Lear 1,")?8 establishment of industrial units >Particularly te5tile

dying and rinting? and mandi etc. *umber of dislaced ersons also settled in Pali during

1,41@"1 decade and the areas li0e indhi Colony develoed to house these ersons. %ue to all

these develoments8 the oulation of Pali to(n has gro(n from 1283"$ in 1,41 to 283-8-""

in the year 2-11 i.e. about 2- times in & decades. %uring last 2- years industrial and

commercial develoment too0 lace (ith a raid ace. %ue to establishment of !overnment

and emi !overnment offices8 emloyment oortunities has increased. ore over this has

become an imortant centre in the transort sector because of its being %istrict #eaduarter.

'ransort *agar has been established on ojat oad near E*aya !aonE. 'he follo(ing table

sho(s the trends in gro(th since 1,-1.

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Ta6le $/1 8 Po)ulation 5rowt" Trens Pali Town 1(,1/$11

9ear Po)ulation 'ecae 'i!!erencePercentage 'ecaal

5rowt" Rate

1,-1 12$&3 @ @

1,11 12,3, M2$$ M2.1-

1,21 1-12, @2)1- @21.&2

1,31 1-,&4 M)4" M).34

1,41 123"$ M13)2 M12.",

1,"1 241-- M11&44 M,".-"

1,$1 333-3 M,2-3 M3).1,

1,&1 4,)34 M1$"31 M4,.$4

1,)1 ,1"$) M41&34 M)3.&4

1,,1 13$)42 M4"2&4 M4,.44

2--1 1)&$41 M"-&,, M3&.12

2-11 23--"" M42414 M22.$-

ource: Census of India and estimate

$.. Po)ulation Pro#ection o! t"e Town

In the aster Plan reared for year 1,)-@2--18 decadal oulation gro(th of $2.-$D has

been envisaged in the decade 1,)1@,1 and of 4,D in the decade 1,,1@2--18 (here as8 as er

census figures the actual gro(th has been 4,.44D and 3&.12D resectively. In the aster

Plan reared for year 1,,&@2-238 decadal gro(th for the decades 2--1@118 2-11@21 and

2-21@31 has been envisaged as 2"D8 23.11D and 23."-D resectively as detailed belo(:

Ta6le $/$ 8 Esti*ate Po)ulation uring $11 : $%

9ear Po)ulation Pro#ections as )er

0aster Plan ;$1/$$&<

Pro#ecte 'ecaal

5rowt"

2--1 18)-8---

>+ctual as er Census 1)&$41?

3&.)&

2-11 282"8---

>+ctual as er Census 23--""?

2".--

2-21 28&&8--- 23.11

2-23 28,-8--- 23.4$

//


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$.3. Nee o! t"e Pro#ect

+s has been mentioned above8 the focus area under the scheme includes the objective of imroving the uality of life of our young eole by ma0ing them sensitive to (hat is

aesthetically and morally good in the society and e5osing them to the finest forms of creative

action. =nder the scheme8 Oen +ir 'heatre (ill be set u in the Ha0otia !arden8 heart of the

Pali 'o(n. 'his O+' (ill set u fostering activities and coordination in various cultural

fields8 such as music8 dance8 drama8 literature8 fine arts8 etc. 'he big ga in the art@related

infrastructure in the country (ill be bridged through injection of due funding through this

cheme (hich effort is directly connected (ith the roagation and romotion of erforming

arts8 in articular and art and culture in general.

'hus this roject is formulated to rovide cultural facility under !overnment of Indias

rogramme.

/3/


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3. Theatre "esign

3.1. As)ects o! T"eatre 'esign

T"eatre esign= the art and techniue of designing and building a saceNa theatreNintended

rimarily for the erformance of drama and its allied arts by live erformers (ho are

hysically resent in front of a live audience. + theatre can ta0e different forms. '(o termsN

theatre design and theatre architectureNlargely interchangeably. /oth are intended to describe

a disciline that creates and shaes the sace 0no(n8 broadly8 as a theatre.

&.$. T"e Nature o! T"eatre 'esign

+s an art form8 theatre does not reuire a urosefully designed building in (hich to be

resented. /ut (hen audiences gather regularly to e5erience a erformance8 attemts are

generally made to organi


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the audienceBs sace8 in that it focuses attention on the e5erience that can be had by the

audience (ithout favouring any one asect of that e5erience.

&.&. T"eatre For*s

very theatre is uniue8 but8 (ith fe( e5cetions8 theatres8 both Kestern and +sian8 can be

categorior Oen tage? 'heatres9

3. nd tage 'heatres >of (hich Proscenium 'heatres are a subset?9 and

4. Fle5ible stage theatres8 also sometimes called blac0 bo5 theatres.

'he design of all these tyes is based on the relationshi the sace establishes bet(een the

stage and the house.

1. Arena t"eatres are those that have an audience around four sides of the stage. 'hese

are often called a*)"it"eatres8 islan stage theatres8 or centre stage theatres8 or they

are referred to generally as t"eatre/in/t"e/roun >although the stages can be round8

oval8 octagonal8 suare8 rectangular8 or in a variety of irregular shaes?. +rena stages

are thought to create a strong sense of community among the audience members and

an easy flo( of energy bet(een the audience and the actors. 'hey do8 ho(ever8 ut

major restrictions on the amount and 0ind of visual sectacle that can be rovided for

a erformance8 because scenery more than a fe( feet tall (ill bloc0 the vie(s the

audience members have of the action ta0ing lace onstage. In these theatres8 scene@

changing euiment must be limited rimarily to that (hich can be ut under the

stage8 and secial effects are difficult to manage because so little can be hidden from

the audience. +rena theatres also comlicate the management of the movement attern

for actors >the bloc0ing6?8 as they must erform to all sides of the stage (ithout

having their bac0s to any one side for too long a time and (ithout reventing one art

of the audience from seeing other actors.

2. T"rust stage t"eatres are those in (hich the stage thrusts out from one side of the

sace into the midst of the audience. 'hey are also 0no(n as o)en stage t"eatres and

sometimes as court-ar t"eatres. 'he audience is most often located around three

sides of a thrust stage8 though they can be located on t(o sides oosite each other >as

they are in alley stage or transverse stage theatres8 sometimes called centre stage

theatres? or on t(o adjoining sides >as they are in H@shaed theatres?. 'hrust stages are

most commonly trae


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thrust stage theatres8 some members of the audience (ill be loo0ing at other members

of the audience across the stage8 (here they (ill aear as the bac0ground to the

erformance. 'hrust stage theatres are therefore thought to share many of the

community@building advantages of arena stages. 'hey also ma0e managing the

movement atterns of the actors and dislaying and changing the scenery less difficult

because there is al(ays at least one side of the stage that is not occuied by the

audience. Often8 arena theatres are designed for easy conversion into thrust stage

theatres by (ay of the removal of one section of audience seating.

3. En stage t"eatres are those that have an audience on only one side. uch stages are

most often rectangular or suare8 but they can be triangular >in (hich case they are

called corner stage theatres? or ta0e a variety of irregular shaes that can include side

stages >in (hich case they are referred to as e4tene stage t"eatres?. nd stages are

thought to focus the full attention of the audience onto the roduction. nd stages also

simlify bloc0ing8 allo(ing actorsB movement atterns to be more easily comosed

into aesthetically aroriate shaes8 and they greatly simlify the dislay of scenery

and secial effects. 'he house of an end stage theatre can be rectangular or ta0e the

shae of a fan8 leaving all members of the audience facing the same direction. /ut the

house can also be shaed li0e a bell or a horseshoe or can be semicircular or suare

and arranged so that some members of the audience can still loo0 across the sace at

other members of the audience. 'he significant difference bet(een this form and the

arena or thrust stage forms8 ho(ever8 is that in end stages almost all members of the

audience must loo0 a(ay from the stage to see their fello( audience members. 'hey

therefore do not aear as a bac0ground to the erformance. For this reason end stage

theatres are thought to be less conducive than the other forms to building a sense of

community (ithin an audience. nd stage theatres may have movable ceiling and

(alls that can be adjusted to increase or decrease the seating caacity in the house.

ome thrust stage theatres can be used as end stage theatres by bloc0ing off the

audienceBs sace on all but one side.

4. Fle4i6le stage t"eatres are those that do not establish a fi5ed relationshi bet(een the

stage and the house. +lso 0no(n as 6lack 6o4 t"eatres8 la6orator- theatres8

*oular theatres8 *ulti!or* theatres8 !ree !or* theatres8 or en7iron*ental theatres8

they can be reconfigured for each erformance. 'hey can be ut into any of the

standard theatre forms or any of the variations of those. 'hey can be made into

/11/


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surroun t"eatres6 >(hich are sometimes called total t"eatres6 or t"eatre/all/

aroun6?8 in (hich the audience sits or stands in the centre and the stage surrounds it

on four sides. 'hey can also be made into romenade6 saces in (hich the audience

follo(s the actors around to different locations (ithin the sace.

3.4. T"e 5oals o! T"eatre 'esign

'heatre design is rimarily concerned (ith enhancing the e5erience the audience can have at

a erformance. 'he secific architectural elements considered ideal for imroving that

e5erience (ill differ from culture to culture and sometimes even bet(een subcultures (ithin

a given culture8 but they can still be divided into t(o general categories: those that serve the

aesthetics deemed aroriate for the art of theatre in a given culture8 and those that otimi


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the house reflects the acceted social order (ithin the culture. 'heatre audiences have been

organithough the saces (ill not necessarily be behind the stage or even in the same

building as the stage?. + stage8 regardless of the form of the theatre8 can be a cleared sace on

the ground or a simle raised latform. /ut a stage can also be a remar0ably comle5 machine(ith areas for scene@changing euiment8 such as (ing sace >at the sides of a stage?8 tra

rooms >belo( a stage?8 fly saces >above a stage?8 and rear stages >at the bac0 of the stage?8 all

of (hich also allo( for multile entrances and e5its for the actors. + stage can contain

revolves >turntables? and trac0s for the movement of scenery and actors8 and it can rovide a

variety of crossover saces that allo( the actors to e5it the stage at one oint and enter it at

another. It can also be built on multile levels. /ac0stage saces can include dressing rooms8

green rooms >actorsB lounges?8 and rehearsal rooms. 'hey can also include roduction services

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such as design studios9 shos for building costumes8 scenery8 and stage roerties9 aint

shos9 electric shos9 (ig shos9 hat shos9 laundry facilities9 storage areas9 loading doc0s9

and stage door security stations. Finally8 they can include areas (ithin the house8 from

ositions for the hanging of lighting euiment and sea0er systems to control rooms for

stage lighting8 sound8 and secial effects. + sace for musicians to lay music before8 during8

and after a erformance is also art of the stage@suort facilities in most theatres. Khile this

sace can be located among the bac0stage areas8 it is more often onstage or in the house near

the stage.

&.+. T"e House an Front o! House

'hose elements of a theatreBs design that serve rimarily to otimi


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(here fires are most li0ely to start8 can be sealed off from the house through the use of a fire

curtain that closes the arch.

'he front@of@house facilities rovide for the needs of the audience before8 during8 and after a

erformance. 'hose needs include everything from the manner in (hich audience members

get information about a erformance to the manner in (hich they access transortation (hen

the erformance ends. Front@of@house facilities can include entrances and e5its to the

building8 lobbies8 grand staircases8 tic0et offices8 refreshment areas8 gift shos8 cloa0 rooms8

and restrooms. 'hey can also include facilities for heating8 ventilation8 and air conditioning

and for cleaning and maintaining the structure8 as (ell as the vast array of offices necessary

for running a theatre business. + great deal of attention is aid to the decoration of the house8

of those front@of@house facilities that are seen by the audience8 and of the e5teriors of thetheatre building. uch decoration can be anything from sectacularly grand to remar0ably

lain. In each instance8 ho(ever8 the decoration reflects an architectBs interretation of (hat

the culture or subculture assumes to be aroriately inviting to the audience and (hat (ill

ut the audience in the most recetive mood for the tye of erformance they (ill be

e5eriencing in the theatre.

'he location of a theatre building (ithin a geograhical area is often dictated by the

availability of land or by economic factors. /ut (hen several otions are available for

locating a theatre8 both aesthetic issues and issues associated (ith the audienceBs comfort (ill

be ta0en into account. ome cultures have reuired that theatres be built (ithin a beautiful

natural setting8 (hereas others have restricted them to certain sections of an urban or suburban

environment. till others have made theatres focal oints of their urban lanning.

3.#. Project $ite

Considering the above guidelines and the Pali to(n the site at Ha0otia garden in front of ang

anch (as found best suited. 'he aroach and surrounding Ha0otia city tan0 (ill create a

tremendous environment for cultural events. 'he ar0ing site is already available adjacent to

road. 'he lace already used for cultural activities by different agencies8 and after(ards

comfort level to audience (ill enhance.

/1,/


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%. Pro)osals an Reco**enations

%.1. 0et"oolog-

'he methodology for rearation of detailed engineering of the roject is broadly described

belo(.

• urvey and investigations

• ite selection and finalisation.

• Planning and designing O+'.

• stimation of uantities and Cost calculation.

+ number of alternative sites (ere e5lored in the search for a better and more effective

model that rioritises the community. +mong these8 the site selected at Ha0otia garden roved

to be best suitable as centre lace of the to(n. #ere more eole centred as comared to other

laces for recreational activities. Particiation has no( become an established orthodo5y in

theatre and develoment thin0ing and ractice. 'he study also e5amined the monitoring and

evaluation rocess and ho( articiation (ill be framed in and through live erformance. 'he

community articiation in theatre for develoment interventions ta0es on different forms at

different stages of the roject cycle8 resulting in articiation being handled differently at

various stages. ajor emhasis is also laced on the constraints8 limitations and otential

ris0s related to various asects of community articiation.

everal factors have contributed to an increasing recognition of the need to address social

asects of develoment. First is the accumulating evidence about the effects that beneficiary

articiation in roject design and management have on the efficiency of imlementation8

cost recovery and roject sustainability. 2econ is the limited caacity of national and local

government agencies to manage effectively the increasing number of develoment rojects

and rograms. T"ir is the belief that develoment lanners have a moral obligation to Elisten

to the eole8E both to understand their needs and to assess ho( their lives are actually being

affected by donor sonsored rojects and olicies. A !inal !actor is the concern over gender

issues.

/1+/


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4.2. Essential 'esign Factors

T"e !ollowing )oints s"oul 6e o6ser7e in t"e esign o! t"e o)en/air t"eatre8

• 'he site should be a(ay from industrial or community noise.

• 'he noise level on the site should not e5ceed 4- db and occasional disturbance

e5ceeding this value should not occur more than once in an hour.

• 'he theatre should referably be constructed in sound shado( cast by hill8 an

emban0ment across any noisy


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• 'he sound intensity dros off as the inverse suare of the distance. 'he side (alls are

also rovide (ith corrugations. 'he stage ceiling should sloe u(ards so as to arrest

and thro( the outgoing sound onto the audience.

•

'he caacity of the oen@air theatre should not e5ceed about $-- ersons if they are tohear clearly and the erformers are to sea0 (ithout strain.

• #o(ever (ith adeuate sound amlification the theatre may accommodate about 2---

ersons.

• 'he area of the theatre e5cluding the stage may be calculated at the rate of -.) to 1.-

sm er erson8 including gang(ays.

• If the seats are so staggered that every seat is dislaced side(ays from one in front by

half the (idth of the seat8 the area rovided should be about 1 to 1.2- sm er erson.

• ound absortion by the audience8 unoccuied seats and the air must be ta0en into

account into the design.

• Factors such as humidity8 temerature8 fog and the (ind velocity8 (hich affect the

sound transmission8 must be considered.

%.&. 2c"eule o! Rates Consiere in Esti*ates

'his Project includes the cost estimates for construction of Oen +ir 'heatre. 'he rates for

estimates are as er =I%P IO 2-13.

%.%. Pro)osals

In this roject it is roosed to construct an oen air theatre of seating caacity of "&$ to fulfil

the cultural demand of the to(n and surrounding area. 'he estimated cost is s. 1-4."2 Hacs.

'he alient features of the roject are as follo(s:@

2ALIENT FEAT>RE2

Hocation Lakotia 5aren at Pali ;Ra#<

Poulation $= &=,, ;Census $11<

Calculation o! 2eating Ca)acit-

1 Centre Portion

/13/


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+rc Hength @ lo(er ste 12., mtr

+rc Hength @ uer ste 2).2 mtr

(idth @ +verage of both 2-."" mtr

no. of erson in one ro( 32

2 ide Portion

+rc Hength @ lo(er ste 11.2 mtr

+rc Hength @ uer ste 1".& mtr

(idth @ +verage of both 13.4"

no. of erson in one ro( 2-

3 o total erson in one ro( &2

no. of stes )

o total caacity "&$

+rea %etail

total area roosed $- 7 31.4 sm

1))4 sm

stage @ ellitical

major a5is 1- mtr

minor a5is " mtr

4&.12 sm

%eth of stes &.2 mtr

Column roosed sacing -f 3.- mtr of dia -.3 m

Godhur sand stone stes (hite and red in alternate has been roosed over CC flight

Project imlementation eriod 1 9ears

Cost of Project: Rs. 1%.,$ Lacs

Funding +gency Central !overnment $-D @ +$.1 Lacs

tate !overnment

Hocal /ody 4-D @ %1.31 Lacs

/1(/


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/$/


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. Community Participation

any local bodies in ajasthan suffer from lac0 of financial8 technical and human resources

and are therefore not caable or (illing to deliver and maintain urban basic services. Ho(

income grou areas articularly lac0 (ater suly8 sanitation8 electricity8 solid (aste

collection etc. any measures8 initiated by the community as (ell as by e5ternal agencies8

have been set u to rovide basic services. In the last decades it has been reali


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Community articiation can be seen as a rocess in (hich community members are involved

at different stages and degrees of intensity in the roject cycle (ith the objective to build the

caacity of the community to maintain services created during the roject after the facilitating

organisations have left. 'hus8 community articiation lays an imortant role in the

sustainability of rojects8 (hich means that services set u by the roject can eventually

function (ithout e5ternal assistance and (ill have a long@term imact on the environment and

uality of life of the community.

,.1. Bene!its o! Co**unit- Partici)ation

Community articiation has several benefits8 (hich can be divided in benefits for the

community and benefits for the roject. On one hand8 community articiation can be seen as

an end in itself and a (ay to strengthen the community. On the other hand8 community

articiation can be seen as a means to e5ecute rojects in a more efficient (ay

Possi6le 6ene!its o! co**unit- )artici)ation !or )ro#ects are8

• Imrovement of roject design and effectiveness. If the community is involved in the

design of the roject8 it is ossible to integrate its needs and constraints in the

objectives of the roject and in this (ay come to a more effective imlementation.

• nhancement of the imact and sustainability of rojects. Involving the community in

the roject may increase local o(nershi of rojects and enhance a sense of

resonsibility for maintaining services rovided by rojects. 'hese asects are both

essential for the durability and continuity of rojects

• Imrovement of roject efficiency. Community articiation may be used to enhance

the understanding and agreement of cost sharing >both financial and hysical

contribution?.

• Furthermore8 community articiation can be used to revent conflicts and to

stimulate cooeration and agreement bet(een different actors. In this (ay delays in

roject e5ecution can be reduced and overall costs minimised

Possible benefits of participation for communities include

• /uilding local caacities and caabilities. Community articiation may for instance

increase a(areness of 0no(ledge and caacities8 may imrove the ability to negotiate

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as euals (ith authorities and other sta0eholders to romote common objectives8 and

increase resonsiveness to conflicts (ithin the community.

• Involvement in decision@ma0ing. Particiation can ensure that the different needs and

roblems of the community are integrated in the rojectBs objectives.• mo(erment. Community articiation may give eole the oortunity to devise

and initiate strategies to imrove their situation

In order to obtain above@mentioned benefits of community articiation8

Pro#ects s"oul8

@ Involve communities in the lanning of the roject

@ Involve communities in the imlementation8 oeration and maintenance of the

roject

@ Het the (hole community share in the benefits of the roject

@ Include the communitys oinion in the evaluation and modification of the roject.

It must be borne in mind that community articiation deends on the degree of organi


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and closely follo(ing the roject and its rogress. 'he highest level of community

articiation is community management and this may entail becoming a member of

committees8 being involved in controlling the roject8 being accountable to other community

members about decisions ta0en. Often community management is carried out by a smaller

grou (ithin the community8 through for e5amle a ne(ly established committee or an

e5isting community@based organi


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,.,. Institutional Ca)acit- Builing

,.,.1. Nee !or Accounta6ilit-

'he institutions that rovide the service tyically need to be restructured so that they are more

accountable and transarent to the residents and business establishments they serve.

,.+. In!or*ation Eucation an Co**unication

For the successful imlementation of any rogram involving ublic at large8 it is essential to

sell out clearly and ma0e them 0no(n the manner in (hich local body rooses to tac0le the

roblem.

'he 0ey to success of any ublic@education8 a(areness and motivation rogram is to rovide

as many (ays as ossible for the ublic to interact8 as romtly and conveniently as ossible8

(ith olicy@ma0ers8 to see0 clarification of doubts8 share ideas or give suggestions (hich are

constructively follo(ed u. + telehone hot line or Post /o5 number for (ritten

communications could be one of the (ays to have inuts from members of the ublic. Polite8

resonsive and dynamic ersons (ho are (ell informed must attend the hone8 interested in

the subject and available at all stated time.

,.. Pu6lic Eucation

'he communication material develoed should be utilised in ublic a(areness rogrammes

through variety of aroaches as under.

,..1. 5rou) Eucation

'his may be done through:

a. !rou eetings in the community

b. Kor0shos

c. 5hibitions

d. Hecture series

e. Panel %iscussions8 etc.

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,..$. 0ass Eucation

'his is very essential to cover the entire oulation as it is not ossible to reach all the eole

through grou education rograms.

ass ducation rograms can be lanned using follo(ing methods of communication.

;i< >se o! Print 0eia

+dvertisements may be given in a lanned manner to educate the masses and local

ne(saers can also be reuested to insert the given messages at regular intervals. 'hey

should also be encouraged to start a regular uggestion /o5 from (here good ideas can be

ic0ed u by the local body.;ii< Posters

+ttractive osters (ith good hotograhs and messages (ith a very fe( (ords8 readable from

a distance8 should be reared and dislayed in various arts of the city (here a(areness

camaign is being ta0en u and regarding organisation of various cams.

;iii< Pa*)"lets

Pamhlets8 hand bills can be rinted giving instructions in very simle and understandable

language sho(ing hotograhs in action and circulated in the community reuesting ublic

articiation.

;i7< >se o! Hoaring

ecial hoarding may be ut at strategic locations in the city carrying messages see0ing

ublic articiation. +lternatively8 all unicial@licensed hoarding should have a sace

reserved at the bottom for civic messages. uch messages should be develoed and ainted by

rofessional agencies. 'hese hoarding should also carry the contact numbers etc.

;7< >se o! 2c"ool C"ilren

Children are o(erful communicators. Parents (ho do not listen to the advice of others often

ta0e their children seriously. Children are idealistic and (ould li0e to change their (orld for

better. 'he =H/ should hold regular meetings (ith rincials8 teachers and students to

e5lain the need for change8 and the usefulness to society of ne( (ays to manage the system.

#olding essay8 debate or dra(ing and ainting cometitions on the subject and ublici


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esident associations can be very strong grou to influence the olicy ma0ing and

imlementation agent.

;7ii< ?oluntar- Organi@ationsN5O in7ol7e*ent

any *!Os are committed to imrove management ractices in urban areas to rotect the

environment8 culture8 art and have been very active in this field. 'hey have also develoed

good mass@communication s0ills and education rograms for the ublic. uch *!Os may be

ersuaded to actively suort the ne( strategies adoted by the local body and associate in

ublic a(areness camaigns. 'hose (ho (ish to conduct rograms for sections of the ublic

on the management strategies may be encouraged to do so and given necessary suort.

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+. O)eration an 0aintenance

+s far as oeration and maintenance is concerned8 history@ ast records are not good for

government ; ublic roerties. Physical infrastructure assets created in urban areas have

generally been languishing due to inadeuate attention and;or imroer O. 'his is very

common situation all over the country. 'o overcome this roblem8 Hocal available material

Godhur sand stone (or0 (hich needs almost


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#. 2ocial I*)act o! O)en Air T"eatre

Oen +ir theatre is acceted in the communities because it is articiatory and cost effective.

It (ill be evolved into a very o(erful medium because of the follo(ing factors:

• 'heatre deicts real life situations and characters (ith (hich eole can easily

identify.

• 'heatre is uniuely able to create strong memories of the content it ortrays8

regardless of level of education8 literacy8 social status or language differences.

• 'heatre is a live tool8 (hich the audiences see and feel.

• 'heatre can communicate difficult and vital information to large audiences in a

simle8 dynamic and credible manner.

• 'heatre offers entertainment at the same time as it communicates8 ma0ing it a eole

friendly medium.

• Particiatory theatre creates a forum for free e5ression8 roviding communities (ith

ne( and o(erful methods of getting their messages across.

• O+' (ill be an imortant tool for romoting freedom of e5ression. any eole (ill

find themselves8 through this interactive and entertaining communication medium8

resonding ositively to e5loring the issues that affect them (ithout feeling inferior

about their roblems. Community erformances are usually conducted after thorough

ground(or0 and the artists erform lays that deal (ith the roblems of that articular

community.

• It is an effective medium because it dra(s from the e5erience of local communities

and offers the community alternative ersectives8 along (ith aradigms that mirror

their o(n (orldvie(.

Peole have come to areciate it as art of the social and cultural frame(or0 in (hich they

oerate. + number of grous have interactive lays (hich tend to elicit ositive resonses

from the target audiences.

'the opportunity to engage in creativity activity, to explore their own and others

motivations and to produce valued and admired objects. Hence they aid personal

development and may at times be said to be therapeutic. Some arts activities encourage

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co-operative working and thus develop social skills. Arts activities are particularly suited

to an 'adult education' approach in which participants make decisions and choices and

take responsibility or their actions and outcomes. !n addition, arts activities oer

recreation and pleasure and the objects made may be sold or exchanged."

'he ocial Imact of the +rts defines AimactB as:

'a dynamic concept which pre-supposes a relationship o cause and eect. !t can be

measured through the evaluation o the outcomes o particular actions, be that an

initiative, a set o initiatives orming a policy or set o policies which orm a strategy."

'he ocial Imact of the +rts:@ It resented a (or0ing definition of the social imact of the

arts8 (hich is described as being concerned (ith:

'those eects that go beyond the artiacts and the enactment o the event or

perormance itsel and have a continuing inluence upon, and directly touch, people's

lives.'

+ccording to this definition8 the social imact of the arts are those effects (hich are sustained

beyond actual arts e5eriences8 and have resonance (ith the life activities and rocesses of

individuals.

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3. Cost Esti*ates

'he total estimated cost of construction of Oen +ir 'heatre at Ha0otia !arden8 Pali is s.

1-4."2 Hacs. 'he cost estimate includes@

• tage

• eating tes

• 'oilet /loc0

• !reen room

• Path(ay

• lectrification #eritage loo0

• Provision of ound system

project report oat- pali

Documents