imprint

Volume 4

zero | play | practice

true neutral

A note from the editor

“Beyond the edge of the world there’s a space where emptiness and substance neatly overlap, where past and future form a continuous, endless loop. And, hovering about, there are signs no one has ever read, chords no one has ever heard.”

– Haruki Murakami

Step 1. Step 2. Step 3. Step 4. And repeat.
Practice. Practice. Practice. 
Performance. 
And repeat.

The notion of performance, presentation, exhibition, opening, or match day always comes with the subconscious parallel to perfection. We’ve come to this collective conclusion because of the public nature of these final days. Your performance is now open to the public; your presentation is to a group of people; your exhibition is finally on show; your restaurant is open to customers and critics; you’re playing in front of thousands of fans. You are subject to these public thoughts, responses, interpretations, and opinions.

Our inherent focus is on these days of performance. But what is crucial and non-negotiable for such a day to exist is the commitment to practice, until the very last moment.

For the person making work, the feedback loop between practice and performance is outweighed by practice. Whereas for the person viewing the work, it is outweighed by performance. This creates a constant struggle to determine which balance works in favor of those striving to make work.

For each hundredth day of performance, there are ninety nine of practice that precede it. It is during our practice that we are able to experiment –play, pause, wonder, and then to start from scratch and reset. These are the quiet comforts of our practice, that center us and we return to regularly. The euphoria of performance is wonderful, but fleeting.

Practice makes not perfect, but practice makes work and through our work, we tinker, test, recalibrate, learn, and strive towards progress.

We ground our focus in these thoughts for this volume and know you will resonate with the work that comes from it.

Welcome to Volume 4.

Ishan Benegal

Editor-in-Chief


our magazine is divided into four sections:
text | image | sound | video

our team
Ishan Benegal, editor-in-chief
Shradha Gulrajani, editor
Indira Chandrasekhar, mentor-editor


contact

We are now accepting submissions.
For more details please check our submission page.

A note from the mentor-editor

The forthcoming quarter of G5A imprint emphasises the exploration rather than the presentation, the making rather than the final product, the rehearsal rather than the performance. It draws attention to immersion – immersion in reflection, in thought, in trial, in recovery from erroneous directions, and most of all, in practice. It focuses on the process of development, and on finding equilibrium in dynamic, balance in flux, clarity in a rash of ideas. 

This period of preparation in the development of a project is the time to step outside boundaries, the time for risk, for daring, for search beyond safe horizons. 

Implicitly, this volume is also about precious solitude, quiet examination, and the intensity of internal focus.

Solitude! We have been in isolation, a forced isolation where, hemmed in by anxiety and fear, or simply because we are following rules of incarceration, either self-imposed or dictated by government, solitude has been imposed upon us. For some, it takes special negotiations with the self to maximise this solitude and see it not as a separation from that which nurtures the imagination, but as blessed quiet. At the same time, for many, the period of quotidian solitude, carved out of the day and so essential for creative practice, has been perturbed: I used to use the quiet when everyone else left the house, to capture the story in my head, a writer friend, Shikhandin, recently said[1]. Then she added, I have been reading, which allowed us, Zui[2] and I, her co-conversationalists, to breathe again from the relief of knowing that this practitioner had found a way to turn the period of sequestration into a time for absorption.

I have been reading too, poetry. In the last few years, the imaginative stretch of prose has held my attention more closely than the magical evocation of poetic phrase. But the recent few months have been harsh. The personal and the political have been cruel. The grace of the closeness of loved ones and the reinforcement of caring have layered and softened the jaggedness of personal loss. But the political has found few sources of comfort – the gentle, straightforward visage of Fr. Stan Swamy presents itself in my mind at unexpected moments in the day and I think of the lines from Adrienne Rich’s ‘What Kind of Times Are These’[3]:


…this is not somewhere else but here,
our country moving closer to its own truth and dread,
its own ways of making people disappear.

Rich describes poetry as ‘a great ongoing human activity of making, over different times, under different circumstances.’[4]

The fact that this volume of Imprint chooses to celebrate that period of making is marvellous indeed. The choice echoes the idea of the rehearsal period offered at the G5A warehouse in its annual schedule. What a privilege for an artist to have the time and opportunity to develop a project, to be absorbed entirely in its evolution. For there is elation in process. There is elation in the search to create.

I close with Song 3[5] from Priya Sarukkai Chabria’s essential extractions in Sing of Life: Revisioning Tagore’s Gitanjali:

I listen in silent amazement
Light illumines the world   runs

from sky to sky
breaks through

My heart struggles for a voice
in endless meshes of music

Indira Chandrasekhar

Mentor-Editor

[1] Writer, Shikhandin, paraphrased, from her conversation with Out of Print editors Indira Chandrasekhar and Zui Kumar Reddy in the Friday InstaLive Series – Craft vs Impulse:  

[2] Zui Kumar Reddy, editor at Out of Print and initiator of the Out of Print InstaLive series, ‘Craft vs Impulse’.

[3] ‘What Kind of Times Are These’, that was published in her collection Dark Fields of the Republic: Poems 1991-1995, W.W. Norton and Company, 1995. Taken from Collected Poems 1950-2012, W.W. Norton and Company, 2016, pp. 755.

 [4] ‘Adrienne Rich on ‘Tonight No Poetry Will Serve’’, interviewed by Kate Waldman, The Paris Review, March 2, 2011. [5]Sing of Life: Revisioning Tagore’s Gitanjali, Context, 2021, pp. 7.

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Mission Statement

G5A imprint is a literary arts and culture magazine that believes in the contemplative and reflective power of stories and storytelling. For too long we’ve been told stories from a select set of perspectives. Our intent is to create a space where we can change that. Today, stories are more important than ever before, and we’re here, ready to tell them and waiting to hear them.

Our stories will be presented across a wide range of mediums, formats, and of course perspectives, where you will discover prose, poetry, photography, film, and more.

The magazine will be presented online and in print.

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