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Sanjay Kak Tell me about that first cup of nun chai in Kashmir, that first conversation. Were you prepared for what you were to encounter?
Alana Hunt My first cup of nun chai was actually in Delhi in the home of a Kashmiri artist friend. I initially came to Delhi, with the support of the Australia Council, as an artist in residence with the Sarai Programme, after which I pursued studies at Jawaharlal Nehru University. During my first few weeks in the city I came across a small flyer for a screening of a film about the Safar-i-Azadi (Journey to Freedom) campaign led by the pro-independence leader and former armed fighter Yasin Malik. SAR Geelani was also there, and I learnt that he had already spent several years on death row in connection with the attack on the Indian Parliament, for which he was eventually acquitted. At the same time, protesting in the streets outside were the Hindu group Roots in Kashmir, wholly opposed to the idea of Kashmiri self-determination. I was new to Delhi, but from that point confronted with the multilayered tensions surrounding India’s occupation of Kashmir. It led me to the book The Strange Case of the Attack on the Indian Parliament, and your film Jashn-e-Azadi (How we Celebrate Freedom).


Art theorist and Emeritus Professor of Visual Arts, Flinders University, Donald Brook examines the art world and its strange ways. Art, he says, is not craft nor the consequence of any exercise of skill at all but the artworld is infallible in identifying art.









































This question 'can culture save the river and wetlands'was put to a debating panel at the annual conference of Country Arts SA in October 2003. The river in question was the Murray. This article takes up some of the important issues surrounding environmental degredation and focuses on the SunRise 21 Artists in Industry Project which saw the collaboration of artists and organizations working together to establish a mutual relationship between arts and the environment.
















