Rajive Jain - Session 01

AR-020-4-1

(00:00:00 to 00:18:15) Giving away of materials and items, including boxed materials donated by Rajive Jain. Description of the nature of the materials being handed over, along with a brief introduction to the context of the donation.

(00:18:16 to 00:30:10) Discussion on different computer hardware components and early uses of computers at CENDIT. Computers were introduced to create databases to consolidate and share large amounts of information. Later, computers were also used for editing purposes. Although computers existed from the 1970s, their extensive use began in the 1980s. Cameras brought into CENDIT are briefly discussed, highlighting the wide range of areas CENDIT worked in.

(00:30:11 to 00:44:03) Pause followed by discussion on the materials that were accessed during the session.

(00:44:04 to 00:48:14) CENDIT was started by a group of young people with an interest in social issues and backgrounds in film. The core belief was that the moving image should be democratized, demystified, and made accessible. At the time, the reach of audiovisual media was very limited. The reasons for starting CENDIT are outlined, along with how films were made and how filmmakers were encouraged. The first research efforts focused on understanding how films were received by people and how folk and alternative mechanisms of distribution functioned.

(00:48:15 to 00:49:45) There arose a need to find efficient technologies to manage increasing work demands. Super 8 film was discovered as the first major technological input—small, portable, and suitable for documentation. Workshops on Super 8 filmmaking were conducted to expose people to alternative possibilities of image-making.

(00:49:46 to 00:51:46) To generate income for the organization, CENDIT undertook various projects. One of the earliest initiatives was persuading the Maurya Hotel to establish a closed-circuit television programme for guest entertainment—the first of its kind in the country. This involved technicians and engineers and helped build a technical team. Apart from readily available films, new content was created specifically for this circuit, including programmes featuring Indian cultural forms such as music and dance.

(00:51:47 to 00:58:07) An encounter with an individual working with video cameras for documenting agricultural issues led to the organization receiving a video camera. This enabled CENDIT to undertake its own recordings. Research continued alongside film screenings, discussions, and interactive workshops. These spaces allowed people to express themselves publicly, unlike in other restricted environments. After building consensus on social issues, recorded materials were taken to government authorities to urge action. An anecdote from Sarangpur village during the Emergency period is discussed.

(00:58:08 to 01:00:36) CENDIT pioneered work in the NGO sector related to communication and media. It collaborated with several NGOs and social movements to document issues of concern. Numerous training programmes were conducted for NGO workers. A distribution network was developed to exchange video tapes, forming a communication resource network that also organized training programmes. CENDIT later became involved in women’s issues through workshops and training programmes involving participants from Nepal, Bangladesh, Pakistan, and other regions.

(01:02:10 to 01:03:11) CENDIT expanded its engagement to the international level by collaborating with video practitioners globally. An international organization called VIDEAZIMUT was formed, which organized seminars, symposiums, and conferences across different continents. These platforms focused on alternative communication practices and global developments in media.

(01:03:12 to 01:04:38) CENDIT no longer functions. Its last major work was completed by the late 1990s. The speaker explains a belief that institutions are created to serve specific purposes and should not exist merely to perpetuate themselves. By the end of the 1990s, CENDIT’s objectives were considered fulfilled.

(01:04:39 to 01:06:33) Technological transitions from film and Super 8 to video formats are discussed. Formats such as three-quarter inch video are mentioned. The shift to video was driven by efficiency, speed, and accessibility. Compared to film, video enabled faster production and wider acceptance, and technology choices were influenced by prevailing industry standards.

(01:06:34 to 01:10:58) CENDIT preferred working with people who understood social contexts but needed training in technology. These individuals were introduced to video technology and trained as operators and technicians. One of the founders was an engineer, and Rajiv Malhotra played a key role in setting up the Maurya Hotel circuit. Since CENDIT owned equipment, in-house repair facilities were developed, along with training in equipment maintenance.

(01:10:59 to 01:13:04) Interactions with individuals who recognized the usefulness of video communication but lacked technical knowledge are discussed. Many others were initially unaware of its potential. Exposure and awareness were therefore crucial. During the early 1970s, there were many committed NGOs, and meetings with them took place in a generally supportive social climate. An incident illustrating this environment is mentioned.

(01:13:05 to 01:20:35) CENDIT’s engagement with people’s movements such as Bhopal, Narmada Andolan, and movements in Chhattisgarh is discussed. These were not NGOs but grassroots movements. CENDIT functioned as a resource centre, attracting people because it had equipment and facilities. It became a training ground emphasizing social consciousness and commitment. Many individuals trained at CENDIT later moved on to other forms of work. Research conducted at CENDIT informed its other activities. Communication research at the time focused on people, unlike today’s media research, which prioritizes channels and viewership metrics.

(01:20:36 to 01:23:38) The working environment at CENDIT is described. People were drawn to the organization due to its openness and shared knowledge culture. There were no rigid hierarchies, though distinctions existed between production staff—often more formally educated and English-speaking—and technical staff, who were usually locally rooted, often without formal education, and learned skills on the job.

27 March 2025

Oral histories of technical personnel in Broadcast and Community Video

Rajive Jain