Occupy Goes Global!

New Delhi

In 2020 OCC! expanded its scope and encouraged students to explore local initiatives in their city, resulting in entries from various locations. Here below you find the entries from New Delhi.

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List of experiences: TOTAL RESULTS 2

Studio Andreco’s Climate Art Project : When the process of artistic creation arises from research, passes through sensitization and awareness, and brings local communities closer to claims of social and climate justice.

Agnese Landolfo 

Courtesy of Andreco studio, Photo of children taking part in the parade through the Lodhi neighbourhood for the CLIMATE05 – Reclaim Air and Water episode. New Delhi, 2019.

Where is this grassroots initiative implemented? 

Climate Art Project was conceived by Andrea Conte, a visual artist and an environmental engineer PhD who’s currently the director of Andreco Studio. It started in Paris in 2015 during the Cop21 conference on Climate Change, the Paris Agreement and the global Climate March, and then got expanded to involve cities all over the world. In this paper, I will analyze only some of his interventions, specifically the series Climate 01-02-03-04 which took place in different regions of Italy and Climate 05 which took place in India, in New Delhi. These interventions were conducted over a period of time ranging from 2015 to 2019. The scientific expertise of Andrea Conte is accompanied by the awareness that in the climate change era the environment needs new symbols to withstand 1, so his research goes beyond the boundaries of disciplines seeking a dialogue between science, art, symbols of collective imagination, ways of inhabiting urban and natural space and deepening the contrasts and points of contact in the difficult relationship between human beings and the environment. In the artistic practice and activism carried out by Studio Andreco, social and climate justice are inseparable and contribute to the protection of the planet and the relationships that cross it.

I support the idea that individual and collective freedom of thinking is a primary value. The objective of my research is to produce new visions, symbols and formulas, to make the invisible visible, showing the beauty of the hidden natural process as a contemporary alchemist that learns from the past.

My artworks are tributes to the ecosystems, I’m representing the non-humans, the world without us, a conceptual transition from an anthropocentric to an ecocentric view is needed. The aim is to convey the environmental and social urgency without losing complexity.2

His expressive techniques range from mural painting, to sculpture and site-specific3 installations, but also to the generation of community-based4 processes in which users are directly called to be co-authors of the work. In fact, site-specific artistic interventions deal with factors that go far beyond the geometric and topographical coordinates of the installation, which is why they are often connected with audience-specificity, community and project-based processes. At the basis of these methodologies, there is always the paradigm of action-research as a principle of involvement of local communities, of listening to their respective needs, and of respecting the peculiarities of the place where the artist moves. An operation that is placed on the border between different disciplines. On the one hand, the network that Andreco is building with experts on climate change enriches and legitimises his research from a scientific point of view. On the other hand, his propensity for active listening and ethnographic research in the places of intervention transposes the operations into the field of sociology \ cultural anthropology.

 1Andreco Studio, Statement: https://www.andreco.org/statement/

 2Ibidem

3The Treccani encyclopedia defines the expression site-specific as a neologism, widespread in the contemporary art system, which indicates that “which has been conceived and created to be inserted in a specific place or environment; creation, artistic performance conceived and created to be inserted in a specific place or environment”. For a deeper understanding of the term, see Miwon Kwon’s essay One Place after Another. Site-Specific Art and Locational Identity, The MIT press https://doi.org/10.7551/mitpress/5138.001.0001

 4INTERSOS international humanitarian organization defines the Community-based approach as an action strategy that starts from the valorization of the community in which a process of change is intended to be initiated. It therefore implies the active involvement of the people who are part of it, the recognition of their abilities and resources as the main tools with which to achieve the objectives of improving the living conditions of the population of reference. […] This presupposes an accurate knowledge of the territory and the context of reference, of the political/social dynamics that animate it and of the management of relationships within the community, for example in ethnic-cultural and gender terms. The Community-based approach, therefore, can trigger a virtuous process within communities, to intervene on existing problems and prevent new ones, with a view to self-sufficiency and independence with respect to external interventions. It is a method of planning and action that makes the people directly involved protagonists, giving them back their dignity and the awareness of being able to autonomously manage the dynamics within the community to which they belong.https://www.asgi.it/wp-content/uploads/2021/05/Community-based-advocacy-project-voci-per-R-esistere.pdf

Who are the promoters?  Who are the beneficiaries?

The beneficiaries of this series are from time to time the citizens of the vulnerable areas. Although locals are already aware of the risks to which the environment around them is exposed, this process can lead them to

  • explore the peculiarities and risks of their territory in depth thanks to the expertise provided by the scholars involved by Studio Andreco in the introductory debates to the event.
  • metabolize the issues related to climate change in a new, and in some ways more accessible, way. In terms of language, the visualization and creative reinterpretation of certain phenomena can facilitate their understanding. Furthermore, the fact that the users have a strong bond with the territory in question establishes a relationship of empathy and recognition in the work of art and consequently in the theme it addresses.
  • imagine, at an individual or collective level, alternative scenarios for their own environment. The creative process could stimulate new strategies and communication languages ​​to transform the present and fight for a more equal and sustainable future.

As for the promoters of the project, we can talk from time to time about a different network that the artist chooses to build around himself. The collaborations started by Studio Andreco see institutions, scientific research bodies, schools and universities, neighborhood associations and non-profits that choose to join the project. The process of involving the promoters can take place in an initial phase, when the promoter commissions the artist’s intervention to highlight the critical issues that the environment is facing. The artist can also choose to involve scientific partners in a second phase, that of restitution and dissemination to the public to analyze the phenomenon together and propose solutions to mitigate the risks of climate change.

As regards the involvement of promoters and partners with whom the artist interfaces from time to time, there is always a careful ethical selection. According to the principles of the Manifesto of Art for Radical Ecologies, co-signed by Studio Andreco in 2022, a specific choice to collaborate only with supporters who are concretely active in the challenges of environmental sustainability and social equality can be seen. As stated in Principle 14 of the Manifesto, the artist argues that: Art institutions funded by toxic philanthropy must be abolished. Anti-museums and alter-institutions are the forms we adopt for the instituting common imagination.5

Courtesy of Andreco studio, Photograph of the artist Andrea Conte creating a mural for the CLIMATE05 – Reclaim Air and Water episode. New Delhi, 2019.
https://www.andreco.org/portfolio/climate-05-reclaim-air-and-water-delhi-india/

 5Manifesto dell’Arte per l’ Ecologie Radicali, Studio Andreco website, https://www.andreco.org/the-art-for-radical-ecologies-manifesto-is-out/?lang=it

 How does this initiative engage with climate? Does it tackle mitigation,

adaptation, both or other dimensions of climate change?

The multifaceted nature of artist Andrea Conte is reflected in his singular direction of the Andreco studio: a synthesis between his scientific training, which boasts a doctorate in Environmental Engineering and postdoc collaborations with the University of Bologna and Columbia University in New York on the sustainable management of resources in diversified climatic conditions, and the need to express himself through an artistic language that investigates the relationship between urban and natural ecosystems, between humans and the environment. His artistic projects  aim to raise awareness on climate change issues through a process of study, metabolization and reinterpretation of local climate peculiarities (both in positive terms, therefore the specificities of the place, and in negative terms, therefore the risks and emergencies that that place is forced to face due to climate change). For this reason, the Climate Art Project was selected as a finalist in 2019 at the Environmental Communication Oscars.6 

Studio Andreco avails itself of the support of a network of experts and scientists in the different phases of the artistic process. This can happen: – in the preliminary research and study phase

– in the subsequent construction of the project also through innovative digital and immersive tools (to increase the educational and engaging potential of the experience) or in the selection of eco-sustainable materials and low environmental impact technologies

– in the dissemination and popularization phase, inviting experts to participate in workshops \ seminars \ conferences to strengthen the scientific basis of the projects.

 6Established in 2004, the AICA Award aims to enhance the commitment of those who, through communication campaigns, bring environmental problems to the attention of citizens, contributing to the creation of a collective conscience and an environmental culture. In the 20019 edition, Andreco was among the finalists in the Communicating climate change section.

What are the main objectives? What are the main values?

My desire to work on public art projects on climate change comes from a sense of responsibility towards the planet and future generations who will inhabit it.  

As Andreco states on the occasion of his TEDxBari, the aim of the project is to raise awareness on Global Warming and to disseminate the Nature Based Solutions and the best practices for Climate Change adaptation and mitigation. The artist transposes on a personal level the ideal of a process that has its roots in the social and political conception of art. Art can be a tool of knowledge. It can provocatively turn public attention where oblivion reigns. It can be a tool to give voice to the needs of local communities through a universally recognizable language.

What is the timeline? Are there already visible effects?

Climate are Project started in Paris in 2015 during the Cop21 conference on Climate Change, the Paris Agreement and the global Climate March. CLIMATE01 was the starting point of an itinerary that will be broad all over the world and that’s still a work in progress. In Paris Andreco conducted two different actions: the first was a site specific installation in the Jardin partagé Beaudelire, a community garden located in an empty lot of Rue Baudelique in the 18th district. The 5 meters-tall wooden sculpture was the result of a collective workshop with the neighborhood community. The second was the realization of a mural  in which the artist offers his own interpretation of global warming’s main consequences. There was then a final moment of restitution aimed at students of a school in the neighborhood.

In 2016 Andreco realized CLIMATE02 in Bologna, a site specific intervention focused on the causes of anthropogenic pollution. The decision of the location is crucial: he decided to paint on the boundary wall of the city bus station, one of the areas with the greatest vehicular traffic. In this occasion the artwork was carried out as a part of the Cheap Festival, a local event that carries out interventions in the urban space of Bologna. What is interesting about this intervention is the way in which the artist reinterprets in a graphic language the climax through which pollution and effusion gradually invade the space (urban and the white one of the “canvas”). The ascension of this gradual process culminates in a completely black poster.

In the same year the artist decided to intervene again in Italy, in Bari, to address the theme of desertification with CLIMATE03. In this case the artist makes use of the support of Pigment Workroom, Poetry in Action associations and the support of the ‘Joy of Creation’ exhibition on architect Kuthz. Also in this case the site-specific intervention has a deep connection with the local context: Puglia is a region considered at risk of drought and desertification. Andreco creates a mural in Bitonto in which the aridity of the land is reinterpreted in a graphic way also through the contrast between the color gray and red, It is inspired by scientific maps that highlight precisely those areas most in emergency in terms of drought. The artist wanted to pay homage through this work to all the agricultural workers who fight every day to maintain these fertile lands and preserve them from environmental risks.

In 2017, a year later, his attention focused on the risk of rising sea levels. Andreco arrives with CLIMATE04 in Venice, a lagoon city constantly exposed to the danger of flooding. The artistic intervention takes inspiration from scientific researches conducted by IPPC (Integrated Pollution Prevention and Control), European strategy for integrated pollution prevention and control, and was conducted in collaboration with Università Ca’Foscari, Università Iuav di Venezia, and researchers from ISMAR-CNR.  Interesting in this case how the deep mix between art and scientific research, between natural element and urban ecosystem have translated into a collaboration between public and private, which with the funding of the Veneto Region has seen the collaboration of artists, researchers and students.

Venice has thus seen the birth of three different interventions: a large mural, an installation and a talk of scientific and artistic analysis of the risks of climate change. Three different expressive languages ​​to fuel citizens’ awareness and increase interest in risk prevention and tools for protecting local waters, stimulating a public debate that from the specific dimension of the city of Venice could make people reflect on the global dimension of this emergency. 

The last intervention of this series of works lands on the other side of the world after two years. In 2019 Andreco arrives in Delhi with CLIMATE05 , positioning itself as an art and scientific research project but also as a call to action.The project was part of the urban art festival St+art Delhi 2019 and was produced in collaboration with the Italian Cultural Institute – Delhi, and supported by Asian Paints, amongst other organizations. Just a year earlier, in 2018, Delhi was named the most air polluted city in the world, crossed by two rivers (Ganges and Yamuna) whose waters are also two of the most polluted water bodies in the world. This is where the name of the intervention “Reclaiming Air and Water” comes from. 

Here too, the choice of three interdisciplinary interventions in conjunction. The first is a mural in which the expressive language is significant and decisive for the message conveyed: the artist decides to represent air pollution through Air Ink, a chromatic pigment made from smog. Then a public parade that involves the local population in a collective performance: citizens marching with flags that represent local plants that possess a remedial power with respect to air and water pollution. And again a talk in which to analyze the climate situation and the local emergency to fuel public debate and increase awareness of the issue.

Who are the actors involved? What are their backgrounds?

From time to time the artist interacts with local citizens, territorial associations, schools and universities, research institutes and experts in the sector, but also local institutions that embrace his mission and choose to support his initiatives. In this sense, the background of his interlocutors has a wide range of experience on the topic of social and climate justice. Artistic language can act as a means of increasing the accessibility of the topics discussed, thanks to the graphic visualization of the processes examined and the bond of empathy and connection that users have with the territory to which the debate refers. For example, in Bari, farmers who experience the effects of aridity and lack of water on their land every day can easily recognize themselves in the debate on the risks of desertification caused by climate change; likewise, citizens of a lagoon area like Venice will have no difficulty in finding the urgency of finding concrete solutions to the rising waters.

Courtesy of Andreco studio, artist Andrea Conte reflecting on the process of desertification that gave rise to the CLIMATE 03 – DESERTIFICATION episode during the TedX talk – Petruzzelli Theatre.  Bari, 2016. https://www.climateartproject.com/climate-03-desertification/

Which limits (institutional, physical, social, etc.) does it encounter? Are there any shortcomings or critical points visible? What other problematic issues can arise from its implementation?

I believe that the major limitations of this project are the same ones that characterize any type of site-specific artistic intervention: the peculiarity of the place, which risks compromising the connection between specificity and global vision of the theme, and the ephemeral nature of the actions that draw strength from the here and now but at the same time risk losing their impact once the actions are concluded.

In general, when we talk about site-specific artistic interventions in which there is an ephemeral component (workshops, performances, seminars and conferences etc.) a concrete rooting in the soil is always necessary, understood literally as an emission of roots in the context of the intervention. This is because once the duration of the artistic event is over – be it an installation, an educational experiment or a performance – it is essential to have disseminated values ​​capable of overcoming the ephemeral. The success of these strategies is not measured in the moment, nor in the short term, but in the capacity of the site to assimilate and reproduce what the intervention has given to that site. At the same time, the success of the intervention depends on the capacity of the graft to absorb all the specific peculiarities of the place from the soil and integrate with it in an organic way. Site-specific artistic interventions can take root by analogy or by contrast, creating assonance or dissonance, but they cannot ignore a complex study of the place and careful listening to its agents. As anthropological practices of active listening teach, empathy is a key factor in this procedural phase. 

Another limitation may concern the aspect of community involvement. Community operations can be conducted by involving local actors in a preliminary phase, therefore questioning them about their expectations and needs and imagining a possible intervention together. Alternatively, the community can be involved only at a later stage, when the artist, after having conducted studies on the territory, has already planned the artistic operation to be carried out. Finally, it is possible to choose to involve local subjects only a posteriori, for a phase of dissemination and narration of the process conducted in that place.

Studio Andreco has experimented with the different types of interaction with the local community mentioned above. A possible limitation could be that of reducing the impact of one’s artwork if one decides to start the involvement only in the second and third phase of the process. Questioning and letting the actors themselves imagine possible scenarios can enrich the transformative potential and the feeling of belonging to the work itself.

Courtesy of Andreco studio, photo from the Jardin partagé Beaudelire community garden involved in the CLIMATE01 – PARIS AGREEMENT episode. Paris, 2015.https://www.climateartproject.com/climate01-sculpture-mural/

How would it be potentially replicable in other settings?

As emerged from the analysis of the different CLIMATE episodes, it is possible to replicate interventions of this type in different parts of the world and at different times over the years. I believe that the key element for the feasibility of the project and its continuation is to always respect the peculiarities of the place, to think of interventions closely connected to the area in which one will intervene and to conduct the operations through always different expressive languages, as accessible as possible (in terms of understanding and participation) combining moments of enjoyment with experiences of co-realization and active participation and finally moments of reflection, learning (in scientific and artistic terms) and reinterpretation in a personal and collective key. Once again, the site-specific artistic practice and the processual and performative component of its works inevitably bring with it the complexity and uniqueness of the here and now. This factor makes it difficult to replicate certain works of art but can elevate to a model the strategy with which the artist can intervene in a new context from time to time. The process is replicable, the work of art is not. This can be considered a strong point for the potential relationship that the work establishes with the local community of reference (which can perceive the artist’s intervention as a tribute and an attempt to preserve their own land of belonging) but also as a point of weakness because a user who is not familiar with that place and those specific environmental risks might not empathize with the urgency of this claim and not fully understand its effects on a social and collective level.

Is this initiative conducive to broader changes (law, institutional arrangements,long-term sustainability or community preparedness, etc.)? If yes, which?

The difficulty I encounter in identifying an answer lies in the distinction between the institutional, political and social changes that are evident and therefore capable of legitimizing the concrete impact of this operation-action and the possibility of enhancing processes of reappropriation and social claims already underway in the territories of intervention and possibly activating and stimulating new similar processes. For example, in 2022, 5 years after the creation of CLIMATE04 – Sea Level Rise, Ca’ Foscari University of Venice, in collaboration with the Veneto Region and Grandi Stazioni, supported the restoration of the work. The lines and numbers of sea levels that could be reached in the next decades have thus become evident again, as a warning of what has not yet been done to mitigate the risks. 

The goal is to arouse curiosity, to spark a question on a problem on which we can act, the solution depends on us.7

Also the fact that this work is included in the Art&Business project in collaboration with the Ca Foscari University of Venice, also demonstrates the desire to extend the reflection within entrepreneurial choices, with the hope of a mutual exchange between artistic and corporate culture aimed at generating a new method for doing business.

7Andrea Conte, Andreco’s mural in Venice restored, the work of the Roman artist dedicated to the lagoon ecosystem, InsideArt, 9 May 2022 https://insideart.eu/2022/05/09/andreco-2/

REFERENCES 

Andreco Studio, Statement, official website https://www.andreco.org/statement/


Andreco Studio, Manifesto dell’Arte per l’ Ecologie Radicali, https://www.andreco.org/the-art-for-radical-ecologies-manifesto-is-out/?lang=it

Climate Art Project, CLIMATE01 – PARIS AGREEMENT, Paris 2015 https://www.climateartproject.com/climate01-sculpture-mural/

Climate Art Project, CLIMATE 02 – EMISSIONS,  Bologna, 2016 https://www.climateartproject.com/climate-02-emissions/

Climate Art Project, CLIMATE 03 – DESERTIFICATION, Puglia, 2016 https://www.climateartproject.com/climate-03-desertification/#top

Climate Art Project, CLIMATE 04 – SEA LEVEL RISE, Venice, 2017 https://www.climateartproject.com/climate-04-see-level-rise/

Climate Art Project, CLIMATE 05 – RECLAIM AIR AND WATER, New Delhi, 2019 https://www.climateartproject.com/climate-05-reclaim-air-and-water-delhi/

Treccani Enciclopedia, 2012,  Site-specific neologism, https://www.treccani.it/vocabolario/site-specific_%28Neologismi%29/

Miwon Kwon, 2002,  One Place after Another. Site-Specific Art and Locational Identity, The MIT press https://doi.org/10.7551/mitpress/5138.001.0001

Elena Carletti, Elda Goci, Daniela Zitarosa (edited by), 2021, INTERSOS Community based advocacy project: voci per r-esistere. L’analisi dei dati di un anno di ricerca partecipata – Gennaio 2020 – febbraio 2021. https://www.asgi.it/wp-content/uploads/2021/05/Community-based-advocacy-project-voci-per-R-esistere.pdf

Andrea Conte, TedX talk – Petruzzelli Theatre.  Bari, 2016. https://www.climateartproject.com/climate-03-desertification/

InsideArt, 9 May 2022, Andreco’s mural in Venice restored, the work of the Roman artist dedicated to the lagoon ecosystemhttps://insideart.eu/2022/05/09/andreco-2/

CFNews, Università Ca’ Foscari Venezia, 26th september 2017, This is how researchers, artists and companies draw the changing lagoonhttps://www.unive.it/pag/14024/?tx_news_pi1%5Bnews%5D=3735&cHash=7fc5ca47ffe9a77a7949da5e034e22d

Working with Nature in Sanjay Van

by Saloni Sharma

The Dark Beauty, 21 May 2017 by “Pushpeshpant.10”, licensed under Creative Commons Attribution 4.0

The first time I went to Sanjay Van, a ridge forest along the foothills of Aravali Range in the heart of South Delhi, was on a field trip for a course on Ecosophy taught by Dr.

Aseem Srivastava at Ashoka University. As I, along with my classmates gasped in awe at this nature’s paradise — in the middle of the congested metropolis, our teacher shared with us the story of Vinod Rawat, the founder, who made the restoration of this forest his life’s mission after the death of his beloved wife.

I have visited Sanjay Van many times since. In fact, I believe it was Sanjay Van that has inspired me to follow a research career in the field of Ecological Humanities. I was humbled to share this fact with Devika Rawat, daughter-in-law of the Late Vinod Rawat, when I approached her for an interview for the present assignment. The answers to the following questions are based on my conversation with her who now leads Working with Nature (WWN), a citizen-led organisation founded by her late father-in-law.

Where is this grassroots initiative implemented?

The initiative has been implemented at Sanjay Van, a city forest that is part of Delhi’s South Central Ridge formed by the world’s oldest fold mountains, the Aravali Range. It is surrounded by densely populated areas of Mehrauli and Vasant Kunj.

Who are the promoters? Who are the actors involved? What is their background?

The promoters are Working With Nature (WWN) — a citizen-led group, and the Delhi Development Authority (DDA) under whose jurisdiction the ridge forest falls. WWN was founded by Air Vice Marshal Vinod Rawat and led under the direction and patronage of HE Tejendra Khanna, Lt. Governor of Delhi. The group has worked closely with DDA for Sanjay Van’s restoration. Ecologists, Prof. P.S. Ramakrishnan and Prof K.S. Rao, and Bird watcher, Dr. Surya Prakash, have also been part of the team along with volunteers from local areas and villages around the forest. WWN is now led by Ms. Devika Rawat, who continues the Work with Nature at Sanjay Van.

Who are the beneficiaries?

The initiative has made space for the city dwellers around to reconnect with nature and rekindle their ecological consciousness. What used to be famous as a degraded land with rumours of ghosts residing in and being a den of thugs, WWN reclaimed the city forest and restored it to its original glory. Because of the efforts of DDA and WWN, the forest now welcomes nature enthusiasts, cyclists, local residents along with everyday visitors who come for respite from the city life and engage in nature walks, yoga, and sightseeing. WWN has partnered with many local schools to carry out awareness drives and sensitise children about nature and their environment.

Importantly, the beneficiaries are also the local flora and fauna that reside inside the forest. The native Aravali trees which were almost extinct because of the plantation of Vilayati Kikar, an invasive tree species, are also one of the prime beneficiaries. The forest provides a natural habitat for many butterflies, blue bulls, a variety of snakes, small and big lizards like the monitor, golden jackals etc. Owing to the efforts by DDA and WWN, over 150 species of birds and rare migratory birds have been documented.

Sanjay Van is part of Delhi’s Ridge which is known as the lungs of the city. All the residents of the city, who might have lost a city forest to encroachment and real estate but now can celebrate the restoration of the city’s ecological heritage also benefit from this project.

How does this initiative engage with climate? Does it tackle mitigation, adaptation, both or other dimensions of climate change?

The project tackles both — mitigation as well as adaptation. The forest helps with the heavy pollution that Delhi faces every year. The tree cover cleanses the air and provides oxygen.

Additionally, Sanjay Van has a medicinal forest which consists of traditional medicinal trees. These trees are specifically good for improving the air quality.

The forest trees are resilient and adapting to the heat as the climate is getting warmer. These are native Aravali trees which belong to the Acacia family. These trees are thorny and not very tall, therefore, they do not require much water. However, they are rich with properties that benefit us and the environment.

What are the main objectives? What are the main values?

The primary objective of the initiative has been to restore Sanjay Van. Once the forest is restored, the other objective is to preserve it.

Within the restoration work, the goal was to restore Aravali vegetation. The native Aravali vegetation had become extinct from Sanjay Van because it was overrun by the invasive tree, Vilayati Kikar. In Hindi, Vilayati means foreign and Kikar refers to Acacia tree type. Vilayati Kikar is a foreign species which was planted in the 1990s along the periphery of Delhi. This was done to stop the arid soil from Rajasthan desert towards Delhi and to also restrict pollution from increased construction activities. In a slight oversight by the committee who was appointed for the resolution of this problem, a tree was identified which grows very fast — in about 5 years time — to provide the city with tree cover. This tree was Vilayati Kikar. It’s roots go very deep drinking away ground water and banishing other trees to take roots. Gradually, the native trees began disappearing while Vilayati Kikar proliferated.

Therefore, the objective of the project was to plant trees without uprooting Vilayati Kikar.

This year the decision to uproot these invasive trees has been passed. However, when this initiative was implemented, the challenge was to restore native Aravali vegetation without uprooting Vilayati Kikar. This was done by continuously eradicating its seed pots, uprooting young saplings and filling of open areas and extending forest cover with the native trees.

Next, the project also had the objective of making inexpensive water harvesting structures in order to recharge underground water which could provide a fertile land for rapid generation and restoration of natural biodiversity. It also arrested erosion of soil and gradually created large water bodies in the forest. Under the advisory of Dr Rajendra Singh who is known as the Waterman of Rajasthan, check dams were created and abandoned water bodies were replenished with recycled waste water. The forest now boasts 5 lakes which attract more birds. However, the upkeep and care of the water bodies is an ongoing mission.

Furthermore, the vision of WWN also posits making a bird sanctuary inside

the forest. For this, selective planting of fauna friendly vegetation has been implemented. Furthermore, regular checks to maintain sufficiently clean water at the five lakes inside the forest are undertaken so that biological life can be sustained and bird friendly fish in the ponds could be introduced. Because of these efforts, several rare birds have spotted in Sanjay van after many years of absence.

Lastly, replicating the restoration model of Sanjay Van to other ridges of Delhi is also in the vision of WWN.

The restoration work is presently in its last leg with supplementary plantation conducted annually during monsoon.

The preservation and maintainance is an ongoing drill and the role of WWN is to engage citizens in the management of their forest while also liasoning with DDA.

The real estate in Delhi is very expensive and ecroachment of land was a looming threat. The best way to overcome this challenge was to connect people to the land, get more people to come to the forest and become its guardians.

WWN connects people to the forest, raises sensitisation and awareness drives, arranges painting competitions for school children, coordinates nature walks, gather volunteers for the upkeep, engages in plantation work etc.

The main value that has guided the work of WWN is to create awareness and build a reconnection with nature. Oneness with nature is part of the traditional Indian value system and the goal of this initiative has been to rekindle these values — making people to connect with nature and care for their environment.

What is the timeline? Are there already visible effects?

The duration of the project was foreseen to be between ten and twelve years to see visible changes as trees take 8-10 years time to grow. During this period, rigorous efforts by DDA with the support from WWN were undertaken for the plantation which resulted in the survival rate of the trees at 75-80% .

The land area of Sanjay Van is 783 acres. To carry out the restoration, little pockets of land were selected to start the work. The forest has 4 layers: the taller

trees which are called the emergents, the canopy trees which provide a cover to the forest, the bushes and the creepers. The plantation therefore, had to have a balance of the four layers and the plantation was organized accordingly.

The water bodies took approximately 5 years to come up and now require regular maintenance.

Therefore, the project has taken 12 years to complete restoration and preservation efforts are endlessly going on.

Which limits does it encounter?

Since the water bodies were created with treated waste water, every now and then the untreated sewage water is pumped in the system from unauthorised colonies in the area. This can have massive repercussions for the health of the ecosystem.

This challenge is mitigated by identifying the source of untreated water. Grass is grown that separates the heavy particles. The water bodies are in step formation at different heights, and as the water goes down, it becomes cleaner. The lakes are also cleaned and oxygenated annually. Furthermore, grass that can separate chemical impurities in the water is also planted.

The second issue that was faced during restoration was the sourcing of native trees. In order to source the native saplings, volunteers travelled to Rajasthan to source the saplings of Aravali trees.

However, there are nurseries within the forest now from where the saplings can be procured for plantation.

Thirdly, encroachment and construction was a challenge, however, with more people coming in the forest, these concerns are diminishing as such activities are difficult to carry out with more people watching.

However, with more and more people coming the fourth issue arises — problem of plastic waste. Daily cleaning and picking of plastic waste is carried out, dustbin pairs have been installed throughout the forest and cleaning drives

are organised. It is however an encouraging reminder that before the restoration, the forest was a dumping ground but now with the collaborative efforts of government and citizens — DDA and WWN — the forest has come a long way.

Fifthly, the nilgai or the blue bulls in the forest are scavengers to the young plants. Pigs and cattle owned by locals in the adjacent areas sometimes graze and forage in the forest. This has negative repercussions on the ecology but such sensitive issues require solutions that promote mutual coexistence. Human tampering with plantation — deliberate or otherwise, is also an issue.

In order to check this, tree guards have been installed and when the sapling attains sufficient height, they are removed. WWN has also pushed DDA to build a boundary wall around the forest which is under construction.

Finally, there are 45 religious shrines in the 783 acres of the forest and owing to the court order which states that anything built before the 1990s cannot be demolished, the forest has to coexist with these shrines. Some of them can often interfere with the preservation and disturb the forest. However, these topics require careful treading so that such riddles of conservation are solved in a manner beneficial to ecology and local populace.

Are any shortcomings or critical points visible? What other problematic issues can arise from its implementation?

The project’s main goal was to plant native Aravali vegetation, however, during the course, it was learnt that a rigid approach is not serving well and flexibility is crucial. A native tree called Dhak, known as ‘the flame of the forest’ — owing to its big red flowers in spring — had disappeared due to Vilayati Kikar. Because it couldn’t adapt as well as hoped, an understanding towards adaptation was realised and the absolute resolution to plant native trees was revisited.

As a result, some non native trees were planted; flexibility was incorporated to include different trees — as long as they were not invasive but friendly to the environment and good for the birds and bees. These trees adapted well to environment as opposed to the native species.

Additionally, maintenance of water has been a critical point. Because of poor water quality, a lot of migratory birds are lessening in number. Clean water invites more birds and the challenge to keep water clean is an ongoing mission.

How would it be potentially replicable in other settings?

The model worked out by WWN and DDA at Sanjay Van is already being replicated in other ridge forests of Delhi. And, it can also be replicated anywhere in the world.

To revive a forest, trees are the most important element. Identification of the local flora is the first step because local trees adapt best to the environment and require lesser nurturing.

Secondly, revival of water sources is crucial for the sustenance of the newly restored vegetation. Check dams are already being created in many parts of the world. These dams ensure that the rain water goes into the ground and builds groundwater reserves. Additionally, it is important to make sure the soil isn’t eroded.

Is this initiative conducive to broader changes (law, institutional arrangements, long-term sustainability or community preparedness, etc.)? If yes, which sustainability or community preparedness, etc.)?

This initiative is undoubtedly conducive to broader change as it has inspired many such initiatives being carried out across Delhi. It has fostered a sense of community with nature and promoted goodwill amongst the people it has touched.

Mainly, it has demonstrated the success of government-citizen partnership and also showcased how empowered citizens can bring positive changes to their natural environment.

Nature brings out the best in people and the restoration of Sanjay Van is one such product of this idea.

Sanjay Van was Devika’s father-in-law’s life’s purpose and mission. His ashes are dispersed there.