As a way to explore these changing lifestyle patterns and to establish a platform for interaction, Ghosh conducted a series of collaborative workshops based on paper-making with bamboo leaves, as well as theatre performances with the younger generation of Santali men and women from various economic backgrounds and levels of education. Ghosh also explored the notion of home through an embroidery workshop with the women of the community.}

Part of the project was to utilise materials that are local and familiar to the Santals, and perhaps introduce new ways of working with and interpreting these materials. The main material which was considered and explored during the course of the project was Bamboo, which is an essential tree for the Santali. Traditionally Santali homes are constructed using the leaves and shoots of the plants. Even objects within the home, such as furniture and utensils are cleverly created by manipulating the natural fibres. Additionally, dry leaves of the Bamboo tree are also used to stoke and build cooking fires. Ghosh introduced new ways of using the traditional material, through paper making workshops. Through the course of the workshops, the project team also created a platform to gather the community and reflect on the changes and threats that traditional Santali life was being faced with.

After careful selection of appropriate site and the construction of the base-structures needed to make paper, workshops were held for school-children from three Santali villages (Fuldanga, Pearson Palli and Boner Pukur Danga) around Santiniketan. Ghosh also introduced the technique of creating watermarks on the paper. After the completion of each workshop, an installation of the bamboo water-marked paper was created in each individual village. The installations were planned in collaboration with the participants and worked as an interface between the different generations of the Santali community.

During the early meetings between the artist and the community there were lengthy discussions about the purpose of holding such workshops, the main question was how this experience would provide any
financial benefit for the locals. The community was used to government organisations and NGO’s providing compensation for knowledge enhancing workshops; therefore any workshop based activity was assumed to generate a similar outcome.

When the community was advised this activity would take place during their leisure time there were initial hesitations; however once Ghosh began building the workshop space, the villagers themselves began to
assist the construction and slowly out of curiosity people began to join in. The overall experience of the workshops was quite well received by the community. The experience concluded with a procession where the villagers carried watermarked, bamboo leaf paper lanterns. Two processions were made in two different Hul festivals (Hul means revolution and it was initiated on the memory of Shidu and Kanhu who were the two main martyrs in the Santali revolution in 1855).

The concluding procession was sentimental and emotional conclusion to the project, which also held a symbolic significance to the project artists. The Santali community was granted the opportunity to look back upon their changing environment and to put measures in paths to utilise their limited resource in a creative and functional way. During the Ballpark Hul, members from the two villages of Fuldanga and Pearson Palli joined together to show and share the work. They also demonstrated the process of bamboo leaf paper making to visitors of the fairs from the surrounding villages. After these initial activities the communities of Fuldanga and Pearson Palli were both interested in transforming the physical workshop space into an active cultural centre, to continue the processes which were initiated and to share it with others from their own villages as well as the surrounding localities.