Authentic
Not a forced combination of corporate training and art.
artimmersion
Artist-led programmes on presence, mindful AI, inclusion, listening and the pitch
Behaviour isn't taught. It's rehearsed.
Working artists from theatre, music, movement, sound and code come into your organisation to change what people do, not only what they know. Diagnosed first, built from your real work, measured after.
25
Years of practice in the founding team, across the arts and industry, since 2001.
20+
Organisations our team has worked with, across industry, education and culture.
700+
Artists presented at W.I.P altFEST: the network we cast your programme from.
Venice to Edinburgh
Where work from our founder and artist network has been shown.
Everyone agreed with the slides. Nothing changed.
The behaviours that cost teams most happen faster than anyone can think about them. You can't lecture them away.
In the meetingThe same three people speak first.Some voices are interrupted, or their idea comes back later with someone else's name on it.
In the pitchSix weeks on the deck. No rehearsal.The content is right. The transitions, the timing and the recovery from a hard question were never practised.
In the teamNobody assigned the role.Someone takes the pen, the front and the summary within seconds. It is usually the same person.
Telling people about a dynamic rarely changes it. Making them experience it does.
Corporate learning designed and led by working artists.
ART Immersion is the corporate practice of W.I.P Labs, an artist-run collective in New Delhi. We bring genuine artistic practice into organisational learning, rather than dressing corporate training up as art.
Diagnosis first
We name the behaviour before we design anything.
Working artists
Practitioners of national standing, matched to your problem.
Built from your work
Your real meetings, pitches and scenes. No off-the-shelf content.
Measured
Indicators agreed up front, reviewed at 30 to 90 days.
Beyond icebreakers
Not superficial theatre games or generic team-building.
Deep
Not an introduction to an art form. We work at the depth artists train at.
Practice-led
Not art repackaged as corporate entertainment.
Artists have spent careers on exactly this.
Rehearsal, ensemble, listening, presence, status, improvisation. In a well-designed session, people watch themselves do the thing, then practise a different way of doing it, several times, before they take it back to work. We bring the practitioners, not a trainer who borrowed a few theatre games.
Never tell people something about themselves that the room can show them instead.
Six areas of work. Start with the behaviour.
Each area holds a set of modules. Every module is a starting design, shaped to your brief at the Diagnose stage. Choose an area to see its modules, what each one tracks, and the precedents behind it.
01
Self and well-being
Attention, recovery and steadiness under pressure.
Movement, sound, making by hand
02Mindful AI and technology
Use the tools. Keep the judgement.
Live coding, sound design, writing
03Leadership and presence
Hold a room. Pass the lead. Make strategy repeatable.
Voice, theatre, ensemble music, film
04Inclusion and voice
Behaviour, not blame.
Physical theatre, forum theatre, voice
05Teams and generations
Teams that actually listen to each other.
Ensemble music, songwriting, improvisation
06Sales and the pitch
Bring the real pitch. We'll rehearse it until it survives the room.
Theatre rehearsal, improvisation
01 · Self and well-being
Attention, recovery and steadiness under pressure.
Fatigue at work is rarely about one long week. It is the habit of never fully stopping, never listening fully, and carrying tension nobody notices. Movement artists, sound practitioners and makers work on these habits through the body and the senses, so people leave with practices they can use on a Tuesday afternoon.
- Teams under sustained pressure
- Managers
- Wellness and EX teams
- After a restructure
Skills people build
- Breath and pacing they can use before a hard conversation
- Noticing stress in the body early, before it shows in their work
- Short attention and listening practices that fit a working day
- Making something by hand, start to finish, without a screen
Attitudes that shift
- Pausing is part of performing well, not a break from it
- Attention is a resource the team can protect together
- A calmer relationship with being watched and judged
- Rest can be planned, not only recovered from
Modules
Delivered run for a client Designed ready to run Pilot new, run first at a reduced fee
Grounded
Pilot- Discipline
- Movement, Kalaripayattu, somatic practice
- Duration
- Half-day to 1 day
- For
- Teams in long, high-pressure stretches
Breath, weight and balance work, then simple partner exercises that show people how tension travels through a group. The session ends with a five-minute practice each person can run at their desk.
What we trackSelf-rated stress in three named work situations, before and at 30 days; use of the practice, reported in a short pulse.
Deep Listening
Designed- Discipline
- Sound practice, ensemble music
- Duration
- Half-day to 1 day
- For
- Cross-functional teams
Sound practitioners train attention to what is actually heard, including silence and timing. Listening exercises lead into structured pair and group work where people restate each other's points before adding their own.
What we trackParaphrase accuracy at start and end; a team pulse question on feeling heard, before and 60 days after.
Making Together
Pilot- Discipline
- Clay, bamboo, puppetry, visual art
- Duration
- Half-day to 1 day
- For
- Teams that have lost a shared sense of purpose
A team makes one object together with a master maker, by hand. Who leads, who waits and who rescues the work becomes visible, and the finished piece stays in the office as a reference point.
What we trackFacilitator observation of participation patterns; a team pulse on belonging at 60 days.
The Reset Residency
Pilot- Discipline
- Movement, sound, food and landscape
- Duration
- 3 to 5 days, away
- For
- Teams after a merger, restructure or rapid growth
Mornings of practice, afternoons applying it to the team's real working patterns, unstructured late afternoons, and evenings with working artists. It ends with team agreements on pace and recovery, written as behaviours.
What we trackThe agreements themselves, and how many are still in use at the 90-day review.
This is not therapy and not a wellness retreat. We work on attention and recovery habits in a group. Where a diagnosis shows clinical needs, we say so and point to the right professional help.
Precedent
World Health Organization
More than 3,000 studies on the arts and health.
Arts engagement is low-cost and multi-modal, which suits complex problems.
EPFL+ECAL Lab × Pro Senectute Vaud
Design against loneliness.
Design that starts from how people feel gets used.
From our own work
Our movement, sound and making practitioners run W.I.P's festivals, the AutumnSKUL residency in the Kangra Valley, and W.I.P aDDa in Delhi.
Talk to us about well-being Often paired with a residency.
02 · Mindful AI and technology
Use the tools. Keep the judgement.
Teams are adopting generative AI faster than they are agreeing how to use it. The risk is quiet: drafts nobody owns, a house voice that sounds like everyone else's, and decisions handed to a system nobody questioned. Artists who work with code, sound and generative systems have been dealing with this for years. Our live coders, sound designers and writers bring that practice to your teams, as hands-on skill and as a change in attitude.
- Teams adopting GenAI
- Product and innovation
- Marketing and content
- Leadership teams setting AI policy
Art
Authorship
Artists know where their own voice lives in a piece of work, and when a tool has taken over.
Technology
Making with code
Creative coding turns software into something you shape by hand, with immediate feedback.
Culture
House voice
Every organisation has a way it sounds and decides. AI can flatten it or carry it.
Skills people build
- Prototyping an idea in code in an afternoon, with tools such as p5.js and Strudel
- Treating AI output as a draft to critique, not an answer to accept
- Giving a generative tool clear constraints, then judging what came back
- Writing a team norm: where AI helps, where a person must decide
Attitudes that shift
- Curiosity about the tools instead of fear or blind enthusiasm
- Ownership: my name on it means my judgement is in it
- Comfort with ambiguity and with early, rough versions
- Knowing which parts of the work carry the organisation's voice
Modules
Delivered run for a client Designed ready to run Pilot new, run first at a reduced fee
Sound and Creative Coding Lab
Delivered- Discipline
- Sound design, creative coding
- Duration
- 2 to 3 days
- For
- Innovation and product teams, graduate cohorts
Deep listening, then modelling a real system in sound, then rapid prototypes in Processing, p5.js and Strudel, ending in a showing. Adapted from the three-day lab we ran at a leading Indian business school.
What we trackNumber and range of prototypes; a before-and-after self-assessment of comfort with ambiguity.
Human in the Loop
Pilot- Discipline
- Live coding, algorithmic music
- Duration
- 1 day
- For
- Teams building AI into their workflows
Live coders make music by writing code in real time, deciding second by second when to let the system run and when to step in. Teams learn the basics and play together, then map the same decisions onto one of their own AI-assisted processes.
What we trackA written set of intervention rules for the chosen process, and whether the team still uses it at 60 days.
Authorship and AI
Pilot- Discipline
- Writing and sound practice
- Duration
- Half-day
- For
- Teams producing content, reports or proposals
Participants make the same piece of work with and without AI tools, then critique what was gained and what was lost. Writers and sound artists show how they keep their voice when they work with generative tools.
What we trackA team norm on where human judgement is required, written in the session; adoption checked at 60 days.
The Culture Brief
Pilot- Discipline
- Artists working with generative systems
- Duration
- Half-day
- For
- Leadership teams setting AI direction
Leaders see and discuss work by artists who use generative systems, then name what their own organisation's voice and judgement consist of. The output is a short brief that sits alongside your AI policy and says what must stay human.
What we trackThe brief itself, and how it is used in the next AI decision the team makes.
Pilot modules are new designs built on our artists' existing practice. We run them first with a small group at a reduced fee and share the results with you before scaling.
Precedent
Stanford University × Yamaha
A composer in an AI lab changed the sound of pop music.
The licence earned Stanford more than $20 million, its second most lucrative ever at the time.
MIT Media Lab, Opera of the Future
Instruments built for musicians became a games industry.
Research led by an artistic question produced products, companies and new forms of participation.
From our own work
W.I.P ran a three-day Sound and Creative Coding Lab at a leading Indian business school, and programmes live coding at W.I.P altFEST.
03 · Leadership and presence
Hold a room. Pass the lead. Make strategy repeatable.
Senior people are skilled at giving the right answer in a discussion. In rehearsal, the right answer doesn't help; only the behaviour does. Directors, voice and movement practitioners, musicians and filmmakers work on how leaders sound, stand, listen and tell the story of where the organisation is going.
- New and mid-level leaders
- Senior leadership teams
- Leadership development cohorts
Skills people build
- Steady pace, audible voice and grounded posture in high-stakes moments
- Handing over the lead deliberately in a meeting
- Shaping strategy into a story people can repeat accurately
- Starting hard conversations earlier, with more than one way in
Attitudes that shift
- Seniority creates space rather than filling it
- Presence is practised, not a personality trait
- Difficult conversations are a skill to rehearse, not avoid
Modules
Delivered run for a client Designed ready to run Pilot new, run first at a reduced fee
Body, Voice, Breath
Designed- Discipline
- Voice, movement, theatre
- Duration
- 1 to 2 days
- For
- New and mid-level leaders
Voice work and status exercises, then a rehearsal of a real moment coming up: a town hall, a board update, a difficult announcement.
What we trackA short talk on video at start and end, rated against a simple rubric; peer feedback from the real event.
Leading in Ensemble
Designed- Discipline
- Music improvisation
- Duration
- 1 day
- For
- Leadership teams
In ensemble improvisation nobody can hold the music alone. Structured exercises make leading, following and handover explicit, then the team debriefs against its own meeting habits.
What we trackA Floor Audit of a real leadership meeting before and after.
Narrative Leadership
Designed- Discipline
- Storytelling, film
- Duration
- 1 to 2 days
- For
- Senior leaders
Leaders find the story in their strategy, then tell it and are coached through several runs by storytellers and filmmakers.
What we trackHow accurately teams restate the message two weeks later.
The Difficult Scene
Designed- Discipline
- Forum theatre
- Duration
- 1 day
- For
- Managers
A realistic scene from your context is played, stopped, and replayed with a different move. Options are tested, not discussed.
What we trackSelf-reported avoided conversations before and after; direct-report feedback at 90 days.
Precedent
RADA Business, London
A drama school's methods in boardrooms.
Presence and communication can be trained the way actors train them.
The Music Paradigm
Executives sit inside a working orchestra.
Leadership becomes visible when you sit inside the ensemble.
From our own work
Our theatre, voice and film faculty includes a Sangeet Natak Akademi awardee and a National Award-winning filmmaker.
Talk to us about leadership For top teams, see Leadership Studio.
04 · Inclusion and voice
Behaviour, not blame.
Awareness training tells people what they already know. The everyday patterns that shape inclusion (who interrupts whom, whose idea gets credited, who is quietly protected from difficult assignments) are automatic. In male-majority workplaces they are nearly invisible to the people who benefit from them. Theatre, movement and live observation let a room see its own patterns, without anyone being accused and without asking the few women in the room to testify.
- DEI leaders
- Women in male-majority roles
- Mixed-gender teams and their managers
Skills people build
- Clearer boundary-setting with colleagues and customers
- A stronger voice in meetings, practised in real scenarios
- Noticing and redistributing airtime and roles
- Giving the same feedback well to different colleagues
Attitudes that shift
- From fixing the people who are excluded to changing what everyone does
- Expression over self-regulation
- Inclusion as a daily practice, not an annual session
Modules
Delivered run for a client Designed ready to run Pilot new, run first at a reduced fee
Voice and Agency
Delivered- Discipline
- Physical theatre, vocal practice
- Duration
- 2 days
- For
- Women in male-majority roles
Voice and body work, scenes built from participants' everyday interactions, rehearsal of assertive responses, and a peer support structure that continues after the programme. Delivered for women professionals at a large FMCG conglomerate.
What we trackBefore-and-after self-assessment on named situations; participation in team meetings at 60 days.
The Floor
Designed- Discipline
- Forum theatre, rhythm, live observation
- Duration
- 2 days, a week apart
- For
- Mixed-gender frontline teams and managers
Day one uses the Floor Audit and Nine Seconds to show the room its own patterns. Participants carry three observation prompts through a normal working week. Day two rebuilds real scenes from what they saw, rehearses alternatives, and logs commitments with HR.
What we trackAirtime spot audits in regular meetings; assignment distribution over a quarter; commitments completed at 90 days.
The Ground You Stand On
Designed- Discipline
- Theatre, movement, visual mapping
- Duration
- 1 day
- For
- Senior managers
Policy changes at the top, but culture changes in the middle, where unit heads decide who gets stretch assignments. The morning makes structural advantage physical through movement; the afternoon maps access in each manager's own team and rehearses an equitable meeting.
What we trackThe commitment log, one named person each manager sponsors for 90 days, and a follow-up Floor Audit in one of their meetings.
A module for all-male cohorts
In development- Discipline
- To be cast at Diagnose
- Duration
- To be scoped
- For
- All-male teams
Scoped around three areas a client named: digital communication behaviour, unconscious role assumption, and workspace dynamics among men. Designed once seniority and questionnaire responses are in.
What we trackSet at Diagnose.
Our design rules for this work: women are never made the evidence; data comes from observed behaviour; a separate women's caucus controls what reaches the main room; facilitation is always mixed-gender, one male and one female practitioner, so the room sees the dynamic it is working towards.
Precedent
IFAD (United Nations)
Forum theatre on unconscious gender bias.
People rehearse a better response before they need it.
WZB Berlin review
What 268 studies say, and what they miss.
They found no case where management set success criteria in advance. We do that first.
From our own work
Two-day programmes for women professionals at a large FMCG conglomerate, followed by a mixed-gender design.
Talk to us about inclusion See the flagship case below.
05 · Teams and generations
Teams that actually listen to each other.
Four generations, three working styles and two offices make for meetings full of sequential monologues. Friction between managers and younger employees is usually misread as attitude; it is a collision of mental models. Musicians know this problem well: an ensemble only works when people listen while they play. We use music, sound and collective making to work on how teams think, decide and belong together.
- Cross-functional teams
- Managers with Gen Z teams
- Whole sites and business units
Skills people build
- Building on others' ideas instead of waiting to speak
- Translating between working styles across age groups
- Exploring several options before converging on the first safe one
Attitudes that shift
- Difference in style is information, not friction
- Everyone contributes to the result, not only the loudest
- A shared reason for the team to exist
Six patterns we work with across generations
- Authority is earned, not assumedManagers who explain their reasoning earn loyalty. Managers who invoke rank lose the room.
- Work must have meaning“Why does this matter?” is a reasonable question, not a complaint.
- Feedback is continuousSilence from a manager reads as abandonment, not as “all is well”.
- Boundaries are a valueThe task is channelling performance within boundaries, not removing them.
- They need to see a futureWithout a visible path or a role model, they leave, as strategy rather than disloyalty.
- Different, not worseVoice notes and short messages are a style, not a lapse in professionalism.
Modules
Delivered run for a client Designed ready to run Pilot new, run first at a reduced fee
The Company Song
Delivered- Discipline
- Mass songwriting and performance
- Duration
- Half-day to 1 day, up to several hundred people
- For
- Whole sites or business units
Section-by-section songwriting, rehearsal, and a company-wide performance. Delivered in an aircraft hangar for a global life-sciences technology company. HR receives an observation brief on who led spontaneously. Sold as a culture experience, not as training.
What we trackParticipation rate; how HR uses the leadership-pattern brief.
Different Frequencies
Designed- Discipline
- Ensemble music, playback theatre, improvisation
- Duration
- 1 to 2 days
- For
- Mixed cohorts of managers and Gen Z employees, 25 to 40
Both sides tell their stories in separate groups first. Playback theatre performs a manager's frustration from the younger employee's view, and the reverse, so nobody has to defend themselves. The group then makes music across its different rhythms and agrees a manager toolkit for the most common friction points.
What we trackA short pulse on cross-generation trust before and at 60 days; use of the toolkit.
Leading Across Difference
Designed- Discipline
- Playback and forum theatre, storytelling
- Duration
- 1 to 2 days
- For
- Managers only, 20 to 30
Without their teams in the room, managers can be honest about frustration. They test their hardest situations against the six patterns and rehearse the conversations until new responses feel usable. Each leaves with a personal communication card and two behaviour changes shared with a peer.
What we trackThe two behaviour changes, checked with the peer at 30 days.
Think in Sound
Pilot- Discipline
- Improvisation, devising
- Duration
- 1 day
- For
- Teams whose ideas die early
Improvisation and devising exercises that reward building on an offer. The team applies them to a live problem and generates options before choosing.
What we trackNumber of options generated on the live problem compared with the team's usual process.
Precedent
Orpheus Chamber Orchestra, New York
An orchestra with no conductor.
Shared, rotating leadership is a practice, not a slogan.
AIRIS, Sweden
Artists in residence inside ordinary companies.
It works when both sides commit, and effects need to be measured, not assumed.
From our own work
A mass songwriting workshop in an aircraft hangar for a global life-sciences technology company, ending in a performance by the whole workforce.
06 · Sales and the pitch
Bring the real pitch. We'll rehearse it until it survives the room.
Theatre rehearsal is a method for turning material into a performance that holds under pressure. Improvisation trains the one move every objection needs: accept the unexpected offer and build on it. Both are taught by directors and improvisers who do this for a living.
- Pitch and bid teams
- Sales and client-facing teams
- Founders before a raise
Skills people build
- Clean handovers, controlled pace and timing against the slot
- Recovering from an interruption without losing the thread
- Shorter, clearer answers to objections
Attitudes that shift
- The pitch is a performance worth rehearsing, not just a deck
- An objection is an offer to respond to, not an attack
- Listening for intent before answering
Modules
Delivered run for a client Designed ready to run Pilot new, run first at a reduced fee
The Pitch Rehearsal
Designed- Discipline
- Theatre rehearsal practice
- Duration
- 1 day, or 2 half-days before a live pitch
- For
- Pitch and bid teams
The team runs its real pitch, takes notes from a director, and runs it again. A technical rehearsal covers handovers, clickers and what happens when something fails.
What we trackTimed run against the slot; handover stumbles from first to final run; the pitch result, reported by you.
Objection Room
Designed- Discipline
- Improvisation
- Duration
- Half-day to 1 day
- For
- Sales and client-facing teams
Improvisation fundamentals, then escalating role-play using your team's real objections, collected at Diagnose.
What we trackFacilitator-coded responses across the day; manager observation of two live calls at 30 days.
Precedent
RADA Business, London
A drama school's methods in boardrooms.
Presence and communication can be trained the way actors train them.
From our own work
Directors and improvisers from our theatre faculty run The Pitch Rehearsal on your real material.
Book a pitch rehearsal Women in field sales: see Voice and Agency.
Art is the wrong tool for skills gaps, process failures or policy questions. If a diagnosis points there, we will say so.
Recognise one of these behaviours in your own teams?
Tell us the behaviour in three lines. We'll reply with whether art is the right tool for it, and if it isn't, what is.
Describe your problem Download the brochure (PDF, 4 MB)The W.I.P Rehearsal Method.
Five stages, in the language of a theatre production. The content changes with each organisation; the discipline of how we build it does not. The indicators set at Diagnose are the ones reported at Review.
Diagnose
Conversations with the sponsor, HR and a sample of participants. The behaviour named precisely.
You getA one-page brief with 3 to 5 agreed indicators.
Cast
We choose practitioners whose discipline works on that behaviour, and tell you why.
You getA named team, with the reason for each discipline.
Devise
The programme is built with your team, from your real meetings, pitches and scenes.
You getA session plan you sign off.
Rehearse
Delivery in rehearsal conditions: on your site, at W.I.P aDDa in Delhi, or on residency.
You getThe programme and facilitator notes.
Review
A report against the agreed indicators, and a follow-up at 30 to 90 days.
You getPatterns (never individuals), a commitment log and a recommendation.
Inside every session: four movements.
Whatever the art form, a session moves through the same four stages, so the room sees its own behaviour, practises another way, and leaves with something HR can follow up.
Ground
Agreements and somatic grounding. This is neither compliance training nor a tribunal.
Surface
The behaviour made visible, using the room's own conduct.
Rehearse
The alternative practised repeatedly, with notes.
Commit
Specific, dated commitments handed to the organisation.
Signature tools
The Floor Audit
Observers code a live discussion: who speaks first, airtime, interruptions, and ideas later credited to someone else.
Nine Seconds
A timed leaderless task. Who takes the pen, the front and the summary, and how fast.
The Register Switch
The same feedback delivered to two different colleagues, performed and played back.
The Observation Week
Three narrow prompts carried into a normal working week between two workshop days.
The Commitment Log
Every behavioural commitment, held by HR for follow-up.
The Culture Map
Five dimensions of team culture rated from Absent to Embedded, at baseline and review.
The Creative Cultural Audit
For longer engagements, we find out how people actually behave in rooms together, not what surveys report. Interviews, facilitated observation and a qualitative survey feed the Culture Map, which becomes the organisation's own reference point for the year.
| Dimension | Absent | Emerging | Developing | Embedded |
|---|---|---|---|---|
| Voice and participationWho speaks, who is heard, who defers | Some groups routinely dominate. Interruptions go unremarked. | Some advocates for equal participation, but it depends on the manager. | Broadly encouraged. Meeting norms exist. Quieter voices still struggle. | All voices actively drawn out. Leaders model listening. |
| Power and hierarchyHow rank shapes communication | Hierarchy is rigid. Junior staff never challenge upward. | Some open teams, but power differentials dominate most interactions. | Upward communication possible. Structural deference remains. | Power exercised with accountability. Dissent is safe and valued. |
| Psychological safetyWhether people can speak and fail honestly | People self-censor routinely. Honesty is a career risk. | Safety exists in close teams. Candid in private, not in rooms. | Most feel they can raise concerns. Sensitive issues remain unsafe. | People name problems without fear. Failures discussed openly. |
| Representation and visibilityWhether diverse identities are seen and valued | Absent at senior levels. Difference ignored or treated as exceptional. | Present at junior levels. Senior leadership remains homogeneous. | Acknowledged, but visibility is uneven across groups. | Diverse identities present at all levels. Difference is an asset. |
| Peer support and solidarityWhether colleagues support each other across difference | No culture of allyship. Support is transactional. | Some individual allies. No shared language for support. | Some peer support culture. Cross-group solidarity is weak. | Allyship practised across difference, with a shared language. |
Baseline audit
Scoping, structured interviews across cohorts, observation sessions and a survey. Produces the first Culture Map, a synthesis report and a recommendations brief that shapes the intervention.
Mid-point pulse
A compressed check-in once workshops are under way. An updated map shows what shifted, what did not, and what to adjust.
End-of-year review
The full audit repeated with the same instruments, so all three maps can be read side by side, with recommendations for year two.
Three ways to bring us in.
Any programme area can run in any format. Most organisations start with an Intervention on their own turf. Residencies are for when a team needs distance from the office's routines to see its own patterns.
Start here
Interventions
A focused programme on one diagnosed behaviour.
- Length
- Half-day to 2 days, optionally split by an observation week
- Group
- 12 to 30 per facilitation team; larger in pods
- Where
- Your site or W.I.P aDDa, Delhi
- For
- L&D, DEI and sales leaders
Away from the office
Residencies
A team leaves the workplace for an artistic environment built around its brief.
- Length
- 3 to 5 days
- Group
- 12 to 30
- Where
- Venues in the Himalayas and beyond, chosen per brief
- For
- Culture heads; teams after change
For the top team
Leadership Studio
Senior teams working with senior artists, including international faculty, on how the top table actually runs.
- Length
- 2 to 3 days, often residential, plus follow-up
- Group
- 6 to 16
- Where
- Residential or private studio
- For
- CHRO, CEO, leadership development
In-office
- In your office or a nearby space
- No travel or logistics to coordinate
- We adapt the creative environment to your setting
- Ideal for first engagements and ongoing modules
Outbound
- A scenic, off-grid location chosen for your brief and budget
- W.I.P handles travel, stay, food and beverage
- Work happens in spaces set up for artistic practice
- Best for intensive or multi-day programmes
A residency, not a resort.
One question, one lead discipline, one real decision. The team brings a live question it has to decide. The days repeat a pattern, because repetition is where behaviour changes. Scenery alone does not do that.
Mornings
Three hours of practice in the lead discipline, building across the days.
Afternoons
The same practice applied to the team's real material.
Late day
Unstructured time: walks, foraging, rest. Part of the design.
Evenings
Time with working artists: an intimate performance, a listening session, a meal built around a chef's practice.
After
A Review session at 30 to 90 days against the agreed indicators.
- GroundArrival, agreements, a first session together.
- SurfaceThe team sees how it actually talks and decides.
- RehearsePractising the alternative, with notes.
- ApplyWorking the real question under new norms.
- CommitA charter written as behaviours, and a date for review.
Where we take teams
Venues are chosen for each client's brief, group size and budget, from Himalayan mountain lodges to heritage palaces and luxury resorts. W.I.P handles travel, stay, food and beverage. We are not tied to any one property; these are the kinds of places we work in.
Mountain lodges
Banjara Experiences
Himachal Pradesh
Lodges and retreats in less-visited Himachal valleys, including the Banjara Valley Retreat in an apple orchard on the Baspa river in Sangla.
Heritage boutique
Brij Hotels
Rajasthan, Himachal Pradesh, Uttarakhand
Restored heritage properties, among them Brij Lakshman Sagar, a 19th-century hunting lodge by a lake in Pali, Rajasthan.
Luxury
Wildflower Hall, an Oberoi resort
Near Shimla
A former Lord Kitchener estate at 8,250 feet in cedar and pine forest, suited to small executive retreats.
Luxury
Ananda in the Himalayas
Near Rishikesh
A destination spa resort in the Himalayan foothills, for leadership teams who want rest built into the programme.
Around the work
Practitioners who shape the time between sessions: meals, walks and evenings.
Udit Maheshwari
Chef and food researcher working at the intersection of culture and cuisine.
Kush Sethi
Wilderness educator and forager across the Himalayas and the Western Ghats.
Gagan Sharma
Sommelier and wine educator, certified by the Court of Master Sommeliers, with a master’s in hospitality from Victoria University, Melbourne. Tastings and food pairing on residency evenings, where the client wants them.
What we have done, described carefully.
Client work is confidential, so we describe it by sector, scale and problem. Named references are available one-to-one once we are in serious discussion.
Flagship · DEI in male-majority field sales
Two-day programmes for women professionals at a large FMCG conglomerate.
- Problem
- Frontline women in a male-dominated sales environment struggled to assert boundaries, communicate confidently and be consistently heard.
- What we did
- Two two-day workshops for ground-level women frontline workers: physical theatre, vocal practice and scenes built from their everyday interactions, delivered as part of the client's DEI initiatives. We also set up a peer support structure that the women kept using after the workshop.
- Reported outcome
- More confidence in difficult conversations, stronger voice and presence, more active participation and less emotional fatigue, as reported by participants and the client.
“After the workshop we kept supporting each other. It helped us understand ourselves, and now I handle difficult situations better: I am more assertive, I control my voice, and I know what my body is saying.”
A frontline sales participant, FMCG programme. Paraphrased from participant feedback.
- What happened next
- The client came back with a harder brief: bring the men into the room. How men talk to women in male-dominated spaces, and how men take over roles without being assigned them.
- What we diagnosed
- Automatic behaviours, not attitudes. Who interrupts whom, whose idea gets credited, who takes the pen.
- How we designed it
- Two cohorts at two levels, two days a week apart, with the Floor Audit, Nine Seconds and the Register Switch, and commitments logged with HR.
- What it shows
- Design from a named behaviour, adapted to hard constraints such as group size, gender ratio and field schedules, with measures set before delivery.
More of the work
Life sciences · whole workforce
A company song in an aircraft hangar
A mass sound and songwriting workshop for a global life-sciences technology company, ending in a performance by the whole workforce. Facilitators observed who led spontaneously, and HR received the patterns.
Corporate team · male-majority
Listening, rhythm and improvisation
For a team where women were less vocal. During the session, more decisions and musical cues came from women, and HR gained a clearer view of gendered dynamics.
Management education
A three-day Sound and Creative Coding Lab
For a leading Indian business school: deep listening, sonic modelling and prototyping in Processing, Strudel and p5.js, for systems thinking and comfort with ambiguity.
Sectors our team has worked with
- FMCG
- Technology
- Life sciences
- Consulting and professional services
- Energy and public sector
- Media and entertainment
- Aviation and travel
- Automotive
- Healthcare
- Luxury and hospitality
- Manufacturing and engineering
- Higher education
- Government and development
Organisations our team has worked with
Across corporate programmes, education and performance, W.I.P Labs and its practitioners have worked with these organisations. Not every logo is an ART Immersion client; we will tell you which work was which.
- ITC Limited
- Tata
- Network18
- CWT
- Vistara
- Cairn
- Ashoka University
- McKinsey and Company
- Coal India
- FORE School of Management
- Impact Research and Measurement
- Agilent Technologies
- Schneider Electric
- Hitachi
- Moët and Chandon
- SAP
- NHPC
- NTPC
- GAIL
- PwC
Artists inside organisations is not a new idea.
From an AI lab at Stanford to a drama school in London, organisations have brought artists in and changed what they make and how they work. These are the precedents our programmes build on, with sources.
Technology and AI · 1967 to 1983
Stanford University × Yamaha
A composer in an AI lab changed the sound of pop music.
Composer John Chowning discovered FM synthesis in 1967 while making music on the computers of Stanford's Artificial Intelligence Laboratory. Stanford patented the method and licensed it exclusively to Yamaha, whose DX7 synthesiser launched in 1983.
The licence earned Stanford more than $20 million, its second most lucrative ever at the time.
Source: Stanford News Service; Computer History Museum
Technology and AI · Ongoing
MIT Media Lab, Opera of the Future
Instruments built for musicians became a games industry.
Tod Machover's group builds hyperinstruments, used by Yo-Yo Ma, Prince and Peter Gabriel. Two of his students founded Harmonix, which made Guitar Hero (2005) and Rock Band.
Research led by an artistic question produced products, companies and new forms of participation.
Source: MIT Media Lab; MIT News
Technology and AI · 2007 onwards
EPFL+ECAL Lab, Switzerland
Designers, engineers and psychologists in one room.
The lab joins Switzerland's federal institute of technology with the art school ECAL to study how people actually experience new technology. Partners include Vacheron Constantin, Logitech, Microsoft and Richemont.
Design research turned emerging technology into something customers want to touch.
Source: EPFL+ECAL Lab
Technology and AI · 1966 to 1970
Bell Labs × E.A.T.
Thirty engineers, ten artists, nine evenings.
In 1966 ten New York artists worked with 30 engineers and scientists from Bell Telephone Laboratories on 9 Evenings: Theatre and Engineering. It led to Experiments in Art and Technology and the Pepsi Pavilion at Expo '70 in Osaka.
Engineers working to an artist's brief built things no specification would have asked for.
Source: E.A.T. overview
Technology and AI · 1990s
Xerox PARC, PAIR programme
Artists paired one-to-one with researchers.
PARC's Artist in Residence programme placed artists alongside its scientists in one-to-one pairings, using technology as a common language between disciplines that rarely meet.
The pairing itself, not a workshop, was the method.
Source: ISEA archive
Technology and AI · 2016 onwards
Google, Artists + Machine Intelligence
Artists and engineers making work with machine learning.
Google launched AMI in 2016 to bring artists and engineers together to make new work with machine learning, opening with a DeepDream exhibition in San Francisco with Gray Area.
Even the largest AI companies use artists to explore what the technology means.
Source: 9to5Google
Well-being · 2019
World Health Organization
More than 3,000 studies on the arts and health.
A WHO Europe scoping review led by Daisy Fancourt and Saoirse Finn synthesised over 3,000 studies and found a role for the arts in preventing ill health, promoting health and managing illness.
Arts engagement is low-cost and multi-modal, which suits complex problems.
Source: WHO Europe; Jameel Arts & Health Lab
Well-being · Recent
EPFL+ECAL Lab × Pro Senectute Vaud
Design against loneliness.
The Resoli app, designed with a Swiss foundation for older people, now counts more than 5,000 events organised by older people in the canton of Vaud.
Design that starts from how people feel gets used.
Source: EPFL+ECAL Lab
Leadership · 2001 onwards
RADA Business, London
A drama school's methods in boardrooms.
The Royal Academy of Dramatic Art has trained people at work since 2001, for law firms, retailers, media companies, universities and governments in more than 30 countries. Profits fund the training of actors and technicians.
Presence and communication can be trained the way actors train them.
Source: RADA Business
Leadership · Late 1990s onwards
The Music Paradigm
Executives sit inside a working orchestra.
Conductor Roger Nierenberg's programme embeds corporate professionals inside a symphony orchestra so they can watch how musicians and conductor actually lead and follow.
Leadership becomes visible when you sit inside the ensemble.
Source: Princeton Alumni Weekly
Teams · Ongoing
Orpheus Chamber Orchestra, New York
An orchestra with no conductor.
Orpheus works without a conductor. Leadership rotates to whoever the music needs, and its former executive director Harvey Seifter set out the method for managers in the book Leadership Ensemble.
Shared, rotating leadership is a practice, not a slogan.
Source: HR Reporter
Teams · 2000s
AIRIS, Sweden
Artists in residence inside ordinary companies.
Musicians, actors, painters and choreographers worked inside Swedish companies for ten months. Staff responded positively; the 2005 evaluation found limited effect on workplace climate, the 2006 evaluation more positive effects.
It works when both sides commit, and effects need to be measured, not assumed.
Source: Chalmers research
Inclusion · 2021
IFAD (United Nations)
Forum theatre on unconscious gender bias.
The UN's International Fund for Agricultural Development used Augusto Boal's forum theatre with staff to examine gender bias at work. Participants stepped into the scene to try alternatives.
People rehearse a better response before they need it.
Source: FAO / IFAD
The research · 2013
WZB Berlin review
What 268 studies say, and what they miss.
Ariane Berthoin Antal and Anke Strauß reviewed 268 publications on artistic interventions covering 205 organisations. The most documented effects were people seeing more and differently, and a sense of activation.
They found no case where management set success criteria in advance. We do that first.
Source: WZB Discussion Paper
We agree what counts before we start.
Five levels. We report the first four directly. The fifth is yours to track, and we never claim it as our effect.
Response
Relevance, safety and intent to apply.
HowA short exit survey with specific items
WhenEnd of programme
Reported directlyObserved behaviour
Change during the programme.
HowFacilitator coding, first versus final run, video rubric
WhenDuring
Reported as patterns, never individualsTeam dynamics
How the group works.
HowFloor Audit, Nine Seconds, ensemble observation
WhenDuring, and in one real meeting after
Reported, as a snapshotWorkplace application
Use at work.
HowSelf-assessment, manager observation, commitment log
When30 to 90 days
Reported as association, not causeOrganisational indicators
Business-level signals you choose.
HowAssignment spread, segment attrition, survey items, pitch win rate
When3 to 12 months
Tracked by you; never claimed by us
No invented ROI.
Too much else moves at the same time. Any rupee figure from a single programme would be made up.
No individual assessment.
Observations are never used for appraisal. If they were, the room would stop being honest.
No “people loved it” as evidence.
Most people enjoy artistic work. We report behaviour, not applause.
Who you will work with.
ART Immersion is run by the team behind W.I.P Labs: people trained in engineering, law and management who have spent careers making art at a high level, now bringing that work inside organisations. Every programme has a W.I.P learning lead who owns the brief, the measures and the Review.
Founder and Artistic Director
Anirban (Baan) Ghosh
- 25 years of practice
- Guest Faculty, IIM Ahmedabad
- IIM Lucknow
- CCBP, IIM Ahmedabad
- Ex-HCL Technologies
- FRSA
- Managing Trustee, Aagaaz Theatre Trust
- CEPT Excellence Award 2026
Anirban Ghosh (Baan G) is the founder and artistic director of W.I.P Labs, where he curates and produces W.I.P altFEST, PORTALS at the Goethe-Institut / Max Mueller Bhavan, the Listening Otherwise conference and the programme at W.I.P aDDa. He is the founder of the art-rock collective Dastaan LIVE, whose rock opera Kabira Khada Bazaar Mein has played more than 50 stages in 15 cities; founder of the Dilli Improvisers Orchestra, India’s first improvisers’ orchestra, formed with Raymond MacDonald of the Glasgow Improvisers Orchestra; and Managing Trustee of the Aagaaz Theatre Trust.
He came to the arts through technology and business. A computer science graduate who started at HCL Technologies, he studied at IIM Lucknow and on the Creative and Cultural Business Programme (CCBP) at IIM Ahmedabad, and was an Executive Producer at a national TV channel in Mumbai. He was offered places on programmes at Harvard, Goldman Sachs, Leuphana University and THNK, which he declined. Before W.I.P he ran workshops for corporate clients, from drum circles to employee-engagement sessions; ART Immersion is the in-depth practice that grew from that work. He teaches managers at IIM Ahmedabad and artists at CEPT and Ashoka, so he knows both rooms: what a team needs from a day, and what an artist needs to make that day real rather than a team-building exercise.
His sound and music have been presented at the Venice Architecture Biennale, the Edinburgh Fringe, Kampnagel in Hamburg, Trinity Laban and the Southbank Centre in London, GIO Fest in Glasgow and the Graz International Improvisation Festival, on a European tour through Paris, Rennes, Barcelona, Berlin and Rotterdam, and across seven African countries on an ICCR tour. In 2026 he was part of Pro Helvetia’s international delegation to ETH Zurich, EPFL+ECAL Lab, ZHdK and CERN. He is a Fellow of the Royal Society of Arts and was named one of India’s seven Young Creative Entrepreneurs by the British Council.
The full record
- Roles
- Founder and Artistic Director, W.I.P Labs · Founder, Dastaan LIVE · Founder, Dilli Improvisers Orchestra, India’s first improvisers’ orchestra · Managing Trustee, Aagaaz Theatre Trust
- Education
- B.IT, Computer Science, Delhi University · IIM Lucknow · Creative and Cultural Business Programme (CCBP), IIM Ahmedabad · Film and Television Industry Essentials, NYU Tisch · Bass with Gary Willis and Karl Peters; composition with Michael Harrison
- Offered, declined
- Places on programmes at Harvard, Goldman Sachs, Leuphana University and THNK
- Fellowships and honours
- Fellow of the Royal Society of Arts (FRSA) · British Council Young Creative Entrepreneur, one of seven in India · Bill & Melinda Gates Foundation India Fellowship in Leadership and Innovation · ARThink South Asia Fellowship in Arts Management, with a residency at the Southbank Centre · Goethe-Institut Fellowship, Cultural Management in the Digital Age · Pravah ATSA Instructional Design Fellowship · Scholarships at Arts Letters and Numbers, New York · CEPT Excellence Award 2026
- Industry
- HCL Technologies · Executive Producer, a national TV channel, Mumbai · Founder, BEsquare Audio · Consultant, Southbank Centre, London
- Teaching
- Built the sound design department at UID; leads the Critical Sound Studio at CEPT University; has taught at Ashoka University, IIAD and Nirma University, and as guest faculty at IIM Ahmedabad
- Work presented in
- Italy (Venice Architecture Biennale) · UK (Edinburgh Fringe; Trinity Laban and Southbank Centre, London; GIO Fest, Glasgow) · Germany (Kampnagel, Hamburg; Berlin) · Austria (Graz International Improvisation Festival) · France (Paris, Rennes) · Spain (Barcelona) · Netherlands (Rotterdam) · seven African countries (ICCR tour) · Switzerland (Pro Helvetia delegation, 2026) · in India at the Kiran Nadar Museum of Art, the International Theatre Festival of Kerala, the Jaipur Literature Festival, NMACC and Bengaluru Airport Terminal 2. Has performed with Shubha Mudgal, Rabbi Shergill and Ricky Kej, and on Coke Studio India
- Commissions
- Wellcome Trust (Mindscapes) · Stanford University, Theatre and Performance Studies · PACT exhibition led by SOAS University of London · Goethe-Institut / Max Mueller Bhavan · Irish Embassy, at the Kiran Nadar Museum of Art
Founding and Managing Partner, and Executive Director
Kirti Sharma
- Law, National Law University
- IP lawyer
- Cleared the Indian Navy JAG examination
- Goldman Sachs 10,000 Women, IIM Lucknow
- Teaches at CEPT University
- 300+ shows produced and curated
Kirti studied law at a National Law University and practised at Amarchand Mangaldas, one of India’s tier-one law firms. She cleared the Indian Navy's Judge Advocate General (JAG) examination. She learned business before law: she worked in her father's printing business from a young age and later ran her own bakery. As an intellectual property lawyer she drafts IP policies for universities and educational institutions and advises artists, collectives and communities on their work, one of the few lawyers working where art, society and law meet. She is part of the Goldman Sachs 10,000 Women programme at IIM Lucknow, and teaches at CEPT University.
She worked on two editions of the Mahindra Sanatkada Lucknow Festival, leading national media and press, and has produced and curated more than 300 shows. At W.I.P she runs partnerships, operations and programmes, including the W.I.P CAE university programme, Gali Gali Cinema and the W.I.P WinterSKUL on Majuli. On ART Immersion she leads partnerships, contracts and client relationships.
Project Manager, ART Immersion
Pallavi Verma
- B.E., NSIT
- MA Performance Practice, Ambedkar University
- Kathak, 9 years · Doordarshan Grade B
- Dr. Sunil Kothari Emerging Artist Award 2025
Pallavi is your day-to-day contact, from scoping and scheduling to delivery and follow-up. She holds a B.E. in Computer Engineering from Netaji Subhas Institute of Technology, Delhi University, and worked in the corporate sector before moving into performance.
She trained in Kathak for nine years at Bharatiya Kala Kendra, is an empanelled Doordarshan Kathak artist, and holds a Master's in Performance Practice (Dance) from Ambedkar University Delhi. She was selected for the Kampnagel Dance Education Biennale in Hamburg and has presented work at Serendipity Arts Festival, India Art Fair and the March Dance Festival. She knows how organisations run and what it takes to practise an art form, which is ART Immersion in one role.
Faculty: practitioners, not trainers playing artists.
The people in your room include a Sangeet Natak Akademi awardee, a National Award-winning filmmaker and the production sound mixer on an Oscar-winning documentary. Every facilitator is a working artist, chosen at the Cast stage because their practice maps to your problem, subject to availability.
Sound and music
Anirban "Baan" Ghosh
Interdisciplinary artist, composer, sound designer and educator. Founder and Artistic Director, W.I.P Labs.
Dance and movement
Navtej Singh Johar
Sangeet Natak Akademi awardee; dancer and yoga practitioner.
Film
Gurvinder Singh
National Award-winning filmmaker working on memory, landscape and community.
Puppetry
Md. Shameem
Master puppeteer in the Kathputli tradition, with more than 20 years of practice.
Movement and theatre
Deepika Arvind
Berlin-based playwright and theatre practitioner; artistic director of the Lost Post Initiative.
Theatre and somatics
Rency Philip
Theatre practitioner and puppeteer; international fellow at Theatertreffen, Berlin.
Theatre
Nimmi Ravindran
Writer and theatre practitioner; co-founder of Sandbox Collective.
Movement
Diya Naidu
Choreographer and somatic practitioner; founder of Citizens of Stage Co Lab. Has performed at Kampnagel, Hamburg.
Martial arts and somatics
Aditya Roy
Kalaripayattu practitioner and somatic educator.
Percussion
Nathulal Solanki
Nagara player from Pushkar, from a family that has played at the town\'s Brahma Temple for thirteen generations. Recorded on Master Drummers of Rajasthan.
Visual art
Ikroop Sandhu
Visual artist and educator working across identity, print and public art.
The wider network
Practitioners from Creative Arts Exploration, W.I.P's university programme, cast into ART Immersion when a brief calls for their discipline. They include our live-coding network: live coders and music technologists from W.I.P altFEST who lead the Mindful AI programmes.
Vidhaat Raman
Sound recording and design
Production sound mixer on The Elephant Whisperers, winner of the Academy Award for Best Documentary Short. FTII alumnus.
Abhinay Khoparzi
Live coding
Co-founder of Algorave India. Gets people with no programming background performing with code, quickly.
Hasan Shahrukh
Immersive and interactive art
Founder of Curiouswala Studio: AI, live coding, projection mapping and interactive objects.
Vaibhav Batra
Modular synthesis and listening
Sound artist and educator; co-founder of the Dilli Improvisers Orchestra.
Anurupa Roy
Puppetry and theatre direction
Founder of Katkatha Puppet Arts Trust. National Award in Puppetry; uses puppetry in education and peace-building.
Adheep Das
Puppetry and movement
Theatre-maker working with puppetry, movement and material storytelling. FTII and BITS Goa.
Surjit Nongmeikapam
Choreography
Founder of Nachom Arts Foundation, Imphal. Has performed at Sadler's Wells, Tanz im August and Kyoto Experiment.
KP Lakshmana
Theatre and devising
Actor, director and poet; Jangama Collective. Shankar Nag Theatre Award, 2023.
Naren
Folk percussion
Founder of Adavi Arts Collective, Bengaluru, reclaiming the Parai as contemporary practice.
Rahul Singh
Music technology
Founder of the Himalayan Academy of Music Technology, Dharamsala.
Siddharth Dubey
Sound and creative coding
Sound design, audio programming and generative systems.
Ankit Thapa
Sound and creative coding
Recording, sound design and code-driven audio.
International practitioners who have worked with us
Raymond MacDonald
United Kingdom
Saxophonist and composer; Professor of Music Psychology and Improvisation, University of Edinburgh. Founder member of the Glasgow Improvisers Orchestra and mentor to the Dilli Improvisers Orchestra.
Chris Salter
Switzerland
Professor of Immersive Arts, Zurich University of the Arts; author of three books from MIT Press. Work shown at the Venice Architecture Biennale and the Barbican.
Soumik Datta
United Kingdom and India
Sarod player and composer; Aga Khan Music Award winner. Collaborator on W.I.P's Common Breath lab.
Jay Kreimer
United States
Instrument maker and performer on his own invented instruments.
Aldo Ahmad
Improviser
Improvising musician who taught and performed at Listening Otherwise, Ahmedabad, 2026.
Where work from our network has been shown
Artists we have made work with
- Navtej Singh Johar
- M.K. Raina
- Shubha Mudgal
- Ranjit Barot
- Raymond MacDonald
- Soumik Datta
- Mandeep Raikhy
- Chris Salter
- Richard Emmert
- Matthew Rahaim
- Surjit Nongmeikapam
- Neel Chaudhuri
- Vedanth Bharadwaj
- Viveick Rajagopalan
- Shilppika Bordoloi
- Sohail Hashmi
- Diya Naidu
- Fidel Dely
- Takar Nabam
- Adishakti
- Katkatha Puppet Arts Trust
- Make Believe Theatre
- The Play Factory
- Algorave India
A selection, from more than 700 artists presented at W.I.P altFEST.
An artists' organisation that understands business.
Work In Progress Labs promotes, curates and produces work that challenges prevailing notions of art without compromising on criticality or aesthetics. ART Immersion brings those values, and that artistic depth, into the workplace.
500+
performances programmed
700+
artists presented at W.I.P altFEST
70+
film screenings
30+
workshops, masterclasses and electives
15
cities for Kabira Khada Bazaar Mein, on 50+ stages
1st
improvisers' orchestra in India: the Dilli Improvisers Orchestra
- We teach atCEPT University (Critical Sound Studio, CEPT Excellence Award 2026), Ashoka University, IIM Ahmedabad, IIAD, UID, Nirma University and Jindal, and schools including Heritage, Shiv Nadar and Pathways.
- Our work has travelled toVenice Architecture Biennale, Edinburgh Fringe, Kampnagel in Hamburg, Trinity Laban in London, GIO Fest in Glasgow, the Kochi-Muziris Biennale, the Kiran Nadar Museum of Art and an installation at Bengaluru Airport Terminal 2.
- Platforms we runW.I.P altFEST in Delhi and Bengaluru; PORTALS, a year-long programme at the Goethe-Institut / Max Mueller Bhavan; Listening Otherwise, a practice-led conference on improvised music; W.I.P aDDa, our studio in Delhi; the AutumnSKUL residency in the Kangra Valley.
- InternationalCOMMON BREATH, an India and UK climate residency with Soumik Datta Arts; the Dilli Improvisers Orchestra with the Glasgow Improvisers Orchestra; Pro Helvetia's 2026 international delegation to ETH Zurich, EPFL+ECAL Lab, ZHdK and CERN.
Where our pedagogy is taught
Cultural institutes we work with
How an engagement runs
A 30-minute call
What the behaviour looks like in your team. No slides.
A paid diagnostic
Sponsor interviews, a participant pulse and a one-page brief. Credited to the programme if you go ahead.
A proposal in three depths
Programme alone; with observation week and Review; with a 90-day follow-up.
Delivery
On your site, at W.I.P aDDa, or on residency.
Review
A report against the indicators we agreed at the start, including when no further work is needed.
We quote per programme, not per head. For residencies, venue, travel and meals are quoted separately from the programme fee.
What buyers ask us.
The questions a CHRO, an L&D head or a sceptical business-unit head usually asks in the first call.
Why spend on art when we can hire a trainer?
If the gap is knowledge, hire the trainer. We work where people already know what to do and still don't do it: interrupting, freezing in a pitch, taking over a room. Those are behaviours, and artists have spent careers changing behaviour in real time.
Our employees are not artists.
They don't need to be. Nobody performs for an audience or is judged on talent. The artistic practice is the method; the material is your team's real work.
Is this team building?
Team building aims at goodwill. We aim at a named behaviour, measured before and after. People often enjoy it, but we don't count that as evidence.
Will people feel uncomfortable?
Some discomfort is how people see their own patterns; humiliation isn't, and the design prevents it. Every programme opens with agreements, participation is by invitation, and nobody is singled out or asked to testify about personal experience.
Can it work for senior leadership?
Often best there. Senior teams are good at the right answer in a discussion. In rehearsal only the behaviour counts. Leadership Studio is built for that group.
Can it fit into our existing leadership programme?
Yes. A single Intervention works well as the practice module inside a longer journey, and we can align with your competency framework.
How do we know it changed anything at work?
We agree three to five indicators before we design anything, report the first four measurement levels ourselves, and review at 30 to 90 days. Business-level results are yours to track; we never claim them as our effect.
How many people, and where?
12 to 30 per facilitation team, larger groups in pods. The Company Song scales to several hundred. We work at your site, at W.I.P aDDa in Delhi, or at a residential venue chosen for your brief.
Can it run online?
Diagnose and Review, yes. The practice itself is designed for a room.
How is it priced?
Per programme, not per head. A fixed-fee diagnostic comes first and is credited against the programme if you go ahead. Every proposal offers three depths, with venue, travel and logistics shown as a separate line.
What your organisation walks away with
A precise name for the behaviour
A one-page brief and three to five indicators, agreed before anything is designed.
A module built from your real situations
Your meetings, your pitches, your hardest conversations. Nothing off the shelf.
People who have rehearsed, not just listened
They have already tried the new behaviour in the room, several times, with notes.
Commitments your HR team holds
Specific, dated, logged, and followed up at 30 to 90 days.
A report against what we agreed
Indicators set before we started, reported as patterns, never individuals.
The method, handed over
After the first cycle your HR team can run the measurement without us.
Behaviour isn't taught. It's rehearsed.
Tell us the behaviour.
We'll tell you whether art is the right tool, and if it isn't, what is. Write with the problem you are seeing and we will set up a 30-minute call.
You'll speak to
Kirti SharmaFounding and Managing Partner, and Executive Director
Anirban "Baan" GhoshFounder and Artistic Director
Pallavi VermaProject Manager, ART Immersion
The collective
The people behind ART Immersion.
W.I.P Labs is run by Kirti Sharma and Baan G from W.I.P aDDa in Lado Sarai, New Delhi, with a network of working artists cast for each programme.
Here, with artists and faculty from Listening Otherwise, our conference on improvised music, at CEPT University, Ahmedabad, including Raymond MacDonald and Jay Kreimer.
