Freedom of the imagination

Ceremonial pomp, banality, nostalgia, maudlin tunes and national coverage — in short, the typical sarkari cultural cocktail. One could argue that this is a fairly conventional format for patriotic celebrations the world over; one could even argue a show of solidarity between servants of the state and artists has a touching Hollywood-Bollywood style value — recall Nehru in tears at Latadidi’s mellifluous rendering of ‘Ae mere watan ke logon’. Yet given our eagerness to proclaim ourselves a modern nation and the growing concern over the symbolic power of the ritual, it is perhaps time to question our adherence to these ghisa-pitta styles of commemoration.

Commentators in recent times have asked how suitable it is for India to parade its armory as we do on Republic Day in a world that increasingly prizes peaceful development over military valour. Similarly one can raise several new age concerns over the typical sarkari cultural event (and indeed it is a matter of arguably greater import serving as it does as a model for cultural events in general). From an environmental point of view, for instance, one could bemoan the colossal waste — given the Indian passion for garlanding and presenting bouquets to every minor plenipotentiary. From a feminist point of view it is irritating, if not downright insulting, to watch young girls in silk saris fetching and ferrying for self-important VIPs or being called on to perform decorative functions such as lighting the diya to flag off a film festival for instance.

But these are relatively trivial matters of detail, quibbles compared to the main problem with a show like the one put up at the Central Hall this week. And that is the manner in which it defines the relationship between the state and art. That there is a relationship at all was acknowledged as far back as the fifties, by the government of free India through the setting up of various akademis to promote art and culture. Since then the business of state patronage of the arts has been a hotly debated issue though one that seems to have disappeared from public discourse in recent times. We seem to have resigned ourselves to the sad reality of equating political patronage of the arts with political jockeying and nepotism. In fact, so accustomed have we become to seeing the relationship in this light, that we now even look upon the personal predilections of political leaders on the subject almost as affectionate fads (L.K. Advani’s fondness for Hindi films, Vajpayee’s poetry being sung).

Regrettable as this state of affairs is, the sarkari concert attempts something equally unfortunate by boxing artists in one evening’s performance and bending their metre to the express purpose of marking an occasion. “If there is anything ugly, it is the made-to-order work of art,” said Dr Rajendra Prasad while inaugurating the Sangeet Natak Akademi in January 1953. The impact of this particular lack of aesthetic is something for us to ponder over. Meanwhile, for the years to come perhaps we could ask our leaders for a little more freedom of the imagination.