Scene 1
In an elocution contest in a youth festival, the topic is: "Cultural Policy". All the participants talk about the importance of culture, and for the need of preserving it. None talk about the continuum between art and living, what we mean by culture when we talk about it, whether our understanding is from our our life or from a brochure, why the culture is threatened, what is the culture of the threat itself, why the threat seems stronger than what is, whether efforts to preserve are an admission of weakness, whether policy can only preserve the artistic nature or whether it can also preserve a way of life, and whether state intervention or a top-down diktat is really about culture or whether it is about the self-esteem of a fledgling nation.
One of the participants speaking in Punjabi, to my surprise, quotes that (in)famous sentence: "Whenever I hear the word culture, I release the catch on my Browning." But he doesn't expound on it.
Scene 2
In a series of classical music concerts in a local university, I find almost no connoisseurs who are there for the music. There are invited VIPs, donors, students and teachers of the organizing department of music. The university has thousands of students in arts and sciences, and hundreds of teachers. This event is in a city of a million people. The artists have come from far away. But only those are present in the auditorium who have a professional or research or organizational interest in the event.
Some girls leave at 7pm because of the hostel curfew time.
The anchors talk about the "grade" of the artist (apparently signifying how much the artist is paid by public broadcasting for a performance) and which political dignitaries the artist has performed for. They do not mention the specific interest or inclination of the artist and his/her work, how the music of the artist has evolved over the years, which are some of the stand-out performances or recordings (by the artist) that one could listen to. The introduction of the artist is performed mechanically, and the artists themselves (except for one) are ill-at-ease introducing themselves and what they are going to present that evening.
Some anchors are teachers in the department of music. And they refer to the students in the audience as "dear children".
The poster for the event is in Punjabi, but has the words "coordinator" and "convener" in English transliterated in Gurmukhi script.
The artist from Pune does not understand Punjabi. The head of the music department forgets her name when introducing her. And he speaks in Punjabi while the artist looks on with confusion.
The anchor instructs the "children" to appreciate the performance properly and not with whistles.
Scene 3
The invitation card of the University youth festival is chock-full of the names of the VIP guests and only as an after-thought mentions the events themselves. The font for the names of the VIPs is bigger than the event descriptions.
The third page of the invitation reads in Punjabi (translated into English by me):
"Winning students will be fortunate to receive the prizes from the hallowed hands of the esteemed vice-chancellor."
A Parable
The roof had long covered the house but the winds had weakened its joints with the walls. At present, it scarcely protected the house from rain and dust. Any minor storm punished the people of the house with the misery of a fresh damage and chaos.
The rainwater came from the heavens above, but due to an old superstition, the house owner continued to build fortifications in front. He saw the roof as weak, but not knowing the basics of masonry, he continue to add another coat of whitewash to the walls after every storm.
There was intense discord within the family of the house, and they all resented the owner, who they knew was a fool, but who possessed the only gun in that village.
One day a mendicant came to that village, begging for alms. The mendicant's loincloth was patched with regular square pieces from his discarded clothes. As he passed that ugly house (the roof of which was now woefully patched with earthen pots and ramshackle metal pieces), he started singing an old tune: "The leaf is strong. The rock is weak. What's alive is well. Only the dead is bleak."
The perennially annoyed tyrant of that house flew into a rage at hearing this strange song. He rushed out and kicked the singing stranger, and screamed at him as he fell down: "We are cursed by the storms, and you think of these silly songs?"
The mendicant slowly got up, dusted off his loincloth and his bag, and replied to the angry man: "I have seen many a storm in my life. But tell me, what are you protecting from the next storm?"
The man blurted: "Why, our possessions and our life itself!"
The mendicant started singing his tune again: "The leaf is strong. The rock is weak. What's alive is well. Only the dead is bleak."
In an elocution contest in a youth festival, the topic is: "Cultural Policy". All the participants talk about the importance of culture, and for the need of preserving it. None talk about the continuum between art and living, what we mean by culture when we talk about it, whether our understanding is from our our life or from a brochure, why the culture is threatened, what is the culture of the threat itself, why the threat seems stronger than what is, whether efforts to preserve are an admission of weakness, whether policy can only preserve the artistic nature or whether it can also preserve a way of life, and whether state intervention or a top-down diktat is really about culture or whether it is about the self-esteem of a fledgling nation.
One of the participants speaking in Punjabi, to my surprise, quotes that (in)famous sentence: "Whenever I hear the word culture, I release the catch on my Browning." But he doesn't expound on it.
Scene 2
In a series of classical music concerts in a local university, I find almost no connoisseurs who are there for the music. There are invited VIPs, donors, students and teachers of the organizing department of music. The university has thousands of students in arts and sciences, and hundreds of teachers. This event is in a city of a million people. The artists have come from far away. But only those are present in the auditorium who have a professional or research or organizational interest in the event.
Some girls leave at 7pm because of the hostel curfew time.
The anchors talk about the "grade" of the artist (apparently signifying how much the artist is paid by public broadcasting for a performance) and which political dignitaries the artist has performed for. They do not mention the specific interest or inclination of the artist and his/her work, how the music of the artist has evolved over the years, which are some of the stand-out performances or recordings (by the artist) that one could listen to. The introduction of the artist is performed mechanically, and the artists themselves (except for one) are ill-at-ease introducing themselves and what they are going to present that evening.
Some anchors are teachers in the department of music. And they refer to the students in the audience as "dear children".
The poster for the event is in Punjabi, but has the words "coordinator" and "convener" in English transliterated in Gurmukhi script.
The artist from Pune does not understand Punjabi. The head of the music department forgets her name when introducing her. And he speaks in Punjabi while the artist looks on with confusion.
The anchor instructs the "children" to appreciate the performance properly and not with whistles.
Scene 3
The invitation card of the University youth festival is chock-full of the names of the VIP guests and only as an after-thought mentions the events themselves. The font for the names of the VIPs is bigger than the event descriptions.
The third page of the invitation reads in Punjabi (translated into English by me):
"Winning students will be fortunate to receive the prizes from the hallowed hands of the esteemed vice-chancellor."
A Parable
The roof had long covered the house but the winds had weakened its joints with the walls. At present, it scarcely protected the house from rain and dust. Any minor storm punished the people of the house with the misery of a fresh damage and chaos.
The rainwater came from the heavens above, but due to an old superstition, the house owner continued to build fortifications in front. He saw the roof as weak, but not knowing the basics of masonry, he continue to add another coat of whitewash to the walls after every storm.
There was intense discord within the family of the house, and they all resented the owner, who they knew was a fool, but who possessed the only gun in that village.
One day a mendicant came to that village, begging for alms. The mendicant's loincloth was patched with regular square pieces from his discarded clothes. As he passed that ugly house (the roof of which was now woefully patched with earthen pots and ramshackle metal pieces), he started singing an old tune: "The leaf is strong. The rock is weak. What's alive is well. Only the dead is bleak."
The perennially annoyed tyrant of that house flew into a rage at hearing this strange song. He rushed out and kicked the singing stranger, and screamed at him as he fell down: "We are cursed by the storms, and you think of these silly songs?"
The mendicant slowly got up, dusted off his loincloth and his bag, and replied to the angry man: "I have seen many a storm in my life. But tell me, what are you protecting from the next storm?"
The man blurted: "Why, our possessions and our life itself!"
The mendicant started singing his tune again: "The leaf is strong. The rock is weak. What's alive is well. Only the dead is bleak."
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