The Canvass of Performing Arts

According to you, has the domain of performing arts evolved sufficiently (in keeping with the times) in recent decades? Please share your thoughts and observations. Which among the four categories of performing arts has seen the most changes and which has remained relatively static?

The unprecedented growth of the digital world supported by sprouting Internet-based gadgets and infrastructure has immensely helped the entertainment industry shine more and discover new expansion opportunities. This expansion is a global phenomenon and an effect of globalization; the entertainment industry had to find unexplored soils for a sustainable existence. Because of such efforts, the boundaries of operational activities had removed physical appearance and conceptual realities. As the entertainment industry depends basically on performing arts, there was no option left to promote this domain of art, not for art's sake, but individual survival. For instance, the American brand Coke had to promote Bihu in Coke Studio not to promote the Bihu Song but to prove their existence in a competitive marketplace. The Internet has opened a modern, accessible, and low-cost media platform. All the big players in the market tried to grab that opportunity to reach maximum numbers of consumers. They found performing art elements as the most convenient vehicle for their purpose. In response to the second part of the question, my observation is- that contemporary song and dance, acrobatics, and acting are in the forefront and classical and folk art forms are being ignored and sometimes used in the aesthetically wrong way.

How are academic programmes on Performing Arts structured (in India) today? You can please cite the case of Assam Down Town University too.

Academic courses in the performing arts are in high demand. The new education policy's structure and application process also play a significant role in this growth. The Assam Down Town University also started a Bachelor's degree in Performing arts comprising Indian Classical vocal and instrumental Music, Dance and Acting. In the contemporary art scenario, all art forms are primarily interrelated. The course at AdtU is based on this philosophy. Besides that, exposure to the various art forms and practice is a must for the growth of art practice. AdtU has organized several international webinars for the students so that they can listen to the voices of the other part of the globe. For example, one graduate from London Film School shared her experience of the learning process of acting in her institute and students were enlightened by the information she shared. AdtU has also organized a workshop on Holi Geet from Barpeta and Kuchipudi Dance workshops, inviting Kuchipudi exponents from Kerala. Such seminars help the students in widening the circle of their art experience.

Which countries in the world have the best culture and legacy of performing arts? Anything in their social/cultural DNA to which this supremacy can be attributed to? You could of course talk about India too if you feel we merit it. How can the culture (and attendant ecosystem) of performing arts be strengthened in a society?

Honestly, my knowledge is too limited to speak about the first two parts of the question. I have little knowledge of the legacy of the Performing Arts in India. The tradition of Indian Performing Arts flows like a river. It is passing through different soils, and despite unseen obstacles, it is still flowing. The written texts like Bharat's Natyashastra, Vatsayana's Kamasutra, Sarangadev's Sangeet Ratnakar are the strength of Indian Performing Arts and the main pillars of Indian Art Tradition.

One can practice art at an individual level, but the survival and growth of art depend upon society's economic and cultural conditions. An individual may practice DHRUPAD independently, but he needs a social place to perform and grow. Society must provide space to stand and give air to breathe. Society is a concept only, but the catalysts of a society are a group of people- policymakers, executives and promoters. A combined effort of all the stakeholders can only create an excellent platform and support force for the growth of art. History tells us that a few Kings or emperors had patronized the artists and musicians and made them free from all economic problems to create a tension-free state of mind. Kalidas and Tansen are two great examples of royal patronage in India. That was a practice in ancient times. In post-independent India, The Indian Govt spends a considerable amount on art and culture in modern days. But unfortunately, most of the money has failed to present significant works of art.

You are an acclaimed film critic too. Can you tell us the key differences (if any) and similarities in terms of approach while critiquing art cinema and commercial Cinema?

I feel sorry to tell you I do not understand art cinema and what commercial Cinema is. Cinema is an art, I believe, from my core heart. I am interested in the commercial aspects of a film, and that aspect is concerned only with revenue collection from the box office or other sources. This part has nothing to do with the artistic elements of a film. Art and Commerce are integral parts of a movie, but the judicial parameters of both genres are radically different. I believe the categorization of ART FILM and Commercial Film is confusing and not justified. PatherPanchali is regarded as an excellent example of a work of art, and the same film also did well in the box office. How one can label it as an Art movie or Commercial Movie?

You are an author and filmmaker as well. Both are two different mediums of creative and cerebral expression. But do you think the experience (and expertise) of working in one medium enriches one's experience and expertise while dealing with the other medium? Or is it vice versa---- meaning are there a lot of un-learnings and challenges involved?

If we go to the philosophical depth of art or writing, we will find that both are creative works and the principal aspect of both the practices is to express the creator's thoughts. What a creator will say- that is the major crisis, the process of expression is a technical work, a craft, and you can take the help of other experts. For a film, one can hire all the technical hands, and with a write-up, one can engage an editor who knows the craft. What the creator should know is an interpretation of life. Yes, if the filmmaker or the author knows the details of the craft- at least the theoretical aspects, the output will be better.

In reality, the filmmakers hire good technical hands and pay accordingly. But my experience speaks- writers, most of the Assamese writers I met, don't like to submit their works to an editor. I believe an editor can't change the plot, content and philosophy of the writer's life but can enhance the structural part of a writing.

Today a great many books are getting adapted to screen and some movies too are making inroads into the publishing world. In your view, what kind of books actually merit screen adaptation and vice versa.

There are two genres in filmmaking—filmmaking by profession filmmaking by passion. The passionate filmmaker makes his films out of the feelings-experiences-crisis stored in his heart. The professional film maker proposes his film and a famous book suit him more than an original screenplay as the book is known and possesses some "name-value" or Brand value. This value addition or added value is essential for a business proposal. But at the end, the making counts, not the book's name. So as, a famous movie adapted to a book is supposed to draw the attention of the film lovers. If they love to read books, the business plan may work.

Lastly but not the least, tell us something about the mass media appeal of radio in contemporary times?

I have spent a good amount of my life on the radio. I believe my reply may not be impartial. Hence, I will love to remain silent.

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